A Dream of Naples: Inscribing Real Fictions and Fictive Realities by Kate Murphy

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A DREAM OF NAPLES Inscribing real fictions and fictive realities

“...as soon as he had gone through Porta Capuana, he looked back and began to say, ‘Here I go, my beautiful Naples, I’m leaving you! Who knows if I’ll ever see you again, bricks of sugar and walls of sweet pastry, where the stones are manna in your stomach, the rafters are sugarcane, the doors and windows puff pastry? ... Farewell, flower of cities, glory of Italy, painted egg of Europe, mirror of the world! Farewell, Naples...’.”1

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tiles, to the discarded broken ceramic which lay forgotten in demolishment. From the wireframe skeletons and plaster flesh of presepe, and their symbolic flourishes of gold leaf and fine silk with which these presepe are dressed, to the mounds of neglected Neapolitan clothing lining the streets of the city center. As each gesture acts as a catalyst for local stories and traditions, the architecture occupies these forms to create new narratives.

ABSTRACT In this flower of cities the line between the fictional and the real is unclear. Everyday occurrences are as remarkable as fiction. Outside the church of Via San Gregorio Armeno, craftsmen prepare expansive nativity scenes (presepe) in which the Madonna and Maradonna meet. In nearby Sanita, residents visit the underground city, carved into the rock of the surrounding hills, to tend the adopted skulls of abandoned souls (capuchella) in exchange for heavenly protection. Fiction shapes the city, “everyday harshness turns to a fabulous world”2. Pugliese’s narrative depiction (Malacqua) of Naples presents a derivation and satirical view of the realities faced by the city throughout the 1970’s. The incessant realities of camorra control, waste and the incompetence of the

Fig1 - Movement of Via Aniello Falcone tile along a narrative of Malacqua

Through a series of extraordinary everyday spaces (washrooms and workshops) and an unconventionally conventional set of institutions (ceramic recycling factory and textile recycling factory), it invites entry into a fictive reality of Naples.

municipality are shown in the pathetic fallacy of relentless rain, which drowns and disintegrates Naples. A dream of Naples: Inscribing Real Fictions and Fictive Realities traces fictions both into and from reality, inscribing new plot lines on the city. It operates between the manifestation of fictions and the inescapable realities (or the elevation of real conditions to the point of fiction and the grounding of fiction in the foundation of reality) through the construction of architectures that, simultaneously, operate at the level of archetypes and as inhabitable interlocutors of everyday actions. It develops material and programmatic gestures from the thickness of the glaze that binds the narrative imagery of Majolica 3

Basile, Giambattista. Il Pentamerone; or, The Tale of Tales. Place of publication not identified: Immortal Classics, 1927. 64-66.

Placard found in Presepe exhibition room in Museo e Certosa di San Martino

imaginary events and people

Spindle- A steel rod used to

Gold that have inscribe into the plaster and been beaten into a very thin sheet structurally support the layers Gold

leaf-

and denotes a moment of significance.

above

Staging- The method of presenting a play or other dramatic performance. Nativity- The occasion of a persons The strategic movements and birth. The birth of Jesus Christ carefully calculated moments

which bring Majolica Tile- A type of pottery narrative.

in which an earthenware clay body (usually a red earthenware) is covered with an opaque white glaze (traditionally a lead glaze including tin), then painted with stains or glazes and fired.

together

Tile- A ceramic formed tile representing the regions of Naples most relevant to the narrative of the nativity and malacqua

Italics are used throughout this Plate- A steel base defining the text to distinguish quotes taken boundary of the tile cut by the from readings. sewer lines of Naples. The plate is used to hold the ceramic tile. Each plate is taken at a height of sea level Presepe- Also Known as a manger scene, crib, crĂ¨che or nativity scene. Profane- Not relating to that which

is sacred or religious; secular

GLOSSARY

Props- A portable object other than furniture or costumes used on the set of a play or film. Objects which

Base- A Plaster layer with an help to execute a narrative. inscribed city Sacred- Connected with God or Black Leaf - Black forms a God, or dedicated to a religious created using images from the purpose so deserving veneration 3d scanning of term 1 models a dream factory, a studio for a Scene- The place where an incident journalist and a meteorologist in real life or fiction occurs or and a toilet. occurred. Locations, moments and histories within Naples Characters- A person in a novel, where the extraordinary and everyday coincide. play, or film. A cast of real and imaginary characters .

Script- The written text of a play, Chasm- A deep fissure in the Earths film, or broadcast. Script examines existing literature written Surface. about Naples and explores new narratives created. Fact- A thing that is known or proved

to be true

Spikes- Steel wire which hold the ceramic tiles at the correct Fiction- Literature in the form of topographical elevation above prose, especially novels, that described the steel plate 4

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Fig 2 - Movement of tiles into reconfigured position

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preface PROLOGUE Script : Relevant literature Battered by relentless rain : Malacqua The pagan heart of Naples : Nativity Ghostly and unsettling events are reported all over the city : Animate Drawing Finding a flicker of hope in a hopeless world : New scripts It is a theoretical city: Working Methodology Scene : Context and events Hidden dolls howling in anguish : Doll Hospital, Via San Gregorio Armeno Saturated ground itself a treacherous element : Sewerage systems , Sink-holes, Chasms, Ground Not by the violence of nature but by bureaucratic inertia : Years of Lead, Camorra, Illegal dumping Witnessing the liquefaction of their city : Cancer increase A city suspended in Melancholy : World War II, Covid 19 Props : Materiality and Models

Sewers back up and plaster peels : Majolica tiles, Materials Captured with force and beauty : Models

Characters : Factual and Fictional Characters in the city

Vignettes of the local people : Malacqua characters, Real cast of characters in Naples A free- flowing stream of consciousness : Journalist, little girl, Woman in love, fireman, cigarette seller, switchboard operator

Voices blend in a stream of soliloquies : Exhibition

Staging : Reconfigurations

A scene that tracks the meticulous movements : Animate drawing reconfigurations What if the rain never stops? : Our interventions

LETTER to the editor : Reflection

The Design Report is completed by Sophia Bharmal and Kate Murphy, however the following thesis project was completed in collaboration with an March 1 student Joanna Hobbs for the Neapolitan Porosity Studio. All work shown will present sets of initials to credit each individual who completed it. Sophia Bharmal- SB Joanna Hobbs- JH Kate Murphy- KM

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distinctive characters who inhabit the city. The project does not only reflect on those of the city but also those who inhabit each proposal. The journalist who writes the pages of the book Malacqua but also the man who inhabits its pages are both equally weighted in the imagined Naples.

Staging is the strategic movements and carefully calculated moments which bring together a narrative. The props, characters and scripts are carefully manipulated to form specific conditions within the scene. The staging shows the moves made in the design decisions as well as the reforming of Naples. Many times staging leads to re-scripting, here the city of Naples is re-scripted with the interventions and narrative mapping.

PREFACE This design report is divided into six chapters each reflecting a different aspect of storytelling. Every chapter contains fragments of the design, exploring each proposal in a non-linear formation which emphasises the different components of the thesis. The script, scene, props, characters, staging and letter to the editor compose the narrative of the report.

Scene sets the stage for narratives LETTER to the editor will reflect to take place, exploring the history of Naples which has formed the working ground of the city and by extension the ground of the proposals both physically through models and the movement of ground in the design.

Props are objects, things which

help to execute a narrative. These props are taken from the materiality of Naples, from the ceramic of the majolica tiles to the wire frames of the presepe. These materials present themselves throughout the design helping to convey stories, in the formation of models to the material properties shown in detail.

Script references the selection of literature written about the city which tells stories illustrating the actions which take place in each street and crevice of the undulating landscape. A re-scripted architecture will be explored, born from a reassemblage of narratives. These will create new architectural stories set forward by the Characters, the real and the imaginary, Naples is full of buildings. 9

on the mapping of Naples through the lens of fiction and by extension architectures which blend together the real and the imaginary. The sub-chapters become fragments of these narrative components, each title taken from reviews of the book Malacqua showing the depth with which this story has captured Naples.

PROLOGUE Naples is a city of stories, where the real and the fiction blend together seamlessly. It compiles stories with historical, fictive and biblical reference. The city can be read as narrative with its own cast of characters, scenes, scripts and plots.

Coronavirus (COVID19) pandemic. Naples has a unique way of dealing with their issues, in a story-like fashion.

The projects which emerge take on some of these challenges and bring a playfulness and fantastical narrative, both One of the central narratives addressing the everyday of for the telling of Naples as a Naples and looking towards a city where problems are dealt new story. with through fiction is Nicola Puglieseâ&#x20AC;&#x2122;s Malacqua. The book A Dream of Naples: Inscribing appears to be a fantastical Real Fictions and Fictive story where extraordinary Realities allows for plots to events occur over the course be reconfigured, characters of four days of rain but has a to move throughout the city serious undertone of a mockery and scenes to be played out at towards the political state of the various scales to respond to city at the time it was written. fictive and real events. Pugliese uses magic realism to mask the troubles facing the city and presents them in an almost comical way. The pathetic fallacy of relentless rain resonates with the continuous issue of global warming today. The book is a harmony between Naples the city and its stories. The connection between story and city becomes important in the architectures presented. Each project can be read on two dimensions. The first relating to an imaginary world, observing the city as a Dream of Naples, whilst the other addresses the realities of a city in turmoil, from washrooms and workshops to ceramic and textile factories. The representation of architectural languages becomes distinguished in order to tackle these two dimensions. Hand render, line drawings and a more muted colour palette address the real issues associated with the programs whilst colourful representations speak to the fictional world. The cityâ&#x20AC;&#x2122;s playfulness is juxtaposed with the harsh realities of the Camorra reign, municipality, waste management and the current

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Fig 3 Fig 5

Langley, Lee, Nicola Pugliese’s Malacqua — finally translated into English — is a powerful morality tale of a great city in decay, The Spectator, https:// www.spectator.co.uk/2017/12/naplesdrowns-in-deluge-and-corruption/, (Accessed 29 February, 2020).

Fig 4

“Pugliese has captured the force and beauty the state of mind of a city that is both ‘theoretical’ and real”3. 2

Fig 3 - Aerial view of Naples from Castel Sant Elmo looking towards Vesuvius Fig 4 - Sketch of Naples underground Fig 5 - Sketch of a section cut through Naples showing above and below ground conditions

Key: Proposal sites Malacqua Narrative Events Malacqua Sites of Importance Narratvie Ceramic Tiles (original position) Narratvie Ceramic Tiles (new position) Narrative Journey Presepe Locations Sewage System Peak level of flood saturation Sites of Programmatic Relevance C

Ceramics museum

Textile shops/ factories

H.H Halfway house

Hospitals Schools

Libray

P.T.

Public Toilet

Graveyard

Presepe Street

Ground conditions- City Cavities/ Contours Text key:

a a a

Malacqua Quote Newspaper Quote of real events Facts for real events/locations Gold district

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SCRIPT [noun] “The written text of a play, film, or broadcast.” Script examines existing literature written about Naples and explores new narratives created.

“Narrative is present in every age in every place, and in every society; it begins with the very history of mankind”4. Paul Emmons, Marcia F. Feuerstein, and Carolina Dayer. Confabulations : Storytelling in Architecture. Taylor and Francis, 2016.

Fig 6 - Contents map 4

“Battered relentless

by rain”5

MALACQUA “Malacqua, [Bad Water], Four days of rain in the city of Naples, waiting for the occurrence of an extraordinary event” by

Nicola Pugliese.

Fig 7 - Malacqua blurb 5

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This book is an opening into the thetic Naples of this project. A stream of consciousness takes the reader through a city in mayhem as a torrent of rain causes infrastructure to fail and people to die. All the while an ineffective government tries in vain to repair and contain the damage. However, emerging from this turmoil is a fantastical Naples, of talking dolls and singing coins. The events that ensue are a satirical view of Naples turbulent reality faced throughout the 1970s, showing that the fabrication of fiction sits close to truth in this strange city. The project focuses on this line between the harsh city and the fantastic moments which inhabit within it. Mapping not only the strange series of narratives but also the realities from which they are derived. Below are a list of quotes from Malacqua which specify locations in the city where these extraordinary events occurred. These quotes guided the mapping and shape the city of Naples for this project.

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M 16

M 17

M9 M 10

M 18

M 19

M1 M 11

M 20

M 12

M 21

M 22 M 13 M 23

M6 M 24 M 14

M 15 M8

M 25

â&#x20AC;&#x153;The pagan heart of Naplesâ&#x20AC;?6

NATIVITY Religion in Naples is important to locals. Faith is expressed through the presepe craft, Key: scripting aspects of the Proposal sites all Events Key: Malacqua Narrative nativity along with everyday Malacqua Sites of Importance Proposal sites time of crafting (see life at the Narratvie Ceramic Tiles Malacqua Narrative Events (original position) pgs 39-42). Malacqua Sites of Importance Narratvie Ceramic Tiles (new position) Narratvie Ceramic Tiles (original position) Narrative Journey Narratvie Ceramic Tiles (new Presepe Locations position) Sewage System Narrative Journey Peak level of flood saturation Presepe Locations Sites of Programmatic Sewage System Relevance

Key: C

Ceramics museum Peak level of flood saturation Proposal sites

Malacqua Narrative Sites of Programmatic Textile shops/ factories Events

H.H Halfway house H C S H.H L

Key:

T P.T. H G S PS L

Relevance Hospitals Malacqua Sites of Importance Ceramics Schools museum Halfway house Narratvie Ceramic Tiles Libray Textile shops/ factories (original Public Toiletposition) Hospitals Graveyard Narratvie Ceramic Tiles (new Schools position) Presepe Street Libray

Toilet Narrative Journey City P.T. Public Ground conditionsGraveyard Cavities/ Contours G Proposal Presepe sites Locations Text Presepe Street PS key: Malacqua Narrative Events Sewage System Quote City a Malacqua Ground conditionsSites of Importance a Malacqua Newspaper real events Cavities/ levelContours ofQuote flood of saturation a Peak Facts for real events/locations Ceramic Tiles TextNarratvie key: Sites of position) Programmatic Gold district Malacqua a (original Relevance Quote a Narratvie Newspaper QuoteTiles of real events Ceramics museum Ceramic (new aC Facts for real events/locations Halfway house H.Hposition) Textile shops/ factories Gold district T Narrative Journey

Fig 8H - Nativity map Hospitals S

Presepe Schools Locations

P.T.

Sewage System Public Toilet

Graveyard Peak level of flood saturation

Sites of Programmatic

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Presepe Street

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“Therefore through reading, Naples has become a stand in for Jerusalem. A second, yet more faded, rainbow forms at times next to the first. Naples is that second rainbow in light of the verses written for Jerusalem”7. 8

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Thomson, Ian, ‘Malacqua by Nicola Pugliese — water, water everywhere’, Financial Times, https://www.ft.com/ content/65ad3ca4-f46a-11e7-88f75465a6ce1a00, (Accessed 29 February, 2020) 7. D’Acierno, Pellegrino, Stanislao G. Pugliese, and JSTOR. Delirious Naples : A Cultural History of the City of the Sun. First ed. New York: Fordham University Press, 2019. 6.

of quotes taken from Malacqua. The real mapping focuses on moments of programmatic relevance in the city of Naples. In addition the true ground conditions of Naples including cavities and contours are mapped. Quotes are taken from newspapers of real events that have impacted the city. Finally the true journey we have taken through the city on our visit is drawn in ink, introducing a final narrative to the city, inspired by fiction but taking place within the realities of Naples. To distinguish the reality from the fiction different textures and text have been used. A contrast between hand render and digital imagery in mapping juxtaposes the real and imaginary and is present throughout the project, carefully picking apart the fictive realities of the city from its actualities.

CONTENTS MAP The contents map is a culmination of extraordinary events both real and fiction and allows the reader a specific entry into the city of Naples.

Fig 9

Within the Animate drawing an extraction of only the real from the contents map (see fig 6) was laid into the fictional landscape of the model. Re-establishing the reality of the city in which the projects were being built and the everyday conflicts and problems that needed to be tackled.

â&#x20AC;&#x153;To write Naples is necessarily to desire it and therefore either to submit to or reject It brings together the different its fascinationâ&#x20AC;?8 narratives and realities of the city showing how the animate drawing reconfigures the city and creates a new world full of events and stories. The complete contents map (see pgs 3-4) shows both a mapping of the fictional and the real within Naples.

Dâ&#x20AC;&#x2122;Acierno, Pellegrino, Stanislao G. Pugliese, and JSTOR. Delirious Naples : A Cultural History of the City of the Sun. First ed. New York: Fordham University Press, 2019.

Fig 9 - Contents map banner (tracing the real) Fig 10 - Contents map banner being overlayed on animate drawing

The fictional mapping shows the different proposal sites, events that occur within the book malacqua, the ceramic tiles drawn from the landscape and their movements within the animate model, the narrative journey taken by the animate drawing and the city locations

Fig 10

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Ceramics museum

Textile shops/ factories

H.H Halfway house

Hospitals Schools

Libray

P.T.

Public Toilet

Graveyard

Presepe Street

Ground conditions- City Cavities/ Contours Text key:

a a a

Malacqua Quote Newspaper Quote of real events Facts for real events/locations

CONTENT MAP 1:5000

the animate drawing follows the same material palette as the presepe construction depicting scenes of the nativity (see pgs 39-42). The elaborate presepe are finely crafted with a range of materials. The backdrops or base layer (scenes) on which the presepe characters sit, are typically constructed with plaster. The structure of the figurines are made of wire-frame and act as the bones or supports for the clay capping. The wireframe bodies are then dressed with clay, which is painted to portray the different features of the characters. Gold leafing, silk and other fine materials are used as a finishing touch to characters of importance. The materiality of these sacred scenes are broken down to form a new way of scripting Naples. The base layer on which Fig 11 - Deconstruction of a Presepe narratives could be inscribed upon was constructed with plaster forming a setting of “Ghostly and unsettling Naples. Steel rods, plates and events are reported spikes formed the bones of the allowing it to move and all over the city9” model perform the different narratives. Clay was then used as a capping, extruding and etching the buildings and locations of narrative importance. The clay was dug away in areas where cavities exist in the city, relating to the Nativity narrative (see pgs 39-42).Finally, gold leaf was used to dress an area of importance to the design narratives, drawing attention to The Animate drawing enables the city sites. a re-scripting of Naples. It’s been created through the lens of In order to create new depictions different narratives reforming of life, the presepe craftsmen the landscape and the realities create sketches and traces of the map to coincide with from reality. The real issues of the stories told. Through this Naples, the waste problems drawing machine the fictive is along with existing sites of concretely modelled in solid programmatic relevance were ceramic and moved within reintroduced in a translucent the narrative lines of definite layer on the animate drawing, steel. Realities are folded studying the real in order create back through the plaster base reconfigurations. and thin translucent paper. This drawing shows a re- 9. Langley, Lee, Nicola Pugliese’s Malacexamination of the city through qua — finally translated into English the perspective of the imaginary — is a powerful morality tale of a great while the real slyly creeps back city in decay, The Spectator, https:// through the cracks of the tiles. www.spectator.co.uk/2017/12/naples-

Fig 12 - Clay tile

Fig 13 - Steel tracks

ANIMATE DRAWING

Fig 14 - 1:200 Contents map banner

drowns-in-deluge-and-corruption/,

The methodology for crafting (Accessed 29 February, 2020). SB,JH,KM

Fig 15 - 1:200 Contents map banner

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NEW SCRIPTS “Finding a flicker of hope in a hopeless world10”

10. Langley, Lee, Nicola Pugliese’s Malacqua — finally translated into English — is a powerful morality tale of a great city in decay, The Spectator, https:// www.spectator.co.uk/2017/12/naplesdrowns-in-deluge-and-corruption/, (Accessed 29 February, 2020).

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Fig 17 - 1:100 models of semester 1 designs in Elevation 14

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Fig 18 - 1:100 models of semester 1 designs in plan view 16

“it is a theoretical city, una città teorica. Naples is a state of mind.11”

WORKING METHODOLOGY Using the animate drawing as a script, the tectonics for semester 1 were established. Heavy materials were suspended on delicate spindle like objects lifted from the ground in the event of a flood (See fig 17-18). Moving into design for semester 2, the scripts (1:100 models) were extracted, abstracted and reconfigured to create new narratives. The models were 3D scanned to examine existing architectural languages that emerged from semester 1. The scans were then transformed into fragments of black leaf which could be cut up, modelled and reconfigured to create new architectures. The black leaf became a working methodology, which could be read as solids or voids for new architectural configurations.

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11. Langley, Lee, Nicola Pugliese’s Malacqua — finally translated into English — is a powerful morality tale of a great city in decay, The Spectator, https:// www.spectator.co.uk/2017/12/naplesdrowns-in-deluge-and-corruption/, (Accessed 29 February, 2020).

Fig 19 - Black leaf studies 17

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When initially designing the recycling factories, pieces of reconfigured black leaf script were taken and reformed. The pieces which were extracted from scanning were positioned in various places on the sites along Via Aniello Falcone. The black leaf pieces began to take on different languages in each proposal. Traces of the black leaf can be found throughout the finalised plans and sections. Fig 20 - Sketch models reconfiguring the black leaf studies

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Black leaf elements began to take on the form of retaining walls, divisions of space, screening systems and furnitures within the architecture of the Textile recycling factory. The black leaf formed architectural gestures which were carried through the project, such as the buttress like columns which formed a strong facade to the south of the building, reminiscent of the buttress wall retaining the existing south boundary (See pgs 121-122). The columns which started to take form out of the black leaf became a heaviness in the facade which anchored the building into the landscape.

A 16.

15.

5. 3.

Fig 23

As new black leaf elements were overlayed and traced, new floor-plates began to be conceived. The black leaf became an important aspect of expressing the program within the building.

Fig 21 - Cutting up the black leaf Fig 22 - Sketches are drawn on top of black leaf, taking black leaf as solid Fig 23 - Overlaying of black leaf and sketches, plans begin to emerge Fig 24 - Final Ground Floor plan of the textile recycling factory

Fig 22

KEY 1. Entrance plaza 2. Pedestrian site entrance 3. Public seating with view up to the sewing mules and down to carding machines 4. Public seating with view down to fabric crusher below 5. Fiber shoot up to factory above 6. Public seating with views to Capri and Vesuvius 7. Staff entrance into perforated brick core which leads to factory above 8. Textile lift for factory 9. Lift core 10. Stairs with external mezzanines at various points to capture views 11. Public viewing platform to Capri 12. Staff viewing platform to Capri 13. Larger steps form seating with views to Vesuvius 14. Stairs leading towards workshops, shop and textile exhibition rooms 15. External courtyard 16. Staff stairs to factory below - Outline to indicate where 1:100 model is taken from Fig 21 KM 21

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Fig 27

The black leaf began to express the structure in the ceramics recycling factory. Initially the shapes acted as an indicator for a thickening within the architecture. A heaviness which formed walls contrasting the blank paper where a lighter structure formed. This representation flipped in the final plan, irregular shapes formed by the black leaf became a lightweight polycarbonate wall wrapping the factory spaces, whereas the emptiness between the black leaf was filled with heavy concrete cores. The architectural language establish in first term whereby a heaviness is suspended over a delicate assortment of materials is reflected by the new architecture. The building material which reached the ground is primarily made of a translucent, light polycarbonate and the surface above is concrete, however instead of a delicate balancing act large cores penetrate the building demonstrating a collision between the fictional ceramic tiles and the delicate spindle city on which they sit.

Fig 25- Initial black leaf reconfiguration to form plan spaces Fig 26- Adding drawn elements to the black leaf Fig 27- Tracing over black leaf to form first plans Fig 28 - Final Ground floor plan of the ceramic recycling factory

KEY: 1. Factory Entrance 2. Lift core 3. Incoming recycling truck unload 4. Incoming discarded tile shoot 5. Incoming operation offices 6. Switchboard operator W.C 7. Machine service room 8. Tile grinder 9. Cigarette seller W.C 10. Women in Love changing room 11. Women in Love W.C 12. Women in Love bath/reading room 13. Outgoing tile packaging 14. Outgoing operation office 15. Fireman W.C 16. Forklift bay area 17. Outgoing tile loading 18.Cigarette seller enveloped balcony smoking area Dotted line to indicate where 1:100 model was

SB 23

Fig 26

Fig 25

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Fig 28 24

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Elements of the black leaf fragments and the animate drawing began to combine as the architectures of the factories were refined in 1:200 models. Elements which were to be read as heavy in the design of the textile recycling factory became black, relating back to the black clay tiles in semester 1. The idea of a seemingly heavy world above began to form, which was supported by more delicate Fig 31 steel columns, reminiscent of the metal spindles of the The second fragment model animate drawing (see pgs 11- investigates a more intimate exhibition room, where the 12) . imaginary begins to creep Internal spaces were explored back in the form of a journalist. through a series of fragment Taking earlier gestures from models. The first, examining the black leaf, walls begin to the relationship between become angled to lead the different factory spaces above visitor through the exhibition and the external public realm space. below. Voids in the plan create connections to the public realm on the ground floor. Moments are created where passers-by get a glimpse up to the working machines. The model also investigates how the grounded core connects to the factory through a series of bridges which take the workers from the more open circulation core to the internal spaces.

Fig 29

Fig 30 SB, KM 25

Fig 32

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Within the design of the Ceramic recycling factory the black leaf solidifies itself within the cores. These become a key element, presenting themselves throughout the plan.

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The cores represented within the 1:200 model are made from ceramic. This language was to distinguish them from the lightweight factory walls and elevate them to the status of a black clay tile (from semester 1). An object which conveys a story through its materiality. The emphasis on narrative breaks apart the factory floor allowing moments of story to intrude. The cores act as a threshold between the factory floor and the narrative world which sits above. The 1:100 fragment models explores the relationship between the two dominant materials. The grey card representing the concrete and paper as polycarbonate. The grey card core runs through moments of the building and engages with each floor. The polycarbonate pieces grow off the cores, supported by the structure of the concrete.

Fig 36

Fig 33

Fig 34

Fig 29 - 1:100 fragment model of the Textile recycling factory floor Fig 30 - 1:100 fragment model of the Textile recycling factory floor Fig 31 - 1:100 fragment model of a space for a journalist Fig 32 - 1:200 model of the public exhibition spaces and workshops in the textile recycling factory Fig 33- 1:100 Ceramic recycling factory fragment model Fig 34- 1:100 Ceramic recycling factory fragment model Fig 35- 1:100 Ceramic recycling factory fragment model Fig 36- 1:200 initial Ceramic recycling factory model Fig 35 26

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Fig 37 - A Glass Recycling Factory, A Textile Recycling Factory and A Ceramics Recycling Factory 28

Fig 38

The oblique drawings bring together a new script for the factories which developed from cutting, reconfiguring and tracing. the three main scripts of the textile recycling factory are described in the drawings (see fig 38, 82-83). The building is cut in three sections to reflect the narratives of the working factory, workshops and public textile exhibition rooms.

Reading up through the oblique drawings, the first cut describes a series of exhibition spaces showcasing recycled textiles. The visitor weaves their way through the different exhibition rooms. The second section cuts through public weaving and sewing workshops. These are designed to introduce the public to using recycled textiles. Finally, the third cut speaks of the factory space, and the processes of taking in used clothing and up-cycling it.

SB, KM 29

The oblique of the ceramics recycling factory is a drawn script of the recycling process and its relationship with the public narrative. The North end of the site provides a loading and unloading for material as well as a staff entrance, however the South-side which faces onto residential accommodation supplies a public access to the building, for use of the childrenâ&#x20AC;&#x2122;s swimming pool or to access the library. The section within follows a strict procession of ceramic materials, whilst the building projected in the oblqiue reflects another system of movement in the form of characters and stories through different external access routes.

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Fig 38 - West facing Oblique, Textile recycling factory Fig 39 - West facing Oblique, Ceramics recycling factory

Fig 39 30

The exploded factory isometrics describe the real narratives set out by the materials being recycled. The script they follow through the building is mapped out through text which wraps in and around the drawings. The textile narrative script describes how fabric weaves its way through the processes of textile recycling. The plan of the building follows a circular motion and each part of the narrative is connected, allowing textiles to travel seamlessly through the building. Storage silos, textile dumb-waiters and shoots allow fabric to be transported to the next stage of the process within the building (see pgs 93-94). The Ceramic recycling factory operates within two narrative scripts. One of the ceramic tiles (see fig 41) and one of the characters of Malacqua (see fig 137). This exploded isometric demonstrates the script of the tile recycling process. The factory floor explodes below grounding the majority of the recycling processes to the ground. They cyclically travel down and around the site, cutting into the steep landscape and then emerging back up at the top of the incline. Each fragment of the recycling process is given a specific space and conveyor belts travel between floors moving material throughout the building. Recycling as a process supplies an organisational script within the architectures of both factories. Story is key within this project, exploring the possibility of both the practicalities of machine processes but also the imagined realities which inhabit interjected moments of this structured world. (see character chapter) 12.

Frascari, Marco. Eleven Exercises in the Art of Architectural Drawing : Slow Food for the Architectâ&#x20AC;&#x2122;s Imagination. Abingdon: Routledge, 2011.

Fig 40 - Textile narrative isometric Fig 41 - Ceramic recycling exploded factory isometric

Fig 40

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“For a building to exist, someone has to tell its facture in a “Formative storytelling”. The story is told by a hesitant delineation of many lines. 12”

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Fig 41 32

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SCENE [noun] “A place where an incident in real life or fiction occurs or occurred”. Locations, moments and histories within Naples where the extraordinary and everyday coincide.

Fig 42 - Photograph of 1:2000 model 34

The following chapter sets the scene of Naples as a fantasical city. From the fictional stories it tells to the everyday occurrences. Miraculous events occur in this setting. Scene will take a journey through A Dream of Naples, from the doll hospital, presepe street and sites of unbelievable topography, to architectures which emerge from these extraordinary moments. Simultaneously, the city is a backdrop for extreme corruption and melancholy. The Camorra rule, illegal dumpings and cancer increase also set the scene of a city in disarray. Scene begins to stitch together the harsh realities and fictional wonderments. Finding a balance in this city of extremes. 35

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Fig 43 - Photograph of Presepe street 36

pass through the corridors. The realities of the hospital resonate with the howling dolls in Malacqua found in mysterious places. This collision of the real and make believe offers an entry to a city on the periphery of a fictional world.

“Hidden dolls howling in anquish13”

DOLL HOSPITAL

13. Langley, Lee, Nicola Pugliese’s Malacqua — finally translated into English — is a powerful morality tale of a great city in decay, The Spectator, https:// www.spectator.co.uk/2017/12/naplesdrowns-in-deluge-and-corruption/, (Accessed 29 February, 2020). 14. The doll hospital in Naples - Italian ways, Italian ways, https://www.italianways.com/the-doll-hospital-in-naples/, (Accessed 24th Apr, 2020) 15. L’Ospedale delle bambole da bottega a museo - ViaggiArt, https://web. archive.org/web/20171021195038/ http://www.ansa.it/canale_viaggiart/ it/regione/campania/2017/10/21/ lospedale-bambole-da-bottega-amuseo_1740daf3-7765-4cb1-916fe3823a1e657b.html, (Accessed 24th Apr, 2020) 16. The doll hospital in Naples - Italian ways, Italian ways, https://www.italianways.com/the-doll-hospital-in-naples/, (Accessed 24th Apr, 2020)

Fig 44 - Nurse preparing for an operation in the Doll Hospital Fig 45 - Broken Dolls waiting to be repaired in the Doll Hospital Fig 46 - Broken Dolls waiting to be repaired in the Doll Hospital

The doll hospital epitomises how reality is as fantastical as fiction within Naples. Entering the hospital feels like you are entering into a Dream of the city. It was founded during the 1800’s in the heart of Spaccanapoli by Luigi Grassi. Grassi was a set designer by trade for puppet and full size theaters until one day a woman came to his workshop and begged him to fix her child’s broken doll. Before long he was awarded with an honorary degree in toy medicine16. Today the doll hospital remains in the city as both a functioning hospital for the repair of local Neapolitan dolls and as an attraction for tourists to enter a fantasical world where dolls speak and stare at you as you 37

Fig 44

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“L’Ospedale

si configura come un vero e proprio laboratorio di restauro dedicato alla cura e alla conservazione di un patrimonio culturale che per la sua unicità ha contribuito a caratterizzare la memoria storica di Napoli15. ”

Fig 45

“Along these crowded hallways, working- class puppets and aristocratic pupi are all treated the same, and precious Lenci ceramic dolls receive the same attention and care as popular tin dolls from the city’s poorest homes14”. 38

Fig 46

A w

Fig 47

“Many artisans and merchants, though, have accepted that they have to straddle the two worlds, sacred and secular”

“Hidden dolls howling in anquish17”

VIA SAN GREGORIO ARMENO Leaving behind the enigmatic interiors of the doll hospital and rounding the corner brings you to the curiosities of Via San Gregorio Armeno. A street lined with satirical miniaturisations of an abstracted Neapolitan city. Welcome to Presepe street. The presepe, or crèche refers to the well known Nativity scenes created by local craftsmen in Naples. Two brothers, Pietro and Giovanni Alemanno made a name for the craft (see pgs 4142).

Both adults and children alike could enter into these imaginary worlds and escape real life while crafting and enjoying these scenes. These magical assemblages are dotted around the city and can be found in both churches and museums alike.

Pizza makers, fishmongers and bakers as well as Mt. Vesuvius began to be as important to the scenes as the Holy family and the Maji. The art form became an expression of the interface where the sacred meets the 17.Langley, Lee, Nicola Pugliese’s MalacEvery home in Naples profane in this strange city. qua — finally translated into English — showcased elaborate ceramic Fig 47 - Nativity scene found along Via San Gregorio is a powerful morality tale of a great cribs which extended to Armeno. 48 - Local Newspaper article about the Presepe city in decay, The Spectator, https:// incorporate the rest of the Fig in Naples. www.spectator.co.uk/2017/12/naplescity by the 17th century. The drowns-in-deluge-and-corruption/, presepe was an escape from the (Accessed 29 February, 2020). harshness of city life, and began 18. Placard found in Presepe exhibition to be regarded as a ‘dream room in Museo e Certosa di San 18 factory ’. Martino 39

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Fig 48 40

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Fig 49 - Wooden nativity scene created by the Alemanno brothers in the 15th century preserved in Museo e Certosa di San Martino, Naples. Fig 50 - Local Neapolitans in miniature, 2.5cm high. Fig 51 - Banksy mural of the Madonna with a gun depicted as her halo in the center of the historic center. Fig 52 - Maradonna mural in the Spanish Quarters, Naples Fig 49

Fig 50

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“The oral tradition uses metaphors and gathers from ordinary life to talk of the profane with the possibility of the sacred19.”

Fig 51

Fig 52

“a ritualistic toy to play a metaphysical game20” Presepe street is the embodiment of a city of opposites. The secular and divine come hand in hand, in a city where the Maradonna is worshipped to the same degree as the Madonna and the Camorra have the same control as government officials. The craft straddles between a depiction of real events and the imaginations of its makers. Christmastime in Naples: Jesus, Mary and Ronaldo, The New York Times, https://www.nytimes. com/2018/12/20/sports/soccer/naples-nativity-ronaldo-mbappe.html. (Accessed 17th April, 2020). 20. D’Acierno, Pellegrino, Stanislao G. Pugliese, and JSTOR. Delirious Naples : A Cultural History of the City of the Sun. First ed. New York: Fordham University Press, 2019. 19.

:00 , 11 y4 Da 0 , 9:3 y2 Da

:45

,9 ay 2

T Via San Gregorio Armeno

Fig 53

PRODUCED BY AN AUTODESK STUDENT VERSION

Water is an invisible presence in this location and becomes acknowledged, addressed and visible through the schemes proposed on the site.

Fig 53 - Plan view of semester 1 site tile with surrounding context buildings extruded. Fig 54 - Foam mould to drape clay for semester 1 site tile. Fig 55 - Site plan of semester 1 site Fig 56 - Drawing of semester 1 site tile. Fig 57 - Entrance to semester 1 site. Fig 58 - Finished site semester 1 tile.

Fig 56

Removing yourself from the crowded narrow street of Via San Gregorio Armeno and doubling back towards the doll hospital, on a perpendicular street to the hospital sits an abandoned halfway house ready for demolition. This forgotten plot of land in the heart of the city becomes the scene for a series of extraordinary everyday spaces.

L Fig 57

(see pgs 53-56) and workshops and exhibition spaces for the presepio craftsmen (see pgs 4750) begin to inhabit the site. PRODUCED BY AN AUTODESK STUDENT VERSION

Fig 55 PRODUCED BY AN AUTODESK STUDENT VERSION

Fig 54

Water is personified in Malacqua and becomes a key protagonist in the book (see pgs 51-52). The relentless rain drowns the city. Water is mapped through floodplains and locations most susceptible to flooding. One L of the epicentres of flooding is A series of washrooms for the located on the site for semester six main characters of Malacqua 1. SB, JH, KM 43

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Doll Hospital

: 4, 9

Semester 1 site

L T

T T

Fig 58

Tile 25

4 1 5

SB, JH, KM 45

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Dream Factory Key: 1. Presepio entrance 2. Exhibition space 3. Circulation down to the kiln and presepio workshop 4. Presepe garden 5. Public entrance 6. Pine tree grove 8

Fig 59 - Semester 1 site plan. Rendering the narrative 46

Toilet Key: 1. Public water fountains 2. News agents 3. Toilet for the little girl 4.Toilet for the switchboard operator 5. Toilet for the Journalist 6. Toilet for the women in love 7. Toilet for the cigarette seller 8. Toilet for Presepeio 9. Shore line for water collection 10. Water collection pool

A DREAM FACTORY Within 100m of Via San Gregorio Armeno, the site for the dream factory offers a quieter, more expansive plot of land to work on the figurines. A workshop is set up for a presepio, along with an exhibition room and garden for the public. On Presepe street, craftsmen often hide behind secret doors and down in cellars to create their presepe and then bring them out to the shopfront once completed. A magical moment occurs when a secret door is opened and you get a glimpse at the presepio at work. Their workshops become cave like where they meticulously prepare the holy event of the nativity, almost reenacting the event where some accounts believe Jesus to be born in a cave.

like archetype. The workshop is carved into the ground, allowing the craftsman solitude to create their scenes, removed from curious eyes. Rooflights and openings are set up to allow a passerby to get a glimpse of the craft at work. The shops along Via San Gregorio Armeno are cramped and itâ&#x20AC;&#x2122;s difficult to appreciate the larger ceramic crafted pieces. The presepe garden becomes an open space for tourists and locals alike to walk through, sit down and enjoy these beautifully crafted pieces.

The dream factory sets up spaces which reflect this cave KM 47

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Fig 60 - Section through A Dream Factory 48

KM 49

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Fig 61 - 1:100 model of A Dream Factory 50

“Saturated ground itself a treacherous element21”

SEWAGE SYSTEMS Fig 62

SB, JH, KM

Fa, Figure /:https://www.nytimes.com/1970/01/19/archives/article-3-no-title.html 51

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Fig 63

“NAPLES, Italy, Jan. 16— When the winter drizzle in Naples becomes a downpour, as it has now, water breaks through the 110‐year‐old sewer ducts, streets collapse, houses crumble and people 22 die .”

Water in Naples is a temporal feature, though the hot Mediterranean summers parch the landscape, the autumn months contain enough rainfall to quench its thirst. However this delicate balance collapsed on ‘January 19th 1970’23 when torrential rain fell in Naples causing ‘110 year old’24 sewage pipes to burst. Tragedies ensued as people were buried by landslides, houses collapsed and the city deteriorated. The book Malacqua by Nicola Pugliese was primarily inspired by the events of 1970 following four days of rain and rapid disintegration of Naples. The Sewage lines played a key role within the project thesis, helping to map the city. They create an outline for each clay tile breaking the city into the floating pieces left after the burst pipes separated the landscape (fig 63).

Key: Proposal sites Malacqua Narrative Events Malacqua Sites of Importance Narratvie Ceramic Tiles (original position) Narratvie Ceramic Tiles (new position) Narrative Journey

supporting each street as a spine supports a body. Its dysfunction leads to questions about governmental inadequacies. Sewage, in Puglieses’ fictional Naples acts as a representation of the municipalities inability to take proper action. Langley, Lee, Nicola Pugliese’s Malacqua — finally translated into English — is a powerful morality tale of a great city in decay, The Spectator, https:// www.spectator.co.uk/2017/12/naplesdrowns-in-deluge-and-corruption/, (Accessed 29 February, 2020). 21.

M 18

Presepe Locations

Sewage System in Naples Narrative Ceramic Tiles

Sewage System

Peak level of flood saturation Sites of Programmatic Relevance

Public toilets

Ceramics museum

Textile shops/ factories

H.H Halfway house

Hospitals Schools

Libray

P.T.

Public Toilet

Graveyard

Presepe Street

Ground conditions- City Cavities/ Contours Text key:

a a a

Malacqua Quote Newspaper Quote of real events Facts for real events/locations

CONTENT MAP 1:5000

22. Friendly, Alfred, In Naples, Housing Booms, Sewers Falter and Streets Collapse, The New York Times, https:// www.nytimes.com/1970/01/19/archives/article-3-no-title.html, (Accessed 10 April, 2020). 23.

Ibid

24.

Ibid Fig 62 - Newspaper article about sewers bursting and streets collapsing during the four days of rain Fig 63 - Map showing sewage lines and public toilets in Naples

A Sewage system forms the basis of public infrastructure 52

THE TOILET

The flooded city portrayed in Malacqua inspired a semester one project of the public toilet. A space to counteract the overflowing sewage system of Naples where water seeps into the cracks of houses, filling the air with the odour of disuse. A toilet for the city of Naples gives a public destination for each character of Malacqua. The spaces are designed specifically in response to SB

individual narratives. However each character becomes a demographic of a population, allowing a place for every person in Naples. Water is collected and dispersed carefully through the building circulated with purpose through a series of gutters and channels exposed in the building. A large pool sits at the end prepared to collect rain water in the event of a flood. 53

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Fig 64 - A Section through the Toilet 54

SB 55

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Date

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Fig 65 - 1:100 model of the Toilet 56

Fig 66

“The city of Naples and its neighbouring is an example of urban area affected by frequent anthropogenic sinkholes. They occur where the mining of tuff at shallow depth left a wide and complex network of cavities. The collapse is usually triggered by the soaking of the overlying pyroclastic soils forwarded by the presence of leakage from aged aqueducts and 26 sewerages.”

“Saturated ground itself a treacherous element” 25

The disjointed realities of Naples seep into the ground on which it sits. The porous material continuously finds itself exposed to collapses and sinks in the landscape (see fig 66, 68). The soft tuff stone which comprise the layers of earth are worn away by the leaking sewers and excessive mining. When water and earth meet, disintegration follows. This fragility of the city is explored within Malacqua where the main catalyst for disaster is derived from chasms opening wide, engulfing the everyday lives of those in the vicinity. Pugliese emphasizes these moments by a convergence of characters, operators, fire engines, police, all portraying an ineffective solidarity. Once again the governmental bodies fail to take action in the book, drawing from Pugliese experience of living in the realities of Naples. Demonstrating a city continuously disintegrating without effective response.

SINK HOLES & CHASMS

Fig 68

Fig 67 SB, JH, KM 57

Date

Lat

Long

152

Location

Diam

Depth

Factor

arco Mirelli

///

4534684

946470

4537291

941797

m 17

4537841

945048

salita Pontecorvo

n.d.

p + CAV 4540617

939270

153

via Nuova del Campo

n.d.

154

4535739

940984

vico Neve

CAV

via E. Cortese m 10 M 12

169

942457

155

4532417

938233

m 10 M 15

4535075

941540

///

via S. Maria a Cubito

//1880

//1890

4534845

n.d.

P 02/09/1915

4535446

945450

157

942884

02/09/1915

n.d.

Corso V. Emanuele (Villa Pisacane)

P + CAV

158

03/09/1915

4535291

via Capodimonte

4533094

93763

15/09/1967

4536836

943611

4537316

942421

via Michele Tenore

m 1

P + CAV

4537563

943982

5 06/09/1915

15/09/1967

via Terracina 435

P + CAV 62

4536280

942343

159 04/09/1915

15/09/1967

via S. Nican.d.ro

n.d.

CAV

27/12/1967

via Egiziaca a Pizzofalcone

via Pier delle Vigne

CAV

4533786

942534

m 4

123

20/03/1968

4532734

939073

944522

piazza Lala

m 7 M 10

CAV

Borgo Loreto 23

120

18/11/1968

n.d.

località Arenella

via Tasso

n.d.

03/08/1917

28/08/1917

4535384

n.d.

4537972

943230

vico Gelso (Chiaia)

via Ponti Rossi m 3 M 4

n.d.

119

15/03/1969

n.d.

vico Miarello

via S.M. Apparente

117

20/09/1969

4534322

940505

CAV

via A. Falcone

940458

4535801

940564

via Tasso

via S. Giacomo dei Capri 41

m 2

22/11/1933

4536311

942513

via Museo

4538800

944720

171

//1950

4539301

944305

viale della Maddalena 142

m 2

4533875

942498

m 3

n.d.

122

121

07/06/1918

06/11/1922

31/10/1929

piazza Capodichino

n.d.

4534354

4534178

941899

/03/1969

08/11/1969

10/11/1969

27/11/1969

941679

via Monte di Dio 80

via Caccavello

P + CAV

15/12/1953

4535090

940211

via Orazio

via Marconi

942606

4535252

942139

vico Canalone a Olivella 29

20/12/1953

29/12/1953

4532788

4535183

via Forno Vecchio

01/12/1969

13/12/1969

n.d.

/03/1971

4537858

944228

via Canzanella Vecchia

via A. Vitale

m 7

16/06/1971

4531343

939328

172

167

04/11/1957

//1957

4533253

4535690

via Piscicelli

939088

940878

piazza S. Luigi m 7

n.d.

173

4538905

941104

13/09/1971

via Nuova S. Rocco

CAV //1963

vico Mastrodatti

4534943

942518

m 3 M 4

174

CAV

14/10/1971

942546

m 4

n.d.

corso A. Lucci

via Egiziaca a Pizzofalcone

168

4539492

944507

n.d.

via De Pinedo-via Baronie

944614 P

01/01/1964

4535811

4533759

944739

31/08/1966

corso A. Lucci 4535631

151

15/09/1967

via Bonito

via Olivella 3

156

via B. Brin (Pasconcello)

Scotto di Santolo, Anna, Sink-hole risk assessment in the metropolitan area of Napoli, Italy, Procedia Engineering, 2016, 458.

15/09/1967

piazzale Tecchio

26.

15/09/1967

vico Noce a Montecalvario

11/09/1967

CAV

25.

10/06/1967

via Reggia di Portici

170

Fig 66 - Background map shows ground contours and underground cavities in Naples Fig 67 - chasm in Naples during the four days of rain Fig 68 - Maps showing sink-holes in Naples Fig 69 - List of collapses in Naples

A DREAM OF NAPLES MONDAY MAY 11 2020 31/08/1966 4533777 940767

116

//1972

05/01/1973

Piscinola 4 n.d. A + CAV A – aqueducts rupture; CAV – cavity collapse; n.d. – unavailable data; p – rainfall; P – strong intensity rainfall; W – maintenance works.

Fig 69

h ad

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4, with fi ve p e ople d ead, killed e b um i Day 1, 13:45

o, at hou se n

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other end of the l

r 23

he tt

[00.01.30]

Retaining wall collapse and street cave-in on Via Tasso, June 1966

PRODUCED BY AN AUTODESK STUDENT VERSION

Fig 71

Fig 72

Fig 70 - Site plan, semester 2 Fig 71 - Drawing of semester 2 site tile Fig 72 - Clay site tile plan view Fig 73 - Foam mould for clay tile Fig 74 - Foam mould for clay tile Fig 75 - House 234, which collapsed in Puglieseâ&#x20AC;&#x2122;s Malacqua Fig 76 - Location of chasm on Via Aniello Falcone Fig 77 - Clay site tile in elevation

PRODUCED BY AN AUTODESK STUDENT VERSION

Fig 75

Fig 73

e rs av sewe

T he

Fig 74 SB, JH, KM

Fig 76

r ed h t e, con

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Via Aniello F al cone, t on wo

dead, tw[00.01.46] Day 1, 14: 00 o cars s allowed upW . h en t w Day 2, 12:45 he y [00.00.57]

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Day 1, 13:30 Fig 70

This convergence was mirrored within the project. Through the mapping of Naples a pilgrim was made to these sites of collapse. A key place being Via Aniello Falcone, a street located in the Vomero district of Naples (fig 70) departing the historic center and entering a residential setting. This site held a moment of mourning and destruction throughout the four days of rain ,as the street turned to ruin and waste. This is the location of the recycling factories, an assemblage of architecture designed to counter waste and deal with the inadequacy of the municipality in taking action against waste management. Fig 77 Tile 35, 36

The ground itself follows a steep incline toward the sea giving each respective site a clear view of the shore line. Tracking, as in Malacqua, the rising sea levels around the port city. Tackling the deep contours required a variety of strategies enforced onto this delicate ground. 60

“Saturated ground itself a treacherous element” 27

GROUND

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27. Langley, Lee, Nicola Pugliese’s Malacqua — finally translated into English — is a powerful morality tale of a great city in decay, The Spectator, https:// www.spectator.co.uk/2017/12/naplesdrowns-in-deluge-and-corruption/, (Accessed 29 February, 2020).

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Fig 78 - View to the site for the textile factory (right) and entrance to site of the ceramics factory (left) 62

Fig X

SO SO SO

Fig 79 GF- Glass recycling factory TF- Textile recycling factory CF- Ceramic recycling factory F- fireman isometric spaces relating back to each building and relocated at Via Aniello Falcone SO- Switchboard operator isometric spaces relating back to each building and relocated in Vomero Photos illustrate a view of reality contrasting the narrative drawing

Three sites were selected alongside one another on Via Aniello Falcone (highlighted in gold). The zoomed in map (fig 80) locates the sites of the textile recycling and the ceramics recycling factories.

are located outside these areas to avoid unhealthy living conditions in dense parts of the city.

The site plan shows a further study of a fragment of the contents map, depicting one tile Typically in Naples, the (36). government made plans for waste management to be 79 - Site plan of the Textile and Ceramics located in poorer areas, further Fig recycling factories segregating the people living Fig 80 - Roof plan of the Textile and Ceramics there. The recycling factories recycling factories SB, JH, KM

Fig 81 - Road collapse along Via Tasso, June 1966 63

SITE PLAN SHOWING GLASS, TEXTILE AND CERAMIC RECYCLING FACTORY 1:500

Fig 81

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SO SO

64 F

Fig 82

Fig 82 - North facing Oblique of Textile recycling factory. Fig 83 - Full Textile recycling factory building in Oblique facing North Fig 84 - North facing Oblique of ceramics recycling factory.

Fig 83 SB, KM 65

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Fig 84 66

Within the narrative of Malacqua a distinction is made between the dense city of Naples, drowning in rain and the far-away island of Capri. This is a place of longing throughout the book, a viewpoint for characters as a symbol of hope. In this project the landscape and ground act as a tool with which connect Via Aniello Falcone back to the shoreline and Capri (fig 93, 168). Both factory sites tackle varying degrees of topography, using the building as anchors to engage the street back to the landscape (see pgs 69-70, 75-76). Fig 85 - Photograph of view to Capri Fig 86 - Long cut from Via Aniello Falcone to the shoreline SB, JH, KM 67

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M 21 Fig 85

Fig 86

M 25 68

SITE GROUND The site of the Textile recycling factory has endless opportunities to maximise the view. However in its current state it is inaccessible, with a wall blocking off the site to the street followed by a vast drop. Locals turn their back to Capri, rather than taking advantage of a direct view to it.

Fig 87 - Existing site section of the Textile recycling factory site Fig 88 - Proposed Section A.A of the Textile recycling factory site

KM 69

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Fig 87

Fig 88

The new ground is brought up to street level by the inclusion of a factory working space at basement level which addresses the shear drop of the existing site.

reveal factory life below. The suddenly falls beneath you and design concept was to leave you get a straight vista to Capri the ground level open and to (fig 93). frame views in different places to Capri, Ovo and Vesuvius (fig 24).

Looking at a section through the city, the below ground becomes as important as above (fig 5). The new factory reflects this ideology, where factory life occurs above and below ground. Moments occur where the new ground opens up to

By bringing the street into the site, new seating and viewing platforms are created to allow passers-by to enter the site and enjoy the view. A series of external stairs gradually lead you down through the site with pauses where the ground 70

M 25

Fig 89

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Fig 90

Fig 91

Fig 92

Fig 89 - Section B.B of the Textile recycling factory Fig 90 - West facing site photograph showing existing drop from the street to the site Fig 91 - Photograph of site with view to the sea Fig 92 - East facing site photograph showing existing drop from the street to the site 72

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Fig 93 - View to Capri from Via Aniello Falcone entrance 74

Fig 94

Fig 95

Fig 94 - Existing site section of the Ceramic recycling factory site Fig 95 - Proposed section of Ceramic recycling factory SB 75

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Fa. SB 77

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Tackling the steep incline within the site for the ceramic recycling factory required a variety of strategies enforced onto this delicate ground. Within the factory a series of retaining walls made from waterproof concrete and gabions (see pg 113-114) created basins in the landscape within which the buildings sat (fig 95). The ground drops 24m from Via Aniello Falcone to the residential area at the bottom of the site. The materials and characters moving through the building are constantly engaging with the changes in level and reaching for higher ground, desperate to escape the slowly flooding city which sits below. The render shows the different treatments the grounds have received throughout the building. Moments which start to engage with the character narrative within the building become tiled, elevating these moments to a world of fiction. Within this image a deck and a balcony are shown, both allowing the observer a clear view of Capri. Fig 96 -Render of Ceramic recycling factory exterior Fig 97- 1:100 sectional model of Ceramic recycling factory showing the changes in ground level Fig 97

Fig 96 78

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Fig 98 - 1:100 sectional model of the ceramic recycling factory 80

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Fig 99 - 1:100 Sectional model of the textile recycling factory 82

the economic miracle. While industrialisation gave Italians unimagined prosperity, it also kindled social disruption.”30 This period of Italian history showed a 15 year battle between an extreme leftist group warring against the capitalist government in Italy. Throughout this period the group was responsible for bombing government buildings and train stations, kidnapping and killing political officials and introducing the practice of ‘knee capping’.31

“Not by the violence of nature but by bureaucratic inertia” 28

The group gained the majority of its funding from the Camorra, an Italian mob originating in Naples. Throughout the project the gaps left in the city for the power of the Camorra and the ineffectiveness of the government are explored. Inspiring programmes which start to engage with these downfalls.

THE YEARS OF LEAD “Italians suffered the nightmare of the “Anni di Piombo”—“The Years of Lead”—for 15 bewildering years. Hundreds died in the numerous attacks. The country’s films, books and music are still contemplating its significance.”29 Malacqua is interpreted as a political satire commenting on the inefficiency of the government and the destruction of the city during “The Years of Lead”.

“The Years of Lead, so named for the number of bullets fired, emerged from the optimism of 83

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28. Langley, Lee, Nicola Pugliese’s Malacqua — finally translated into English — is a powerful morality tale of a great city in decay, The Spectator, https:// www.spectator.co.uk/2017/12/naplesdrowns-in-deluge-and-corruption/, (Accessed 29 February, 2020). 29. V,A, Italians are still haunted by the Years of Lead, The Economist, 2017, https://www.economist.com/ prospero/2017/11/27/italians-arestill-haunted-by-the-years-of-lead, (Accessed18 April, 2020). 30.

Ibid.

31. Unknown, “Years of Lead” — Domestic Terrorism and Italy’s Red Brigades, Association for Diplomatic Studies & Training, https://adst. org/2016/03/years-of-lead-domestic-terrorism-and-italys-red-brigades/, (Accessed18 April, 2020).

Fig 100 - Bombed building during the years of lead 84

Currently, recycling plants in and around the city are nonexistant. Rubbish piles continue to paint the city’s streets.

“The Camorra’s domination of the Italian waste disposal industry on that account has netted profits exceeding even those of the narcotics trade”36

“Not by the violence of nature but by bureaucratic inertia” 32

CAMORRA, ILLEGAL DUMPING All fictions and realities alike have their villains. The Camorra, which is Naples organized crime syndicate has expansive power in Naples. During the 1980’s, they began to gain control over waste management in the center of Naples.

The government tried to alleviate the problem by planning for 3 new incinerators. However bad planning of this made matters worse as the new plants were planned for socio economically deprived areas, which would further segregate the lower classes of Naples. The view was that the people Illegal dumping became an in these areas were ‘too poor, too increasingly profitable business ignorant or too polluted to react’5. for the Camorra, exceeding those of narcotics, taking in During these corrupted years, profits of 6bn euro per year at an estimate of 443 companies peak control3. Northern Italy were involved in garbage and other parts of Europe began trafficking and 9,789,511 tons of to transport their industrial waste was disposed of illegally. and municipal solid waste to Although the city is no longer Southern Italy, where it was in a state of crisis, waste disposed of in canals, caves, management is clearly an everand farmland4 (see fig 104). The present issue and the effects of waste problem reached its peak the dumping are now beginning in 2007 when it was declared a to show. crisis. 85

32. Langley, Lee, ‘Nicola Pugliese’s Malacqua — finally translated into English — is a powerful morality tale of a great city in decay’, The Spectator, https://www.spectator. co.uk/2017/12/naples-drowns-indeluge-and-corruption/, (Accessed 29 February, 2020). 33. Pomeroy, Robin. (2008). Naples Garbage is Mafia Gold. Reuters World News. 34. Mafia, toxic waste and a deadly cover up in an Italian paradise: ‘They’ve poisoned our land and stolen our children’, The Telegraph Ian Birell, www. telegraph.co.uk/news/0/mafia-toxicwaste-and-a-deadly-cover-up-in-anitalian-paradise-t/ (Accessed 17th Apr, 2020) 35. Cantoni, Roberto. “The Waste Crisis in Campania, South Italy: A Historical Perspective on an Epidemiological Controversy.” Endeavour 40, no. 2 (2016): 102-13. 36. Story Map Journal, Arcgis.com, h t t p s : / / w w w. a r c g i s . c o m / a p p s / MapJournal/index.html?appid=3feb718957894ec3bbd7ac6921306cd8, (Accessed 20th Jan, 2020

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Fig 102

Fig 101 - Police officer extinguishing rubbish set on fire during the waste crisis in Naples Fig 102 - Map showing regions which transported their rubbish down to Naples to be disposed of Fig 103 - Rubbish piles outside semester 1 site during the waste crisis in Naples Fig 103

Fig 101 86

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Fig 104 - Illegal dump sites, Naples SB, JH, KM 87

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“250 000 [people in this region] have been exposed to toxic pollutants for decades38”.

“Witnessing the liquefaction of their city” 37

CANCER INCREASE The illegal dumping has led to toxic chemicals seeping into the soil, water and air in and around Naples. Alfredo Mazza, an Italian physician and researcher believes the compromised land now to be practically unusable39.

Without correctly dealing with waste disposal, the city will continue to decay and cancer rates will further increase. Fig 105

An area north of the city, known as ‘The Triangle of death’ became the worst affected. It is the largest illegal waste dump in Europe. Toxic materials now wash over the land. As a result, there is a significant increase in cancer rates in Campania with a rise of 40% in women and 47% in men40. Children are becoming the most vulnerable to toxic chemicals, with child cancer rates substantially higher then that of the rest of the country41.

Acerra

Nola Marigliano

Napoli

Death tolls rise, whilst waste management remains stagnant.

Fig 106 89

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37. Langley, Lee, ‘Nicola Pugliese’s Malacqua — finally translated into English — is a powerful morality tale of a great city in decay’, The Spectator, https://www.spectator. co.uk/2017/12/naples-drowns-indeluge-and-corruption/, (Accessed 29 February, 2020). 38. Italian “Triangle of death” linked to waste crisis, Kathryn Senior, https:// www.thelancet.com/journals/lanonc/ article/PIIS1470-2045(04)01561-X/ fulltext (Accessed 18th Apr, 2020) 39. Italian “Triangle of death” linked to waste crisis, Kathryn Senior, https:// www.thelancet.com/journals/lanonc/ article/PIIS1470-2045(04)01561-X/ fulltext (Accessed 18th Apr, 2020) 40. Mafia, toxic waste and a deadly cover up in an Italian paradise: ‘They’ve poisoned our land and stolen our children’, The Telegraph Ian Birell, www. telegraph.co.uk/news/0/mafia-toxicwaste-and-a-deadly-cover-up-in-anitalian-paradise-t/ (Accessed 17th Apr, 2020) 41. Children are the most vulnerable victims of Italy’s toxic waste coverup - Woman News Network (WNN), Woman News Network (WNN), WNN Team, https://womennewsnetwork.net/2013/11/27/children-italys-toxic-waste-coverup/ (Accessed 18th Apr, 20)

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Fig 107

Fig 105 - Death notices of people who died of cancer in relation to the toxic waste problems around Naples Fig 106 - Map showing the triangle of death in relation to the city center Fig 107 - Toxic waste dumping site

The Camorraâ&#x20AC;&#x2122;s influence over waste management had substantial impacts on the environment and the health of locals. When they began to loose popularity as a result of their operations, they began to burn the waste, particularly textile waste, which was extremely detrimental to the environment.

aims to give back to the environment, in some ways repairing the damage done by the Camorra.

omit the requirements of water. Steel pipes and brick chimneys connect the outside world to the ozonation tanks which allows the release of oxygen One of the processes involved which occurs after ozonation to in textile up-cycling is cleaning be let out into the environment. of the used clothes being (continued on pgs 117-118). brought in. Generally this task uses substantial amounts of water. In the factory, ozone The Textile recycling factory sanitation process is utilized to KM 91

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Fig 108 - Internal view of the Ozone sanitation floor 92

42. Europarl.europa.eu, https://www. circularonline.co.uk/news/uk-namedfourth-largest-textile-waste-producerin-europe/ (Accessed 01 May, 2020). 43. UK named fourth largest textile waste producer in Europe, C i r cular Online, h t t p s : / / w w w. circularonline.co.uk/news/uk-namedfourth-largest-textile-waste-producerin-europe/ (Accessed 01 May, 2020).

Fig 109 - 1:100 model of the draped fabric in the brick core Fig 110 - Textile waste facts in the EU, Italy and Naples Fig 111 - Isometric of machinery involved in textile recycling

Fig 109

RECYCLING MATERIAL: TEXTILES Textiles account for between 2 and 10% of the environmental impact of EU consumption. Substantial amounts of water and chemicals are required for the production of raw materials, spinning them into fibres, weaving fabrics and dyeing the clothing. Under half of used clothing is collected for reuse and recycling. Textile up-cycling is enormously underdeveloped, with only 1% of clothes collected being recycled into new clothing1.

new conception of how textiles can be upcycled without the need for water. Clothing is cleaned using an ozone sanitation system. The textile recycling factory saves a large number of clothing from being sent to landfill and has the potential of servicing the city center. The process of using old clothing to produce new clothing includes colour sorting, removing the need for dyeing which also requires excessive amounts of water.

The EU produces 16million tonnes of textile waste annually

Italy for that

accounts 465.925T of waste yearly

Italy is found to be the least sustainable country in terms of fashion waste, producing 465.925 tonnes of textile waste every year2. Approximately 16.92T of textile waste is produced in Naples

The billie system, innovated by Novetex textiles limited is a KM 93

Fig 110

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Ozone generators are located with east facing glazing to optimize UV-exposure to increase ozone generation. Textiles are put in bags on conveyor belts until they are ready to be sanitized.

Ozonation tanks sanitize used clothing and release oxygen back into the environment after cleaning.

Re-purposed textiles are used as shading devices throughout the building.

Fabric screens are used on the south facing faĂ§ades to allow for large openings towards the sea, whilst providing shading.

Spinning mules spin the fabric fibres into yarn, ready for use in weaving and sewing to new fabric.

Carding machines further break up the crushed fabric into slivers of fibres, ready for spinning into new yarn. Colour sorting allows for the fabrics of the same colour to be crushed and spun together, removing the need for colour dyeing later in the process, further saving on water consumption.

Local Neapolitans drop off Their unwanted and unused textiles.

The governmentâ&#x20AC;&#x2122;s goal in Naples is to collect 2,000T of textile waste for re-purposing. One fabric grinder has the potential of grinding 1-1.2T of textiles per hour. In order to achieve this goal of 2,000T, one grinder would need to be in use for 8hours a day, for 253 days.

Removed buttons and zippers are transported down to the shop where they can be resold and reused.

Recycled clothing is spun into yarn which can be woven into new clothing. Recycled fabric is also sewn into new clothing. Fig 111 94

Fa. SB 95

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The programme of Ceramic tile recycling is used as a counteractive to the damage imposed by illegal dumping. The majority of businesses employing the Camorra to illegally dump its waste exist within the construction industry. On average 54% of all construction demolition waste is ceramic waste (see page X). This programme will alleviate the strain of dump sites by reforming the ceramic waste into 100% recycled floor and wall tiles. 96

Fig Fig X 112- - Render showing the tile sorting area within the Ceramic recycling factory

44. Unknown author, Service contract on management of construction and demolition waste, European Commission, 2011, https://ec.europa.eu/environment/waste/pdf/2011_CDW_Report. pdf, (Accessed 1 May 2020)

E U produces 7 0 . 2 million tonnes of wall, floor and roof tile and brick waste a year

Granbyware - 100% Recycled Ceramic Dinnerware, Granby workshop, https://www.kickstarter.com/projects/ granbyworkshop/granbyware, (Accessed 1 May 2020).

45.

I t a l y p r o d u c e s Ceramic industry 1 2 . 7 subsectors of waste m i l l i o n in the EU tonnes Technical ceramic

Domestic/ ornamental use

N a p l e s Wall and Floor p r o d u c e s tile 133 000 tonnes Brick and roof

39 26

tile

Sanitary ware

Vomero p r o d u c e s Refactory 660 tonnes Material Fig 113

Percentage %

Fig 114

RECYCLING MATERIAL: CERAMIC The ceramic recycling factory deals with a specific type and load of ceramic waste, based on factors of scale and industry requirements. Within the factory, only bricks and wall, floor and roof tiles are recycled as they make up the majority of ceramic waste (fig 114). They will be processed to produce 100% recycled wall and floor tiles. Furthermore the quantity of waste recycled in the factory only covers the intake from the surrounding district of Vomero (fig 113). This is due to the scale of the site in proportion to the number and size of the machines required.

70.2 million tonnes equals bricks and wall, floor and roof tiles. This factory will be scaled to process 700 tonnes of ceramic waste a year enabling it to deal with the waste in the surrounding area of Vomero.

The process of recycling ceramic can either end with producing an aggregate material or to combine the crush ceramic with fresh clay and produce new ceramic. However in this factory a technique demonstrated in the Granby workshop45 will be used to create 100% recycled ceramic. A combination of the different â&#x20AC;&#x2DC;grogâ&#x20AC;&#x2122; produced by grinding these different materials added 200 million tonnes of rubble to water creates a mixture is produced each year in the which when pressed and fired EU as a result of construction can create a new ceramic. and demolition of buildings44, of which only 28% is recycled. Of this 200 million tonnes, SB 97

Fig 113 - Ceramic waste facts in the EU, Italy, Naples and Vomero Fig 114 - Fig X - Table showing the percentage of Ceramic sub-sectors within ceramic waste Fig 115- Factory floor isometric showing the process of tile recycling

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7. The slip is hydraulically pressed into tile.

8. The tiles are dried

9. The tiles are glazed using a recycled glazed created by glass dust. This glazed is mixed before being poured onto each tile

10. The tiles dry on their journey to the kiln

11. The tiles are fired in an electric kiln, the excess heat released from the kiln is used to heat the pool and bathtub situated in the building

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12. The tiles are packaged and picked up from the factory to be used.

Fig 115 6. The grog is mixed together with water and other mineral components to produce a ceramic slip

5. The factory collects rainwater throughout the building to reduce the amount of water waste in the recycling process

4. The grog travels to silos where it is stored

3. The sorted ceramic travels to its own grinder were it is made into â&#x20AC;&#x2DC;grogâ&#x20AC;&#x2122;. Each grinder processes 2 tonnes of material an hour This machine releases large quantities of dust and is therefore covered and carefully filtered

2. Ceramic is sorted into floor and wall tiles, roof tiles, brick and other. The other is taken back out of the factory

1. Ceramic waste is delivered to the factory and dumped into a large shoot for sorting

Fig 116- North facing section of ceramic recycling factory SB 99

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Fig 117

Fig 118

â&#x20AC;&#x153;A city suspended in Melancholyâ&#x20AC;? 46 Fig 119

WWII, COVID-19 During a crisis in this city, remarkable moments occur, where the unexpected becomes reality, reinforcing Naples as a city where everyday occurrences are as magical as fiction.

during difficult times. In the midst of the occupation, they used it as an opportunity to sell food and drink illegally. Current government bodies fears of organized crime becoming present were proven true on April 4th 2020, when Amongst the turmoil of World websites selling counterfeit PPE War II, locals used all they (personal protective equipment) could find as defence weapons were shut down48. during the occupation. Sinks, televisions and other The scene of Naples is forever household items were thrown evolving. To counteract the from windows as the German damage set by the Camorra, invaders were leaving the city. waste management begins to be tackled by props chosen (textiles Today a similar strangeness and ceramics) with carefully occurs during the coronavirus staged strategies (plans). lockdown. Neapolitan balconies are lined with locals singing in solidarity, filling the silent streets in song. In this vulnerable city, the Camorra rear their heads 101

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Fig 120

“But organized crime has quickly turned to coronavirus-related crimes. On April 4, police in Naples closed down a website that was selling counterfeit surgical masks and seized a factory selling counterfeit masks 47”.

Fig 121

Fig 122

46. Aslanyan, Anna, Nothing extremely unusual A free-flowing novel of a flooded Naples, https://www.the-tls.co.uk/ articles/nothing-extremely-unusual/, (Accessed 29 February, 2020) 47. Opinion | In Italy’s south, the coronavirus is not the only thing to fear , The Washington Post, https:// w w w. w a s h i n g t o n p o s t . c o m / o p i n ions/2020/04/06/italys-south-coronavirus-is-not-only-thing-fear/ (Accessed, 18th Apr, 2020) 48. The Washington Post, https:// w w w. w a s h i n g t o n p o s t . c o m / o p i n ions/2020/04/06/italys-south-coronavirus-is-not-only-thing-fear/ (Accessed, 18th Apr, 2020)

Fig 117 - Chair being thrown out in defence against German soldiers during WWII Fig 118 - Sink being thrown out in defence against German soldiers during WWII Fig 119 - Television being thrown out in defence against German soldiers during WWII Fig 120 - Man playing guitar and singing from balcony during Covid-19, Naples Fig 121 - Mother and child waving the Italian flag during Covid-19, Naples Fig 122- Empty presepe street during Covid-19 lockdown

102

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103

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PROPS [noun] “A portable object other than furniture or costumes used on the set of a play or film.” Objects which help to execute a narrative.

Fig 123 - Majolica tile taken at Santa Chiara, Naples 104

Clay is a malleable material used historically in the conveyance of narrative. The forms which it takes from pots to tiles allows a surface on which fables and stories are told. These stories are passed down in generation as objects change hands and buildings are re-explored.

Fig 125

Santa Chiara, located in the heart of the historic centre of Naples, contains a ‘secret garden’ covered in Majolica tiles. The Majolica tile is a specific ceramic “distinguished

by its white, opaque glaze, due to the presence of tin oxide, a powdery white ash”50. Brought to the port

city from Spain this technique of producing tiles peaked in popularity in the Renaissance period. “The ceramics are also

called ‘istoriato’ wares which means ‘painted with stories.’”51

“Sewers back up and plaster peels” 49

MAJOLICA TILES

Throughout the garden of Santa Chiara scenes of life in Naples are depicted on benches. This tedious method of portraying a story elevates the everyday depictions shown on the tile and emphasises the importance of these simple actions that take place around the city. Within the project the technique of producing tiles was inspired by the colourful garden of Santa Chiara. Narratives and stories are depicted in Naples through a Ceramic creation of the cityscape. Colours are also extracted to show the intervention of narrative within the projects (see character chapter).

“Benches contain tiles that depict life scenes of boar hunting, dancing, country life, scrollwork and grapevines.”52 Mitchell, Peter, ‘Peter Mitchell reviews Malacqua: Four Days of Rain in the City of Naples, Waiting for the Occurrence of an Extraordinary Event by Nicola Pugliese’, Asymptote, https:// www.asymptotejournal.com/criticism/ nicola-pugliese-malacqua/, (Accessed 29 February, 2020).

49.

McNab, Jessie, Maiolica in the Renaissance, The Met, 2002, https:// www.metmuseum.org/toah/hd/maio/ hd_maio.htm, (Accessed 26 April, 2020)

50.

51. Nelson Susan, Naples: Santa Chiara has a “Secret Garden” of Majolica Tiles, Italo Americano, 2016, https:// italoamericano.org/story/2016-8-1/ santachiara-naples, (Accessed 26 April, 2020) 52.

Ibid

Fig 124 Fig 124 - Decorative chair at Santa Chiara, Naples Fig 125 - Majolica tile at Santa Chiara, Naples

105

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35, 36

37, 38

30,32

33, 34

22, 23

TILES “Clay was a worktable for the creation of both cities and person”53

24, 26

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28, 29

Clay becomes a way of expressing existing narratives in the city. Each black fired tile is crafted specifically for a moment in the story of Malacqua. Eventually each tile is brought together, forming a whole and the story takes precedent over the realities of the landscape. Tiles are moved. A new landscape emerges holding no geographical sense, yet forming a complete narrative which begins and ends within the city of Naples. 53. Paul Emmons, Marcia F. Feuerstein, and Carolina Dayer. Confabulations : Storytelling in Architecture. Taylor and Francis, 2016.

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Fig 126 - Black fired tiles for 1:2000 animate drawing

and steel supports 108

“captured with force and beauty the state of mind of a city that is both ‘theoretical’ and real”54

MODELS

54. Langley, Lee, Nicola Pugliese’s Malacqua — finally translated into English — is a powerful morality tale of a great city in decay, The Spectator, https:// www.spectator.co.uk/2017/12/naplesdrowns-in-deluge-and-corruption/, (Accessed 29 February, 2020).

The models of both factories describe the materiality of each building. The sectional model of the Ceramics recycling factory uses a contrasting material pallete to represent the heavy and lightweight components of the building. Plaster is used primarily to build up the ground topography of the site, contrasting form-work was used to achieve different surface textures to represent the different retaining wall strategies. Pigmented plaster is used to create the concrete cores in the building. The form-work

Fig 127

SB, KM

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Fig 128

for these cores are textured to create the illusion of aggregate in the material (fig 129) as well as tile cladding.

brick, plaster which describes the concrete core and fabric which depicts the draped fabric that shades the space.

The textile factory 1:100 model gives a cut through the main factory. Below, the plaster cast reflects heavy concrete of the factory floor at basement level. Metal rods signify the steel columns which support the factory spaces above. Balsa wood is used to describe the brick faรงades. The stair core is modelled in perforated balsa to show locations of perforated

A red material is introduced in the model to outline painted red steel. The red becomes a new layer of narrative in the building. It acts as a navigation tool, guiding you through the building. The red becomes an important visual tool throughout the site and building, guiding visitors throughout the spaces. 110

Fig 127 - 1:100 sectional model of the Ceramics recycling factory Fig 128 - 1:100 sectional model of the Textile recycling factory

Fig 129

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Fig 129 - 1:100 Sectional model of Ceramic recycling factory showing a cut concrete core and water basin Fig 130 - 1:100 Sectional model of Ceramic recycling factory showing West facing view Fig 131- 1:100 Sectional model of Ceramic recycling factory showing North facing view

Fig 131

Fig 130

112

Fig 132

A. Corrugated polycarbonate sheets are used as cladding for the majority of the building. Though the material is translucent it can be manufactured with a low U value, allowing natural light into the building without compromising the thermal integrity. To compensate further, large south facing PC walls are shaded with overhanging roofs, (see caption E). The sheets of Polycarbonate are bolted to a wooden framed substructure.

Fig 136

Wall type A build up: 1. Corrugated polycarbonate sheet 2. Point fastening screws places at mid-sheet every few feet 3. Narrow profile cap 4. Wooden frame substructure

Fig 133

B. Concrete retaining walls build up the majority of the building substructure. These walls are used to carve further into the sloped landscape of the site and levelling out the ground. Wall type B build up: 1. Existing Ground 2. Water proof membrane 3. Concrete render 4. Concrete block work 5. Bottom course poured concrete 6. Concrete slab 7. Tile drain 8. Concrete render containing crushed tile aggregate

Fig 134

Fig 135

Fig 137

C. Exterior retaining walls will constructed from Gabions. This wall type allows a certain amount of water seepage from the facade encouraging the system of open drainpipes to collect the water and circulate it around the building before filtering the water and filling the swimming pool. This circulation of water is a passive cooling strategy used throughout the building. The open water channels pass through heated areas of the building such as spaces near the kiln and the drying room. The evaporation and this water cools the air temperature which surrounds it. Wall Type C build up: 1. Existing ground 2. Concrete pile 3. Capped Galv support post 4. Gabion rock encased in steel mesh 5. Water channel

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D. These are concrete block cores which give structure to the surrounding building and collects water. The water distributes around the building in open water channels to passively cool the space. The core is rendered externally with a concrete render containing crushed tile aggregate and clad internally with ceramic tilling. Ceramic tiling is an excellent material to hold water and withstands erosion.

Fig 139

The Blue lines indicate the external open water channels that lead to the swimming pool

Fig 132 - 1:100 sectional model showing polycarbonate wall Fig 133 - 1:100 sectional model showing retaining wall Fig 134 - 1:100 sectional model showing Gabion wall Fig 135- 1:100 sectional model showing a section cut concrete core/ water tower Fig 136- Detail of Polycarbonate wall Fig 137- Detail of Concrete block retaining wall Fig 138- Detail of Gabion retaining wall Fig 139- Building Section scale 1:500 Fig 140- Building Isometric scale 1:500

Fig 140 114

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Fig 141 - 1:100 model showing the North Elevation Fig 142 - 1:100 model from south east view 116

KEY 1. External wall construction: (1) Yellow brick cladding (2) 50mm cavity (3) Insulation (4) Sheathing board (5) Stainless steel wall ties (6) Mineral wool insulation (7) Plasterboard to internal finish 2. Perforated metal screen is used on the front facade in front of glazing to give a KEY weaving texture aesthetic to the street 1. External wall construction: Yellow brick cladding elevation and allow(1)for (2) 50mm cavity privacy from neighbouring (3) Insulation buildings (4) Sheathing board to tie the Stainless steel wall ties are used (5) Stainless steel wall ties (6) Mineral wool insulation screens back to the wall. Internally, (7) Plasterboard to internal finish hollow circular steel bracing is welded 2. Perforated metal screen back to the secondary structure foris used on the front facade in front of glazing to give a weavingbracing texture aesthetic the street strengthening and cross of to the elevation and allow for front facade. privacy from neighbouring buildings

1 2 3 4

5 6 7

Stainless steel wall ties are used to tie the screens back to the wall. Internally,

hollow circular steel bracing is welded 3. Timber louvres provide shading from back to the secondary structure for sunlight entering into the and cross bracing of the strengthening front facade. building. 3. Timber louvres provide shading from

sunlight entering into the 4. Steel floor construction: building. (1) Concrete screed4. Steel finish floor construction: (2) Corrugated steel(1) Concrete screed finish (2) Corrugated steel (3) Steel I -beam with insulation (3) Steel I -beam with to insulation to external floor plate external floor plate(4) Roof finish: plasterboard to internal finish,to 25mm lime render (4) Roof finish: plasterboard to external finish. internal finish, 25mm lime render parapet detail with planted roof: to external finish.5. Roof (1) Aluminium capping (2) Flashing (3) Planted roof (4) Filter fabric (5) Waterproof membrane (6) Corrugated steel (7) 3 layers of rigid insulation (8) DPC and Vapour barrier (9) Steel roof structure

5. Roof parapet detail with planted roof: (1) Aluminium capping (2) Flashing (3) Planted roof (4) Filter fabric 6. Brick chimneys are connected internally to the ozone sanitation tanks. Once the (5) Waterproof membrane ozonation process is complete, oxygen is (6) Corrugated steel expelled and released back into the through the chimney stacks. (7) 3 layers of rigidenvironment insulation 7. Recycled fabric processed within the (8) DPC and Vapour barrier factory is used as a shading device on the (9) Steel roof structure South Elevation. The fabric allows for large openings towards the sea without excessive amounts of sunlight entering

building. 6. Brick chimneys are the connected internally to the ozone sanitation tanks. Once the in 8. Structural steel column encased ozonation process isconcrete. complete, oxygen is 9. Blockwork clad in yellow brick. expelled and released backstructure into the environment through the chimney stacks. 10. Cantilevered concrete platform with painted steel handrails secret fixed into the concrete.

7. Recycled fabric processed within the Retaining wall. Parts of the building to factory is used as a11.shading device on the is set back from the retaining to createallows planted areas South Elevation. Thewall fabric forand courtyard. Retaining walls in this area are allowed seepwithout water to run into the large openings towards the tosea and allow vegetation to grow. excessive amounts ofcourtyard sunlight entering 12. Precast concrete stairs. the building.

3 4

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13. Perforated brick core. The stair core which services the building is clad externally with perforated yellow brick, which relates back to the idea of weaving. The perforated brick allows air to pass in and out of the circulation area and for users to get views in each direction as they move up and down through the building. A concrete lift core provides structure in this part of the building and supports the perforated brick facades. Lateral support is provided by hollow steel sections and timber beams. Recycled fabric is draped across the steel sections to provide shading and prevent overheating. Vertical ventilation or stack effect is provided as air can pass through the draped fabric in the core and down through the length of the building.

4 6

draped fabric shading

14. Brick clad columns. Brick clad columns are dotted along the south facade to read as large buttresses holding back the ground similar to its existing context. Along the south boundary of the existing site large tuff buttresses hold back the earth. The brick becomes hollow in the exhibition spaces, allowing for rooflights and vertical ventilation. 2

15. Roof openings to allow air to pass in and around the exhibition spaces. 5

Fig 143 - Section demonstrating various environmental and technical strategies tackled by the building Fig 144 - Isometric indicating various environmental and technical strategies tackled by the building Fig 145 - 1:100 sectional model showing ozonation area Fig 146 - 1:100 sectional model demonstrating

16. Timber boards used for the formwork of the concrete retaining walls are reused to provide timber walkways connceting the carpark to the exhibition and workshop spaces. 17. Green roof. 18. Channels are carved out of walls to direct water down the hill. 19. Secret gutter. NOTE: Construction detail drawings are not to scale.

13. Perforated brick core.

The stair core which services the 8. Structural steel column encased in with building is clad externally perforated yellow brick, which relates concrete. back to the idea of weaving. The

perforated brick allows air to pass in and out of the circulation area and for users to get views in each direction as they move up and down through the building. A concrete lift core provides structure in this part of the building and supports the perforated brick facades. Lateral support is provided by hollow steel sections and timber beams. Recycled fabric is draped across the steel sections to provide shading and prevent overheating. Vertical ventilation or stack effect is provided as air can pass through the draped fabric in the core and down through the length of the building.

9. Blockwork structure clad in yellow brick. 10. Cantilevered concrete platform with painted steel handrails secret fixed into the concrete.

11. Retaining wall. Parts of the building to is set back from the retaining wall to create planted areas and courtyard. Retaining walls in this area 14. Brick clad columns. clad columns are into dotted along are allowed to seepBrick water to run the the south facade to read as large buttresses holding back the ground to its courtyard and allow vegetation to similar grow. existing context. Along the south boundary of the existing site large tuff

buttresses hold back the earth. 12. Precast concrete stairs. The brick becomes hollow in the

exhibition spaces, allowing for rooflights and vertical ventilation.

15. Roof openings to allow air to pass in and around the exhibition spaces.

16. Timber boards used for the formwork of the concrete retaining walls are reused to provide timber walkways connceting the carpark to the exhibition and workshop spaces.

17. Green roof.

18. Channels are carved out of walls to direct water down the hill.

19. Secret gutter.

NOTE: Construction detail drawings are not to scale.

7 KM

Note 1. External wall

3 Fig 145 4 Note 4. Steel floor construction

Note 5. Roof parapet detail with planted roof 1 2 5 3 4 6

Construction 117

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9. 4.

4. 12.

1. 4.

Fig 143 8.

10. 12.

11.

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2. 3.

19.

18.

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18. 18. 7.

18. 14.

7. 10.

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Fig 144 118

Fig 148

Fabric screening glazed faรงades

shading

Fabric formed concrete walls Recycled textile tiles floor finish

Reused timber boards form walkways Fig 147

Creating new narratives out of existing conditions, realities and fictions is one of the key design features of the textile recycling factory. Construction methods and materials in the building also follow this idea of re-scripting and creating new narratives.

Along the existing ramped area of the site, recycled textiles are made into fabric tiles which clad the floor. Finally textile is used to create free flowing concrete structures found within the exhibition spaces.

Once the boards used in forming the concrete walls at basement level of the factory are no longer needed, they start a new chapter as floor finishes for board-walks connecting the carpark and the public aspects of the building. Unwanted fabric which is dropped off at the factory becomes vital shading structures within the building, along the south facade and roof of the brick core.

Fig 149 Fig 147 - Level -1 floor plan Fig 148 - 1:100 sectional model cutting through circulation core of the factory in the textile recycling factory Fig 149 - Recycled textile tiles samples 119

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Draped fabric shading

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Fig 150 - Photograph of tuff buttressing along south facade of Textile recycling factory site Fig 151 - External view of the Textile recycling factory from the carpark

Fig 150

Yellow brick clad columns reflect the yellow tuff buttresses anchoring the south boundary of the site.

Fig 151

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Fig 152 - Exhibition plan SB, JH, KM 123

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CHARACTERS [noun] “a person in a novel, play, or film”. A cast of real and imaginary characters .

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“We get vignettes of the local people” 55

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Naples has a complete cast of characters, inhabiting both the real and fictional city. The projects not only deal with the bureaucratic mess left by the Camorra and the ineffective government but deals directly with the everyday lives of people living in the city. The characters manifested in Malacqua by Pugliese show a glimpse of those inhabiting Naples. By creating a space for each of the six character within the projects, a space for the everyday people of Naples is provided. The exhibition is set out by locations of the city determined by the appearance of the six characters within the book. 55. Langley, Lee, ‘Nicola Pugliese’s Malacqua — finally translated into English — is a powerful morality tale of a great city in decay’, The Spectator, https://www.spectator. co.uk/2017/12/naples-drowns-indeluge-and-corruption/, (Accessed 29

Fig 153 - Presepe heads exhibited on Via San Gregorio Armeno, Naples 126

“We get vignettes of the local people” 56

REAL CHARACTERS

Nicola Pugliese

Pietro & Giovanni Alemanno

Born in Milan in 1944, he lived almost all his life in Naples. A journalist, his first and only novel, Malacqua, was published in 1977 by Italo Calvino. It sold out in days, but, at the author’s request, was never reprinted until after his death in 2012.

In the 15th Century, Pietro and Giovanni Alemanno made a name for presepe in Naples, by producing life size wooden sculptures of the Holy family. See pg X.

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Ferdinand IV of Bourbon Ferdinand IV of Bourbon, also known as the King of the Two Sicilies was king in the 1800’s. He bought the National Museum of Ceramics Duca Di Martina and the botanical gardens during his reign.

Langley, Lee, ‘Nicola Pugliese’s Malacqua — finally translated into English — is a powerful morality tale of a great city in decay’, The Spectator, https://www.spectator. co.uk/2017/12/naples-drowns-indeluge-and-corruption/, (Accessed 29 February, 2020). 56.

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Fig 154 - Presepe drawings of the chosen real characters of Naples

“We get vignettes of the local people” 57

MALACQUA CHARACTERS

The journalist

Little girl

Young woman in love

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57. Langley, Lee, ‘Nicola Pugliese’s Malacqua — finally translated into English — is a powerful morality tale of a great city in decay’, The Spectator, https://www.spectator. co.uk/2017/12/naples-drowns-indeluge-and-corruption/, (Accessed 29 February, 2020).

Fig 155 - Presepe drawings six characters in Malacqua

Fireman

Cigarette seller

130

Switchboard operator

“We get vignettes of the local people” 58

CHARACTER ISOMETRICS

Six spaces are exploded from each project to reflect the six characters of Malacqua. The individual spaces meet the requirements of each persons characteristics.

58. Langley, Lee, ‘Nicola Pugliese’s Malacqua — finally translated into English — is a powerful morality tale of a great city in decay’, The Spectator, https://www.spectator. co.uk/2017/12/naples-drowns-indeluge-and-corruption/, (Accessed 29 February, 2020).

Fig 156 - Character isometric drawing of the Textile recycling factory Fig 157 - Character isometric drawing of the Ceramic recycling factory SB, KM

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5. 4.

Fig 158 - Level -1 floor plan highlighting the character spaces CHARACTER KEY: Fig 159 - Level -2 floor plan highlighting the 1. Switchboard operator 2. Little girl character spaces 3. Young woman in love 4. Cigarette seller cutting through the spaces of the Fig 160 - Section 5. Fireman little girl, the young woman in love, the cigarette seller and the fireman

Levels -2 and -1 Floor plans of the building locate the public exhibition spaces which double as spaces for the fictional characters of Malacqua. The architecture begins to be expressed in a different way in these exhibition rooms. The brick columns, found throughout the design become hollow in these spaces, with each character getting an opportunity to look up towards the relentless rain. Each space hosts concrete which is addressed differently than the rest of the factory floor. Bespoke fabric formed concrete walls become present throughout the exhibition. Red railings act as a navigational tool, directing the visitor to the next space of the exhibition. CHARACTER KEY 1. The journalist 2. Little girl 3. Young woman in love

Fig 158

2. 1. 3.

Fig 159

Fig 160 134

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KEY: 1. Library for the characters of Malacqua 2. Lift core 3. Library reception 4. Cigarette seller reading room inward looking with only a view of the sky 5. Cigarette seller W.C 6. External courtyard overlooking incoming operations leading to switchboard operator reading room 7. Switchboard Operator reading room overlooking incoming operations 8. Switchboard Operator W.C with view to the sea 9. Journalist reading room with a writing desk looking out to Castle Ovo 7. Fireman reading room with a view to the Chasm on Via Anielle Falcone 8. Fireman W.C

LEVEL 1 FLOOR PLAN SCALE 1:200

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Above the factory sits another world. One of fiction. A central library distributes books to reading rooms for the characters of Malacqua. Allowing views of the shoreline, or isolation or play. Connecting these two worlds are the concrete cores containing the mundane yet fantastical process of water. Seen in the toilets, the basins and the water channels in contains.

A B

The reading rooms are finally grounded as they approach the end of the site. The little girls swimming pool balances on the threshold between the fictional world and the realities of playing in a residential area. Playing itself is a creation of fiction. Hence this imaginary world finds its grounding in the world of play. It comes down off the roof and sinks into the landscape, concretising the singing coins and the dolls found in chasms, because in the imagination of a child these are all real possibilities. C

Fig 161 - First Floor Plan of the ceramics recycling factory Fig 162 - Level -5 Floor Plan of the ceramics recycling factory

A KEY:

1. Little girl changing room/reading room 2. Little girl W.C 3. Little girl swimming pool accessible from surrounding residential area

-5 LEVEL FLOOR PLAN SCALE 1:200 Dotted line to indicate where 1:100 model was

Fig 162 136

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THE JOURNALIST

59. Aslanyan, Anna, Nothing extremely unusual A free-flowing novel of a flooded Naples ,https://www.the-tls.co.uk/ articles/nothing-extremely-unusual/, (Accessed 29 February, 2020).

Fig 163 - 1:500 Isometric of the textile recycling factory situating the journalist Fig 164 - Exploded isometric of the journalists space KM

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The journalist begins his journey looking towards Castel Ovo, from a cafe in Santa Lucia. Sitting at a table, he looks down to his newspaper on the table. He can hear the relentless rain above him and looks upwards to the sky. Will it ever end? He finishes his coffee but before leaving, he turns back once more and toward the sea, back to Capri... As alien to the city as an undeciphered tower, close yes, so close, and far away too...

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Fig 165 - View of the journalistâ&#x20AC;&#x2122;s writing space, with views to Capri and Ovo 140

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Here the Journalist wonders up to his study leaving the factory floor, through the kitchen, where he makes his coffee. To his left he spots a view of Capri, that longing to be else where fills him. His study is elevated to pass all surrounding buildings offering a clear view down to Castel Ovo as he sits at his desk he is overwhelmed by the sudden urge to go there. Just once more. But the rain is pouring and with that his thoughts of the Castel disintegrates and he turns back to his work.

Fig 166 - Isometric of Journalist reading room in Ceramic recycling factory, scale 1:200 Fig 167 - Ceramic recycling factory Isometric drawing locating journalist reading room, scale 1:500

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Fig 168 -Render of Journalist journey to reading room 144

“The atmosphere of a flood is created by a free- flowing stream of consciousness” 60

LITTLE GIRL Today was a strange day. Earlier, her pocket was filled with sounds , coins singing to her. She must be going crazy, nobody else could hear a thing. Now as she glanced around her, the place was full of hanging dolls. From tiny miniatures to almost the size of herself. A cold chill ran through her as she looked up to the sky, and yes the rain was still there.

60. Aslanyan, Anna, Nothing extremely unusual A free-flowing novel of a flooded Naples ,https://www.the-tls.co.uk/ articles/nothing-extremely-unusual/, (Accessed 29 February, 2020).

Fig 169 - 1:500 Isometric of the textile recycling factory situating the little girl Fig 170 - Exploded isometric of the little girl’s space Fa. KM

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Some children donâ&#x20AC;&#x2122;t get on with their parents. The little girl seeks a place to play and escape from the surrounding hysteria. In her eyes there is fun to be had as the rising water fills a swimming pool. Just as the discarded coins sing, she finds enjoyment in the flooding city as a child would. Splashing in the ever rising pools of water and reading at its edge. The neighbourhood children are all invited, a refuge from the maddening world of adults. A place where broken things are remade and water is a catalyst for play.

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Fig 172

Fig 171 - Isometric of Little girl reading room in Ceramic recycling factory, scale 1:200 Fig 172 - Ceramic recycling factory Isometric drawing locating Little Girl reading room, scale 1:500 148

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Fig 173 - Sectional render of little girls reading room/ changing room 150

“The atmosphere of a flood is created by a free- flowing stream of consciousness” 61

YOUNG WOMAN IN LOVE She had found the perfect place for her and her lover to sneak away to. Concealed, it would allow them some privacy. She could see in every direction and would know when he arrived. But where was he? Boredly she sat down and looked upwards at the rain which wouldn’t go away.

Fig 174

61. Aslanyan, Anna, Nothing extremely unusual A free-flowing novel of a flooded Naples ,https://www.the-tls.co.uk/ articles/nothing-extremely-unusual/, (Accessed 29 February, 2020).

Fig 174 - 1:500 Isometric of the textile recycling factory situating the young woman in love Fig 175 - Exploded isometric of the young woman in love’s space KM 151

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Fig 176 - Isometric of young woman in love reading room in Ceramic recycling factory, scale 1:100 Fig 177 - Ceramic recycling factory Isometric drawing locating young woman in love reading room, scale 1:500 154

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Her space sat secluded, here she escapes that cumbersome relationship she entered too quickly. She indulges in a bath and reads in peace. Yet directly above her rain slowly drops into the basin echoing around the tiled walls of the bathroom. As it filters down, her bath is filled. Yet when will the basin overflow?

Fig 178 - Sectional render of Women in Love reading room and Ceramic Kiln

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FIREMAN

Fig 179

62. Aslanyan, Anna, Nothing extremely unusual A free-flowing novel of a flooded Naples ,https://www.the-tls.co.uk/ articles/nothing-extremely-unusual/, (Accessed 29 February, 2020).

Fig 179 - 1:500 Isometric of the textile recycling factory situating the fireman Fig 180 - Exploded isometric of the fireman’s space Fa. KM 157

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Fig 181

The fireman arrived at Via Aniello Falcone at 7.30 on the 23rd of October. He was to keep a close eye on operations in the area, with a chasm opening up on the road and swallowing up two cars and the collapse of Via Tasso at house number 234. Yes he would get to a higher vantage point and keep a close watch on the house and the chasm. He couldnâ&#x20AC;&#x2122;t help but glance up at the rain which was battering heavily against the roof, what was next to collapse? He turned his head again towards the chasm, and there it was right in front of him, the rest of the street empty. At least he had Via Aniello Falcone secured for now...

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Fig 181 - View of the fireman’s space looking towards the chasm Fig 182 - Hand rendered sectional cut through the fireman’s space

Fig 182 160

Fig 184

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Fig 183

His room existed at the highest point giving him a clear view of Via Aniello Falcone. Called to the scene, he watched helplessly as the chasm in the road opened and swallowed the contents of the street. Now he sits in his reading room staring out at this spot aware that at any moment another collapse is possible. Behind him a small opening reminds him off the city around him, in need of his protection.

Fig 183 - Isometric of Fireman reading room in Ceramic recycling factory, scale 1:100 Fig 184 - Ceramic recycling factory Isometric drawing locating Firemanâ&#x20AC;&#x2122;s reading room, scale 1:500 162

“The atmosphere of a flood is created by a free- flowing stream of consciousness” 63

CIGARETTE SELLER She looked out towards the sea and could see the ever rising water persisting to creep into her house. Yes this was going to be a problem soon if the rain didn’t stop. What about her cigarettes? She would hide them under her bed for now and hope the rain wouldn’t get them. She quickly looked up to the sky, yes she needed to hide them shortly or they would be ruined. Fig 185

63. Aslanyan, Anna, Nothing extremely unusual A free-flowing novel of a flooded Naples ,https://www.the-tls.co.uk/ articles/nothing-extremely-unusual/, (Accessed 29 February, 2020).

Fig 185 - 1:500 Isometric of the textile recycling factory situating the cigarette seller Fig 186 - Exploded isometric of the cigarette seller’s space KM 163

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Fig 187 SB Fa. 165

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Fig 188

She sits in seclusion, inwards looking invested in her own interests. As the city around her deteriorates she only sees production, its value and its risks. Above is a skylight where the clouds come rolling in. She sees the rain but does not see its greater impact. She sits and reads with only worries for herself.

Fig 187 - Isometric of cigarette sellerâ&#x20AC;&#x2122;s reading room in Ceramic recycling factory, scale 1:100 Fig 188 - Ceramic recycling factory Isometric drawing locating cigarette sellerâ&#x20AC;&#x2122;s reading room, scale 1:500

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“The atmosphere of a flood is created by a free- flowing stream of consciousness” 64

SWITCHBOARD OPERATOR She was first to be alerted of the chasm which opened up on Via Aniello Falcone. She looked upwards, after hearing the news. Through the cast iron bars, she could clearly make out the visible presence of the rain. it was raining, definitely it was raining: the rain had started falling in violent spates at about 3 in the morning...

Fig 189

64. Aslanyan, Anna, Nothing extremely unusual A free-flowing novel of a flooded Naples ,https://www.the-tls.co.uk/ articles/nothing-extremely-unusual/, (Accessed 29 February, 2020).

Fig 189 - 1:500 Isometric of the textile recycling factory situating the switchboard operator Fig 190 - Exploded isometric of the switchboard operator’s space Fa. KM 167

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Fig 191 - View of the switchboard operatorâ&#x20AC;&#x2122;s space toward the cast iron bars and through the window KM 169

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Fig 192 SB 171

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Fig 193

On that day of the 23rd of October the call came in and the tragedy ensued. Here she takes charge of all manner of incoming items. Organising and sorting the material placed in her control. She reads with one eye always alert to anything unexpected that may arrive. Behind her a small window looks out to the shoreline and the water rising. Fig 192 - Isometric of Switchboard operator reading room in Ceramic recycling factory, scale 1:100 Fig 193 - Ceramic recycling factory Isometric drawing locating Switchboard operator reading room, scale 1:500

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Fig 194 - Sectional render of Switchboard Operator reading room/ changing room 174

“Voices blend in a stream of soliloquies” 65

EXHIBITION

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Fig 196

Fig 197

Fig 199

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Fig 198

Fig 201

Fig 195 - Exhibition isometric exploding the exhibition spaces relating to characters Fig 196 - The little girl’s space is located at Villa Communale, where the children are found in Malacqua. Singing coins and hanging dolls (sketch models) await you here Fig 197 - Cigarette seller’s space is in the heart of the SpanishQuarters. She looks through her window at the rising waters. Fig 198 - Journalist’s space is located at the cafe in Santa Lucia. Here an array of newspapers are waiting with views to Capri and Ovo (contents map and site plan) Fig 199 - Young woman in love’s space is located in a secluded area of the studio where the Obliques can be found Fig 200 - Switchboard operator’s space is located in Vomero, telecommunications (videos play) occur here Fig 201 - Fireman’s space is found on the tight bend of Via Aniello Falcone, where repairs are made to the chasm and new buildings appear.

The exhibition is laid out in accordance to a 1:200 map of the city of Naples, the real and fictive locations determine the placing of different exhibition elements (figs 152, 195). The spine of the exhibition journey follows the characters from Malacqua, moving the viewer around the map visiting them each in their city locations. Within this journey, elements of the real city appear, such as the key landmarks and chosen sites. 176

Paul Emmons, Marcia F. Feuerstein, and Carolina Dayer. Confabulations : Storytelling in Architecture. Taylor and Francis, 2016. 66.

Fig 202 - Narratological isometric of the Textile recycling factory Fig 203 - Narratological isometric of the Ceramic recycling factory

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Fig 202

STAGING [noun] “the method of presenting a play or other dramatic performance”. Staging is the strategic movements and carefully calculated moments which bring together a narrative. Staging shows the moves made in the design decisions as well as the reforming of Naples to new narratives.

178

Fig 203

“Buildings make stories possible just as the architect makes fables in order to invent future buildings” 66

“In a scene that tracks the m e t i c u l o u s movements of his blade, he achieves clarity” 67

ANIMATE DRAWING RECONFIGURATIONS Each tracks was designed through a linear mapping of quotes taken from Malacqua and their physical relationship to the city of Naples. The steel follows the routes taken by characters, the water and the narrator throughout the book, around the city. The slither of space given between the steel allow the tiles of the city to move in the direction of the story, bringing along other tiles and strands of narrative in the process. As the tiles move they leave behind ink traces on the plaster base mirroring the journey of the story. The final outcome after using each track on the 1:2000 model, is a reshaping of the city to illustrate Naples through fictive reality.

Fig 204

“The very act of storytelling itself he declares to be a craft” 68

3 67. Aslanyan, Anna, Nothing extremely unusual A free-flowing novel of a flooded Naples ,https://www.the-tls.co.uk/ articles/nothing-extremely-unusual/, (Accessed 29 February, 2020). 68. Leslie, E. “Walter Benjamin: Traces of Craft.” Journal of Design History 11, no. 1 (1998): 5-14.

Fig 205

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Fig 204 - Staging the animate drawing for reconfigurations Fig 205 - Drawings of tracks which were used to stage the 1:2000 animate drawing

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Track 12 M 19 Track 1 M 1

Track 2 M 2

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Track 10 M 12

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Track 5 M 6 Track 14 M 24 Track 4 M 14

Track 3 M 7 Track 7 M 15

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A A 24.

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Fig 207 - Level - 1 Floor plan KEY 1. Exhibition room : switchboard operator 2. Covered external exhibition space 3. Exhibition mezzanine : little girl 4. Covered courtyard 5. Exhibition room : cigarette seller 6. External exhibition space 7. Exhibition room : fireman 8. Viewing platform to weaving workshop 9. Stairs 10. Lift core 11. Storage 12. W.C 13. Staff entrance to lower factory floor 14. Staff changing/locker room 15. Fabric drop and conveyor belt 16. Fabric crusher/ grinder 17. Carding machines 18. Fabric fiber shoot to factory above 19. Staff W.C 20. Plant room 21. Lift core 22. Storage - Indicates where fabric formed concrete is positioned - Outline to indicate where 1:100 model is taken from

Fig 210 - Second Floor plan

A G A KEY 1. Stairs with external mezzanines at various points to capture views 2. Balconies connecting circulation space to factory floor 3. Textile lift for factory 4. Lift core 5. Staff W.C 6. Spinning mule factory space 7. Fibers collection point from factory floor for use in spinning mules 8. Office/operations room. 9. External balcony with views towards National Museum of Ceramics Duca Di Martina and Castel Sant’ Elmo 10. Button and zip drop zone - Outline to indicate where 1:100 model is taken from

LEVEL -1 PLAN SCALE 1:200

“What if? What if the rain never stops?” 69

F 4.

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69. Langley, Lee, ‘Nicola Pugliese’s Malacqua — finally translated into English — is a powerful morality tale of a great city in decay’, The Spectator, https://www.spectator. co.uk/2017/12/naples-drowns-indeluge-and-corruption/, (Accessed 29 February, 2020).

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OUR INTERVENTIONS A

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Fig 209 - First Floor plan

KEY 1. Stairs with external mezzanines at various points to capture views 2. Balconies connecting circulation space to factory floor 3. Textile lift for factory 4. Lift core 5. Staff W.C 6. Textile store tanks and drop zone from factory floor above 7. Table area for initial clothes sorting 8. Colour sorting bins for textiles 9. Hardware removal area 10. Button and zip drop zone - Outline to indicate where 1:100 model is taken from

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D F KEY 1. Exhibition room : journalist 2. Exhibition room : little girl 3. Covered external exhibition space 4. Exhibition room : woman in love 5. External stairs 6. Sewing workshop 7. Weaving workshop 8. Storage cupboard 9. Shop/ information space 10. Lift core 11. Storage 12. W.C 13. Stairs 14. Existing ramped runway, finished with recycled textile tiling 15. Car entrance 16. Car park 17. External exhibition space

Fig 206 - Level - 2 Floor plan KM

LEVEL -2 PLAN SCALE 1:200

Fig 208 - Ground Floor plan A

181 KEY 1. Stairs with external mezzanines at various points to capture views 2. Balconies connecting circulation space to

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2. 1.

D F

Fig 213 - Roof plan

SECOND FLOOR PLAN SCALE 1:200

KEY 1. Stairs with external mezzanines at various points to capture views 2. Balconies connecting circulation space to factory floor 3. Accessible roof 4. Chimneys which expel oxygen after ozone sanitation 5. Green roof - Outline to indicate where 1:100 model is taken from

ROOF PLAN SCALE 1:200 8.

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Fig 212 - Fourth Floor plan

A G

FIRST FLOOR PLAN SCALE 1:200

KEY 1. Stairs with external mezzanines at various points to capture views 2. Balconies connecting circulation space to factory floor 3. Textile lift for factory 4. Lift core 5. Staff W.C 6. Sorting area 7. Ozone sanitation area 8. Staff room 9. Ozone generation area 10. Mezzanine area overlooking weaving space 11. Textile drop zone 12. Office - Outline to indicate where 1:100 model is taken from 6.

FOURTH FLOOR PLAN SCALE 1:200

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Fig 211 - Third Floor plan A G

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Fig 214 - Section through factory of the Textile Recycling Factory 184

Fig 215

Fig 216 KM 185

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Fig 215 - Section through workshop of the Textile Recycling Factory facing west Fig 216 - Section through workshop of the Textile Fig X - Section workshop of the Textile Recycling Factory through facing north Recycling Factory 186

Fig 218 - Level -4 Floor Plan

Fig 220 - Level -2 Floor Plan

Fig 217 - Level-5 Floor Plan SB

Fig 219 - Level-3 Floor Plan 187

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Fig 222 - Ground Floor Plan

Fig 224 - Roof Plan

Fig 221 - Level-1 Floor Plan

Fig 223 - First Floor Plan 188

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SB 189

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Fig 225 - West facing section of the ceramics recycling factory 190

LETTER TO THE EDITOR As we leave this flower of cities the manifestation of fiction presents itself further rooted into the realities of Naples. On the ground Naples seems overcome with problems, the Camorra, excess waste, municipal control (or lack there off). In Naples, stories are the escape from confronting reality, instead a new city is carefully created. ‘Malacqua’ by Nicola Pugliese is a story told on the threshold of truth. ‘Pugliese has captured with force and beauty the state of mind of a city that is both ‘theoretical’ and real’70. The narrative of the book allows an image of Naples buried deeper in reality than the city seen from its streets. Within this Naples the extraordinary which is usually kept secret is exposed. Behind the mask of fictional characters and

ridiculous events a more honest city emerges. One which admits defeat, and acknowledges its problems. Fiction in some ways in the perfect catalyst to expose reality. Throughout this project the exploration of fiction has guided us to programmes which deal with the inefficiencies that the realities of Naples hold.

began to link architecture and narrative within the city. This map became active through the animate drawing, concretising fiction into a storytelling model. The materials used were drawn from existing fictional depictions in Naples, from the storytelling presepe to the Majolica tiles. The city became a stage for characters to move, Creating architecture on locations to shift and the city to the threshold of fiction and be reconfigured. reality came with challenges as fiction has no geographical The animate drawing made grounding in the city and from clay, plaster and steel cannot be concretely mapped. formed the basis of an The conveyance of ideas based architectural language. The in literature encouraged new components of a heavyweight ways of working, ‘inscribing object suspended on a delicate real fictions and fictive realities’ frame became the narrative became the framework for architecture. Through this mapping the fictional Naples. method of designing we were Techniques of scripting in the able to programme buildings, contents map, through different such as recycling factories, lettering, ink and textures toilets and workshops, which 191

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sat grounded in the realities on the city but which also sat within this threshold of imagination, reminiscent of the city itself. Fiction is generally used as a tool to escape reality however we use it to address reality. Our thesis provided a powerful tool in investigating a city through the imaginary. This analysis of Naples allowed us to find problems within reality, too testing to be discussed outside fiction. Narrative architecture as a tool is used to create solutions to reality within the confines of imagination. Through our project we explored further into the boundary of this imaginative world producing programmes which deal directly with city problems but through the lens of story. Story

is a reflection on the conditions that surround us and through studying local narratives real issues faced by people in Naples were highlighted. Going forward we believe that addressing real problems through narrative was an effective way of engaging people with the issues they face. 69. Langley, Lee, ‘Nicola Pugliese’s Malacqua — finally translated into English — is a powerful morality tale of a great city in decay’, The Spectator, https://www.spectator. co.uk/2017/12/naples-drowns-indeluge-and-corruption/, (Accessed 29 February, 2020).

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Fig 226

SB, JH, KM 193

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Fig 227

Fig 226 - Group Oblique facing West Fig 227 - Animate drawing facing east 194

BIBLIOGRAPHY BOOK REFERENCES - Basile, Giambattista. Il Pentamerone; or,The Tale of Tales. Place of publication not identified: Immortal Classics, 1927. 64-66. - D’Acierno, Pellegrino, Stanislao G. Pugliese, and JSTOR. Delirious Naples : A Cultural History of the City of the Sun. First ed. New York: Fordham University Press, 2019. - Paul Emmons, Marcia F. Feuerstein, and Carolina Dayer. Confabulations : Storytelling in Architecture. Taylor and Francis, 2016. Frascari, Marco. Eleven Exercises in the Art of Architectural Drawing : Slow Food for the Architect’s Imagination. Abingdon: Routledge, 2011. - Frascari, Marco. Eleven Exercises in the Art of Architectural Drawing : Slow Food for the Architect’s Imagination. Abingdon: Routledge, 2011. - Leslie, E. “Walter Benjamin: Traces of Craft.” Journal of Design History 11, no. 1 (1998): 5-14. - Pugliese, N., 2013. Malacqua: Four Days of Rain in the city of Naples, Waiting for the Occurrence of an Extraordinary event, Napoli: T.Pironti. WEB REFERENCES - Aslanyan, Anna, Nothing extremely unusual A free-flowing novel of a flooded Naples, https://www.the-tls.co.uk/articles/nothing-extremely-unusual/, (Accessed 29 February, 2020) - Cantoni, Roberto. “The Waste Crisis in Campania, South Italy: A Historical Perspective on an Epidemiological Controversy.” Endeavour 40, no. 2 (2016): 102-13. - Children are the most vulnerable victims of Italy’s toxic waste coverup - Woman News Network (WNN), Woman News Network (WNN), WNN Team, https://womennewsnetwork.net/2013/11/27/children-italys-toxic-wastecoverup/ (Accessed 18th Apr, 20) - Christmastime in Naples: Jesus, Mary and Ronaldo, The New York Times, https:// www.nytimes.com/2018/12/20/sports/soccer/naples-nativity-ronaldo-mbappe. html. (Accessed 17th April, 2020). - Europarl.europa.eu, https://www.circularonline.co.uk/news/uk-named-fourthlargest-textile-waste-producer-in-europe/ (Accessed 01 May, 2020). - Friendly, Alfred, In Naples, Housing Booms, Sewers Falter and Streets Collapse, The New York Times, https://www.nytimes.com/1970/01/19/archives/article-3no-title.html, (Accessed 10 April, 2020). - Granbyware - 100% Recycled Ceramic Dinnerware, Granby workshop, https:// www.kickstarter.com/projects/granbyworkshop/granbyware, (Accessed 1 May 2020). - Langley, Lee, Nicola Pugliese’s Malacqua — finally translated into English — is a powerful morality tale of a great city in decay, The Spectator, https://www. spectator.co.uk/2017/12/naples-drowns-in-deluge-and-corruption/, (Accessed 29 February, 2020). - L’Ospedale delle bambole da bottega a museo - ViaggiArt, https://web.archive. org/web/20171021195038/http://www.ansa.it/canale_viaggiart/it/regione/ campania/2017/10/21/lospedale-bambole-da-bottega-a-museo_1740daf3-77654cb1-916f-e3823a1e657b.html, (Accessed 24th Apr, 2020) - Mafia, toxic waste and a deadly cover up in an Italian paradise: ‘They’ve poisoned our land and stolen our children’, The Telegraph Ian Birell, www.telegraph.co.uk/ news/0/mafia-toxic-waste-and-a-deadly-cover-up-in-an-italian-paradise-t/ (Accessed 17th Apr, 2020) - McNab, Jessie, Maiolica in the Renaissance, The Met, 2002, https://www. metmuseum.org/toah/hd/maio/hd_maio.htm, (Accessed 26 April, 2020) - Mitchell, Peter, ‘Peter Mitchell reviews Malacqua: Four Days of Rain in the City of Naples, Waiting for the Occurrence of an Extraordinary Event by Nicola Pugliese’, Asymptote, https://www.asymptotejournal.com/criticism/nicola-pugliesemalacqua/, (Accessed 29 February, 2020). - Nelson Susan, Naples: Santa Chiara has a “Secret Garden” of Majolica Tiles, Italo Americano, 2016, https://italoamericano.org/story/2016-8-1/santachiara-naples, (Accessed 26 April, 2020) 195

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WEB REFERENCES - Opinion | In Italy’s south, the coronavirus is not the only thing to fear , The Washington Post, https://www.washingtonpost.com/opinions/2020/04/06/italyssouth-coronavirus-is-not-only-thing-fear/ (Accessed, 18th Apr, 2020) - Pomeroy, Robin. (2008). Naples Garbage is Mafia Gold. Reuters World News. - Scotto di Santolo, Anna, Sink-hole risk assessment in the metropolitan area of Napoli, Italy, Procedia Engineering, 2016, 458. - The doll hospital in Naples - Italian ways, Italian ways, https://www.italianways. com/the-doll-hospital-in-naples/, (Accessed 24th Apr, 2020) - The Washington Post, https://www.washingtonpost.com/opinions/2020/04/06/ italys-south-coronavirus-is-not-only-thing-fear/ (Accessed, 18th Apr, 2020) - Thomson, Ian, ‘Malacqua by Nicola Pugliese — water, water everywhere’, Financial Times, https://www.ft.com/content/65ad3ca4-f46a-11e7-88f7-5465a6ce1a00, (Accessed 29 February, 2020) - UK named fourth largest textile waste producer in Europe, C i r c u l a r Online, https://www.circularonline.co.uk/news/uk-named-fourth-largesttextile-waste-producer-in-europe/ (Accessed 01 May, 2020). - Unknown author, Service contract on management of construction and demolition waste, European Commission, 2011, https://ec.europa.eu/environment/waste/ pdf/2011_CDW_Report.pdf, (Accessed 1 May 2020) - Unknown, “Years of Lead” — Domestic Terrorism and Italy’s Red Brigades, Association for Diplomatic Studies & Training, https://adst.org/2016/03/years-oflead-domestic-terrorism-and-italys-red-brigades/, (Accessed18 April, 2020). - V,A, Italians are still haunted by the Years of Lead, The Economist, 2017, https:// www.economist.com/prospero/2017/11/27/italians-are-still-haunted-by-theyears-of-lead, (Accessed18 April, 2020).

OTHER REFERENCES - Placard found in Presepe exhibition room in Museo e Certosa di San Martino

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FIGURE REFERENCE Figure 48- The Pittsburgh Press, Pittsburgh, Pennsylvania, https://www.newspapers. com/newspage/143425782/, 77, (Accessed 10 May 2020)

Figure 62- Friendly, Alfred, In Naples, Housing Booms, Sewers Falter and Streets Collapse, 1970, The New York Times, /:https://www.nytimes.com/1970/01/19/ archives/article-3-no-title.html, (Accessed 10 May 2020)

Figure 67 & 81- Ciotoli Giancarlo, 1979, https://www.researchgate.net/figure/ Settembre-1979-sinkhole-in-corso-Amedeo-di-Savoia-fonte_fig14_259850906, (Accessed 20 May 2020)

Figure 68- Guarino, Paulo, 2011, Anthropogenic sink-holes in the territory of the city of Naples, https://www.sciencedirect.com/science/article/pii/S1474706511003007, (Accessed 20 May 2020)

Figure 100- Unkown photographer, https://www.thelocal.it/20140423/italy-todeclassify-bologna-bomb-files, (Acessed 10 May 2020)

Figure 101-Esposito, Salvatore, A police officer wearing a riot helmet inspects garbage burning on a street in Naples, 2008, https://www.reuters.com/article/us-italywaste-mafia/naples-garbage-is-mafia-gold-idUSL0830577220080109, (Accessed 10 May 2020)

Figure 105- Zipfel, Isabell, Newspapers in Caivano carry frequent death notices, https://www.aljazeera.com/indepth/inpictures/2016/01/toxic-wasteland-italycampania-felix-160127054516521.html, (Accessed 10 May 2020)

Figure 107- Zipfel, Isabell, The environmental effects in the area have been compared to the Chernobyl disaster, https://www.aljazeera.com/indepth/inpictures/2016/01/ toxic-wasteland-italy-campania-felix-160127054516521.html, (Accessed 10 May 2020)

Figure 117,118,119- Screenshots, Naples â&#x20AC;&#x2DC;44, directed by Francesco Patierno, 2017, Film

Figure 120- Unknown photogrpaher, 2020, https://www.independent.co.uk/news/ world/europe/coronavirus-italy-singing-video-balcony-streets-lockdown-sienaflorence-naples-turin-a9401786.html, (Accessed 10 May 2020)

Figure 121- Ciro de Luca, Reuters, A woman waves an Italian flag from a balcony in Naples in the days after the lockdown announcement, 2020, https://www. independent.co.uk/news/world/europe/coronavirus-italy-singing-video-balconystreets-lockdown-siena-florence-naples-turin-a9401786.html, (Accessed 10 May 2020)

Figure 122- Unknown photogrpaher, 2020, https://news.sky.com/story/coronaviruscovid-19-hopes-and-signs-of-us-restart-buoys-uk-stock-market-11974685, (Accessed 10 May 2020)

Figure 149- Levine, Richard, 2018, https://www.newscientist.com/article/2184315your-old-unwanted-clothes-can-be-turned-into-building-materials/, (Acessed 10 May 2020) 197

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