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The a t r e o f t he S e n s e s

ARC8060 I N T E R G RAT E D DESIGN

STUDIO : MATE R IAL C HAN G E EMILY SPENC ER 130284873 STA GE VI

CONTENTS INTRODUCTION DESIGN - THEATRE OF THE SENSES • Manifesto - The Loop • Geordie Factory • Brunswick Perfumery • Theatre of Acupuncture

7 9 12 18

METHODOLOGY MAUNAL PART. 1 • Research & historical reference • ‘Ideal City’ case studies • Local application: The Smith Era • Philosophies: Burke, Geddes, Foucault • Considerations for ideal planning now

36 37 40 42 49

TOWARDS AN ARCHITECUTRE • Site analysis • Newcastle's DNA • Identifying the lost • Fragmented Utopia: The Arcades • Typologies • Principles of Design

51 56 62 68 76

METHODOLOGY MANUAL PART. 2 • Sensory urbanism • Mappings • Principles & c onclusion • Bibliography

82 84 102 104

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INTRODUCTION I begin with the premise: that regardless of the hierarchy in place, be it authoritarian, oligarchic, or participatory, architects must employ measures of pragmatical legitimization towards their design visions. Because an architect without a convincing and comprehensive set of plans, allow their widely initiative ideas and, in some cases even revolutionary solutions, become myths of a dismissed Utopian vision. When we attempt today to reestablish continuity, to create a bridge between the past and the future, one of the major challenges we face is the greater scale of the city and the considered site and in this thesis’ case: within Newcastle’s urban fabric. This presents a philosophical dilemma; whether to represent of subdue the pattern of contemporary ownership within the design or seek to replace it.

Throughout my thesis, my focus has been on establishing a series of unique workings, to redefine a new form of approach to design. Delving into philosophies, historical concepts of Utopias & Ideals Cities on a wider scale, provided me with expansive context in which to narrow & delve down into my site. Likewise, researching local planning & historical changes to the site, through both the Arcades & the ever-changing grain of the city, has influenced the scale & impact of my interventions on site. Additionally, regionalism & my own experiences of growing up in Newcastle, has played a key part in my sensitivity to heritage & responsibility as a designer in practice. Moreover, my Studios’ theme of materiality & sustainability has been an important factor when considering how to define my spaces. I have looked to not demolish or remove vast parts of the build environment but instead look to enhance what is already there and ignite the void spaces to exploit potential on site. Additionally, I have looked extensively at materiality locally on site & how to enhance these as opposed to simply introducing new materials for construction. Consequently, this led me to create my hedonistic, heterotopia route in Newcastle’s City centre, which presents itself as a truly sensory architecture of escapism & regional transaction.

In order to create a design that wholly exemplifies a nd n ot j ust e choes t hese notions, it is essential the designer or architect understands the urban grain in which their architecture sits or seeks to change. Throoughout my Thesis I have analysised Newcastle’s city grain, both architecturally but also emblematically. From this I have accumulated, assembled and epitomized memories of locals, to capture an architecture of escapism. Additionally, in order to understand the evolution of our cities and stimulate its regeneration, we need to explore what tools can we utilise in order to address the complex issue of regional cleansing in tandem with capitalism, within a historic centre.

I believe the defining feature of my thesis project is ultimately, that I have convincingly suggested a new lens in which to view & transform our cities, and documented a new methodology to achieve truly sensory design.

Subsequently, by exploring an answer to this dilemma for my Thesis, I have created a methodology of approach, born out of sensory urbanism & Foucault’s concept of heterotopia: a sort of simultaneously mythic and real contestation of spaces, based on the unique sensory catalysts, and ‘mirrors’ (memories and DNA) of Newcastle.

THE DESIGN

SENSORY TYPOLOGIES

CONCEPT AXO ‘Theatre of the Senses’ is an attempt at creating a hyper-charged transnational city centre. This machine/methodology can be recreated in other cities, if approached correctly.

A SENSORY INCUBATOR

A hedonistic, ephemeral journey of transaction & regional memory, with focus for certain groups/users as the journey moves through the arcade loop. The three ‘Sensory Loop’ spaces, aims to create a dialogue with the senses and the everchanging city around it.

Senses Machine

Hetertopian junctures (the arcaida loop)

The City (a network of memories)

MAN IF E STO

Perhaps the time has come for Newcastle who historically has had great influence on the formation of the shoppingmall culture, to rethink our commitment to it: to begin the transition to a more sustainable and more sensually, spiritually, and aesthetically rewarding transactional experiences?

PURFUMERY & PLAY- Brunswick Place A sensory perfumery, connected to the old Fenwick’s department store. An apothecary of sorts, a perfumery, collecting/creating smells to evoke lost memories for the elderly. In connection to the church (host craft/children-elderly cross-generational interaction.

Brunswick Place

A New Hedonism: A Post-Consumerism Vision

The 3 t y p o l o g i e s

Space for children and the elderly to interact and partake in activities together, celebrating the existing connection with the current church interventions. Link to the Fenwick’s window and the sense of awe and magic evoked through that/connection to the top of Northumberland St.

Through identifying and activating thresholds/in-between spaces to recapture lost transactions, which was so imperative to Newcastle’s unique heritage. Using these in-between spaces I can celebrate and create transatctional experiences, by intensifying and acknowleging what already exisits. High Friar Street

I can situate typologies to create a heterotopia flux, within Newcastle’s City. Using my exisitng utopian axis, and arcade radius, my route will aim to re-connect the City through tangible & rich, regional experiences.

ARTS - High Friar Street Initiatives to introduce into High Friar Street: - Breeze collective A chance to introduce and showcase the collections of local artists unique to the city. In connection to the old Tyne-side Theatre and the tradition of art/performance held there. Artists in residence encourages members of public to get creative Mike Duckett: While the exhibition draws to an end on September 9, Mike is set to continue his residency into the coming months and wants more and more people to venture into the market to have a go at some artwork themselves.

Transaction is forever fading with the rise of online and isolation, once a traditional ‘treat’ when the men would watch the Saturday footy match at St James Park, and the women and children would spend time shopping or catching up. People need a reason to come into a physical store, my design will focus on collective smaller businesses that celebrate in person transnational experience.

He said: “It’s been a brilliant space to be in and there’s been a really good variety of people coming in and having a chat. People have been enjoying looking through the windows and seeing the new pictures that are appearing.I’m also encouraging people to join in *– I’m here almost every day and people are welcome to just drop in. The aim of this is to celebrate the Grainger Market and other purpose is to boost creativity and encourage people to draw.”

My design aims to create a hyper-charged transnational city centre. With focus for certain groups/users as the journey moves through the arcade loop.

Transitoriness is the key to Benjamin’s affirmation of the mythic element in cultural objects, redeeming the wishimages attached to the transitional.../ those commodities that comprise the modern phantasmagoria which in turn freezes the history of humanity as if enchanted under a magic spell..../it is possible to recognize them as the illusory dream images they always were?

Central Arcade

The Dialectics o f Seeing -Walter Benjamin and the Arcades Project

Glory Days - Central Arcade 5 empty/vacant lots identified Look to keep traditional existing shops like: -JG Windows -Jones bootmaker shoes -Greggs Replacing capitalist brands such as: -Starbucks & Pret a manger with local smaller businesses such as: -Mark Toney's -Rise bakehouse

The 'Arcadial Loop' - The thoroughfare

THE LOOP - 3

key spaces of intervention

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• Arcade lopp route • Interventions 8

Central Arcade - Material Library

CENTRAL ARCADE In the Central Arcade my design foucses on the two ‘lesser’ senses of smell and taste as they both fall in tandem with one another. Complexity in taste is predominantly awarded by our sense of smell. Through adapting the interior vacant plots, the space is re-purposed into a vibrant rotating food market, dependent on the seasons, showcasing the local businesses and regional dishes, to create a hyper intensified ‘Taste of the Toon’ experience. Texture and touch is the dominant sense I experienced when in the arcade, with the richness of materials available in the space, this is greatly acknowledged.

'Follow the red brick road...' CENTRAL ARCADE (Initial Concepts) Theatre

of the Senses

A headonistic, ephemeral journey of transaction & regional memory.

CENTRAL ARCADE (Geordie Factory)

I have further drawn upon the rich architectural intricacies/thresholds/materials that exist, (documenting these making a sort of archive of memory), to allow me to sufficiently acknowledge, so they can be preserved and celebrated in unification with the new function introduced. As touch provide a dominant sense to the materiality of the space, I will design with similar/complementing materials. From my material study materials such as natural charcoal panels could provide some absorption of smell between vendors. But unlike Brunswick Place, this space will not seek to eliminate smell or cleanse the space frequently. The concept is to truly ignite both taste & smell through a ‘mixing’ pot that would layer up over time and enticingly waft beyond the space. By re-introducing lost businesses from sites such as the Greenmarket, this area of the project will aim to give back what was taken. Through the designing/deploying an array of typologies, which will allow for rich and intensify Newcastle’s city centre. Each typology will seek to celebrate a new experience whilst monopolising and venerating what exists around it, with varying level of intracity given each individual site. gradual reintroduction into one of the vacant lots to the South side of the Central Arcade. Initial design ideas sees Mark Toney’s, a local North East favorite, inhabit the space with a new 12-month lease in time for the summer months. Reintroducing the familiarity of the ice-cream shop for older locals, whilst allowing for children and families to support the local business (otherwise pushed out from the city centre).

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Theatre of the Senses A headonistic, ephemeral iourney of transaction & regional memory.

Suggestion of new transaction and memory being created through the new local business. Intergenerational use, in the summer months a suggested scene could see: a busker plays a guitar from JG Windows in the arcade, the music filtering out to the street drawing in customers, who see visitors leaving with delicious ice creams. A caller sings out about the newly opened business, and the new flavours being sold. Music radiates from the many varying sized gramophones.

PRODUCED BY AN AUTODESK STUDENT VERSION

Brunswick Place - Material Library

BRUNSWICK PLACE PURFUMERY

My Olfactory Arcade draws from the “material richness, detail and craftsmanship” of the Georgian, Edwardian and Victorian architecture of Newcastle’s Brunswick Place. The historical back street hosts a variety of architectural styles, the oldest being the Brunswick Methodist Chapel built in 1820. It was a frequent venue for meetings in the campaign for the abolition of slavery during the 1820’s/30’s. Brunswick Methodist Chapel is Grade II listed on the National Heritage List for England.

BRUNSWICK PLACE (Initial Concepts) 12

D E S I G N D E C L A RAT I O N S : B ru n s w i c k P l a c e Pe r f u m e r y Red brick, domes, glazed tiles, stained glass, arched windows, and cobbles are just a few distinctive features that line the street. I have been conscious to retain much of the regionalism this street holds, both architecturally, aesthetically, and functionally, as thoughtless application has often been detrimental to existing populations, especially in terms of cultural cleansing. By recognising Newcastle’s DNA, I have adopted a materially appropriate and programmatic approach to designing in this space. Stone groin vaulted arches suggest permanence, like the memories/experiences of locals in the City. The structural hierarchy is reversed, internal and permanent on the inside. Symbolic of the human form/mind. The body withers. The copper will rust, glass may break, timber will rot - eventually needing replacement but the stone internally will stand much longer. The stone stays dry and protected, desiccated by the sun through the glass roof. If someone brushes past the stone columns dust will transfer (like memories).

BRUNSWICK PLACE PURFUMERY (north elevation axo)

The prestigious Edwardian Fenwick’s, established between 1882-1885, lines the north of the street, with its beauty department opening directly onto the space. Finally, Monument Mall acts as the street’s southern boundary. Incorporating three Grade II listed facades from the 1890s/ early 1900s and facades from various twentieth century building elements. Designed like a 19th century arcade, (a nod to the character of the space & the Central Arcade, a key part of the sensory route), ‘Brunswick Place Perfumery’, provide san Olfactory journey and space for the current Church to host interactions between young and old groups. Set in the city centre, the Perfumery is accessible and open to all, fostering inclusivity and exploring taboos about the ‘stinky city’.

My scheme recycles the waste from the existing commercial businesses that face the street, into compost to fertilise the plants and flowers growing within the space (such as the green tower). Greywater filters drain off any wastewater, also designed for the plants. Essential oils would then be extracted from the plants and used for fragrance the perfumes created, that could then be sold & archived. Any profits made can be reinvested in the running of the church and subsidise the shop dispensing the perfumes. This design ultimately creates a interactive, sensory archive of memory of Newcastle.

Brunswick Place plan & section 15

Perfume tower detail example

MECH A N ICA L D ETAILS

Detail showing the user smelling the clouds of ‘memory scent’ distributed in the space. The intricate piping system runs underneath the structure to allow for a flush, seamless delivery into the space.

mechanical purfumery system detail 1.20

Brunswick Perfumery section 1:100

BRUNSWICK PLACE PURFUMERY

Memory Scent Bank - Visitors are able to interact with the perfume making process, examining base notes and tops scents. Locals can come and recall a smell, while the inter-generational groups work closely with technical perfumers to re-create a smell from memory. These are then banked, and archived, displayed for visitors passing through to examine. The aim is to recapture the fascination of these ‘cross-modal’ explorations of smell – finding out the myriad ways our senses overlap from olfactory to memory.

Red tiled alcoves – These features currently line the façade of the old Fenwick’s departments store, entering into the perfumery that currently exists. To celebrate and draw attention to these rich, sensory features, they will become dwelling alcoves. These womb-like, warm intimate spaces will allow visitors to retreat to record ‘scent memories’ or even just to meet friends and reminisce.

HIGH FRIAR LANE Community Theatre and ‘Level-Up’ street facade accupunture

Acupuncture Theatre Arcade aims to creates a dialogue with the senses and the ever-changing city around it, at the same time the architecture (unlike the Olfactory arcade of Brunswick Place) does not try to imitate historical styles. This arcade hosts many functions; the most relevant, is the theatre with a series of multi-layered stages, nooks and audience spaces, to allow for art performances, installations and expression of opinion.

HIGH FRIARS (Initial Concepts) 18

DESIGN (site considerations to promote senses) Touch: In terms of touch I explored the street’s materiality, feeling the subsequent textures available as well as documenting a series of rubbings. The walls at the west end of High Friars Street, on the cinema side, were titled in a white industrial style. Upon touch they were smooth and cold, holding condensation which transmitted to the hand upomg contact. In contrast, the adjacent side of the street had a rough texture, given the materiality of the sandstone of the now Byron burger building, this was to be expected. Splintered wooden stain glass windows frame lined the initial envelope, wrapping around from the front Elevation. Visual: I noticed a variation of details within the confines of the street, from hidden nodes in the walls, small concealed windows, flush gutters. These reminded me of posters of protest and colour and how they were “hidden” when looking at the street in a general wider sense. Moreover, I noticed these nooks on a larger scale through the conjunction and juxtaposition of the lane, back spaces, single storey levels of The Northern County Social Club further east, opposite the Tyneside Theatre side entrances. This provided an intriguing multi layered space, which I could reimagine as a new performance/exhibition space. Likewise in tandem with that character of the street, the other nooks and doorways could further act as inset dwelling spaces on the street.

High Friar Lane

INTERACTIVE COMMUNITY THEATRE (east elevation)

Acupuncture Theatre Arcade hosts various types of events and discussions panels to create a bigger cultural platform within Newcastle's city centre. The materials used for designing the spaces, promote a journey of sound but also the texture of the space. Division of spaces/interior of nooks/seating and even use of sensory/textured/scenery will be deployed so users can interact with the space. Using typologies and spatial qualities typical of a 19th Century Theatre, a series of spaces such as wings (at the sides of a stage), trap rooms (below a stage), fly spaces (above a stage), and rear stages (at the back of the stage), all feature on the street. These platforms are flexible, able to revolve, providing a variety of crossover spaces on multiple levels.

PRODUCED BY AN AUTODESK STUDENT VERSION

initial concept sketches of 'level-up' street activation on site

Through a flexible prefabricated modular design, the acupuncture theatre arcade can be continuously transformed and reconfigured to accommodate and meet a variety of audience sizes & events. An alternative to conventional development processes, urban acupuncture represents an adaptable framework for urban renewal, where highly focused and targeted initiatives help regenerate neglected spaces, incrementally deploy urban strategies, or consolidate the social infrastructure of a city. Acupuncture Arcade is an amalgamation of the two forms of varying transiency, encouraging the threshold blending of the existing business and buildings lining the street. Considerations for designing my outside performance, multi-layered space to enhance sound. In Newcastle Theatre & the Arts serve as a symbol. But for something located right in the heart of the city, methods for preventing surrounding sounds from overpowering the space (such as stack & the bus terminal) need to be explored.

PRODUCED BY AN AUTODESK STUDENT VERSION

High Friars - Material Library

initial concept sketches of Theatre space, championing a spatial arrangement of simplicity/flexibility

S CALE O F IN T ERVE N T IO N:

what is exis it n g, what will be removed/r et a i n ed ?

Researching the newer extension on the back of high friar Lane (partially built 2001), opposite the Tyneside Theatre, I contacted the Northern Counties Club to which the small double storey element is attached. Upon liaising with the manager there, they informed me the building was intended as an extension to house their catering facilities. However, the space is primarily used as storage area and not accessed by the public. To this extent I feel in terms of adapting the street for a wider audience and interaction, my intervention site here is suitable to benefit Newcastle’s future. It is an important part of my design & studio brief to champion sustainable design. Therefore, it was important for me that any architecture I removed was considered at great length to justify its removal & subsequent release of embodied carbon. The only area of my loop design that requires removal of existing structure is on High Friar’s Lane with the satiation of the new theatre space. However, I will seek to use the taller narrow element to the rear of the extension for placement of my circulation core.

KEY: existing architecture to be demolished pedestrian route existing structure to be retained

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IO ENT V R E I N T SITE

from the high street, echoed at the mouth of this end. Additionally, adding to this assault on the senses in a mulitfactory was, strong smells relating to food such as burgers and fast food, wafted from Stack.

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Sound: The street was a lot noisier and obtrusive, at the east end towards the bus stops and the top of Northumberland Street. It was Smell: By using Zeolite as the main matieral for my more unpleasant to stand and dwell at this end of the street.

theatre block, the design will be able to absorb the smells relased as part of the The hubbub of pedestrians to and terminal the andsmells in sunlgiht, performances. Thewalking matieral will from thenthe relsease from the high street, echoed at the mouth of this end. Additionally, acting as a memory ‘echo’. Zeolite is a natural mineral which abadding to this assault on the senses in a mulitfactory was, strong sorbs odors and excess moisture in the air.

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smells relating to food such as burgers and fast food, wafted from Stack. J_

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Because of the honeycomb structure, zeolite is able to absorb moisture and gas molecules that total about 65 percent of the weight Smell:ofBythe using Zeoliteitself. as the The mainmaterial matieral for myvirtually theatre block, zeolite has no fragrance, and it the design will be able to absorb the smells relased as part of the releasesThe nothing absorbs other materials. A day in bright sunperformances. matieralas willit then relsease the smells in sunlgiht, usually‘echo’. enough to release the contaminants actingshine as a ismemory Zeolite is a natural mineral which and restore the absorbs odors andzeolite excess moisture in thecondition. air. to working Because of the honeycomb structure, zeolite is able to absorb moisture and gas molecules that total about 65 percent of the weight of the zeolite itself. The material has virtually no fragrance, and it releases nothing as it absorbs other materials. A day in bright sunshine is usually enough to release the contaminants and restore the zeolite to working condition.

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LEVEL - UP F L E X I B L E T E M P H O R A L ST R E E T AC T I VAT I O N Th e t w o v a r y i n g l e v e l s o f p e r m a n e n c e of structure in the space allows for an exciting juxtaposition within the street. Th i s a l s o a l l o w s f o r H i g h F r i a r L a n e t o adopt a new reputation with lo-cals and inspire a new generation of stories and memories. However, with the growth and change of the theatre, and the continuous movement and adaptation of the ‘LevelUp’ structure, these memories will be unique and transitory with each new character the space takes on.

connection details 1:5

components

flexible assemblage

PRODUCED BY AN AUTODESK STUDENT VERSION

GROWTH OVER TIME:

Sound: The street was a lot noisier and obtrusive, at the east end towards the bus stops and the top of Northumberland Street. It was more unpleasant to stand and dwell at this end of the street.

A communit y Project

The hubbub of pedestrians walking to and from the terminal and from the high street, echoed at the mouth of this end. Additionally, adding to this assault on the senses in a mulitfactory was, strong smells relating to food such as burgers and fast food, wafted from Stack.

The flexible use of structure allows for growth and adaptation over time. Beginning as a small community space, suitable for around 6-12 people (post-covid) the space could then see to accommodate a greater audience. This project would be funded by proceeds collected from performances and art exhibitions, by local groups such as ‘The Collective’.

Smell: By using Zeolite as the main matieral for my theatre block, the design will be able to absorb the smells relased as part of the performances. The matieral will then relsease the smells in sunlgiht, acting as a memory ‘echo’. Zeolite is a natural mineral which absorbs odors and excess moisture in the air.

This allows the public and locals to take a keen interest and pride in the growth of their theatre space. Through regular meetings they would discuss how to best approach the extension of the theatre/performance space to increase the wider interaction with High Friars Lane and the arts within the City Centre.

Because of the honeycomb structure, zeolite is able to absorb moisture and gas molecules that total about 65 percent of the weight of the zeolite itself. The material has virtually no fragrance, and it releases nothing as it absorbs other materials. A day in bright sunshine is usually enough to release the contaminants andexpansion restore the materials for zeolite to working condition. would be locally and sustainably sourced

I imagine the theatre becoming a civic beacon in the City, reflecting the skyline of domes, a key unique architectural feature of Newcastle’s historical roots. The dome structure would also encourage the intense interaction with the senses, both internally with art installation such a ‘Mist Encounters’ but also acoustically, enhancing performance viewing.

KEY: flexible seating second ‘skin’ with openings onto performances adaptable stage area

Internal perspective of my theatre space, showing the interior skin of higher floors to allow for varying degrees of audience participation. Also shown is the flexible seating which can be repositioned or removed, depending on performance/art type using the space, as well as the intended audience size.

SECOND FLOOR PLAN1.250

GRO UND FLO O R PLAN

F I R ST F LOOR PLAN

SECO ND FLO O R PLAN

ROOF PLAN

FLOOR PLANS 1.250 27

P R E C E D E N TS

Half Moon Theatre London, Florian Beigel

Blur Building, Diller Scofidio + Renfro 28

CIVIC PRESENCE The dome roof would act as a civic beacon withn the city. The structure would be designed to allow for smells and mist to escape, echoing accross the wider city.

Sprinklers Screen mesh

Scaffolding structure

Attached structure

Agricultural mesh

Cables

Mist Encouter detail

section showing the impact of activites on the wider city.

section showing the flexibility of the level-up space over time, with new addtional space added on the upper level for new dwelling pods, performance nooks etc. This section also shows the project in its expected full timeline of development (15+ years)

HIGH FRIAR LANE WEST SECTION 1.1250

section showing the flexibility of the level-up space over time, this section shows the project in mid-life time phasing (around 10 years) at the early stages of the dome structure roof being introduced as a civic element to the growth theatre space.

HIGH FRIAR LANE EAST SECTION 1.1250

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Axo of North elevation showing theatre in later lifetime phases

LEGACY & MEMORY Participation is a key focus within Acupuncture Theatre’s public engagement, especially with Newcastle’s local community, growing year on year across its history to a stage where creative Learning is a parallel and equal component of the theatre’s work alongside the professional productions created. Over the course if its history, this community theatre will create opportunities for local young people to create their own performances and learn through drama workshops that deal with anything from numeracy to health and societal issues. Participation at Acupuncture Theatre sees a variety of training courses for young people, who perhaps believe the theatre industry is out of their reach. Artist and artform development programmes at Acupuncture Theatre will help push the boundaries of performances for young audiences and brought a diverse range of artists and artforms into the sector. This programme and flexible space will create it's own legacy in Newcastle's regional timeline, creating a memory bank of intense sensory experiences, being regarded as one of the 'good places' to escape to in the now. 30

Mist enocunters

Re-appropriation of the classical

NEW T YPOLOGIES

Forget-me-not nooks

Loud about the senses performance instillation

Paper dome

The memory ‘scent’ archive

Street theatre steps

Smell bank

Vaulted (an olefactory dwelling)

Scent factory

Level-up (flexible street activation)

Acknowledging Arcadia

The purfume tower

The art of re-making memory

THE GEORDIE FACTORY

LEVELP - UP & COMMUNITY THEATRE

KEY: new interventions interaction bet ween new & existing thresholds

BRUNSWICK PURFUMERY

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UNFOLDED SECTION A

(not to scale)

METHO D O L G O Y MANUAL PART .1 research & defining regional heterotopia

CONCEPT

EXAMPLES Examples of the ideal cities include Filarete's "Sforzinda", a description of which was included in Trattato di architettura (c. 1465). The city of Sforzinda was laid out within an eight-pointed star inscribed within a circular moat. Further examples may have been intended to have been read into the so-called "Urbino" and "Baltimore" panels (second half of the fifteenth century), which show classically influenced architecture disposed in logically planned piazzas. The ideal city by Fra Carnevale,

The cities of Palmanova and Nicosia, whose Venetian Fortesses were built in the 1590s by the Venetian Republic, are considered to be practical examples of the concept of the ideal city. Another notable example of the concept is Zamość in eastern Poland, founded in the late 16th century and modelled by the Italian architect Bernardo Morando.

Before undertaking my design, it was important for me to understand the deep historical implications & context of the 'Ideal City' &concepts of Utopia. The "ideal" nature of such a city may encompass the moral, spiritual and juridical qualities of citizenship as well as the ways in which these are realised through urban structures including buildings, street layout, etc. The ground plans of ideal cities are often based on grids (in imitation of Roman town planning) or other geometrical patterns. The ideal city is often an attempt to deploy Utopian ideals at the local level of urban configuration and living space and amenity rather than at the culture- or civilisationwide level of the classical Utopias such as St Thomas More's Utopia.

James Oglethorpe synthesized Classical and Renaissance concepts of the ideal city with new Enlightenment ideals of scientific planning, harmony in design, and social equality in his plan for the Province of Carolina. The physical design component of the famous Oglethorpe Plan remains preserved in the Savannah Historic District. Late nineteenth-century examples of the ideal city include the Garden city movement of Sir Ebenezer Howard, realised at Letchworth Garden City and Welwyn Garden City in England. Poundbury, Prince Charles' architectural vision established in Dorset, is among the most recent examples of ideal city planning. Built in 1950s Nowa Huta in Kraków, Poland, serves as an unfinished example of a Utopian ideal city.

The ideal city attributed to Luciano Laurana or Meloz-zo da Forlì

HISTORICAL CONTEXT Several attempts to develop ideal city plans are known from the Renaissance, and appear from the second half of the fifteenth century. The concept dates at least from the period of Plato, whose Republic is a philosophical exploration of the notion of the 'ideal city'. The nobility of the Renaissance, seeking to imitate the qualities of Classical civilization, sometimes sought to construct such ideal cities either in reality or notionally through a reformation of manners and culture. Examples of ideal citiy plans

The Ideal City (Italian: Città ideale) is the title given to three strikingly similar Italian Renaissance paintings with unresolved attribution. Being kept at three different places they are most commonly referred to by their location: The Ideal city of Urbino, Baltimore, and Berlin. Hubert Damisch, who has written at length about the paintings, refers to them as the 'Urbino perspectives' or 'panels'. The three paintings are dated to the late 15th century and most probably they have different authors but various attributions have been advanced for each without any consensus.

Architectural Veduta (Berlin), (ca. 1495), Gemäldegalerie (Berlin)

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CASE STUDIES

The argument is that in spite of the totally different conditions during and after the high-tech era and rise of capitalism, resistance might be understood similarly in both situations: architects escape direct confrontation with negative realities (their dystopian catalysts) by producing new margins of action and enlarging the limits of architecture itself.The two attitudes are very different: one whole and utopian, the other acupunctural and circumstantial. Yet they both develop lateral fields of action beyond usual professional practice. The apparent 'paradoxes of dissidence', that the more architecture opposes reality the less able it is to change it, or that architecture opposes itself, are surpassed by this escapism.

My thesis began by drawing comparison between two different forms of dissent against the dominant architectural system during and after the 1960s high anthropocene era. Utopias of modernism born from the predictions for the 60s from General Motors which served as an introduction to the concepts of utopia and the –theoretical subversion– of the 70-80 Smith Era in Newcastle, are brought together and then considered in relation to instances of more recent activism since around the 2000s.

UNBUILT CITIES CASE

STUDIES

UNBUILT

My thesis begins by drawing comparison between two different forms of dissent against the dominant architectural system during and after the 1960s high anthropocene era. Utopias of modernism born from the predictions for the 60s from General Motors which served as an introduction to the concepts of utopia and the –theoretical subversion– of the 7080 Smith Era in Newcastle, are brought together and then considered in relation to instances of more recent activism since around the 2000s.

The two attitudes are very different: one whole and utopian, the other acupunctural and circumstantial. Yet they both develop lateral fields of action beyond usual professional practice. The apparent 'paradoxes of dissidence', that the more architecture opposes reality the less able it is to change it, or that architecture opposes itself, are surpassed by this escapism.

The argument is that in spite of the totally different conditions during and after the hightech era and rise of capitalism, resistance might be understood similarly in both situations: architects escape direct confrontation with negative realities (their dystopian catalysts) by producing new margins of action and enlarging the limits of architecture itself.

PROTE CONCEPTS

eg at io n of l mu cfu d tru cn n s a ti s nfra r G arden on we l i o a n s d gree T ve e l n space ti e s r tu

UTOPIA

ion

p po

Equality and social equilibrium

at ul

Tra n bile spor t )

(ris

e o f

IMPLAUS the

aut

•

TIM

CATALYSTS

• •

CITY

THEMES

Utopian/dystopian Combine an ethical or political commentary or proposition with spatial and topographic features, to present a vision for a new society or to illuminate the flaws of an existing one. (traffic, technology, government, ecological etc) Well-known examples privilege the social, cultural or theological structures over the spatial and formal ones. In this way, the architecture, urban plan, topography and geography of the place are often hidden and their actual impact on the everyday life of its inhabitants remains obscure.

• • •

The aesthetic provides symbolism, so the degree to which this architecture is described is often limited. (inhuman, impractical to living and the senses) Monumental in size, contrasting with the human scale. Very often seen using towers and a multi-layered concept, especially seen in later/modern depictions. Radial, sculptural and dreamlike designs.

ABILITY

FAIL

INGS

Rising capitalism Social injustice

TRENDS

IMPLEMENTATIONS - usually fragmented if any

EGO DEAD ENDS

HENARD'S CITY OF THE FUTURE

HENARD’S CITY OF THE FUTURE

PARIS PLANS

PLAN VOISIN

ABERCROMBIE GREATER LONDON PLAN

THE MARTIN-MEALAND PLAN

THE BARBICAN

SMITH'S ERA NEWCASTLE

'THE FUTURE'

section of ideal cities, showing similaritie

THE BARBICAN

SMITH’S ERA NEWCASTLE

CITY OF THE FUTURE NOW?

C R ITICAL AN ALYS IS What all the proposals agreed upon in their plans, was to awaken the City out of its slumbering consideration of how to develop the vast Barbican bomb site. Agreeably, it encouraged a range of interested parties to come up with different proposals. The Kadleigh plan was followed by the Martin-Mealand plan for a mainly commercial development of the site, and the report commissioned from Chamberlin Powell and Bon for a residential solution to the problem of what to do with the site. The fact these plans were so drastic could be argued as essential, just like the concept of ego within a design, to encourage any form of development. However, I argue that had more consideration been given to acknowledge, that the development of societal trends, such as technological, are transient and vacillating- a plan that encouraged growth and a flexibility would have proven less controversial. The plans of this era have more than not, demonstrated a counterproductive version of ‘heritage’ which ends up in need of desperate revival or redevelopment long before it should. Social value has long been recognised in international conservation charters, for instance, where it is placed on an equal footing with historic and aesthetic values: ‘Social value encompasses the significance of the historic environment to contemporary communities, whether that is through their sense of identity and belonging to a place or in the form of memory or spiritual association.’ Perhaps the answer for the renewal of such sites and to plan for its reenergisation relevant to this age, we can look at positive additions and changes of modern times. For example, in 2005-2006, the Barbican centre underwent a more significant refurbishment, designed by architects Allford Hall Monaghan Morris and Roger Westman. The implemented plans were a sensitive but extremely relevant design, which improved circulation and introduced bold signage in a style in keeping with the centre’s original 1970s Brutalist architecture. That improvement scheme added an internal bridge linking the Silk Street foyer area with the lakeside foyer area. The centre’s Silk Street entrance, previously dominated by an access for vehicles, was modified to give better pedestrian access. The scheme included removing most of the mid-1990s embellishments. The plans found a balance of acknowledgment to the Brutalist style whilst removing some of the designs fundamental policies (the dominant vehicle/divorcing the pedestrian from the road). Which begs the question: if a design is intrinsically moves away from desiging for aesthetic alone, can we comfortable adapt and change our city centres to accommodate a transitory, sesnory era of architectural design?

the barbican centre London

MR NEWCASTLE:

T he Smith Era & local ideal planning

In the 1950s Newcastle was known as a sleeping city, when T. Dan Smith became Leader of Newcastle City Councill, he set up his own independent planning department in the council and appointed Wilfred Burns as chief officer in 1960. They wanted to remodernise Newcastle for the better by undertaking new road plans to resolve the traffic congestion that plagued the city and breathe new life into the city by clearing out and rebuilding new homes to help improve people’s living conditions.. One way Smith helped promote his grand scheme was through aa series of models and held public gatherings to help fuel his passion to help change Newcastle, a method used by Richard Grainger who greatly strengthened Newcastle’s status as a regional capital. In order to achieve Grainger’s equivalent he set out to get renowned architects to develop the city, like Le Corbusier, Basil Spence, Leslie Martin, Robert Matthew and even Picasso to help reinforce his vision for the future ''Brasilia of the North''.

1915 Born in Wallsend, a major shipbuilding centre on the edge of Newcastle upon Tyne (a city then beginning its long downslide from Victorian prosperity) 1960 Lead the Labour Party proper to become a driving force in Newcastle's post-war council, variously dubbed 'Mr Newcastle', 'Mouth of the Tyne', and the 'Voice of the North'. 1960

19 6 5

19 6 6

19 6 9

19 7 3

Smith began to put this principle into action. He was named Architects– Journal Man of the Year. At the start of his tenure as council leader, he made sure that Newcastle was the first city in the country to have its own planning department, another shot in the arm for regional autonomy. Smith resigned as leader of the council to become chairman of the Northern Economic Planning Council. In the wider context of social-democratic Britain, forces were aligning to empower figures like Smith. The radical, rationalist mood of the time encouraged a multitude of ambitious proposals for restructuring the UK–s antiquated, London-centric political scaffolding. Implementation of the Redcliffe-Maud Report of 1966-69, which called for a two-tier system of government based on devolution of power to eight regional 'provinces'. Smith pleaded guilty on corruption charges and served three years in prison. By that point the redevelopment envisaged by Newcastle's planning department was far from complete. Construction of the motorway road system to alleviate the city's traffic congestion problems and the creation of a European-style metro train network finally opened.

1980

FURTHER CONSIDERATIONS WHY DID SMITH'S PLANS FAIL?

– Zoning- The plans failed due to the suggestion of zoning, something not desired in today's planning or society of a mixed-use transactional architecture. Smith's suggestion to move out local markets and trades from the Eldon site and city centre to the outskirts, and replace routes of pedestrian movement with large motorways, dominated by the vehicle was unsustainable. Given the current philosophy amongst architects and designers is to approach planning in an opposite sense, championing mixed uses as opposed to drastic zoning; which is now seen as antagonistic to the very urban qualities we endeavour to achieve. Our master plans should now try to preserve flexibility and range of permitted uses for as long as possible.

- Tension between form and culture - Smith designed without regard for the users. Ego for Ego sake, I would agree that master planning of this scale within a historical city requires a level of ego, but not to the determent of habitability and interaction with space. His assertion was too vigorous that his designs were destined to fail.

– Irreparable change - In Newcastle, the regular fine grain of historic plots fronting into streets still survives. It matters less to the character of the city which particular period these comes from, the style of any new buildings Smith proposed is less significant than their relationship with the pattern of the city. Therefore, his plans failed - he disrupted the grain of the city Street and the footprint in which the habitants interact within the streets. The prominent evidence of this is the total redevelopment of Swan House. Historically a market, a thoroughfare and place for interaction, transformed into a monumental roundabout dominated by the vehicle, impossible by pedestrian unless by a juxtaposition of uncomfortable, enclosed underpasses and skywalks.

– Time - the phasing aspect of his construction were non-existent. Emphasis was applied to pressure a condensed time scale for project, may be down to the scandal and political relationships within Newcastle'–s City Council. It is common in larger more radical construction within cities that a phased design approach helps limit protest and given the locals time to adjust to the changes. Moreover, the time and the speed in construction showed a disregard and lack of imagination regarding a continued evolution of the city. His plans did not consider the glaring concept that technology could further transform the city away from Smith's current climate (1960-80).

Images of my journey through my ‘Smith Route’. I felt emotions of enclosure at certain points, where the natural light was limited & the route narrowed. This was juxtaposed with moments of openness and vulnerability, especially walking over the skywalks floating above the highways penetrating the city. 40

R E F L E C T I V E S U M M A R Y: CRITICAL Searching 'unbuilt cities' uncovers a vast array of astonishing designs. Notably many of them hold designs of symmetry and appear pattern-like. This offers the question to whether they were designed for their symmetry, representing perfection historically/ religiously or for their aesthetic appearance or for their architectural order and unified community.

I have found surprising similarities between unbuilt cities throughout history unbound by location, to that of the T Dan Smith era in Newcastle. The depicted ideals of the unbuilt city notably changed during the 20th century, around the boom of automation and technology. However, themes remain the same: that these cities aim to provide solutions, order and harmony to their authors current habitation.

Moreover, researching unbuilt cities reveals concepts of Utopia. Most of the unbuilt cities have been designed around Utopian concepts, for example, Project X: Disney's EPCOT as a Real City was described to become –a Utopian environment enriched in education, and in expanding technology. A perfect city with dependable public transportation, a soaring civic centre covered by an all-weather dome, and model factories concealed in green belts that were readily accessible to workers housed in idyllic suburban subdivisions nearby.

Using literature such as Le Corbusier's 'The City of Tomorrow and Its Planning', remarks that "the towers are placed amidst gardens and playing fields. Their main arteries, with their motors tracks built over them, allow for easy, or rapid, or very rapid circulation of traffic–. This concept of divorcing the road with the pedestrian was a focus point of Smith–s –Northern City Development Plan–, which inadvertently also followed a brutalist architectural style. Architects sought to make cities suitable for the needs of the 20th century, which lead to visionary design and ideas for radical urban change. Many unbuilt plans combined practical planning with futuristic tropes: towering buildings, sunken roads, multi-layered walkways, and monorails.

To consider unbuilt cities as Utopias, whether in the past or in an unrealized, untested retro future, is a form of romanticism and escape that remains understandably tempting. Instead, people should occupy unbuilt cities, even if just in the mind, and dig deep into their implications.

ANALYSIS

What all the proposals agreed upon in their plans, was to awaken the City out of its slumbering consideration of how to develop the vast Barbican bomb site. Agreeably, it encouraged a range of interested parties to come up with different proposals. The Kadleigh plan was followed by the Martin-Mealand plan for a mainly commercial development of the site, and the report commissioned from Chamberlin Powell and Bon for a residential solution to the problem of what to do with the site. The fact these plans were so drastic could be argued as essential, just like the concept of ego within a design, to encourage any form of development. However, I argue that had more consideration been given to acknowledge, that the development of societal trends, such as technological, are transient and vacillating- a plan that encouraged growth and a flexibility would have proven less controversial.

Perhaps the answer for the renewal of such sites and to plan for its reenergisation relevant to this age, we can look at positive additions and changes of modern times. For example, in 2005-2006, the Barbican centre underwent a more significant refurbishment, designed by architects Allford Hall Monaghan Morris and Roger Westman. The implemented plans were a sensitive but extremely relevant design, which improved circulation and introduced bold signage in a style in keeping with the centre's original 1970s Brutalist architecture. That improvement scheme added an internal bridge linking the Silk Street foyer area with the lakeside foyer area. The centre's Silk Street entrance, previously dominated by an access for vehicles, was modified to give better pedestrian access. The scheme included removing most of the mid-1990s embellishments.

The plans of this era have more than not, demonstrated a counterproductive version of 'heritage' which ends up in need of desperate revival or redevelopment long before it should. Social value has long been recognised in international conservation charters, for instance, where it is placed on an equal footing with historic and aesthetic values: 'Social value encompasses the significance of the historic environment to contemporary communities, whether that is through their sense of identity and belonging to a place or in the form of memory or spiritual association.'

The plans found a balance of acknowledgment to the Brutalist style whilst removing some of the designs fundamental policies (the dominant vehicle/divorcing the pedestrian from the road). Which begs the question: if a design is intrinsically kept in the same aesthetic style or condition, but function entirely changed, can we comfortable adapt and change our city centres to accommodate each trending era of architectural design?

Have we arrived on the moon?

My cartoon of Le-Corbusier & his Paris 'Ideal City' plans. 41

UTOPIAN PHILOSOPHIES

GREATNESS OF DIMENSION is a powerful cause of the sublime. This is too evident, and the observation too common, to need any illustration; but it is not so com–mon, to consider in what ways greatness of dimension, vastness of extent, or quantity, has the most striking effect. Extension is either in length, height, or depth. Of these the length strikes least; an hundred yards of even ground will never work such an effect as a tower an hundred yards high. SUCCESSION and uniformity of parts are what constitute the artificial infinite. • 1. Succession; which is requisite that the parts may be continued so long, and in such a direction, as by their frequent impulses on the sense to impress the imagination with an idea of their progress beyond their actual limits. • 2. Uniformity; because if the figure of the parts should be changed, the imagination at every change finds a check; you are presented at every alteration with the termination of one idea, and the beginning of another; by which means it becomes impossible to continue that uninterrupted progression, which alone can stamp on bounded objects the character of infinity.

TO THE SUBLIME IN BUILDINGS: –That which attempt to capture the sublime, are not themselves sublime, may be any form of representation precludes sensations of sublimity' –Succession and uniformity of parts, which constitute the artificial infinite, give the effect of sublimity in architecture, greatness of dimension is also requisite'. Designs that are vast only by their dimensions are always the sign of a common and low imagination. No work of art can be great, but as it deceives; to be otherwise is the prerogative of nature only. A good eye will fix the medium betwixt an excessive length, or height, (for the same objection lies against both), and a short or broken quantity; and perhaps it might be ascertained to a tolerable degree of exactness. –That which attempt to capture the sublime, are not themselves sublime, may be any form of representation 'precludes sensations of sublimity'.

THE EFFECT OF SUCCESSION AND UNIFORMITY IN ARCHITECTURE. On the same principles of succession and uniformity, the grand appearance of the ancient heathen temples, which were generally oblong forms, with a range of uni–form pillars on every side, will be easily accounted for. From the same cause may be derived the grand effect of the isles in many of our own old cathedrals. The form of a cross used in some churches seems to me not so eligible, as the parallelogram of the ancients; at least I imagine it is not so proper for the outside. Or suppose the spectator placed where he may take a direct view of such a building; what will be the consequence? The necessary consequence must be, that a good part of the basis of each angle, formed by the intersection of the arms of the cross, must be inevitably lost; the whole must of course assume a broken unconnected figure; the lights must be unequal, here strong, and there weak; without that noble gradation, which the perspective always effects on parts disposed uninterruptedly in a right line.

21/11/2020

5/12/2020

GEDDES EUTOPIA Conventional visualizations of utopias depict it as something of a radial city set off from the wider landscape. In contrast Geddes mind, the ideal city of Option is not an abstraction but would evidence the existent of material articulation of ideals.

In fact, for Geddes Utopia is clearly the promise of a "good place", rather confirmed by his use of Eutopia in all instances, rather than the more ambiguous "utopia–, which as previously discussed cannot be achieved. Eutopia, then, the lies in the city around us, and it can be planned and realized, here or nowhere, by us as its citizens

It was then known as Short's Observatory with each floor showing landscapes and images of scenery from around the world, as visitors moved higher up the views became more focused and particular to its surroundings.

- and each citizen of both the actual and ideal seen increasingly as the one. The first steps to accomplishing Geddes Eutopia resides in the realisation that all citizens already occupy two cities, the actual and the ideal, which harbour a potential to become one as a single unity. This is when the manifested ideal becomes the real.

The Camera Obscura/roof-terrace had served as a popular attraction for local people and tourists since 1856 - moreover, it is used for that very purpose today capturing views. The role of the Outlook Tower is interpreted as a component of Geddes general theory of pedagogy. 11/12/2020

Therefore....If the manifested ideal is memory, and the real is tangible place and transaction in the now, can these be combined?

FUNCTIONS

T HE OUTLOOK TOWER

11/12/2020

GEDDES EUTOPIA

21/11/2020

Conventional visualizations of utopias depict it as something of a radial city set off from the wider landscape. In contrast Geddes mind, the ideal city of Option is not an abstraction but would evidence the existent of material articulation of ideals. In fact, for Geddes Utopia is clearly the promise of a "good place", rather confirmed by his use of Eutopia in all instances, rather than the more ambiguous "utopia”, which as previously discussed cannot be achieved.

21/11/2020

5/12/2020

The concept of the Outlook Tower - at once observatory, museum and civic laboratory - was the outcome of an encounter between Patrick Geddes and a curious tower dominating the Edinburgh Old Town and, beyond, the whole city and its geographical setting. It was then known as Short's Observatory with each floor showing landscapes and images of scenery from around he world, as visitors moved higher up the views became more focused and particular to its surroundings. The Camera Obscura/roof-terrace had served as a popular attraction for local people and tourists since 1856 - moreover, it is used for that very purpose today capturing views.

Eutopia, then, the lies in the city around us, and it can be planned and realized, here or nowhere, by us as its citizens and each citizen of both the actual and ideal seen increasingly as the one.

The role of the Outlook Tower is interpreted as a component of Geddes general theory of pedagogy.

The first steps to accomplishing Geddes Eutopia resides in the realisation that all citizens already occupy two cities, the actual and the ideal, which harbor a potential to become one as a single unity. When the manifested ideal becomes the real. Therefore....If the manifested ideal is memory, and the real is tangible place and transaction in the now, can these be combined?

11/12/2020

MAP OF C ONNECTED FUNCTIONS

THE OUTLOOK TOWER

- new immersive arcade route - hetertopian typologies - central arcade revival - memory to museum - escapism loop 16 44

11/12/2020

basis he

collage of route through Newcastle using an alternative lens to Burke's theories, highlighting points of succession, sublimity, greatness in scale and uniformity, both metaphorically & architecturally.

F O UCAULT'S HETEROTOPIA

Between 5pm and 9am Eldon Sqaure Shopping Centre is closed to the public and cannot serve as a through route, as it operates during the day. This makes the area inpermeable at night.

Heterotopia is a concept elaborated by philosopher Michel Foucault to describe certain cultural, institutional and discursive spaces that are somehow 'other': First there are the utopias. Utopias are sites with no real place. They are sites that have a general relation of direct or inverted analogy with the real space of Society. They present society itself in a perfected form, or else society turned upside down, but in any case these utopias are fundamentally unreal spaces.

Axis of Utopia

There are also, probably in every culture, in every civilization, real places, places that do exist and that are formed in the very founding of society, which are something like counter-sites, a kind of effectively enacted utopia in which the real sites, all the other real sites that can be found within the culture, are simultaneously represented, contested, and inverted.

Grey Street is the chosen site for many protests and congregations. Activity is high here and reflects the roman and baroque ideal planning, centering around idols and scale (Grey's Monument).

Places of this kind are outside of all places, even though it may be possible to indicate their location in reality. Because these places are absolutely different from all the sites that they reflect and speak about, I shall call them, by way of contrast to utopias, heterotopias. I believe that between utopias and these quite other sites, these heterotopias, there might be a sort of mixed, joint experience, which would be the 'mirror'. Through my research I have determined a route of heterotopian flux. Born out of recognition of Newcastle's unique DNA, experiences of escapism and memory. During phase one of this design, I analysed and created an Arcadian form of transaction. Subsequently, this intervention reflects the classical typology catalyst, which allowed me to conduct my wider masterplan upon the city. On this route I have highlighted these points of idolism, distinguishing connection between memory and future, to ultimately create the 'Theatre of the Senses'.

During the current dystopian conditions: the pandemic, one way systems operate accross the city and Grey Street in particular has benifited from increased space allocated to pedestrains and bicycles.

GROUND

ABOVE GROUND

baroque concepts of ideal planning, showing axis and highlighted points of interest

IDOLISM GREEN SPACES (TO BE COME GARDENS OF REMEMBERANCE)

120

160

200M

THE KNOWN

THE UNKNOWN

- Loneliness/depression is on the rise

THEATRE OF THE SENSES

WHAT NOW? The original and tangible ideas of utopia have nearly all but vanished. The avant-garde architects of earlier generations rarely used the term, due to its negative connotation of opposite means, but still proposed 'ideal' urban designs that were, in effect, Utopian. Now the avant-garde, is concentrated on the practical, from innovative technology to issues such as sustainability. Utopian ideas are conspicuously absent.

- mapping the memory

- Foucault - defining the dystopian now

- historical context - case studies

- analysing the grain

THEORIES

Almost everything in terms of form, function, employability, trades, industry, rising technology, hyperreality, disease and climate change is near unknown….

- Escapism via technology is prominent - the lines have become blurred. Can the lines be resolidified for the sake of mental health and the creation of real life 'eutopia'.

Can desingers plan for flexibility but celebrate the unchanging: Memory and individual experience.

- Capitalism is increasing - New radical Utopian planning is lost (sustianability regarded as essential/commonplace)

Ty p i c a l d e s i g n c o n s i d e r a t i o n s n o w

- collecting escapism

- creating mirror to memory

I D E A L CI T Y PLANNING

Why is this?

NEWCASTLE DNA

H E T E R O TO P I A S

- Industry/trades in Newcastle is lost

SMITH ERA

- Burke: sublime/scale/ greatness/obscurity/light

- fragmented utopia

- Geddes: route through the city

- the vision/ preserving heritage

Therefore, in the current climate, the only possible utopias are those perfecting capitalism and its present, consumerist, forms of order. This is what I believe Smith and his City Development Plans were aiming to achieve. We can think of Rem Koolhaas as the visionary of consumerist utopias, celebrating its virtues and vices in equal measure. Similarly, we can view high-street designers in this way, due to their lack of design originality, very liberally democratic. One can argue, the prerequisite measure for utopia have already been realized. As anyone can get a can take part in mass commercialism and be happy. So, where is the inspiration to envision 'a new' utopia?

summative diagram 19 47

WHAT NOW? The original and tangible ideas of utopia have nearly all but vanished. The avant-garde architects of earlier generations rarely used the term, due to its negative connotation of opposite means, but still proposed 'ideal' urban designs that were, in effect, utopian. Now the avant-garde, is concentrated on the practical, from innovative technology to issues such as sustainability. Utopian ideas are conspicuously absent.

FLUX UTOPIA

THE KNOWN

T HE UNKNOWN

- Loneliness/depression is on the rise Almost everything in terms of form, function, employability, trades, industry, rising technology, hyper reality, disease and climate change is near unknown–.

- Industry/trades in Newcastle is lost - Escapism via technology is prominent - the lines have become blurred. Can the lines be re-solidified for the sake of mental health and the creation of real life utopia?

Can designers plan for flexibility but celebrate unchanging: Memory and individual experience.

- Capitalism is increasing

Why

HETERTOPIAS

NEWCASTLE DNA

- Foucault

- mapping the memory

- defining the dystopian now

DIEAL CITY PLANNING - historical context - case studies

- analysing the grain

THEORIES

SMITH ERA

- Burke: sublime/scale/ greatness/ obscurity/light

- fragmented utopia

- Geddes: route through the city

this?

I believe the reasons are complexly interwoven. Foremost, the widely accepted feeling is that we have reached 'the end of history' (Fukuyama) and the global triumph of capitalism and 'liberal democracy.' While the former is manifestly not the case, it is true that the demise of socialism as a human ideal, has left no credible alternative to capitalism’s global dominance. Whereas most utopian projects aim for ideals of not only technical improvements, but social ones, too. So, in the current climate, the only possible utopias are those perfecting capitalism and its present, consumerist, forms of order. This is what I believe Smith and his City Development Plans were aiming to achieve.

- collecting secapism

- creating mirror to memory

- the vision/ preserving heritage

- New radical Utopian planning is lost (sustainability regarded as essential/ commonplace)

Typical design considerations now

We can think of Rem Koolhaas as the visionary of consumerist utopias, celebrating its virtues and vices in equal measure. Similarly, we can view high-street designers in this way, due to their lack of design originality, very liberally democratic. One can argue, the prerequisite measure for utopia have already been realized. As anyone can get a can take part in mass commercialism and be happy. So, where is the inspiration to envision 'a new' utopia?

summative diagram

18 48

the

CONSIDERATIONS FOR IDEAL PLANNING NOW

PA T T E R N S & O B S T R U C T I O N S Site movement analysis

defining the rules & outputs

Blackett Street is a key lateral route running east to west connecting one side of the city to the other. It follows the line of the Old Town Wall, demolished in 1826 as part of the construction of Eldon Square. In its place today is Eldon Square Shopping Centre, which stands as an imposing structure of the Brutalist Smith Era. When constructed, Eldon Square eliminated all of the smaller chares and side streets that once penetrated and infiltrated this thoroughfare. Blackett Street, as well as being a primary pedestrian route, is also a main bus route, and observations of the street points to a sense of automobile domination, typical again of the high Anthropocene Era.

Eldon Square south has four main entrances which are accessible by the public, 3 of these entrances are directly at or just above street level, and one is accessed via lift/escalator to the upper mall level. These entrances are shown on the map (far left) alongside other sub-entrances such as those through shops, entrances to shops which do not lead to the rest of the centre. This highlights the segregated nature that the current form promotes. The entrances are concentrated around the north end of the centre, making the southern point of the site underused and very inaccessible. The service entrances are located to the west of the site, adding to the impermeable nature of this facade, presenting a more homogeneous face to pedestrians.

pedestrian movement interrupted by bus route

The drawings to the right show the internal circulation through Eldon Square site and distinguishes between the public circulation space and the service areas. It also demonstrated the multilevelled nature of the centre with access to Eldon Square north across a raised walkway and access at the south of the site above street level.

Like current proposals to further pedestrianize the area, I will propose as part of the city masterplan, to reclaim this street, deploying the traditional typologies of the plaza, following the utopian axis between existing symbols of idolism.

pinch points created by the limited crossing points

Unlike Smith and the application of his coherently, repetitive urban impositions across Newcastle, I am looking for a way of understanding Newcastle which will allow me to make proposals that are intensely particular to each, vastly different place. An ideal master plan would move away from designing buildings that mimic the existing or match their scale exactly, but instead appreciate and consider both. In my design I will acknowledge the special status of the historic centre and the buildings that locals hold in high regard. It is inevitable that historic cities will change, just as with the high technology era of the 1950-70s architectural trends are always employed- but the test lies in whether these changes will also become a part of the cities continuous, adaptable heritage.

So while new building development must accentuate and acknowledge significant views protect fundamental character of the historic centre and, create an suitable balance in the configuration of the whole city, the effect of taller buildings in cities like Newcastle, who's heritage is of national significance, requires thoughtful analysis to counter the abridging (and deadening) rule that no building must exceed a dimension defined by the present city.

enterance positions impermeable sourthern side of site

people cross the street at neutral crossing points vs established crossings (showing the need for safe movement and further natural connectivity)

bridge to Eldon Square North

Blackett Street

46 49

early possible site location & intervention suggestions

THE SITE

ANALYSISING THE GRAIN -

Macro to micro

SITE AN A LYSIS Retail Core - City wide

SITE ANALYSIS: S I T E A N A L Y S I S : city

architecural and occupational details, looking to heritage, history and DNA of Newcastle which I noticed on my journey through the site. architecural and occupational details, looking to heritage, history and DNA of Newcastle which I noticed on my journey through the site.

city centre retail core centre retail core

former chares: now alleyway/unused spaces former chares: now former chares: now spaces alleyalleyway/unused

ways/unused spaces

pedestrain routes pedestrain pedestrainroutes routes

22 22

retail streets retail streets

retail streets (transactional zones)

car parks car parks

car parks

active facades active facades

active facades

bus routes bus bus routes routes

THE SITE:

how the grain of the city has evolved

After Intu Eldon Construction

Before 1970’s Demolition

Wide Unbroken Block & Lack of Glazing Causes Lack of Daylight, Requiring Larger Amounts of Artificial Lighting.

1930s

1950s

1970s

1980s

Current day

Multiple chares and through routes exist in site Prior to Haymarket bus station construction

Haymarket bus station is built: Multiple rows of enclosed station built in the middle of trafficked street

Construction of Eldon Square shopping centre Secondary pedestrian streets demolished and replaced by Eldon construction site A central sheltered bus station replaces multiple street stations

The Eldon Square shopping centre was built Expansion of Haymarket bus station completed

Haymarket station rebuilt Remnants of markets exist

Not only did many of the markets and shops selling local produce vanish or were displaced to outside the city, in the central block the unique Newcastle city grain was drastically altered. In the central site block, all the existing side streets, alleyways, and chares local to Newcastle that helped create that intriguing grain between interaction and streetscape we removed and lost. Instead replaced by a mass 'block' which seems to signify mass commercialism and capitalism Smith sought to avoid. The evercounterproductive ideal planning which in this case created even more dystopian nodes for many, rather than resolutions.

KEY Percy Street - Great North Road Pedestrian routes around site

all the existing

commercialism than

resolutions.

25 52

MAPP ING THE MEMORY The immediate site

B E F OR E 19 70 ’ S DE M O LITIO N

AFTE R IN TU EL D ON CONS T RUCTI ON

Wide Unbroken Block & Lack of Glazing Causes Lack of Daylight, Requiring Larger Amounts of Artificial Lighting.

To recognise a City's regionalism and unique identity, new streets should adapt to their place in the city's hierarchy which is itself determined by value, position, and topography. Within each street those things that affect its rhythm and composition are then quite easy to identify: the width of the shopfront, a structural grid, a typical residential unit. All these encourage divisions which are familiar across the city. One way of responding therefore, is to represent in new buildings the complexity of occupation rather than ownership, something rather overlooked in Smith's era of Newcastle development.

ing local city, in rain was e existing stle that ction and ed by a ercialism e evere created solutions.

PATTERNS & OBSTRUCTIONS

CONSIDERATIONS FOR IDEAL PLANNING NOW

site movement analysis

difining the rules and outputs

pedestrian movement interrupted by bus route

This highlights the segregated nature that the current form promotes. The entrances are concentrated around the north end of the centre, making the southern point of the site underused and very inaccessible. The service entrances are located to the west of the site, adding to the impermeable nature of this facade, presenting a more homogeneous face to pedestrians. The drawings to the right show the internal circulation through Eldon Square site and distinguish between the public circulation space and the service areas. It also demonstrated the multi-levelled nature of the centre with access to Eldon Square north across a raised walkway and access at the south of the site above street level.

When attemptting to re-establish continuity, to create a bridge between the past and the future, one of the major challenges we face is the greater scale of Newcastle and the considered site. This presents a philosophical dilemma; whether to represent of subdue the pattern of contemporary ownership within the design. The approach is to work form the city towards the building. Firstly, new streets should adapt to their place in the city's hierarchy which is itself determined by value, position, and topography. Within each street those things that affect its rhythm and composition are then quite easy to identify: the width of the shop-front, a structural grid, a typical residential unit. All these encourage divisions which are familiar across the city. One way of responding therefore, is to represent in new buildings the complexity of occupation rather than ownership. The return to the traditional model of retail and residential, of houses above shops, clearly helps. However, their ownership structure, imposes a responsibility which no previous model has to confront: housing is independently owned and yet permanent (it is developed and then sold); retail is corporately owned and yet temporary (it is held by institutional investors and then rented). These places will be inherently difficult to re-assemble as large single sites and so, in order to retain value and therefore resists it decay, must be readily divisible into discreet plots. Additionally, if the city plan is the instrument on which we rely on most, in order to understand the evolution of our Cities to stimulate its regeneration, what tools can we utilise in order to address the complex issue of height within a historic centre? Cross sections of cityscapes although mechanically useful, never really show the true picture of the human scale within their context. Although resiliently recognisable over time, every single piece of a city like Newcastle has grown, doubled, and often trebbled in height since the early middle ages. To attempt to limit height now, by the application off planning rules, is likely to prove counterproductive, 'while the simple equation of scale with character is a fallacy'.

pinch points created by the limited crossing points

If towns and cities are to remain relevant and places of vibrancy, it is likely that they will continue to grow. In certain areas it would be right to limit growth in relation to buildings of historic value; but this now means pressure on sites deemed appropriate for development is even more contentious. The lack of viable space for development within historic centres can inspire unobtainable hopes of what they can achieve, given their spatial limitations. A prescribed maximum height, such as that envisioned by pre-existing guidelines published by Newcastle City Council, will often have unintentional consequences of uniformity as it encourages buildings to be raised right to that permitted height. Nor is appropriate scale defined by the relation of height to street width. The widest streets on our cities are often the dullest, the pragmatic products of road engineering, like that of Smith's highway construction at Swan House. In contrast the narrow, winding streets of historic quarters (like the alleyways off Grey Street, prove to be charming. So while new building development must accentuate and acknowledge significant views protect fundamental character of the historic centre and, create an suitable balance in the configuration of the whole city, the effect of taller buildings in cities like Newcastle, who's heritage is of national significance, requires thoughtful analysis to counter the abridging (and deadening) rule that no building must exceed a dimension defined by the present city. Unlike Smith and the application of his coherently, repetitive urban impositions across Newcastle, I am looking for a way of understanding Newcastle which will allow me to make proposals that are intensely particular to each, vastly different place. An ideal masterplan would move away from designing buildings that mimic the existing or match their scale exactly, but instead appreciate and consider both. In my design I will acknowledge the special status of the historic centre and the buildings that locals hold in high regard. It is inevitable that historic cities will change, just as with the high technology era of the 1950-70s architectural trends are always employed- but the test lies in whether these changes will also become a part of the cities continuous, adaptable heritage.

entrance positions - impermeable southern side of site

people cross the street at neutral crossing points vs established crossings (showing the need for safe movement and further natural connectivity

bridge to Eldon Square North 47

Blackett Street 54

intervention suggestions to open current site

PA R T T H R E E :

T OW ARDS AN ARCH I T ECT U RE Between 5pm and 9am Eldon Square Shopping Centre is closed to the public and cannot serve as a through route, as it operates during the day. This makes the area impermeable at night.

FLUX UTOPIA The brief

Axis of Utopia Heterotopia is a concept elaborated by philosopher Michel Foucault to describe certain cultural, institutional and discursive spaces that are somehow 'other':

Grey Street is the chosen site for many protests and congregations. Activity is high here and reflects the roman and baroque ideal planning, centring around idols and scale (Grey's Monument).

First there are the utopias. Utopias are sites with no real place. They are sites that have a general relation of direct or inverted analogy with the real space of Society. They present society itself in a perfected form, or else society turned upside down, but in any case these utopias are fundamentally unreal spaces. There are also, probably in every culture, in every civilization, real places, places that do exist and that are formed in the very founding of society, which are something like countersites, a kind of effectively enacted utopia in which the real sites, all the other real sites that can be found within the culture, are simultaneously represented, contested, and inverted. Places of this kind are outside of all places, even though it may be possible to indicate their location in reality. Because these places are absolutely different from all the sites that they reflect and speak about, I shall call them, by way of contrast to utopias, heterotopias. I believe that between utopias and these quite other sites, these heterotopias, there might be a sort of mixed, joint experience, which would be the 'mirror'. Through my research I have determined a route of utopian flux. Born out of recognition of Newcaslte's unique DNA, experiences of escapism and memory. Phase one of this design will attempt to create an arcadian form of transaction. Subsequently, this intervention will become the classical typology catalyst, to then allow me to conduct a wider masterplan upon the city. On this route I will highlight points of idolism, make connection between memory and future, to ultimately create Utopian Flux.

During the current dystopia conditions: the pandemic, one way systems operate across the city and Grey Street in particular has benefited from increased space allocated to pedestrians and bicycles.

Towards the Stadium, Newcastle's theatre and religion. Ordinarily, on a Saturday, Blackett Street becomes a main route towards St James Park for football matches. In the past it was tradition that when the men watched the footy, the women would spend their afternoons shopping in the town and meeting their friends (transaction memory).

ABOVE GROUND BELOW GROUND IDOLISM

GREEN SPACES (TO BE COME GARDENS OF REMEMBERANCE).

baroque concepts of ideal planning, showing axis and highlighted points of interest 55

120

160

200M

DEFINING THE FRAMEWORK

NEWCASTLE DNA

My Uncle's Box Brownie Camera, he had as a boy, used to tkae the photo of the 'Alnwick Garage Lads' - a gorup of local men who worked in industries such as , the local Vickers Armstrong Works factory and the local blacksmiths.

BORN & BRED:

Old shipping compass commonly used on the famous John Bowes ship, which helped revolutionised coal transport. These ships could make the junrey between Newcastle and London within 5 days. Allowing the coal merchants of the tyne to be able to compete with of the rise of railways.

in Peony Rose of Newcastle upon

the time capsule

it claimed to be

My grandfather's 'The book of railways' - Harry Golding, 2nd edition . The subject of which is now the closed Blyth and Tyne railway line. The book although very worm, contains 12 colour plates and 350 illustrations uncovering the train lines, workmen and establishment of Stephenson's enterrise in the North East.

My mother's 1960s childhood teddybear, bought at the Bainbridge Market St in Newcastle's City Centre (now lost)

Tokens of escapism: • the odean cinema in the Gate Newcastle Complex, • ticket stubs to concerts at the Newcastle's 02 Academy. • poker chips from my time working during my undergrad at the casinos around the city centre.

In order to really authenticate and convey my objective, it was essential for me to undertake my own introspective study looking at my intimate local memories and DNA. I conducted a study reflecting on the memories and experiences I have inherited from my family, who have lived locally in Newcastle for many generations. I began to collect stories and objects represented by these into a 'time capsule' study. Using concepts of the time capsule as a method to deploy form and function hierarchy. Minature bottle of Black Label, taken from the Bell Tower pub newxt to Intu Eldon Square. Signifying Newcastle's long association with heavy industry,. Such as Newcastl'e Brown Ale, classed as the traditional economic staple of the North East of England.

1. The physical form, a suggestion of tangible architecture is the capsule itself (much like the representation of the arcades in the city). This shell becomes the vessel or museum to hold and capture memories and forms of tangible escapism. These can be accessed by others or left to be savoured over time...never lost. 2. The perception (the inhibitors) the memories and the symbols of escapism/craft/industry/ addiction/nostalgia. The memories that fill the shell, all individual and unique, still resonate with others. A story can be form if unlocked and shared. 3. The function: the use of the objects within, the physical aspect. Even though the memories are individual and signify escapisms of the past, they can become the mirror of the now becoming catalysts, thereby allowing others to create new memories and forms of escapism. The functions within remain flexible; just as the perception of the memories that inhabit the capsule.

of the

Great Grandmohter and her lving in Jesmond, Newcastle. Newcastle Blitz of WW2. As part of

Wearside

and

Teesside

north-

the declaration of war against Germany in 1939, over 30,000 people, mainly children, District and rural Northumberland, this my Grandmother who was 13 at the time.

Exploded axo of time capsule Symbols of hobbies to pass the time. Ludo board game , a family favorite for lazy sunday afternoons • Grandfather's drawing tools , he used to teach carpentery.

•

Pick-and- mix sweets and bottle of pop lid, from Woolworth, which like many stores resided at a couple of different Newcastle addresses, which were a long-time favourite with local kids, at only 5p for 125g. These went on sale for the last time in December, 2008.

My Uncle's Box Brownie Camera that he had as a boy, used to take the photo of the 'Alnwick Garage Lads' - a group of local men who worked in industries such as the local Vickers Armstrong Works factory and the local blacksmithy.

PERSONAL LOCAL MEMORY time capsule of escapism

Mailing pottery ginger pot in Peony Rose print. The Maling Pottery of Newcastle upon Tyne, England, was in production from 1762 to 1963. In its heyday it claimed to be the biggest pottery in the world. Showing the wider reach of Newcastle's crafts.

Old shipping compass commonly used on the famous John Bowes ship, which helped revolutionised coal transport. These ships could make the journey between Newcastle and London within 5 days, allowing the coal merchants of the Tyne to be able to compete with the rise of railways.

My mother's 1960s childhood teddy bear, bought at Bainbridge, Market Street in Newcastle City Centre.

My grandfather's 'The Book of Railways' - Harry Golding, (2nd edition). The book, contains illustrations uncovering the train lines, workmen and establishment of Stephenson's enterprise in the North East.

Tokens of escapism: - the Odeon cinema in the Gate Newcastle Complex - ticket stubs to concerts at the Newcastle's 02 Academy -poker chips from my time working during my undergrad at the casinos around the city centre.

Miniature bottle of Black Label taken from the Bell Tower pub next to Intu Eldon Square, signifying Newcastle's long association with heavy industry. For example, Newcastle Brown Ale, classed as the traditional economic staple of the North East of England.

Photograph of my Great Grandmother and her friend who were living in Jesmond, Newcastle through the Newcastle Blitz of WW2. As part of the Fuhrer's War Directive, North-Tyneside, Newcastle, Wearside and Teesside in North-East England were deemed important targets. Following the declaration of war against Germany in September 1939, over 30,000 people, mainly children, were evacuated from the city to areas including the Lake District and rural Northumberland, this included my Grandmother who was 13 at the time. Symbols of hobbies to pass the time. • Ludo board game, a family favorite for lazy Sunday afternoons, Grandfather's drawing tools, he used to teach carpentry.

Pick-and- mix sweets and bottle of pop lid, from Woolworth, which like many stores, resided at a couple of different Newcastle addresses, which were a longtime favourite with local children at only 5p for 125g. These went on sale for the last time in December 2008.

Placing brands and branding:

IDENTIFYING HERITAGE: significant trade & production buildings WIDER SCOPE: Lost trades that are internationally part of Newcastle's individual DNA, economy and identity.

a socio-spatial view of Newcastle

Newcastle Brown Ale is perceived in the UK as a working-man's beer, with a long association with heavy industry, the traditional economic staple of the North East of England.

- The Orignal Tyne Brewery - Newcastle Federations Brewery

Tyne Brewery on Corporation Street, 2000s Brands/branding can appear ubiquitous, especially when brands are claimed to the 'the central feature of contemporary economic life' and branding is usually interpreted as 'a core activity of capitalism'. However, the study of branding especially in Newcastle's case can create a framework to understand branding geographies and inform empirical work. Through all my research I aim to develop a way of conceptualising and analysing Newcastle’s DNA to help uncover and encompass people, places, industry, social background and memory.

Newcastle Brown Ale was originally created by Lieutenant Colonel James Porter, a third-generation brewer at Newcastle Breweries, in 1927. Porter refined the recipe for Newcastle Brown Ale alongside chemist Archie Jones over a period of three years. Newcastle Brown Ale went into production at Tyne Brewery in 1927, with Newcastle Breweries having occupied the site since 1890, with brewing on the site dating back to 1868. The blue star logo was introduced to the Newcastle Brown Ale bottle in 1928. The five points of the star represent the five founding breweries of Newcastle. After the merger of Scottish Brewers with Newcastle Breweries in 1960, Newcastle Brown Ale became a flagship brand and by 1997, Newcastle claimed that it was the most widely distributed alcoholic product in both pubs and off licenses across the country. Newcastle Breweries produced over 7.5million barrels of Newcastle Brown Ale by 1977 and provided the local economy with over 1200 jobs, controlling estates of over 300 public houses.

The Orignal Tyne Brewery, 1890

With the recent resurgence of interest in geographical and regional commodities, it seems only logical that we attempt to re-establish aspects of the wider reputation of the city, focusing on the powerhouse industry that was the Northern Breweries. Although now lost within the city, relocated elsewhere in the country, Newcastle is still well associated not only with brown ale, but the 'big night out'. Widely regarded as the party capital of the UK, Newcastle's night life/drinking scene is an example of this widely shared experience and memory. Escapism preserves Newcastle's relevance not just locally, but one could argue more so on a wider scale.

I D E NT IFY ING HERTIAGE : significant trade & production buildings

PLACING BRANDS & BRANDING :

WIDER SCOPE: Lost trades that are internationally part of Newcastle's individual DNA, economy and indentity.

a socio-spatial view of Newcastle

Newcastle Brown Ale is perceived in the UK as a working-man's beer, with a long association with heavy industry, the traditional economic staple of the North East of England.

-The Original Tyne Brewery - Newcastle Federations Brewery

Tyne Brewer y on Corporation Street, 2000s Newcastle Brown Ale was originally created by Lieutenant Colonel James Porter, a third-generation brewer at Newcastle Breweries, in 1927. Porter refined the recipe for Newcastle Brown Ale alongside chemist Archie Jones over a period of three years.

Brands/branding can appear ubiquitous, especially when brands are claimed to the 'the central feature of contemporary economic life' and branding is usually interpreted as 'a core activity of capitalism'. However, the study of branding especially in Newcastle's case can create a framework to understand branding geographies and inform empirical work. Through all my research I aim to develop a way of conceptualising and analysing Newcastle–s DNA to help uncover and encompass people, places, industry, social background and memory.

Newcastle Brown Ale went into production at Tyne Brewery in 1927, with Newcastle Breweries having occupied the site since 1890, with brewing on the site dating back to 1868. The blue star logo was introduced to the Newcastle Brown Ale bottle in 1928. The five points of the star represent the five founding breweries of Newcastle.

With the recent resurgence of interest in geographical and regional commodities, it seems only logical that we attempt to re-establish aspects of the wider reputation of the city, focusing on the powerhouse industry that was the Northern Breweries. Although now lost within the city, relocated elsewhere in the country, Newcastle is still well associated not only with brown ale, but the 'big night out'. Widely regarded as the party capital of the UK, Newcastle's night life/drinking scene is an example of this shared experience and memory. Escapism preserves Newcastle's relevance not just locally, but one could argue more so, on a wider scale.

After the merger of Scottish Brewers with Newcastle Breweries in 1960, Newcastle Brown Ale became a flagship brand and by 1997, Newcastle claimed that it was the most widely distributed alcoholic product in both pubs and off licences across the country. Newcastle Breweries produced over 7.5million barrels of Newcastle Brown Ale by 1977 and provided the local economy with over 1200 jobs, controlling estates of over 300 public houses.

The Orignal Tyne Brewer y, 1890 60

SITE EVOLUTION:

green space housing

what has been lost in favor of mass commercialism & capitalism?

1780s

1860s

housing

market

retail

hospitality

hospitality YMCA

1910s

housing

1950s

1970s

market

retail

hospitality

services

leisure

YMCA

leisure

warehouse

27 61

1990s

housing

1950s

1970s

1990s

market

retail hospitality

retail

services

hospitality

leisure

YMCA warehouse

IDENTI FYING TO REVIVE:

significant historical buildings

Lost trades near site

MAP OF LOST BUILDINGS:

Prudhoe Street in central Newcastle was demolished in the 1970s for the building of the Eldon Square Shopping Centre. The Prudhoe Street Mission for the homeless and hungry was founded here by George Bowran in 1910; it was relocated to Westgate Hill when Prudhoe Street was demolished.

1. bottles + brew 2. bread + jam 3. craft + transcation

K E Y:

Homeless people came here for shelter and food, which is what inspired my concept of serving local bread and jam on arrival into the new arcadia, as an ode to the community spirit that was lost. Relevant in present times with the current governmental scheme of denying free school meals to children, and the ever increasing need for food bank/parcel deliveries to low income families.

the stag brewery + pub

key 'DNA' spaces within the city

Warehouses of local produce or trades Arts & crafts Hotels Places of leisure

the county inn The County Inn was established in 1865. The inn was initially bought by F.M. Laing in 1886 and rebuilt in 1897. It closed around 1940, reopening as an upholstery workshop and joined to Callers furniture store. The site represents a flexible usage and holds a history of local traders and a mixed textile past, which now sits under the multi storey car park. Chambers

John Angus ran The Stag Brewery until his death in 1883. The brewery was a bottling, brewing and malting site, part of a large property including houses, shops, a fourstorey malting, the Stag Inn and Grapes Inn. After 1883 Addison Potter used the malting but the brewery itself became warehousing. Jacob Wilkinson owned the Stag Inn, which closed in 1907.

The Co-op Bank

Handyside Arcade

Newcastle Town Hall

The Mayfair

Farmer’s Rest

41 prudhoe st mission + smith arms hand-drawn section of prominent lost facades

PRODUCED BY AN AUTODESK STUDENT VERSION

IDENTIFYING TO REVIVE PRODUCED BY AN AUTODESK STUDENT VERSION

Prudhoe Street section Pre 1970s showing what was demolished

MEMORIES OF ESCAPISM

STORIES/MEMORIES

It has been important for my Thesis that my analysis reaches beyond just the Arcades of Newcastle, and extends to wider historical streets in Newcastle. This process has helped me understand the changing grain of the City and the depth of regional history within. Through my analysis I was presented with an abundance of local stories. Each street and its architecture, be it from furniture shops, like that of the ever changing Callers on Prudhoe Street (shown below), each tale of transaction is rich and tangible. The fondness and reluctance to let these stories of old go, is something I wish to capture, these places with a unique quality and regional flair, makes them unfrogettable. Newcastle's DNA centers around forms of escapism. Like many Northern UK Cities, nostalgia recalls a time to when the high street wasn't just a place to shop. These aracdes, markets or places of 'fond memory' from Victorian department stores to underground record shops - have left a question mark hovering over the future of the community and transaction, IDE NTIFYING TO REVIVE : but its golden age is still in living memory for many.

Listed below are some of the tangible personal stories and memories I uncovered through my research, from locals during the 60s & 70s (the golden age for the City’s arcades). These memories evokoked a sensory response in me, and allowed me to imagine the scenes & transations described.

’Another memorable time was the miners’ strikes of the 1970s which brought power cuts and in-troduced the three-day working week. I remember sitting at home when the lights went out and my mam searching for candles. Could you imagine that happening today?’

Sharyn Taylor, reflected on the memories of Newcastle’s vibrant music past. 'The 1960-70s was an interesting period in the North East. Perhaps it is not as memorable as the Swinging Sixties but there was still lots going on in our region. The music scene of the 1970s was very vibrant with North East artists such as Geordie, Lindisfarne, Alan Price, Bryan Ferry and Sting. I remember New Religion playing at the Handyside Aracde....those were the fun days'. Lewis Sheeny recalls Newcastle's industry and football memories:

Andrew Clark, a child in the 70s, reflected on the memories in Newcastle's Arcades: 'I loved going to The Handyside or Woolies in the early 1970s with my 6p pocket money to buy sweets from the Pick n Mix or buttons from Fynd. It was like an Aladdin's cave looking at all the toys hoping that I would get one from Father Christmas.' Other City Memories:

'I recall the region's industrial heritage of ship launches and miners down the pit. There were also the memorable cup runs of our football teams' Sunderland, Newcastle and Blyth Spartans.'

Steve Powell, wrote of the Handyside Arcade: 'The bits & bobs shop was full of train sets etc., and there was a big and, to me, quite scary clown near the entrance. I have many happy memories just mooching about with my mum and dad.'

significant historic buildings

Prudhoe Street Section Pre 1970s showing what was demolished (not to scale)

Level 2 9905

Level 1 4000

Level 0 0

IDE NT IFYING TO REVIVE : significant historic buildings Lost trades local to site

MAP OF LOST BUILDINGS:

1. bottles + brew 2. bread + jam 3. craft + transcation

Homless people came here for shelter and food, which is what insipred my concept of serving local bread and jam on arrival into the new arcadia, as an ode to the community spirit that was lost. Relevant in present times with the current govermental scheme of denying free school meals to children, and the ever increasing need for food bank/ parcel delvieries to low income families.

the stag brewer y + pub

key DNA spaces within the city

KEY: warehouses of local produce or trades arts & crafts hotels places of leisure

Chambers

The Co-op Bank

Handyside Arcade

Newcastle Town Hall

The Mayfair

Farmer’s Rest

John Angus ran The Stag Brewery until his death in 1883. The brewery was a bottling, brewing and malting site, part of a large property including houses, shops, a four-storey malting, the Stag Inn and Grapes Inn. After 1883 Addison Potter used the malting but the brewery itself became warehousing. Jacob Wilkinson owned the Stag Inn, which closed in 1907.

prudhoe st mission + smith arms

41 hand-drawn section of prominent lost facades

NEWCASTLE HETEROTOPIAS

Likewise, in our society now, the images we create of ourselves in a social forum may be attempts to reflect our true personality, or they may be ways of presenting ourselves in another form all together. The ones that are constructed in a falsifying way, conceal the real purpose or nature of their original conception. We call these constructs maskingheterotopias.

My design is intended as a mirror that reflects the memories of locals into a series of heterotopian spaces. The 'mirror' or in my case: 'memory' is, after all, a utopia since it creates a placeless place. This reflection of memory functions as a heterotopia in the respects, that if occupied in the moment, these nuances and nostalgic escapisms become real places, connected with all the space that surrounds it, and absolutely unreal, since in order to be perceived it has to be recalled from memory which is distorted.

hard and fragile regions, penetrable, porous. There are cinemas, beaches, hotels, and then there are the closed regions

Through analysis of Newcastle's DNA in both architectural and humanistic, and by acknowledging its relevance through continued escapism, I will hopefully provide a series of spaces/journey to providing a 'good place' of contemplation, community, transaction, and reflection, using memory for redefining utopia. Foucault transferred the concept of heterotopia into spatial terms. In this talk, he evoked the idea of 'other spaces', those 'countries without place, histories without chronology, cities, planets and universes, untraceable on any map or heaven, simply because they do not belong to any space’.

As for the heterotopias as such, how can they be described? We might imagine a sort of systematic description described by Foucault, in 'Of Other Spaces, Heterotopias.' as the study, analysis, description, and 'reading' of specific cultures and societies to create these other places. As a sort of simultaneously mythic and real contestation of the space in which we live, this description could be called heterotopology.

CREATING THE MIRROR: TYPOLOGIES OF TRANSACTION

Identifiying the lost to revive so that local memory can be used as a catalyst/mirror for redefining Utopia in the now Images of the working-class housing estates in the city of Newcastle. Repeatedly upheaved and redefined for the promise of a 'better' future.

45 66

TOWARDS AN ARCHITECTURE

U T O P I A S OF N E W C A S T L E Fragmented Utopia

The arcade did however provide the locals of Newcastle with a place of community. Locals worked there during the day, then spent their earned money in the same place. A small arcade that became many people's world, a pure form of escapism - a Utopian cycle.

'Utopia' now reflects ideas of garden, green cities that are sustainable, focusing on combating the climate crisis..but is this now not standard practice, so how can true utopia manifest? The aim is to redefine ideal planning. I argue a real, transcendence utopia can be realised, if directed at the individual and that which we seek in our cities, via our experiences.

Transaction was key-a community where everyone knew each other - these exchanges became a daily ritual. Nowadays, transaction is lost. The world of online personas and where hiding behind a technological device is commonplace, in this new age of hyper reality, can this sense of transactional/ sharing community be recaptured?

These forms of living utopia should be accessible to all. Many forms of Utopian memory' reflect the anti-capitalist movements that has and continues to affect Newcastle's working class. In this time of rising loneliness, isolation, and depression, many turn to the memories of the past for comfort. In contrast there have been historical cases, local to Newcastle, of rebellion and colony enterprise, in order to be removed from rising capitalism.

The arcade was dismantled brick by brick in 1963-64 and the intention was to rebuild it next to Swan House. You can see it on planning models from the time. But it was never rebuilt. The stones and columns, carefully numbered in preparation for future restoration, were stored on spare ground in Sandyford, but over time some disappeared to help restore other historic buildings, and others were even used as foundations for new roads.

The arcades of Newcastle-the Utopian every day The Royal Arcade was considered for demolition as early as the 1880s, and that decision was finally rubber-stamped decades later in the early 1960s after a long period of decline.

A plaster replica of the Royal Arcade was built under the new Swan House in 1969. It housed small retail outlets but, likes its real-life predecessor, it fell into decline. It was itself demolished in 2002-2003 to make way for the trendy Fat Buddha bar. Fifty years on and it is still regarded by locals as a big loss to the city.

City planning expert, Prof Mark Tewdwr-Jones of Newcastle University, says: The Royal Arcade was a problem. It was 'on the edge' of the city and had never been a commercial success. And now it was in the way of the new Swan House development.

UTOPIAS

NEWCASTLE

Fragmented Utopia VS undivided

'Utopia' now reflects ideas of garden, green cities that are sustainable, focusing on combatting the climate crisis...but is this now not standard practice, so how can true utopia manifest? The aim is to redefine ideal planning. I argue a real, transcendable utopia can be realised, if directed at the individual and that which we seek in our cities, via our experiences. These forms of living utopia should be accessible to all. Many forms of 'utopian memory' reflect the anti-capitalist movements that has and continues to affect Newcastle's working class. In this time of rising loneliness, isolation, and depression, many turn to the memories of the past for comfort. In contrast there have been historical cases, local to Newcastle, of rebellion and colony enterprise, in order to be removed from rising capitalism.

The arcades of Newcastle - the utopian everyday The Royal Arcade was considered for demolition as early as the 1880s, and that decision was finally rubber-stamped decades later in the early 1960s after a long period of decline. City planning expert, Prof Mark Tewdwr-Jones of Newcastle University, says: The Royal Arcade was a problem. It was 'on the edge' of the city and had never been a commercial success. And now it was in the way of the new Swan House development.

The arcade did however, provide the locals of newcastle with a place of community. Locals worked there during the day, then spent their money earned in the same place. A small aracde that became many people's world, a pure form of escapism - a utopian cycle. Trasnsaction was key-a community where everyone knew each other - these exchanges became a daily ritual. Nowadays, transaction is lost. The world of online personas and where hiding behind a technological device is commonplace, in this new age of hyperreality, can this sense of transactional/ sharing community be recaputred? The arcade was dismantled brick by brick in 196364 and the intention was to rebuild it next to Swan House. You can see it on planning models from the time. But it was never rebuilt. The stones and columns, carefully numbered in preparation for future restoration, were stored on spare ground in Sandyford, but over time some disappeared to help restore other historic buildings, and others were even used as foundations for new roads. A plaster replica of the Royal Arcade was built under the new Swan House in 1969. It housed small retail outlets but, likes its real-life predecessor, it fell into decline. It was itself demolished in 20022003 to make way for the trendy Fat Buddha bar. Fifty years on and it is still regarded by locals as a big loss to the city.

ANALYSING THE IDEAL THAT EXISTS When analysing Baroque and Roman planning of the ideal city, Newcastle's city grain which Smith was eager to preserve, with his careful interventions, comes to mind. However, in my opinion he missed the key elements of structures his plans sought to demolish by focusing on the radial centre, much like Newcastle's monument space/Grey Street (the symbolism of the idol and the congregation space within that centre). Yet, the main architectural influence I have taken from my explorations into these plans is the linear axis, reflective of the Roman form. The central plaza line flowing form the central spirograph connects all points of interest along the route, almost becoming a route of enlightenment. This reminds me of the arcades within Newcastle city centre, where there are nuanced references to more classical typologies. For example, the colonnade and plaza spaces, with functions following from either side, formed by the enclosure of elevated walkways. Many of us will be familiar with Newcastle's charming Central Arcade shopping hub demolished in the 1960s - a decade which continues to spark debate on matters architectural. The Swan House complex - known these days as 55 degrees North - sits on the site of the now vanished Royal Arcade. For many, its eventual demolition was an act of cultural vandalism, depriving the city of an architectural gem.

my cartoon showing Smith's famous demolition of the Royal Arcade

Example sketches of Baroque & Roman ideal planning

FUNCTION/MEMORY AXONOMETRIC STRUCTURE/FORM

CENTRAL ARCADE (existing)

HANDYSIDE ARCADE (lost)

ROYAL ARCADE (lost) WORKING CLASS HETERTOPIAS

ARCADIA TYPOLOGIES

IDE N TI F YI N G TO R E V I V E : significant historic buildings

Arcades of Newcastle

The Royal Arcade was built in 1831 by Richard Grainger and John Dobson: a highlight of classical town planning'- and one of the 36 most famous vanished monuments in Britain. Constructed in a classical Greek style. Originally a Corn Exchange, it became a home to local produce shops, as well as banks, offices, a post office, an auction room, and steam and vapour baths.

The Handyside Arcade was dubbed Tyneside's answer to Carnaby Street. Built in the later 1900s. The arcade's galleries were packed with young people and the high glass roof echoed noisy chatter and laughter. Inside the U-shaped arcade contianed shops that sold pop posters, badges, brightly-coloured clothes & antiques.

The Central Arcade is Edwardian, built in 1906 and designed by Oswald and Son.. Housed within the Central Exchange building, which was built by Richard Grainger in 183. The triangular building which became a subscription newsroom. In 1870 the Institution for Promoting the Fine Arts converted the news room into an art gallery, concert hall and theatre.

FRAMEWORK:

creating the typologies

COLLAGE OF LOST CRAFT

In harmony with illuminating the lost trades, crafts and events of both of patrons and trades through collage, I have reconstructed an arcade, afresh from experiences and perceptions, embodying local memories retrospectively in an architecture.

Industrial ghosts

This process of re-designing has allowed me to understand mythological regions of the arcade (of which I later intend to transform into a further route) motivating the new master-plan for Newcastle–s Flux Utopia.

Predominant nodes in Newcastle’s DNA and shared memory lie within its underprivileged postwar heritage, now lost. These include but are not limited to, the lost industries along the Tyne: ship building, coal, bridge construction. Trades that were all once the main economic and social transcript of the working classes in Newcastle.

Through this process of re-constructing lost DNA and memory, I have applied my personal mythologies also. Essential to recognizing the local memories, I must contemplate, and emphasize their agency; how they influence the architectures I create. To satisfy sustainability criterion of the studio, alongside preventing the unnecessary degradation of the city's grain, I will aim to reduce demolition of existing structures on site. Not only will this, Moreover, I argue that the components of the Smith Era are heritage in themselves, if only for the scandal and local context it provoked. Therefore, the retention of certain structural elements and some facades will enable the continuation of memory and story.

Re-appropriation of the class ical Although Eldon Square and many of the Smith era, the site's architecture is inherently brutalist, there are nuanced references to more classical typologies, such as Grey Street, the Square (hippie green) the colonnades lining Blackett Street. I look to acknowledge this more prominently within modern context, when pedestrianizing the site.

By encouraging the relearning of these lost crafts within the arcade, we can create a flexible framework for a new ending workflow for locals. By using the existing concrete columns, a new timber internal framework can be deployed, fluxing, and growing based on necessity or changes in memory, over the ages.

COLLAGE OF LOST HABIT

Using typologies such as the 'Memory Theatre' and the 'Outlook Tower: Camera Obscura' I will reconnect the visual line and metaphorical axis between the City's unique version of idols. The theatre can house art groups and expressionism of recaptured memories.

Connecting the idols

Escapism contemplations

The collected memories are saturated with locals underlining harmonies between St James Park and religion. Like many other various iconic typologies, seen around the city. Many equate the stadium's architecture to an amphitheatre, viewing the structure as a branch of the city's identity.

With the recent resurgence of interest in geographical and regional commodities, I will attempt to re-establish aspects of the wider reputation of the city. Not specifically the famous Brown Ale, but the craft that breweries encouraged and the economic value they provided the region. Drinking 'addiction' is an example of a widely shared experience and memory. Escapism preserves Newcastle's relevance not just locally, but one could argue more so on a wider scale. I suggest constructing a 'bottle bank' not only sustainable but to use bottles collected for these experiences to capture the memories.

Se lective Heritage Few locals question the necessity to expose and potentially rebuild Newcastle's lost facades, and question which heritage should we privilege. Like those who opposed the 1960s modernist architectural movements within the city, how do we define a style to revive? The choices must extend beyond the aesthetic.

PERMENANT

COLLAGE OF ESCAPISM

THE MEMORY ROOMS

STORY THEATRE

CAMERA OBSCURA TOWER

BOTTLE DISPERSAL

BUOYANCY SERVICES

TEMPORARY / FLEXIBLE

THE REPOSITORY

THE SKYWALK

By selecting specific facades lost around the city, of both cultural and nostalgic importance, an ever changing visual can change the arcade–s interior. Providing a flexible aesthetic as a living museum, offering patrons moments of pure escapism reflecting on memories of the city's past.

THE INTRODUCTION / BOTTLE BANK

"I REMEMEBR THAT" PODS

MEMORY MUSEUM MACHINE:

SCHEMATIC

TYPOLOGIES

LOST FACADES

BREAD AND JAM BREWERY

PRINCIPLES OF DESIGN DEFINING THE RULES & OUTPUTS

- FRIST PRINCIPLE

- FOURTH PRINCIPLE

Heterotopia is constituted by human nature in all cultures and societies. Therefore, heterotopias take a variation of forms, and no universal form of heterotopia, given the unique of each condition. We can however class them in two main categories. There is a certain form of heterotopia that Foucault would call 'crisis heterotopias–' i.e. places, reserved for individuals who are, in relation to society and to the human environment in which they live, are in a state of crisis: for example hospitals and prisons (functions without flexibility). Perhaps a new take on these spaces in this very pandemic, a unique time of crisis for us, is our homes which have become the prisons or moreover, spaces of close proximity (which we used to regard as our favourite) now become places of danger or possible death. The answer is now to create spaces, that combat this, providing functions as an answer to these crisis', whilst upholding the knowledge that this more than likely will not be eternal.

Heterotopias are most often linked to memory: From a general standpoint, in a society like ours, heterotopias, are structured and distributed in a relatively complex fashion. Firstly, there are heterotopias of indefinite accumulating time, for example, museums and libraries. In my thesis design I will look at both spaces that encompass modernity, using this concept of accumulating and establishing a sort of general archive, which will be solidified as one place, in all epochs, all forms, all tastes, outside of time. Opposite to these heterotopias are those spaces linked, to time in its most owing, relative sense. These heterotopias are not oriented toward the concrete, eternal of the archive, but are instead transient.

- SECOND PRINCIPLE The second principle of this description of heterotopias is that a society, as its history unfolds, can give an existing heterotopia function a new precise and determined function within a society. These heterotopias can, dependant upon the synchronism of the culture in which it occurs, have a flexible function.

- FIFTH PRINCIPLE Heterotopias always presuppose a system of opening and closing. In general, everyone can enter into heterotopic sites, but in fact that is only an illusion, we think we enter where we are, by the very fact that we enter, excluded. For example, if we are looking at spaces that reflect 'memory', we are merely witness to their origins but are instead using them as components for our own escapism. Mostly heterotopic spaces are not wide open but rather isolated, which allows for the user to seek the dwelling, reflectiveness that these spaces would seek to encourage. Even routes can achieve this sense of curious exclusion. I recall my feelings following some of Smith–s skywalks and routes in Newcastle, which evoked feelings of contrasting openness and enclosure, spaces that both hide and isolate by high penetrability.

- THIRD PRINCIPLE

- SIXTH PRINCIPLE

The heterotopia is capable of juxtaposing in a single real place: several spaces or several sites that are in themselves, incompatible. The creation of a series of spaces that are foreign to one another but can take on elements of trompe l’oeil or escapism, beyond their physical dimensions/ restrictions.

The last trait of heterotopias is that they have a function in relation to all the space that remains. This function unfolds between two extreme poles. One role is to create a space of illusion that exposes every real space, all the sites inside of which human life is partitioned, as still more illusory. Or in contrast, their role is to create a perfect ideal space. This latter type has been reflected in concepts of the Utopian case studies I have researched such as the plan of Sforzinda, Filarete, c. 1465. This 'perfect' social order can be perceived as a state of perfection, but for others, it could be a type of oppression.

PERMENANT

Step 1: Arcades - (work in progress)

THE MEMORY ROOMS

STORY THEATRE

CAMERA OBSCURA TOWER

BOTTLE DISPERSAL

BUOYANCY SERVICES

TEMPORARY / FLEXIBLE

THE REPOSITORY

THE SKYWALK

THE INTRODUCTION / BOTTLE BANK

"I REMEMEBR THAT" PODS

MEMORY MUSEUM MACHINE:

S C H E MAT I C T Y P O LO G I E S

LOST FACADES

BREAD AND JAM BREWERY

AXONOMETRIC OF COMPONENTS

HETERTOPIAN MACHINE: SENSORY INCUBATOR The creeping privatisation of the public realm in the UK's urban centres degrades civic life and social spaces, reducing towns and cities to an infrastructure purely facilitating consumption. Our lives are cluttered with the short-term 'fix' o f m aterialism a nd m oments not lived but viewed at the end of a selfie-stick; we begin to lose the ability to make meaningful memories and to define values. Through using regional memory, typologies & sensory methodology my design will create a glitch in the space of consumption; reconfiguring the components

of commercial architecture, with forgotten local trades and lost facades, it is a re imagined arcadia camouflaged amongst the existing structural frame. This 'Sensory Incubator' or "Machines for Escapism" is a journey of self-discovery, re-establishing meaningful visual/ object attachments through evoking memories and sharing stories. The design will incorporate a mix of flexible and fixed structural elements, that uphold escapism in the now but able to transcend with concepts of the hetertopian future.

PRINCIPLES FOR THE DESIGNER THE FRAMEWORK

The task for architects and planners today is to combine social responsibility and a sense of community with the need for individuality and privacy. However, the feelings of solitude and isolation are very common in modern cities, a problem exacerbated by the current pandemic. The past has demonstrated that a preferred objective can be disappointing when taste has changed, or circumstances alter (such as the Utopian extremes of the likes of Le Corbusier or brutalist additions of the Smith era). Architects have to provide aesthetically pleasing designs whilst upholding normative principles and attempting to transcend trifling requirements. The realisation and expression of the way a city wholly functions, together with the total standards of demonstrating this, can be difficult to attain. Town-planning articulates the social background and the evaluations and attitudes of the most dominant in society. Therefore, Utopian planning differs from town-planning because it dispenses with outside influences and looks to find a utopia that can transcend. Future planning must be flexible to allow for change but also dynamic. Conceivably, contemporary planning suffers from overzealous sectioning, separating work from places of housing. This can destroy the stability of life and the local transactions of cities such as Newcastle. Also, planning continues to separate the poor and rich of society through diminished social interaction. The unremitting push for 'affordable housing', unless it is properly integrated, is only a short-term fix to assist those most in need, ignoring the long-term effects of such zoning. Furthermore, sprawling conurbations which are currently popular, make family and other social interaction difficult and intermittent, contributing to the isolation of the elderly especially, and the erosion of socially interactive communities. Subsequently, large compact cities could perhaps be the perfect future form. City planners have not yet fully explored the communal facilities required to provide better social integration while retaining the need for individual experience. Desingers must find and celebrate the local individual DNA, of their sites to provide spaces that can be comparable to no other, capturing the essence of memory creating spaces of sociability, and transience. By using a city's grain, designers can establish a route between points of interest, drawing upon heritage, symbols of idolism and chances for escapism,; they unlock the potential to create Utopian flux.

METHODOLOGY MANUAL PART 2. Approach, recordings & application

METHODOLOGY Throughout my thesis project my focus has been majority on research and aiming to redefine a new form of approaching design, to create a truly sensory architecture. My project has led me to create & document a series of extensive findings around my chosen site in Newcastle’s City centre.

THEATRE OF THE SENSES

In this section of my portfolio, I will show my approach to designing and the framework/methodology as a manual. This framework in theory when applied correctly can be used in other cities or places, to help record data, understand the regionality and create a truly regional, hedonistic & sensory place.

SE N SO RY U RBAN ISM

S MEL LCAPE MAPPI NG S

- historical context & critical analysis -understanding current modes of sensory urbanism -architecture that currently seeks to evoke the senses

-understanding the site in depth at different times, days, weathers etc -compiling data and methods to measure sensory inflictions

ACK N OW LE DGIN G CHARAC TE R -recognising regional identify & memory, in terms of existing architectural functions on site -using grain patterns & current atmospheres to define suitable interventions

MATERI AL L I B RARY -researching and complying data of each material’s sensory qualities - documenting/creating rubbings of all materials on site - map thier sensory vehemence

PRIN C IPLE S FOR D ES I G N

HETEROTOPI A

-defining the rules and outputs relative to place & user -crucially exploring regionalism & character of place, in tandem with suggested function & senses

-define a ‘good place’ in the now, not restricted by unachievable perfections -use personal memoires & regional knowledge to help intensify ‘memory’ importance of place

UPHOL D I N G T HE ARTEFACTS -research analysis of historical context & theories both philosophical & realised to inform design decisions

SUMMATIVE DIAGRAM 81

SENSORY URBANISM: what is it? D EF I N I T I O NS Sensory urbanism is a reaction against ways of thinking about and designing cities that are overdependent on our sense of sight. By reviving an appreciation of the neglected senses, the movement calls for greater attention to not just how our cities look, but how they feel, smell and sound. For example if you think about the last time you saw a vintage photograph of your favorite city — it may give you a tangible idea of how the city looked, but cannot evoke the smell of the local bakery, the sound of the ubiquitous metro jingle as it pulls into the station, or the feel of the grass under your feet. These things sense experi-ences are deeply linked to our memories of place. Ultimately, sensory urbanism is about looking more deeply at what makes up the texture of a city. This helps to understand why different cities might look increasingly similar, but feel different as we walk, cycle or drive through them.

Designing with smell surprises, challenges, and inspires a reconsideration into what we know about smell and its role in our built and natural environments. Smell is perhaps the most potent and the least understood of the senses. It infuses all that we do, sending subtle and not-so-subtle messages that we do not just react to but think with. It is a vital part of how the spaces we inhabit are enlivened and made into what we count as real. It follows that smell can be actively designed and my research will explore and deploy this area, which holds great potential for understanding how we understand space and, by extension, ourselves.

Vitruvian theory

Sensations, movement & perceptions 20TH - 21ST CENTURY

understanding corporeality

13TH - 18TH CENTURY

Sensory Urbanism and my particular focus relating to olfactory aspects, calls for us to engage with cities as explorers, to open ourselves to a richer urban experience and ultimately to become everyday designers who own, occupy and order our own environments.

BODY’S IMMATERIAL & MATERIAL REALITY

Renaissance & hierarchy of the 5 senses

Sense of aliveness, awareness & architecture

Continuous reciprocity

5TH CENTURY

M Y F OC US

Body, senses & architecture

Body & Senses

Yates the Art of Memory (1986)

Void, empitness & body

Microcosmos

Macrocosms

Wheel of 5 senses

Merleau Ponty (1960s)

Ashley Montagu (1980s)

Perez Gomez (1980)

Juhani Pallasma

SE NSORY P RECEDENTS Does the ocular-centric bias of art, architecture, and design actually preclude a deeper collective experience?

SENSES: MEMORY AND REGIONALISM

Press and Minta (2000) argue that smells can produce “high emotional fidelity” (p. 175) when instigating memory recall. The emotional connection between memory and smell is commonly known as the Proustian phenomenon. This is the “ability of odors spontaneously to cue autobiographical memories which are highly vivid, affectively toned and old” (Chu & Downes, 2000, p. 111). One example of this, was my mother when she expressed a seeming familiarity with a location due to a particular smell: “It must be the Bigg Market, because it smells like a chippy and booze.” Classen, Howes and Synnott (1994) argue that smell provides an immediate and direct connection with our surroundings, which is difficult to have control over, whilst Tuan (1977) suggests that smell helps us to “identify and remember” (p. 11) places more easily because smell is adding to our experience of them. For Lefebvre (1991) smell and place are inextricably intertwined. Smell is fundamentally attached to place (Feld, 2005; Hoover, 2009; Rodaway, 1994; Tuan, 1977). Smellscape mapping, as a creative artwork, is a processual series of events designed to communicate an evanescent world that is “spatially ordered or place-related” (Porteous, 1990, p. 25), but simultaneously one that is “non-continuous, fragmentary in space and episodic in time ...” When describing the neurological workings of olfactory stimuli, Freeman (1991) describes that:The result is a meaning-laden perception, a gestalt, that is unique to each individual. p. 78. Freeman is alluding to how we process smell memory according to our past experiences and context. Throughout my mapping exercises my aim was to distinguish each individual site's unique 'scent' or sensory passport, in order to enhance and encapsulate it. Ultimately creating a truly regional, tangible identity and journey.

sound intesity - low to high

mapping sketch showing the intensifying range of smells across High Friar Lane. Both in terms of sound floating above the bounding architecutre as well as smells, along the route. 84

AN INTERSENSORY LIBRARY SENSISM Sensism provides a key to greater well-being by considering the senses holistically, as well as how they interact, and incorporating that understanding into our everyday lives. For, as Frances Anderton writes in The Architectural Review: “We appreciate a place not just by its impact on our visual cortex but by the way in which it sounds, it feels and smells. Some of these sensual experiences elide, for instance our full understanding of wood is often achieved by a perception of its smell, its texture (which can be appreciated by both looking and feeling) and by the way in which it modulates the acoustics of the space.”

The multisensory appreciation of quality linking to a growing body of research on multisensory shitsukan perception - shitsukan, the Japanese word for “a sense of material quality” or “material perception”. I decided to create a sensory material library, to summarize some of the key findings on how the non-visual sensory attributes of the built and urban environment affect us, when considered individually.

b ra ss

st e e l

MATERIAL ANALYSIS: DOMINANT CROSSMODALS SENSES

SMELL/VISUAL/SOUND

p ine/so f t w o o ds

Pine wood has a high intensity smell, with attributes of carpenter’s shoplike/sawdust-like, pencil-like, fatty/cardboard-like, herb-like, fresh-cut cucumber & resin. When used over other materials such as concrete, the sound can bounce back into space.

engineered w o o ds

CLT less intense in smell, but just as pleasant on the eye. Smells were cheesy/sweaty, rubber-like/plastic-like/waxy, wood glue-like, peppery, frankincense-like, citrusy and resin-like.

ma ho g any/hardw o o ds

Resin channels in the heartwood and sapwood of conifers, resinous, vanilla, citrusy, mouldy, balsamic, peppery. Phenyl compounds are another prominent group of odour-active constituents in wood. Inset panels of oak are designed to incorporate acoustic absorption to soften the background clatter of dining.

i ro n

c o n c re t e

g l a ss

VISUAL/TOUCH/SOUND

TOUCH/VISUAL/SOUND

s t on e

Sculptural & cold to touch. Makes me think of flamboyance, perhaps the 1920’s era, Art Nuevo and luxurious. When used as an exposed material can allude to industrial heritage. Reminiscent of old jewelery boxes, which, when you opened them, a little dancer started moving and some music starts sounding. Appearance of a precious object

m ar ble

Relatively modern material, cold to touch, often overlooked visually within architecture (behind the scenes). Modern, clean lines, colour and smoothness is uncharacteristic. Holds not premeditation connection to memory for me/lacks history or assimilation. Stainless steel usually used for structural components, technical connections or used for the inner lining of heavy doorways etc.

Brittle, old, rough to touch. Often painted to become sleek. When rusted or collecting cobwebs, reminds me of industry/can imagine the smell of metal on your hands after touching it. Iron fences, boundaries of sites, spiked, wrought or intricate designs.

Imposing material personifies a Utopian era of modernism and vision. How-ever, lost this romanticised view today as it is a very common construction material can be moulded into nearly any shape, allowing structures to exist in both curvilinear and stark geometric forms. Smooth to touch, or rough given the casting/mixing method applied.

Cold, with a varying array of texture. Frosted glass or waved glass feels different to common glass, their texture is more granular and freer flowing. If I had to describe a smell of glass, I would instantly think ‘fresh air’, recalling memories of opening windows. Visually allows for light and the connections/openness of spaces.

Smoothness, sleek appearance, cold to touch. Vibrancy and exoticness to the material, associated with piazzas or Italian architecture. A richness when used in a space would promote a type of behavior, such that would dis-courage littering. Sounds created open/echoing.

br ic k

Industrial and common place, oddly Dependant on col-our whether it proves less or more appealing in a space. Both red and yellow brick lined some of the spaces, as well as a common ‘multi-toned’ brick. Each provided a sense of age and beauty that varied, as well as texture.

t ile

Smooth material and cold to touch, collecting water droplets and moisture on rainy days. Provides a ‘blank canvas’ for colourful posters of protest, stickers and graf-fiti. Varying sizes and colours again helped determine the aesthetic appearance. Sounds created reflecting off material.

c obbles

Rich texture & sense of history, rough to tough. Suggestion of craftsmanship and heaviness, smell is chalky, a natural hewn material, incredibly significant to the surrounds of the site and Newcastle (Grey St).

Full of character, creating an unevenness underfoot. Pleasant change from the typical flat pavement of oth-er streets around monument. Quite unique in that each cobble reacts to one another in their setting, not flush or ‘perfect’ in form.

AN INTERSENSORY LIBRARY S E N SO RY MAT E R I A LS O N S I T E The role of the architect is not though limited to ventilation. The form of a building and its materials play an integral role in sensory ambiance, and when tryng to create a specific atmosphere, for example smell might be used more readily combined with other sensory elements to achieve the effect.

DOMINANT SENSE

MULTI SENSE

INDIFFERENT - inherently visual only

SENSISM -Touch textural, varying textures. Smell/ taste - memories, joy, transporation to ‘better place’. Sound- none intrusive, benifit to space/function. Visually provikes intrigue & suggestion of history before a second sense such as touch, is deployed.

STEP 1: interventions in-keeping with character of street

HIGH FRIARS LANE - APPROACHING FROM EAST SIDE (MONUMENT)

Following Proust, the dominant understanding of smell is as a temporal sense (the sense of recollection) and it is supposed to act inwardly (resonating through the corridors of mem-ory),

Using design features, similar to that of Moriyama & Teshima’s Mul-ti-Faith Centre for Toronto University, which facilitates olfaction in creating varied numinous atmospheres within its modest, relatively unornamented space. Different faith ceremonies involved the burn-ing of different items, by inserting a sophisticated ventilation system which allowed air to be still during ceremonies and quickly cleared after, for use by other faith groups. A vertical garden wall also feeds into the building’s mechanical ventilation system. ‘The air is drawn through a vertical garden of plants and gets pushed into the main activity hall,’ says Phillips. ‘It’s something that you can control and have a very subtle infusion of natural elements into the space’.

PURFUMERY TOWER Perfumery tower to collect waste and greywater in order to sustainability distil and create perfumes. A green wall will act as a palette and spatial cleanser, to clean the space for the next group of users (intergenerational groups/ young & old).

BRUNSWICK PLACE - NORTHUMBERLAND ST ENTRANCE

DESIGN IN CONTEXT: Principles of Olfactory Design

There is now more public awareness of the use of scent in commercial environments. The fact that smell can be used to create mood or alter behavior in some way can be concerning to customers, and they are quick to notice ‘gimmicky’ smells. ‘We do not want to feel unwittingly manipulated’ (Henshaw, 2014), so when approaching the introduction of scents within a physical environment, it is critical to ensure the scent is appropriate for both the function and the users. Building upon research and commercial experience, the design principles need to adhere to are authenticity, intensity, quality, suitability and the multisensory. Telling stories through smells does not provide an answer to this epistemological dilemma, but perhaps it is an argument for the acceptance of their practice as valuable information, and as a tool for better connecting with different realities, regionalisms and forms of data by removing some of the mundane, restricting power structures. Smellscape narratives are a lived space within the environment through which the visitor and the smells themselves trace their own stories. The smell’s design acknowledges multiple relationships that may exist between site perception and visitor (Morris & Cant, 2006). Non-representational theory asks how we can approach and situate relational experiences and urges us “to encounter the world in whatever form it happens to turn up” (Lorimer, 2007, p. 97). Smell of Change has a chance to become part of the smeller’s experience, and the visitor becomes part of the story by giving it a form. The performance, practice and activity of smelling is then not about uncovering meaning, but rather about creating alternative trajectories to question how “life takes shape and gains expression in shared experiences, everyday routines, fleeting encounters, embodied movements ... and sensuous dispositions” (Lorimer, 2005, p. 84).

site map showing the 3 key spaces along my route when I intend to focus my mapping/data exercises in order to produce sensory spaces

S E N SO RY MAT E R I A LS O N S I T E

PERFUMERY OF ARCHITECTURE

The role of the architect is not though limited to ventilation. The form of a building and its materials play an integral role in sensory ambiance, and when tryng to create a specific atmosphere, for example smell might be used more readily combined with other sensory elements to achieve the effect.

We may perceive the Architecture as solid and tangible the other, Scent, as ephem-eral and intangible, yet the ideas and process that create the final result actually could be transposed. Many building concepts have been imagined upon a whimsy or a metaphysical idea and many perfumes have been created based on a tangible memory,idea or even a person. However, they both share metaphorical cross-overs:

Language Perfumery uses many metaphors and adjectives related to architecture and the tangibility of the physically built environment. I have found when others describe scent, the language used to describe it and how it makes them feel usually overlaps with language relating to sense of space, and of rooms or buildings, for example elevated, airy, spacious – like a high ceilinged room -, oppressive, opulent, cavernous (underground cellar); also, “like a morrocan bazaar”, “reminds me of Temples and places of worship” or “the inside of a Victorian apothecary”.

Structure Foundation & function (base notes of a fragrance) The visible building or structure (heart notes of a fragrance) Roof or growth of a building over time (top notes of a fragrance)

Composition + Function

Materials/Ingredients

They share a sense of balance of composition; like architecture, perfume construction likes to challenge perception.

Consideration of the materials used is key, not only in terms of my studio brief but to the wider architectural practice. My spaces use materials that are locally sourced, not only essential in reducing carbon footprint of the construction but to personify the locality and regionalism, my design seeks to hyperfy. Secondly, the materials chosen need to enhance the function of the space (such as my use of stone and reversed architectural heriachy of Brunswick Perfumery or the zeolite used to reintroduce captured scents from past performances in High Friar Lane's Theatre. Behind each ‘ingredient’ there is a story, a history, a sense of traceability.

CONCLUSION: A fragrance, if well structured has ‘a journey’ as the odour molecules merge and dry down, evolving over time to reveal its secrets and its character – it tells a story. A building or structure tells a story, allowing you to travel; either journeying with your eyes leading you to a focal point or to physically take you to an end point.

An example precedent: that exemplifies this, is the Serpentine Pavilion by Herzog+de Meuron and Ai Wei wei, the new installa-tion at the Serpentine Pavilion, with its aromatic cork ‘basin’ provides a true sensory experience. DOMINANT SENSE

MULTI SENSE

Texture + shape The language we use for aromatic descriptions overlap with the textures of a building; smooth+cool (marble, steel); warm, resinous woods, varnished and polished, metallic, rough, spiky: similar to my material library.

INDIFFERENT - inherently visual only

Like a perfume, a building possess the power to create an atmosphere and the evoke a sense of a memory & place. There are particular buildings that are synonymous with their landscape and representative of an era in history (like a fragrance or smell), they become representative of the passage of time; the imprints of activities and people it is witness to; such as pubs, churches, shops, schools which may each have their own aromatic identity. perfumery typologies within my space 91

METHODS, EXPERIMENTS & RECORDINGS Analysisng the senses on site to configure a framework

‘One common feature of configurations of multisensory stimuli that are in some sense incongruent is sensory dominance. Scientific studies and research find this tends to be vision that dominates’. Under conditions of multisensory conflict, the normally more reliable sense sometimes completely dominates the experience of the other senses, as when wine experts can be tricked into thinking that they are drinking red or rosé wine simply by adding some red food dye to white wine, or the skittle game where without seeing the colour of each sweet, they in fact all taste the same. Similarly, people’s assessment of building materials has also been shown to be dominated by the visual rather than by the feel. architectural sketches of moments along my walks at site

An important focus, unearth through defining a ‘single dominant sense’ of each space, is the potentially important extent of crossmodal binding in the case of multisensory object/event perception. Is it too much to suggest that we have moments of predefined unification of environmental/ atmospheric cues? Such as MEMORY. That in a context in which we are regularly exposed to incongruent environmental/atmospheric multisensory cues -like how music is played from loudspeakers without any associated visual referent.

For example, I picked up a strong sense of the arts and protest, through imagery. Post-ers were plastered on the otherwise, stark white walls. Converting important messages of combating mysogysmy, accepting drugs in a euphoric untied sense, art exhibition advertisements and flyers on the power of protest. As the street isn’t take in one giant co-herant intake, but rather a series of incoherent moments, images and feelings, the street appear to host a intensity of colour within these little nodes. However, when returning to my series of videos or photographs, the street overall appeared rather bland in colour and void of these vibrant moments. In order to test this theory of multisensory stimuli and to challenge the visual dominance that my body relies on, it was essential to undertake some sensory trials on site. In ad-dition to my series of Smellscape mappings, I decided to undertake a series of blindfolded/silent walks through the site, encouraging the stimulation of a single or ‘lesser’ sense. To remove the visual aspect to the architecture that surrounded me, I decided to walk the site blindfolded at an unusually quite time, early morning. I undertook my blind walk ‘loop’ route 4 times in order to sufficiently record my findings. Initially sound became my most dominant sense, guiding me towards traffic, quite streets etc. Alternatively, during my silent walks (in which I walked through the site with head-phones) touch came to the forefront of my reactions, as I found myself reaching for walls nearby. I was able to really feel the building materials and textures. I found that by the 4th journey of each walk type, my memory played an important part in removing the need for touch and instead allowed for my olfactory sense to take focus. 92

INTERPRETING THE SITE THROUGH THE SENSES FURTHER RECORDINGS documenting 'higher senses' to provide critical refection & comparison

Touch: In terms of touch I explored the street's materiality, feeling the subsequent textures available as well as documenting a series of rubbings. The walls at the west end of High Friars Street, on the cinema side, were titled in a white industrial style. Upon touch they were smooth and cold, holding condensation which transmitted to the hand upomg contact. In contrast, the adjacent side of the street had a rough texture, given the materiality of the sandstone of the now Byron burger building, this was to be expected. Splintered wooden stain glass windows frame lined the initial envelope, wrapping around from the front Elevation. Visual: I noticed a variation of details within the confines of the street, from hidden nodes in the walls, small concealed windows, flush gutters. These reminded me of posters of protest and colour and how they were "hidden" when looking at the street in a general wider sense. Moreover, I noticed these nooks on a larger scale through the conjunction and juxtaposition of the lane, back spaces, single storey levels of The Northern County Social Club further east, opposite the Tyneside Theatre side entrances. This provided an intriguing multi layered space, which I could reimagine as a new performance/exhibition space. Likewise in tandem with that character of the street, the other nooks and doorways could further act as inset dwelling spaces on the street. Sound: The street was a lot noisier and obtrusive, at the east end towards the bus stops and the top of Northumberland Street. It was more unpleasant to stand and dwell at this end of the street. The hubbub of pedestrians walking to and from the terminal and from the high street, echoed at the mouth of this end. Additionally, adding to this assault on the senses in a mulitfactory was, strong smells relating to food such as burgers and fast food, wafted from Stack. 93

SENSORY MAPPINGS

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Another part of my methodical approach to understanding the site, was by creating further mappings. I collated my findings, which included sound recordings, material rubbings, snell trails, sketches of notable architecture features & sensory feelings on site into 3 clear ‘sensory passport’ maps. Each map was intended to clearly represent the distinguishable, unique character of each arcade space. When creating these maps, they intrinsically had an individuality, and provided me with a clear reference & framework for which to continue exploring with regards to each part of my chosen site. CENTRAL ARCADE

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S M E L LS CAP E 1 : fr equen c y /t y pe

SENSORY URBANISM: measuring smells SM EL LWAL K I NG A ND R EP RE SE N TIN G URB AN SM EL LS CA P ES

Exploring and sharing individual and collective olfactory urban experience through mapping is problematic. Through research I have found that contemporary artists and designers have approached the topic of olfactory mappings, and then continue to consider some practical concerns in researching urban smellscapes and presenting such works.

Smellscape mapping, as a creative practice, is a flight through the imagination and an engagement with individual perceptions and memories. It kindles olfactory experience, forming associations between an invisible sensory input (odor), a visual image (symbolization of a smell experience) and a place. Smellscape mapping foregrounds the sense of smell over other sensory information, and is initiated by the whimsical and ephemeral world of olfactory perception.

Smell is fundamentally attached to place (Feld, 2005; Hoover, 2009; Rodaway, 1994; Tuan, 1977). Smellscape mapping, as a creative artwork, is a processual series of events designed to communicate an evanescent world that is “spatially ordered or place-related” (Porteous, 1990, p. 25), but simultaneously one that is “non-continuous, fragmentary in space and episodic in time ...” Traditional maps attempt to render legible our world, seducing us with symbolic reality, and digital mapping satisfies a “mania for accuracy, exactitude, concordance with reality” (Breebaart, 2015). To this end, smells that need to be measured, the nuisance and noxious smells of industry, can be defined quantitatively using remote sensors and bound to place through the exactitudes of geolocation.

S M E L LS CAP E 3: t ouc h s m ell

SME LLS CA P E 2 : s p read/ leng th

Approaching mapping as performative, and therefore no longer seeking objectivity or fixity, smell mapping may link individual users with their lived experiences of a particular place, and to consider how everyday immersion in a smellscape may feelinstead of merely identifying ‘what is where.’ Through my design challenges of visualizing a smellscape, I used a varying graphic conventions, which at times have fixed smells by means of contours, dots and colour, whilst at other times have sought to animate representations of the smellscape, or incorporate smells themselves into mappings. I have considered the central importance of exposition in this mapping process, and the role of real and digital

S M E LLS CA P E 4 : texture/ co lo ur

spaces and interfaces through which smell mapping might be deployed. “Mapping, when viewed as a situated, collective process, rather than representative artefact with inherent meaning, has a creative potential to reveal the unseen, ephemeral and imagined” (p. 76). These maps have come together to make something different about smell, in transforming a language between sense and architecture, that enrol changing feelings about embodied sensory experience, memories and feelings you associated with that moment.

S M E L LS CAP E 1 : fre qu e ncy / t y pe This smellscape displays a collection of 6 interconnecting olfactory trajectories with varying degrees of intensity. By using different coloured threads to create the variegated sensation, I was able to create a datascape based on the length, intensity and location of detected smells (high value = short, low value = long), revealing an increasing intensity and length through the journey of my intervention loop, especially towards the top of Northumberland Street. Through diverging placements of height on the needles, the threads represent

a collection of interconnecting olfactory trajectories with varying degrees of intensity. Tracing paper was placed between the harsh edges of the panoptic street plan to represent the blurred edges of the space where smells intermingle. Another instance of multiple angles; as a viewer you can take the panoptic approach or imagine yourself tangled inside this web of airborne trails. Themes of transaction punctuates the narrative component with verbatim ‘conversations’ unfurling at points on the map.

S M E L LS CAP E 2 : spre ad / ove rlap Map 1 explores the movement of smell, discovering and depicting its unruly qualities through narrative mapping. Additionally, by using a imprinted worded structure, I was able to display the concept of ‘previsible’ smells to generate a extant map of data along my route. This data will be particularly helpful in terms of re-establishing and solidifying, specifically the processes of association. This map also reveals the intensity of the diesel fumes along the north end of Pilgrim Street, in conjunction with the two main roads and bus stops/traffic. It also reveals the magnitude of aroma coming fromfood and beverage

establishments such as Stack, Five Guys and other establishments on the Pilgrim St/Northumberland St junction. By mapping using a visual transparent, layering, I am able to show where i found smells that merged and overlapped, as well as where they tapered away and dispersed befroe another smell was noted. Through using varying sizes if acetate, I can covey the pincicle ‘heart’ of each smell and through the different colours I can map other city smells (including ‘damp’, ‘coffee’ and ‘perfume’) which seek to escape the confines of any artificial boundaries.

S M E L LS CAP E 3 :

tou c h /of fen s ivn es s

Map 3 investigates the materiality of smell sources inclusive of the subject space being investigated. The concept of this map was born out of both a ‘blind’ smell walk, purposefully using just the olfactory elements along my route and well as individual accounts. Walking the route with my eyes closed and earbuds in, temporarily losing my senses of sight and hearing, I aimed to identifying the smells through a single input channel. I tried to document smells and where their trajectory continued or ended, without the architectural bounds of the surrounding buildings. This allowed me to explore their offensiveness and location beyond function.

Secondly, I investigated local businesses as well as converged with locals and asked them to identify exemplar odours they experienced daily. After collating ranges of unique and general smells, from coffee, cinnamon, sweet smells to drains, cleaning products, damp, I worked with the donated smell sources to generate a crossmodal, experiential mapping, transcribing smell into tactile form. Through deliberate use of materials of varying ‘hardness’ and ‘intensity’ the map reveals vast areas of smell voids and also where smell ‘textures’ overlap, as well as their trajectory and fading longevity.

S M E L LS CAP E 4 :

texture/colour

Map 4: This mapping used a series of representations which are a response to return the question of olfacto-visual connection and memory. By imagining the olfactory perception in a quadrant as an inked texture, I aimed to document the series of patterns that might emerge. On my smellwalk, I took rubbings of each distinctive building along my intervention route whenever a smell threshold emerged. I reflected without the use of my smell sense, through holding my nose, what the interpreted smell would be like, through this visual imagery alone. I then took a series of photographs on varying days, through night and day hours, and showed them to others. I asked what smells they would expect in this space based only on the images, and cross referenced with the smells present. Surprisingly, more than not, even if generalised, the ‘olfacto-visual’, were comparable to the real present smells.

I highlighted these olfactory ‘memory in-between’ spaces, where textures iconic to each building, related to the smells along the route. Through use of particular colours and expression of texture in relation to smells, they hover in cloud formation above and also appear as sectioned of diffused colour on the architecture below. Uncertainty about the connection between touch and smell, and its subsequent tension is a particular feature of this approach. Is there always a correlation between the preconceived correlation between materiality and smell, and can one distinctly affect the other? material rubbings from site visits

P R I N C I P L E S FO R TH E DE S I G N E R

S IT UAT I NG SMEL L: D e fini ng consi d er a tio ns fo r intersenso ry applicatio n

1. Sensory Standpoint: Whose ‘Senses’ Are Designing for? Before we can design for others, we must first examine the sources of our own beliefs, assumptions and values of smell and the senses. Identifying our ‘sensory standpoint’ involves carefully considering the influence of these often unexamined assumptions and beliefs on our chosen philosophies and approaches. For exam-ple, one might ask: How do my own assumptions or investments in particular perspectives or theories of smell and the senses reflect the interests of dominant, versus nondominant, groups or individu-als? How do my orienting metaphors, or tropes, of smell implicitly communicate and reinforce particular beliefs and assumptions about smell and the senses?

2. Sensing Inclusion: Design for all To establish truly inclusive and ‘humanistic’ design principles for smell, our approaches need to reflect clear commitments to equity, diversity and inclusion. Given the role of smell in marginalizing non-dominant individuals, groups and ways of sensing, this consideration asks: To what degree will non-dominant groups see their identities, needs, and lived experiences reflected in our design schemes and approaches? Have inclusion and accessibility guidelines been developed in collaboration with the non-dominent senses and the development of built environment for their snesory enjoyment?

3. Making Sense of Smell: Do-it-yourself Learning Inquiry

5. The Sharing of Smell: Learning + Building

Reflecting on the often do-it-yourself approaches of olfactory artists, I have found that DIY approaches can provide an initial and self-directed route to olfactory learning for designers. As with the sensory stand-point, this practice-focused consideration encourages the development of one’s own custom, inter-sensory library of knowledge through self-directed inquiry. For example: one might begin to explore their local place or city, through conducting smellwalks.

The ubiquity of this new digital age presents new ways of representing and communicating smell. Designers, planners and practitioners are able to explore distributed knowledge sources through online communities, as well as share their findings more readily. While the use of mobile or personal media can distract from focused practices of smelling, it is also a crucial means of documenting sensory encounters. For example, I used my phone to record sound bites to later create sensory passports in tadem with my sensory studies.

4. Smelling in the Present Tense: Embodying Sensory Knowledge While smell is often celebrated as a kind of Proustian time machine, this is a misleading claim that not only neglects how olfactory triggered memory actually works (Gilbert, 2008), but also reduces smell to a ‘playback device’ (Ingold, 2011). I argue that practices such as smellwalking and creation of smellmaps, helps to place olfactory senses in the ‘present tense’ by relating with the sensations of odors as a profoundly physical, rather than purely interior. Extending this logic, this principle asks: To what degree do our chosen design methodologies reflect current knowledge of the functional and physiological process of olfaction? Furthermore, how do our design principles engage with the ‘intersensory’ dimensions and ambiances of our immediate environment at the level of varied and sometimes conflicting sensations and bodily states?

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Moreover, this principle encourages designers and planners to consider the strategic use digital networking as a means of encouraging wider practice & public participation through user-generated data collection and applications to promote the sharing of olfactory experiences & memory.

Expansion of Space

CONCLUSION: Sensory Architecture in the Present Tense In efforts to situate socio-cultural, physically embodied and intersensory contexts of sensory learning and design, my thesis hopefully proposes a more humanistic, inclusive and accessible foundation for designing with the senses, that educates from the ‘margins’ (hooks, 1994), rather than the center, of our ‘sensory order’ (Howes, 2005). More critically, my emphasis on the physical act of smelling emphasizes the corporeality of sensations. Unlike expert domains of olfactory knowledge, which function to qualify the mastery of specialized practices and terminology, my projects emphasis on self-directed inquiry which implies that designers, practitioners and the public are capable of constructing their own ‘situated knowledges’ (Haraway, 1988) in order to create a truly individual and enjoyable architecture. Echoing Rancière’s critical treatise on education, I argue that learning to appreciate, (in Eisner’s critical sense of the term), how the low significance of 'lesser senses' re-articulates other forms of marginalization involves a ‘de-schooling’ (Illich, 1973) of traditional modes of design in architecture, to really discover how we connect to a place.

SKIN - SENSE OF AIR CONTACT STIMULI Passive Touch air movement temperature radiation humidity

VISION

DISTANT STIMULI - bincoluar sensations of shape & size ratios of colour shade and shadow space motion

SMELL INHALED STIMULI Primary Odorants Camphoraceous Resinous Etheral Pungent Burned Floral Spicy Minty Musty Putrid

This re-teaching, and application of sensory urbanism. especially towards architectural practice, to which we have been conditioned not to sense through the ordinary acts of experience, may allow us to redefine heteropian aspects to create extraordinary encounters as a living and responsive ecology within our built environment. Most plainly, the physical act of putting our noses to the ground brings us back down to earth and into our bodies, as a primary way of place making, encountering rich experiences & encapsulating memories.

-stereophonic sensation of localisation loudness ptich

Pressure and Tension

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Bi b l i o g r a p h y Readings: Italo Calvino, Invisible Cities, 1972 Yi-Fu Tuan, Escapism, 1998, Leicester University Press Sir Patrick Geddes, Civics: as Applied Sociology, 2009, Good Press Canon Barnett, The Ideal City, 1979, Leicester University Press Helen Rosenau, The ideal City: It’s architectural evolution in Europe’, 1959, Methuen & Co. Ltd, London and New York Allies and Morrison, The Fabric of Place, 2014, Artifice books on architecture Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, 1757, CreateSpace Independent Publishing Platform Deyan-Sudjic, English Extremists: The Architecture of Campbell Zogolovitch Wilkinson Gough (Blueprint Monographs) 1988, Fourth Estate Ltd Peter Hall, Cities of Tomorrow: An Intellectual History of Urban Planning and Design Since 1880, 2014 Blackwell Publishing Ltd Jean Baudrillard, Mass Identity Architecture: Architectural Writings of Jean Baudrillard, 2003, Wiley Nathaniel Coleman, Utopias and Architecture, 2005, Taylor & Francis Nathaniel Coleman, Imagining and Making the World: Reconsidering Architecture and Utopia, 2011, Peter Lang Louis Kahn, Conversations With Students (Architecture at Rice), 2000 Wilfred Burns, New towns for old: The technique of urban renewal, 1963, Leonard Hill Ltd David Chipperfield, Simon Kretz, On Planning: A Thought Experiment, 2018, Koenig Books Ruth Eaton, Ideal Cities: Utopianism and the (un)built Environment, 2001, Mercatorfonds Gordana Fontana-Giusti, Foucault for Architects, 2001, Routledge Michel Foucault, Discipline and Punish, 1975, Pantheon Books Michel Foucault, The Order of Things: An Archaeology of the Human Sciences, 1966, Pantheon Books Websites & images: https://www.skyscrapercity.com/threads/newcastle-grand-development-plans-and-ideas-over-theyears. 1256741/page-2 https://www.plataformaarquitectura.cl/cl/799654/correcciones-tipologicas-12-proyectos-del-workshop-de-juan-herreros-en-chile/ 583c701ae58eced17f000010-correcciones-tipologicas-12-proyectos-del-workshop-de-juan-herreros-en-chile-imagen https://www.saatchiart.com/art/New-Media-Motherland-Limited-Edition-1-of-5/686992/3604047/view http://www.ouest.be/index.php/portfolio-items/kaai/ http://www.fubiz.net/2013/07/19/architecture-drawings/ https://archiologist.wordpress.com/2016/11/20/defensive-incubator-ayo-rosanwo/ Perfume tower example reference https://www.dezeen.com/2018/08/23/ruth-pearn-designs-public-bathouse-to-change-attitudes-aroundperiods/https://www.chroniclelive.co.uk/news/history/5-world-war-ii-bomb-13941957 https://www.koozarch.com/interviews/microcosms-for-immersions-the-childhood-factory/ https://www.chroniclelive.co.uk/news/north-east-news/stories-shocked-tyneside-high-rise-7236347 https://www.somethingconcreteandmodern.co.uk/building/newcastle-central-development-plan/ https://co-curate.ncl.ac.uk/royal-arcade/history/ https://www.skyscrapercity.com/threads/newcastle-and-the-north-east-as-it-might-have-been.1009531/ page-20#post-66299269 https://www.google.co.uk/search?hl=en-GB&tbm=isch&source=hp&biw=1920&bih=937&ei=RDWpX5e0NsSq5gK1lITIBg& q=newcaslte+plans+image&oq=newcaslte+plans+image&gs_lcp=CgNpbWcQAzoFCAAQsQM6AggAOggIABCxAxCDAToECAAQCjoGCAAQChAYUOIOWJEqYNAqaABwAHgAgAHiAYgB4RiSAQYwLjE5LjGYAQCgAQGqAQtnd3Mtd2l6LWltZw &sclient= img&ved=0ahUKEwiX5snIuvXsAhVElVkKHTUKAWkQ4dUDCAc&uact=5#imgrc=0FugWihiAjJbUM http://www.bl.uk/onlinegallery/onlineex/firemaps/england/northeast/mapsu145ubu19uf025r.html

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