The Hepworth Mill Archive Design Report

the Hepworth Mill ARCHIVE

Roseanna Marsden

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Contents

INTRODUCTION 4 Building Details 5 Brief 6 The Hepworth Mill Archive 7 Schedual and Requirements of space RESEARCH 9 The Hepworth Wakefeld 10 David Chipperfield Architects 13 Barbara Hepworth

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16 17 18-19 20 21 22 23 24 25 26

SITE INVESTIGATION AND ANALYSIS Immediate Reactions Genius Loci Location Size and Shape Character, Position, Setting Materials Circulation and Access Light External Conoditions Environmental Analysis

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CASE STUDIES Salt’s Mill Wycoller Aisled Barn

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INSPIRATIONS Grindbakken Gallery Gallery 206

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REFERENCING AND BIBLIOGRPAHY Bibliography Images

Introduction 3

Building Details

Name Original purpose of the building Location Date of Construction Architect

Name Original purpose of the building Location Date of Construction Architect

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Name - The Hepworth Mill Original purpose of the building Location - orientated approximately north-south on the east bank of the river Calder.

Date of Construction- early 1900 century Architect - Unknown

The Hepworth Mill Corn Mill On the east bank of the river Calder Early 1900 century Unknown

Brief

The existing watermill lies on the east bank of the River Calder. It is adjacent to the Hepworth Gallery.

The  development of the Hepworth Gallery site has had to consider and include the watermill in its development.Due to the Watermill’s Grade II listing the building has had to stay intact.

The Hepworth Wakefield want to take advantage of the Watermill and use it to support their gallery.

The watermill has historical importance. The surrounding landscape will be a big factor in the thought process for the re-design of tne mill. This includes the River Calder and the Hepworth Wakefield. There will be many factors to consider, such as; size and shape, character and setting, materials, viewpoints, threshold, circulation and access, lighting, external conditions and environmental issues.

The watermill will be restored to a safe and functional building. As the mill is of high historical and architectural value , the re design will be considerate of existing features and will incorporate the history and exisiting qualities into its new design. It will also become part of the grand Hepworth Scheme and the buildings will be connected and it will give the old watermill a purpose once more.w

The re-imagined mill will be used to celebrate wakefield and its c ommunity. It will become an archive gallery and be host to the ‘Twixt Aire and Calder’ collection. An archive of photographs, maps, memorabilia, prints, and sound videos.

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hepworth mill archive

The watermill will be re-designed into The Hepworth Mill Archive. The archive will host the “Twixt, Aire and Calder” display. This will be about Wakefield and the industrial revolution.

The archive will be a place for people to learn about Wakefield. It will be a celebration of Wakefield and the people who live there. the archive will feature photographs, maps, memorobilia, videos and prints. The current “Twixt, Aire and Calder” collection is currently only avaliable online. The archive will be a place of memory and will evoke feelings.

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Fig 1.1

Fig 1.2

SCHEDULE AND REQUIREMENTS OF SPACES I will be re-designing the mill into an Archive space. This space will inclue a gallery space to stage temporary exhibitions. and evenets based on the Twixt, Aire and Calder gallery. There will also be a small lecture space used for teaching and meetings. Along with the archive being displayed there will also be space included for storage of archive materials. The space will be suitable for 30 students or guests at a time . There space will specificially be designed for high school pupils to come and learn about the history of wakefield. The archive will also be open to the public but the teaching facilities and workshops will be aimed at high school pupils. This is to get them interested and have an understanding of Wakefield and its importance.

Fig 1.3

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rESEARCH 8

The Hepworth Wakefield ONE OF THE FINEST contemporary

The Hepworth Wakefield is at the heart of Wakefield’s regeneration, and has helped to secure significant private sector funding to restore the listed mills and warehouses in this important conservation area.

Wakefield Council began project development in 2003 with a RIBA international architecture competition that led to the selection of David Chipperfield as architect.

Construction of the gallery was completed in January 2010.

The fit-out, landscaping and infrastructure works were completed early 2011. Total development costs, including the footbridge and all infrastructure designed to improve access were £35 million.

art museums in Europe” - The independent

The Hepworth Wakefield is an art gallery in Wakefield, West Yorkshire, England, which opened on 21 May 2011. The gallery is situated on the south side of the River Calder and takes its name from artist and sculptor Barbara Hepworth who was born and educated in the city.

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DAVID CHIPPERFIELD ARCHITECTS

Sir David Chipperfield Architects was founded in 1985 and has offices in London, Berlin, Milan, and Shanghai. The practice works internationally on cultural, residential and commercial projects providing full architectural and interior design, matsterplanning, product and furniture design services for both public and

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private

sectors.

In designing The Hepworth Wakefield, David Chipperfield Architects responded imaginatively to the gallery’s waterfront setting. The building complements the scale and form of the existing industrial buildings and, like them, appears to rise out of the River Calder. The gallery’s location on the river’s edge also allows it to apply new forms of renewable energy by sourcing the majority of its heating and cooling from the river’s flow. The gallery’s façade has been constructed of pigmented concrete which was created in-situ. This gives the building a sculptural appearance, which echoes the shapes and forms in many of Barbara Hepworth’s sculptures.

Fig 1.4

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Fig 1.5

Barbara hepworth Barbara Hepworth was fascinated by natural forms and textures, fron an early age she decided to become a sculptor. Hepworth’s earliest works were naturalistic with simplified features. Purely formal elements gradually gained greater importance for her until, by the early 1930s, her sculpture was entirely abstract. Works such as Reclining Figure (1932) resemble rounded biomorphic forms and natural stones; they seem to be the fruit of long weathering instead of the hard work with a chisel they actually represent. In 1933 Hepworth married (her second husband; the first was the sculptor John Skeaping) the English abstract painter Ben Nicholson, under whose influence she began to make severe, geometric pieces with straight edges and immaculate surfaces.

As Hepworth’s sculpture matured during the late 1930s and ’40s, she concentrated on the problem of the counterplay between mass and space. Pieces such as Wave (1943–44) became increasingly open, hollowed out, and perforated, so that the interior space is as important as the mass surrounding it. Her practice, increasingly frequent in her mature pieces, of painting the works’ concave interiors further heightened this

Dame Barbara Hepworth was an English sculptor. Her work exemplifies Modernism, and with such contemporaries as Ivovn Hitchens, Henry Moore, Ben Nicholson, Naum Gabo she helped to develop modern art in Britain.

Fig 1.6

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Wakefield

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Site investigation Investigation and analysis 15

iMMEDIATE REACTIONS

My first impressions of the mill was that it complimented the Hepworth Wakefield well.

Hepworth Wakefield is situated adjacent to the mill.

It is an installation by James Pyman. He was commisioned by the Hepworth Wakefield. The fabric wrap is a very detailed illustration of the underneath Hepworth Mill.

From a distance I believed that it was the actual building.

It gives you an understanding of what the mill actually looks like as you cannot go inside it due to safety issues.

This was because of the greyscale fabric wrap that encased the original mill building and its scaffolding.

The scaffolding framework makes the building seem a lot larger than it actual is. You could see the actual size of the building when you got up close as the actual size and scale was marked on the fabric wrap. The real building underneath does not compliment the Hepworth Wakefield as it is made of dark red brick that has eroded.

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GeNIUS LOCI The spirit of the place is very historical. I feel almost ghostly.

The mill has been very influential in the history of developing wakefield. I get a spooky atmosphere from the river calder and its relationship with the mill as it is so old and withered away. The mill looks lifeless and destroyed due to many factors. I feel there is a greater connection and that the mill houses many stories that have been untold. On the south side of the building there is a ghosting effect where there looks as though there has been another part of the building which has now completely disappered. This is seen through the brickwork being discoloured leaving a white area which looks like there was another part to the building this gives me a mysterious feeling of what used to be here. I feel that the installation that it has been made into now also gives feeling of curiousity. It makes the viewer want to know what lies beneath. It masks the damaged and hurt building making it into something that seems to fit in a lot better with its landscape and the greyscale colour i feel gives it a modern image and the shape which even though is traditional of its time i feel it looks like it fits into its landscape with its scaffold framing.

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lOCATION The watermill is located on t the east bank of the river Calder. It lies adjacent to the fairly new Hepworth Wakefield gallery and the west side of the mill fronts onto the historical waterfront.

I think the watermill is in a good location and works well in its surrounding landscapes. The Hepworth Wakefield shows a dramatic contrast in style from the watermill. The Hepworth Wakefield, constructed of concrete, has a cold, fortress like image. The striking geometric shaping of the building differs greatly from the much smaller traditional watermill.

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Location The position that the Mill is in means that to enter it you approach thick concrete walls.

It is positioned on a lower ground level to the Hepworth Wakefield. You would think this positioning would make the Mill seem insignificant but I feel it allows the Mill to have a sense of importance and makes it seem engaging. I feel this due to the entrance it has from the Hepworth Wakefield. It is accessed by a set of concrete stairs and on its right there is simple concrete auditoriumstyle seating. This allows users to view the site in different ways and suggests the Mill is worth spending time observing it and taking in the surrounding landscapes. The Mill can be viewed from different places such as the road, the bridge over the River Calder and also from the inside and outside of the Hepworth Wakefield.

I think the best viewpoint for the Mill is from the interior gallery space of the Hepworth Wakefield. The view through the huge rectangular windows allows you to take in so much more of the landscape than any other viewpoint. The works of Barbara Hepworth in the gallery add to the viewing experience as you can see her sculptures before the window and the view of the Mill as a historically interesting backdrop.

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Size and shape The watermill is a 3 storey, T-Shaped brick structure. It has a small 2 storey outset on the eastern side of the building. There is a wheelpit in the northern side of the building. The total building area is approximately 500 m2.

The Watermill is very small in proportion to the neighbouring Hepworth Wakefield which is 1,600 m2.

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Character, Position, Setting

The mills relationship with the River Calder is very significant. The River Calder powered the mill thourgh its water wheel. This feature made the mill what it was and adds character to the building in its current state. The positioning along the river makes for a suitable setting and gives it meaning. The river played a huge part in the development of Wakefield in the industrial revolution and is what makes the mill so historical. Including the river and its landscape into the new design would be aesthetically pleasing as well as giving it some purpose.

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Materials

The watermill is built of thin, dark red brick with a stone slate roof and a timber and metal waterwheel. The materials used date back to 1800. They have had to withstand many weather conditions causing abrasion, this has lead to the materials of the building to have weathered away and have become unsafe.

New materials will have to be considered to make the building fully functional.

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circulation and access There is good circulation around the Hepworth site.

The long bridge over the River Calder leads the path to the two buildings.

The pathways lead around the entire buildings. This makes access to the public easy. There is a carpark over the road which makes it accessible to vehicals.

There is also two nearby train stations with links around the whole of west yorkshire. What makes this site unique for access is the River Calder. This means boats can access the site and gives the site an extra purpose by incorporating the riverside.

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Light The sun paths show that the south side gets the most sunlight however this is the only side with no openings. This could be adresssed in the redesign and could be utilised to allow more natural light into the building.

Sun Paths in Summer

The sun paths show the light coming in from the east then at the highest point it is south, then finally sets in the east.

The shadows in summer are a lot bigger due to the position of the sun being higher.

Sun Paths in Winter

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External Conditions The wind direction comes from from an easterly direction. The site is blocked from a wide range of wind because it is sheltered by The Hepworth Wakefield’s huge structure. The wind still affects the watermill and is obvious in the weathered and damaged brick work and slate roof. The Hepworth Wakefield is newly built so before this the watermill would of been exposed to many weather conditions which have affected the mill.

On my visit to the site the winds were calm and the sun was shining, although it was cold. The external conditions affect how you view the site and I could appreciate the installation and the building underneath on thits day.

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Environmental analysis

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There are many environmental factors to consider when assessing the re-design of the Watermill. It needs to be made suitable for all external factors. This includes the sun, prevaiiling winds, and flooding. The site is at flood risk due to its position near the river. It floods every 4 years on average. A possible water barrier will need to be put in place for protection of the site. The materials of the structre will need to be assess and replaced for safety issues. The re-design will have to replace some aspects of the site but as part of the design as many existing features will be kept if possible. This retains its historical features and can also aid to the design. The site will need look at keeping it as environmentally friendly and suistainable as possible. This could be done by using energy efficient equipment or even re working the watermill. The landscape around the watermill could be incorporated into the new designs.

This could bring new natural aspects to the design and compliment the existng features and the River Calder.

cASE STUDIES

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sALT’S MILL

Building Date

Fig 1.7

Salt’s Mill 1853

Location

Victoria Rd, Shipley, Saltaire, West Yorkshire BD18 3LA

Architect

Henry Lockwood and Richard Mawson

Original Use

Woolen mill

Current Use

Art gallery which displays many paintings by local artist David Hockney. A shopping and restaurant complex, and also provides offices for Pace Pace Electronics and Filtronic Comtek.

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salt’s mill Immediate Reactions

Genius Loci

Impressed by Italianate architectural style set in the yorkshire moors and the river aire. The landscape was beautiful and the architecture of the mill complimented its countryside backdrop.

The surrounding village of neat stone victorian houses entire village in a classical style, inspired by the Italian Renaissance. The area of Saltaire is well looked after as is a designated world heritage site. This can be seen through the well kept model victorian village and calming atmosphere. The mill was a lot larger than expected. At some view points I couldnt see where the building ended as it was so wide.The day i visited was grey and overcast.

Salt’s Mill gives recognition to the working class lives of yorkshire. The mill reminds you of the hard work of industrial jobs in the past. The day I visted the mill it was very grey and overcast. This gave me a sense of how the workers of the 19th century may feel working in factories. This mill was built for workers at the time to have better living and working conditions. The mill is a place where the workers could be appreciated and work away from pollution and disease from the canals and industrial waste.

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salt’s mill Context Salts Mill is historically renowned. Sir Titus Salt who was the vision behind the village of Saltaire and who built Salt’s Mill, was a very influential and successful man of his the 19th century. “ Salt believed this was a time when social and cultural advancement were a direct consequence of the commercial ability of textile barons.

The effects of Salt’s Mill socially - The model village was inscribed as a World Heritage Site in 2001 in recognition of its ‘outstanding universal value’ to human culture. Saltaire is an outstanding and well preserved example of a mid 19th century industrial town, the layout of which influenced the development of the ‘garden city’ movement.

The layout and architecture of Saltaire admirably reflect mid 19th century philanthropic paternalism, as well as the important role played by the textile industry in economic and social development.

The opening of the new mill allowed for new living for people to escape the polluted and over populated surrounding areas. Salt was also one of greatest Victorian philanthropists. He donated liberally to good causes locally and nationally.

Saltaire was inscribed on the UNESCO World Heritage List in 2001. It was recognised for its international influence on town planning and as one of the earliest, largest and best preserved nineteenth century ‘model villages’ anywhere in the world. This put west yorkshire on the map because at the time was europes largest factory.

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salt’s mill

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SALT’S MILL

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Views, vistas, approaches

Transport and connectivity

Circulation

Salts mill is the focal point of Saltaire. The huge mill has many different view points as it is located on a lower ground to surrounding hills of the yorkshire moors and also the village.

The mill has good transport links as the train station Saltaire lies adjacent to the mill. There is also regular buses that run through the village of Saltaire and into surrounding areas. There is also a lot of car parking space on the site itself. The river Aire runs adjacent to the other side of the mill.

This is a significant link for connectivity to other major cities from Liverpool to Hull, from the past and present.

There is good circulation throughout the Salt’s Mill.

The gallery spaces and rooms are large in size and there is good signage around the Mill. The route suggested to take begins with the ground floor shop.

This displays works of David Hockney and also a wide variety of related products and books. Following up a flight of stairs is the main 1853 Gallery space. This is dedicated solely to local artist David Hockney. You walk around the space freely as there is masses of spaces and walls to view his work.

This then leads to other rooms and a diner and also a restaurant.

Access and Entrance There are a few entrances to the Mill. You could enter a few ways as a member of public. I entered through a side entrance that lead me into the shop first. There is also a large main entrance near the car park which is on the same floor as the shop. There is access limited access for the public any other way but there are loading bays and The large loading doors in the middle of Salt’s Mill facing the canal show how important the canal was the location of Saltaire.

salt’s mill Proportions

Sensory

Salt’s Mill has a striking proportion size compared to its landscape and any other building close by. The village had been built around the mill. It is the largest building in sight. The surrounding yorkshire moors show the contrast of this too. The main focal point of this town is based on the mill and this is seen through the proportion of the village it takes up. The proportions even echo into the interior of the Mill. There are huge open spaces compared to some of the art work or shop displays. This allows the visitor to view the space well and take it all it has to offer.

The sound outside was fairly quiet , not much noise polluction from traffic not a busy area. The inside was calm and had a relaxing feel due to the subtle background music. The sight outside was grey and there was a light rain that gave it a dull and dreary atmosphere. The inside had an opposite feel this was down to the light walls, huge windows that let in the natural light, raw brick work, beams and large ceelings. The gerneral feeling inside the building was calm and serene. The exhibitions were organised and neat and they were spacious.

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salt’s mill Light and Lighting There was no lighting outside. Inside lighting, lit well through natural light the windows were almost the entire height of wall and spaced close together. Some had translucent grey blinds to set an atmosphere in a particular space and some were bare and let all the natural light in. There was also some use of artificial lighting. This complimeted the works of art well and set the mood for the visitors. The artificial lightign was subtle yet effective.

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Relationship of Internal and External Space The internal and external space shared a relationship in the architectural styles and materials used. The interior of the mill used the raw brick work just like the exterior. The exposed wooden beams related to the nature and the surroundings outside.

External Conditions

Exhibition Approach

The mill is of an talianate architectural style and is made of yellow brickwork.

It has many large windows on each floor framed by painted dark green metal. The outside sign for the mill says ‘SALTS’ it is bold and in large red capital letters. This stands out well and is positioned on both sides of the mill.

exhibition is set up in large open spaces, the works of David Hockney are displayed on the walls, there is light open spaces and some closed off darker spaces.

The darker spaces are used for viewing slideshows of work there is seating in these areas where as in the open spaces the paintings are to be viewed standing up and walking around.

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WYOLLER AISLED BARN

Building

The Aisled Barn Date Originally built around 1630 Location Wycoller Country Park Architect

Hakes Asscociates Original Use Shelter cattle, storing crops and a coach house Current Use Visitor Information Centre

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Fig 1.8

WYOLLER AISLED BARN Immediate reactions

Genius Loci

I was immediately drawn to the aisled barn on our visit. The exterior is built of a beige stone with a sandstone slate roof. It looks like a traditional aisled barn. The interior is very attractive.

The roof has magnificent wooden beams. The roof is a focal point in the design of the interior. I focused most of my attention on it. The stone walls and cobbled floor give the barn its own character and style. The mix of modern aspects in the traditional barn worked well and the archive spaces comlpimented with the features of the barn. The day of the visit it was cold and grey.

This affected my immediate reactions but I still apreciated the beauty and history of

There is a relaxing an peaceful spirit to the wycoller country park. The positioning of the barn within the country park gives this feeling due to surrounding buildings, the large grassy areas and the neighbouring stream. There is a theme of nature surrounding the barn as it has a lot of natural beauty. The natural materials used for the building of the barn fit in well and are effective in achieving a uniquely tranquil atmopshere.

the aisled barn.

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WYOLLER AISLED BARN Context The aisled barn has a lot of history to it. It dates back to the 17th century and was a vital part. The wycoller country park is known for its mytsery and romance and historical connection with the Bronte sisters, and their work was inspired by what the area offered.

There is a good social impact on the aisled barn’s new use as a visior informaton centre. This is ideal for people visiitng to learn about the history of the site and for information about what they could get involved with or places to discover within Wycoller country park. The aisled barn is only a few miles from Colne, this makes the aisled barn easily accesible yet gives it a sense of entire wycoller

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isolation as the entire wycoller country park surrounds it and spans out very far. This gives the whole central area near the barn a safe and relaxing feel due to where it is geographically positioned.

Views, vistas, approaches

Transport and Connectivity

The Aisled barn is easily viewed from many parts of the country park as it has a very central location and is in the heart of the park. The barn is easy to approach along many paths and fits into its surrounding landscapes of the pennines. The countryside atmopshere lets the visiors view the country park from a distance or upclose and still apreciate all it has to offer.

The transport links are fairly good leading to Wycoller Country Park. There is car parking spaces for visitors with cars however there is a roughly ten minute walk to the main parking area.

There is public transport such as trains. The nearest train station would be Colne.

There is a regular service from Burnley, Blackburn, Accrington and Preston.

Burnley and Pendle Joint transport run an hourly bus service from Burnley, Nelson and Colne, stopping at Laneshaw bridge and Trawden and an hourly National Express coach service is avaliable between Colne and Keighley stopping at Laneshaw Bridge. It is then a one and a half mile walk by public footpath.

WYOLLER AISLED BARN

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WYOLLER AISLED BARN

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Circulation

Access and Entrance

Proportions

There is good circulation throughout the space of the aisled barn. Everything is spacious and well laid out.

There is enough room for large groups of people at a time and they can follow the paths set out in the design by the different levels from the cobbles to the wooden decking.

There is one main entrance into the barn. It is centrally located and large.

This allows enough space for many visitors to pass through comfortable and safely. It is also a design feature. The huge door has painted black shutters which compliment the style of the barn. It is a charming feature that is also very practical.

The Aisled barn is of similar proportion to its neighbouring buildings. It fits in subtly to its landscape. It doesnt stand out and fits in nicely with the tranquil surroundings. The barn is large but still maintains a proportional feel with the buildings in Wycoller Country Park.

WYOLLER AISLED BARN

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wycoller aisled barn Light and Lighting There was no lighting on the exterior of the building.

The inside made us of natural light a lot as it is open in the day time and there is huge windows that let the natural light flood in. There is also artificial lighting. It is very atmospheric and gives the sense of warmth into a cold open building. It gives soft yellow glows that compliment the yellow stones and the colours of the timber and cobbles. There is lighting embedded within the archive installation. This makes the viewing experience of the archives interesting and easy to view.

The use of artificial lighting is subtle yet very effective and the use of natural lighting is essential in allowing a natural feel to the building.

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Relationship of internal and External Space There is a relationship between the internal and external space through the huge windows and the open door. The building is also not fully closed this allows wind to enter. This links the exterior to the interior and gives a sense of the building being open and a part of the grassy landscape and the stream and makes it feel as though it is a part of the nature too this is though the use of materials the barn is made of. There isnt much signage on the exterior it has been kept simple.

Exhibition Approach The exhibition is in a line adjacent to the back wall.

This area is elevated and is built onto wooden decking above the cobbles. This is accessed via small steps.

Within the archive installation there is glass holes lit up so you can view the archive and it can be kept safe. The design of the long line allows the visitor to tell the story of the history of the barn and the wycoller country park.

There is also space for small performances on the elevated parts of the barn.

Inspirations Inspirations

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GRINDBAKKEN GALLERY

Fig 1.9 Building Date Location Architect

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Grindbakken Gallery 2012 Ghent, Belgium Rotor

The restoration of these disused dockside gravel pits to reveal traces of Ghent’s industrial past.

The Grindbakken pits were formerly used to transfer sand and gravel between ships and lorries, but were being cleaned up and painted white to be used for events and exhibitions.

Some of the areas display colourful graffiti, while others show markings that reveal the industrial history of the pits One large square frame reveals a wall stained deep red, indicating that the pit was once used in an emergency to store iron ore.

Another frame surrounds a patch of lichen, the size of which can be used to determine that the heap of sand or gravel stood in the pit for 15 years.

Elsewhere, a long and narrow strip runs along a wall to reveal the seam between two layers of poured concrete

gRINDBAKKEN GALLERY Fig 1.10

Founded in 2005, Rotor is a collective of people with a common interest in the material flows in industry and construction.

On a practical level, Rotor handles the conception and realisation of design and architectural projects. On a theoretical level, Rotor develops critical positions on design, material resources, and waste through research, exhibitions, writings and conferences..

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grindbakken gallery

The Grindbakken Pits have been creatively re-imagined into open air art space for exhibition and events.

The design is simple yet effective. The new space reuses what already exists and makes the space more meaningful to its city and surrounding landscapes.

The pits where cleared out and cleaned up. This aspect of just using the exisitng concrete structure as a base is one i might consider in the design process.

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Fig 1.11

This would make the space a blank canvas and could be re-imagined into anything.

The design of it being an installation not a building is another aspect which works well, it makes the space unique. The design has retained parts of its former industrial site which adds to the character of the space.

It also explores the sites heritage and incorporates aspects of the surroundings into the design concept.

grindbakken gallery

Fig 1.12

Fig 1.13

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gallery (206) This Seattle phone booth is home to over 206 local artists and acts as a moveable exhibition space across the Washington city. Multiple Plexiglas windowpanes in the repurposed phone booth have been replaced with original art, while the overhead lighting panel houses an installation. The phone plays music when the receiver is lifted, and a phonebook acts as a directory containing the work of all 206 artists.

I particularly like this installation.It ties in with the thought of local artists exhibiting their work. I like the link of the phone booth being normal in its surrounding yet it has a hidden purpose. I might consider developing moveable installations into my design as I think they work well and are exciting and intriguing. This would work well for children as they would wonder what tne installation does and it also serves a purpose of education the children through the art and through information about local artists. It is inspiring and taking aspects of this may compliment the site as installations in the landscape could become a part of it also.

Fig 1.14

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REFERENCING AND BIBLIOGRAPHY 49

Bilbliography Upper Mills, Bridge Street, Wakefield. - Archaeological Services WYAS Report No. 1895.

Grover Lewis Associates, Town Planning and Built Heritage, May 2010. http://www.twixtaireandcalder.org.uk/default.htm http://www.hepworthwakefield.org http://barbarahepworth.org.uk http://en.wikipedia.org/wiki/Barbara_Hepworth http://www.bbc.co.uk/arts/yourpaintings/artists/barbara-hepworth http://www.davidchipperfield.co.uk http://en.wikipedia.org/wiki/David_Chipperfield http://www.dezeen.com/tag/david-chipperfield/ http://www.saltsmill.org.uk http://en.wikipedia.org/wiki/Salts_Mill http://www.saltairevillage.info http://www.saltaire.org.uk/salts-mill http://www.friendsofwycoller.co.uk/wp-content/uploads/2011/04/Wycoller-Country-Park.pdf http://www.beautifulbritain.co.uk/htm/outandabout/wycoller.htm http://www.gallery206.net http://rotordb.org/project/2012_Grindbakken_expo http://www.dezeen.com/2012/10/09/grindbakken-by-rotor/ http://www.abitare.it/en/landscape-2/grindbakken-rotor/ http://europaconcorsi.com/projects/219014-Grindbakken

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images 1.1 http://www.twixtaireandcalder.org.uk/HeritageTrails/default.htm 1.2 http://www.twixtaireandcalder.org.uk/HeritageTrails/default.htm 1.3 http://www.twixtaireandcalder.org.uk/HeritageTrails/default.htm 1.4 http://www.kingston.ac.uk/alumni/made-in-kingston/profiles/David-Chipperfield/ 1.5 http://www.npg.org.uk/collections/search/portrait/mw113039/Barbara-Hepworth 1.6 http://www.eatatyoyos.com/out-and-about-round-the-shipleysaltaire-area/ 1.7 http://www.architecture.com/UseAnArchitect/FindAnArchitect/Competitions/CaseStudiesNew/ Cultureandleisure/VisitorCentres/WycollerVisitorCentre/WycollerVisitorCentre2.aspx#.UrFs_RYso1g 1.8 http://divainthedark.wordpress.com/2012/12/28/grindbakken-gent-7/attachment/3475/ 1.9 http://disqus.dezeen.com/2012/10/09/grindbakken-by-rotor/ 1.10 http://rotordb.org/project/2012_Grindbakken_expo 1.11 http://rotordb.org/project/2012_Grindbakken_expo 1.12 http://www.sogent.be/nieuws/grindbakken-worden-scenografisch-onderdeel-van-oude-dokken 1.13 http://www.skyscrapercity.com/showthread.php?p=74060381 1.14 http://artsyforager.com/category/art-2/public-art/ All other images are taken by myself.

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