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Rosemary Joyce - Newcastle University School of Architecture, Planning and Landscape

Creative Community Collective, Saltaire Model Village Curating the City Andrew Ballantyne, Jianfei Zhu & Neil Burford

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CONTENTS

PAGE

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CURATING THE CITY - CURATING COMMUNITY

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ARC30 0 1

Curating

Cr eative Fram ing

th e

City

Commu nity -

Pg.

Collective,

Introduc tion

Salt air e,

S altaire

U.K .

Curating

Com munity

Testing

Th inking Critic al

th rough

Making

Reflec tion

Appendix ARC30 1 ARC30 1 3

Integrated

P rofessional

ARC30 1 5

Th eor y

Added

Sinc e

Into

th e

Arc h itec tural

Tec h nology

ARC30 1 4

Work

Dissertation

P rac tic e P rac tise

Final

and and

Studies

Construc tion

Rep ort

118

Managem ent

122

Essay

Rev iew

m arked

132

with

asterix

(*)

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Fig ure 1 A conceptual collage ‘openi ng up’ the open galler y d i splay houses - gi vi ng art a place i n the vi llage arts and soci al scene

Curating Community

rom the fol low in g group in-de pth re se a rch, I pe rso nally co nclude th at a p ro ject sh o uld support the progre ssion of Sa lta ire’s a rts sce n e a s a cultural , so cial and h isto rical narrative for the vil l a ge’s grow th a n d de ve lopme nt. I pl a n to pro p o se a Cr eativ e Commun ity Collectiv e,

which supports the a rts sce n e w ith re source s, te chn ica l a n d p urp o se-b uilt wo rksp aces, exh ib itio n spa ce s, re side n cie s a n d a ca fe a s a n urba n me e tin g pl a ce fo r lo cal artists, clients and to urists. In this con ce ptua l draw in g, I focu s on the curre nt a rts scene in S altaire and th e imp o rtance o f Ope n Hou se Eve nt s a s a visua l a n d e x pe rie ntia l j ourn e y through th e lives o f mill wo rkers, b ut also throu gh the da ily l ife of cre a tive s. This tra dition of O pe n Ho uses in S altaire will b e imp o rtant in the de ve lopme nt of dw e l l in gs a n d spa ce s in my buil din g, esp ecially given my site emb edded in the re side ntia l stre e ts.

CURATING THE CIT Y - Studio Introduction

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1980 - MILL TRANSFORMED TO ARTS SHOPPING CENTRE

Some of ruler- Titus Salt’s- ideals for Saltaire can be considered unrealistic and outdated when proposed in a modern context, such as staged entertainment, banned political expression and a lack of freedom. However, there are some mindsets which are important and remain a characteristic of the site today.

Introducing Saltaire

2000 - PRESENT DAY - UNESCO WORLD HERITAGE SITE WELL PRESERVED VICTORIAN MODEL VILLAGE WITH ARTS SCENE AS POPULAR TOURIST ATTRACTOR

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SALTAIRE VILLAGE 1855 - 1980 - AN IDYLLIC WORKERS’ MILL VILLAGE DECLINING TOWARDS THE 1960’S

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These include: Education Hard Work Community Safety Self- Improvement

WEST YORKSHIRE 1800 - 1960 - KEY INDUSTRIAL COUNTY IMPORTANT IN THE TEXTILE TRADE ACROSS BRITAIN AND EXPORTS TO SOUTH AMERICA

BRADFORD 1800- 1960 - DEVELOPED FROM A RURAL VILLAGE TO A BUSTLING AND HOSTILE INDUSTRIAL CITY - DECLINED TOWARDS 1960’S

PRESENT DAY - A COUNTY WITH A THRIVING ARTS C U LT U R E AND A HERITAGE WITH STRONG INDUSTRIAL TIES

1980’S - DEVELOPED INTO A CENTRE FOR FILM, TELEVISION. ARTS, MEDIA AND VIS UA L C U LT U R E T H R I V E 2000 - PRESENT DAY - MAJOR NORTHERN MEDIA CENTRE

ur studio Curating the City is based

is largely research-based, based on observations

in Saltaire model village; a well-

specific to the history and culture of the village.

preserved Victorian example of a

My personal approach to the studio themes

working-class industrial village which nowadays

was to follow a respect for the past of Saltaire,

is a relic, maintaining tourist interest largely

but to develop a project supportive of the arts

through its arts sector. We question the reliance

movement in Saltaire and preserving a working

Saltaire has on its past and whether this physical

community this way. I aim to produce creative

preservation is sustainable for the future. A key

workspaces for the new working community

debate informing our projects is being critical

in Saltaire, represnting the current heritage of

of heritage preservation and following a path

Saltaire as equally important to its rich past.

towards progressive conservation. The studio

Fi gu re 2 Sa lt a ire in t h e co nt e xt o f Brit a in a nd We s t Yo rk s h ire

Fi gur e 3 A Col l a g e o f S a lt ’s In f lue n c e o v e r S a lt a i re

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Fig ure 4 Saltai re Collage to I llustrate how i t i s fiercely retai ned - Terraces

Figur e 3 A timel in e o f key ev e nt s w i t h i n S a lt a i re's for m a t io n.

From this timeline, we can see that the histor y of Saltaire as a model village mill-working community is of high importance. Titus Salt developed the rural plain into a working community, away from the pollution and disease present in industrial Bradford. He made his fortune in doing so, and made key changes for workers which meant that conditions were better. However, there are debates around the motivations of his actions, as he is sometimes accused as being driven purely by profit, and not the philanthropist he is known as. The mill closed in 1987 and was turned soon into an art galler y and shopping complex, which has rendered the village boring and inaccessible by some standards. The village is important to remember as a marker of the hard-working and strong community who lived there under Salt's rule, rather than honouring just the industrial success of Titus Salt.

Fig ure 5 Saltai re Collage to I llustrate how i t i s fiercely retai ned - Victori a Road

M A P P I N G - S a lt a i re a s a Wo r k i n g Co m mu n i t y i n t h e 1 8 0 0 's

ife in Saltaire was ‘idylic’, and the preser vation of the village is important to remember and honour these times. However, it is important to look critically at the rememberance of the mill workers lives, as mill workers still worked long hours for little money and lived in what some referred to as a 'soft prison', where alcohol was banned and socialisation was encouraged only if it didn't hinder progress of work in the mill. Salt was ultimately driven by profit, and escaped a delapidated Bradford in a rural part of Yorkshire to achieve this.

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THE CONVERSAZIONE EVENT - Community spirit, celebration and future vision

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CURATING THE CITY - CURATING COMMUNITY The Conversazione event was a cultural celebration inSaltaire held at the Victoria Hall, which displayed the latest technological designs, showed new artwork , discussed the histor y of Saltaire and entertained the mill-working community of Saltaire with parties and luxur y for 4 nights a year. One such example was the use of the telephone, electricity and the self-spinning loom. These events celebrated the industrial developments of the 20th centur y, and were important as the only nights of the year mill-workers could experience freedom and as escape from the organised and strict lifestyle Salt enforced.

Saltaire’s Mill is the focal point of the village, standing over 22 metres tall and hovering over the community. It is an impressive feat of italianate architecture of its time, and includeed some of the most techn ologically advanced weaving equipment and anti-polluting chimmneys. Workers at the mill worked long 11 days and did difficult and dirty work. Outside of the mill, gridiron streets of terraced houses were built to house workers.

Figu re 6, 7, 8 Hi s toric I mages o f S altaire Fig u re 9 Map of Saltai re L ab el led

Fig ure 10 Collage of Saltai re’s Conversazione Event - A rt and Technology i n H i storic Saltai re

P r o g r e s s i v e H e r i t a g e - T h e t r a n s i t i o n f r o m a W o r k i n g m i l l t o w n i n t o a n A r t s c o m m u An Ci tAy D

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fter the mill closed 1987, there were no definite plans for redevelopment, and redundant mills all over the countr y were facing the possibility of demolition. These industrial buildings would hev to be repuposed in order to sur vive, as the buildings could not be maintained economically other wise. The local economy and community would not sur vive if nothing was to be done, and the town was described as a 'ghost village' during the 1980's by local journalists.

A divide between the Mill project and the town

Fig ure 15 A Touri st Conversation i n Salta i re Fi gur e 1 6 A d r awi n g t o i l lust r a t e t he c o nt r a st i n e x t e r io r/ i nt e r io r vi brancy i n Saltai re Fig ures 17, 18, 19 I ma g e s Ta ke n i n S a lt ’s M i l l

Artists are restricted to creating art in their homes as the strict focus on conser vation of the village has not allowed for focus on a unified community art and creative space for the industr y that dominates Saltaire currently. Saltaire arts trail is restricted to an annual event and an all year round space for creative expression is vital to enhance the artistic industr y

Saltaire's main streets. They were described as a 'Ghost town' in the 1980's, and the mill has arguably left them as such today.

The Mill was reborn in 1987, and this is attributable to a visionar y called Jonathan Silver. He decided to make the Mill into a galler y of David Hockney's work. Salt's Mill is successful as a business and recognised as a saviour of Saltaire as a village. However, it is noted by tourists that life outside the mill is bleak. The streets are empty and the histor y is not tangible just by the organisation of the window displays and streets. Inside the mill, products and food is expensive, and the disabled access limited in use. Despite David Hockney being the most famous artists from Yorkshire, tourists note that there is little in comparison from smaller local artists.

Despite the success of the mill development in Saltaire, the villlage streets itself are left feeling like a 'ghost town', just as they were when the industrial success of the mill ended. It seems that although the community is creatively expressive and vibrant, this is not illustrated at street level. The arts and skills in the community are important, and form a strong bond not only between residents, but also between residents and tourists. There is also little place to work for artists who are not students at a school, and this important to keep the village alive, as well as the mill.

Figu re 11, 12, 13 I mages o f Cur rent S altaire Fig u re 14 Map of Saltaire L ab el led

MAPPING - The Limitations of the Existing Arts Scene in Saltaire

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S A LTA I R E O P E N H O U S E S - To u r i s t P r e s c e n c e i n S a l t a i r e H o u s e s

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Fig ure Fig ure Fig ure Fig ure

Figu re 20 Mappi ng Saltaire’s Ar ts S c en e in Col l age Fo r m

21 22 23 24

SA LTA I R E PAT H WAYS F OR C H A N G E

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SA LTA I R E PAT H WAYS

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Option 2 - Harmonising the Past and Present

The second option is forgetting about Saltaire’s history, an

The third is less radical than 1 or 2. It maintains he integrity

radical approach in redeveloping the village so it keeps up with

of the WHS, but creates redevelopments which harmonises

the modernisation of the rest of the world. This is an anti-

the past and the present. These projects would ‘fit in’ with

The first option is maintaining Saltaire to its original form,

memory approach, desturating the memory plane of Saltaire

Saltaire’s physical fabric, but would repurpose areas of the site

a working museum of its rich history and link to the British

currently and allowing space for new collective memory to

for modern usages, creating programmes which allow more

textile industry. The maintenance of the physical fabric

form. Some question the high expense of preservation and

involved and purposeful tourism.

remains important, and preservation ignores claims by

modernisation of the village.

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Option 1 - Modernisation

maintenance where the money could be reinvested into the

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Option 3 - Preserving the Past

‘Universal concessions to historical preservation fail to stimulate architectural progression’

Winters that perhaps intangible heritage can relate to the

‘Reviving a lost historical consiousness’20

contemporary culure and community of a location, rather than its technical features. This option presents Saltaire as

BOLLACK 2013

GOODMAN 2003

a historic artefact, preserving the image of what Saltaire has always been known as. It ignores the divide between the living

J, Goodman. 2003

arts community in Saltaire and the past, honouring a heritage which stuggles to thrive itself in the village today.

Figu re 25 Option 1: Mo der n is atio n

Fi gu re 26 Opt io n 2 : Ha rm o nis ing t h e Pa s t a nd Present

Fig ure 2 7 O ption 3 : Preser vi ng the Past

S A LTA I R E PAT H W A Y S F O R C H A N G E - To w a r d s t h e A r t s G e n e r a t i o n

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Option 4 - A New Working Heritage for Saltaire

is entirelyrepresentative of Saltaire and West Yorkshire, as

The final option is redeveloping the intangible sense of

creative ventures are intrinsically linked to where they are

community, working rituals and spirit of pride in Saltaire

from and what they choose to represent. Therefore, the arts

through

within

becomes an interactive and honest form of heritage, reviving

Salt’s mill in the 1980’s is a promising indicator of how the

a thriving sense of community and representing what it

generation of local artists could provide a solid future for

means to live and work in Saltaire. Currently, the arts scene

the village itself, if provided with adequate infrastructure.

is given a chance with the revedevelopment of the mill, but

In my opinion, this matches the sense of future visionary

village is behind, local artists living in the shadow of more

and community Salt inspired within the village, which self-

commercialised forms of art and a sense of community

sustains and looks towards the future, rather than declining

replaced with desperation for profit.

the

arts-generation.

Arts

investment

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as post-industrial village with no identity. The arts industry Figu re 28 Opt ion 4 - A New Wo r k in g Her itage fo r S alt a i re

STUDIO SPECIFIC THEMES - Categorising Framing into Individual Themes

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S T U D I O S P E C I F I C T H E M E S - A c t i o n s Ta ke n B a s e d o n C r i t i c a l Fr a m e w o r k

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Fig ure 30 A pplyi ng a Cri tical Framew ork i n Saltai re

Figu re 29 - A Cri t ical Fr amewo r k Fo r S altaire

COMIC STRIP - Creative Journey for Users of a Creative Studio in Saltaire

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Figu re 31 - A Comic St r ip o f a Newfo un d Creative in S a lt a i re

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Fig ure 33 A cti vi ty Wheel for the Creati ve Communi ty Collecti ve

Fig u re 32 - A Penci l Dr awn Co n c ep tual Col l age o f I n s t a lla t ion A r t Pie c e s from th e P roposed Wo r k s ho p

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Schedule of Accommodation

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Public Cafe space / Urban meeting and discussion ground Small Galler y/ Exhibition Space/ Viewing platform for work shop Toilets

lan nP

c Spa dio

Stu

ak Bre

Pri

e ffic te O

a Are

-1

s ilet To

Private Workshop (woodwork and joiner y) which the building revolves around Design for several prefabricated/Self-build projects (ie, Community pizza oven, Small stage for historical tourist shows, Marketstall for Victoria street baker y) which can be constructed around Saltaire from the workshop Classroom Studios Breakout Spaces Staffroom Offices for arts organisation Toilets

m roo

s Las

Are

eak /Br bby

ped

Ram

e Caf

afe

den esi R t s

st ces

Art

ile To

ctio

tro /In bby

The schedule of accomodation for the project involves a series of spaces which allow the viewing and celebration of creative and technical processes. It will also include a m eeti ng grounds or urban commons for local artists in t h e for m of a cafe, as well as linking studios and c l assrooms for flexible use by students at the local school, l ocal artists and curious community members.

rea nA

n rou

layg ts P

e ubl

c Spa ght hei

0 s

e on pac biti lk S a xhi E T / o ion ss t cce ibit h A x d E pe all Ram Sm

a/ are rial m o t Tu kerro ts Loc Toile

Fig ure 35 Development process through exploded axonometric drawings

Fi gu re 3 4 Bu bble dia gra m s t o s u gge s t re l a t io ns h ips be t we e n dif fe re nt e le m e nt s o f t h e pro je ct

ac e Sp rag Sto troom n Pla

-1

ac p Sp

sho

rk Wo

Fi gur e 3 6 De v e lo pm e nt pro c e s s th ro ug h e xplo d e d a xo n o m e tric d rawi n g s

PROCESS OF DESIGN THROUGH SKETCHING

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PROCESS OF DESIGN THROUGH SKETCHING

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Axonometric Development - The sketching process for developing the three ‘chimney’ elements assisted with rethinking how the different spaces could be developed further, for example developing the first one into a sheltered seating area, the second into a viewing station for the workshop and the third a viewing gallery for the chimney from the biomass boiler.

Sketches - Continued development of the narrow atrium through digital sketching

Sectional Development - These were the initial sketches in section to illustrate my ideas at an early tutorial.

Ver y Rough Sketches - These sketches helped me develop the idea of temporary outdoor space for pedestrian trhough the e n g a g e m e n t o f l a r g e 3 - s t o -r e y doors which would open to block the road for vehicles. This was a pivotal moment in my design for clarifying how to engage with and use a confined site.

Perspective Sketches - I developed possibilities the exterior and interior atrium through axonometric sketches during the testing stage of the project, enjoying the creativity and freedom I had at this stage.

Fig ure 38 A series of hand-d raw n sketches over the course of the testi ng stage of the project

Figur e 3 7 A s er ies o f han d- dr awn ske t ch e s ov e r t h e co u r se o f t h e t e st i ng st a g e o f t h e p roj e ct

Site 5 Location

SITE PLAN - 1:500

VIEWS SURROUNDING THE SITE

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VIEWS ONTO SITE

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From the North

SCHOOLS

TWO SCHOOLS NEAR SITE, ONE WITH DIRECT ACCESS TO SITE

Site Declaration and Project Brief Creative Community Collective Curating the City Saltaire, UK

From the South-East

Fi gu re 4 0 - Vie ws o nt o Sit e

BASIC SITE DIAGRAMS

SITE PLAYGROUND FOR COMMUNITY AND SCHOOL

Geography Slight Sloping

Railway

S A LT ’S M I L L A RT GALLERY RENOVATION OPPOSITE THE SITE BEYOND A N ACTIVE TRAINLINE, RENOVATED IN 1980

TERRACED HOUSING EXISTING SINCE THE 1890’S AND IS WELL-PRESERVED AND PROTECTED AS HOUSING PREVIOUSLY USED BY SECOND-GENERATION MILL WORKERS, NOW HOME TO OPEN HOUSE SHOWS

Sunpath and Wind Direction

Road Access

Fig ure 42 - View s from the Si te

Materiality

Fi gu re 41 - Si te Di agrams

Site Details

Use of neighbouring buildings

Fig u re 39 - Si te Plan Greenspace around the site

The site is complicated as it is very narrow and c o n s t r a i n e d b y r o a d s o n 330 sides, and a row of houses on the other. The adjacent buildings are generally residential or education in purpose, and the site slightly sloped towards the railway line on the north side. At present, the site is a run-down playground for the local community and school. The site has an atmosphere of lost potential and a lack of vibrancy and purpose, its use not clearly defined as it is a liminal space between the school, the railway and the housing.

PARTI DIAGRAMS - Circulation to Use, Natural Light & Public/ Private divide

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MASSING DEVELOPMENT - The Atrium, the Ramp and the Chimneys and the Polycarbonate ‘Ends’

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Geometry Unit to Whole Plan to Section Hierarchy Section for natural light

Symmetry Symmetry

Symmetry

Inital Massing on Site

Circulation to Use

Public Circulation

Private Circulation

Circulation to Use

Direct Light (Window) Public Circulation

Reflected Light Diffused Light (Through Light Cannon) (Through polycarbonate) Private Circulation

Direct Light (Window)

Reflected Light (Through Light Cannon)

Public Circulation

Exterior Space utilised to increase space (but currently a road)

Journey through interal corridor

Direct Light

Private Circulation

(Window)

Integrating with the Slight Slope on Site

Staggering Ground Floor Rooms to Enhance Naturally Sloping Site

Matching Polycarbonate ‘Ends’ of the Building Light up to Attract Users From the Street View

Reduction of the Ground Floor to Allow Access to Local School and Housing

Reflected Light (Through Light Cannon)

Development of road block doors

Continued Development of Doors to E n c l o s e Te m p o r a r y O u t d o o r S p a c e

Chimneys Shape Canyoning Narrow Atrium - Reflecting Small Site

Continued Development of the Network of pathways around the chimneys

D o u b l e P i t c h C r e a t e d To G i v e t h e Illusion of a Smaller Scale Building within the Residential Street

We s t -Fa c i n g Fa c a d e P ro p o r t io n a t e ly Extruded with Bays to Mirror Housing

Diffused Light

(Through polycarbonate)

Development of Chimneys to create vasty different interiors

Roof Level Pitched Across Roofscape to Match the Local Style of Housing

Diffused Light

(Through polycarbonate)

Fig ure 44 - Massi ng Di agram Development - 3 Notable G estures throughout bui ld i ng

Figu re 43 - Part i Di agr ams

1:200 FLOORPLANS - Basement Floor

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1:200 FLOORPLANS - Ground Floor

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The First F loo r c o n s is t s o f t he a mbie n t c a f e f o r a rti sts a n d vi si to rs to th e c o l l e c ti ve , f o l l o w i n g a pro m e n a d i n g ram p up w ards from t he large e x hibit io n s p a c e o n t he r ig ht - ha n d-si d e o f th e b u i l d i n g to th e c a f e o n th e l e f t- h a n d-si d e (se e b e l o w). In the m iddle sect ion of t he buil din g a r e c l a s s r o o ms , t he a r t is re si d e n c e a n d th e sto re ro o m s a n d f o r th e c o f f e e b a r. T h e re si d e n c e is indep endent from t he main us e r a c c e s s t o t he buil din g t o g iv e th e l i vi n g a re a s f o r a rti sts a c c e ssb i b i l i ty a n d f re e d o m , f e e l i n g m o re like a ho use

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w it hin t he reside n t ia l s e t t in g .

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Th e ground floor h as a mai n e ntrance for th e pub li c on th e North si d e of th e b ui ld i ng, th rough glass d oors i n th e ce ntre of th e playground . Th e se d oors offe r two d i re cti ons; e i th e r up th e stai rs strai gh t to th e cafe or th rough a prome nad i ng jour ne y th rough th e var yi ng e xh i b i ti on and talk space s, loopi ng around th e b ui ld i ng and up one store y to th e f i rst floor cafe . Th e ramp i s i llustrate d b y pocke tte d vi e ws i nto th e worksh op th rough d oub le h e i gh t space s and se cti ons of glazi ng. Th e mai n pr i vate e ntr y i s to a lob b y and re ce pti on are a to acce ss th e use r floors of th e b ui ld i ng.

Schedule of Accommodation Basement Floor (-1) (Labelled areas on 1:100 Floorplans)

Schedule of Accommodation Ground Floor (0) (Labelled areas on 1:100 Floorplans)

Basement Level - Workshop - Approx 250 sqm Tutorial Area Lockerroom Sinks and Material Storage Cupboards/Shelving Toilets Workshop Office Working Booths with Machinery Toilets Lumber Storage

Arts Playground Large Single Storey Door First Aid Room/Office Information Desk Reception Waiting Area Loading to Workshop Large Sculpture Lift (4m x 3m) Exhibition Room 1 Exhibition Room 2 Exhibition Room 3 Large 3-Storey Doors Under Stairs Storage for Folding Seating

2 2

Site Legend

1 1 2 3 4 5 6 7

Support School Car Park Residential Housing Allottments Railway Line Road to Active Garage Salt’s Mill

Baker

Stree

Baker

To w a r d

Carol

(Back

-Road

s Sch

ine S treet

ine S tree

Carol

s Sch

To w a r d

Stree

(Back

)

-Road

)

) (Main es Str ee

ria R oad

Rhod

Fig ure 46 - Si te Plan Ground Floor Level

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The f irst floor c o n t a in s muc h o f t he imp o r t a n t e l e m e n ts o f th e b u i l d i n g f o r d a i l y u se , su c h a s c l a ssro o m s a n d th e 2 -p erso n artist residence. It al s o c o n t a in s t he ma in c a f e s p a c e a n d ro o f te r ra c e f o r vi si to rs a to p th e sta gge re d ra m p f ro m th e key ex hibitio n space, and t hi s c a f e s p a c e o v e r l o o k s t he mil l v ie w.

The second floor is focused on artist experience and is amore closed off than any of the other floors. The studios are open plan in the centre of the building, surrounding the tops of the ‘chimneys’, with windows and openings which allow the artists to view the visitors to the galler y streaming through the narrow atrium. There is also a mezzanine layer for pupils from the local school completing workshops and artists to eat and drink above the coffee bar and cafe.

Schedule of Accommodation First Floor (1) (Labelled areas on 1:100 Floorplans)

Schedule of Accommodation Second Floor (2) (Labelled areas on 1:100 Floorplans)

Cafe Coffee Counter Storage Cupboard Cafe Storage Room Seating Classroom 1 Classroom 2 Art Storage Cupboard Cafe Toilets Small Viewing Station Bedroom 1 Bedroom 2 Open Plan Kitchen and Living Room (Staggered Ramped Access from -1.5 m to first floor)

Staff Area (Mezzanine Level) Kitchenette Breakout Zone Printers and Copiers Individual Desks and Shelving Balcony down to Exhibition Space Meeting Area Semi-Private Artist Offices

Baker

Stree

s Sch

Carol

ine S tree

To w a r d

-Road

)

Figu re 47 - Si te Plan Fir s t F lo o r L evel

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Fig ure 48 - Si te Plan Second Floor Level

1:200 SECTION AA - Long Section

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Figu re 49 - Si te Sect ion

1:200 SECTION BB - Short Section

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Figu re 50 - Si te Sect ion

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LEGEND - Ground Floor (0)

LEGEND - Basement Floor (-1) 1 2 3 4 5 6 7 8 9 10 11 12 13 14

Workshop Tutorial Area Lockerroom Sinks and Material Storage Cupboards/Shelving Lobby Workshop Office Working Booths with Machinery Toilets Plant Room Lumber Storage Street Pavement above with Glazing for Viewing Shadow of Floor above Basement (Up to Reception Waiting Area) (Up to Loading Space)

15 16 17 18 19 20 21 22 23 24 25 26 27 28 29

(Staggered Ramped Access from Playground)

Arts Playground Large Single Storey Door (Main Entrance) First Aid Room/Office Information Desk Reception Waiting Area Loading to Workshop Large Sculpture Lift (4m x 3m) Exhibition Room 1 Exhibition Room 2 Exhibition Room 3 Large 3-Storey Doors Under Stairs Storage for Folding Seating Access to Artist Residency Outdoor Exhibition/Seating Space

21 14

9 29

A 9

26 23

A 16

27 25

Fig ure 52 - 1:100 Floorplans Ground Floor

Figu re 51 - 1: 10 0 Floor pl an s Bas ement F lo o r

1:100 FLOORPLANS - First Floor

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LEGEND - Second Floor (2)

LEGEND - First Floor (1) 30 31 32 33 34 35 36 37 38 39 40 41 42 43

44 45 46 47 48 49 50 51 52 53 54

Staff Area (Mezzanine Level) Kitchenette Breakout Zone Printers and Copiers Individual Desks and Shelving Balcony down to Exhibition Space Meeting Area Semi-Private Artist Offices (Down to cafe) (Down to Artist Residency) (Down to Classrooms)

31 32

44 34

47 48

49 46 43 30

A 53

42 41

Fig ure 54 - 1:100 Floorplans Second Floor

Figu re 53 - 1:100 Floor pl an s Fir s t F lo o r

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LEGEND - Roofplan

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Polycarbonate Roof with Wooden Frame and Light Steel Attachment Brackets Coloured Zinc Roof Tiles Coloured Zinc Loft Dormers Skylights Pitched windows down atop chimneys

offee Bar

Fig ure 56 - 1:100 Long Section 58

59 59

Fig ure 57 - 1:100 Short Section

Figu re 55 - 1:100 Floor pl an s Ro o fpl an F lo o r

1:100 ELEVATION - East-facing Facade

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Fig ure 59 - 1:100 West-faci ng Elevation

Figu re 58 - 1: 10 0 Eas t-Fac in g Elevatio n

1:50 COLOUR SECTION AA - Long Section

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Figu re 59 - 1: 50 Lon g S ec tio n

EXPLODED AXONOMETRIC DRAWING

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Scene 1 - The Playground Entr yway The playground is designed as a liminal space between the outside and inside, easing the transition from the the pathway alongside the allotments to the narrow and confined atrium down the centre of the building. The play -g r o u n d f e a t u r e s t e m p o r a r y i n t e r a c t i v e e x h i b i t s f r o m t h e w o r k s h o p t a r g e t e d ay younger audiences, with skylights and viewing points from the cafe above.

Scene 2 - The Art Studio Spaces with Specialised Shelving The specialised display shelving is fitted against the 10 ° slanted walls of the three void spaces, in places shelves open on the opposite side to allow pockets of light into the space between the opposite sides of the artist studio zones. These display shelves feature integrated seating and the differing sizes of the shelves allow display of sculpture work , paintings, materials and books.

Scene 3 - The 3-Storey Exhibition Space

Figure The he Playground Entr yway Figure 61 61T

Figure Figure 62 62 Ar Artt Studio Studio Spaces Spaces

The axonometric drawing is a celebration piece which explored the inhabitation of the building and my personal style of representation, which is more sketchy and watercolour based. The small details of the building such as the ramp through the centre, the difference in the facade materials and the mezzanine levels/double height spaces is something which reflects specifically here.

Figu re 60 - A xon om et r ic Celeb r atio n D r awin g

The large-scale polycarbonate exhibition space with a double-pitched roof is a gesture of reflection. It marks the limitations Saltaire faces in terms f flexible, modern space to present community artwork , the oversized and bright setting for artwork creating excitement and flexibility in an other-wise rigid and orderly village.

Figure Figure 63-Storey 63-Storey Exhibiton Exhibiton Space Space

PERSEPECTIVE WATERCOLOUR - Approach Drawing

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This celebration piece highlights the key approach route to the site and the way the building slots in seamlessly between terraced housing, looking out onto the view of Salt’s Mill in the foreground. Figu re 64 - Celebrat ion Piec e - Per s p ec tive Waterc olo u r Dr aw i ng

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Fig u re 65 P ers pect i ve of main en tr ance F ig u re 66 P ers pect i ve o f exhib itio n fr o m wo r k s ho p ba lc ony Fig u re 67 P ers pecti ve thr o ugh chimn ey atr ium

Fig ure 68 - Sketch A xonometric of Proposal

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Pedestrian Access to

School

14 15 Earth is Reused

Earth is transported locally

FIGURE 36 SITE ORGANISATION AND EXCAVATION The site set-up includes site offices adjacent to the school and using the empty space to the West of the site to store vehicles and materials. The first stage involves excavating one-storey down in one area of the site and using the excavated material to build up the other side of the building, where the sloping site is built up to ensure a level ground floor. The remaining excavated earth will be transported to a local site in Leeds to recycle it.

FIGURE 37 FOUNDATIONS AND FIRE CORES The concrete foundations will be put in place, with firecores cast in place in conjuction with filling in the basement and ground floor floor level.

FIGURE 38 GLULAM COLUMN STRUCTURE Glulam colums aer erected at this stage, attached using Rothoblaas base plates and connections. They formed a traditional-inspired double pitched roof and at the two polycarbonate elements of the building the frame extrudes into a double-layered frame to support the extruded facade system.

1 3 2

FACADE 1 Glulam and CLT Panelling Framework with concrete pad foundations and Rothoblaas CLT attachment systems 2 Larch timber vertical Supports 3 Attaching light CLT system for Balcony and Window Organisation 4 Wood Fibre Insulation Board 5 Timber Batons for Cladding Attachment 6 Wooden Tiles 7 Coloured Zinc Tile Panelling over Plywood Support Layer 8 Wooden Window Frames Coated with Coloured Aluminium

FIGURE 39 CLT PANELLING WALL SYSTEM Attaching to the glulam frame, CLT panels form the walls floor by floor and are pre-cut to slot into place on site. This reduces noise, machinery and the space required on site. The leftover CLT at the factory can be used to model details such as stair finishes and benches on the inside of the building.

FIGURE 40 LIGHT STEEL FRAME For the Polycarbonate sections, a light steel frame and bracketting system is installed ot securely attach the polycarbonate

FIGURE 41 FACADE AND CLADDING ATTACHMENT The tile cladding on the central section of the building is intalled, and the two ‘ends’ of the building are sheathed in a translucent polycabonate skin.

7 5

ROOF 9 CLT Panelling 10 Larch timber roof system support beams 11 Attaching light CLT system forming Specialised Window Dormer 12 Wood Fibre Insulation Board 13 Plywood Support Layer 14 Waterproofing Membrane 15 Coloured Zinc Tile Panelling System

8 B

FIGURE 42 WOODEN SHINGLE ATTACHMENT

FIGURE 42 EXPLODED AXONOMETRIC CONSTRUCTION

Fig ure 75 Explod ed A xonometric Section Bay Structure

Figu re 68-74 Cons t ru c tio n Str ategy

1:20 Technical Section and Part-Elevation Study Rosie Joyce 18020310 Curating the City ARC3013 : Integrated Technology

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CLT SCULPTURAL CHIMMNEY

n Board

FLUE CHIMMNEY EXIT POINT

racket

Coloured Aluminium

1 2 3 4 5

6 7 8

n Board l With Window Precut 9 10 11 12 13 14

n Board

Bracket

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n Board l With Window Precut Bracket teel Sliding Floor Plate n Tank with 5 degree

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22 23 24

ART CONSULTANCY OFFICE/MULTIUSE STUDIO

CLT ENCASED FLUR CHIMNEY

ARTIST RESIDENCY LIVING ROOM

ACCESS RAMP THROUGH ATRIUM

33 34 35 36 37 38 39 40

EXHIBITION SPACE/TALK ROOM WITH STORAGE FOR FOLDABLE CHAIRS

1:20 Figu re 76 1:2 0 Tech n ical S ec tio n S heet

CHIMNEY STRUCTURE - Interior Atrium

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Chimney View The chimneys allow brief glances up to the artist studios and pathways which run through the entre of the building, creating connections between visitors and the processes which are contained within the arts centre. The shape and confined spaces is reminiscent of the mill chimney which is visible from the North-facing side of the buildings, as though the structure has been inverted as an experiencial space.

Fi gu re 7 8 Vie w f ro m Art s Pl ay gro u nd D o wn Na rro w At riu m

Atrium Space The atrium of the building is formed from three cross-laminated-timber chimney structures which interupts the regularity and order of the rectilinear building. The atrium is not open and spacious, but canyoning and narrow as a reminder of the small nooks and crannies of the traditional terraced housing where art is displayed in the village. Fi g u r e 77 V ie w f rom Ex h i b i t io n Spa ce D o wn Na rro w At riu m

Fig ure 79 View from Base of Chi mney

TECHNICAL DETAILS - 1:2o Section Details

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CLT ‘Chimmney Structure’

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Flue Chimmney for Biomass Boiler Exits

Integrated Guttering

Downspout Filter/Filtration Unit

9 10 11 12 13 14

FLOOR JUNCTION DETAIL

Exhibition Space (Accessed by Ramp)

Loading Bay Toilet Flushing System

ROOF GUTTERING DETAIL 3x4m Sculpture and Loading Lift

TOILET BLOCK 1 (4x Toilet) B

AOV Inbuilt Window Smoke Ventilation Unit (Closed)

15 16 17 18 19 20 21 25 26 27 28 29

Workshop Sinks x8

Downpipe

Automatic Pellet Loading (Behind) 60 sqm Pellet Storage

TOILET BLOCK 2 (4x Toilet)

Toilet Flushing System

Basement Water Storage Tank

22 23 24

Lumber Storage

Toilet Flushing System

TOILET BLOCK 3 (3x Toilet, 1x Shower)

AOV Inbuilt Window Smoke Ventilation Unit (Open)

Heat Exchanger

Biomass Boiler Unit

RAINWATER DRAIN

INTERMEDIATE JUNCTION DETAIL

Fig ure 84-85 Embed d ed Envi ronmental Strategies

Figu re 80-83 Colou red D etail s fro m Tec hn ic al S ec tio n

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CURATING THE CITY - CURATING COMMUNITY Projection Screen The large 3-storey door here is utilised as a temporary outdoor cinema screen in nice weather when opened (right) or a display screen for artwork when closed (left). The flexible screen reflects the common practice in Saltaire of projecting images onto the terraced housing, utilising every element of space possible to be creative. The display can also show information about the current exhibitions, opening times, magazine articles and short film pieces.

Fig ure 87 Vi sual of Ci nema Screen Projection on Large 3 -storey d oor

Figu re 86 Vi s u al of In fo r mative Pro jec tio n o nto the 3-St ore y d o or f ro m t h e Int e r io r

Fi gur e 8 8 Ex i st i n g d i spl ay o f a r t wo r k v i a p ro j e c t io n i n S a lt a i re

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Lightweight Exterior Steel Frame

(Door Closed) (Door Open)

Lightweight Aluminium connector frame for Danpal Polycarbonate Facade systems

(Door Closed)

Polycarbonate layer with inbuilt remote-controlled LED strips to provide ‘glow’ at night

(Door Open)

PEDESTRIAN ACCESS PEDESTRIAN ACCESS

7.2 metres

VEHICULAR ACCESS VEHICULAR ACCESS

Fig ur e 8 9 - 9 0 D o o r Str ategy in Blocki ng Ve h icu la r A cce ss t o Ro a d Te m p or a r i ly

Exhibition doors A key element of the ‘Curating the City’ studio is analysing the way Saltaire visually maintains it image in a historic fashion, but fails to update and adjust in line with community needs and opportunities. A particular element of my building which operates to change this is the 3-storey 6m-wide door crafted from polycarbonate which opens to block traffic to create a flexible and non-restrictive outdoor exhibition/activities area. The nature of polycarbonate creates opportunity to play and engage with light, so the skin of the exhibition space becomes a part of the exhibition itslef, and the material fabric of the building does not remain rigid and opposing to its purpose, as many of the harsh stone buildings in Saltaire do so.

Translucent screen for projection to aid with image quality

SUMMER

WINTER

8.0 metres

Roller Wheel with Steel Curved Rail for Streamlined Pivot Regular Sized Door for Flexible Use when larger door is shut

Prevailing Wind DIrection Saltaire

C R O L L E R D O O R D E T A I L ( S e e O v e r l e a f ) To a i d w i t h k e e p i n g t h e d o o r i n l i n e w i t h i t s h y d a u l i c a l l y a i d e d o p e n i n g / c l o s i n g , a r o l l i n g w h e e l i s e m b e d d e d i n a steel channel in the paving on the exterior side of the door. This also provides a visual reminder that there is a large door embedded within the facade to those walking past, and invites curiosity.

Fi g u r e 9 1 -9 2 Su m m e r a nd Wi nt e r Ve nt il a t io n St ra t e gy in t h e Polyca rbo na t e Exh ibit io n Spa ce

Fig ure 9 3 Structural Strategy for Large Door

TECHNICAL DETAILS - Exhibition Space Door

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CURATING THE CITY - CURATING COMMUNITY During the day, the polycarbonate allows light to diffuse through to the exhibits and installations, evenly lighting them in a natural way.

A EXPOSED GLULAM COLUMN TO FLOOR DETAIL

ROLLER DOOR DETAIL

C PROPOSED fritsjurgen LTD LARGE INDUSTRIAL SCALE DOOR PIVOT JOINT Figur e 9 4 - 9 6 Stuc tur al D etail s Wi t h i n t h e Do or

Fig ure 9 7 Perspecti ve View of O pen Door i nto Large-Scale Exhi bi tion Space

THINKING THROUGH MAKING - Exploring Lighting with a Polycarbonate Facade System

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LIGHTING I chose to experiment with how light travels through layers of polycarbonate sheeting, first using a soft pink light and capturing how the plastic sheets reflact the light into individual tones, var ying in vibrancy and becoming a form of atmospheric lighting for the exterior and interior of exhibition spaces. I developed the idea that different lights could influence and inform different installation or sculptural exhibitions.

Figure 98-101 Exper imental Pho to gr aphy with p olyca r b ona t e a nd ne on li g ht s

Fig ure 102 -105 Experi mental Photography w i th polycarbonate and pastel li ghts

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PROJE CTION I experimented with pr ojection onto polycarbonate sh eeting and the effects this c oul d produce, altering the image and creating a l ayered visual experi ence for th e viewer . The triple-height doors in my polyca rbona te exhibition s pace s could fun ction as projection sc reens for cinema nights, arts film exh ibitio ns and back-

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VIBRANCY Finally, I explored using multi-coloured lights in the dark to identify ways the light travels through layered polycarbonate. This transformed the strobed light into a softer blend of colours, making interesting pattern displays on the surface of the material, which in itself are a form of art, changing the material nature of the building from a static shell into an engaged and purposeful reflection of its purpose.

drops for small perf ormances. Fig ure 109 -111 Experi mental LED Li ghti ng Photography w i th polycarbonate and LED Li ghts 106-108 Ex peri mental Fi gu re P ro je cti on Photography w i th po l y carbonate and a projector screen

Fig ure 112 -115 Possi ble li ght show s for d i fferent ti mes of the year Pi nk- Breast Cancer Aw areness R ai nbow - Pri d e Month Ci tyscape- Saltai re Festi val

THINKING THROUGH MAKING - Exploring Lighting with a Polycarbonate Facade System

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CURATING THE CITY - CURATING COMMUNITY The polycarbonate facade of the two ‘ends’ of the building allow the building to glow at night, attracting visitors and allowing the environment interally to be adjusted via LED strips to completely change the atmosphere of the space.

Fi g u r e 1 1 6 D e t a il Bra cke t Co nce a le d Polyca rbo na t e Fa ca de

Night-time Dark Exhibition

Saltaire’s arts scene, currently, becomes redundant at night and is limited in what types of art it supports. The 3-storey exhibition space clad in polycarbonate allows adjustable space, for example for short film screenings to increase artist compatability (see above), day-time colouful installation exhibitions and ‘glowing’ night time exhibitions.

Day-time Installation

Fig u re 117 Day-l i t Vi gnette o f Exhib itio n Sp ac e

Fi gu re 118 Vigne t t e s o f Exh ibit io n Spa ce

Fig ure 119 Perspecti ve View of O pen Door i nto Large-Scale Exhi bi tion Space at Ni ght Short Film Screenings

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CURATING THE CITY - CURATING COMMUNITY Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure

Over the course of the design project, having more realistic elements such as fire escape, access for all and environmental strategies was very useful. As well as the strict regulations and proportions associated with a historic model village, the set of 'rules' to play by when designing could be considered restrictive, but I personally liked the realistic set of guidelines to cross-reference when designing, the building coming to fruition creatively with many elements almost playfully hidden beneath a calm and ordered facade. The development of additional technical research allowed me to strengthen and realise the idea of a huge polycarbonate door, which was something I maintained from the beginning of the project and has grown and developed in accordance with many guidelines and feasabilities of the real world of designing. I enjoyed experimenting with light and purchasing a polycarbonate sheet myself allowed me to gauge a deep understanding of the material and its hidden qualities, such as its refraction of light and ability to take projected images.

1 Author’s Own 2 Author’s Own 3 Author’s Own 4 Author’s Own 5 Author’s Own 6 Appendix 7. Bradford City Council 7 Appendix 7. Bradford City Council 8 Appendix 7. Bradford City Council 9 Author’s Own 10 Author’s Own 11 Author’s Own 12 Appendix 7. Bradford City Council 13 Appendix 7. Bradford City Council 14 Appendix 7. Bradford City Council 15 Author’s Own 16 http://www.saltsmill.org.uk/ 17 http://www.saltsmill.org.uk/ 18 http://www.saltsmill.org.uk/ 20 Author’s Own 21 Author’s Own 22 Author’s Own 23 Author’s Own 24 Author’s Own 25 Author’s Own 26 Author’s Own 27 Author’s Own 28 Author’s Own 29 Author’s Own 30 Author’s Own 31 Author’s Own

Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure

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Author’s Author’s Author’s Author’s Author’s Author’s Author’s Author’s Author’s Author’s Author’s Author’s Author’s Author’s Author’s Author’s Author’s Author’s Author’s Author’s Author’s Author’s Author’s Author’s Author’s Author’s Author’s Author’s Author’s Author’s

Own Own Own Own Own Own Own Own Own Own Own Own Own Own Own Own Own Own Own Own Own Own Own Own Own Own Own Own Own Own

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Bibliography Bollack, F. A. Old Buildings, New Forms: New Directions in Architectural Transformations. (Monacelli Press, Columbia. 2013)

Gabunia, T. People Put Their Heads Inside Miniature Galleries To Become Famous Art Exhibits Themselves [available at] https://www.boredpanda.com/interactive-art-exhibition-put-your-head-into-gallery-tezi-gabunia/?utm_source=google&utm_medium=organic&utm_ campaign=organic (2017)

Goodman, J. Restoring Womens History through Preservation. (John Hopkins University Press, Baltimore: 2003)

I found illustrating the 1:20 section a very cathartic process, as it was something in development for many weeks and it was satisfying to work out the many junctions and layers, eventually creating a piece of work I was very proud

Heathcott, J. Curating the City - Challenges for Historic Preservation in the Twenty-first Century. Journal of Planning History (Routledge, 2006) 5(1), 75-83.

Heathcott, J. (2016). Preservation, Heritage, and Memory. Retrieved February 4, 2021, [available at] https://www.heathcott.nyc/preservation-heritage-memory

McElgunn, J. SPAB Conference Report - New Design for Old Buildings - Contemporary Architecture in Historic Contexts. (SPAB, London: 2018).

Members of the Saltaire Steering Group. Saltaire World Heritage Site Management Plan. Bradford: Board for United Nations Scientific, Educational and Cultural Education. (2014)

UNESCO World Heritage Site Saltaire Representatives. Appendix 7 – Setting Survey Evaluation - Evaluation of the setting of the Saltaire World Heritage Site (Bradford City Council, Bradford. 2012)

of.

Saltaire Inspired Ltd.. Saltaire Open House Trail 2019 [Available at] http://www.saltaireinspired.org.uk/saltaire-arts-trail/ (Saltaire Inspired, Shipley. 2019)

ARC3001 FEEDBACK SHEET

FORMATIVE LETTER GRADE

STUDENT NAME:

Rosemary Joyce (180203710)

DATE:

17/18.05.21

STUDIO:

Curating the City

REVIEWERS:

AndrewBallantyneandMatthewMardetts

ASSESSMENT CRITERIA:

X A B C D E

GRADE BREAKDOWN 76-100 66-75 56-65 46-55 36-45 0-35

0 100

SYNTHESIS 60% (inc testing)

APPENDIX

Percentage teamwork Percentage individual

RECORD OF PEER/TUTOR COMMENTS:

PROCESS

research - iteration - rigour - control - articulation of method(s) - relevance of method(s)

ETHICAL FRAMEWORK

judgement - response to social, political, environmental, material, cultural, historical professional context(s) [where appropriate] - inclusivity - sustainability

DESIGN PROPOSITION SYNTHESIS

relevance - brief - consideration of user - contextual integration - spatial articulation - spatial quality - scale - functionality - experiential consideration - control - construction & materiality - synthesis

COMMUNICATION & REPRESENTATION

control - accuracy - clarity - composition - detail - relevance - judgement - atmosphere inhabitation - coherence

CRITICAL THINKING, LINE OF ENQUIRY & NARRATIVE

criticality - argument - evaluation - questioning - interpretation - multiple perspectives - quality relevant sources - coherence

INVENTIVENESS & CREATIVITY

experimentation - testing - risk taking

STUDIO SPECIFIC 01

Visual, spatial and interactive relations to the Saltaire WHS and its primary landmarks and landscape(s)

STUDIO SPECIFIC 02

Clear conceptual framing (theorizing) and communication (verbal, graphic, tectonic), for the agenda of curating the Site towards a progressive conservation & embodied reading.

Artscentre promenadethroughthebuilding--large-scalegesturescontainedinasmall-scalebuilding modest street-scalebuildingwithlargepolycarbonatevolumesat theends playgroundwithcafeover bigdoorsmakingtemporaryevent-space Ta i Kw u n H e r i t a g e & A r t s C e n t r e Herzog & De Mueron Case Study ARC3001

Studio: Curating the City Newcastle University School of Architecture, Planning and Landscape

PROCESS

AM n va

CRITICAL THINKING, LINE OF ENQUIRY & NARRATIVE

Ad CO va nc RE MMU ed PR NI ES CA EN TIO TA N TIO & N

& nc va SS Ad NE Y IVE VIT NT TI VE CREA

Advanced

DESIGN PROPOSITION

Basic

Advanced

STUDIO SPECIFIC CRITERIA 01

AL K HIC WOR E ed

“

Thisisagoodscheme,somakesureitsmeritsareunderstoodthroughthedrawings.

The former Central Police Station, the Central Magistracy and the Victoria Prison is a walled compound of heritage buildings at the commercial centre of Hong Kong Island. Following its decommission in 2006, the entire compound was vacated, leaving a set of open grounds and a collection of unique buildings. From an urban perspective, the compound is a rare “courtyard” in the middle of one of the densest cities in the world. What once stood on the hillside as a prominent symbol of law and order with commanding views to the harbour has now inversely become an urban oasis of openness and calm within a forest of commercial and residential high-rises. The compound is defined and structured by two large courtyards: the Parade Ground and the Prison Yard. Our goal is to preserve the openness and distinct character of both and to re-activate them for public use as a new type of urban found space. These spaces will define the site physically and programmatically as places of gathering, cultural exchange, leisure, and respite. - Herzog & De Mueron

“

YOUR KEY NEXT STEPS:

ST U CR DIO S ITE PE R C Ad va IA 0 IFIC nc 2 e

Advanced

QUESTION 1 How does the case study elaborate on its visual, spatial and interactive relationships to its context, landmarks and landscape?

Intheplansthat showexternal spaces,at themoment thereareodditieslikethegroundsurfacesthat gowhitewherethere aredoor swings. Edgesof pavingaregoingtobeimportant for establishingthresholds. Changesof surfacecanindicatethe changeof activityor propertyboundaries. Theycanbeshownintheplan.

asectionthroughthebuildingandstreet,withSalt'sMill inthebackground,toshowyour relationwiththetown

Former Prison boundary and new Tai Kwun Heritage Centre Site

MY WORK WITHIN THE CASE STUDY BOOKLET - Tai Kwun Heritage and Arts Centre

Question 1

Question 2 Dominic Saliendra

Question 1

Question 2 Dominic Saliendra

Herzog & De Mueron: Tai Kwun Preoccupations & Theoretical Position

Enstrangement

“Two new volumes that float tightly above the surrounding granite walls are concieved as distinctive but carefully inserted elements within the fabric of the existing buildings.”

Ethos: Rebellion to traditional vernaculars of architectural conventions and their familiarity, The Architects of Tai Kwun provide contrasting horizontal geometry amongst the souring vertical city of Hong Kong.

AA- Red dotted lines- Horizontality Blue dotted lines- Verticality

Herzog & De Mueron: Tai Kwun Preoccupations & Theoretical Position

Manipulation of Materials

Herzog and de Mueron realise that perfection is impossible and slight imperfection makes architecture even stronger. It adds an aspect of likeness to the historic buildings and craftsmanship.

The exhibition space is big and suprisingly neutral, a cool, column free, top-lit box. Architectural expression is left to the connective tissue and materiality, the winding sculptural stairs, the odd connections and bridges, the tight spaces between blocks, each giving a glimpse of the almost Piranesian perspectives that seem in character with the nature of the former prison.

Cast aluminium modules present a roughness like the historic masonry blocks and bricks. This continues the dramatic material quality but with a lighter tone that blends into the existing urban fabric of the prison buildings and the high rise towers behind.

Figure 3n: Coarse Materiality and corner facade system.

The addition of masonry geometry communicates with the reivived historic heritage but provides a contrast of modernity. There is likewise a continues theme of material coarsity in the combination of granite, sandstone, brick and rough cast aluminium.

QUESTION 4

Figure 3k: Site Sections

The task for the Architects was to open up a determinedly defensive structure. The blocks frame the site like book-ends; instead of blocking accessibility to the courtyard, they float over the historic grounds.

Corner system: Presents H&dM’s rigour and stubborness. Corners are an important moment in the facade and here the interlocking aspect is crucial. Knitting the facade round the corner strengthens rather than weakens the structure as the cut of each block reacts to the geometry of the adjacent block, resulting in an irregular cutting line.

Exposed concrete circulation space: visible concrete surfaces of this sculptural carving were treated with a needle gun to achieve the desired texture that speaks to the historic pourous granite blocks. This generates a continuous sensual experience.

“By cantilevering above the walls and keeping a minimum distance to the adjacent structures, the building floor area creates a protective offset from the surrounding historical buildings.”

Figure 3l: Photograph of sheltered, tight space beneath the cantilever.

How does Tai Kwun Heritage and Arts Centre relate to buildings of its type?

Figure 3o: Detail aluminium cast corner system

The cantilever offers space beneath with a scope of potential programmes. These transitional spaces strangely blur the boundaries between interior and exterior. Exteror facades of the historic building forms interior ‘walls’ to outdoor auditorium spaces.

Figure 3p: Facade Section.

Figure 3m: Outdoor sheltered autitorium space, The JC Cube exhibits as opposed to inhibits space. Question 2 Dominic Saliendra

Question 2 Dominic Saliendra

Herzog & De Mueron: Tai Kwun Preoccupations & Theoretical Position

Revitalisation & Dialogue Ethos: Cohesive historic compatability, moving away from ‘tabula rasa’. Explored through tangible, structural revival but also the programmatic and intangible, via subtle reversals that convert spaces of a prison yard into a ‘free cultural zone’, or ‘old landmark on a hill’ to a low lying open space.

JC Contemporary

“

The new building volumes copy neither of the historical conditions but instead create a new relationship to the site context by hovering just above the wall “Re-inventing and re-using pre-existing ideas and objects, not necessarily of a heroic period of the past, but simply of what we found in front of us- has become an essential element within our vocabulary since those early days and projects...”

“

Question 2 Dominic Saliendra

JC Cube

Experiential Exhibitions in the JC Cube & Contemporary

Question 3 Tessa Lewes

Figure 3q: JC Contemporary Concrete Stairwell

Question 3 Tessa Lewes

Herzog & De Mueron: Tai Kwun Preoccupations & Theoretical Position

Humanitarianism

Programme: 1. Former Central Police Station 2. Parade Ground 3. Prison Yard 4. Former Central Magistracy 5. Former Prison 6. Old Bailey Gallery/ JC Contemporary 7. Arbuthnot Auditorium/ JC Cube

Ethos: “Architecture is a fundamentally humanitarian profession... building success depends on whether it is full of people”. “If architecture was just about

form and pleasure it would be absurd.”

Newly reinstated urban courtyards offer spaces for gathering, cultural activities, leisure and respite. These areas still define the site physically and programmatically and embed the long-closed complex into the consciousness into the city. “By raising the volumes, new public and circulation spaces are created below, resulting in generous protected places for gathering and activity.”

An open and inviting oasis in the heart of a bustling, dense city-scape. It invites human exchange, education, engagement and decompression.

Figure 3g: Site Plan

The intangible heritage of bustling human life and movement is reintroduced in the new spatial programme.

1- Footbridge Gate (via central to mid-levels escalator and walkway system

QUESTION 3 How does the case study relate to the Architect’s theoretical position & how does it explore their ideas and preoccupations.

Figure 3f: An oasis in the City

The humannitarian approach can be seen in the designing of a space of welcome rest, hidden from the outside world. This is informed by the concealed means of access to the site and it’s hidden agenda upon approach. The wall that encases the site is only perforated by 4 authentic prison gates, with other access by a ramp that rises over the wall. Without views unto the busy streets only meters away, the courtyards offer space to recuperate and reflect, essential for the human mind.

Figure 3a: Plan & Section

Figure 3h: Gate access photographs

2- Blue Gate, via Old Bailey Street

The gates of access aim to keep the commotion of the city away 3- Bauhing House Gate

Views of the city beyond can be found in the main new gallery which displays a restaurant and public terrace behind a completely transparent curtain window wall, which reconnects the interior to the city.

2 Figure 3c: Exhibition Spaces

4- Old Bailey Gate

The new programme promotes dialogue between visitors which revitalises a sense of public union and the intangible heritage of the community that once occuppied this space in the city.

Figure 3b: Exhibition Space

Tangible, architectural heritage is also artistically referenced and reimagined through exhibitions.

5- Pottinger Gate Figure 3i: Gate access sketches

The JC cube and contemporary exhibit work that speaks in dialogue to the institutional imporisonment heritage of the site. Historic representations of the site and context are also exhibited in these new spaces to inform a public understanding of the rich bed of history underneath the new architecture.

5 Question 3 Tessa Lewes

Question 3 Tessa Lewes

Figure 3d: Exhibition Collage

Question 3 Tessa Lewes Question 3 Tessa Lewes

Figure 3e: Sheltered Cinema gathering space

Figure 3j: Bustling Complex sketch of access

Question 3 Tessa Lewes

Question 4 Mary-Anne Murphy

al heritage add value, culturally and

f change and must make d well-considered way e - progressive conservation to

on looks beyond age, history ers tools to enhance social, eaning within a site

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

GROUP 2 - MEMORY 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.

Disparity

Heritage & The ProblemHeritage of Memory & The in Saltaire Problem of Memory in Saltaire

Map 1 | Buildings / SpacesMap that1follow | Buildings the progressive / Spaces that conservation follow the progressive conservationMap 2 | Buildings / Spaces that Map need 2 |more Buildings work/done Spaces to achieve that need themore work done to achieve the theory along with what they theory havealong done with to achieve what this they have done to achieve this Progressive Conservation theory Progressive Conservation theory

Out of the 11 zones, 7 have Outproblems of the 11 that zones, degrade 7 haveorproblems can potentially that degrade or can potentially GROUP - MEMORY degrade the2site's settings. degrade Most of the the site's harm settings. is characterised Most of the by modern harm is characterised by modern development that do notdevelopment respect the site's that fabric do notwith respect its architecture the site's fabric or thewith its architecture or the 1 Salt's Mill lack of care towards replicating lack of care the Site's towards fabric. replicating (Challenge the AAP) Site's fabric. (Challenge AAP) 2 New Mill

CRITICAL HERITAGECRITICAL IN SALTAIRE HERITAGE IN SALTAIRE 3 The Dining1Room Salt's Mill 5 Victoria 3 TheHall Dining7Room Methodist 5 Church Victoria Hall 4 Railway Station 2 New Mill6 The 4 School Railway Station 8 The Hospital 6 The School

7 Methodist Church 9 River Aire 11 Congregation 9 River Aire Church 13 8 The Hospital 10 Leeds-Liverpool Canal 12 10 TheLeeds-Liverpool houses Canal 14

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

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

It is also important to fully research It is and alsodebate important issues to fully research and debate issues Crisis of Accumulation of Crisis Memory of Accumulation in a world of 'heritagisation'. of Memory in a world of 'heritagisation'. Preserving sample sites of heritage: Preserving sample e.g, Salts 'school', sites of 'church', heritage: instead e.g, Salts of 'village'. 'school', 'church', instead of 'village'. whether Salt shouldsurrounding surrounding be remembered whether as Salt should be remembered as GROUP 2 - MEMORY CRITICAL HERITAGE IN SALTAIRE GROUP 2back -community: MEMORY CRITICAL HERITAGE IN SALTAIRE Our minds are saturated Our with minds memories, are saturated limiting our with ability memories, to form limiting new collective our ability to form new collective Repatriate materials back to the Repatriate community: materials turn the back village to the into a modernised, turn the village back into apositively modernised, positively as he is, but this research is all based as heon is, but this research is all based on The 11 Congregation Almshouses Church 13 The Almshouses memory. memory. working, factory worker village. working, factory worker village. controversy and formed opinions, controversy and can not and be formed taken asopinions, and can not be taken as The 12 The Wash houses House 14 The Wash House We are preventing 21st Century We areculture preventing from21st manifesting Centuryand culture becoming from manifesting future and becoming future Saltaire only encompasses our Saltaire modern only values encompasses if ithas serves our the purpose modern values for which ifbeen ititserves the purpose for which How progressive heritage employed in Saltaire? fully factual. Thisit may aﬀect howfully strongly factual. we want This may to aﬀect how strongly we want to was designed. Used as a tourist wasdestination, it designed. Used is being as a used tourist instrumentally. destination, it is being used instrumentally. heritage and history. heritage and history. follow tangible heritage. follow tangible heritage. from theintangible group reading on progressive heritage Saltaire Village heritage lacks Saltaire greater Village purpose heritage andlacks ambition; greater its management purpose and is ambition; lazy its management is lazy the factory will restore Preserving the factory will restore community spirit and reinstate the intangible Preserving community spiritLearning and reinstate the and without experimentation and without and improvement. experimentation and improvement. heritage- tangible heritage is heritageonly a 'stage' tangible for the heritage value ofis the onlyintangible. a 'stage' for the value of the intangible.

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

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 Some have looked a few years ago. The physical issues for debate Some within issues thefor lifedebate of Titus within Salt: the life of Titus Salt: fabric of the site has a few discrepancies to the original site, such Was new Lanark a better Was new place Lanark ideologically? a better place ideologically? as signs and shopfront which are not historically inkeeping. These are minor issues, and focus Was very much on the tangible elements Saltaire a 'soft prison' Was Saltaire with too a 'soft many prison' rules, with restrictions too many andrules, regulations? restrictions and regulations? of the site. The physical value of these is important, but there are Did Salt abandon Bradford Did Salt to abandon enact his Bradford own capitalist to enact powers? his own capitalist powers? things that many tourists and residents would not be concerned with. Underage workers were Underage employed workers in the were millsemployed regularly in the mills regularly

utions Saltaire oﬀers in terms of

he 1980's into a museum/gallery with a buﬀer zone s areas which are a cause for ritical heritage. These include ch threaten the history or

visionary called Jonathan embarked on a journey lped kick-start the revival nated in 1971 by focusing Hockney's work instead of

Elevation of (potential) restored Factory

takes place organised by ct into a tourist attraction. eing urged to turn history in the world heritage site.' historic Yorkshire clothing d at Salts Mill...' Gin. A talk of around 45 opularity today.'

rk done to achieve the heory

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".

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 2 | Using the arts to establish a new heritage for Sa

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

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.

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.

ze. I road h erience s at the he

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.

Existing Salt's Mill

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

Future possible interventions Future possible interventions

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 newThereby, businesses could install preserving the image of whatthemselves into the Saltaire has always been known as? small village. The village itself still followed strict heritage rules and was forced to remain historically accurate following the UNESCO world heritage site Option 3 | Forget the textile industry, Saltaire will adapt to the changing world rules, following the site attaining this badge in 2001. arts scene Saltaire is key to its survival, and has become more Some see The the conservation of the in architecture embellished andSaltaire progressive over the years. Events such as the Saltaire as a hinderance to the potential can achieveArts if it wasn't back by its pastof Dance festival have honoured the culture of celTrailheld and the Day

To achieve this, the regeneration had what Saltaire used to be, with the archi being the only aspect left of its 19

Option 4 | Harmonisation between the past, present and f

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

ebration and community whih pre-existed before the industrial collapse of the mill. They also endevour to create community pride and celebration.

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.

Section of (potential) restored Factory

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

Option 1 | Embracing itsOption original1identity | Embracing its original identity

Future possible interventions It is also important to fully research and debate issues Preserving sample sites of heritage: e.g, Salts 'school', 'church', instead of 'village'. surrounding whether Salt should be remembered as Asinto well as the issues As surrounding well as thethe issues heritage surrounding of the site, the there heritage are issues of thewhich site, there arise from are issues reading which arise from reading Repatriate materials back to the community: turn the village back a modernised,

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

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

With the arts-led regeneration, it With eﬀectively the arts-led turned regeneration, Saltaire it eﬀectively turned Saltaire By turning Salts Mill into a traditional By turning museum Salts Mill that into exhibits a traditional museum that exhibits into a thriving town again into a thriving town again the contents of the former mill, thewill contents it be better of theorformer for worse? mill, will it be better or for worse?

What the future plans must What include the future plans must include

Appendix 7 | Figure 13 A 'ghost village'

ney of Victoria Road

GROUP 2 - MEMORY

CRITICAL HERITAGE IN SALTAIRE

Disparity

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

CRITICAL HERITAGECRITICAL IN SALTAIRE HERITAGE IN SALTAIRE

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.

The Boundary

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

GROUP 2 - MEMORY

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.

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

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)

7 Methodist Church 8 The Hospital

CRITICAL HERITAGE IN SALTAIRE

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 inregenerated more detail, such as Mill. 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

5 Victoria Hall 6 The School

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

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.

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 an Did Salt abandon Bradford to enact his own capitalist powers? Underage workers were employed in the mills regularly

Elevation of (potential) restored Factory

Question 1: What is the current theoretical debate around the specific issue (theme)? Progressive Conservation & Critical Heritage The past and its memories can be preserved through the efforts of conservation. Conservation can be defined in many ways but for this studio, we will be focusing on the operative definition in the policy, English Heritage’s Conservation Principles, described as: ‘the process of managing change to a significant place in its setting in ways that will best sustain its heritage values, while recognising opportunities to reveal or reinforce those values for present and future generations.’ Continual change is inevitable in most old buildings and as architects, we are the agents and managers of that change and we should create that change in a careful and well-considered way. 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

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.

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

1980s SALTAIRE A period of uncertainty and doubt

nts and Gaze

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.

CRITICAL

Preserving sample sites of heritage: e.g, Salts 'schoo Repatriate materials back to the community: turn th working, factory worker village. Saltaire only encompasses our modern values HERITAGE IN SALTAIRE was designed. Used as a tourist destination, it Preserving the factory will restore community spirit heritage- tangible heritage is only a 'stage' for the va

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

Existing Salt's Mill

Section of (potential) restored Factory

READING 2 Memory 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.

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.'

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.

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.

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.

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

nts and Gaze

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. 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 Boundary

Connecting the Tangibles with the Intangibles

Keeping the Site intact 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

The potential harm of modern development

Salts Mill | Visual Arts

Victoria Hall | Dance and Music

Current progressive conservation works

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 The Whole Site | Street Life I focus on which is the viewpoint of the picture. The interesting thing which is the 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. viewpoint of the picture is always relevant to the architecture where in Saltaire. In 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.' ofof fashion theinspired skyline of the Exhibitionsterm - 'An exhibition by historic Yorkshire clothing moment, half moments of the skyline are on the two-thirds and Bradford’s textile heritage has opened at Salts Mill...' Workshops - 'Fern Place BD18 4HB: Aabove History of Gin. Athe talk of around 45 of the way screen. That is means the visual experience of the moment still minutes linking the creation of gin to its popularity today.' 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".

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?

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

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

- 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 mos possible for maximum profit - Village had rules such as no drinking, and workers were not given a second cha - Salt used Saltaire to enact his own dreams and expectations to his own financial greatness ultimately

88 Should Saltaire have stuck to its original roots

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 honour by the village and by those who maintain it. It isWhat important to note that these points rely on controver 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 fantastic 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

What the future plans must include

of heritage: e.g, Salts 'school', 'church', instead of 'village'. k to the community: turn the village back into a modernised, village. mpasses our modern values if it serves the purpose for which it RE GROUP 2 - MEMORY d as a tourist destination, it is being used instrumentally. ll restore community spirit and reinstate the intangible ge is only a 'stage' for the value of the intangible.

alt: ce y? he ules, restrictions and regulations?

n capitalist powers? mills regularly

e t

CRITICAL HERITAGE IN SALTAIRE

GROUP 2 - MEMORY

CRITICAL HERITAGECRITICAL IN SALTAIRE HERITAGE IN SALTAIRE

GROUP 2 - MEMORY

CRITICAL HERITAGE IN SALTAIRE

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

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

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

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?

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

What the future plans must include

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

too expensive lacking in disabled access These comments cause us to question whether following the heritage route directly is too old not much to do fashioned, and that we should maybe update Saltaire to keep it alive and accessible.

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.

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

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

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

achieve Option 4 | Harmonisation between the past, presentToand futurethis, the regeneration had to essentially forget

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

what Saltaire used to be, with the architecture of the village being the only aspect left of its 19th century life.

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

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?

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

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

Option 4 | Harmonisation between the past, present and future

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

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

ly s

al to be critical of Salt, who is so dearly ints rely on controversy and difference elebrated so fantastically, despite there

workers were children ded to create the most efficient worker ot given a second chance to work l greatness ultimately

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. 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 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.

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?

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.

1:100 FLOORPLANS

Second Floor

First Floor

Ground Floor

Basement

A C A D E M I C

P O R T F O L I O

2 0 2 1

A C A D E M I C

CURATING THE CITY - CURATING COMMUNITY

P O R T F O L I O

2 0 2 1

CURATING THE CITY - CURATING COMMUNITY

CONTENTS

ARC3060 Dissertation in Architectural Studies

The Ethical Debate Behind Slum Tours as Managed Entertainment Dharavi, Mumbai How does tourist behaviour, sounds and imagery within YouTube vlogs facilitate slum tourism as ‘entertainment, something that can be momentarily experienced and then escaped from?’ 1 0F

Foreword - Acknowledgements - Covid-19 Research Adaptation Account

Dissertation Introduction

Chapter 1 Introduction to Dharavi - The modern-day conditions and lifestyle in Dharavi - The historical marginalisation of Dharavi

Newcastle University

Figure 1a Tourists in the late 1990’s photograph a slum resident

School of Architecture, Planning and Landscape January 2021

The Ethical Debate Behind Slum Tours as Managed Entertainment

Rosemary Joyce

How does tourist behaviour, sounds and imagery within YouTube vlogs facilitate slum

Student Number: 180203710

tourism as ‘entertainment, something that can be momentarily experienced and then

Dissertation Elective 5: Colonial Exchanges

Dissertation Tutor: Martin Beattie

Covid-19 Research Adaptation Account: Page 4

Kennedy Odede, Slumdog Tourism The New York Times. (New York City: The New York Times, 2010)

ABSTRACT: I address the ethical criticism of slum tours as leisure activity, analysing three YouTube vlogs of tours to further existing debate. I present Dharavi as a cultural hotspot, but also a community disadvantaged by negligent politics. From here, I investigate the theoretical and research-based motivations of slum tourists, identifying

(Odede, 2010)

different tourist typologies. I review existing studies of online representation of slum tourism, understanding their fundamental conclusions and methods. These inform a thematic analysis of YouTube videos which is supplemented with key examples of tourist behaviour, language, sounds and imagery throughout.

Chapter 3 Review of existing analyses - A summary of key analyses of digital representations of slum tourism - Reflection on these methods

Chapter 4 Analysis of three YouTube videos - Part 1 - Digitalising the slum - Part 2 - Authenticity and Representation - Part 3 - Power and Respect

Bibliography

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global pandemic, over the course of which this dissertation was written.

23 Research Adaptation due to Covid-19

List of Figures

I would like to thank my tutor, Martin Beattie, for his assistance during unprecedented and strange circumstances.

I would also like to thank essential workers who have tirelessly worked to provide some sense of normality during the difficult

Appendix A Supplementary information - Introduction to YouTube videos 1, 2 and 3 with stills

Wordcount excluding footnotes: 8786 Wordcount including footnotes: 9221

Categorising slum tourists

Conclusion - What are the conclusions and limitations to my analysis? - What we can learn about the ethics of slum tourism through shared media? - Does vlogging further slum tours as temporary entertainment?

escaped from?’2

Acknowledgements 9

Chapter 2 The Leisure-Seeker, the Activist/Moralist and the Volunteer - The ethics of slum tourism in existing research

A dissertation submitted to the University of Newcastle for the degree of Bachelor of Arts in Architecture in the Faculty of Humanities

FOREWORD

arguments against slum tourism and the damaging impact of filming and misrepresenting a community online.

My research was impacted both positively and negatively by the restrictions associated with Covid-19. I originally wanted to visit Dharavi myself, but coronavirus-related travel restrictions made this impossible. I was intrigued by slum tours, and further researched to realise the negative impacts they present. YouTube videos were my only way to ‘experience’ slum tours virtually and I realised some elements of these videos, when grounded in criticism and postcolonial theory, were problematic.

Despite this, library closures made it significantly slower to research and find appropriate texts with full access. Additionally, working from home presented many difficulties for me in terms of focus and loneliness which I feel clouded my research process. The multiple lockdowns and being unable to work with other people was slow, quite depressing and not how I imagined my final year at university would be.

Despite the travel restriction originally making my dissertation topic of slum tours seem implausible, it allowed me to spread my research further afield and become significantly more critical. Previously, I had wanted to experience a slum tour myself, I now understand

Due to the altered nature of my dissertation topic I didn’t rely on collecting first-hand research, so I was not limited by this, except the time it took to switch ideas and research further. Working through a global emergency, however, offered a host of alternative issues 4 99

INTRODUCTION

CHAPTER 1 – INTRODUCTION TO DHARAVI A background on modern-day Dharavi and its historical growth

Slum tourism is criticised by media as unethical. I will be analysing to what extent tourist representation in YouTube vlogs of Dharavi is consistent with Odede’s statement.

craft workshops, recycling centres, cramped alleyways, resident homes and viewing platforms which boast views across colourful tin rooftops. Some tours also focus on parts of the slum which feature in Slumdog Millionaire (2010). The buzz surrounding this film has generated an increase in tourists, also driven by intriguing urban photography and videos on social media. Major researcher in the field of slum tourism Frenzel states ‘Every mediated picture creates more desire to see for yourself', 5 which implies online representation increases this damaging tourist boom further. This is why I believe it essential to scrutinise videos.

In The New York Times (2010), Kennedy Odede stated that slum tourism "turns poverty into entertainment, something that can be momentarily experienced and then escaped from". He criticises slum tours, which have gained popularity in the last twenty years in Dharavi, India’s largest slum. In addition to criticism from media giants The New York Times and Life Magazine, scholarly debate across tourism research elects slum tourism as irresponsible, unethical and cruel, but analysis of the tourist further debates this. In this dissertation, I will be analysing YouTube tourist vlogs of slum tours to contribute to existing debate, providing new insight into the motivations or ‘gazes’ 3 behind slum tourism. My goal is not a determined answer on the extensive moral debate of slum tourism, but to observe whether slum tourist vlogs are damaging, further supporting Odede’s statement.

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In this chapter I introduce Dharavi, where the tourist vlogs I analyse in chapter 4 are based. Elements of Dharavi create a tourist hotspot, but this often disregards disadvantaged lifestyle caused by a historical marginalisation. Modern-day Dharavi

How does digitalising Dharavi raise new ethical issues? Is Dharavi represented authentically within the videos?

How do the vloggers present their power and respect within the videos? Nowadays, vlogging is a popular choice for documenting, celebrating and sharing travel experiences. Vloggers can earn an income from advertising and merchandise. This is an uneasy dynamic, as tourists generate revenue from exploring an impoverished community, raising consequent moral questions beyond the original tour. The touristic attitudes, motivations and behaviour is of key concern, as their videos can underpin selfish, unaware and exploitative attitudes. However, there are progressions which can show the opposite; intelligent, understanding and inclusive tourists. I will be exploring these aspects further through a reading of the debate surrounding slum tourism, informing a theoretical framework and identified ‘gazes’ which I can apply to real-life examples of tourists on YouTube.

Since its formation in 1884, Dharavi has become a centre of independent trade in Mumbai, representing a resilient and skilled community of people. However, Dharavi also represents a disadvantaged and unsustainable image of poverty in the 21st century, where substandard living conditions are a reminder of Mumbai as a postcolonial world. As a result of the vibrant culture, local trade and an increase in digital representation in recent years, Dharavi is a popular tourist attraction, made possible through externally run slum tours. Tours are targeted at tourists who crave an authentic and ‘off-the-beaten-track’ 4 experience, beyond conventional tourist hotspots. Slum tours typically involve a one-to-twohour trip on foot along a route designed to show shopfronts, 3F

Situated in central Mumbai, India’s commercial capital, Dharavi is an area of low-rise vernacular dwellings spanning just 2.1 kilometres but hosting a population of over 1 million people. In Dharavi, community and industry thrives in a ‘self-sufficient, self-sustaining village’, 6 where traditional crafts are celebrated, an informal economy inducing an estimated $1 billion annually. The slum constitutes a ‘multi-religious, multi-ethnic and diverse’ 7 community, 85% of whom work in traditional trades, such as pottery-making, embroidery and tanneries. Dharavi situates many labour-intensive production lines, for example producing steel-frames for suitcases. This vibrant display of cultural tradition, skill and productivity is a major attractor to tourists, hence the organisation of guided tours. However, some criticise the heavy working culture as a ‘sweatshop operating in oversight’ 8 where slum residents are taken advantage of for global commerce.

There is no answer to the emergency in Dharavi, as redevelopment plans are either expensive or revoked by residents. Slum tours offer little solution, instead a momentary ‘romantisation of poverty for middle classes’, with little respect for the hardships both in present-day and historical Dharavi.

To understand the marginalization Dharavi residents face beyond their physical conditions, we briefly reflect on how cultures of political neglect caused the ‘mushrooming’ 12 of slums. This section briefly contextualises the postcolonial critique of tours which begins chapter 2.

4 Heather Mair. Meghan Muldoon. Blogging Slum Tourism: A Critical Discourse Analysis of Travel Blogs. Tourism Analysis. 21(5) (2016) p. 467

Fabian Frenzel. Slumming It : The Tourist Valorization of Urban Poverty. (London: Zed Books, 2016)

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The 19th century saw Mumbai (then Bombay) in an ‘arbitrary privileged position due to colonial intervention’. 13 Rapid urbanisation was necessary to maintain industrial success of the opium and cotton trade, transforming the city from a place of localised indigenous trade to a centre of global commerce. Colonial powers became more spatially important than the livelihoods of the native class, and spatial boundaries formed. 14

There are many disadvantages to living in Dharavi, often overlooked in slum tours. Dharavi’s rapid growth in the late 20th century and lack of infrastructure meant that streets are ill-formed and there is little space for modern ‘sanitation, drains, safe drinking water, roads or other basic services’. 9 Some areas are at risk of demolition by land developers, others endangered due to their proximity to the sea, as global warming presents major flooding issues with no long-term solutions. 10 Breathing the air in Dharavi is as health compromising as smoking 50 cigarettes per day due to toxic industry fumes, and the death rate is double that of suburban Mumbai. 11 Disease due to poor sanitation accounts for nearly 40% of this death rate. Housing is inadequate, an average of 12 square feet per dwelling, and

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As the population increased due to migrating workers, highly-polluting tanneries and potteries, managed by people typically of lower classes, were relocated from central Mumbai to an isolated swampland. 15 This area formed as Dharavi in 1884. Indian natives remained behind the ‘borders enforced by the British Raj’ 16 and relied on

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Sanyal, Gareth. A. Spectacle and Suffering: The Mumbai Slum as Worlded Space. Geoforum (2009) pp. 1-9

Mahmud, 2010 Amar Farooqui. Urban Development in a Colonial Situation: Early Nineteenth Century Bombay. Economic and Political Weekly (1996) pp. 2746-2759. 12 13

Mahmud, 2010 Liza Weinstein. The Durable Slum: Dharavi and the Right to Stay Put in Globalizing Mumbai. (Minnesota: Minnesota Press, 2014) 9

The growth of Dharavi has seen it develop into an engaging tourist attraction, a community pushed to their physical limits by historically negligent politics, but succeeding nonetheless. However, this historical culture of ignorance denotes an ‘awkwardness’ 19 in slum tourism, as people finally pay attention to Dharavi, but often fail to see the larger historical or political picture past the tangible slum. The privileged tourist experiences the far-reaching effects of postcolonial poverty as ‘entertainment’, 20 condensed to a 2-hour-tour, at their convenience, almost a mockery of significant hardship.

Tayyab Mahmud. Slums, Slumdogs, and Resistance. American Journal of Gender, Social Policy and Law (2010), pp. 685-170. 7 Maanas Taneja. Dharavi The Story of Asia's Second Largest Slum. (2019) John Urry. Jonas Larsen. The Tourist Gaze 3.0. 1st edn (California: SAGE Publications, 2011)

Visual Study of Dharavi

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In the 1970’s, Dharavi faced expansion again, essentialised further as a place of informal trade and free labour in the neo-liberal movement. Neo-liberalist policies reduced government spending on welfare services, whilst Mumbai expanded rapidly as a post-industrial financial centre. The lack lacking governmental funds caused an increase in

Dharavi’s Historical Marginalisation

India declared independence in 1947, but the impacts of rapid urbanisation were irreversible. Slum communities enlarged. Postcolonial governmental elites celebrated the remains of segregation in Mumbai and policies rendered the poor as impediments to progress, recognising issues but failing to deliver solutions. Significantly, the development of Mumbai into a commercial capital essentialised the unmonitored shadow economy in Dharavi, an ‘army of labour’ working in unprotected, and low-wage jobs as there lacked alternatives for survival.

there is no space for expansion, people now forced to inhabit the more dangerous industrial areas and pavements of the slum.

The key questions I will address to establish whether video representations of Dharavi are damaging are;

privatisation of essential services, causing further neglect of the working class. The informal shadow economy grew as the only source of livelihood for the poorer working class, increasing the army of labour residing in slums. The imbalance in wealth lead to the modern-day, where today Mumbai is a modern metropolis but 65% of its population occupy slums. 18

substandard living conditions to keep trade profits high, while the urban sector flourished. The influx in population with limited a geography left workers who could not be ‘steadily employed or sufficiently utilised’ 17, relocated to slums-areas with no government-built infrastructure.

Farooqui, 1996 Weinstein, 2014 16 Mahmud, 2010

Weinstein, 2014

Farooqui, 1996 Christine Bernarz, Inside The Controversial World Of Slum Tourism, National Geographic, (National Geographic, 2018), pp. 1-4

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Bernarz, 2018 Odede, 2010

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CHAPTER 2 - SLUM TOURISM ACROSS LITERATURE The Leisure-Seeker, the Activist and the Volunteer This chapter aims to situate the issue of slum tourism in current literary debate and ongoing research, arriving at three tourist typologies to further explain the motivations behind slum tourism.

categorise tourists to avoid completely demonising them. Notably, whilst Beyond Othering is critical of slum tourism, his recent book Slumming It divulges more positive aspects of slum tourism, but still maintains that slum tourism aims to fix single communities and their specific needs, rather than the larger problems of national and global inequalities. 34 Both researchers have informed a basis of knowledge of tourist theory and postcolonial discussion, which I found useful. Frenzel appears bettervoiced acutely in slum tourism research, whereas Urry gives a broader view of tourism, occasionally referencing the slum tourist.

Dharavi satisfies Urry’s romantic tourist gaze as a ‘expectation of authenticity’ 39, which often the communities exude for financial gain. 40 38F

tour does not benefit residents, but commodifies them, and the community is not only used as entertainment but disadvantaged further. This suggests that the slum tour becomes a ‘contact zone’ 28, as explained by Pratt, defined as spaces where ‘asymmetrical power relations’ cause a ‘grappling culture clash’. 29 In summary, the context of Dharavi as a postcolonial side-effect means that many critics regard it highly problematic for tourists to visit with the main driver behind this being leisure.

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The factor which least motivated tourists to partake in a tour was interacting with residents. Additional research by sociologist Aquino in the South American favelas explains mutually beneficial interaction is the only way to stop residents feeling like ‘zoo animals’. 41 Conversely, Ma’s resident interviews expose that the main improvement residents would make would be more interaction, allowing sale and cooperation. This suggests there is a discrepancy between the tourist interest and the residents’ desire, fulfilling Frenzel’s claim there is ‘little or no advantage for the ‘othered’ people’.

Recent literature describes slum tourism ‘anomic evildoing’ 22 and ‘exoticised poverty porn’. 23 Here, slum tourism is voyeuristic and slum residents are compared to zoo animals, but there are theoretical reasons behind this. 21F

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Positive discussion of slum tours in literature is limited, instead focused on separating tourist mindsets to justify areas of slum tourism. Nonetheless, some state that the tours are essential as a booster to the local economy. 35 Tour companies reinvest in communities, benefitting Mumbai tourism sector and Dharavi through projects. However, sociologist Hall counters this, suggesting people presenting these viewpoints benefit financially from the tours or fail to understand long-term negative impacts of tourism. 36 Similarly, the adaptancy theory implies that locations adapt beneficially to tourism, an example the increasing sales in Dharavi. It is argued that tours encourage local pride and a sense of community, allowing real ‘culture’ to be celebrated.

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Theorist Bhabha presents the binaries of us/them, strong/weak, rich/poor, North/South, 24 applying them in postcolonial situation. The innate desire to see what society regards the ‘other’ exists within slum tourism due to Dharavi being a postcolonial locality. Witnessing poverty for leisure transforms a dynamic of ‘self/other’ into ‘tourist/slum resident’, where there are ‘unequal relations of power are based on binary opposition’. 25In this case, the ‘other’ does become alikened to zoo animal. In prevalent researcher Frenzel’s case study; Beyond Othering, he suggests ‘tourism is embedded into a post-colonial context’ in which ‘othering’ is combined with ‘radical differences in income, power and mobility between the visitors and the visited’. 26 He notes that ‘‘otherness’ is consumed with little or no advantage for the ‘othered’ people’ 27. Here, the slum

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Survey Research

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The Tourist Gaze 3.0 presents a well-balanced and diplomatic analysis of tourists. Unlike previous versions, the 3.0 edition also discusses photography in tourism which was essential for my later analysis. Whilst Frenzel explains postcolonial critique, Urry assigns a system to further

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Odede, 2010 Cristina, A. Mendes. 'Showcasing India Unshining: Film Tourism in Danny Boyle's Slumdog Millionaire. Taylor and Francis Online, 24(4) (2010) pp. 471-479 23 Mendes, 2010. p. 472

Frenzel, 1996, p. 16 Mary. L. Pratt. Arts of the Contact Zone. Profession, (Modern Language Association, 1991) p. 34

Pratt, 1991, p. 34 Mi So-Min Cheong. POWER AND TOURISM: A foucauldian observation. Annals of Tourism Research, 27(2), (2000) Pp. 371- 390.

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Bhabha, Homi. K. The Location of Culture. 1st edn (London, New York: Routledge, 1994) 25 Ahmed, Afaf. Post-colonialism Literature the Concept of self and the other. Journal of Language Teaching and Research, (2014) pp. 99-105 24

Tzanelli, 2018 32 Urry, 2011, p. 3 33 John Urry, 2011, p. 5 31

Fabian Frenzel. Beyond ‘Othering’: The Political Roots Of Slum Tourism. Poverty, Power and Ethics in Global Slum Tourism (1996) pp. 1-14

The Activist

To explore whether slum tours present only entertainment, the different motivations behind tourists should be explained, developing Urry’s theory of gazes. Critics have previously presented slum tourists as one greater evil, alongside postcolonial theory. Higgins-Desbiolles raises the issue of generalisation in slum tourism research ‘the tourism industry overshadows the more public-minded, multicultural and equitable forms of tourism’ 45. This suggests slum tourist present complex mindsets past leisure, defining gazes; volunteers, activists and leisureseekers, 46who all experience Dharavi differently based on their political stance, economic standpoint and moral compass.

The activist visits disadvantaged communities to represent socio-political change. Activist tourism is largely debated, as it is reliant on a tourist being up to date on current issues as well as having a deep historical understanding to justify their visit, perhaps to enrich a campaign. Tzanelli discusses how the emergence of activist tourism is essential for protection of slum communities in place of lacking state welfare, which currently disempower poor and ethically different communities. The people who ‘politics placed on the right side of the fence’ 49 feel a moral obligation to enact social change, and tourism is a way to access this responsibility. Activists manage their guilt as ‘the lucky ones’, entertaining a lifestyle free from squalor and poverty, by going on a slum tour as an accessible method to exercise their activism. 48F

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The Leisure-Seeker The leisure-seeker shows a deep interest in the craft, trade and industry in Dharavi, or visits to experience the extremes of poverty. Leisure-seekers are targeted with criticism and exposed via social studies as unethical, reinforcing ‘self/other’ constructs. Tour companies take advantage of leisure-seekers, insisting they are helping the community or being ‘authentically’ educated in their romanticised tourist gaze, but this is not often accurate.

These motivations are evident within the videos I will be analysing and are key to interpreting tourist behaviour online. These categories can overlap. For example, activists are aware that the situation in Dharavi needs urgent attention but are unaware that a slum tour may not be the best way to do this. Slum tours are advertised as ‘educational’ and ‘eye-opening’ 50 to appeal to a socially aware audience but operate solely as money-makers. Agencies capitalise on activists, selling an experience which avoids the stigma attached to viewing marginalised community for leisure, but in reality, doing precisely that. 51 Inherently here, any activist becomes a leisure-seeker. 49F

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Whilst the literary criticism on slum tourism is extensive, to validate theoretical ethical concern, survey data is important to consider.

The Volunteer

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Volunteers visit for an extended period and are documented as the least harmful form of slum tourism. 47 The extended time allows volunteer/resident relationships to develop, in a valuable cultural exchange, wherein the tourist sacrifices more than a few hours of their time to fully engage. According to Aquino’s research, this allows meaningful and responsible tourism, and is regarded separately from organised slum tours. 48 However, the volunteer is not strongly represented within slum tourism research, perhaps due to it being less popular or problematic than tours, so it is not as well researched.

Ma’s study is critical of slum tourism, and the conclusions suggest that tourists prioritise leisure over charity, give little back to the community, and residents feel apathetic or negative towards the tours.

Bob Ma’s study Trip into the Controversy (2009) involved questionnaires with slum residents and tourists aimed to dissect travel motivations. The key driver for slum tourists was cultural curiosity and authenticity, and 48% saw the tour as a positive experience. 37 Tourists separate ‘curiosity’ from ‘fun or escape’, and most said they wanted to experience ‘reality’. Ma is critical of this response, as he argues that because slum tours follow a strict path with no deviance, they offer a ‘staged authenticity’, 38 which is not representative of the whole slum. The search for a ‘real’ 37F

Fabian Frenzel, 2012. Slumming It : The Tourist Valorization of Urban Poverty. (New York: Zed Books, 2012)

Freya Higgins-Desbiolles. In the Eye of the Beholder? Tourism and the Activist Academic. Tourism and Visual Culture, Volume 1 Theories and Concepts 1 . (2010). Pp. 98-105.

In conclusion, the activist and volunteer counter Odede’s claim that slum tours turn poverty into purely ‘entertainment’. The establishment of these roles is an important development within literature, allowing deeper understanding of complex tourist mindsets. My video analysis will investigate ways tourists enact these typologies further, using knowledge of the criticisms of slum tourism as a guide.

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To counter this, a 2017 survey reaches different conclusions. Rudra Rhodes worked with Reality Tours on a survey of the resident attitudes within Dharavi. 79% of residents were content with the tours, stating they enjoy having guests. The survey highlights the benefits to community entrepreneurship and the sense of pride

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Bob Ma. Trip into the Controversy: A Study of Slum Tourism Travel Motivations. Penn Humanities forum on Connections. (2009-2010)

Ma, 2009-2010 Urry, 2011 40 Urry, 1996 41 Jessica Aquino The psychosocial impact of volunteer tourism in the favelas of Rio de Janeiro. (LSE Publishing: 2014) 42 Ma, 2009-2010 43 Aquino, 2014

Stuart Hall, Representation: Cultural Representations and Signifying Practices, 1997)

Categorising Slum Tourists into Gazes

In Ma’s survey, the positive responses about tours from residents were non-conclusive and vague, whereas the negative results were specific. A key complaint was the lack of improvement for residents, despite the charity programmes set up by the tour company Reality Travel Tours, which suggests that programmes were not successful. This counters tours as economic ‘boosters’, at least if the ‘boosting’ is considered within Dharavi, rather than the tourism sector. Charity also became a concern, as tourists who reported their visit was under charitable motivations answered subsequent questions which revealed that the tourist did not donate on the tour and many would not donate to homeless communities at home. 42 This implies a lack of moral clarity, suggesting that the slum tour is realistically ‘entertainment’. 43

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However, researchers attempt to understand the slum tourist motivations past leisure. Philosopher Foucault described the tourist ‘vulnerable to composite judgement’, and discussed how tourist power could be exchanged for knowledge, not limited to oppression. 30 In the Tourist Gaze 3.0 sociologist Urry developed tourist ‘gazes’ which imply that motivations are informed by many external factors which change how individuals see certain situations and gauge how we respond. 31 What tourists expect to see and what they share is linked to their political, economic and social background. Urry defined the main ‘gazes’ of British tourists as the ‘collective’ and the ‘romantic.’ 32 The collective is the typical beach holiday tourist and the ‘romantic’ outlines ‘a lonely traveller discovering the ‘other’ in search of the true and authentic’. 33 We use this theory develop more specific slum tourist ‘gazes’ later in this chapter.

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To examine Odede’s statement of poverty becoming ‘entertainment’, which tourists ‘momentarily choose to experience’, 21 we use both postcolonial theory and contemporary research to develop a theoretical framework for analysing tourist videos. Odede is a social entrepreneur who provides education within slums, recognised as a world-leading activist, so his claim is evidently founded in experience and should be taken seriously. His work draws media attention to slum tourism in major media outlets The New York Times and Life Magazine. However, media outlets can exaggerate for dramatic effect or controversy, so it is essential to read beyond his surface-level statement.

associated with the tours, with reference to literary criticisms 44. However, the study admits that residents rarely saw improvements developed by the agency, again countering the economic ‘booster’ theory. This report was produced with Reality Tours, so could be biased and created a source of advertisement, as it is provided on the tour agency website. Additionally, surveys of slums often encounter false positive results, as residents may fear a negative reaction from an interviewer when questioned, so the positive statistic of the residents may be misrepresented.

11 102

Tzanelli, 2018 Rolfes, 2009 51 Ma, 2009-2010 49

Higgins-Desbiolles, 2010 p. 102 Tzanelli, 2018 47 Sanyal, 2015 48 Aquino, 2014

Rudra Rhodes. Reality Tours and Travel: A Community Perception of Tourism in Dhavari. Mumbai, India: Reality Tours and Travel. (Mumbai: 2017) 44

12 103

CHAPTER 3 – REVIEW OF EXISTING ANALYSES

under Urry’s romantic gaze to find the true India, while doing so ‘finding themselves.’ 59 58F

Summarising existing research studies in digital representation of slum tours This chapter outlines key findings in two studies of digital representations of slum tourism. I aim to summarise their analytical methods and conclusions, creating a baseline to guide my own analysis. Online representation of slum tours furthers the existing criticism. Videos, blogs and websites allow tours to become accessible entertainment comparable to TV shows. Digital formats enlarge the available audience of slums, amplifying Odede’s comparison of the slum tour to ‘entertainment’.

minor differences between the sites, for example one appeals more to the female safety on the tours, and the other uses oriental colours and typefaces to enhance its apparent authenticity, but in general they have similar outputs. Overall, Laigsingh’s study is thorough, but limited by extensive detail on typefaces and website button functions which detracted from the overall clarity of the analysis, without contributing substantially to the thesis. It is limited by no data on the websites’ usages, and whether they are successful. However, there is little research completed on digital presentation of the slum and it becomes important to question how the slum is arranged for digital consumption, which is why I feel there is space for my analysis within the discussion. This research is useful; key issues within digital representation emerging which may be similarly present in YouTube videos.

In Representation, sociologist Hall states media is manipulated to make us think a certain way. The producer creates ‘preferred meaning’ which is more widely accepted and entertaining. 52 Digital media channels represent information in receivable ways, but this representation may lose authenticity, which is damaging to those misrepresented. 51F

Existing Analysis of Slum Tour Agency Websites Websites are a major source of advertising for slum tour companies in Dharavi. A Multimodal Analysis on The Online Representation of Slum Tours in Dharavi is a paper by PHD student Sita Laigsingh. She selects two slum tour agency websites and categorises her analysis based on the imagery, language, sounds and graphic display the websites employ to sell slum tours. She uses a systematic system of analysis, creating an ordered approach in explaining every detail of the sites.

Thematic observations of three YouTube videos; analysing imagery, sound and tourist behaviour

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Mair and Muldoon’s approach is more similar to the approach I will take with my analysis, employing a thematic framework justified by key examples which I can extract from the YouTube videos and analyse further. My analysis will differ in its themes, as these emerge from primary observations in tourist YouTube vlogs, but there will be overlaps due to their focus on digital representations of the slum. These studies were very useful, as blogs are the predecessor of YouTube videos, and YouTube is a place of advertisement much like tour agency websites, meaning there are strong overlapping tendencies.

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Reflection Mair and Muldoon’s research is useful in its approach of making primary observations, and then analysing further to reinforce these areas. They are thematic with the topics they engage with, whereas Laigsingh presents more technical,

In this chapter I analyse three YouTube videos. This reveals more about digital representation of slum tourism and whether the use of media channels furthers Odede’s claim that slum tourism is entertainment which commodifies a community. be analysed through observations of sound, imagery and tourist behaviour, in reference to the themes.

In this analysis I observe whether tourist vlogs continue to demonstrate harmful purely leisure-seeking touristic attitudes, or whether the forward-thinking activist or volunteer are prevalent. Upon watching three videos, I generated themes where the videos share similar moments; digitalising slum tourism, authenticity and representation, and power and respect. The videos will

The three videos encompass different tourist mindsets but under analysis present issues. Stills, titles, plot summaries and information about the three videos is in Appendix A, and this information should be read through before and continually referred to throughout this section.

ANALYSIS PART 1 Digitalising slum tourism – Advertising, Monetisation and Clickbait

Figure 2a shows that in September 2020, all three videos were monetized with AdSense. The creators earn revenue depending on their viewcounts. Therefore, attracting and maintaining a viewer is important. The advertisements are unrelated to the video topic and their heavy presence shows that within shared media, the priority is revenue and influencing. The videos have been uploaded for similar periods, but have obtained very different viewcounts, 1 having the least and 2 having significantly more. This can be explained in part by the content of the videos, which we look at further on in this chapter. From factors including viewcount across channels and amount of advertising, we assume that the vlogger in video 2 benefits the most financially from their content.

Mair and Muldoon’s study revealed that 18% of the tourist blogs were financially affiliated with tour agencies. 62 This suggests that financial benefit may cause biased presentation of experience. Similarly, video creators rely on monetization through advert placement to earn revenue. Creators also earn from affiliate links, subsidization, contribution sites or merchandise sales. Where previously only the tour companies benefitted from the tours, the tourist now financially benefits too. This introduces a moral concern of tourists generating income from videos of extreme poverty, whilst often actively contributing little to the community. 61F

Blogging Slum Tourism - A Critical Discourse of Travel Blogs by tourism researchers Mair and Muldoon dissects the linguistic traits slum tourists present in blogs. They selected 36 reviews of slum tours (non-specific to Dharavi) and upon first reading, established key codes and themes present to structure the analysis. They selected textual examples which illustrate their key themes and analysed these to reinforce their original observations. The key themes they established were; creating permission(s), reimagining/re-presentation of self, essentializing and victimizing, privileging experience, and hierarchy of experience. 56 Their study concludes that tourists avoid the guilt of seeking leisure on the tours, describing experiences as “‘life-changing’ and ‘eyeopening’”, 57 essentialising the slum tour. Semantically similar words such as ‘true’, ‘authentic’ and ‘off-thebeaten-track' 58 present the slum as the ultimate must-see 5F

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52 Hall, Stuart. Encoding and decoding in television discourse. (Leicester: University of Birmingham Press, 1973) Pp. 1-12 53Laigsingh, Sita. Slum Tourism In Dharavi A Multimodal Analysis On The Online Representation Of Slum Tours In Dharavi’. (Nijmegen: Radboud University Press, 2019) Pp.138.

Similar to Laigsingh’s study, they found tourists present the slum residents as “‘always smiling’” and “‘thriving’” 60, which may be influenced by how the slum is presented to them by tour agencies, but also how tourists perceive it to avoid ethical guilt. Importantly, the researchers note that some of the blogs contained affiliate links to tour agencies, meaning that both the creator and the agency generate profit from these reviews. 61

Existing Analysis of Online Tourist Blogs

Laigsingh concludes that both agencies represent Dharavi strategically, not authentically. Both present Dharavi positively; images of industrious workers, independent trade, smiling children. However, they keep enough of the poverty in to maintain an emotional interest in a viewer, commodifying the slum resident by using any hardships as guilt-trips. 53 Both websites illustrate Ma’s ‘staged authenticity’ 54 and Hall’s ‘preferred meaning.’ 55 The primary ‘preferred meaning’ is Dharavi as a place of essential cultural education and productivity, creating an attractive, trustworthy and professional web-environment for a user, so they are more likely to book a tour. There are 53F

CHAPTER 4 - ANALYSIS

acute and thorough analysis. Mair and Muldoon use their subject to develop a thematic framework, whereas Laigsingh used a general pre-existing ‘multimodal’ framework to analyse websites.

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Video No.

Viewcounts

Time Online (weeks)

Video adverts

Banner adverts

In video advertisements

Affiliate Links

9,690

118

Yes, 2

Yes, 3

5,613,444

144

Yes, 5

None

Yes, to tour company No

49,032

145

Yes, 1

Yes, 2

Yes, potentially to tour company Yes, but not to tour company No

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Ma, 2009-2010 Hall, 1973. p. 2 56 Heather Mair. Meghan Muldoon. Blogging Slum Tourism: A Critical Discourse Analysis of Travel Blogs. Tourism Analysis. 21(5) (2016) p. 467 57 Mair and Muldoon, 2016. p 467 58 Mair and Muldoon, 2016. p 471 54

£1.8K - £29.5K £16 - £256

*These revenues are not accurate due to other methods of earning from YouTube, i.e. merchandising, affiliation and subsidisation which are not public domain. Also, SocialBlade uses an algorithmic method to gauge revenue which may differ per vlogger. 63

Yes, to tour company

Est. annual channel revenue (SocialBlade)* £1.1K - £17.8K

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Video 2 attracts the most viewers, which is interesting as it is perhaps the most authentic. This reinforces that tourists and viewers alike crave authenticity to be entertained. Video 1 is not as popular, but the vlogger has a large subscriber count, which implies this sort of video is not popular on her channel. This may be due to the lack of slum footage in this video, which people are keen to see to satisfy their curiosities. Conversely, video 3 has a large viewcount when compared with a small channel size, suggesting that the slum scenes presented attract significant attention. Based on viewcounts alone, videos containing ‘real’ slum footage are profitable and supply major traffic to YouTube channels.

relations between the tourist and slum resident in video 2 which counter this, which is covered in Power and Respect.

Figure 2c Video 3. The caption reads ‘the tour will redefine what a slum is and open your eyes to the reality’

In addition to the obvious visual advertising, informal advertising of the slum tour companies can be seen across videos 1 and 3. This demonstrates the influential power the vlogger upholds. The tourist in video 1 shares the tour agency name and recommends them strongly as safe and enjoyable.

Figure 2d Video 3. The tour guide advertises the company for 40 seconds and the website is provided

Clickbait is a modern representational issue within YouTube. Video 1 is titled INDIA’S BIGGEST SLUM – Mumbai Vlog. The uppercase text creates urgency and priority when viewing the title, drawing attention from the viewer. The superlative ‘biggest’ connotes an impressiveness to Dharavi before even clicking. Despite the title including the word ‘slum tour’, the word ‘slum’ was not used until minute four of eight minutes. Phrases such as ‘laundromat’, ‘somewhere else’ and ‘fishing village’ 66 are used alternatively, which avoids connotations with squalor, dirt and poverty, instead connoting productivity and tradition. There is little footage of Dharavi within the video due to rules within the specific tour agency. The title of the video can be considered clickbait, a technique in which attention is attracted through the use of shocking words of imagery in a thumbnail or title of a video which is then not followed up upon watching the video. This shows that extreme poverty is glorified momentarily to attract viewers, much like the slum tour websites use extreme imagery to manipulate a viewer, but

Figure 2b Video 1. The tourist mentions the agency she travelled with

This is a minor advertisement compared to video 3, in which the tour guide speaks to the camera for 40 seconds. His statements are imperative and direct such as ‘this tour will redefine what a slum is’ and ‘open your eyes’ which are commanding in nature, nurturing values of selfdiscovery and education. Tourists and viewers trust what is educational and self-enlightening, and this is marketed on. This display raises questions about levels of authority within the tours, as the guide is permitted to speak to the camera and advertise, but there is no opportunity for residents to advertise their trade, which from surveys is the main positive factor to tourism for residents. This supports that slums become ‘contact zones’ 64, where asymmetrical power relations cannot be ignored. 65 There are power

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Figure 1a A table which shows the reception and advertising of videos 1, 2 and 3 59 60

Urry, 2011 Mair and Muldoon, 2016. p 470

Mair and Muldoon, 2016. p 473

(Mair, 2016)

15 104

63 Information sourced from YouTube.com, links to videos available in list of figures

(Pratt, 1992)

65 66

(Cejas, 2006) (Quinn, 2018)

105

transition into positive imagery to avoid guilt or ethical doubt. 67

suggest videos spread awareness, inspiring educated attitudes towards political change. However, although creators can manipulate their information to enforce a general ‘preferred meaning’ 69, they cannot control how a viewer may interpret or use the video. Additionally, critic Frenzel states ‘Activism must consider strategies beyond simply increasing visibility’. 70 Therefore, the accessible nature of videos means that slum tours become ‘entertainment’ to a large proportion of viewers, a digital tool for an audience to ‘momentarily experience’ poverty then ‘escape’ 71 from it.

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Figure 2e Semantic language pathways from the word ‘slum’, ‘laundromat’ and ‘fishing village’, suggesting how viewers respond

In conclusion, the digitalization of slum tours on YouTube presents new moral conundrums for creators and viewers alike. Making profit from footage of poverty agrees with literature which identifies slum tourism as an ‘anomic evil’ 68 and the use of YouTube to advertise slum tour agencies furthers the issue. In general, the creation and viewing of YouTube content satisfies Odede’s claim that slums are viewed as ‘entertainment’. An activist may

ANALYSIS PART 2 Authenticity and Representation This section questions how tourists represent Dharavi, and whether what they show is authentic. Authenticity questions the experience the tourist has, and representation questions the digital portrayal of this experience. Mair and Muldoon establish that tourists who are ‘off-thebeaten-track’ feel more ‘worldly’ 72, paying attention to a lesser-known issue. Dharavi becomes essentialised as a ‘real’ tourist experience of India. In an age of competitive social media, leisure-seekers want to share their individual ‘eye-opening’ experience. The activist is contented that they have educated themselves further on real-life issues and are empowered by knowledge, ready to share it online. 71F

Figure Video 2g. Overhead panning shots from a viewing station

Despite video 1 only including one shot of the tour, the tourist lengthily discusses her tour thoughts at the video’s end. She demonstrates a positive mindset when speaking in selfie-mode (Fig. 2h), explaining that her tour group were not ‘just looking at poverty’ but glancing into the ‘daily routines of a community’, describing Dharavi as ‘good life for locals’ and hoping ‘they (residents) don’t mind’ the tours. The selfie-mode implies authenticity and trust between the vlogger and viewer. The phrase not ‘just looking at poverty’ shows a recognition of the ethical debate surround slum tourism which instills a trusting relationship, suggesting that the vlogger has clear moral awareness. However, within this vlogger we can also see a leisure-seeker distracting the ethically controversial reality of the tours with positive language in authentic sounding and personal discussion. She mentions the slum tourism debate to demonstrate moral awareness, but no stronger message past hoping that the residents tolerate the tours, which does not absolve the concerns.

In this section I analyse whether tourists are representing slum tours in ways which avoid ethical dilemma, negative audience reactions or social stigma, and whether what they have experienced can be truly authentic, which Ma suggests it cannot.

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In video 1, the tourist shows one shot of the tour, due to filming limitations of the agency. This is an overhead panning shot. This view is commonplace in videos and communicates a generalised Dharavi to viewers. From the perspective, we can tell the image is taken from a viewing station (Fig. 2f), and this communicates that organized tours are managed to show scenic or impressive locations in Dharavi. A version of Dharavi is presented in a way which makes it accessible to tourists and viewers; local craft, trade, colourful tin rooves and happy residents.

Figure 2f Video 1. Overhead panning shots from a viewing station

67 68

Hall, 1997 Frenzel, 2016, p. 192 71 Odede, 2010

a clumsy generalisation, as this music is non-specific to Dharavi and provides a flowery, glossy and auto-generated image of Indian culture. The use of it makes the video feel more authentic, showing that modern-day media channels are following Hall’s representation theory, thematic signifiers such as music creating a ‘preferred image’ which the creator wants the viewer to enjoy without questioning. 74

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In conclusion, the videos strive to show an authentic experience of Dharavi, but the research suggesting that slum tours are not authentic themselves unhinges this. Videos 1 and 2 allow greater vlogger/viewer relationships, which makes them more trustworthy and personable to watch. This allows greater freedom to explain their thoughts and experiences, whether they are truly authentic or not. Video 3 is lacking in this area, and the highly curated shots which glorify the craft and trade in Dharavi present a ‘preferred meaning’ or ‘staged authenticity’. It can be argued that video 2 does this to a lesser extent, by showing a positive and excited portrayal of the Dharavi, but the context of non-organised tourism and self-lead discovery detracts from this, implying that the vlogger here engages with more volunteer traits.

Video 3 uses sitar and oriental drum music, which a Western tourist would generally consider ‘Indian’ music in

Figure 2i Video 2. The vlogger begins with a personal introduction

Video 2 shows a non-organised slum tour, and the residents are content, engaging with the tourist with pride and enthusiasm. Hardships of slum-life are highlighted, as well as positives, which creates reason to believe that the content the vlogger presents as authentic and balanced, especially as the tourist is not on an organized tour. Phrases such as ‘the way you have to see India’ do not seem as unrealistic, and there is reason to trust the independent vlogger in comparison to commercial tourism companies who use similar language such as ‘the REAL Dharavi’ to advertise for profit. Despite this, the language shows that it is essential for a tourist to have an individual and authentic experience. The vlogger visually shows content residents, rather than expecting it as in video 1, which is more reliable. He isn’t hesitant to show the hardships of Dharavi for fear of moral judgement from the audience. The vlogger

Figure 2h Video 1. The vlogger has a 'discussion time' element to her video at the end

Video 3 shows an extreme positive portrayal of the slum, similar to video 2, but shows footage of an organised tour. It is titled ‘Dharavi slum tour, Mumbai. Slumdog Millionaire is a little different in reality’. Using the popular film Slumdog Millionaire to draw viewers in, the video claims to subvert what viewers believe about Dharavi, promising a real-life perspective. The vlogger shows similar imagery; children playing, local crafts, recycling centres (See Appendix A). These connote positivity and culture, a community thriving despite facing hardships, a similar message to the discussion section in video 1. If Dharavi was dangerous to live in and the community were suffering and unhappy, the vlogger would be morally in the wrong to capitalise from it, so they present Dharavi in a way which avoids the blame.

positive and productive aspects of life, such as crafts and entrepreneurship 73. This version of Dharavi is presented in video 3. This leads us to question the authenticity of the scenes within video 3 as a rounded representation of Dharavi. The representation of slum tours as ‘educational’ is damaging, because it gives the viewer and tourist an empowered rite of passage to the slum, commodifying the imagery, culture and lifestyle even further for selfimprovement.

Figure 2j Video 3 Textual messages on screen to educate the viewer.

Laigsingh, 2019 Mendes, 2010, p. 462

experience is more authentic as they do not follow a particular route around the slum, but sees many different areas (more details in Appendix A) for a longer time, suggesting that this perspective of Dharavi cannot be staged and is more comprehensive.

In video 2, the vlogger also employs a ‘selfie-mode’ discussion, but this time at the beginning. He discusses the history and hardships of life in Dharavi in a factual way with historic images overlaid (Appendix A for more details). This shows a researched approach to a more activist-lead visit to the slum, and the tourist describes a personal journey to his interest in Dharavi, stating he has visited previously and wishes to return to gauge it properly. His discussion feels far more authentic, showing awareness of the hardships continually faced by slum residents over decades of negligence, which is far more advanced than the comparatively weak statements presented in video 1 which do not go beyond hoping they withstand the tours. Additionally, the placement of this personal moment at the beginning sets up a reliable tone throughout the video. The discussion in video 1 feels more like a vague afterthought in comparison. A criticism of video 2’s discussion is that it provides an educational backdrop to earn initial credibility, a purposeful attempt to distract from any glorification of Dharavi.

Figure 2k, l Video 3. Imagery of craft, with annotations. Find more in Appendix A

Video 3 aims to be educational, therefore fact-based and trustworthy, using frequent textual screens to contribute facts about the crafts and trades, appealing to an audience who feel they are learning something, not gazing onto poverty mindlessly. (Fig. 2j). Ma’s research contends this, as he suggests slum tours portray one route focused on the

Mair, 2016

19 106

Ma, 2009-2010

Hall, 1973

20 107

ANALYSIS PART 3 Power and Respect

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Tourists living in a slum is a new form of slum tourism which we can potentially separate from the staged 2-hour guided tour. This agrees with Higgins-Desbiolles’ article presenting new ‘equitable forms of tourism’ 78. Tourist attitudes in video 2 counter Odede’s claim that the slum is just entertainment, as the vlogger presents himself as more of a volunteer, not primarily seeking leisure but aiming to establish relationships so slum dwellers are not alienated. However, it can be argued that by uploading videos to YouTube, the slum becomes entertainment for thousands

There are two layers of power and respect visible within tourist videos, the first initial actions, reactions and attitudes of the tourist, the second their creative choices in editing or filming. This is telling of a tourist’s respect level.

In The Tourist Gaze 3.0, Urry presents photography as ‘blocks of space-time’ 75, the composition, framing, inclusion and exclusion of certain elements as representative of a tourist’s mindset. Cameras offer the power to manipulate environments from afar, Urry defining a new ‘self/other’, instead suggesting ‘master/other’ 76. The tourist portrays the ‘other’ how they desire, often innocently, but tourist motivations are revealed through what they present. The vlogger becomes the ‘master’ of shared media and can film, edit, reorganise footage, hiding elements which may reflect on them negatively. 74F

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CONCLUSION

confused resident facial expressions may lead us to agree with Ma’s line of research. The children look confused, a man in the background is visually concerned and other tourists within the group photograph the children keenly regardless (see figure). The music, overall, makes the video marketable as ‘authentically’ Indian ad easier to watch without concern for the emotional impact these tours may have on residents.

not strongly infringe on this. 80 Interaction can be unwanted and invasive, which can be seen across many videos where contact seems undesirable or staged, but there are occasions where this is not the case and these occasions work well to dispel the stigma surrounding slum residents. Many videos do not have this balance. The creative choices in video 3 establish a clear power dynamic between the vlogger and the resident using music. The music is loud and lasts for the whole first three minutes of the video, at times playing over the few close exchanges we see the tourist have with residents. This sets a hierarchy of importance, as the cultural exchange is evidently not of concern to the vlogger. As a viewer, we cannot hear what the exchange of conversation entailed or whether it was positive or negative, but the omission of the original sound and

Discussion of analysis

Some of these may have been ‘better’ or ‘worse’ examples of tourist behaviour, so we cannot assign YouTube videos as ‘damaging’ representations or not based on a small sample selection. Future research may survey a larger portion of these videos, reaching a more decided outcome. However, there are common trends and observations in the videos, which provide new discussion within the slum tourism debate. It is also clear that tourists cannot be defined to a particular set ‘gaze’ in representation as Urry theoretically suggests, as these videos portray multi-faceted tourists who have to be read individually.

In conclusion, YouTube tourist vlogs enrich the existing slum tourism debate, and my analysis exposes tourist ‘gazes’ which both satisfy and dissatisfy Odede’s claim that slum tourism presents poverty as ‘entertainment’ which can be ‘escaped from’. 81 The consumption of Dharavi travel videos by audiences inherently markets slum tourism as entertainment, no matter the motivation of the tourist, so at face value, the digitalisation of slum tourism proves thinkers such as Odede, Frenzel, Urry and Pratt were correct in their stance of observing tourists critically. The use of these videos used to generate an income or viewcount actively commodifies residents, also developing videos into a source of advertising for slum tour agencies, perpetuating the issue further. 80F

In conclusion, the tourists enabled to choose a life in Dharavi momentarily demonstrates a huge power imbalance. The way tourists enact this power through cultural exchanges in the slum determines their apparent respect for Dharavi as more than an ‘entertaining’ tourist destination.

Are there ways to visit/represent Dharavi online which do not cause damage? The comparison of YouTube videos concludes that there is not a way to represent slum dwellers without some cause for concern, but hour-long organised tours show more damaging tropes than a self-guided exploration over several days. This agrees with suggestions in Chapter 2 that the volunteer is the least problematic. This presents more issues than solutions to the future of slum tourism, because not every tourist entertains the unique possibility of staying at a host house safely. However, there are many ways to volunteer with disadvantaged communities across the world with programmes that can make a difference. These may be more viable opportunities for tourists with a romantic gaze seeking authenticity or education, so they do not risk perceiving poverty as entertainment or leisure short-term, as Odede suggests, something to ‘momentarily experience, then escape from’.

Most of the issues within slum tourist videos exist within the organised walking tour videos (video 1 and 3), which are not an accurate or thorough representation of the slum. They lack authenticity, clarity and display uneven power relations. The tourists appear out of place and entitled within Dharavi, unaware that the tour companies they advertise rarely benefit the slum at all. Video 1 showed a leisure-seeker grappling with the moral dilemma of a tour, suggesting mild activist undertones, whereas video 3 showed a leisure-seeking tourist comfortable in an uneven power dynamic.

Videos 1 demonstrates tourist power through not presenting footage of the slum at all. This shows respect for the slum residents, however titling the video a ‘slum tour’ is troublesome, as discussed earlier. The video does demonstrate power tourists have to freely explore and include a slum tour as part of a checklist of things to do in Mumbai. This privilege to travel, relocate and explore is inaccessible to many slum residents, and the tourist demonstrating this power highlights this. Overall, there is not substantial footage to further comment on in video 1 for this section. Similarly, the title of video 2 My Daily Life in the Slum highlights that while residents of Dharavi are financially limited to the slum due to the cost of living in Mumbai, tourists can choose to momentarily experience this lifestyle and freely leave. This shows Frenzel’s discussion of ‘mobility’ 77 as a discrepancy between self/other.

However, elements of videography within Dharavi can be forward-thinking and destigmatise the slum for viewers. Video 2 does this most, where the tourist is not with an organised tour. Exploration is less ‘entertainment’, and more about community support, collaboration and cultural celebration, whilst recognising fundamental issues within the physical environment and history of Dharavi. These imply a volunteer ‘gaze’, with less damaging leisureseeking aspects. Personally, I found Video 2 diplomatic and thorough in representing Dharavi respectfully, and quite a useful representation. However, there are still issues within video 2, such as the high monetisation through adverts and the representation of Dharavi as ‘educational’, which is a rising issue within representation.

Figure 2m, n Video 2. Images showing high levels of tourist involvement.

of people regardless, thus defeating activism purposes. In video 2, the vlogger repeatedly exchanges conversation, shakes hands, high-fives with the residents. This shows a personal connection and equality, also implying that the resident is aware of their inclusion in a video, an element which video 3 ignores. This counteracts Ma’s analysis of tourists, as his research concluded that tourists did not interact with residents, and residents were most unhappy with this lack of interaction. Additionally, it contrasts the idea of slums as Pratt’s ‘contact zones’ 79, as here cultures appear to mix freely, and asymmetrical power relations do

76F

Despite this, video 2 presents a mutually beneficial experience for the resident and tourist, and it is suggested that a friendship is formed. There are more voluntarist traits within the tourist, as the connection which is formed seems helpful and respectful. It is evidently a leisure trip which the tourist makes no attempt to hide, but he seems culturally aware and fully immersed in the lifestyle and the routines of slum living, partaking in a festival and being invited on stage by the residents (refer to Appendix A for details).

Figure 2o Video 3. The tourist group film children in Dharavi

Urry, 2011 Urry, 2011 77 Frenzel, 2012 75

Higgins-Desbiolles, 2010 Pratt, 1992

Cejas, 2006

81F

Final conclusions To finalise, the YouTube video format inherently presents poverty as a form of ‘entertainment’ which can easily be

Odede, 2010

23 108

Perhaps the postcolonial lens shows a deep fascination with the slums, but it is up to individuals with self-minded tourist ‘gazes’ to act with moral and political awareness, not choosing the cheap fix of a slum tour for entertainment, moral consolation and self-discovery, but investing time and effort into a community which has been failed and alienated so many times before.

However, even if there are more ethically sound options, it is debatable whether they should be filmed for commercial use. Media criticism from Urry cannot be ignored even if the content is thorough or educational, as the tourist becomes the ‘master’, in control of their camera, and therefore what they present. This satisfies Frenzel’s claims from chapter 2 that slum tours present ‘self/other’ constructs. 82 This perspective would suggest that video 1 was the least problematic as the tour was not filmed, rather than the thorough filming approach in video 2. Ultimately, this depends on personal opinion.

There were limitations of my analysis. Despite aiming to select three videos which were representative of different traits within tourists, there were many to choose from.

78F

escaped from, for a viewer by simply clicking off it. This fulfils Odede’s claim. However, issues within videosauthenticity, power, respect, monetisation- lie at the heart of a larger problem. This problem is the existence of slum tours in the first place, the filming of these tours only spotlighting existing ethical issues with widespread leisure slum tourism. On YouTube, we occasionally see tourist gazes which are ethically more viable, such as volunteers on self-guided tours, but the capitalisation and manipulation of important cultural exchanges for views or money detracts from ethical clarity vloggers strive for.

Frenzel, 2012

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VIDEO 1

VIDEO 2

Details, Plot and Video Stills

TITLE: INDIA’S BIGGEST SLUM – Mumbai Vlog and Slum Tour Thoughts

TITLE: My Daily Life in the SLUMS OF MUMBAI (Life-Changing 5 days)

VIEWS: 9022 views

VIEWS: 5,613,444 views

YEAR PUBLISHED: 2018

Figure 3c The vlogger shows a crowded street in Mumbai (0.24)

CREATOR HANDLE: The Wandering Quinn

APPENDIX A Supplementary Information on YouTube videos

PLOT SUMMARY: The first video follows female tourist The Wandering Quinn on a day out around Mumbai. The video starts with footage filmed in central Mumbai city, which includes clips of travelling on public transport around the city and seeing city life, visiting locations such as the Ghobi Dhat and Dadar Flower Market. The video is lively, and the creator frequently speaks directly to the camera, describing the places she stays and visits in detail alongside fast-paced shots of travel and vibrant images. The mention and discussion of a slum tour starts approximately halfway through the video, and the actual slum tour is not filmed due to slum tour rules. The video finishes with the vlogger discussing her partaking in a slum tour directly to the camera, and she also advertises the agency in which she partook the experience through, but explains she is not affiliated with them directly. The tourist seems aware of the moral debate into slum tourism, but continues nonetheless, which is almost worse on the spectrum of debating slum tourism. This could be perceived by some as using awareness to avoid the guilt and backlash. This video presents leisure tourism with a low-level activist mindset.

Figure 3d The vlogger travels on trains around the city, showing these journeys to upbeat music to separate her footage (1.35)

YEAR PUBLISHED: 2018 CREATOR HANDLE: Jacob Laukaitus PLOT SUMMARY: The second video follows tourist Jacob Laukaitus living in the slum for 5 days with a host family. This is not an organised slum tour but follows his exploration of different parts Dharavi, and different slums in Mumbai, mainly remaining in Dharavi. He stays with a friend and cooks, cleans, works and lives as though he lives in the slum. His friend in the slum is named throughout and is key in the video. He explores the swamplands, homes, streets, trade centres, and recycling areas of Dharavi. Throughout the video there are segments which focus on presenting the history, social development and modern context in a receivable format alongside accompanying images and voiceover.

5,613,444

Figure 3e The vlogger shows busy stations, Dadar Flower market and Dhobi Ghat (3.03)

Figure 3f The vlogger speaks to the camera before the slum tour, advertising the travel agency she used with speech onscreen text (4.00)

Figure 4a A timeline to illustrate the content of video 2 Figure 3a A timeline to illustrate the content of video 1

Figure 3h The vlogger ends the video by speaking directly to the camera about her reasons for completing a slum tour and advertises the individual tour directly (6.56)

Figure 3g This is the only shot of the tour in the video. It is an overhead shot of the semi-permanent housing in Dharavi from an elevated position (5.14) Figure 3b The video title and thumbnail as they appear on YouTube search

27 110

Figure 4b The video title and thumbnail as they appear on YouTube search

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VIDEO 3 Details, Plot and Video Stills TITLE: Dharavi slum tour, Mumbai. Slumdog Millionaire is a little different in reality VIEWS: 49,032 views, Figure 4c The vlogger gives a personal introduction to the video explaining his reasons for visiting Dharavi (0.00)

Figure 4d A montage of shots of Dharavi illustrates the introduction (0.26)

Figure 4k The vlogger spends a lot of time with his friend, Praveen, and explores the swampland of Dharavi (6.57)

Figure 4l Footage of the swampland against the backdrop of urban Mumbai (9.20)

Figure 4e He then explains the history and development of the slym, alongside a slideshow of images (1.24)

Figure 4f The vlogger points out the toilet block for an entire apartment block to use (3.11)

Figure 4m The vlogger and Praveen dance to music (13.01)

Figure 4n The vlogger gets a clean shave for 30 US cents on the outskirts of Dharavi (12.54)

YEAR PUBLISHED: 2018 CREATOR HANDLE: Frederik Claessens PLOT SUMMARY: Video 3 follows tourist Frederik Claessens on a guided tour through Dharavi. There are mainly traditional leisure touristic traits within this video, and centres completely around the events of a slum tour. The video begins with a shot of a tour guide with music overlaid, and follows the traditional route which has become familiar in slum tourist videos. Text appears on screen to describe the lifestyle and culture of residents alongside artistic shots of these elements in practise. The video is aesthetically interesting to watch, and the inclusion of the text could persuade a viewer that it is educational. The video ends with the tour guide speaking directly to the camera. The sound here is cut, but text on screen captions the guide providing links to tour guide company.

Figure 5c The vlogger begins the video with a panning show including the tour guide (0.26)

Figure 5d This is a more general panning shot taken from a viewing station (0.36)

Figure 5e Footage of the main street in Dharavi (1.05)

Figure 5f Footage of cramped alleyways, showing one of the other members of the tour entering a building (1.07)

Figure 5g A textual signifier sharing information about Dharavi (1.17)

Figure 5h A textual signifier sharing information about Dharavi (1.18)

Figure 5i The Vlogger shows a stray cat (1.48)

Figure 5j Local craft and trade within Dharavi (2.00)

Figure 5a A timeline to illustrate the content of video 3

Figure 4h The vlogger partakes with a festival performance on stage (4.20)

Figure 4g The vlogger eats food at a festival in Dharavi, engaging with and invited to enjoy the cultural celebration (3.51)

Figure 4p The vlogger shows footage of him high-fiving and shaking hands with residents (14.38)

Figure 4o The vlogger and one of his friends, in a montage of his experience at the end of the video (14.32)

Figure 5b The video title and thumbnail as they appear on YouTube search

Figure 4j The vlogger is staying in a host’s home in Dharavi, and gets ready for bed (5.36)

Figure 4i The vlogger eats food at a festival in Dharavi, engaging with and invited to enjoy the cultural celebration (5.26)

Figure 4q He mentions that hard work still has to be done to reduce disease, highlighting livestock in the streets (14.54)

Figure 4r The last few minutes of the video features a personal reflection and continues the montage of people who have been important along his stay in Dharavi (13.02)

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32 113

LIST OF FIGURES Chapter 1

Figure 5l A artful shot of a pottery factory and a stray dog (5.30)

Figure 5k The vlogger films residents of the slum in a street on their way around (3.03)

Figure 1a Pottery In The Dharavi Slum In Mumbai, India, 2010 <https://www.alamy.com/stock-photo-pottery-in-the-dharavislum-in-mumbai-india-51959034.html> [Accessed 15 January 2021]

Figure 1f Author’s own, traced from: The political map of Mumbai city shows it as a whole. https://sites.google.com/a/kubickova.net/mumbaidharavi/mumbai---gallery [Accessed on 12/12/2020]

Figure 1b Manalam, Shekar, Bird's-Eye View Of Dharavi, Mumbai, 2015 <http://www.tcj.com/dharavi-comics-epidemican-interview-with-chaitanya-modak/> [Accessed 15 January 2021]

Figure 1g Author’s own, traced from: The close map of Dharavi city. https://sites.google.com/a/kubickova.net/mumbaidharavi/mumbai---gallery [Accessed on 12/12/2020]

Figure 5n Annotated shot of the tour guide presenting the pottery industry (5.24)

1d Dahla, Hasiru, Waiting To Go For Recycling, 2012 <https://wastenarratives.com/2015/10/27/glance-of-recyclingin-dharavi/> [Accessed 17 January 2021]

Figure 5o Closing scene – The tour guide advertises his tour agency for 40 seconds (6.19)

Figure 5p Closing scene – The tour guide advertises his tour agency for 40 seconds (6.23)

Figures 2 c, d, k, l, o

Figures 2b, f, h.

F, Claessens. (2018) Dharavi slum tour, Mumbai. Slumdog Millionaire is a little different in reality Available at: https://www.youtube.com/watch?v=jr6GTBXeZz8 Accessed on: 29/11/2020

E, Quinn. (2018) INDIA’S BIGGEST SLUM- Mumbai City Tour Vlog Available at: https://www.youtube.com/watch?v=Tz6rGPteqy4 Accessed on: 23/10/2020

Laukaitus. (2018) My Daily Life in the SLUMS OF MUMBAI (Life-Changing 5 days) Available at:

Figures 4b-r 33

Ma, Bob. Trip into the Controversy: A Study of Slum Tourism Travel Motivations. Penn Humanities forum on Connections. (2009-2010) Mahmud, Tayyab. Slums, Slumdogs, and Resistance. American Journal of Gender, Social Policy and Law (2010),

Available at: https://www.youtube.com/watch?v=jr6GTBXeZ z8 Accessed on: 29/11/2020

Heather Mair. Meghan Muldoon. Blogging Slum Tourism: A Critical Discourse Analysis of Travel Blogs. Tourism Analysis. 21(5) (2016) Pp. 462-479

Farooqui, Afar. Urban Development in a Colonial Situation: Early Nineteenth Century Bombay. Economic and Political Weekly, (1996) pp. 2746-2759.

Mendes, A. Cristina. 'Showcasing India Unshining: Film Tourism in Danny Boyle's Slumdog Millionaire. Taylor and Francis Online, 24(4) (2010) pp. 471-479

Frenze, Fabian. Beyond ‘Othering’: The Political Roots Of Slum Tourism. Poverty, Power and Ethics in Global Slum Tourism (1996) pp. 1-14

Figure 5a Author’s own.

Figure 4a Author’s own.

Laukaitus, Jacob. (Video Source) My Daily Life in the SLUMS OF MUMBAI (Life-Changing 5 days). (Mumbai: J Laukaitus. 2018, April 23)

Claessens, Frederick. (Video source) Dharavi slum tour, Mumbai, Slumdog Millionaire is a little different in reality. (Mumbai: F Claessens, 2018, April 22.)

https://www.youtube.com/watch?v=fU8AnqSOih0&t =44s Accessed on: 21/12/2020

E, Quinn. (2018) INDIA’S BIGGEST SLUM- Mumbai City Tour Vlog Available at: https://www.youtube.com/watch?v=Tz6rGPteqy4 Accessed on: 23/10/2020

Laigsingh, Sita. Slum Tourism In Dharavi A Multimodal Analysis On The Online Representation Of Slum Tours In Dharavi’. (Nijmegen: Radboud University Press, 2019) Pp.1-38.

Cejas, Monica. Tourism in Shantytowns and Slums: A New "Contact Zone" in the Era of Globalization. (2006) Pp. 224-227.

J, Laukaitus. (2018) My Daily Life in the SLUMS OF MUMBAI (Life-Changing 5 days) Available at:

Figures 3c-j

Urry, John. Editor Jonas Larsen. The Tourist Gaze 3.0. (New York: SAGE Publications, 2011) Ch 1 and 7 (page no. unknown)

Bhabha, Homi. K. (1994). The Location of Culture. (New York and London: Routledge, 1994)

Appendix A Figure 3a Author’s own.

Higgins-Desbiolles, Freya. In the Eye of the Beholder? Tourism and the Activist Academic. Tourism and Visual Culture, Volume 1 - Theories and Concepts 1 . (2010). Pp. 98-105.

Bernarz, Christine, Inside The Controversial World Of Slum Tourism, National Geographic, (National Geographic, 2018), pp. 1-4 <https://www.nationalgeographic.com/travel/fe atures/photography/history-controversy-debateslum-tourism/> [Accessed 18 January 2021]

https://www.youtube.com/watch?v=fU8AnqSOih0&t =44s Accessed on: 21/12/2020

Figures g, i, j, m, ,

Hall, Stuart. Representation: Cultural Representations and Signifying Practices. (London: SAGE Publications, 1997)

Aspengren, Henrik. C. Sociological knowledge and colonial power in Bombay around the First World War. The British Journal for the History of Science, 44(4). (2011). Pp. 543-548

Chapter 4 Figure’s 2a, e Author’s Own

Hall, Stuart. Encoding and decoding in television discourse. (Leicester: University of Birmingham Press, 1973) Pp. 1-12.

Aquino, Jessica. The psychosocial impact of volunteer tourism in the favelas of Rio de Janeiro. (LSE Publishing: 2014)

Figures I, j, k, l, m Bendiksen, Jonas, Dharavi Dreams Mumbai's Shadow City, 2018 <https://www.visapourlimage.com/en/festival/exhibitions/ les-reves-de-dharavi-dans-l-ombre-de-mumbai> [Accessed 16 January 2021]

Figure 1e India Part 2<https://thevilemint.com/2014/01/31/india-part-2-themountains/_mg_7908-copy/> [Accessed on 18/12/2020]

Concerns among Brazilian and Foreign Potential Tourists. In Ethnic and Minority Cultures as Tourist Attractions (pp. 137-147). Channel View Publications.

Ahmed, Afaf. Post-colonialism Literature the Concept of self and the other. Journal of Language Teaching and Research, (2014) pp. 99-105

Figure 1h Mukheerjeee, Indranil, Residents Wade In A Flooded Street After Heavy Monsoon Rains In Mumbai On August 4, 2019., 2015 <https://www.npr.org/sections/goatsandsoda/2020/06/21/88080 2514/covid-19-is-mucking-up-mumbais-plans-to-prepare-formonsoon-season?t=1611712673133> [Accessed 14 January 2021]

Figure 1c Smith, Keith J, One Million People Live In The 240 Hectare Dharavi Slum, Mumbai India, 2014 <https://www.alamy.com/one-million-people-live-in-the-240hectare-dharavi-slum-mumbai-india-image69413601.html?pv [Accessed 14 January 2021]

Figure 5m Annotated shot of a recycling shop (5.59)

Bibliography

Available at: https://www.youtube.com/watch?v=jr6GTBXeZz8 Accessed on: 29/11/2020

Figures 5b-p

Frenzel, Fabian. Slumming It : The Tourist Valorization of Urban Poverty. (New York: Zed Books, 2014)

F, Claessens. (2018) Dharavi slum tour, Mumbai. Slumdog Millionaire is a little different in reality

Friere-Medeiros, B. (2015). Would You Be a Favela Tourist? Confronting Expectations and Moral

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Odede, Kennedy. Slumdog Tourism The New York Times. (New York City: The New York Times, 2010).

36 115

Urry, John. Tourism, culture and social inequality. In The Sociology of Tourism: Theoretical and Empirical Investigations. (New York: Routledge, 1996) Pp. 115-133

Prakash, Gyan. After Colonialism: Imperial Histories and Postcolonial Displacements. (New Jersey: Princeton University Press, 1995) Pratt, Mary. L. Arts of the Contact Zone. Profession, 3340. (New York: 1991)

Weinstein, Liza. The Durable Slum: Dharavi and the Right to Stay Put in Globalizing Mumbai. (Minnesota: Minnesota University Press, 2014)

Pratt, Mary. L. Imperial Eyes: Travel Writing and Transculturation. 2nd edn (New York: Routledge.1992) Quinn, Ellie. (Video source). India's Biggest Slum Mumbai City Tour Vlog and Slum Tour Thoughts. (Mumbai: E Quinn, 2018, October 8) Available at: https://www.youtube.com/watch?v=Tz6rGPteqy 4 Accessed on: 23/10/2020 Rhodes, Rudra. Reality Tours and Travel: A Community Perception of Tourism in Dhavari. Mumbai, India: Reality Tours and Travel. (Mumbai: 2017) Rolfes, Manfred. Poverty Tourism: Theoretical Reflections and Empirical Findings Regarding an Extraordinary Form of Tourism. GeoJournal, 75(5), (2009) Pp. 421-22. Sanyal, Gareth. A. Spectacle and Suffering: The Mumbai Slum as Worlded Space. Geoforum (2018) Pp. 1-9. So-Min Cheong, Mi. POWER AND TOURISM: A foucauldian observation. Annals of Tourism Research, 27(2), (2000) Pp. 371- 390. Taneja, Maanas. Dharavi The Story of Asia's Second Largest Slum. (2019) Retrieved from https://storymaps.arcgis.com/stories/49fa85743 7a9411a98e38e1c24f27352 Accessed on 05/01/2021 Tzanelli, Rodanthi. Slum tourism: A review of State-ofthe-Art Scholarship’ Tourism Culture & Communication. 18(2) . (2018) Pp. 149-145.

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Student Number: 180203710 Word Count: 2185 (not including references, title page, bibliography, captions and quotations):

Part 1: Project Information

Part 2: Brief Proposals KEY

The main goal of this newly-built Creative Community Collective project is to bridge the gap between the commercialised and tourist-targeted Salt’s Mill Gallery Renovation and the smaller art displays by the local community forced to display artwork in their living rooms during festival weekends due to lack of affordable, accessible and community-based creative spaces. The proposed project will be a community arts collective; a thriving hub of workspaces, meeting places, teaching rooms and unique exhibition spaces. The client is an arts-focused branch of Bradford City Council, Saltaire Inspired, an organisation which recieves funding, interaction and support from various benefactors; Bradford District Council, Arts Council England, George Moore Foundation, Shipley College and Bingley Gallery (Saltaire Inspired, 2019).

Second Floor - Open Plan Work Space - 600sqm Approx, 1

1 2 3 4 5 6 7 8 9 10 11

3 9 7

8 10

LEVEL 2

First Floor - Classrooms and Residency - 700 sqm Approx.

S A LT ’ S M I L L A R T G A L L E R Y R E N O VAT I O N 27

SCHOOLS

OPPOSITE THE SITE BEYOND AN ACTIVE TRAINLINE, RENOVATED IN 1980

TWO SCHOOLS NEARBY, ONE HAS DIRECT AC-

12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27

CESS TO SITE

21 20

LEVEL 1

Baker St

2.1 Procurement Strategy The client’s key priorities are design quality, cost and project restraints. The design quality is important in ensuring that an inkeeping, rectilinear building within regular housing fulfills an imaginative, creative and unique interior to reflect the inspiring community of artists. Therefore, a traditional procurement method is best-suited. A proposal in Saltaire must be well-considered in respect to the conservation planning guidelines, therefore allowing contractors to be involved earlier on could cause rash decisions made based on cost and time, rather than reflecting Saltaire’s requirements as a model village. Lack of creative decisions based on community involvement could hinder the building’s individuality. There is heavy site involvements with roads, pavements, close-by residential housing and a school. Hence, a client team must be highly involved to inform engaged decisions relevant to the community, locality, history and story-telling nature of Saltaire. The client team will work in conjunction with a design team of architects and consultants. Once a design is crafted, tenders will be submitted by various contractors selected by the client and the best one is selected as a compromise between buildability and creativity (Scott, B., 2020.). The use of structural CLT walls aligns with a traditional procurement route, as the ‘product’s general fabrication precision gives builders confidence in planned projects’ allowing ‘other trades to confidently use prefabricated components.’ (Hanes, C., 2019.) The architects’ early engagement with engineers and specialists means that the wall system can be structurally and aesthetically envisaged well before contractor involvement, and fully realised at RIBA Stage 4. Revision during construction (perhaps in a Design and Build Method) can cause delays by pieces not fitting, elements having to be remade and design intentions compromised (Hanes, C., 2019.). Client

Ground Floor Exhibition Spaces and Playground - 800sqm Approx.

PLAYGROUND COMMUNITY

FOR AND

SCHOOL

Baker St

Back Roa

Caroline St

TERRACED HOUSING WELL-PRESERVED AND PROTECTED AS HOUSING USED BY MILL WORKERS, NOW HOME TO OPEN

43 44 45

HOUSE SHOWS

Rhodes St

Figure 1 Captioned Site Plan

RIBA Stage 1

2.2 Other Consultants

The site is a run-down playground for schools opposite and has historically been left empty as recreational space, surrounded by Grade 1 listed residential housing. (UNESCO Group, 2012) To the north is a railway track and Salt’s Mill, a Grade 11 listed building. The site is a 200m walk from Victoria Street, the spine of Saltaire with important preserved buildings and local shops. The aim of my project is to draw local artists, community members and tourists to the site, using a combination of comtemporary materials to make references to the terraced housing and surrounding roofscape, but adding intrigue to the site. Fig 3 shows a development sketch with two glowing polycarbonate ‘ends’ to the building which house the cafe, arts playground and main exhibition space joined together by a narrow canyoning atrium crafted from CLT, creating a journey of varying volumes, views and atmospheres through the centre of the lively arts hub. Fig 5 shows this atrium and the staggered ramp taking the user through the spaces where they end up in a cafe framing the view of the mill. An exterio feature of the West-facing facade is the large doors which will open to block traffic, using this area of the site to host events but ensuring the road can be functional day-to-day.

+0.4m

+0.5m

+0.6m

GROUND FLOOR (0)

Basement Level - Workshop - Approx 250 sqm

BASEMENT (-1)

46 47 48 49 50 51 52 53 54

Figure 4 Current Floorplans (In Progress)

Creative Community Collective Studio 6 - Curating the City Saltaire, West Yorkshire Neil Burford, Jianfei Zhu and Andrew Ballantyne

Client Team Community-Based Interaction/Organised Meetings

31 32 33 34 35 36 37 38 39 40 41 42

SITE

Figure 2 Site Photo Figure 2 Site Photo Figure 3Sketch Rough Concept Sketch Figure 3 Rough Concept

118

Figure 5 3D model of narrow atrium (In Progress)

Tutorial Area Lockerroom Sinks and Material Storage Cupboards/Shelving Toilets Workshop Office Working Booths with Machinery Toilets Lumber Storage (Up to Reception Waiting Area) (Up to Loading Space)

Total Area: 1917sqm approx.

Design Team

Tenders submitted once design is complete

Community Representatives

Architects

Saltaire Arts (Client) Representatives

Selected Consultants (Engineers, FF&E Consultant

Client Advisor

Surveyors, Urban Planner

Contractors RIBA Stage 4

RIBA Stage 2

Professional Engagements

ARC3014: Professional Practice and Management Coursework Report

SubContractors

Suppliers

Figure 6 Diagram showing traditional procurement allows engagement with the community and time for design evolution and responsiveness before heavy construction involvement

Structural Engineer - I have proposed a system of glulam beams and CLT panelling holding up the elevated polycarbonate cafe at the north-facing side, and three sloped voids as light cannons through the central pathway of the building. I would consult a structural engineer to ensure these sloped void spaces would not collapse and the weight of both components would be distributed evenly through a glulam and CLT structure. I would propose that technical junctions where possible are exposed on the interior, so these need to be well-formed and visualised before construction. Independent Furniture Fixtures & Equipment (FF&E) Consultant - The exposed CLT interior forms spaces which are unique, adaptable and inspiring to work in. An FF&E consultant would create specialised furniture, such as built-in sloped shelving/ seating against the open void spaces on floor 2 and engaging play-furniture on the ground floor arts-playground. These could be pre-fabricated and erected in the workshop, and engagement with this consultant could be continued during the use of the building as equipment in the playground changes bianually. The specialist would also be of assistance with the exposed glulam beam junctions and fixtures such as plug sockets and lights through CLT panelling.

Figure 7 Early SketchUp Visualisations of Integrated Shelving and Key Exposed Beam Junctions and

119

2.3 Keeping to Budget

2.5 CDM Regulations

Part 3.0 Implications of Proposal

List of Figures & Bibliography

During RIBA Stage 1, a budget will be decided during the ‘Client Requirements’ process when a client team has been clarified (RIBA Board, 2020). Despite the contractors not being involved until Stage 4 under a traditional procurement route, the architects and designers will be ‘budget-minded’ (ref) with this residential scale, community project. The slightly longer design process with engagement from Saltaire’s community will ensure it does not exceed proposed budgets. Many of the village’s local businesses are benefactors of Saltaire Inspired, so those involved will have a fair on their money being well spent on a promising and engaging project. The client team will include a cost consultant who attnds community meetings to ensure ideas are reasonable and within council budgets.

To ensure good communication, a principle designer and a principle contractor will be appointed as per guidelines for larger projects (HSE, 2015). According to CDM Regulations Section 9 Duties of Designers, we must take every care to ensure there is minimised risk to forseeable health and safety in the design and construction of projects to any person:

3.1 Implications to Clients, Users and Wider Society

List of Figures Figure 1 Captioned Site Plan (Author’s Own)

Figure 7 3d Visualisations of Details (Author’s Own)

Figure 2 Site Photo (Author’s Own)

Figure 8 Development Plan (Author’s Own)

Figure 3 Rough Concept Sketch (Author’s Own)

Figure 9 Concept Sketch Zoomed In (Author’s Own)

Figure 4 Floorplans (In Progress) (Author’s Own)

Figure 10 Sketch Playground (Author’s Own)

The use of CLT panels and glulam beams for the main structure is cheaper than steel or concrete for this project scale as it requires smaller foundations. The design of prefabricated CLT panels early on in the design process in conjunction with engineers will mean shorter construction time and less manual labour, therefore, less spending.

The two main spaces where an accident is likely to occur is the basement-level workshop and the ground-level playground. Here, I will briefly analyse some design methods of reducing risk to the ‘users’ category in the arts-playground particularly. The reception area views the playground from two sides, with large openings above the desks. Two first-aid trained staff members would be posted here as an information point. The rear office would be fitted with first-aid equipment as a quiet room which an adult or child in the playground suffering a minor injury could be treated. The supervision gives parents or guardians peace of mind if they wanted to explore the galleries and cafe, leaving children behind, with opportunity from the cafe to utilise viewing points to check on children.

The client will benefit from the traditional procurement route through strong early engagement from the community the building will serve. Traditional procurement allows a bespoke design, not rushed by construction demands (ICE,2018). In a unique World Heritage Site, rushing a project under strict time contraints would not be suitable and could cause negative reactions. Where the time spent on designing and consulting would be increased, this can be offset with decreased construction time with pre-fabricated CLT walls under early consultation (Hanes, C. 2019) with structural engineer and FF&E specialist. A clear advantage for the client is design clarity before construction, giving them the control to change or alter aspects, causing less disputes between client and architect further down the line over Saltaire’s specific image.

Figure 5 3d Visualisation of Interior (Author’s Own)

Figure 11 Sketch Atria (Author’s Own)

2.4 Planning Considerations The site lies opposite Salt’s Mill Art Gallery, a commercialised venue for tourists to view well-known artists’ work. My project acts as a ‘sister’ (McElgunn, 2018) building to this in terms of planning, an act of progressive conservation to draw footfall and circulation to the less-explored village itself, providing creative support to residential housing and surrounding schools. In the Saltaire Development Plan (SDP) in 2014, an initiative towards a community arts building on Caroline Street was identified (fig 8) as an accelerated project concept, given a budget of 30m and until 2030 to come into fruition (Saltaire Steering Group, 2014) From a detailed reading of planning concerns, the arts is a growing area of development supported by planners and the council. With a confined site boxed in by terraced housing with required access, it was essential to come up with flexible ways to utilise space. After deliberation on completely pedestrianising Baker Street or the Back Road, it became apparent that either decision would block off essential access; vehicular access to the school drop-off and car park, or access for waste-disposal trucks, limiting the functionality of the well-designed 18th century housing. Building here would compromise several Protected Views under the SDP of the mill and countryside. To provide an interactive facade within the site, I decided on a polycarbonate/steelframed, 3 storey, flexible door system which opens out from the west-facing facade. Paving would be installed which cars can drive over day-to-day, but on events weekends the doors can open to block traffic, creating a temporary outdoor platform for exhibitions, cinema screenings, dances and famous Saltaire street parties.

‘(a) carrying out or liable to be affected by construction work; (b) maintaining or cleaning a structure; or (c) using a structure designed as a workplace’ (HSE, 2015)

The building will benefit the community and tourist buzz surrounding Saltaire creating an urban meeting place for artists, residents, tourists and the youth to engage with the already long-established artistic vision of Saltaire. The 2014 SDP is highly focused on ensuring future projects do not ‘ignore the growing arts scene’ (Saltaire Steering Group, 2014). It will enhance the area by transforming an existing playground into a creative and interactive centre, putting an area ‘neglected by planning since the 1800’s’ (WHS Saltaire Representatives, 2012) onto the map. It will offer non-institutionalised facilities for anyone to use from children on educational trips, artists residing to teaching to the elderly at night classes, as this sort of non-subscription facilities does not exist in Saltaire at the moment.

The arts-playground is open to the newly paved area of the site where cars travel, and to reduce risk hedges would be planted to absorb emissions to ensure better pollution levels. Whilst not a busy street, we would extend the 5mph speed limit around the school to cover my project’s surrounding area. Glulam columns would also create a playground barrier preventing traffic from entering and encouraging users to stay off the pavements next to the road and keep safely within the site itself.

The building has three central ‘chimney’ voids topped with south-facing roof lights which naturally light and ventilate the building, with bespoke shutters opened and closed by the users depending on desired light, temperature or privacy. This causes less dependancy on artificial lighting and heating, descreasing reliance on non-renewable energy sources (Abtahi, E., 2015). The polycarbonate lets in diffused light during the day, saving the high cost of artificially lighting the exhibition spaces and cafe all day. This will improve the reputation of architects as sustainability minded, where sometimes ‘cost and lack of client demand prevent greater sustainability in design’, but that ‘marketing potential of improved sustainablity’ is desirable (Murtagh, N., Roberts, A. and Hind, R., 2016.). Figure 10 A sketch of the arts-playground

During construction, the car park of a garage 2-minutes from the site will house temporary offices, materials and machinery to avoid blocking residential roads and schools next to the site for long periods. This would prevent complaints to the council from locals, bettering the contractor’s reputation. Also, using pre-fabricated CLT panels reduces workforce on-site and requires less heavy-duty drilling and cutting machinery (Haspod.com. 2014).

2.6 Office Procedures

Figure 9 A Conceptual Sketch of the Large Doors Opening up to involve a larger site area temporarily

Abtahi, E., 2015. The Role of Modern Atriums in a Framework of Sustainable Architecture. Journal of Applied Environmental and Biological Sciences, 5(12), pp.521-23. Designingbuildings.co.uk. 2018. Traditional contract - pros and cons. [online] Available at: <https://www.designingbuildings. co.uk/wiki/Traditional_contract_-_pros_and_cons> [Accessed 16 March 2021]. Hanes, C., 2019. Benefits and risks of building with Cross Laminated Timber. [online] Axaxl.com. Available at: <https://axaxl. com/fast-fast-forward/articles/benefits-and-risks-of-building-with-cross-laminated-timber> [Accessed 19 March 2021]. Haspod.com. 2014. Construction Noise And Working Hours Near Residential Areas. [online] Available at: <https://www. haspod.com/blog/construction/construction-noise-working-hours> [Accessed 12 March 2021]. ICE, I., 2021. Search. [online] Designingbuildings.co.uk. Available at: <https://www.designingbuildings.co.uk/w/index.php?title=Special%3ASearch&search=building+safety+design&title=Special%3ASearch&redirs=1> [Accessed 16 March 2021]. McElgunn, J. SPAB Conference Report - New Design for Old Buildings - Contemporary Architecture in Historic Contexts. (SPAB, London: 2018). Members of the Saltaire Steering Group. Saltaire World Heritage Site Management Plan. Bradford: Board for United Nations Scientific, Educational and Cultural Education. (2014)

I propose a Bradford-based architecture firm, a 7-minute drive from Saltaire but with more connections and office availability than the village. The office will consist of 8 employees; starting with an evenly split client team and design team, but as the design progresses and the process becomes less ‘descriptive’ and more ‘prescriptive’ (RIBA Board, 2020), employees will transfer to the design team. The client team will communicate with the client more, interacting and reporting with Saltaire’s vivid community and events calendar, attending council and community meetings and community. This will ensure that the project is relevent, useful and fulfilling for those using it day-to-day, and the client team will be responsible for crafting a brief. The design team will focus on using the collected information to generate a responsive design, consisting of a structural engineer, architects and assistants. The design team will consult with quantity surveyors, specialist consultants and urban planners.

Figure 8 A Development Plan Visualising Key Restrictions, Access Points and Views on and Around the Site

2015. A guide to managing health and safety in construction. 3rd ed. Sudbury: HSE Books.

3.2 Implications of Reputation of Architects and Wider Construction Industry Saltaire’s Creative Community Collective will transform a rarely used playground from an unfulfilled and uninspiring space into a thriving hub of a misrepresented artists. The creative platform will allow freedom in exhibitions, not limitting artwork to tradition. The biannual community project competition of play equipment which can be installed on site will offer creative fulfillment to a bleak area. This will demonstrate how a heritage site can be handled sensitively to better represent its current users, rather than a ‘Disneyland of times passed’ (McElgunn, J. 2014) giving the practice a progressive minded reputation towards conservation. The close relationship between the client and practice will ensure there are no unwanted surprises, and that the project is suitable and well-recieved.

Gluman columns and cross bracing decorative elements to prevent impact from cars

Bibliography

2020. RIBA Plan of Work. 4th ed. London: RIBA Pub.

Reception/Office space kitted with First Aid and with visibility over the whole playground

Hedges to absorb impact from vehicle collisions and fumes

Figure 6 Procurement Diagram (Author’s Own)

Murtagh, N., Roberts, A. and Hind, R., 2016. The role of environmental sustainability in marketing of small architectural design practices. Construction Management and Economics, 34(4-5), pp.258-271.

Slanted Rooflights at the top of voids

Norouzi, N., Shabak, M., Embi, M. and Khan, T., 2015. The Architect, the Client and Effective Communication in Architectural Design Practice. Procedia - Social and Behavioral Sciences, 172, pp.635-642.

Regular meetings between the client and design teams are important, ensuring the design is reponding to the precise needs and desires and that structural or schematic concerns are resolved before contractors are involved to avoid unneccessary revisions and expense (Norouzi, N. 2015). During early design phases, members of Saltaire arts team and the community will be invited by staff for creative input, discussing how the proposals respond to planning policies and share their needs as future users of the building, ‘providing a scoailly orientated collaborative environment’ (Khan, T. 2015). To inspire flexibility within the project, sketching, painting and graphic design is suggested to share ideas so as not to limit architectural representation forms.

Saltaire Inspired Ltd.. Saltaire Open House Trail 2019 [Available at] http://www.saltaireinspired.org.uk/saltaire-arts-trail/ (Saltaire Inspired, Shipley. 2019)

Shutter system on openings to ensure flexibility

120

Figure 11 Sketch of light cannons as sustainability device

Scott, B., 2020. Traditional Procurement vs Design & Build: Which One is Better? | Urbanist Architecture - London Architects. [online] Urbanist Architecture. Available at: <https://urbanistarchitecture.co.uk/traditional-vs-design-and-build/> [Accessed 17 March 2021].

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KEY

SECTION 1 - PROJECT DECLARATION

Second Floor - Open Plan Work Space - 600sqm Approx, 1

Part 1: Project Information

1 2 3 4 5 6 7 8 9 10 11

3 9

The main goal of this project is to bridge the gap between the commsercialised and tourist-aimed display of art in Saltaire’s Mill Renovation Gallery and the smaller displays of art by artists in the local community, forced to display artwork in thtier own living rooms during summer festival weekends due to a lack of affordable, accessible community-based creative spaces. The proposed project will be a community arts collective; a thriving hub of creative workspaces, meeting places, teaching rooms and unique exhibition spaces.

SECTION 1 - PROJECT DECLARATION

pac io S

LEVEL 2

First Floor - Classrooms and Residency - 700 sqm Approx.

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25 21 20

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Basement Level - Workshop - Approx 250 sqm

CREATIVE COMMUNITY COLLECTIVE SALTAIRE, WEST YORKSHIRE, UK

47 50

ROSIE JOYCE 48

CURATING THE CITY - NEIL BURFORD, JIANFEI ZHU AND ANDREW BALLANTYNE

BASEMENT (-1)

APRIL 2021

Geometry Unit to Whole Plan to Section Hierarchy Section for natural light

SECTION 1 - PROJECT DECLARATION

52 54

FIGURE 7: Key section through building

CONTENTS

1:20 Technical Section and Part-Elevation Study

Tutorial Area Lockerroom 1:20 Technical Section Sinks and Material Storage Cupboards/Shelving Rosie Joyce Toilets Workshop Office 180203710 Working Booths with Machinery ARC3013 Integrated Technology Toilets Lumber Storage (Up to Reception Waiting Area) (Up to Loading Space)

Total Area: 1917sqm approx.

FIGURE 8: Floor Plans

Geometry Unit to Whole Plan to Section Hierarchy Section for natural light

SECTION 1 - PROJECT DECLARATION

Symmetry

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id Res

ace

FIGURE 6: Project vision

GROUND FLOOR (0)

enc

ist Art

t Sp igh

32 Symmetry

ARCHITECTURAL TECHNOLOGY 3 - INTEGRATED CONSTRUCTION

to C

Ram

e Caf

Ground Floor Exhibition Spaces and Playground 800sqm Approx.

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FIGURE 1 Parti Diagram - Section FIGURE 2 Parti Diagram - Plan

m roo

ass

Lob

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-1

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LEVEL 1

Geometry Unit to Whole Plan to Section Hierarchy Section for natural light

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Rosie Joyce 18020310 Curating the City ARC3013 : Integrated Technology

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Over the course of designing the building, I realised that the exterior would become relatively normal in places and regular to represent the solidity and conformity of Saltaire village, but that that the interior of the building would feature many spaces which excite and engage with their tectonic feel. A significant part of the design is the three 'chimney' elements of the building which act as light cannons and allow the user to freely see the stages of art production; from the workshop, to talk spaces and interactive exhibits. These void spaces run throughout the central element of my building, explored via a winding ramp which brings the user from the playground, to the exhibition space, and back around to a cafe which overlooks the historically important mill. A key conundrum in my design process was the roads around the site, tightly locking it in, and I decided to pave over one of the roads and allow access temporarily for vehicles, but engage two oversized doors to momentarily block of traffic when events such as outdoor cinemas or street parties can happen, allowing flexibility to an otherwise very tightly constrained site and engaging the surrounding streets. The feature door will be a three storey high polycarbonate/steel hybrid, marking the two polycarbonate 'ends' of the building as important and noticeable elements in the street, and providing a noticeable and engaging tectonic experience for visitors.

LEGEND

1 Wooden Shingle 2 Larch Batton 3 Watertight Membrane 4 120 mm Recycled Wood Fibre Insulation Board 5 190mm Cross-Laminated Timber Panel 6 Aluminium Flashing 7 Coloured Zinc Roof Tiles 8 Larch Roof Support Beams 9 Exposed Reinforced Rothoblaas Angle Bracket 10 Light Steel Guttering Pipe 11 Timber Support Blocking 12 30mm Plywood Support Layer 13 190mm Cross-Laminated Timber Panel 14 Glulam Beam (Behind Section Cut)

FIGURE 8: Key section through building

CLT SCULPTURAL CHIMMNEY

SECTION 2 - 1:20 SECTION AND PART ELEVATION STUDY FLUE CHIMMNEY EXIT POINT

15 Double-Glazing 16 Wooden Window Frame Coated with Coloured Aluminium 17 Wooden Support Batton 18 Zinc Angled Window Lintel 19 Aluminium Flashing 20 Wooden Shingle 21 Wooden Batton 22 Waterproof Membrane 23 120 mm Recycled Wood Fibre Insulation Board 24 190mm Cross-Laminated Timber Panel With Window Precut

1 2 3 4 5

SECTION ARRANGEMENT 1 Chimney Structure 2 Protected Flue Chimmney From Biomass boiler 3 Art Consulancy Office 4 Artist Residency Living Room 5 Exhibition Room/ Talk Space 6 Ramped Access to Main Exhibition Space 7 Ramp to Cafe 8 Main Large-Scale Exhibition Space 9 Biomass Boiler Unit 10 Entrance to Artist Residency

6 7 8

9 10 11 12 13 14

25 Polished Timber Floor Deck 26 30mm Acoustic Board 27 Breather Membrane 28 Larch Support Beam 29 120 mm Recycled Wood Fibre Insulation Board 30 Underfloor heating pipe 31 Exposed Reinforced Rothoblaas Angle Bracket 32 Wooden Skirting Board

SCHOOLS T WO SCHOOLS NEAR SITE, ONE WITH DIRECT ACCESS TO

FIGURE 9 Parti Diagrams

Symmetry and Balance Symmetry

Symmetry Symmetry

Symmetry

33 Zinc Angled Window Lintel 34 Aluminium Flashing 35 Coloured Zinc Tiles 36 Breather Membrane 37 120 mm Recycled Wood Fibre Insulation Board 38 190mm Cross-Laminated Timber Panel With Window Precut 39 Exposed Reinforced Rothoblaas Angle Bracket 40 Specialised Cross-Laminated Timber Steel Sliding Floor Plate 41 Drainage connected to Water Collection Tank with 5 degree Pitched Slab 42 Concrete Foundation 43 Gravel

Hierarchy

SITE

15 16 17 18 19 20 21 25 26 27 28 29

22 23 24

ART CONSULTANCY OFFICE/MULTIUSE STUDIO

CLT ENCASED FLUR CHIMNEY

SITE PLAYGROUND FOR COMMUNI-

Section 1 - Project Declaration

Circulation to Use

TY AND SCHOOL

Public Circulation

Direct Light

Private Circulation

(Window)

Reflected Light (Through Light Cannon)

Diffused Light

(Through polycarbonate)

ARTIST RESIDENCY LIVING ROOM

Section 2 - 1:20 Technical Section and Part-Elevation Study SALT’S MILL ART GALLERY RENOVATION

Section 4 - Studio Specific Technical Research

ACCESS RAMP THROUGH ATRIUM

OPPOSITE THE SITE BEYOND A N ACTIVE TRAINLINE, RENOVATED IN 1980

Section 3 - Additional Technical Components 3.1 - Sustainability Strategy and Environmental Design 3.2 - Structural Strategy and Construction Sequencing

EXISTING SINCE THE 1890’S AND IS WELL-PRESERVED AND PROTECTED AS HOUSING PREVIOUSLY USED BY SECOND-GENERATION MILL WORKERS, NOW

37 38 39 40

HOME TO OPEN HOUSE SHOWS

FIGURE 3: Key site surroundings

Lift of Figures

EXHIBITION SPACE/TALK ROOM WITH STORAGE FOR FOLDABLE CHAIRS

FIGURE 5: Site circulation

FIGURE 11 Part-Elevation

The site is currently a run-down playground for the school opposite the site, and has historically been left empty as a recreational space, surrounded by local residential housing which is all Grade 1 listed. To the north of the site is a railway track and Salt’s Mill which is Grade 11 listed. The site is a 200m walk from Victoria Street, which is the main street of Saltaire and acts as a spine of the village, key preserved buildings and local shops important here.

PROGRAMME

MASSING

FUNCTIONALITY

FUNCTION OF THE ARTS COLLECTIVE NOT ‘SUBSERVIENT’ TO THE EXISTING MILL ART GALLERY, BUT A ‘RESPECTFUL YOUNGER SIBLING’

THE PROJECT AS AN URBAN EXTENSION OF THE EXISTING HOUSING

A NARROW CORRIDOR AS CIRCULATION - A CONCEPTUAL REFERENCE TO THE STREET

FIGURE 1- Location of Section 1:20

FIGURE 4: Concept massing diagram

Critical Reflection

33 34 35 36

TERRACED HOUSING

A LAYOUT VERTICALLY INSPIRED BY THE FLOORS IN A HOUSE - DRAWING FROM THE RITUALS OF AN 'OPEN HOUSE'

E AT RE /C RK WO IVE L LAY P IS D

Circulation Circulation toTo Use Use

Bibliography 122

Public Circulation

Private Circulation

Natural Circulation Light to Use

Direct Light Reflected Light Diffused Light Light Cannon) (Through polycarbonate) Public Circulation(ThroughPrivate Circulation (Window)

Public/Private Division

Direct Light (Window)

(Purple=staff, red=private users, green=public)

Reflected Light (Through Light Cannon)

Diffused Light

(Through polycarbonate)

KEY FEATURES OF CHOSEN 1:20 SECTION 1 This chimmey structure provides a larger-appearing circulation space to the spatially limited site, whilst also providing ventilation and atmospheric intrigue to the space. 2 CLT clad flur chimney - This provides a sense of tangilibility for users in learning how the building is powered and atmospherically reminds the user of the chimney found in the living room of terraced houses. 3 The arts-office/studio is accessible from the residence living area and features exposed CLT walls with services runnning in grooves 4 The living room has a shared inbuilt balcony which shades it from the weather and keeps the facade orderly 5 The exhibition room has wooden folding seats stored under the stairs on pegs, for adjustable use when the room becomes a talk space 6&7 The CLT ramp is an accessible and adventurous pathway to the exhibition space and cafe

3 7 6

4 9 5

FIGURE 12 Location of Section

123

nt)

SECTION 2 - 1:20 SECTION AND PART ELEVATION STUDY Second Floor

(Full Section and Part-Elevation submitted at end of document)

1 2 3 4 5

SECTION 2 - 1:20 SECTION AND PART ELEVATION STUDY First Floor

(Full Section and Part-Elevation submitted at end of document)

SECTION 3.1 - SUSTAINABILITY STRATEGY AND ENVIRONMENTAL DESIGN STRUCTURE The building basic structure features void spaces which target sustainability embedded within aethetic and spatial design. The three void spaces create a visual journey, connecting the main access ramp for tourists with openings and platforms which allow them to see the operational qualities of the building; seeing into the basement level workshop, artist studios, exhibition spaces and the artist residency. They also provide ventilation and natural light into these spaces, made flexible with the fitting of bespoke shutters for user-orientated experience. The natural light and heating creates less of a dependence on artificial light and heat, relying less on non-renewable sources of energy.

6 7 8

FIGURE 15 DETAILED SECTION LOCATION Second Floor

9 10 11 12 13 14 A

FIGURE 14 GUTTERING DETAIL

The use of CLT panels and a glulam frame uses a ‘low impact material with a much lower embodied carbon footprint.’ This brings down emissions and time spent on site, also reducing the impact of the consutruction site on the surroundings and environent.

FIGURE 16 Second Floor A

15 16 17 18 19 20 21 25 26 27 28 29

1:20

FIGURE 23 Ventilation Schematic - Cold Air Ventilates Building

FIGURE 23 Ventilation Schematic - Warm Air Escapes to ensure temperature control

22 23 24

1:20

FIGURE 13 Third Floor

FIGURE 17 INTERMEDIATE JUNCTION DETAIL

FIGURE 18 DETAILED SECTION LOCATION First Floor

FIGURE 24 Sunpath Diagram and Impact on Interior Spaces

SECTION 2 - 1:20 SECTION AND PART ELEVATION STUDY Ground Floor

(Full Section and Part-Elevation submitted at end of document)

SECTION 3.1 - SUSTAINABILITY STRATEGY AND ENVIRONMENTAL DESIGN 1:20 PART-ELEVATION STUDY (Full Section and Part-Elevation Located in A1 Sheet)

33 34 35 36 37 38 39 40 41

Integrated Guttering

FIGURE 27 Guttering Detail

WATER COLLECTION B

FIGURE 19 INTERMEDIATE JUNCTION DETAIL

The nature of the pitched roof with three protruding rooflights creates three trenches within the structure which will be used to collect rainwater for flushing toilets, washing clothes and non-drinking water taps in the artist studios and workshop. The water will be collected, run into tanks on the north-west corner of the building where the toilet block. for the studios and cafe are situated on the first and second floor

FIGURE 25 Daytime thermal massing Concrete Deck and Core of Building absorbs heat from sunlight and activity throughout the day

FIGURE 21 DETAILED SECTION LOCATION Ground Floor

FIGURE 26 Nighttime thermal massing Concrete Deck releases heat throughout ground floors and underfloor heating aids with temperature control

Downspout Filter/Filtration Unit Toilet Flushing System

TOILET BLOCK 1 (4x Toilet) Toilet Flushing System

TOILET BLOCK 3 (3x Toilet, 1x Shower) Workshop Sinks x8

Downpipe

Basement Water Storage Tank

FIGURE 20 Ground Floor

1:20

TOILET BLOCK 2 (4x Toilet)

Toilet Flushing System

Heat Exchanger

Biomass Boiler Unit

FIGURE 22 Part- Elevation and Section

124

FIGURE 28 Rainwater levels

FIGURE 29 Rainwater Collection System

RAINWATER DRAIN

125

SECTION 3.1 - SUSTAINABILITY STRATEGY AND ENVIRONMENTAL DESIGN

CONSTRUCTION SEQUENCING Repeated South-Facing CLT Bay Window Structure

HEATING SYSTEM - RENEWABLE ENERGY SOURCE

SECTION 3.3 - FIRE SAFETY

Adjacent to the basement woodwork studio, a bio-mass boiler facility with storage rooms and access via a 3x4m scultpture lift. The flue chimmney of the boiler exits the basement through the main route to the exhibition space and cafe, so users of the building can walk around the chimmney and get learn how the building is powered enironmentally carefully. Pellets fot the boiler will be delivreed biannually and stored adjacent to the atuomatic pellet feeder into the main heat generator. The space beneath the ramped visitor route and alongside the chimmney allow space for services and water tanks for heated water to be pumped around the building.

FIGURE 44 INCIDENT A A Workshop Fire The three ‘chimmney’ elements of the central section of the building have a purpose in ventilation and fire safety. The natural ventilation of the atrium space would allow smoke to be drawn upwards and out of vulnerable areas.

12 13

CLT ‘Chimmney Structure’

14 Flue Chimmney for Biomass Boiler Exits

FIGURE 45 INCIDENT B A Studio Fire The ‘chimney’ elements can act as smoke ventilators, drawing smoke up and out through Automatic Opening Vent systems.

SPACE REQUIRED FOR A BIOMASS BOILER Calculating Annual Power Required to Heat Building: Values North West England Temperature Coefficient = 0.8 Floor Area = 1917sqm Volume (Approx) = 9600 cubic metres Power needed to heat one cubic metre of air = 40 Watts Windows = add 100 Watts External Doors = add 200 Watts Medium Scale Building Coefficient: 1.5

FIGURE 32 CLT PRECUT The CLT panelling will be fabricated and cut offsite, and the windows are formed by cutting out a section of the CLT panel which leaves leftover material.

Exhibition Space (Accessed by Ramp)

Loading Bay

FIGURE 33 CLT REUSE Prefabrication reduces time onsite, manual labour and wasted material, but the cut-outs leftover at the manufacturers can be reused to craft besoke furniture for the interior, such as this sloped shelving, This reduces wasted material and also creates a stronger relationship between the users of the building adn its structural integrity.

FIGURE AOV Inbuilt Window Smoke Ventilation Unit (Closed)

FIGURE AOV Inbuilt Window Smoke Ventilation Unit (Open)

Lumber Storage

(+ 30 windows (100 Watts each) = 3000W) (+ 6 Exterior Doors (200 Watts each) = 1200W)

FIGURE 35 RETROFITTING The exposed services allow easy access for maintenance without breaking layers of materials on the interior.

3x4m Sculpture and Loading Lift

9600 x 40W = 384kW

Automatic Pellet Loading (Behind) 60 sqm Pellet Storage FIGURE 31 SUSTAINABILITY IN CONSTRUCTION

FACADE

The excavated earth on site will be reused where possible on site to create staggered floor levels on the ground floor, and will be transported to a local reuse site identified in Leeds to avoid energy wastage in transportation of building materials.

=388kW (x Temp Coefficient 1.2) =464kW (x weather Coefficient 0.8) = 371kW per annum

Biomass Boiler Unit

(÷ 2) (Deliveries per annum) =175kW worth of pellets required 60SQM BIOMASS PELLET STORAGE

Storage Space Required (Approx) 25sqm required for 80kW worth of

AUTOMATIC PELLET FEEDER

LUMBER STORAGE

For 175kW worth of pellets =58sqm Storage Space

B 3

Power needed to heat building

pellets

iNDUSTRIAL LIFT BIOMASS BOILER UNIT

FIGURE 30 Calculations

1 Glulam and CLT Panelling Framework with concrete pad foundations and Rothoblaas CLT attachment systems 2 Larch timber vertical Supports 3 Attaching light CLT system for Balcony and Window Organisation 4 Wood Fibre Insulation Board 5 Timber Batons for Cladding Attachment 6 Wooden Tiles 7 Coloured Zinc Tile Panelling over Plywood Support Layer 8 Wooden Window Frames Coated with Coloured Aluminium

The use of CLT on site results in little job site waste. Due to the fact that CLT is an engineered prefabricated product, it produces very little onsite waste and any waste that is produced can be reused of recycled for other purposes. Waste made on the construction site will be fed back to the manufacturer for use as carbon neutral energy. The characteristics of the CLT structure allows for openings, shapes and modifications of a vast variety of different shapes and forms without the compromise of a buildings structural integrity. The design allows for fewer elements to create the same structures that are both intricate and unique that can be achieved by other traditional materials.

FIGURE 34 CLT - PRECUT SERVICE CHANNELS Small channels will be precut and organised to supply a rnge of services to the building, crafted cut-outs developed specifically for plug socket outlets and light fixtures.

9 CLT Panelling 10 Larch timber roof system support beams 11 Attaching light CLT system forming Specialised Window Dormer 12 Wood Fibre Insulation Board 13 Plywood Support Layer 14 Waterproofing Membrane 15 Coloured Zinc Tile Panelling System

FIGURE 42 EXPLODED AXONOMETRIC CONSTRUCTION

FIGURE 42 WOODEN SHINGLE ATTACHMENT

Fire Protected Stairwell

SECTION 3.3 - FIRE SAFETY

10m

Fire Protected Stairwell and Lift

LEVEL 2

Earth is transported locally

Fire Protected Stairwell

REFUGE POINT

LEVEL 1

EXIT

7m LEVEL 0

EXIT

Fire Protected Stairwell

>3m

EXIT

7m 8m 7m

2-BED FLAT

FIGURE 50 FIRE ESCAPE FROM FLATS SERVING A WORKPLACE The artist residences and the serving studios above must have less that 18m between the flat entrance or alternative means of escape. The flats have a non-protected exit through the usual flat door on the ground floor, or alternatively an escape door to a protected staircase and lift on the left-hand side.

Over 50% of lower floor visible from Gallery Balcony

Fire Protected Stairwell and Lift

>7.5m >3m

EXIT 7m

Fire Protected Stairwell and Lift

>7.5m

12m

LEVEL -1

Fire Protected Stairwell and Lift

Fire Protected Stairwell and Lobby

FIGURE 48 Floorplans with Fire Escape Routes

FIGURE 41 FACADE AND CLADDING ATTACHMENT The tile cladding on the central section of the building is intalled, and the two ‘ends’ of the building are sheathed in a translucent polycabonate skin.

FIGURE 40 LIGHT STEEL FRAME For the Polycarbonate sections, a light steel frame and bracketting system is installed ot securely attach the polycarbonate

Fire Escape Door

FIGURE 48 REFUGE/FIRE ASSEMBLY POINTS The places nearest to the site is the green beside the school opposite the site and the largely pedestrianised portion of street on the other side of the building, These both would allow a small gathering of people to congregate, There is also a playground to the South-East of the site which would be useful in the event that a large event was taking place in teh exhibition hall or talk space, or if a class of school children had visited.

SECTION 3.3 - FIRE SAFETY

Earth is Reused

FIGURE 37 FOUNDATIONS AND FIRE CORES The concrete foundations will be put in place, with firecores cast in place in conjuction with filling in the basement and ground floor floor level.

FIGURE 47 AOV SYSTEMS IN ACCORDANCE WITH APPROVED DOCUMENT B Approved Document B States that all AOV units must be 1.5m wide length-wise, which significantly increased the required size of the smoke vents. This will be followed in all 3 ‘chimney-top’ smoke ventilation systems.

3m 2m

FIGURE 46 AOV SYSTEM Each chimney is fitted with integrated AOV systems in the large rooflights. They are over 1.5m wide as per the regulations and automatically open when an alarm is triggered by smoke in one of the key fire-risk areas of the building. There include the residency, studios, workshop and classrooms. This will draw smoke up and out of the central atrium of the building, lowered risk of death or imjury by smoke inhalation to occupants.

REFUGE POINT

Living

Pedestrian Access to School

Classrooms

Workshop

WATER TANK

SECTION 3.2 STRUCTURAL STRATEGY AND CONSTRUCTION SEQUENCE

Workspace

ROOF

This will allow the building to be retrofitted years after its completion with the latest energy saving electricals and services, reducing its environmental impact and the impact of retrofitting on the interior structure and materiality.

Workspace

EXIT

FIGURE 49 GALLERY FIRE ESCAPE REQUIREMENTS The gallery has a platform for viewing larger sculptures and exhibition piece. For adequate fire escape in line with Approved Document B, it must have two sets of stairs, each less than 7.5m away from the centre of the platform. The base of the stairs must be less than 3m away from a external fire escape door due to there being no protection on the stairs. Over 50% of the floor below the platform level must be visible to ensure that the escape route is visible and obvious even in smoky conditions.

Workspace

Classrooms

Living

EXIT

FIGURE 51 Sprinkler systems due to a large area of CLT exposed

126

Workshop

127

SECTION 3.4 STUDIO SPECIFIC RESEARCH FLEXIBLE POLYCARBONATE INTERIOR

SECTION 3.4 STUDIO SPECIFIC RESEARCH Technical Research: Large Exhibition Door A key element of the ‘Curating the City’ studio is analysing the way Saltaire visually maintains it image in a historic fashion, but fails to update and adjust in line with community needs and opportunities. A particular element of my building which operates to change this is the 3-storey 6m-wide door crafted from polycarbonate which opens to block traffic to create a flexible and non-restrictive outdoor exhibition/activities area. The nature of polycarbonate creates opportunity to play and engage with light, so the skin of the exhibition space becomes a part of the exhibition itslef, and the material fabric of the building does not remain rigid and opposing to its purpose, as many of the harsh stone buildings in Saltaire do so.

POLYCARBONATE FACADE

A FIGURE 56 EXPOSED GLULAM COLUMN TO FLOOR DETAIL

FIGURE 52: PRECEDENT RESEARCH: Herz Jesu Church - Antwerp

By using polycarbonate and a light steel frame, the exteriour of the facade remains uninterupted and appears dseamles, as the steel mullions affix to brackets alongside the timber framework. LED lights can be fitted to the top and bottom of the polycarbonate panelling to illuminate them, causing the facade to ‘glow’ both from the interior and exterior. This creates an artistically flexible facade, capable of entertaining different functions as illustrated (fig). It also draws attention to the building and signals to the user that they are entering a zone which is beyond the interest of a regular residential street, hinting at the art displays inside.

FIGURE 57 ROLLER DOOR DETAIL

(Door Closed) FIGURE 59 A simplified portion of the facade from the interior

(Door Open)

PEDESTRIAN ACCESS

VEHICULAR ACCESS

FIGURE 53 Function of the Large Doors

FIGURE 58 PROPOSED fritsjurgen LTD LARGE INSUTRIAL SCALE DOOR PIVOT JOINT

LIGHTING CHANGE PHOTOGRAPHY Experimental Research

SECTION 3.4 STUDIO SPECIFIC RESEARCH Construction of Large Doors

SECTION 3.4 STUDIO SPECIFIC RESEARCH ROLE IN ENVIRONMENTAL STRATEGY

SUMMER

Experimental Vignettes FIGURE 60 Flexible Function: Abstract Pink Art Exhibition FIGURE 61 Flexible Function: Space Exhibition at Night FIGURE 62 Flexible Function: Daytime Cinema Screen

WINTER

STUDIO SPECIFIC RESEARCH Projection-Based Art Installatons in Saltaire

I chose to experiment with how light travels through layers of polycarbonate sheeting, first using a soft pink light and capturing how the plastic sheets reflact the light into individual tones, varying in vibrancy and becoming a form of atmospheric lighting for the exterior and interior of exhibition spaces. I developed the idea that different lights could influence and inform different installation or sculptural exhibitions.

Lightweight Exterior Steel Frame Lightweight Aluminium connector frame for Danpal Polycarbonate Facade systems

FIGURE 63-67 Experimental Photography

Polycarbonate layer with inbuilt remote-controlled LED strips to provide ‘glow’ at night 7.2 metres Translucent screen for projection to aid with image quality

B 8.0 metres

FIGURE 68 Projections in Saltaire

Roller Wheel with Steel Curved Rail for Streamlined Pivot Regular Sized Door for Flexible Use when larger door is shut

Prevailing Wind DIrection Saltaire C

FIGURE 54 FUNCTION OF LARGE DOORS IN HEATING AND VENTILATION The open doors in the summer create a large space for cool air to be drawn throughout the polycarbonate envelope and warmer air is drawn through small ventilation shafts in the roof. The door can be opened or closed depending on user experience and can be adjusted by the flexible door pivot system to only open marginally to allow significantly less cold air on cooler days, as the building is in the North-East of England, so the door remaining wide open may not always be suitable to maintain comfort inside the building.

A EXPOSED GLULAM BEAM JOINT (See Overleaf) The exposed knifeplate junction between the glulam column and the concrete deck creates a strong interior framework which is admirable and honest to the users of the building. B INDUSTRAL SCALE PIVOT FOR LARGE DOORS (See Overleaf) Fritsjurgen specialise in large door joints and pivots able to cope with increased weight, tension and load-bearing. These joins are typically not visible to the user and allow the door to be held at certain positions, the system embedded into the concrete deck on the foot of the door and crafted to join to the solid glulam frame structure on the top of the door, allowing the door to be supported. The load of the door is minimised by using a light steel frame with polycarbonate to reduce weight significantly. C ROLLER DOOR DETAIL (See Overleaf) To aid with keeping the door in line with its hydaulically aided opening/closing, a rolling wheel is embedded in a steel channel in the paving on the exterior side of the door. This also provides a visual reminder that there is a large door embedded within the facade to those walking past, and invites curiosity. FIGURE 55 Door Detail

128

FIGURE 69 IMPACT OF PROJECTABLE SURFACES IN SALTAIRE The main appeal of an exhibition space which can be projectedonto both externally and internally is the flexibility it provides. It allows the facade to adjusted as per particular event to better suit the surrounding houses, ensuring that abstract and bright displays do not permanently effect the historic setting they serve. Projection-based displays onto residential houses and brickwork have become common in Saltaire in recent years, as shown (left) and the flexible facade allows opportunity to continue this venture.

129

EXPERIMENTING WITH PROJECTION Projecting onto Polycarbonate Sheets

EXPERIMENTAL RESEARCH Experimenting with LED lighting

References 2019. The Building Regulations: Fire Safety: Approved Document B (Volume 2). [ebook] HM Government. Available at: <https://assets.publishing.service.gov. uk/government/uploads/system/uploads/attachment_data/file/832633/Approved_Document_B__fire_safety__volume_2_-_2019_edition.pdf> [Accessed 4 May 2021]. 2020. Approved Document B: Fire Safety (Volume 1). [ebook] HM Government. Available at: <https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/937931/ADB_Vol1_Dwellings_2019_edition_inc_2020_amendments.pdf> [Accessed 4 May 2021]. ArchDaily. 2021. Pivot Hinges for Oversized Doors from FritsJurgens. [online] Available at: <https://www.archdaily.com/catalog/us/products/17334/pivothinges-for-oversized-doors-fritsjurgens> [Accessed 4 May 2021]. Consultants, G., 2021. Commercial & Domestic Biomass Boilers. [online] The Greener Group. Available at: <https://thegreenergroup.com/heat/biomass/> [Accessed 4 May 2021]. Esp Energy. 2021. Biomass Boilers. [online] Available at: <https://www.espenergy.co.uk/products/biomass-boilers> [Accessed 4 May 2021]. FritsJurgens. 2021. Pivot Hinge: Fully-Mortised within the Door. [online] Available at: <https://www.fritsjurgens.com/pivot-hinge?utm_medium=website&utm_ source=archdaily.com#scroll> [Accessed 4 May 2021].

FIGURE 74Experimenting with LED lighting

Jennings of Pudsey. 2021. Bulk Excavation. [online] Available at: <https://www.jenningsdemolition.co.uk/services/bulk-excavation/> [Accessed 4 May 2021]. FIGURE 70-73 PROJECTION I experimented with projection onto polycabronate sheeting and the effects this could produce, altering the image and creating a layered visual experience for the viewer. The triple-height polycabronate doors in my exhibition spaces could function as projection screens for cinema nights, arts film exhibitions and backdrops for small performances.

Kingspan. 2021. Automatic Opening Vent Systems. [online] Available at: <https://www.kingspan.com/gb/en-gb/products/smoke-control-systems/automatic-opening-vent-systems> [Accessed 4 May 2021]. Silver Group. 2021. Smoke Ventilation Explained. [online] Available at: <https://www.silver-group.co.uk/smoke-ventilation-explained/> [Accessed 4 May 2021].

FIGURE 75 Vignettes of the impact of LED lights installed within the polycarbonate surface

CRITICAL RFLECTION

List of Figures

FIGURE 1 Author’s Own FIGURE 2 Author’s Own FIGURE 3 Author’s Own FIGURE 4 Author’s Own FIGURE 5 Author’s Own FIGURE 6 Author’s Own FIGURE 7 Author’s Own FIGURE 8 Author’s Own FIGURE 9 Author’s Own FIGURE 10 Author’s Own FIGURE 11 Author’s Own FIGURE 12 Author’s Own FIGURE 13 Author’s Own FIGURE 14 Author’s Own FIGURE 15 Author’s Own FIGURE 16 Author’s Own FIGURE 17 Author’s Own FIGURE 18 Author’s Own FIGURE 19 Author’s Own FIGURE 20 Author’s Own FIGURE 21 Author’s Own FIGURE 22 Author’s Own FIGURE 23 Author’s Own FIGURE 24 Author’s Own

The development of additional technical research allowed me to strengthen and realise the idea of a huge polycarbonate door, which was something I maintained from the beginning of the project and has grown and developed in accordance with many guidelines and feasabilities of the real world of designing. I enjoyed experimenting with light and purchasing a polycarbonate sheet myself allowed me to gauge a deep understanding of the material and its hidden qualities, such as its refraction of light and ability to take projected images. I found illustrating the 1:20 section a very cathartic process, as it was something in development for many weeks and it was satisfying to work out the many junctions and layers, eventually creating a piece of work I was very proud of.

FIGURE 25 Author’s Own FIGURE 26 Author’s Own FIGURE 27 Author’s Own FIGURE 28 Author’s Own FIGURE 29 Author’s Own FIGURE 30 Author’s Own FIGURE 31 Author’s Own FIGURE 32 Author’s Own FIGURE 33 Author’s Own FIGURE 34 Author’s Own FIGURE 35 Author’s Own FIGURE 36 Author’s Own FIGURE 37 Author’s Own FIGURE 38 Author’s Own FIGURE 39 Author’s Own FIGURE 40 Author’s Own FIGURE 41 Author’s Own FIGURE 42 Author’s Own FIGURE 43 Author’s Own FIGURE 44 Author’s Own FIGURE 45 Author’s Own FIGURE 46 Author’s Own FIGURE 47 Author’s Own FIGURE 48 Author’s Own

FIGURE 50 Author’s Own FIGURE 51 Author’s Own FIGURE 52https://mariavouk.wixsite.com/ mariavoukia/herz-jesu-kirche-project-page FIGURE 53 Author’s Own FIGURE 54 Author’s Own FIGURE 55 Author’s Own FIGURE 56 Author’s Own FIGURE 57 Author’s Own FIGURE 58 Author’s Own FIGURE 59 Author’s Own FIGURE 60 Author’s Own FIGURE 61 Author’s Own FIGURE 62 Author’s Own FIGURE 63 Author’s Own FIGURE 64 Author’s Own FIGURE 65 Author’s Own FIGURE 66 Author’s Own FIGURE 67 Author’s Own FIGURE 68 Author’s Own FIGURE 67 Author’s Own FIGURE 68 https://saltairevillage.info/FIGURE 69 Author’s Own FIGURE 70 Author’s Own FIGURE 71 Author’s Own

FIGURE 72 Author’s Own FIGURE 73 Author’s Own FIGURE 74 Author’s Own FIGURE 75 Author’s Own

130

131

The Preservation of Intangible Community Value

Curating The City

ARC3015 Theory into Practice

FIGURE 1 A CONCEPTUAL COLLAGE ‘OPENING UP’ THE OPEN GALLERY DISP L AY HOUSES GIVING COMMMUNITY ART A PLACE IN THE VILLAGE WHICH RUNS ALONGSIDE THE MILL GALLERY

Contents PART 1: CURATING THE CIT Y P R O G R E S S I V E H E R I TA G E O F S A LTA I R E A S A U N E S C O W O R L D H E R I TAG E S I T E I.

INTRODUCTION TO SALTAIRE

II.

PROGRESSIVE CONSERVATION AND CRITICAL HERITAGE

III.

PROGRAMMATIC RESPONSES TO SALTAIRE

PART 2: CURATING A COMMUNIT Y S A LTA I R E O P E N H O U S E S A S A C U LT U R A L S Y M B O L O F C O M M U N I T Y P R O G R E S S I O N , T H R I V I N G W O R K I N G C U LT U R E W I T H A N I N T R I N S I C L I N K TO T H E PA S T I.

WHAT ARE THE ‘SALTAIRE OPEN HOUSES’? WHAT DO THEY REPRESENT?

II. INTRODUCTION TO KEY ELEMENTS OF MY SCHEME – HOW IS IT RESPONDING TO PROGRESSIVE HERITAGE? III. EMBODIED TOURISM AS AN EXTENSION OF PROGRESSIVE HERITAGE – THE TOWNHOUSE EXTENSION BECOMES A GALLERY OF THE VILLAGE AND A REPRESENTATION OF AN ARTS COMMUNITY V. AN CASE STUDY REPRESENTING KEY THEMES OF MY SITE, PROGRAMME AND CONTEXT - THE BRITISH MUSEUM EXHIBITION AND CONSERVATION CENTRE

CONCLUSION S A LTA I R E ’ S W E L L - P R E S E R V E D M I L L W O R K E R H O U S I N G A S INFORMAL GALLERIES FOR THE VILLAGE’S THRIVING ARTS COMMUNITY

FIGURE 2 A N A E R I A L P H O T O G R A P H O F S A LTA I R E , W I T H M Y S I T E H I G H L I G H T E D

HOW DO THESE REPRESENT AND EXPLORE CRITICAL, PROG R E S S I V E A N D I N TA N G I B L E H E R I TA G E I N S A LTA I R E ? A R C 3015 T H E O R Y I N TO P R A C T I S E E S S AY STUDENT NUMBER: 18020371 WORD COUNT: 2193 1 ( E XC L . C A P T I O N S , T I T L E S , Q U OTAT I O N S , R E F E R E N C E S )

132

133

Curating The City

ARC3015 Theory into Practice

Curating The City

ARC3015 Theory into Practice

Curating The City

Saltaire as a UNESCO World Heritage Site

S A LTA I R E V I L L A G E 1855 - 1980 - AN IDYLLIC WORKERS’ MILL VILLAGE - DECLINING TOWARDS THE 1960’S

PA R T 1 S T U D I O I N T R O D U C T I O N

1980 - MILL TRANSFORMED TO ARTS SHOPPING CENTRE

BRADFORD 1800- 1960 - DEVELOPED FROM A RURAL VILLAGE TO A BUSTLING AND HOSTILE INDUSTRIAL CITY - DECLINED TOWARDS 1960’S

Part 1: Curating the City

1980’S - DEVELOPED INTO A CENTRE FOR FILM, TELEVISION. ARTS, MEDIA AND VISUAL CULTURE THRIVE

Curating the City WEST YORKSHIRE 1800 - 1960 - KEY INDUSTRIAL COUNTY - IMPORTANT IN THE TEXTILE TRADE ACROSS BRITAIN AND EXPORTS TO SOUTH AMERICA

S A LTA I R E

MODEL VILLAGE, YORKSHIRE

WEST

NEIL BURFORD, JIANFEI ZHU & ANDREW BALLANTYNE

PRESENT DAY - A COUNTY WITH A THRIVING ARTS CULTURE AND A HERITAGE WITH STRONG INDUSTRIAL TIES

2000 - PRESENT DAY - MAJOR NORTHERN MEDIA CENTRE

Studio Introduction

2000 - PRESENT DAY - UNESCO WORLD HERITAGE SITE - WELL PRESERVED VICTORIAN MODEL VILLAGE WITH ARTS SCENE AS POPULAR TOURIST ATTRACTOR

ur studio Curating the City is

studio is largely research-based, based on

based in Saltaire model village; a

observations specific to the history and

well-preserved Victorian example

culture of the village. My personal approach

of a working-class industrial village which

to the studio themes was to follow a respect

nowadays is a relic, maintaining tourist

for the past of Saltaire, but to develop a project

interest largely through its arts sector. We

supportive of the arts movement in Saltaire

question the reliance Saltaire has on its

and preserving a working community this

past and whether this physical preservation

way. I aim to produce creative workspaces

is sustainable for the future. A key debate

for the new working community in Saltaire,

informing our projects is being critical of

represnting the current heritage of Saltaire

heritage preservation and following a path

as equally important to its rich past.

towards

progressive

conservation.

The

FIGURE 3 S A LTA I R E I N T H E C O N T E X T O F B R I TA I N A N D W E S T YORKSHIRE 4

ARC3015 Theory into Practice

Saltaire WEST YORKSHIRE INDIVIDUAL SITE - A RARE BREAK WITHI N I M M A C U L AT E T E R R A C E D H O U S I N G

FIGURE 4 A COLLAGE OF THE TERRACED HOUSING FROM THE L AT E 1 8 0 0 ’ S C O M PA R E D TO M O D E R N - D AY

altaire was formed in 1855 by mayor

guidelines for shop owners, residents and

of Bradford Titus Salt as an escape

contractors for preserving the physical fabric

from the meagre standard of living in

of the site. However, a revolution has been

rapidly-growing industrial cities. Salt had

unfolding in Saltaire since the renovation

clear vision for the village: a better standard

of the mill itself into an art gallery in 1980,

of living, hard work, and organised wellbeing

a wave of local artists transforming the

Currently,

social and economic plane of Saltaire into

Saltaire village is well-preserved, acting as a

a post-industrial creative centre, retaining

‘disneyland’ of times gone by. There is a strict

the tangible image of an industrial town

rulebook known as Appendix 7 inditiated

but intangibly becoming something quite

by UNESCO in conjunction with the local

different.

and

recreational

activities.2

Shipley council. It details procedures and

FIGURE 5 A COLLAGE OF THE MAIN VICTORIA STREET IN SALTA I R E F R O M T H E L AT E 1 8 0 0 ’ S C O M PA R E D TO M O D E R N - D AY

Members of the Saltaire Steering Group. Saltaire World

Heritage Site Management Plan. Bradford: Board for United Nations Scientific, Educational and Cultural Education.

134

ARC3015 Theory into Practice

SITE INTRODUCTION

Curating The City

(2014) 6

135

Curating The City

ARC3015 Theory into Practice

SITE INTRODUCTION

The constrained site is opposite the mill, embedded in the Eastern residential streets.

Curating The City

ARC3015 Theory into Practice

Curating The City

ARC3015 Theory into Practice

S A LT ’ S M I L L A R T G A L L E R Y R E N O VAT I O N OPPOSITE THE SITE BEYOND A N ACTIVE TRAINLINE, RENOVATED IN 1980

It is a playground for the school to the East. THEORETICAL DISCUSSION

The terraced streets are well-preserved, a reminder of Salt’s rules of conformity, even

Critical Heritage and Progressive Conservation

banning washing lines outside houses to

Curating The City

ARC3015 Theory into Practice

In his essay, Heathcott draws from various

Saltaire is important - both in historic and

sources within the critical heritage debate

contemporary Saltaire.

to reach an informed perspective on the

The revival of Salt’s values is important,

transgression

from

but we must be critical when remembering

maintaining the physical form, to more

the mindsets of those in power in over 100

cultural and intangible heritage.

year ago . The material fabric of the site is

heritage

value

impressive, but in a modern context could

‘Why do we preserve buildings and things?’7

be updated to reflect the changing needs of

Beginning with the question Why Preserve?,

a community. A particular example of the

Heathcott uses a series of texts which reach

limitations of material preservation is the

the conclusion that traditional answers of

mill itself. The conversion of the mill into an

‘reviving a lost historical consiousness’8 are

arts gallery functionally transformed it into a

not far-reaching enough approaches. Solely

programme representative of the beginning

Nowadays, these properties are home to

reviving the historical feel of Saltaire’s

of arts within Saltaire, and the transition

Open Houses. These events consist of the

industrial past through retaining Italianate

of West Yorkshire as a creative county

village houses opening annually for local

architectural

monuments

with film centre Bradford as a centrepiece.

important to Salt’s success forgoes a chance of

The conversion of the mill was limited by

potential and future vision. It is also not only

technical and material restrictions, however,

a vague reference to the heritage of a hardy

which left exhibition spaces limited to

and well-developed historic community, but

certain formats and a lack of adequate

also an entrapping layer over the bustling

disabled access.11

‘fit in’ with his image of perfection for the village. The small, working-class houses were designed for the efficiency of a working community.

CAROL

INE ST .

CURATING

artists to present artwork in living rooms SITE

with a progressive creative community, allowing tourists an insight into the historical worker lifestyle within historical houses, but also viewing the processes of living/working

TERRACED HOUSING EXISTING SINCE THE 1890’S AND IS WELL-PRESERVED AND PROTECTED AS HOUSING PREVIOUSLY USED BY SECOND-GENERATION MILL WORKERS, NOW HOME TO OPEN HOUSE SHOWS S ST. RHODE

honest way.

FIGURE SOUTH

SITE

PHOTO

FA C I N G

FIGURE 8 SITE PHOTO FACING NOR T-WEST FIGURE WEST

ST.

as an artist in an enriching, personal and

PLAYGROUND FOR COMMUNITY AND SCHOOL

BAKER

community connection and engagement

Theoretical Discussion

as temporary gallery spaces. These offer

SITE

PHOTO

FA C I N G

SCHOOLS TWO SCHOOLS NEAR SITE, ONE WITH DIRECT ACCESS TO SITE

FIGURE 6 A MAP OF MY CHOSEN SITE

UNESCO World Heritage Site Saltaire Representatives.

Appendix 7 – Setting Survey Evaluation - Evaluation of the

THE CITY -CHALLENGES FOR HISTORIC TION IN THE TWENTY-FIRST CENTURY THE JOURNAL OF PLANNING HISTORY JOSEPH HEATHCOTT - 2006

PRESERVA-

CLARIFYING THE CRITICAL IN CRITICAL HERITAGE STUDIES INTERNATIONAL JOURNAL OF HERITAGE STUDIES TIM WINTERS - 2013

he discussion of UNESCO World

based on non-physical social, political and

Heritage sites often starts and ends

economic conditions. Heathcott is a writer,

with the preservation of particular

curator, and educator based in New York

buildings as ‘artifacts’ or ‘monuments’5 to

City, and as a current researcher he presents

times past. ‘Critical heritage’ questions the

questions. His review essay Curating the City

focus of these tangible objects and suggests a

offers discussion of these questions using

more careful consideration of preservation,

other texts.

[Available

at]

arts-trail/ (Saltaire Inspired, Shipley. 2019)

‘Why do we preserve buildings and things? How do we determine what elements are significant? Who should sit at the table where such decisions are made? How do our idiosyncratic personal memories connect to broader collective memory?’6

136

preservation of ‘things’ should be important in discussion of heritage, and the material nature of preservation which has so long been a priority should be utilised, but not as a limitation or rulebook to follow.

WINTERS 2013

‘The history of artefacts cannot be disentangled from the history of how people describe, use, interpret and contest them.’9

In Clarifying the Critical in Critical Heritage, Tim Winters begins to justify and explain the journey towards intangible heritage by stating a variety of issues which are usually after-thoughts or special expections when

Determining what elements of a location

it comes to material heritage preservation

are significant is difficult, and is intrinsically

(see quote above). Where Heathcott adresses

linked to how people used, interpret, describe

questions within the area of modern heritage

and contest them. The feel of community in

studies, Winter’s begins to present answers.

H E AT H COT T 2016

J. Heathcott. Curating the City. Challenges for Historic

Heathcott, J. Preservation, Heritage, and Memory. Retrieved

Preservation in the Twenty-first Century. Journal of Planning 10 February 4, 2021, from heathcott.nyc: https://www.heathcott. nyc/preservation-heritage-memory (New York City, 2016) History (New York City. 2006) pp

‘Material-centric, science-based approaches to heritage and conservation are inadequately equipped to deal with the array of issues heritage is now enmeshed in, such as poverty reduction, climate change, sustainability, human rights, democracy, the future and the protection and preservation of cultural heritage itself.’12

‘How do we determine which elements are significant?’10

http://www.saltaireinspired.org.uk/saltaire-

arts scene which goes misrepresented today.

H E AT H COT T 2006

Council, Bradford. 2012) Saltaire Inspired Ltd.. Saltaire Open House Trail 2019

and

It is clear from Heathcott’s tone that the

setting of the Saltaire World Heritage Site (Bradford City

style

J, Heathcott. 2016

Goodman.

Restoring

Womens

History

through

Preservation. (John Hopkins University Press, Baltimore:

J, Heathcott. 2006

J, Heathcott. 2016

T, Winter. Clarifying the critical in critical heritage studies.

International Journal of Heritage Studies, (Baltimore

2003) 9

Members of the Saltaire Steering Group, 2014.

University Press, Baltimore. 2013) pp 532-545. 11

J, Heathcott. 2006

137

Curating The City

ARC3015 Theory into Practice

‘Who should sit at the table where [heritage] decisions are made?’13

Investment seems misspent, and if Saltaire

Winters references the movement towards

residents needs to be monitored and projects

more ‘community or consencus’14 based heritage

should react to this, reaching the goal of

which he describes as having ‘vigourous

reaching an enhanced, honest and broad

attention’ brought to it in recent years, and

collective narrative or 'idiosyncratic memory'17

‘decentreing the expert in preservation’. It is

of what it means to visit or live in Saltaire

clear then that the decisions should be reached

currently.

social

background. The people involved should go beyond council or institutionalisation, and investment beyond material fixtures to the current fabric of Saltaire, but towards a more

J. H E AT H COT T, C U R AT I N G T H E C I T Y

and

WINTERS 2013

programmatic array of issues that present themselves from many different perspectives;

To conclude, this section on critical heritage

tourists,

is summarised succinctly by Heathcott below.

workers,

historians,

Theoretical Discussion

curators, deisgners and artists.

‘Educators must train a new generation of students to link the tangible resources of architecture and landscape to the intangible resources of our profoundly rich and varied heritage in music, ideas, literature, dance, visual arts, politics, and street life.’19

‘[There is a] need for policies and conservationframeworks that are much more sensitive to the complex interplays between thehuman/non-human, past/present.’16

H E AT H COT T 2006

WINTERS 2013

The heritage of Saltaire at 'present' and the 'human' perspective is valuable needs to be explored. Heritage becomes a narrative informed by history, intertwined with a range of factors which shape identity, becoming truly representative of the undulating and evolving nature of a community. In addition to physical heritage sometimes appearing

out-of-touch

with

modern

progression, the maintenance of the physical

The discussion of critical heritage and

design framework, communicated during

progressive conservation brings us to lenses

Group Resaerch through collage.

we can use to influence a programmatic

Option 1 - Preserving the Past FIGURE 10 A CONCEPTUAL COLLAGE OF C O N S E R VAT I O N I N S A LTA I R E

The first option is maintaining Saltaire to its original form, a working museum of its rich history and link to the British textile industry. The maintenance of the physical fabric remains important, and preservation ignores claims by Winters that perhaps intangible heritage can relate to the

‘Reviving a lost historical consiousness’20

contemporary culure and community of a location, rather than its technical features. This option presents Saltaire as

GOODMAN 2003

a historic artefact, preserving the image of what Saltaire has always been known as. It ignores the divide between the living

fabric of sites can also inhibit beneficial

arts community in Saltaire and the past, honouring a heritage

progression, both economically and socially.

which stuggles to thrive itself in the village today.

T, Winters. 2013

J, Heathcott. 2006

T, Winters. 2013

T, Winters. 2006

T,Winters. 2013

J, Heathcott. 2006

ARC3015 Theory into Practice

W H AT A R E T H E O P T I O N S F O R S A LTA I R E I N CO N S D E R AT I O N O F K E Y T H E O R I E S ?

Should we preserve?

residents,

Curating The City

Theoretical pathways for Saltaire

‘If we ascribe values to artifacts—buildings, structures,landscapes, and sites—then surely these values change over time. As these values change over time, so do the urban contexts in which these historic artifacts are embedded, so do their wealth-generating capacities.’18

analysis of community values and progression economic

ARC3015 Theory into Practice

heritage, then what becomes to tourists and

from a wide array of social questioning, Saltaire's

Curating The City

ARC3015 Theory into Practice

village is to thrive off of its own valuable

within

Curating The City

J, Goodman. 2003 15

138

139

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Option 2 - Modernisation

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Option 3 - Harmonising the Past and Present FIGURE 11 A CONCEPTUAL M O D E R N I S AT I O N

The second option is forgetting about Saltaire’s history, an radical approach in redeveloping the village so it keeps up with the modernisation of the rest of the world. This is an anti-

COLLAGE

FIGURE 12 A CONCEPTUAL COLLAGE HARMONISING THE PA S T PRESENT

The third is less radical than 1 or 2. It maintains he integrity of the WHS, but creates redevelopments which harmonises

OF A

the past and the present. These projects would ‘fit in’ with

Option 4 - A New Working Heritage for Saltaire

is entirelyrepresentative of Saltaire and West Yorkshire, as

The final option is redeveloping the intangible sense of

creative ventures are intrinsically linked to where they are

community, working rituals and spirit of pride in Saltaire

from and what they choose to represent. Therefore, the arts

through the arts-generation. Arts investment within

becomes an interactive and honest form of heritage, reviving

memory approach, desturating the memory plane of Saltaire

Saltaire’s physical fabric, but would repurpose areas of the site

currently and allowing space for new collective memory to

for modern usages, creating programmes which allow more

Salt’s mill in the 1980’s is a promising indicator of how the

a thriving sense of community and representing what it

involved and purposeful tourism.

generation of local artists could provide a solid future for

means to live and work in Saltaire. Currently, the arts scene

the village itself, if provided with adequate infrastructure.

is given a chance with the revedevelopment of the mill, but

In my opinion, this matches the sense of future visionary

village is behind, local artists living in the shadow of more

and community Salt inspired within the village, which self-

commercialised forms of art and a sense of community

sustains and looks towards the future, rather than declining

replaced with desperation for profit.

form. Some question the high expense of preservation and

‘Universal concessions to historical preservation fail to stimulate architectural progression’

maintenance where the money could be reinvested into the modernisation of the village.

BOLLACK 2013

FIGURE 13 A CONCEPTUAL COLLAGEOF P R O G R E S S I V E H E R I TAG E W I T H I N THE ARTS COMMUNITY OF SALTA I R E

as post-industrial village with no identity. The arts industry 20

F. A. Bollack. Old Buildings, New Forms: New Directions in 16

Architectural Transformations. (Monacelli Press, Columbia.

2013)

140

141

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S A LTA I R E ’ S O P E N H O U S E S My community arts centre proposal in Saltaire draws inspiration from the current function of residential worker housing as individual gallery spaces for local artists living in Saltaire. These houses open annually in a trail for the weekend, and whilst they are popular, limit the creative

PA R T 2 I N T R O D U C T I O N

potential of the village. There is lack of creative workspaces and the living room as a diplay gallery is limiting , especially spatially for larger and

Curating a Community

bolder exhibitions. Figure 16 explores the idea of the home becoming a gallery, using the concept of an installation by

Part 2: Curating a Community

Tezi Gabunia where he photographed a ‘doll’s house’ of famous art galleries with people peering

T H E C U R AT I O N L E S S O F A ‘C I T Y ’ B U T M O R E O F C O M M U N I T Y, I D E N T I T Y A N D SPIRIT

in. These collages represent the large tourist presence during arts weekends in Saltaire and art exhibitions becoming an insight into the history

FIGURE 14 AN IMAGE TO SHOW THE DISPA R I T Y OF THE EXISTING METHODS OF D I S P L AY I N G , C R E AT I N G A N D V I E W I N G A R T I N S A LTA I R E ’ S E X I S T I N G P R O J ECTS

and culture of a working community. They n the first part of this essay, I

perhaps represent the invasive nature of these

personally conclude that a project

home exhibitions, sometimes undesirable for local

should support the

artists as a permanent fixture, hence my project

progression of

Saltaire’s arts scene as a cultural , social

would propose alternative facilities.

and historical narrative for the village’s growth and development. I plan to propose FIGURE 16 T H E I N T E N S I T Y O F T H E T O U R I S T G A Z E - A F R O N T R O O M I N S A LTA I R E A S A T E M P O R A R Y E X H I B I T I O N S PA C E

a Creative Community Collective, which supports the arts scene with resources, technical and purpose-built workspaces,

FIGURE 17 T H E S T R E E T S I N S A LTA I R E B E C O M E A B O R I N G M A Z E O F A LO S T I N TA N G I B L E N A R R AT I V E

exhibition spaces, residencies and a cafe as an urban meeting place for local artists,

FIGURE 18 A FLOORPLAN OF A TERRACE HOUSE BECOMING AN ARTS SHOW WITH THE A S S O C I AT E D R I T UA L S F O R M T H E TO U R I S T S A N D T H E A R T I S

clients and tourists. In this section, I focus on the current arts scene in Saltaire and the importance of Open House Events as

PUBLIC

a visual and experiential journey through

P R I VAT E

ARTIST RITUALS

FIGURE 19 PHOTOGRAPHS OF GABUNIA’S EXHIBITION

TOURIST RITUALS

FIGURE 20 A C O L L A G E O F A N O P E N H O U S E S A LTA I R E P R O J E C T I O N I N S TA L L AT I O N P I E C E E X P LO R E D B Y TOURISTS, IN THE ST YLE OF GABUNIA’S EXHIBITION

the lives of mill workers, but also through the daily life of creatives. This tradition of Open Houses in Saltaire will be important in the development of dwellings and spaces in my building, especially given the my site embedded in the residential streets.

FIGUR E 15 A CLOSER LOOK MASSING

P R O G R A M M AT I C

PROPOSAL

IN 21

142

143

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S A LTA I R E ’ S O P E N H O U S E S

Case Study: British Museum Exhibition and Conservation Centre FIGURE 21 A CONCEPTUAL COLLAGE OF MY DESIGN PROPOSAL - A FLEXIBLE ARTS COLLECTIVE WHICH E X P LO R E S T H E A R T S N A R R AT I V E WITHIN THE COMMUNITY - ‘OPENING UP’ THE OPEN GALLERY DISP L AY H O U S E S

P R O G R E S S I V E H E R I TA G E I N M AT E R I A L P R O P O R T I O N S , P R O G R A M M AT I C F U N C T I O N A S ‘ S I B L I N G S’ A N D T H E U R B A N FORM

FIGURE 22 A COLLAGE OF HOW THE STRICT MAINTENANCE OF THE PHYSICAL F O R M O F S A LTA I R E H I N D E R S T H E V I S UA L I S AT I O N A N D E X H I B I T I O N O F A R T W O R K F R O M A C R E AT I V E COMMUNITY

use an existing building to reference

of exhibited objects. This shows progression

and represent key themes which have

within heritage projects to stand on their

impacted

thinking

own, both in function and programme,

conservation

progressive buildings equally important as

surrounding

conceptual

heritage,

and memory. John McElgunn at Roger

the historical buildings they complement.

Stirk Harbour Architects joined seminar New Design for Old Buildings where he

URBAN FORM

presented the British Museum Exhibition

The building is sandwiched between the

and

discussing

British Museum and a terrace of Vitorian

the development of the project. The site

Houses. These are similar parameters to my

parameters are a physically confined Heritage

site, the impressive mill building and the

site, alongside seven listed buildings.

terrace of houses as equivalents.

P R O G R A M M AT I C F U N C T I O N A S ‘SIBLINGS’

Material choice is important to represent or

Conservation

Centre.

M AT E R I A L P R O P O R T I O N S ‘blend’ in with the surrounding buildings but

Described as a ‘well-behaved sibling’21 to the

also offering something contemporary which

museum, as an exhibition space the project

concrete slabs with the same dimensions as

programme, but stands on its own as a centre

the stonework on the Museum.

of technology associated with preservation

(SPAB, London: 2018).

144

‘The aim here was not to create a ‘subservient’ building (i.e. disappearing into the background) but a “respectful younger sibling”.’ JOHN MCELGUNN ROGER STIRK HAROUR A N D PA R T N E R S

McElgunn, J. SPAB Conference Report - New Design for Old

Buildings - Contemporary Architecture in Historic Contexts.

FIGURE 24 THE SIDE OF THE CENTRE NEXT TO TERRACED HOUSES

stands on its own. The project uses case

relies heavily on the museum’s existing

FIGURE 23 THE EXHIBITION CENTRE ALONGSIDE THE BRITISH MUSEUM

145

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Practice intentions based upon theory FIGURE HOW DO I INTEND TO U S E T H E S I T E R E L AT E D T H E CONCEPT OF OPEN HOUSES, P R O G R E S S I V E H E R I TAG E A N D THE EXISTING ARTS SCENE

TE EA

R /C RK WO E LIV Y A PL DI S

PROGRAMME

FUNCTION OF THE ARTS COLLECTIVE NOT ‘SUBSERVIENT’ TO THE EXISTING MILL ART GALL E R Y, B U T A ‘ R E S P E C T F U L Y O U N G E R S I B L I N G ’ 28

FUNCTIONALITY

MASSING

THE PROJECT AS AN URBAN EXTENSION OF THE EXISTING HOUSING

A NARROW CORRIDOR AS CIRC U L AT I O N - A CO N C E P T UA L REFERENCE TO THE STREET 29

A L AYO U T V E R T I C A L LY I N SPIRED BY THE FLOORS IN A HOUSE - DRAWING FROM THE RITUALS OF AN 'OPEN HOUSE'

ARC3015 Theory into Practice

FIGURE 1 FIGURE 2

Author’s own. Ayres, O. Ten fantastic aerial images of Shipley and Saltaire [available at] https://www.thetelegraphandargus.co.uk/news/17876993. ten-fantastic-aerial-images-shipley-saltaire/ (T&A, Saltaire, Shipley: 2019) (photograph taken 1949, photographer unknown)

FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE

Conclusion H O W C A N ‘C U R AT I N G T H E C I T Y ’ A D J U S T T O S A LTA I R E A N D W H AT D O E S THIS MEAN FOR DESIGNERS?

3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19

Author’s own. Memory: Research Group Work - Curating the City - Rosie Joyce, Mary-Anne Murphy, Tessa Lewes and Doninic Saliendra (2020) Memory: Research Group Work - Curating the City - Rosie Joyce, Mary-Anne Murphy, Tessa Lewes and Doninic Saliendra (2020) Author’s own - Traced from Digimaps Site Photograph. Author’s own (Saltaire: 2021) Site Photograph. Author’s own (Saltaire: 2021) Site Photograph. Author’s own (Saltaire: 2021) Memory: Research Group Work - Curating the City - Rosie Joyce, Mary-Anne Murphy, Tessa Lewes and Doninic Saliendra (2020) Memory: Research Group Work - Curating the City - Rosie Joyce, Mary-Anne Murphy, Tessa Lewes and Doninic Saliendra (2020) Memory: Research Group Work - Curating the City - Rosie Joyce, Mary-Anne Murphy, Tessa Lewes and Doninic Saliendra (2020) Memory: Research Group Work - Curating the City - Rosie Joyce, Mary-Anne Murphy, Tessa Lewes and Doninic Saliendra (2020) Author’s own. Author’s own. Author’s own. Author’s own. Author’s own. Gabunia, T. People Put Their Heads Inside Miniature Galleries To Become Famous Art Exhibits Themselves [available at] https:// www.boredpanda.com/interactive-art-exhibition-put-your-head-into-gallery-tezi-gabunia/?utm_source=google&utm_ medium=organic&utm_campaign=organic (2017)

n conclusion, the tagline Curating the City transforms

mill-town to a vivid arts display. The lack of infrastrucuture

from curating the physical material of Saltaire as a

and services supporting this community of artists stunts the

vague reflection of its history, to a curation of its

development further and means that Saltaire could continue

current arts culture as an experiential and visual method of

to fade away into history if it does not invest in change and

appreciating the spirit of Saltaire’s community. The special

development. Development within Heritage Sites should not

quality of Open House Galleries is an important reference

to be considered invasive or destructive, as it is our job as

of progression within the community, but the limitations

deisgners and architects to create respectful and purposeful

of these highlight that Saltaire’s economic independence

projects which enhance the locality, representing the spirit ,

has changed irreversibly in the last 30 years, from a thriving

culture, history and rituals of place.

146

Curating The City

FIGURE FIGURE FIGURE FIGURE

20 21 22 23

Author’s own' Author’s own' Memory: Research Group Work - Curating the City - Rosie Joyce, Mary-Anne Murphy (2020) Photograph . [McElgunn, J. SPAB Conference Report - New Design for Old Buildings - Contemporary Architecture in Historic Contexts. (SPAB, London: 2018).]

FIGURE 24

Photograph. [McElgunn, J. SPAB Conference Report - New Design for Old Buildings - Contemporary Architecture in Historic Contexts. (SPAB, London: 2018).]

FIGURE 25

Author's own.

List of Figures

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The Preservation of Intangible Community Value

Curating The City

147

Curating The City

ARC3015 Theory into Practice

Bollack, F. A. Old Buildings, New Forms: New Directions in Architectural Transformations. (Monacelli Press, Columbia. 2013)

Gabunia, T. People Put Their Heads Inside Miniature Galleries To Become Famous Art Exhibits Themselves

[available

at]

https://www.boredpanda.com/interactive-art-exhibition-put-

your-head-into-galler y-tezi-gabunia/?utm_source=google&utm_medium=organic&utm_ campaign=organic (2017)

Goodman, J. Restoring Womens History through Preservation. (John Hopkins University Press, Baltimore: 2003)

Heathcott, J. Curating the City - Challenges for Historic Preservation in the Twenty-first Century. Journal of Planning History (Routledge, 2006) 5(1), 75-83.

Heathcott, J. (2016). Preservation, Heritage, and Memory. Retrieved February 4, 2021, [available at] https://www.heathcott.nyc/preservation-heritage-memory

McElgunn, J. SPAB Conference Report - New Design for Old Buildings - Contemporary Architecture in Historic Contexts. (SPAB, London: 2018).

Members

the

Saltaire

Steering

Group.

Saltaire

World

Heritage

Site

Management

Plan.

Bradford: Board for United Nations Scientific, Educational and Cultural Education. (2014)

UNESCO World Heritage Site Saltaire Representatives. Appendix 7 – Setting Survey Evaluation - Evaluation of the setting of the Saltaire World Heritage Site (Bradford City Council, Bradford. 2012)

Saltaire Inspired Ltd.. Saltaire Open House Trail 2019 [Available at] http://www.saltaireinspired. org.uk/saltaire-arts-trail/ (Saltaire Inspired, Shipley. 2019)

Winter, T. Clarifying the critical in critical heritage studies. International Journal of Heritage

Bibliography

Studies, (Baltimore University Press, Baltimore. 2013) pp 532-545.

148

TESTING REVIEW - ROSIE JOYCE - 29/02/2021

CONCEPT DEVELOPMENT

Creative Community Collective Saltaire Model Village Curating the City

Capturing the intangible spirit of Saltaire present in the Open House Art displays PUBLIC

P R I VAT E

ARTIST RITUALS

TOURIST RITUALS

E AT RE /C RK O W E LIV AY PL DI S

PROGRAMME

FUNCTION OF THE ARTS COLLECTIVE NOT ‘SUBSERVIENT’ TO THE EXISTING MILL ART GALL E R Y, B U T A ‘ R E S P E C T F U L Y O U N G E R S I B L I N G ’

FUNCTIONALITY

MASSING

THE PROJECT AS AN URBAN EXTENSION OF THE EXISTING HOUSING

A NARROW CORRIDOR AS CIRC U L AT I O N - A CO N C E P T UA L REFERENCE TO THE STREET

A L AYO U T V E R T I C A L LY INSPIRED BY THE FLOORS IN A HOUSE - DRAWING FROM THE RITUALS OF AN 'OPEN HOUSE'

SITE TESTING

S I T E A N A LY S I S

Massing within a confined site

Site 6 - A community playground enclosed by residential streets

OPTION 1

OPTION 2

Pedestrianising Baker St.

Pedestrianising Back-Road Between Houses

S A LT ’ S M I L L A R T G A L L E R Y R E N O VAT I O N OPPOSITE THE SITE BEYOND A N ACTIVE TRAINLINE, RENOVATED IN 1980

TERRACED HOUSING EXISTING SINCE THE 1890’S AND IS WELL-PRESERVED AND PROTECTED AS HOUSING PREVIOUSLY USED BY SECOND-GENERATION MILL WORKERS, NOW HOME TO OPEN HOUSE SHOWS

SITE

SCHOOLS TWO SCHOOLS NEAR SITE, ONE WITH DIRECT ACCESS TO SITE

PLAYGROUND FOR COMMUNITY AND SCHOOL

149

150

OPTION 3

INTERIOR TESTING

Massing attempts within a Constrained Site Maintaining both roads and incorporating a flexible door system which involves the road

A narrow atrium reminiscent of a street

150

INTERIOR TESTING

F I R S T I T E R AT I O N O F F LO O R P L A N S A N D R O U G H S E C T I O N S

A narrow canyoning corridor - Reminiscent of the journey through a terraced house

Primary School - Wycliffe

On site - Bradford Central PRU For excluded pupils

Terraces of houses Often featured in the Open House event

SITE 6

MAIN ROAD Saltaire Road

Terrace of houses

21 22

17 25

26 24

151

152

Tai Kwun Heritage Centre - Case Study Booklet

“

Ta i Kw u n H e r i t a g e & A r t s C e n t r e Herzog & De Mueron Case Study ARC3001

Studio: Curating the City

Former Prison boundary and new Tai Kwun Heritage Centre Site

Newcastle University School of Architecture, Planning and Landscape

153

Question 1

QUESTION 1 How does the case study elaborate on its visual, spatial and interactive relationships to its context, landmarks and landscape?

Question 2 Dominic Saliendra

154

Question 2 Dominic Saliendra

155

QUESTION 3 How does the case study relate to the Architect’s theoretical position & how does it explore their ideas and preoccupations.

Question 3 Tessa Lewes Question 2 Dominic Saliendra

Question 2 Dominic Saliendra

156

Question 3 Tessa Lewes

Question 2 Dominic Saliendra

157

JC Contemporary

“

Herzog & De Mueron: Tai Kwun Preoccupations & Theoretical Position

JC Cube

Experiential Exhibitions in the JC Cube & Contemporary

Herzog & De Mueron: Tai Kwun Preoccupations & Theoretical Position

Humanitarianism

Enstrangement

Programme: 1. Former Central Police Station 2. Parade Ground 3. Prison Yard 4. Former Central Magistracy 5. Former Prison 6. Old Bailey Gallery/ JC Contemporary 7. Arbuthnot Auditorium/ JC Cube

Ethos: “Architecture is a fundamentally humanitarian profession... building success depends on whether it is full of people”. “If architecture was just about

form and pleasure it would be absurd.”

“Two new volumes that float tightly above the surrounding granite walls are concieved as distinctive but carefully inserted elements within the fabric of the existing buildings.”

An open and inviting oasis in the heart of a bustling, dense city-scape. It invites human exchange, education, engagement and decompression.

AA- Red dotted lines- Horizontality Blue dotted lines- Verticality

Herzog & De Mueron: Tai Kwun Preoccupations & Theoretical Position

Manipulation of Materials

Herzog and de Mueron realise that perfection is impossible and slight imperfection makes architecture even stronger. It adds an aspect of likeness to the historic buildings and craftsmanship.

Figure 3g: Site Plan

Figure 3n: Coarse Materiality and corner facade system.

The intangible heritage of bustling human life and movement is reintroduced in the new spatial programme.

Figure 3f: An oasis in the City

Figure 3a: Plan & Section

Figure 3h: Gate access photographs

2- Blue Gate, via Old Bailey Street

3- Bauhing House Gate

4- Old Bailey Gate

5 Figure 3e: Sheltered Cinema gathering space

Figure 3p: Facade Section.

5- Pottinger Gate Figure 3i: Gate access sketches

Figure 3d: Exhibition Collage

Question 3 Tessa Lewes

Figure 3l: Photograph of sheltered, tight space beneath the cantilever.

How does Tai Kwun Heritage and Arts Centre relate to buildings of its type?

Tangible, architectural heritage is also artistically referenced and reimagined through exhibitions.

Question 3 Tessa Lewes

“By cantilevering above the walls and keeping a minimum distance to the adjacent structures, the building floor area creates a protective offset from the surrounding historical buildings.”

Figure 3c: Exhibition Spaces

The new programme promotes dialogue between visitors which revitalises a sense of public union and the intangible heritage of the community that once occuppied this space in the city.

Figure 3o: Detail aluminium cast corner system

Figure 3k: Site Sections

The gates of access aim to keep the commotion of the city away

QUESTION 4

Figure 3b: Exhibition Space

1- Footbridge Gate (via central to mid-levels escalator and walkway system

Figure 3j: Bustling Complex sketch of access

Figure 3m: Outdoor sheltered autitorium space, The JC Cube exhibits as opposed to inhibits space.

Question 3 Tessa Lewes

Figure 3q: JC Contemporary Concrete Stairwell

Question 3 Tessa Lewes

Question 4 Mary-Anne Murphy

158

Question 4 Mary-Anne Murphy

159

Group 2 Memory Thematic Analysis Booklet Question 1: What is the current theoretical debate around the speciﬁc issue (theme)?

CRITICAL HERITAGE IN SALTAIRE

of Salts Mill

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.

Group 2 - Memory Dominic Saliendra, Rosie Joyce, Mary-Anne Murphy and Tessa Lewes

1980s SALTAIRE A period of uncertainty and doubt

Question 1

CRITICAL HERITAGE IN SALTAIRE

Looking at Saltaire model village through the lens of Critical Heritage

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

List of Figures

GROUP 2 - MEMORY

Cover Photos González, M. F., 2018. ArchDaily: Tai Kwun Centre for Heritage and Art / Herzog & de Meuron. [Online] Available at: https:// www.archdaily.com/898980/tai-kwun-centre-for-heritage-and-art-herzog-and-de-meuron [Accessed December 2020].

Existing Salt's Mill

Question 2

Facing demolition

Question 3

BROWNELL, B., 2019. Architect Magazine. [Online] Available at: https://www.architectmagazine.com/practice/the-importance-of-materiality-for-herzog-de-meurons-tai-kwun-center-for-heritageand-arts_o [Accessed December 2020]. Herzog & de Meuron - Tai Kwun Centre for Heritage and Arts In Hong Kong. 2020. [Film] Directed by Architecture Travel Video. Hong Kong: Architecture Travel Video. Meet the Institutions | Tai Kwun Centre for Heritage and Arts. 2019. [Film] Directed by Art Basel. Hong Kong: Art Basel. Tai Kwun Centre for Heritage and Arts: Redesigning a police station in to a cultural hub - Arup. 2019. [Film] Directed by ARUP. Hong Kong: s.n. Information, T. K. V., 2019. Tai Kwun. [Online] Available at: https://www.taikwun.hk/en/ [Accessed November 2020]. Question 4

Figure 3a Figure 3b Figure 3c Figure 3d Figure 3e Figure 3f Figure 3g Figure 3h Figure 3i Figure 3j Figure 3k Figure 3l Figure 3m Figure 3n Figure 3o Figure 3p Figure 3q

Authors Own Authors Own Tai Kwun Centre for Heritage and Arts: Redesigning a police station in to a cultural hub - Arup. 2019. [Film] Directed by ARUP. Hong Kong: s.n.

Authors Own Authors Own Authors Own Authors Own Information, T. K. V., 2019. Tai Kwun. [Online] Available at: https://www.taikwun.hk/en/[Accessed November 2020] Authors Own Authors Own Authors Own

A 'ghost village'

ney of Victoria Road

A cultural and heritage-led regeneration

Authors Own

Tai Kwun Centre for Heritage and Arts: Redesigning a police station in to a cultural hub - Arup. 2019. [Film] Directed by ARUP. Hong Kong: s.n.

Authors Own Authors Own Authors Own

Question 4 Mary-Anne Murphy

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

Elevation of (potential) restored Factory The Boundary

Question 4 Mary-Anne Murphy

Tai Kwun Centre for Heritage and Arts: Redesigning a police station in to a cultural hub - Arup. 2019. [Film] Directed by ARUP. Hong Kong: s.n.

Connecting the Tangibles with the Intangibles

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

Section of (potential) restored Factory

Appendix 7 | Figure 13

Disparity

160

nts and Gaze

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

Future possible interventions

161

Disparity

3 The Dining Room 4 Railway Station

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

m m m

m m m W

m m

Victoria Hall | Dance and Music

The Whole Site | Street Life

Elevation of (potential) restored Factory The Boundary

Connecting the Tangibles with the Intangibles

w W W D U

Salts Mill | Visual Arts

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

m m

w w w

of Salts Mill

m w m

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

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

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

1980s SALTAIRE Current progressive conservation works

Keeping the Site intact

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) This map presents current solutions Saltaire oﬀers in terms of ...continue to thrive and express its outstanding universal value critical heritage. these include:

Salts Mill | Visual Arts

Victoria Hall | Dance and Music

The Whole Site | Street Life

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.

A period of uncertainty and doubt

Current progressive conservation works

The potential harm of modern development

Existing Salt's Mill

Facing demolition

Section of (potential) restored Factory

Section of (potential) restored Factory 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.

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

Heritage & The Problem of Memory in Saltaire

Future possible interventions

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.

hysical conservation in more detail, such as uildings and vacancy of building which will these features to their original standard.

ge of the site, there are issues which arise from reading e is:

1 Salt's Mill 2 New Mill

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

x 7 | Figure 13

ons (Framework of Intervention) for now + future?

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

M m

ment

of the World Heritage Site contribute ng, its ambience and character. The lysed and divided into a series of zones nd building forms shown in Figure 13.'

Appendix 7 | Figure 13

he Site intact

coincides with the extent of Titus Salt's evelopment. e rehabilitation and conservation of the s meant its attributes: m and design s and substance ms of a living community) ess its outstanding universal value

Connecting the Tangibles with the Intangibles

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m m m

m w

m m w

w m m m m m

m m w

1980s SALTAIRE A period of uncertainty and doubt

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

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

CRITICAL HERITAGE IN SALTAIRE

13 The Almshouses 14 The Wash House

GROUP 2 - MEMORY

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

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

Facing demolition

m m

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

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

7 Methodist Church 8 The Hospital

13 The Almshouses 14 The Wash House

ney of Victoria Road

Future possible interventions

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

A cultural and heritage-led regeneration

m m

Heritage & The Problem of Memory in Saltaire

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

A 'ghost village'

nts and Gaze

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 Boundary

m m

Option 1 | Embracing its original identity

Connecting the Tangibles with the Intangibles

mm m

Salts Mill | Visual Arts

Victoria Hall | Dance and Music

The potential harm of modern development

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?

What the future plans must include

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

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.'

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.

Current progressive conservation works

ther following the heritage route directly is too old te Saltaire to keep it alive and accessible.

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

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

7 Methodist Church 8 The Hospital

Future possible interventions

Section of (potential) restored Factory

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

5 Victoria Hall 6 The School

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

Connecting the Tangibles with the Intangibles

3 The Dining Room 4 Railway Station

Heritage & The Problem of Memory in Saltaire

READING 2 Memory

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

1 Salt's Mill 2 New Mill

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

Existing Salt's Mill

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nts and Gaze W

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w W

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

GROUP 2 - MEMORY

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

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

CRITICAL HERITAGE IN SALTAIRE

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

of Salts Mill

GROUP 2 - MEMORY

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)

Progressive Conservation & Critical Heritage

m m

ney of Victoria Road

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

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A cultural and heritage-led regeneration

The Boundary

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m m m

Preserving sample sites of heritage: e.g, Salts 'school', 'church', instead of 'village'. M M 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 m it was designed. Used as a tourist destination, it is being used instrumentally. m 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? m Was Saltaire a 'soft prison' with too many rules, restrictions and regulations? Did Salt abandon Bradford to enact his own capitalist powers? Underage workers were employed in the mills regularly

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A 'ghost village'

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

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.

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 The Whole Site | Street Life I focus on which is the viewpoint of the picture. The interesting thing which is the 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. viewpoint of the picture is always relevant to the architecture where in Saltaire. In Activities - History Trail 'Shoppers in Saltaire are being urged to turn history to help uncover the stories behind shops in the world heritage site.' termdetectives of the of the moment, Exhibitions - 'An skyline exhibition of fashion inspired by historic Yorkshire clothing half moments of the skyline are on the two-thirds and Bradford’s textile heritage has opened at Salts Mill...' - 'Fern Place BD18the 4HB: A History of Gin. A talk ofThat around 45 is means the visual experience of the moment still of theWorkshops way above screen. minutes linking the creation of gin to its popularity today.' 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".

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

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

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

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

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

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?

- 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

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?

What the future plans must include

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

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

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 itof serves the purpose for which it Thereby, preserving the image what Saltaire has always been known as? used instrumentally. was designed. Used as a tourist destination, it is being Preserving the factory will restore community spirit and reinstate the intangible heritage- tangible heritage is only a 'stage' for the value of the intangible. Option 3 | Forget the textile industry, Saltaire will adapt to the changing world

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

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 To achievewe this,want the regeneration had to essentially forget fully factual. This may aﬀect how strongly to what Saltaire used to be, with the architecture of the village follow tangible heritage. being the only aspect left of its 19th century life.

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

Section of (potential) restored Factory

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.

Some see the conservation of the architecture

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.

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. Heritage & The Problem of Memory in Saltaire Map 2 | Buildings / Spaces that need more work done to achieve the In term of the final aspect that I exploring which is the Typography change of the Progressive Conservation theory Crisis of Accumulation of Memory in a world of 'heritagisation'. moment. Why I need to study the Typography change at the moment, of to form new collective Our minds are saturated with memories,because limiting our ability 9 River Aire 11 Congregation Church 13 The Almshouses 10 Leeds-Liverpool Canal 12 The houses The Wash House when people looking at one14 point in the picture memory. or moment, the higher point will easily We are preventing 21st Century culture from manifesting and becoming future heritage and history. capture the focus point of people, and make that moment is different than other. This Saltaire Village heritage lacks greater purpose and ambition; its management is lazy and without experimentation and improvement. change is relatively subjective. 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