Simon Tarbox Portfolio

Curating The City ARC 3001

PORTFOLIO Simon Tarbox Stage 3 Academic Portfolio 2020/2021 Newcastle University

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CONTENTS Reflective Diary Simon Tarbox Stage 3 Academic Portfolio 2020/2021

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Studio Introduction

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Project Framing

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Thematic Case Study Report

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Project Testing and Synthesis

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Bibliography

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List of Illustrations

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Appendix

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Reflective Report Introduction Overall, my final year as an architecture student has been challenging, but equally rewarding and enjoyable. My knowledge has undoubtedly expanded, and I have broadened my skills which will carry me forward beyond university. The course content and studio interaction have allowed me to express my architectural proficiency, whilst feeling consistently challenged. I have been able to explore subjects and issues of personal interest, such as critical heritage in protected areas, transport architecture, and architectural experimentation in alpine environments, which have helped me maintain a constant level of focus and self-application. Being a part of the ‘Curating the City’ studio gave me the chance to work on a site with existing personal significance, being in close proximity to my home in Yorkshire. I have been fixated on the project and my work throughout the academic year and have enjoyed the freedom of choosing my own exclusive and unique brief.

REFLECTIVE DIARY 4

Development There has been a noticeable shift this year in the way I have thought about architecture as a whole, regarding the way I have formed my ideas, how my thoughts have been applied to my work, and how I have presented my concepts and findings. Having grasped a greater understanding of the different stages of design, I believe a much stronger final output of work has been produced. I really appreciated the time our studio spent examining the history of Saltaire, and how it has progressed and forged itself into the modern world, then pondering over what is missing in today’s urban context. The framing analysis and in-depth site studies helped me curate the site around my specific project, allowing me to think carefully about how my building could improve the town. The testing phases in my design work have been much more prevalent and informative this year, using various styles of working to find solutions and form a final design.

Methods such as physical model making using foam and card, rough sketches, digital massing models and repeatedly tracing over plans have contributed towards progressive development through the different stages of the year. These processes helped generate a design that I am confident meets the brief to the best standard possible.

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Context

Conclusion

Contextualising Saltaire’s past and present, as well as considering the requirements of a well designed railway station have been essential elements in my design process. The site’s shape and measurements, along with its nearby structures informed certain decisions, specifically around my building’s size, and its tectonics, for example the style of brick used. My building is also planned without many curves, similar to the grid layout that has helped give Saltaire its established acceptance as a successful model village. Exploring certain themes within our studio in smaller groups helped me broaden my views on the context of the area. These themes were based around visuality, urban form, eco-assemblage, memory, and vision, and when collating our findings on each subject, we gained a strong base of contextual information to build on with our individual designs.

When looking back on my skillset and architectural intelligence at the start of this year, and especially the start of university, I am extremely content with how far my capabilities have developed. I am able to acknowledge my progress, and when recollecting my design project as a whole, I feel proud of the amount I have devised and produced in response to my aims, both with my programme, and how I have related the design to Saltaire’s heritage. My work has consistently challenged me, proven by the number of contrasting elements in the final design, and the adventurous features, such as the futuristic bar, that stem from my continual ambition to push boundaries and test my abilities.

Integration Besides the core design project, other modules have broadened my perspectives on architecture, and helped me generate more comprehensive thoughts within my studies. For example, my dissertation explored experimentation in alpine environments, and how we can build in places of natural beauty. This helped me consider how my design could integrate itself into a protected World Heritage Site, looking at approaches I could take to ensure my development would not damage the visuality and urban form of Saltaire. Similarly, after analysing my building’s tectonics in greater depth during the Integrated Construction module, I was more confident that my building would be structurally sound and function correctly. My technical knowledge especially advanced when producing a 1:20 section of my design, which assisted my thoughts around the different elements of my building, and how they communicate with each other. During the Professional Practice and Management module, greater awareness was gained of the responsibilities of architects involved in large projects, understanding their role within a team of professionals. I considered how realistic my proposal was, whilst analysing who would be involved in the construction process to successfully achieve the aims of the brief.

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Cultural Bibliography Saltaire Visit 03/01/21

Saltaire is roughly a 45 minute train journey from my home in Yorkshire, and it has always been a place of interest to me, as I had visited numerous times when I was younger. However, although I had learnt some of its history, returning in January and passing through the streets was extremely liberating, with a greater understanding of its heritage and beginnings. I analysed the architecture in more depth, visited the mill, and spent time at the railway station, which really helped me grasp a greater knowledge about the area and what I wanted to achieve with my project. Despite Covid-19 stopping a trip to Saltaire with univeristy, I felt it was vital for me to visit the town. It benefitted my work immensly, from the photos I took of the town, and of my specific site, to site measurements, quick sketches, and getting a general feel for the place, imagining how it would have felt 150 years ago.

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Salts Mill as a Gallery Figure 1

When Jonathan Silver regenerated Salts Mill in 1987, the first thing he did was create the 1853 Gallery, which he filled with art by David Hockney (Salts Mill, 2017). When visiting the gallery, I was particularly drawn to his painting of Saltaire, which clearly displays Hockney’s thoughts and visions on Saltaire’s landscape and atmosphere. As well as his work, there are numerous other interesting pieces of artwork, as well as photos from its past, that can be viewed when passing through the mill, all helping share Saltaire’s story. Observing these pieces as I walked around the mill helped me interpret how the mill and town would have felt at different points in history, compared with now, and how my project could connect with this.

When I visited Saltaire, I appreciated the organised, grid layout of streets, and the unified size, architecture, and visuality of the buildings across the site, which all helped create the model village that we see today. I was also able to view the local sandstone that the architects used, and thought about how each street and building throughout the town communicate with one another.

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Barnacre Castle Alpaca Farm Visit

Barnacre Castle farm is home to 250 alpacas, and I decided to pay a visit in order to learn more about the animal that Titus Salt used to make his fortune. The alpaca is heavily involved in the programme for my design project, so understanding details about how they live, their upkeep and history in the UK was extremely useful. It was especially beneficial to understand the process of producing alpaca woollen products, which is showed in the diagram below. This visit influenced my design by highlighting the sizes and uses for certain rooms. For example, I learnt about the size of a mini mill, which would be incorporated within my building’s accommodation.

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The alpaca is sheared, tied down for its own safety.

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The sheared wool is then washed thoroughly and soaked in disinfectant.

The clean wool is combed using a drum carder, which aligns the fibres.

A batt of alpaca wool at Barnacre farm.

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Finished products after being knitted.

Alpaca wool yarn at Barnacre farm.

A sheet of processed alpaca The wool fibre is spun wool at Barnacre farm. using a mini mill.

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Brian Edwards

Other Informative Books

‘Railway Architecture’, by Marcus Binney and David Pearce helped me understand the history of railway station architecture. I wanted my design to be modern, but still draw on historical styles, especially as it is based in a World Heritage Site. ‘The Architecture Concept Book’ was extremely useful in helping me forge a design and think carefully about the different stages of testing. It gave me ideas around what methods I could use when testing various designs, and helped me develop a design which I felt met the brief to the best standard possible.

The Architects’ Journal has helped me in numerous ways. Analysing certain buildings in detail helped me think about the tectonics of my building, and what features I could incorporate, such as a rainwater harvesting system.

It also inspired certain ideas for potfolio styles and layouts, to enable me to present my work attractively, in a systematic, engaging way.

Two books that were incredibly helpful with my research into railway station and modern transport interchange architecture were by Brian Edwards, who provides a fascinating insight into the details around why the buildings are the way they are, and what works best. I was provided with various ideas around how I can ensure my building has good circulation, where the entrances could be placed, and what features could be incorporated in the design, such as platform columns. Transport architecture is an extremely broad topic, and there is a huge amount to think about when designing a station. Brian Edwards made things much clearer, and helped me think about how people would pass through the building, and how we experience the different spaces within railway stations.

The Architecture the Railways Built - Tim Dunn Watching this particular series on the Yesterday channel gave me a useful insight into historical railway architecture in Britain. As well as linking with Saltaire’s specific architectural styles, I wanted to ensure my building served its core purpose, and people passing through would feel as though they were in a railway station, and could easily board and disembark trains as they would in any other building with the same programme.

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CURATING THE CITY The aim of Curating the City is to formulate ways in which we can connect history together with the present, using our perspectives and relationships with it. We have carefully studied ways in which we communicate and interact with the past through innovative architectural ideas, which can preserve existing heritage and values in an area. Saltaire, in Yorkshire, has been the key focus of our work. Its coherent planning and Victorian Italianate architecture can be seen clearly today, and is a perfect example of a structured model village. Our studio has aimed to find a way to curate the site through the creation of a new development that can enhance the area whilst also preserving its heritage and values.

STUDIO INTRODUCTION 18

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Saltaire - World Heritage Site Saltaire is located in Yorkshire, England, 3.7 miles away from Bradford, which was dominated by textile mills in the 1800s (Saltaire.info, 2020).

However, the city had high levels of poverty, and Titus Salt, who owned a large number of these mills, chose to move his industry elsewhere.

In 1853, Salt built what was then the biggest mill in Europe on a carefully chosen plot of land. He coupled the development with an entire village to accomodate his workers, which became known as Saltaire, named after himself and the River Aire that runs through the site.

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The Discovery of Alpaca Wool In 1836, before the creation of Saltaire, Titus Salt, then aged 40, visited a warehouse in Liverpool and found an unused bale of alpaca wool. Fascinated by its qualities, he chose to pursue a venture in mass producing his own lustrous cloth from the wool, which would enable him to out-perform most of Bradford’s other textile manufacturers, who in the 1840s made cheaper cloths from sheep’s wool and cotton (Mason & Sons, 2017).

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PROJECT FRAMING 20

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Live Alpacas were imported from Peru by the 13th Earl of Derby, who had his own menagerie (British Alpaca fashion, 2011). Salt then formed his own large flock of alpacas, which flourished for a while, until he eventually concluded that they were not suited to the Yorkshire weather. Many were shipped to other countries, or lived out their lives in Yorkshire, until by the time Titus himself died there was only one alpaca remaining. If wool was not taken directly from the live alpacas, it was imported via canal and on the railway, arriving in ballots or small bales each weighing 125lbs (Mulberry, Alpacas, 2015).

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Lustrous Cloth Through the years, Salt produced expensive fabrics made from alpaca and mohair - the hair of the Angora goat - combined with cotton or silk. Alpaca wool was well suited to producing a lustrous cloth that proved very popular for women’s dresses during the mid-19th century. For about a quarter of a century from 1840, bright alpaca mixed fabrics took the world by storm (Minnery, J, 2012).

The amount of alpaca wool imported from 1836, when Titus made his first purchase, to 1840, averaged 560,800 lbs (pounds) per annum. In 1852, the annual import had reached 2,186,480 lbs in weight (Mulberry, Alpacas, 2015). Assuming a clip of 5lbs. per animal that equates to over

437,000 alpacas.

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Philanthropic Paternalism The growth in imports of alpaca wool and the amount of cloth that Salt was producing had to be accommodated. It was for this reason Saltaire was created alongside the new, gigantic mill.

Salts idea of coupling his mill with a whole village containing good quality living quarters and communal facilities for his workers was a completely new concept at the time. The well structured gridiron layout that Salt adopted for his town was also a new idea, pioneering the notion of urban planning as a way of organising streets within settlements. Salt created a welfare society, linking planning and social cohesion together, along with the livelihoods of his workers - an approach known as philanthorpic paternalism (Campbell-Bradley, I, 1987).

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Saltaire’s Development

My group’s thematic study was based around ‘urban form’. We therefore studied the planning strategies and architectural styles that Salt adpoted in his design of Saltaire.

We explored the history and development of Saltaire’s urban framework, analysing how it has changed and developed through the years since its inception.

1 Church 2 School 3 Club/ Institute 4 Infirmary 5 Baths

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Phase 1

Phase 2

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

Salts Mill was the first building to be created, which was followed by various streets of houses, and eventually a range of public buildings.

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Phase 3

Train Station (1856) Congregational Church (1859) Bath and Wash House (1863) New Mill (1868) Methodist Chapel (1868) Hospital (1868) The Institute/ Victoria Hall (1871) School (1868) Almshouses (1868)

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Italianate Architecture Saltaire’s buildings were designed by Lockwood and Mawson Architects (Henry Lockwood and Richard Mawson), who at the time were among Bradford’s most prolific architects (Bradford Council, 2001). Structures were made from local sandstone and welsh slate.

Salts Mill

A typical row of housing in Saltaire

Osborne House - A classic embodiment of the Italiante style.

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These illustrations were drawn by me to show the urban form. There are clear similarities to other buildings that incorporate Italianate architectural styles, such as the arched windows, overhanging eaves, and occasional tower.

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Although the urban fabric and architectural language of Saltaire has remained significantly unchanged, certain elements seem to be disconnected from its past. The image above and below show how the mill has changed very little visually. The area that used to be sidings is now used as a car park, but the building itself appears almost identical. Without the excitement and buzz of the mill in full-function, surrounding streets feel rather uncoordinated and detached. Throughout the town, there is a general lack in character and liveliness in certain places, as buildings that have remained inhabited have not changed, but are used for 21st century lifestyles, not for an entire mill workforce. It is clear Saltaire wants to hold onto its fascinating history, but is there a way we can continue to preserve its urban fabric, whilst pulling it into the 21st century, and bring back the life and character it once had?

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CRITICAL HERITAGE

Connecting Past

Present &

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By the early 1980s, Salts Mill was in decline, and closed in 1986, removing the original economic base of Saltaire. In 1987, it was bought by entrepeneur Jonathan Silver, who renovated it into a mixed use commercial, leisure and retail building. In 2001, Saltaire was declared a UNESCO World Heritage Site, and according to the Saltaire Village Society, it’s revival came from Silver’s work with the mill, as well as the re-opening of the railway station (Minnery, J, 2012).

Engaging with the past

The Urban Fabric Today Mixed use housing on Victoria Road, 10m building height

Residential Housing on George Street, 8m height

Today, Saltaire is comprised mainly of houses. The urban fabric is largely unchanged, as building’s structures have remained. However, buildings such as the almshouses and hospital now have other uses. But, the fact that the houses have remained inhabited shows Salt’s success in providing quality homes for the public.

Saltaire still attracts a range of visitors who can observe the Victorian architecture and the historic settlement which pioneered the ‘model town’ movement. Key features such as Victoria Hall, Salts Mill, the United Reformed Church, and Roberts Hall are still celebrated, and tourists can engage in the combination of private homes, public buildings, and places of work.

Almhouses

Roberts Park

Saltaire Railway Station

River Aire

Saltaire Resedential Area

Salts Mill Leeds and Liverpool Canal

Saltaire Village Section

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A piece of artwork that caught my eye on my visit to Salts Mill. The wool industry was key to Saltaire’s success, but seems to be slightly forgotten around the town...

Salts Mill today - A collection of David Hockney’s artwork, cafes, a restaurant, and shops.

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SALTAIRE & THE RAILWAY By the 1830’s various businessmen involved in Bradford’s Wool Trade were eager to have a railway to ship out their products, rather than relying on canals which were much slower.

Strong connections provided by a railway

Strategic placement of the mill Salt’s Mill was built directly between the railway and canal (marked in red), making it extremely easy to unload and load canal barges and freight rail cars.

The railway was vital in achieving Salt’s aims importing materials, and exporting products. But the railway has also always been crucial for people to travel to and from Saltaire, acting as an important way of connecting with the outside world.

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A section of railway between Leeds and Bradford was opened in 1846. Following this, an Act was passed to build an extension branching off up the Aire Valley to Colne.

The first section to open, on 16th March 1847, was from Shipley to Keighley, which ran through Saltaire (Saltaire.info, 2020).

Salts Mill was officially opened in 1853, and the original station in Saltaire was opened three years later in May 1856 by the Midland Railway (Saltaire.info, 2020). Due to the line’s existence prior to Salt’s constructions, the railway undoubtedly influenced his decision for where his mill and model village would be located, along with the close proximity to the canal, and good road connections.

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The Decline of The Station

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Saltaire station closed on 20th March 1965 following the Beeching Axe. The original station had large stone buildings on each platform, but these were demolished in 1970. However, West Yorkshire Passenger Transport Executive and British Rail reopened the station on 9th April 1984 (Saltaire.info, 2020).

Saltaire Railway Station in 1909

The station is now unstaffed and has basic wooden platforms. The waiting shelters are clad in local stone.

The railings to the ramp were designed to match the original railings, and the overhead line equipment was painted black to be less visually intrusive. There are electronic ticket machines, step-free access to both platforms, and digital information screens.

Saltaire Railway Station today

The map above shows Salts Mill in 1912, and the sidings that used to exist in the south yard, delivering coal and other goods, as well as exporting finished products.

These sidings were removed however, as the productivity of the mill declined and business eventually faded, leaving an open space which is now used for cars in front of the south facade (shown in the image below). The track simply runs past the mill, showing very few traces of its historical impact.

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A Basic Station Despite the station being busy with commuters, staff who work in Salts Mill, and tourists visiting the USESCO World Heritage Site, few signs can be seen of the true impact the railway had on Saltaire, in terms of how it helped the mill and the general dynamics of the town function.

The fact that the station is known to be key in Saltaire’s revival shows its power, and what it can bring to the town, but today, the railway and canal pass through Saltaire without a huge amount of significance. There is a lack of facilities provided - no toilets, or a ticket office, so it is not as welcoming as it could be, especially for a WHS. It serves its core purpose, but could be utilised more effectively to draw people in, whilst helping share and celebrate Saltaire’s rich history.

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A New Station to Reignite Saltaire and its Heritage

Questions Raised Can the railway station be made into a key component of the town, that can spark new liveliness in the area, and attract more visitors?

Can a building be created that develops and embellishes the railway station, creating more public facilities, whilst making us aware of Saltaire’s history?

How can the station become a key hub in the urban context that can connect Saltaire with its past and present?

Currently, little physical signs are displayed of the history of alpaca wool and its relationship to Saltaire. Could the station communicate with this, in the same way it did years ago when it helped transport it in and out of Saltaire? Can it be expressed through a modern development, and incorporated within the station building?

PROJECT MANIFESTO Connecting Saltaire with Transport After analysing Saltaire’s extensive history, and specfically exploring its relationship with the wool industry and railway, I want to find a way to attract attention and draw people towards the town, to engage in its heritage, whilst bringing revitalised life to the area.

What is a Transport Orientated Development? There is not a single universally accepted

A transport orientated development (TOD) in Saltaire has the ability to create significant financial return for Saltaire, regarding its land value, and profits for local economies (Belzer, D, and Autler, G, 2002, pg. 6). It can be a central part of a Saltaire’s long-term development paradigm that is more environmentally sustainable and more socially just, contributing to both economic development and quality of life (Belzer, D, and Autler, G, 2002, pg. 1). I will therefore design a new railway station , which will promote sustainable transport and combine this with an opportunity for visitors and locals to understand Saltaire’s history.

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definition of TOD, but it is generally understood as being a mixed-use place with a certain urban density and high-quality walking environment, located within half-mile (800 m), i.e. 10 min walk, of a transit stop (Vale, D, 2015).

Accommodation

A New Railway Station.

Saltaire’s new railway station will include public toilets, a ticket office, and a heated waiting room.

Also included within the multi-functional building will be: - A Wool Market.

- Rooms for wool processing and wool product production

Proposal of a Programme

- A Bar - A Café

The objective of my project is to create a new, attractive railway station, including multiple functions in public and private spaces that will contribute to Saltaire’s local community. As well as including basic features of an efficient railway station, such as platforms, a ticket office, and public toilets, my TOD will connect with Saltaire’s history. Incorporated within the station will be areas to process and produce alpaca woollen merchandise which will be sold in a wool market, a tribute to the industry that gave the town its identity. The station will become a strong social hub within the urban environment, with a roof bar, and platform-level café. The desired outcome is to draw in more visitors through an improved transport link, whilst reviving and celebrating Saltaire’s historical wool industry, by re-sparking interest in its processes and products.

An exciting, modernised station well help Saltaire visually incorporate itself into the 21st century, so that it does not fall behind the modern world by holding onto its past.

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A concept collage of the main themes of my building, and how they will work together to boost life back into Saltaire.

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Brief Study Functions and Themes The current railway station is not hugely appealing visually, and there is a lack of public facilities. Its closure for 19 years is clearly a reason for this, especially since during the 1980s when it reopened, station designs were rather basic and functional, with less value placed on aesthetics and exclusivity (Edwards, B, 2011). But the inlfluence of a railway station can be underestimated, and may go far beyond its immediate surroundings (Edwards, B, 2011 pg. 12).

Curating the Site for a Progressive Conservation & Embodied Reading

Visuality The aesthetic of Saltaire is currently ‘frozen in time’.

One of the aims of creating a new railway station is to build upon and improve the existing visuality of Saltaire, as my building can be a striking landmark when people visit the town. I want to incorporate elements of Saltaire’s existing historical architectural styles, whilst experimenting with contemporary approaches which will help move Saltaire’s architecture and visuality forward. A modernised station would help promote Saltaire through the tourist’s gaze, influencing tourists expectations of the site. The new station will create a direct relationship between old and new art and architecture, due to the site being directly in front of the mill, and leading onto Victoria Road, connecting vital features of the town together in a single development.

Urban Form The Urban Form of Saltaire embodies Salt’s desire to create a healthy working and living environment for his workers, with its cohesive, well designed buildings.

A dynamic new station can help exemplify his orginal aims, by contributing to a vibrant, healthy modern town, which still draws on its past. The mill and station share similarities, as through the years, different stewardships have affected the mill, as well as the station, and both have faced permenant dereliction. The station now requires what the mill received - new character and development to boost its liveliness, which will bring significant longterm advantages to Salaire.

This said, I want my development to be carried out in a way that preserves Saltaire’s unique urban form. The orginal urban framework was not designed to support and sustain motorised vehicles, therefore the railway is a better option for people to travel to the site. Increased travel by rail would reduce noise and air pollution, and vibration across the area. The surrounding roads are often very congested due to Saltaire’s close proximity to Bradford, which could be reduced with better rail links.

There would also be less of a need to produce more parking spaces.

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An early concept illustration of a central, core space within Saltaire’s new station, celebrating its heritage as the public pass through, whilst providing local merchandise for people to take away.

The public will be able to pass through the building and directly engage with Saltaire’s past. A wool market will allow people to directly witness how its history has benefitted the town, purchasing items linked with Saltaire’s old industries. People can then socialise and get refreshments in other public spaces, such as the bar, which would take advantage of the view of the mill and existing surrounding architecture, that people can visually appreciate.

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Memory Saltaire currently seems to prevent our minds from forming new memories in the town, as it predominantly lives off its past. A new station can create new memories whilst embracing history. High volumes of traffic pass through Saltaire, damaging original street surfaces. In the past, the railway will have been a crucial mode of transport for many residents, and a new station would help reignite the railway’s popularity. Many visitors find Saltaire rather ‘dissapointing’, ‘boring’, ‘lacking in disabled access’, with ‘not much to do’. A station with multiple functions has the ability to become a unqiue feature in the town, providing shelter, and other amentities for visitors.

ATTRACTING NEW AUDIENCES Saltaire, World Heritage Site

TRANSPORT ORIENTATED DEVELOPMENT “Where once the station was entirely a transitional space through which travellers passed en route to the train, now it has become another urban venue worthy of a visit in its own right” (Edwards, B, 1997, pg. 173).

Saltaire was a ghost village in the early 1980s, but with the reopening of the the station in 1984, coupled with Jonathan Silver’s rebirth of the mill in 1987, it suddenly gained more attention and could be easily accessed. A similar cultural-led regeneration can be done with the station in the 21st century. Transport Orientated Developments have the power to bring about improved urban mobility, and will gradually increase public awarness of Saltaire as a location.

Since the Beeching Axe, I believe the station has been waiting to be given new life. New Lanark (a similar model village) was alike in its position, but now has a modern bridge between its two mills. Saltaire railway station could act as a similar connection, but in broader terms. The station can become the core hub of the town, creating social cohesion and economic prosperity.

I do not believe Saltaire currently makes the most of its assets. It is an open museum of a ‘model village’, displaying a particular Italianate style of architecture, but with a station including interactive features representing its history such as the wool processing and production facilities, along with a bar which frames the mill in all its splendour, this would celebrate its rich art, community and historic memory, combined with exciting new architecture that would boost new life into the area.

The modern bridge in New Lanark

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Site Analysis

Site Critique/ Appraisal

Saltaire - 14 minute train journey from Leeds

Close proximity to the existing station, but away from the centre of town, with poor accessibility.

There is also little room for a platform on the right side of the image by Albert terrace.

Close to town and the mill, as well as the existing station. Sloping ground/ tricky topography, which may be hard to work with. A platform could also affect the open area in front of the mill.

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Saltaire can be accessed by a railway line that runs between Leeds and Carlisle. Regular trains run throughout the week, providing easy access from across the country. There are two departures an hour direct to both Bradford (12 minutes) and Leeds (14 minutes) as well as Skipton in 29 minutes (Trainline, 2020).

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In recent years, there has been increasing interest, especially among younger adult age groups, to work and live in ‘transport orientated designed’ areas instead of lowdensity private car dependent areas (Vale, D, 2015, pg. 70).

The location of Saltaire, in regards to the busy line it sits on can be utlised, to create a vibrant, rich and livable urban place through a TOD, in my case, enhancing the station.

The areas marked in blue are the options for sites that could facilitate a new station.

Salts Mill

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A good location, directly adjacent to the existing station, but the development would involve demolishing Shipley College Mill Building - a listed building, and I want to avoid damaging existing historical architecture.

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Good open space, relatively flat, but away from town, platforms could be affected by the mill on the north side. I want people to disembark the train and immediately be met by Saltaire’s main landmarks, and this area would not provide that.

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Initial Response to Site Victoria Road

Salts Mill

Saltaire Railway Station The existing platforms used for the station can simply be extended beneath Victoria Road bridge

Site Study Visual Analysis

I have chosen option 2 from my appraisal on the previous page, as I believe this site is the best choice to achieve the aims of the brief. It would be unwise to destroy the Shipley College Mill Building, as I am trying to protect and enhance Saltaire’s heritage, and other sites are too far away from the centre of town. This site allows me to create a new exciting station in the heart of Saltaire, that can communicate with surrounding older structures such as the mill, which sits directly in front of where the new station will be constructed.

Creates access directly outside the mill

Existing car park can be used to access the new station

Extension of station platforms leading directly to site

Easy access to site and station from Victoria Road

There is an area between the edge of Salts Mill and railway line which needs to be considered, as a platform would be placed here, and space is limited. However, the gap is 6.5m, leaving enough room for a single lane road, requiring a minimum width of 3.65m, and platform with a minimum width of 2.5m (RMweb, 2016).

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Site Photographs

The site is currently used as allotment plots, with numerous trees and plants spread across the hill. There are a number of other allotment plots in Saltaire, and these particular plots could be moved to unused fields nearby. I believe this site is not currently being used to its potential, as it is perfectly situated in front of the historical Salts Mill, with direct access to the trainline, and Victoria Road.

Extension of station platforms beneath Victoria Road bridge, leading directly to the site

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Further Site Analysis The site slopes downwards from Caroline Street to the railway line, which must immediately be taken into consideration in my design.

The site is positioned in a central part of the town, where people can be drawn in from different directions, towards what can become a major hub of Saltaire.

People will be able to arrive by train, car and on foot due its various entry points and strong positioning within the urban context.

There is a relatively small gap between the edge of Salts Mill and the railway line.

The design must not ruin or spoil the south facade of the mill, and should not obstruct a substanital amount of the view of the facade from Caroline Street and Victoria Road.

Construction Resitrictions

Drawing people towards the site The site is well connected within Saltaire’s urban fabric, with Victoria Road running directly beside the edge of the new station. People will access the site from Victoria Road, from Caroline Street, or from disembarkation from the trains.

The exisitng car park could be transformed into a public square to help avoid overcrowding, opening up a large exterior space.

The station will be built next to Victoria Road, as it will utilise the strong accessability from both the north and south areas of the site.

The remaining plot of land eastwards could then be used as an alpaca field, which people could view directly from the station.

Public sqaure

Circulation Shipley College Mill Building - slightly hidden from view by bridge.

Salts Mill - located on the other side of the railway line to my site, so my structure can avoid the listed building.

The new station will relate to the site by ensuring it does not disrupt the visuality of existing buildings which hold great significance in Saltaire. The new station will work with the topography of the land by having different levels, avoiding the need for significant amounts of excavation and unnatural changes in land level.

Victoria Road Shops

Caroline Street Social Club - not appealing to tourists. A basic, prefabricated small concrete structure hidden by trees.

Public Toilets - poor quality.

Existing Buildings

I will need to ensure the building is exposed to enough sunlight throughout the day, by including windows that face southwards.

This may be difficult with the land that slopes down towards the north, so certain parts of the building will emerge from the ground so that the slope behind does not block the sunlight.

Sun Map

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Site Measurements

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Shipley College Mill Building

Salts Mill

When I visited Saltaire, I used a digital altimeter to measure the height of various points across the site, to help create an accurate site section, helping me understand the topography.

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Section BB - Clearly showing the sloping land, and how this relates to Victoria Road to the West of the site.

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Joanneumsviertel, Graz, Austria Located in the centre of Straz, Nieto Sobejano Architects have created an extenision for the Joanneum Museum. In the courtyard between the two historic buildings, each containing different aspects of the museum (The Natural History Museum, The Styrian State Library, and New Gallery), numerous perforations create an entrance and clear openings for light, whilst protecting the existing visuality of the buildings.

Natural History Museum The extension preserves the historical context by bringing people below the surface of the city, away from busy urban areas. At the same time, it interacts with the context by drawing people towards the buildings. The museum is now a more accessible and dominant feature in the context of the area.

The open space on the surface makes it easy to reach other landmarks and there are five seperate entrances within the extension linking it to the buildings on either side, as well as the large exterior entrance (Frearson, A, 2012). The site is well planned, with access from the north and south directly from the streets. The accommodation of the extension is well organised, so that public areas are restricted to the well lit floor directly beneath the ground surface.

New Gallery

Styrian State Library

Two buildings are now linked visually

Inside a section of the new extension

Figure 24

THEMATIC CASE STUDY REPORT 56

Looking North

Figure 25

Figure 26

Looking South

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Figure 27

Conclusion I took a lot away from the case study report on the Joanneum Museum extension, as I was extremely impressed with the way a development requiring a significant amount of accommodation, in a complex and delicate setting has been carried out with such care and precision. The extension is extremely sympathetic to the site and surrounding landscape, and works in harmony with the existing buildings. It gave me ideas that I could adopt with the design of my railway station, such as the way the escalators take people below the ground, but in a way that opens up a panoramic view of existing historical architecture. I particularly like the large, open exterior spaces which create good circulation, something that will be vital for a railway station. It also gave me ideas around the use of glass to filter natural light into the building, even if areas are underground.

These illustrations were drawn by me to help gain a greater understanding of the urban form of the area, and how the extension has enhanced the museum, whilst protecting the heritage and visuality of existing buildings.

*The full case study report can be viewed in the appendix, page 120.

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Testing An early concept of the possible form of my building in response to both the site, and the requirements of the railway station, regarding it’s accommodation and programme.

From the start of the testing phase, I considered how the building’s architectural language would interact with the existing surrounding historical buildings in Saltaire, so that I would protect the visuality of the World Heritage Site.

Victoria Road

Massing studies helped me consider the best possible arrangement of spaces in my building, to make it easy for all the users to access the railway station. I quickly decided that the wool market should be located directly by Victoria Road, for easy public access, whereas more private spaces such as the wool processing rooms could be located further back on the site.

I quickly envisaged a central walkway through the station from the top of the site down to the platforms, channeling the public through the station.

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Considering how the building could work its way down the slope, channeling the public through the building, with access to spaces on either side of a central pathway through the station.

The images below show my early thoughts around how the building would function in the wider context of the site, considering where and what direction people would come from to enter the station. This helped me formulate ideas around different routes and flows within my building.

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PROJECT TESTING AND SYNTHESIS 61

Thinking through Making

Canopy Testing

ia Victor Road Railway lines Thinking about the interaction between a structural parametric/ lattice/ criss-cross system, with possible glazed covering to shelter part of the station.

Taking inspiration from London Architectural Association’s beech wood shelter in Hooke Park, Dorset, with their use of struts to create a lightweight canopy (Griffiths, A, 2014).

Using foam to test basic forms of the building, where I would be building up from the site’s sloping land, and where I would be cutting into the hill.

Considering where there would be large openings of space, in relation to Victoria Road, and where smaller, closed spaces would be located.

Considering where and how the public will pass through the railway station, down to the platforms, ensuring easy passage is provided regardless of which entrance they choose to use.

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Using the building’s form to direct the flow of people Railway lines

Light studies - Considering how natural sunlight could pass through a canopy to illuminate large openings of spaces within the station.

Early thoughts of how the building could appear in section, in relation to the topography of the site.

My foam models helped me think about horizontal movement through the building, and how this will will relate to the horizontal movement and motion of of the trains. I understood that my design must accommodate movement to and from the platforms, as well as movement around other spaces such as the wool market.

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I modelled a section of what could be my canopy using the technique with bent wood struts to understand how it can form a large, lightweight structure.

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Strength tests of lightweight structures

“Railway architecture is about SPACE, LIGHT and STRUCTURE. These three elements provide a framework of a framework of legibility and of sensual uplift” (Edwards, B, 1997).

Testing the chosen spaces where the canopy will provide shelter

Below: Liège-Guillemins station by Santiago Calatrava, featuring a vaulted glass and steel canopy spanning over 145 meters (Etherington, R, 2009). His design influenced some early ideas around how a canopy could cover part of my building, and make the most of natural sunlight.

Further Massing Studies

Testing the canopy’s span and location in relation to other parts of the building.

Using the canopy to frame and celebrate Salts Mill as people pass through the station. I spent time considering how the canopy could be shaped in a way that avoids spoiling the view of Salts Mill, whether that is from the top of the site, or closer to the base.

Figure 28

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Developing Floor Plans ia Victor

Second floor (Vic. Road level)

Further Floor Plan Development “Unlike an Art Gallery or Shopping Mall that people travel to, stations are places that people travel through” (Edwards, B, 1997, pg. 25). People will pass through my station to gain access to trains, but also travel specifically to it as a destination, to view the wool processing, or visit the market or bar.

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Refining the massing to understand where different spaces will be located and arranged.

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3D studies

Consistently working in 3D helped me imagine the spaces.

This helped me envisage how someone would pass through the building.

My floor plan iterations show my explorations into the sizes of the different required spaces, spread across three floors on my site. Upon drawing each iteration of a floor plan, I considered all users of the station, which helped me decide where different rooms and areas would be located, and where there would need to be large passageways.

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The result helped me understand how the public would interact with the various spaces, and how they can be arranged so that the building is functional but equally attractive in Saltaire.

How will passengers pass through the station, and interact with the spaces?

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Figure 29

Main atrium space, leading through the building I wanted the building to gradually work its way down the slope, as opposed to creating a sudden change in level. This would both make movement through the building smooth and easy, whilst allowing the building to blend into the site more. The section below shows how I considered this.

Section AA

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Salts Mill and it’s saw tooth roof.

Figure 30 I wanted to consider how my building could relate to Salts Mill architecturally.

Therefore, I explored possible ways that my canopy could interact with the architectural language of the mill, through its shape, and transparency.

Structural Explorations Studying how the roof could be supported, and how the supports could fit into the overall design.

Platform canopys?

Canopy Experimentation Saw Tooth Roof?

I explored the option of having a saw tooth-styled roof as a tribute to Salts Mill. It would also help filter light into the main atrium space in the station, whilst providing areas of shade to avoid overheating.

I explored how the main structural walls of the building could have a timber frame, with reinforced concrete walls around areas that cut into the slope to avoid land caving in.

This phase of the testing helped me decide how large I wanted the canopy, and how it would help form a main atrium space within my building, a key component in creating efficient circulation.

Considering how the spaces will link together.

Roof garden/ terrace

A public bar, overlooking Salts Mill.

I began to think about how I could take advantage of the sloping canopy roof to harvest rainwater, which could be used in the toilets, bar and cafe.

Early material explorations, considering different combinations across the building, i.e. wood and brick.

Thinking about how the alpacas could be sheared in view of the public on the platform.

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Platform level cafe, with large glass windows to view trains.

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Testing a curved, wavy canopy idea.

I thought very carefully about how my site would impact the surrounding urban context, and how I was creating a new threshold on the site. I drew a number of sketches that helped me understand which parts of the hill I was cutting into, and which areas I appeared to be creating new land that would stick out.

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Southern Cross Railway Station by Grimshaw Architects was a big influence when I realised a saw tooth roof may not be the best idea for the building, and a more curved, smooth roof could be a better proposition. I particularly took note of the steel truss system that supports the cladding above, creating a “dune-like roof ”, which appears extremely light and creates a vast opening of sheltered space (Grimshaw, 2018).

The plan on the left shows how I was considering where the key entrances into my building would be located, and how people would access each space. The sections below show how I was analysing the site throughout the testing stages, formulating how my bulding would change the existing land.

Open areas for people to view the alpaca field from inside the station.

I decided that a saw tooth roof was not the best option, as I wanted my atrium space to have more transparency, so that visitors can see the mill clearly throught the roof. I also wanted the canopy to cover the wool market as well as the atrium space, acting as a blanket-like structure, smoothly coating the top of the station.

A part of the building that I knew I needed to change was the bar, which seemed to stick out. I wanted to keep it on the north side, with a view of Salts Mill, but began to think about how it could be more of its own feature, positioned seperately from the atrium.

Breaking up the components of the structure, deciding which areas I want to provide with shelter.

I considered how the roof could coat the top of the building, and potentially work its way down to the roof terrace, which would mean the view of Salts Mill would not be obstructed from Victoria Road.

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I started to analyse the possible material choices and tectonics of my building more thoroughly at this point, considering the use of steel and glass, and how these materials could relate with locally sourced sandstone. I aimed to enhance the site with modern styles of architecture, but remain respectful to the World Heritage Site.

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I considered how the bar could be a ‘flying tube’, an imitation of the trains that would pass through below.

This could also First provide a canopy of platform 1.

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Analysing the circulation around the station, and key entrance points. What are people’s movements and patterns, depending on where they wish to reach within the building?

Final massing studies, in relation to the surrounding urban context.

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Testing ideas around having the bar as a seperate feature, disconnected from the atrium.

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‘The floating tube’ - A bar floating above the platform.

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Right: Circulation-to-use diagram of the updated station design.

Left: Concept sketch of how the platform could appear with the new bar.

Curved glass and steel canopy, covering the atrium and wool market.

Section BB 1:200

Looking at platform columns in Durham and Darlington station on the East Coast mainline.

They hold up their wrought iron roofs, whilst being useful pointers to understand the speed of the trains as they pass through the buildings.

Final studies into the organisation of accommodation in the building Vict oria R

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Roof garden Railway crossing bridge Bar Plant room Male WC Staff room

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Wool stitching room

Cleaning/storage room

Wool processing room

Disabled WC

Wool sorting room

Heated waiting room

Drinks storage room

Lift - disabled access to platform

Platform cafe

“The pace of platform columns passing by outside the train window helps establish the speed of the train in the mind of the passenger. It is a mobility guide post that can be exploited” (Edwards, B, 1997, pg. 176).

I wanted to use this theory with my station design, by using platform columns to hold up the bar, which would also provide shelter for those waiting for trains below. The columns would then act as references for people to understand the speed of their movements up and down the platforms, and of the trains.

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Figure 39

Precedent Analysis

Precedent Analysis

Stadelhofen Station by Santiago Calatrava

Berlin Hauptbahnhof by Meinhard von Gerkan

Figure 35

The precedent has helped me think about critical heritage, as the old station building, which predates Calatrava’s expansion of the station 30 years ago, has not been affected, but instead extended, with new wings to serve as the main entrance (Hill, J, and Baumgarten, E, 2019).

This has helped me consider how my station can function alongside Salts Mill, as well as the existing historical buildings along Victoria Road, being sympathetic and respectful to their historical architecture, but at the same time, bringing new life to the site.

Stadelhofen station was one of the first precedents I studied, and I have consistently been influenced by the way Calatrava has preserved the existing landscape, by redeveloping the station so that it appears as if it has moulded itself into the hill.

The image on the left clearly shows how respectful the design is towards the existing roofscape and surrounding architecture of Zurich.

Figure 36

Calatrava excavated the hillside to add a new track to the station, then rebuilt the hillside with a multilevel structure that restores the walkways and bank above, whilst providing an open, naturally lit platform underneath for the new track (Glynn, S, 2004).

Berlin Hauptbahnhof frames the city as a backdrop through the large filigree glass canopy, with a length of more than 320 metres, which covers the platforms, taking full advantage of natural light (Architizer, 2006). The curved steel is used in a similar way to how the Victorians used wrought iron, but steel is stronger and holds up better to compression and tension, so is a better material to use for the roof of my station.

The specific features that have informed my design is the structural glass walls, a system I will adopt to enclose my atrium space. It provides protection against the wind, whilst opening up the view of the outside world for people passing through the station. I particularly like the way in which steel and glass are used together to create a curved canopy, creating large, light and open spaces for movement, so the public can feel they are outside, but are still completely sheltered.

Another key feature that has influenced me is the approach to mass movement. Huge amounts of people will walk towards the platforms from the city, and the building has been designed in a way that accommodates a smooth transition between walking through the station and boarding a train, whilst passing through other spaces such as shops, and different levels.

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Precedent Analysis Outcomes Figure 43

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Precedent Analysis

Doncaster Wool Market Restoration and Refurbishment, by Willmott Dixon

Site integration

Canopy design

Material choices

After analysing the precedents, I have gained more knowledge around how my building can appropriately be constructed on my site in Saltaire.

With consideration taken for the slope, and the surrounding listed buildings, I aim to create a railway station that respectfully integrates itself into the World Heritage Site.

I have taken a significant amount of influence from Berlin Hauptbahnhof station for the design of the canopy, as well as other stations that I have analysed. Overall, I want my canopy to be a lightweight structure, that sufficiently provides shelter for those passing through the station, and creates a large open space where people are free to move and circulate, without feeling trapped or short of room.

Doncaster Wool market has heavily influenced my choices of materials.

Throughout the design process, I have aimed to create a design that will boost Saltaire’s atmosphere and standing in the world, by using new and exciting architectural styles, whilst at the same time, being considerate to the historical architectural language of the area. Doncaster’s Wool Market has been refurbished in a way that is attractive and slightly modern in places, but heavily interacts with its past. My building has a wider programme, and I have wanted to use Saltaire’s history, but also bring in modern materials and styles. I have done this by designing certain features such as the wool market and processing rooms with traiditonal tectonics, drawing on the industrial age in their design, but the bar is a much more high-tech, modern element of the design, an exciting first point for people visiting Saltaire.

Similarly to Stadelhofen station, I will excavate part of the hill, to create spaces such as the atrium and other first floor rooms, but I will also partly rebuild the hillside by creating a terraced garden by the alpaca field, where the public will be able view Salts Mill and the surrounding landmarks. The sloping canopy will be designed in a way that reveals Salts Mill both from above the site, and as people pass through the station.

In the same way I plan to reignite Saltaire with a new station, Willmott Dixon “breathed new life” into a high street in Doncaster through the renovation of Doncaster’s Wool Market, which has transformed a run-down facility within the town centre into a thriving destination (Willmott Dixon, 2018). Similarly to the old buildings surrounding my site, the original Grade ll listed building in Doncaster was from the Victorian era, so various methods were deployed to look after the structure’s heritage. For example, Willmott Dixon have exposed areas of the orginal brick and stonework, as well as parts of the originial wrought iron roof (Willmott Dixon, 2018). This has informed my design in the way in which I could clad areas with local brickwork, and include wrought iron features in my design. I have explored ways I could combine old material choices and styles with more modern features, such as steel and glass.

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Figure 46

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Synthesis

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Material Declaration

Final Massing

I wanted to declare a material pallet at the final stage of the design process, to help with my final design decisions, and understand the tectonics of my building.

Locally sourced, Saltaire blend sandstone A local, Saltaire blend of sandstone will be used for most areas of the building, both inside and on exterior facades.

This is to help the building blend in and integrate itself into the World Heritage Site, whilst allowing the building to be well insulated, retaining heat throughout the year.

Glass Glass will be used across many parts of the building. The canopy will be glazed in a large number of curved glass panels, and the atrium space will be protected from wind with a structural glass wall that will wrap around the space.

The bar will also have a considerable amount of glazing, in order to frame Salts Mill for people to view when having a drink, whilst being able to see trains pass through the station. Glass means that the building will be exposed to large amounts of natural sunlight, whilst gaining natural heat throughout the year.

Steel Steel will be used both to form the structural system of the canopy covering the atrium and wool market, as well as forming the structure of the bar. This material is advantageous as it can be curved to form the ‘floating tube’ shape of the bar, whilst being robust and ductile, in order to support the glass panels that will span the atrium space.

The final massing on the site, showing the overall shape of the building.

Corrugated insulated metal cladding There will be a section of curved insulated metal cladding used to shield part of the bar, providing shade in the summer, and helping insulate the space during winter months. This material is flexible, and will help stabalise the bar’s structure.

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Final Plans Site Plan A view of the south entrance, with large open spaces for good exterior circulation. On certain days, an outdoor market could join the station’s wool market in the public square (which is currently a car park) seen on the right of this image.

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Public square/ area for market to extend into on certain days of the week Bike storage South entrance North entrance leading directly to platforms Refurbished public toilets Area for new car park Alpaca field Alpaca walk and talk/visitor center

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Saltaire Railway Station’s custom wrought iron exterior balestrades

Looking east from Victoria Road railway bridge. The custom exterior balestrades designed for the station, feature moulded alpacas and Salts Mill chimneys. The handrails are wrapped in a waterproof membrane containing alpaca wool fibre.

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Second Floor Inside the roof bar, with a clear view of Salts Mill and its surroundings. Notice the area of insulated metal cladding to create shade and prevent overheating. Retractable shutters will also be installed to help create protection from sunlight.

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Roof bar Outdoor roof bar seating Roof terrace/ garden Wool market Lift shaft

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First Floor A view of the first floor, facing south. The wool processing rooms are shown on the right, with large glass windows so that the public can view products being produced.

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Staff room Wool stitching room Wool processing room Wool sorting room Drinks storage room Atrium

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Plant room Ticket office Male WC Female WC Disabled WC Cleaning storage room

Ground Floor Entering Saltaire railway station from Platform 1.

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Wool shearing area Platform café Station platform entrance with ticket machines Waiting room Platform 1 (Trains to Carlisle) Platform 2 (Trains to Leeds)

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Key entrance points

First floor circulation

The public will be able to enter the station from either side of the railway, as an elevated walkway will provide a gateway from the northern area, near Salts Mill. An elevator will also be included on this elevated walkway for disabled access, and it will provide shelter for those waiting for trains on platform 1, as it runs directly above the platform.

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Sections

Axonometric Projection Drawing

Perspective Section

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Alpaca Wool Processing and Production in Saltaire Railway Station

The wool then passes through the three processing rooms, which can be viewed from the first floor of the station.

Alpacas enter a shearing area positioned by the platform, so that shearing can be carried out on display to the public.

The sheared wool is then elevated to the processing room in a small lift, shown on the drawing above.

Alpaca woollen products are produced, and sold in the wool market, which is located on the second floor.

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Looking West from the footpath that runs past the alpaca field.

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Structural System Primary Structure

Secondary Structure

The primary structure consists of a timber frame, forming the core for heated rooms on the ground, first and second floors, along with the steel framework for the canopy covering the central atrium space and wool market roof.

Attached to the timber frame is the steel structure that forms the roof bar.

The floor planes, lightweight steel structure for glass facades, and brick walls make up the secondary structure.

Brick wool market walls

Steel framework for supporting glass canopy

Steel framework for roof bar glazing and glazing around atrium Second floor

Timber framework First floor, with brick walls

Steel roof bar framework supported by iron/ steel collumns.

Timber framework

Elevator structure

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Tertiary Structure The tertiary elements are non structural elements such as the canopy glazing, glazing around the walls of the station, roof bar glazing, and metal insulated cladding over the roof bar.

Canopy glazing and lightweight supporting structure

Metal insulated cladding

Canopy rainwater harvesting system

Roof bar glazing, and glazing around atrium Overlapping glass panels, ensuring smooth surface runoff, and no leaks.

Glazing/ windows around brick structures on ground, first and second floors

Pipes slightly slanted downwards to avoid water overflow

Main tank Rainwater heating systemlinked to plant room and ground source heat pump.

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Pump

Clean water

Clean harvested water can be distributed across the buildings, to room such as the cafe, bar, and toilets.

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3D perspective showing 1:20 Section location

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1 Modular double glazed toughened glass panel Secondary steel structural support decking Primary curved steel support beam Curved glulam roof beam

10 Polished concrete floor finish Glass swing door concealed floor hinge system Screed layer 150mm Kingspan Thermafloor TF70 200mm (Kingspan, 2019) Damp proof membrane Concrete block 400mm x 200mm Concrete slab 500mm Pile cap 400mm Reinforced pile foundation

2 Rainwater collection system - 20mm gap in glass canopy 30mm aluminium downpipe, running through steel support column 3 Circular steel support beam running the length of atrium canopy

11 Polished concrete floor finish Glass swing door concealed floor hinge system Screed layer 150mm Kingspan Thermafloor TF70 200mm (Kingspan, 2019) Damp proof membrane Concrete block Damp proof membrane Basement reinforced concrete foundation wall Gravel drainage layer 100mm Perimeter drainage system Concrete footing

4 Brick veneer with weep vents at 2nd course for air circulation Cavity 25mm External breather membrane Building paper Sheathing Kingspan insulation/ horizontal timber frame Internal VAP airtight board Internal insulation Service cavity Plasterboard 5 Inner glass 4mm Air space 10mm Outer glass 4mm 6 Flooring 20mm Chipboard 18mm Seperating layer Kingspan Thermafloor TF70 200mm (Kingspan, 2019)/ horizontal timber frame floor joists 220mm Cavity gap for services Knauf roof plasterboard 12mm Aluminium-louvre suspended soffit with services enclosed

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7 Polished concrete floor finish Screed layer 20mm Seperating layer Kingspan Thermafloor TF70 200mm (Kingspan, 2019)/ horizontal timber frame floor joists 220mm Cavity gap for services Knauf roof plasterboard 12mm Acupanel® Walnut Wood Wall Panel 12mm (The Wood Veneer Hub) 8 Frameless double glass swing door 9 Polished concrete floor finish Screed layer 150mm Kingspan Thermafloor TF70 200mm (Kingspan, 2019) Damp proof membrane Concrete slab 500mm Hardcore 200mm

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Section AA 1:20

12 Polished concrete floor finish Screed layer 150mm Seperating layer Kingspan Thermafloor TF70 200mm (Kingspan, 2019)/ horizontal timber frame floor joists 220mm Cavity gap for services Damp proof membrane Knauf roof plasterboard 12mm 13 30mm aluminium pipe linking to water collection downpipe, running through steel support column 14 Rainwater harvesting water collection tank 20,000 litres 15 Drainage mat Rigid insulation Damp proof membrane Basement reinforced concrete foundation wall 16 Screed layer 150mm Kingspan Thermafloor TF70 200mm (Kingspan, 2019) Damp proof membrane Concrete slab 500mm Hardcore 200mm

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• Vale, D, (2015), ‘Transit-oriented development, integration of land use and transport, and pedestrian accessibility: Combining node-place model with pedestrian shed ratio to evaluate and classify station areas in Lisbon’, Journal of Transport Geography, Science Direct [pdf] <https://www.sciencedirect.com/science/article/pii/S0966692315000733#b0040> accessed 22/05/21 • Willmott Dixon, (2018), ‘Restoration and refurbishment of Doncaster’s famous Grade II listed Wool Market’, Willmott Dixon [online] <https://www.willmottdixon.co.uk/projects/the-wool-market-doncaster> accessed 21/05/21

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Figure 1 - Crafternoon Treats, (2020), ‘Visiting the David Hockney gallery at Salts Mill’ [online] <https://crafternoontreats.com/2017/08/06/david-hockney-gallery-salts-mill-saltaire/> accessed 25/05/21 Figure 2 - Alpaca Power, (2004), ‘Shearing Alpacas’ [online] <http://alpacapower.co.uk/shearing/> accessed 25/05/21 Figure 3 - Classic Carder, (2009), ‘Welcome to Classic Carder’ [online] <https://www.classiccarder.co.uk/> accessed 12/04/21 Figure 4 - The British Alpaca Society, (2012), ‘Alpacapedia’ [online] <https://www.bas-uk.com/alpacapedia/alpaca-fibre/alpaca-fibre-processing/> accessed 13/04/21 Figure 5 - Brown Bob Productions, (2020), ‘The Architecture The Railways Built: Series 1, 2 & 3’ [online] <https://www.brownbob.com/the-architecture-that-railways-built/> accessed 25/05/21 Figure 6 - The Saltaire Village Website, World Heritage Site, (2019), ‘Saltaire, how it happened’ [online] <https://saltairevillage.info/saltaire_history_0001a.html> accessed 22/05/21 Figure 7 - Mason & Sons, (2021), ‘Worth their salt: The men who made Alpaca’ [online] <https://masonandsons.com/blogs/style/worth-his-salt-the-man-who-made-alpaca> accessed 22/05/21 Figure 8 - Alpaca Power, (2004), ‘Shearing Alpacas’ [online] <http://alpacapower.co.uk/shearing/> accessed 25/05/21 Figure 9 - Pinterest, (2019), ‘Salts mill Spinning shed’ [online] <https://www.pinterest.co.uk/pin/447826756693391278/> accessed 25/05/21 Figure 10 - Abrams and Chronicle, (2019), ‘Bookstore of the week - Salts Mill Gallery and Bookshop’ [online] <https://abramsandchronicle.wordpress.com/2015/01/21/bookstore-of-the-week-salts-mill-gallerybookshop/> accessed 23/04/21 Figure 11 - Canal & River Trust, (2018), ‘Salts Mill and New Mill’ [online] <https://canalrivertrust.org.uk/enjoy-the-waterways/walking/canal-trails/bingley-to-saltaire/salts-mill-andnew-mill> accessed 12/03/21 Figure 12 - Ribbie’s Travel Feed, (2017), ‘A Royal Paradise: Why Queen Victoria Favoured Osborne House’ [online] <https://www.rabbies.com/en/blog/royal-paradise-why-queen-victoria-favoured-osborne-house> accessed 21/03/21 Figure 13 - Pinterest, (2017), ‘Vintage Advert - Salts Mill’ [online] <https://br.pinterest.com/pin/535928424390277077/> accessed 23/05/21 Figure 14 - Pinterest, (2015), ‘Vintage Advert - Salts Mill railway line’ [online] <https://br.pinterest.com/pin/535928424390277077/> accessed 23/05/21 Figure 15 - Philip D Hawkins, (2012), ‘Fine Art Giclée Prints’ [online] <http://www.philipdhawkins.co.uk/prints.html> accessed 23/05/21 Figure 16 - Old Yorkshire Maps, (2019), ‘1893 Saltaire map – Special Edition’ [online] <https://oldyorkshiremaps.co.uk/page/2/> accessed 25/05/21

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Figure 17 - Zhu, Z, (2020) Salts Mill, looking east Figure 18 - Francis Frith, (2020), ‘Saltaire, The Railway Station 1909’ [online]

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Figure 19 - Wallpaper flare, (2021), ‘HD wallpaper: brian matiash motion blur train, blurred motion, rail transportation’ [online] <https://www.wallpaperflare.com/brian-matiash-motion-blur-train-blurred-motion-rail-transportationwallpaper-hzojk> accessed 20/05/21 Figure 20 - Geograph, (2019), ‘Saltaire Railway Station’ [online] <https://www.geograph.org.uk/photo/4402367> accessed 19/05/21 Figure 21 - Wikipedia, (2021), ‘Saltaire train station’ [online] <https://commons.wikimedia.org/wiki/File:Saltaire_railway_station.JPG> accessed 19/05/21 Figure 22 - Freepngs, (2012), ‘PNG images: Train collection’ [online] <https://www.freepngs.com/train-pngs> accessed 20/05/21 Figure 23 - Getty images, (2018), ‘Blurred train’ [online] <https://www.gettyimages.co.uk/detail/photo/blurred-motion-of-subway-train-at-london-royalty-freeimage/1208398345> accessed 20/05/21 Figure 24 - Frearson, A, (2012), ‘Joanneum Museum extension by Nieto Sobejano Arquitectos and eep architekten’, Dezeen [online] <https://www.dezeen.com/2012/01/02/joanneum-museum-extension-by-nieto-sobejano-arquitectos-andeep-architekten/> accessed 25/05/21 Figure 25 - Frearson, A, (2012), ‘Joanneum Museum extension by Nieto Sobejano Arquitectos and eep architekten’, Dezeen [online] <https://www.dezeen.com/2012/01/02/joanneum-museum-extension-by-nieto-sobejano-arquitectos-andeep-architekten/> accessed 25/05/21 Figure 26 - Frearson, A, (2012), ‘Joanneum Museum extension by Nieto Sobejano Arquitectos and eep architekten’, Dezeen [online] <https://www.dezeen.com/2012/01/02/joanneum-museum-extension-by-nieto-sobejano-arquitectos-andeep-architekten/> accessed 25/05/21 Figure 27 - Frearson, A, (2012), ‘Joanneum Museum extension by Nieto Sobejano Arquitectos and eep architekten’, Dezeen [online] <https://www.dezeen.com/2012/01/02/joanneum-museum-extension-by-nieto-sobejano-arquitectos-andeep-architekten/> accessed 25/05/21 Figure 28 - EUmiesaward, (2010), ‘Liège-Guillemins TGV Railway Station’ [online] <https://miesarch.com/work/2688> accessed 21/05/21 Figure 29 - Crazy whole life, (2020), ‘Spirituality For Busy People’ [online] <https://www.crazywholelife.com/spirituality-for-busy-people/> 21/04/21

Figure 34 - Geograph, (2020), ‘Newcastle Central station, platforms 4 and 5/6’ [online] <https://www.geograph.org.uk/photo/4822838> accessed 13/05/21 Figure 35 - Santiago Calatrava, ‘Stadelhofen Station’ [online] <https://calatrava.com/projects/stadelhofen-station-zuerich.html?view_mode=gallery> accessed 13/05/21 Figure 36 - Hill, J, (2019), ‘Hönger, not Calatrava’, World Architects [online] <https://www.world-architects.com/en/architecture-news/headlines/honger-not-calatrava#image-2> Figure 37 -Hill, J, (2019), ‘Hönger, not Calatrava’, World Architects [online] <https://www.world-architects.com/en/architecture-news/headlines/honger-not-calatrava#image-2> Figure 38 - Hill, J, (2019), ‘Hönger, not Calatrava’, World Architects [online] <https://www.world-architects.com/en/architecture-news/headlines/honger-not-calatrava#image-2> Figure 39 - Awesome Berlin, (2016), ‘Hauptbahnhof – Berlin’s epic Central Station’ [online] <https://awesomeberlin.net/attractions/hauptbahnhof-berlin-central-station/> accessed 21/04/21 Figure 40 - German Railways and trains, (2017), ‘Hauptbahnhof Berlin’ [online] <http://koszalin.pro/TrainStation/hauptbahnhof-train-station> accessed 03/03/21 Figure 41 - Awesome Berlin, (2016), ‘Hauptbahnhof – Berlin’s epic Central Station’ [online] <https://awesomeberlin.net/attractions/hauptbahnhof-berlin-central-station/> accessed 21/04/21 Figure 42 - Media Portal, (2016), ‘Berlin Hbf - Ebene plus 2’ [online] <https://mediaportal.deutschebahn.com/marsDB-Mediaportal/de/instance/picture/Berlin-Hbf---Ebeneplus-2.xhtml?oid=645289> accessed 02/01/21 Figure 43 - Bond Brian, (2021), ‘Doncaster Enterprise Centre’ [online] <https://bondbryan.co.uk/project/doncaster-enterprise-centre/> accessed 20/05/21 Figure 44 - Architects Data File, (2019), ‘Senior’s products flock together at the new Doncaster Wool Market’ [online] <https://www.architectsdatafile.co.uk/news/seniors-products-flock-together-at-the-new-doncaster-woolmarket/> accessed 21/05/21 Figure 45 - Bond Brian, (2021), ‘Doncaster Enterprise Centre’ [online] <https://bondbryan.co.uk/project/doncaster-enterprise-centre/> accessed 20/05/21 Figure 46 - Architects Data File, (2019), ‘Senior’s products flock together at the new Doncaster Wool Market’ [online] <https://www.architectsdatafile.co.uk/news/seniors-products-flock-together-at-the-new-doncaster-woolmarket/> accessed 21/05/21

Figure 30 - Bradford, my Town, (2019), ‘Roof Space - Salts Mill’ [online] <http://bradfordmytown.blogspot.com/2010/09/roof-space-salts-mill.html> accessed 19/05/21 Figure 31 - ‘Southern Cross Railway Station’, (2020) [online] <https://megaconstrucciones.net/en/southern-cross-railway-station/> Figure 32 - Grimshaw, (2018), ‘Southern Cross Station Melbourne, Victoria, Australia’ [online] <https://grimshaw.global/projects/southern-cross-station/> Figure 33 - Grimshaw, (2018), ‘Southern Cross Station Melbourne, Victoria, Australia’ [online] <https://grimshaw.global/projects/southern-cross-station/>

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Full Thematic Case Study Report

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Additional Case Studies

Fondaco dei Tedeschi

PORT HOUSE, ANTWERP, ZAHA HADID ARCHITECTS NANTES SCHOOL OF ARCHITECTURE, LACATION & VASSAL

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Granby Four Streets Project, By Assemble

Bauhaus Dessau

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