How can we evoke emotions of nostalgia?

How can we evoke emotions of nostalgia, to experience unique memories, allowing us to return to the irreversible past?

THESIS PROJECT ANNA REZIN

Monday, 23rd November 2020

CITY NEWS Returning to our beloved past

Nostalgia sweeps the local community as they reminisce on the ‘Floop’s’ history

NOSTALGIA #THROWBACK THURS- How can a building create atmospheres in order to evoke DAY See Pages 18-20

STUDIO 1 ANNA REZIN MARCH YEAR 2 ATELIER USE MANCHESTER SCHOOL OF ARCHITECTURE

emotions of nostalgia, to experience unique memories allowing us to return to the irreversible past?

“Say you’re listening to the radio on your way to work, and a favourite song from 20 years ago starts playing. A sense of wistfulness overcomes you, evoking fond memories of the past. A familiar smell can elicit a similar sensation, as can a movie resurrected from childhood. The feeling is bitter-sweet, though ultimately pleasant. Sound familiar? You’ve experienced nostalgia.”

- Julie Leibach

(Leibach, 2013)

02

Project Aims and Objectives The lack of visible heritage on the Fallowfield loop ‘Floop’ has driven the desire to design a space allowing long-term residents the ability to reunite with their beloved past once again. The increased fast paced lifestyle, that has become the reality of today’s society, often results in devastating effects for many. People are all too often resorting to nostalgia in order to fantasise on the slow paced joyous, happy and meaningful experiences once lived.

This project looks at the creation of spaces within a buildings design, through the use of atmospheric properties, as well as, sensory experiences.

This will ensure the appropriate conditions are produced, for the user to experience strong emotions of nostalgia. This will allow not only the current generation and community access to nostalgic experiences, but also the ability to accommodate future generations as they create new ‘past’ experiences.

(ArchDaily, 2013) - image - Refer to Pg 61

03

Contents

05

05-06 07 08 09 +

+

+ +

10 18 +

10 11 12 13 14 15 16 17

Introduction (Manchester’s Industrial Heritage) The ‘Floop’s’ History The ‘Floop’s’ lost history The ‘Floop’s’ preserved history

+ +

-

Mancunians are proud of their cities industrial heritage Importance of preserving built environments for the community Increased Housing Demand Gentrification and Displacement changing an existing communities culture Demographics - Changes to the communities culture Residents talk community and culture change Transgression Zones - Voids, Dead Zones, Wastelands?

Green space, Artistic freedom or mess?

+

21

18 19 20

Nostalgia - Sentimental longing for a former place or time that no longer exists Nostalgia - Collective vs Private - Restorative vs Reflective Nostalgia - Triggers

21 22 23

Society’s self-destructive addiction to living faster Trapped in the system Has life in isolation made us unaware of our surroundings and how fast paced our lives have become?

Disconnect from the system of modern culture Why has nostalgia become important to our lives?

24 25

30

30 31 32 33 34 35 36 37 38 39 40

Experiencing Nostalgia without replicating the past Senses - Memory Input Multi-Sensory Imagery Multi-Sensory Experience Personal Sensory experience from the site Materiality and Time - Flatness of today’s standard construction Materiality on site Importance of Shadows Personal Site Experience - Light vs Dark Importance of Water - Sensory Experience - Tranquillity Precedent Study - Tado Ando

41

41 42 43 44 45 46 47 48 49 50

Atmosphere and Construction The Body of Architecture Material Compatibility The Sound of a Space The Temperature of a Space Surrounding Objects Between Composure and Seduction Tension between Interior and Exterior The Light on Things Architecture as Surroundings

51 52 53 54 55 56

The Proposal Programme Proposal Proposed Site Why choose this site?

Proposed Site Conditions Experiencing the site in relation to Peter Zumthor’s principles of atmospheric design What’s Next?

51

Karen Connolly Memories

57

26 STORE ROOM

26 27 28 29

Locals recollections of childhood memories Types of Memories The process of Memory Personal Memories from the site

58

58-61 Bibliography 62-63 Bibliography - Images 04 Karen Connolly Memories

Context - Manchester’s Industrial Heritage The industrial revolution was the catalyst for development and the way Manchester has been shaped today. The city, originally a small market town of around 40,000 in the late 18th century had exploded in to an industrial dynamo. By 1900, it was considered one of the largest cities in the world, with a population just shy of two million.

1774 Shows a small market town -The bridge water canal bottom left shows signs of what’s to come.

1842 Shows substantial growth with finished canals and railways in progress.

The exponential growth was predominantly due to the increased growth of the cotton trade and the idyllic climate necessary for spinning yarn. The canals provided power for the mills and water for washing and bleaching cotton. Manchester became home to such a high volume of mills that it became known as “cottonopolis.”

1924

The decline of the cotton industry came from the reliance from distant material.

Production rose in countries in closer proximity to the raw material and with cheaper labour and modern methods Manchester reduced production.

Shows substantial growth doubling in scale. The conditions were very dense and unsanitary leading to the rich fleeing to Manchester’s suburbs.

2000

Cotton Factories, Union Street, Manchester.

(Brian, n.d.)

(Organic Cities | URBED, n.d.)

(Williams, 2020) (Belshaw, 2019) - Image - Refer to Pg 62

The Great Depression and WWI left the city looking disintegrated.

More than half of its population had followed the rich to the suburbs.

The Great Depression of 1930 caused a domino effect of the whole world. The UK had previously been functioning as a major exporting country, so when the crisis hit, there was little demand for european exports . In the UK the highly industrial areas including the north-east of England were greatly affected.

Jobs subsequently suffered and the areas which had once flourished in the industrial revolution were now suffering badly.

05

Context - Phases in time +

+

+

+

+

+

+

+

+ +

+

+

+ +

+

+ +

+

First Industrial Revolution

+

+

End Of 18th Century

Introduction of Mechanised Production, steam Power & Hydro Electric.

+

+

+

+

Second Industrial Revolution

Beginning of 20th Century

-

Mass Production of goods using assembly Line, Electrical Energy

-

-

-

-

-

Third Industrial Revolution

-

Early 1970s

Further Automation production, Computers, Electronics

Fourth Industrial Revolution

Present Day

Internet, Networks, AI, Exchange of information between human and machine.

(Haniel, n.d.)

06

Ancoats

Clayton

Manchester

Droylsden

Bradford

Ordsall Ardwick

Old Trafford

Hulme

Belle Vue

The Fallowfield loop ‘Floop’ was originally part of the Manchester, Sheffield and Lincolnshire (MSLR) railway line opening in 1892. In 1897 the MSLR became the Great Central Railway (GCR). The Early 20th Century bought about the use of electric trams serving all immediate stations, making the service quicker and more efficient, proving a more direct line in to Manchester centre, this bought about the decline of passenger use for the loop line. On the other hand the line was still seeing a good use from the transportation of goods.

Gorton Rusholme

Levenshulme

Fallowfield

0

(NOT TO SCALE)

10m

50m

100m scale 1:1250 Burnage

N

Although consideration was given to electrifying the line, only a small amount between Fairfield and Reddish was constructed. Passenger services continued to use the line until the closure of Manchester central in 1969, this meant the lines only purpose was for the transportation of goods.

The last service to use the line was in 1988 where the track was then removed and left dormant letting the process of succession take over.

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK ST

Context - The ‘Floops’ History

Having been derelict for some time, in 1995, a group of the local communities cycling enthusiasts found potential in the old line as a cycle route stretching from Fairfield to Chorlton-cum-hardy. In 1998 the former railway was acquired by Railway Paths Ltd. Funding was acquired and the cycle route was opened in summer 2003. Currently the cycleway is maintained and funded by ‘Sustrans’ and ‘Friends of the Fallowfield Loop’.

The route provides a wildlife corridor for biodiversity, whilst linking green spaces for the community to enjoy.

(Catford, 2018) (Fallowfield Loop Line, Manchester | Railway Paths | public routes, roads and paths suitable for cycling, walking, horseriding and wheel-chair use, 2020)

07

Context - Key Features - Lost History

Duchess Of York Children’s Hospital Founded in 1914, and relocated to Cringle Hall in 1919, the Duchess of York Hospital was a children’s hospital undertaking specialist treatments.

This was later closed in 1986 and a specialist Duchess Of York ward was created in Withington hospital.

This site is now home to Cringle Brook Primary and Ferguson Court a retirement Property.

Fallowfield Stadium

The stadium once hosted the FA cup final in 1893. In 1994 the stadium was demolished to make way for a new sports facility, ‘Armitage Sports Centre’, to Richmond Park halls of residence.

(Nixon, n.d.)

(Fallowfield Loop - Points of Interest – Google My Maps, 2020) (Welcome to the United Cattle Products supporters’ site | UnitedCattleProducts.co.uk, n.d.)

(Duchess of York Hospital, 2020)

Stockport Canal The Stockport Canal was a branch of the Ashton Canal from Clayton to Stockport. It opened in 1797 to assist with the transportation of material. It ceased in the late 19th Century as a result of competition from railways and roads. Today, this stretch of the canal has been turned in to a footpath known as the ‘Yellow Brick Road’.

UCP Tripe Factory During the 1950’s the United Cattle Products (U.C.P) was a chain of shops and restaurants supplying specialised tripe dishes to the North of England. The factory was accessed by a lattice bridge from the current entrance to Highfield Country Park. This bridge is still visible and in use today.

Errwood Park / Cringle Park

What was originally known as Errwood Park, consisting of bowling greens, tennis courts, pavilions, cafeterias and a much loved bandstand, later became Cringle Park. Although the park remains, much has changed from its former glory. The bandstand no longer remains and pavilions vandalised and closed off.

Jacksons Brick Company

The land that is now Highfield Country Park, was once a brick factory. Clay was excavated for brick manufacture from the 1950’s to the 1970’s. The clay pits filled with water bought increased interest for local children, making it a playground to many. Today there is little remnants other than a small pond - ‘The Brickie’ also well used by local children.

W.Rigby & Son

Overlooking the ‘Brickie’ was a pig farm, operated by John Rigby between the 1930’s to the 1970’s.

There was many other smaller pig farming operations in the local area surrounding Highfield Country Park.

08

Context - Key Features - Preserved History

Fallowfield Station

Gorton Reservoir

The original station can still be seen from Wilmslow Road and has been retrofitted in to a supermarket.

The Manchester & Salford Waterworks Company began work to create the Lower Gorton Reservoir. In 1842-3 a new overflow shaft and tunnel were added. In 1876-9, John Frederic Bateman built a large brick culvert to divert the polluted Gore Brook around the east side of both reservoirs. Today the reservoirs attract many residents to the green outdoors as well as the participation of water sports.

Hyde Road Station (Gorton)

The Original station has been demolished along with the original bridge spanning Hyde Road. Recent building works have replaced the existing bridge with a new bridge construction.

Thirlmere Aqueduct

The aqueduct began operation in 1897, starting at Thirlmere Reservoir in the lake district supplying water to Audenshaw Reservoir in East Manchester to meet the growing demand for water in Manchester. The aqueduct can be seen at two point on the ‘Floop’.

Wilbraham Road Station

Nico Ditch

A linear boundary of the Anglo-Saxon period.

Some of the structure can be seen in Plattfield park and Gorton cemetery. Unfortunately a large proportion of the structure has been demolished by urban developments.

Originally named Alexandra Park station, it was demolished after the closure of the station to passenger trains. Today only small remnants of the platforms remain visible from the ‘Floop’.

South Levenshulme Station

The original station can be seen from both the ‘Foop’ and main road. The building remains similar to the original and has been retrofitted in to independent retail stores.

(Catford, 2018) (Thirlmere Aqueduct, n.d.)

(Lower Gorton Reservoir, n.d.)

(Section of an early medieval boundary ditch known as the Nico Ditch in Platt Fields 480m SSE of Platt Hall, Manchester - 1015132 | Historic England, n.d.)

09

Mancunians are proud of their cities industrial heritage Manchester was the first city to pioneer a new type of work known as mass production. Thousands of people were working tirelessly in the creation of this new industrial city. This can be related to the hard working mentality of the bee. Today it represents not only the dedication to hard work but also Manchester’s indomitable spirit.

“Everyone in Manchester is as busy as bees.”

I’m very proud to be a Mancunian as this city and it’s people have done so many amazing things. For me it is the scientific innovations such as the creation of the computer and our strength within the arts with the Manchester International Festival

-Ed Glinert

- Emily

+

+

+ +

Manchester’s Community are proud of their industrial heritage with emphasis on the close connection to the Bee. A Unique symbol of the city, it has been an part of Manchester’s coat of arms since the 1842.

(Glinert, n.d.)

+ +

“It’s a home to inventors, music makers and cage shakers. No one is prouder than a Manc and rightly so”

- Alison

-

10

Importance of preserving built environments for the community

City’s and Town’s heritage is continually being threatened to be demolished in order to make way for new projects and developments. Specifically in central locations, the increased land value and strategic locations creates a higher threat for these precious historic sites. These historic sites symbolise an important stage in the development of the area and the history of its communities. In Manchester specifically a large proportion of industrial buildings have been retrofitted and now are used as residential blocks. A space becomes meaningful and missed due to activities performed made through a communities culture to make the architectural structure memorable. Demolishing significant architecture within a community is a loss of home and identity.

“The places we choose to save do more than tell our stories, and do more than act as a window onto our shared past.

They reveal the foundation and framework of our character, our resolve and resiliency— the muscular inner chambers of our community’s beating heart.”

- Katherine Scott Crawford (Crawford, 2020) (Calamusso, 2015)

11

Increased Housing Demand

“There’s nothing wrong with them at all. They’re going to build three-bedroom homes, one bedroom homes – that’s exactly what we’ve got now. Just pulling something down to build a new version of what’s already there. I think it’s ludicrous. Why get rid of our little estate to build much the same. They’re just replacing what they’ve got”.

“In Manchester, none of the 14,667 homes in big developments granted planning permission by the council’s planning committee in the last two years are set to be “affordable””

- Anne (Resident)

- Helen Pidd

SOLD

TO LET

“I couldn’t agree more that we need more social housing… It’s like the city has grown at a phenomenal rate, especially in the city centre, and things are yet to catch up.” “We have to do something to make sure that families are not priced out of their neighbourhood.” “If we just have high earning people in the city centre, it’s going to lose its edge, diversity and creativity. The city will burst. That’s what attracts investment…

Manchester has never been boring, it’s exciting, and the population needs to reflect that. We have to make sure that everyone can live in or around the city.”

- Tim (Developer)

“There is a lot of uncertainty from a young person’s perspective.”“Developers do want to sell to the highest bidder and that’s not often young people.” “Prices are only going up at the moment.

It is a challenge... I think it is a difficult place for a young person to buy.”

- Sam (First time buyer)

Manchester is quickly become one of the fastest growing cities in Europe, with large construction and developments taking place each month. The gentrification of the area is benefiting the city greatly, presenting new and increased employment opportunities, whilst regenerating disused parts of the city. There has been a high demand for residential buildings across the city, but demand still outweighs supply. Although the increase in development within the residential sector has produced a large number of properties, most aren’t being made affordable to many who have grown up in and around the city. Less than 20% of new homes are affordable. Manchester has become a hub for the tech industry, whilst being ranked ninth global emerging start-up hotspot. Along with the prospering opportunities Manchester has to offer, many overseas investors have gained interest in the property ladder.

“In one new Manchester apartment block, nearly two-thirds of flats have been snapped up by international buyers.”

- Stuart Pollitt & Dan Box

(Pidd, 2018) (Manctopia – Is the property boom good for Manchester? - Salboy, 2020) (Pollitt and Box, 2019)

12

Gentrification and Displacement changing an existing communities culture £

++++

£

++++

++++

Regeneration from pioneers begins to £ slowly build a good reputation for the area, attracting other home seekers.

The new and improved area creating an increase in property values due to FOR the now desired area.

FOR SALE

£

++++

Increased property prices attracts interest of developers. Derelict land or low cost housing can be purchased to convert in to more desirable spaces further attracting perspective buyers to the area.

SALE

Once an area has gone through the period of disinvestment, ‘urban pioneers’, generally young, enthusiastic and adventurous individuals look to regenerate the suffering area. Pioneers are attracted to the opportunity due to the low house price and close proximity to central locations.

£

++++

Before an area can go through the process of gentrification it must go through the process of disinvestment.

Businesses slowly decline and the areas buildings suffer soon becoming derelict with many being unkept. This leads to areas of land becoming urban wastelands.

(Roos, Money, Economics and Concepts, n.d.)

£

++++

£

++++

SOLD

As the value of the area increases, local long-term residents are unable to afford increased rent costs. Residents having grown up in the area can’t afford property prices to stay in the local area and developers outbid individual buyers, so have to move away.

Gentrification has many positive effects on an area helping to gain better reputations. However there are many negative effects for the local long-term community, who are unable to benefit from the new investments. Many local residents are forced to leave the area as value increases. Cultural displacement also plays a large role on the negative association with gentrification, where character and community can be lost and residents can feel alone in their own home.

13

Demographics - changes to the communities culture

Levenshulme

Country Of Birth UK Republic of Ireland EU (Other) Other

“It’s a very diverse community here in terms of class and ethnicity”

-Ciara (Levenshulme)

Ethnic Group Country Of Birth

White Asian Black Arab Mixed/Multiple Other

Ethnic Group

Burnage

FF

Fallowfield Burnage

FF

Chorlton

Country Of Birth Chorlton

FF

Ethnic Group

Burnage Chorlton

South Reddish Burnage

Reddish

Country Of Birth

Ethnic Group Levy

Country Of Birth

Ethnic Group

Country Of Birth

Ethnic Group

14

(City Population - Site Search, 2020) (These powerful portraits show the Levenshulme community standing strong during lockdown - The Manc, 2020)

Reddish

Chorlton

Reddish

Residents talk community and culture

“I was born and bred here and remember a time when people would only come through Levenshulme when they were on the 192 bus,” she said. “It was really rough around the edges.“But that has changed rapidly and with it, the house prices have risen too.

- Mary (Levenshulme)

(Scullard, 2019) (Clarke and Broncz, 2019)

“Levenshulme has become gentrified a bit but in a positive way. It’s a real melting pot of cultures - you can wake up in the morning and have an English breakfast, an authentic Turkish shawarma for lunch and a focaccia for tea.”

- Dean (Levenshulme)

“Perhaps the academic demands of final year make students inclined to move away from the area, or the deterioration of the facilities are pushing people away.”

- Liv & Emily (Fallowfield)

“The Irish community is one of the biggest in UK and it has very strong links with the West of Ireland especially County Mayo. But it is also home to a large array of different cultures and ethnic groups.”

- Tony (Levenshulme)

15

Transgression Zones - Voids, Dead Zones, Wastelands?

In the past year, ‘The Tower’ has become unoccupied, both the Fallow Cafe and The Font have closed down, Tesco Express and the post office contained within have now disappeared. Even the famed bandaoke at the Ram is now merely a ghost of the past.

The Orange Grove - Fallowfield - Converted to apartments

‘The Toast Rack’ - Fallowfield - Converting to apartments

- Liv & Emily

“The ‘Dead zones’ or, as I like to call them, Transgression Zones, are not created by an act of destruction, but by suspension of new plans for an area that is under used or has been abandoned by its former activities.”

- Gil M Doron

The terms ‘Dead Zones’, ‘Wasteland’, ‘Derelict areas’, ‘No man’s land’, ‘Voids’, refer to places which are neither slums, nor open or natural spaces. They are spaces that look abandoned and empty. These are places such as, disused buildings, harbours, mines or factories. However, there are questions as to whether these spaces should be identified with these descriptions. Many view ‘Wastelands’ as being ugly, or dirty and aren’t seen as an asset to an area, however, there is no such thing as absolute dirt according to Mary Douglas, it is said to be in the eye of the beholder. The informal activities taking place in these spaces can be seen as an order of another kind, rather than disorderly. So we ask the question as to whether this same, different order, takes places in all ‘wastelands’ etc. Many ‘wastelands’ have become subject to natural succession becoming havens for wildlife. Does this still make it a wasteland? We could pose the same question for the ‘Floop’.

(Doron, 2010) (Clarke and Broncz, 2019)

The dilapidation of areas can lead to, once thriving spaces, becoming disused and eventually derelict. These spaces then become identified as ‘Wastelands’, ‘Voids’ or ‘Dead Zones’, large buildings or sites that are now ‘Dead Zones’ in the urban fabric are easily identified, gaining the interest of planners and developers with profitable earnings in mind. These derelict spaces have become important within the gentrification of an area, where many are converted or redeveloped to help regenerate the area. However, smaller less recognisable ‘Voids and ‘Dead zones’ could include bridges or underpasses, car parks or an empty road even. Our environment is filled with voids that have become less recognisable or cared about by communities with the ‘Out of sight, out of mind’ mentality. ‘Dead zones’ can appear in any part of the urban fabric, where an area is out of use. This can occur during the night where a space may become deserted. You could argue that the ‘Floop’ itself, is a transgressive zone, where large portions surrounding the main cycle path are unused and un-kept, creating a sense of wasteland. Many ‘Dead zones’ occur every night where activity is lost, such as, parks, office buildings, squares or streets. Particularly during the night, the ‘Floop’ is seen as an uninviting space, reducing the activity on site, therefore, making it a ‘Dead zone’.

Fallowfield loop ‘Floop’ - Wasteland examples

16

Green space, Artistic freedom or mess?

The ‘Floop’ and surrounding areas have large amounts of artwork. Whether this is a community art project resembling the areas history or artistic freedom produced by the new generation to inhabit the area. There is a fine line between artwork and pollution to the natural environment.

The ‘Floop,’ a green corridor connecting various parks can be seen littered with rubbish. Is this now considered a green space or a mess? Does this mean its a wasteland?

The prevention of vehicle access to the ‘Floop’ creates series of obstacles littering the cycle path. The need for additional security in order to protect any existing building from vandalism means fencing closes of areas which were once freely open to use. These obstacles can also be seen as littering the natural landscape creating mess.

17

Nostalgia - Sentimental longing for a former place or time that no longer exists Nostalgia [ no-stal-juh, -jee-uh, nuh- ] noun A wistful desire to return in thought or in fact to a former time in one’s life, to one’s home or homeland, or to one’s family and friends; a sentimental yearning for the happiness of a former place or time.

Nostalgia is an emotion involving recollections and fond memories for ones personal past. These memories are preserved and embraced for later reflection. These experiences may involve social relationships or momentous incidents that occurred at a certain period in time, or to the specific individual.

The emotion can often be triggered by encountering familiar senses to that particular moment in time such as smell, sound, an artefact, photos, by engaging in conversations, or by the feeling of loneliness. Nostalgia is the bitter-sweet emotion filled with warmth, happiness and joy of the meaningful lived past. Yet this emotion can equally be tinged with feelings of sadness, missing, emptiness or longing for moments irredeemably gone.

(Definition of nostalgia | Dictionary.com, n.d.)

(Barton, 2014) (What Nostalgia Is and What It Does | Nostalgia | University of Southampton, n.d.)

(Routledge, Wildschut and Sedikides, n.d.)

(Huppatz, 2009)

Nostalgia, originating from a combination of the Greek words nostos (to return home) and algia (a painful condition). The term was coined by the Swiss physician Johannes Hofer (1688/1934) to capture the adverse symptoms displayed by Swiss mercenaries in the service of European monarchs.

Nostalgia was later regarded as the ‘Swiss illness’. Recognised symptoms included pining for alpine landscapes, fainting, fever or even death. Between the 19th and 20th century, definitions of nostalgia changed. Nostalgia came to be regarded as a form of depression. Today nostalgia is regarded as ‘a sentimental longing for the past’.

“At first glance, nostalgia is a longing for a place, but actually it is a yearning for a different time - the time of our childhood, the slower rhythms of our dreams. In a broader sense, nostalgia is rebellion against the modern idea of time, the time of history and progress.”

- Svetlana Boym

(Wilson, 2014)

18

Nostalgia - Collective vs Private - Restorative vs Reflective +

+

“[t]ime, unlike space, cannot be returned to ever; time is irreversible. Nostalgia becomes the reaction to that sad fact.”

- Linda Hutcheon PRIVATE NOSTALGIA

COLLECTIVE NOSTALGIA Collective nostalgia refers to events or objects that are widely shared between groups, neighbourhoods, cities and nations, tying together symbolic experiences from the past, which can under proper conditions trigger off wave upon wave of nostalgic feeling in multiple individuals at the same time. Collective nostalgia helps to strengthen feelings of positivity as groups recall fond memories.

The condition in which those symbolic images and allusions from the past which by virtue of their resource in a particular person’s biography tend to be more idiosyncratic, individuated, and particularistic in their reference; for example the memory of a parent’s smile.

Through design, companies have harnessed the sentimental and emotive feeling of collective nostalgia to market products. Well know brands have focused on captivating audiences emotions to advertise products, playing on the past where consumers feel safe and comfortable whilst creating a sense of local and trusted produce.

“People are realising that consumers enjoy the experience of nostalgia and they’re capitalising on that.”

- Tim Wildschut

(Boym, 2011) (Wilson, 2014) (Huppatz, 2009) (Gross, n.d.)

(Wilks and Kelly, 2008) (Sedikides and Wildschut, 2019)

RESTORATIVE NOSTALGIA Restorative nostalgia focuses on ‘Nostos’ and aims to reconstruct the lost home patching up the memory gaps.

REFLECTIVE NOSTALGIA Reflective nostalgia dwells on ‘algia’.

It savors the emotions evoked by its recollection rather than attempting to rebuild the past.

“If restorative nostalgia ends up reconstructing emblems and rituals of home and homeland in an attempt to conquer and specialise time, reflective nostalgia cherishes shattered fragments of memory and temporalises space.”

- Svetlana Boym

19

Nostalgia - Triggers “I think of nostalgic experiences when I’m sad as they often make me feel better”

- Participant

Lonely

Exploring the generalised triggers of nostalgia and the physical elements responsible for individuals feeling nostalgic. Negative mood conditions in general tend to trigger spells on nostalgia, it is this that counteracts the effects of distress, restoring positivity and well-being, which in today’s society is particularly important with mental illnesses being one of the most cause for public concern. There are various ways in which nostalgia can be triggered for both positive and negative mood conditions for both collective and private nostalgia. These come in various forms, taking people back to a certain place or time from the past.

Entertainment (Games) Smell Photographs

Scared

Sad

Nostalgia - Triggers - The ‘Floop’ “I find that belonging to community groups online allows me to connect with others who grew up here. It’s interesting seeing old photos others have of the area”

- Danny

“Smell is a big one for me. I can smell something in particular and it instantly takes me back to a time and place and I remember every detail”

Taste Social Connectivity Sound (Music)

Anxious

Depressed

Films “The most common trigger for me would be music, it takes me back to certain memories throughout my life and allows me to relive them.”

- Emily

(Routledge, Wildschut and Sedikides, n.d.)

20

Society’s self-destructive addiction to living faster The pressure to achieve money, power and success has driven us to lead fast paced lives, causing individuals to spiral out of control.

If we can’t keep up with the fast pace of today’s society, is there something wrong with us?

What are the costs of speed addiction?

R WO K

How do we slow down?

S ES R ST

RESPONSIBILITY DEPRESSION

LIFE

(Brown, 2014)

21

Trapped in the system The feeling of being trapped in society is experienced by a large proportion of the population, where the continual push from the ‘rat race’ has led to a controlled life. Whether this be trapped at an unfulfilling job, trapped in a city in order to be in close proximity to a job or generally unhappy with life, despite basic needs being met. The quest for success has left people wanting, and more so, tied to ideals that are not providing happiness.

RESPONSIBILITY The current climate forces individuals to take on increasing responsibilities resulting in many feeling overwhelmed and stressed, particularly in the work environment. Many feel as through these responsibilities related to status are essential to the success of their life.

When in reality, these are controlling ones life, trapping them in society.

(Berry, 2012)

ADDICTION The desire for growth and achieving breakthroughs, may push individuals in to the realm of addiction. The need for continual success creates a narrow field of enjoyment and fulfilment. Little activity in life will seem as exciting or interesting as the breakthroughs you’re making. The world offers many opportunities for growth, however, work addicts become further buried in the world of artificial breakthroughs.

SUCCESS The understanding for many is that the key to happiness is success. In an attempt achieve success, in order to live happily, individuals manage to become trapped in their own lives.

Success may only be captured whilst goals are progressing, in some cases this may only be momentarily. The desire to strive for constant success and the accumulation of status-related things, leads to individuals being controlled by these things.

“People are aware they feel trapped, even if they do not understand why. Other times they are unaware they have imprisoned themselves, and they can’t find an escape.”

- William Berry

22

Has life in isolation made us unaware of our surroundings and how fast paced our lives have become?

Stress related mental disorders are ever increasing in the modern world and are quickly becoming one of the biggest health problems for public concern. Modern society, particularly in urban areas, has isolated people from the surrounding environment, as well as, the constant pursuit for success creating a distraction from the possibility of a slower life by reflecting on simpler times. Individuals are so caught up in the fast pace life, they don’t realise what is beyond the wall. Could reflecting on the past allow us to change the speed in which life is lived?

R SLO

Social media is ingrained in a large proportion of the populations daily lives, for some, a way to escape this isolation of daily life in order to connect to their surroundings and memories outside this bubble, is through apps such as ‘timehop’. This allows individuals to look back on past social media posts, helping people to reflect on their lives.

STRESS (Reynolds, 2017)

REDUCED WORK-FLOW

FREQUENT SICK-LEAVE

“smartphones gave us the ability to document every single aspect of our lives – but they don’t help us make sense of the information. Reflecting on past memories is a way to slow down and make sense of all that noise, he says. “It doesn’t matter where people are – it matters that we’re thinking about how people are documenting their lives while we’re living in them in a way that’s helpful.”

-CEO Timehop - Matt Raoul 23

Disconnect from the system of modern culture Loneliness

Stress

Physical Well-being compromised

Sleep Deprivation

FAST PACED SOCIETY

DISCONNECT

EFFECTS

The culture of today’s society seems to be in an unidentifiable rush, with individuals increasing responsibilities and workloads, drawing people in to the monotonous ‘rat race’, where life is fast paced. Our times of leisure also seem to pose the same fast tempo properties with busy social obligations. The dose of calmness and stillness is hard to come by in today’s world. For a large proportion of the world, the internet has made rapid and dramatic changes to society. We are able to stay connected to everyone in the world, whenever and wherever we want, whether this be business or leisure.

On average we spend more than one hundred days per year connected to the internet. But what effect does this have on our mental health? Should we focus on making a conscious effort to disconnect from the world? Isolation from our surroundings, work addiction and increased responsibility and stress along with the continuous push from the ‘rat race’ have played detrimental roles in the increased concern for health issues around the world.

The fast paced lifestyle often blurs the boundary between positive stress and negative stress. Positive stress often brings enjoyment and fulfilment from working toward inspiring and achieving goals, however, negative stress can cause a feeling of anxiety, restlessness, and depleted of energy. It is necessary for individuals to allow time to reconnect and be present in the activities taking place which can be incredibly valuable. The consequence of not allowing a disconnection from modern culture may result in these unwanted stresses, loneliness, increased physical ailments and sleep deprivation. The fast paced lifestyle often seen causes unwanted aggression, a disconnect from one’s surroundings and lack of control.

(Kathuria, 2017) (Martire, 2016) (Hughes, 2019)

Can nostalgia help us to disconnect?

24

Why has Nostalgia become important to our lives?

Nostalgic childhood memories seem to resemble in our minds the feeling of a slow paced lifestyle carrying on in to early adulthood. New experiences in these early years takes longer for our minds to organise, making the experience more memorable. These new experiences are exciting and vivid, creating the perception that time is slowing down. As we age, the monotony and predictability of daily life appears to speed time up.

Reminiscing on these memories, takes us back to the slow paced lifestyle experienced when these moments were being captured.

Taking us out of the fast paced lifestyle currently being experienced.

Remember to SLOW DOWN! Today’s society, The endless race to success, Sees us living at a hundred miles per hour, We have everywhere and nowhere to be at the same time & We work to exhaustion, Because it makes us successful.

But if we look at our nostalgic routes, We remember the days when things seemed calm & Slow & We had time to think & And experience the beauty that surrounds us.

Youthfulness

Motivated

A time when time STOOD STILL. Reminiscing on our past, Time stands still, Just for a brief moment in time & Nostalgia, Enables us to slow down & Gives us the ability to savour, Every last moment & Allows us to be us again With those who experienced it with us.

Goal Persuit Risk Taking

Inspired

Growth Orientation

Reduce Stress

Boost Mood Reduce Loneliness

Nostalgia Familiar surroundings Valued

Social Support

Improves Relationships

Social Connectedness

As well as the storage of memories, the recall process allows Individuals to savour memories of nostalgia once having been recalled. This allows for prolonged enjoyment of positive experiences, resulting in greater patience in processing these experiences.

(Remember Reminder: Slow Down, n.d.)

(King, 2019) (HUANG, HUANG and WYER JR, 2016) (Sedikides and Wildschut, 2020)

25

Locals recollections of childhood memories

“Wow! What a fantastic bandstand it was and all the seating outdoors.

I think we [people] nowadays have forgotten the importance of what these places did for people.”

- Joanne

“I Remember it well and the swimming pool as well. Smelling the biscuits and hearing the train.”

- Jo

“Our Sunday treat was a family walk to the piggery after Sunday Lunch which is now the Highfield Country Park. We spent a lot of our leisure time in Chapel Street park and Green bank and going swimming in Levenshulme Baths or reading the Guardian in Levenshulme library.”

“Grand buildings and no rubbish around, what went wrong.”

- Gail

“Cringle Brook runs between Ranford Road and Milwain Road. In those days occasionally the Brook was coloured with the effluent from Levenshulme laundries, ? Dye works!”

- Jenny

- John

26

Types of Memory SENSORY MEMORY Sensory memory is the shortest-term element of memory. The ability to retain sensory information after the original stimuli have ended. It acts as a buffer for stimuli received through the five senses of sight, hearing, smell, taste and touch, which are retained accurately, but very briefly.

SHORT-TERM MEMORY Short-term memory is the storage of information an individual is currently thinking about or is aware of. Short-term memory occurs in two parts: traditionally termed “short-term memory” and “working memory.” Short-term memory is when the brain stores information temporarily so that it can be repeated. Working memory refers to the brain storing information for the purpose of manipulating it.

Memory is the process that allows us to store, retain and later retrieve information. The three process this refers to is known as encoding, storage, and retrieval. Our bodies are able to preserve and recover the information we have learned or experienced. Although we remember many experiences some are lost this could be due to the information not being properly encoded in memory in the first place.

(Cherry, 2020) (Sensory Memory | Types of Memory Facts & Information, 2019) (How Memories Are Made: Stages of Memory Formation | Lesley University, 2020)

LONG-TERM MEMORY Long-term memory process allows information to remain in the brain for an extended period of time. Information stored in long-term memory can stay in the brain for a short while (a day, a week) or last as long as a lifetime.

27

The process of Memory

STORE ROOM

ENCODING Encoding is the first step of the memory process. It allows for the registration, receiving, processing, and combining of information making it more manageable and accessible for later use. Our brains rely on our senses to obtain information. Our senses provide a variety of ways to absorb information and encode it. The main three ways in which information is encoded are visual, acoustic and semantic. Encoding allows information from the outside world to reach our senses in the forms of chemical and physical stimuli.

(McLeod, 2013) (Kahn, 2020) (Introduction to Memory | Boundless Psychology, n.d.)

STORE ROOM

STORE ROOM

STORAGE The storage of information creates a permanent record of the encoded inputs, allowing us to retain information for a period of time. The time in which information can be stored differs between seconds and decades depending on the type of memory storage, whether this be sensory memory, short-term memory or longterm memory.

RETRIEVAL The retrieval of a memory refers to the recall of information from storage returning it to our consciousness. The recall of information from either the short-term or long-term memory effects the retrieval of information drastically making it fairly obvious where the information was stored.

28

Personal Memories from the site These drawings show some of the spaces I specifically remember from the site. These include, the Thirlmere aquaduct, Levenshulme station, the secret lake, Highfield Country Park lattice bridge, Levenshulme station (Sainsbury’s) and a raised area of land in levenshulme.

This particularly stuck with me as a large proportion of the site is enclosed by embankments, after a long time walking in shade it finally opened up at this point. As I walked the ‘Floop’ the main memory was the amount of the time I spent watching out for and moving for cyclists.

29

Experiencing Nostalgia without replicating the past “No imitation of the past makes new buildings anything other than new.”

-Duo Dickinson

Undo

Ctrl+Z

Redo

Ctrl+Shii+Z

Cut

Ctrl+X

Historic buildings often are a trigger point for people feeling nostalgic about a certain place or period of time, often reflecting on a simpler, slower paced time in our lives. Through activities and cultures, buildings are created, helping to make up a place’s identity.

Copy

Ctrl+C

Paste

Ctrl+V

With this is mind, I felt it wasn’t possible to ‘recreate’ the past, with reference to the buildings located on the ‘Floop’.

Paste as plain text

Firstly, the community and activities taken place in order to give the buildings their identities, and beating hearts, has long gone. Secondly, a buildings materials and presence, creates a story. This allows people to experience their historic past, by opening a window in to that certain period of time. With no way of using the exact materials of the original buildings would make it a ‘fake’, hurting the character of the area and further diminishing the actual history of the buildings. Finally, instead of moving architecture forward it slows the momentum of progressing technology and design. Architecture should reflect today’s world, culture and technology rather then replicating the past.

Select all Spellcheck Wriing Direccon Inspect

Ctrl+Shii+V Ctrl+A New...

Ctrl+N

Open...

Ctrl+O

Browse in Bridge...

Alt+Ctrl+O

Browse in Mini Bridge...

Open As...

Alt+Shii+Ctrl+O

In response, this project will not set out to recreate the past, but respond to it by allowing individuals to reflect on the past through carefully planned atmospheric spaces. The intention is to design and cater for the present generation and current community with architecture and technology that reflects this.

History is a part of everything, because it is the truth, not a style. In architecture, we tend to use the superficial aesthetics seen in history as a way to justify the wrecking or the reproduction of the past. But the new does not exist to simply invalidate or replicate the old.

-Duo Dickinson

(Dickinson, 2018) (Why Fake Vintage Buildings are a Blow to Architecture, Historic Neighborhoods, and the Character of a City | Smart Cities Dive, n.d.)

The proposed new architectural development will set out to construct buildings with modern design features in mind, focusing on atmosphere, emotion and stimulation of the senses, in order to create a space allowing individuals to recollect memories, in order to connect with the former site. This allows not only for past generations a chance to reminisce, but will also accommodate future generations as they experience their past, which may or may not have any relation to the site directly. In order to gain an understanding in the properties of emotion evoking architecture, I have chosen to look at the work and guidelines of both Juhani Pallasmaa and Peter Zumthor.

30

Senses - Memory Input

SIGHT

TOUCH

SOUND

SMELL

Vision reveals what the touch already knows. Our eyes stroke distant surfaces, contours and edges, and the unconscious tactile sensation determines agreeableness or unpleasantness of the experience. The distant and the near are experienced with the same intensity, and they merge in to one coherent experience.

The skin reads the texture, weight, density and temperature of matter.

This tactile sense connects us with time and tradition; through impressions of touch we shake the hands of countless generations.

Sight Isolates, whereas sound incorporates and is omni-directional.

Sound creates an experience of interiority and creates a sense of connection and solidarity. Sound approaches and receives rather than reaches. Hearing structures and articulates the experience and understanding of space whilst measuring space making scale comprehensible. We stroke the boundaries of space with our ears.

The most persistent memory of any space is often smell. A particular smell makes us unknowingly re-enter a space completely forgotten by the retinal memory. The nose makes the eyes remember.

(Pallasmaa, 2012)

TASTE Vision becomes transferred to taste; certain colours and details evoke oral sensations. Our experience of the world originates in the interior sensation of the mouth, and the world tends to return to its oral origins. “I felt compelled to kneel and touch the delicately shining white marble threshold of the front door with my tongue.” - Juhani Pallasmaa

31

Multi-Sensory Imagery When an individual uses images from a particular sensory realm, the ability to further feed another sensory realm becomes apparent. A specific object may produce several recollections from memory without having any real connections in the physical form. An individuals body is far more than a physical entity, it is reinforced by the powers of memories from the past, dreams and thoughts of the future. An architectural space, similar to the human body is far more than a physical entity, but a space framing, halting, strengthening and focusing our thoughts, preventing them from getting lost.

“Quiet reigns with nothing to break the silence save the note of the boiling water in the iron kettle. The kettle sings well, for pieces of iron are so arranged in the bottom as to produce a peculiar melody in which one may hear the echoes of a cataract muffled by the clouds, of a distant sea breaking among the rocks, a rainstorm sweeping through the bamboo forest, or of the soughing of pines on some far away hill.”

- Kakuzo Okakura (Pallasmaa, 2012)

32

Multi-Sensory Experience

Architecture is a continuation of the natural environment in to the man-made realm, allowing individuals to experience and perceive the world as they see fit, allowing us to gain an understanding of the world and its processes in order to broaden our horizons. Every individuals experience associated with architecture is multi-sensory; the qualities the space projects, matter and scale are measured equally by the ear, nose, eye, skin, tongue, skeleton and muscle.

Architecture gives us the ability to strengthen our daily experiences through sensory projections.

Instead of five detached senses, Gibson categorises the senses in five sensory systems. Visual system, auditory system, the tastesmell system, the basic-orienting system and the heptic system. All the senses, including vision can be regarded as extensions of the sense of touch.

(Pallasmaa, 2012)

“Through vision we touch the sun and the stars” - Merleau Ponty

“The Psychologist James J Gibson regards the senses as aggressively seeking mechanisms rather than mere passive receivers.”

33

Personal Sensory experience from the site

CYCLING

TROLLEYS

SOIL

From memory, these are particular sounds and smells I experienced whilst exploring the ‘Floop’ Sounds of the ‘Floop’

WASTE BELLS

FOOTSTEPS VEGETATION

LEAVES

DOGS WATER

CHILDREN

BIRDS

CARS WIND

EMISSIONS

FOOD

Sight isolates, and creates a distraction from our other senses, whereas sounds incorporates and allows us to pay attention to what’s actually happening around us. The ‘Floop’ experiences sounds of nature, whether that be animals, weather conditions or vegetation as well as a combination of human activities, ranging from children playing to shopping trolleys in sainsbury’s car park.

Sounds of the ‘Floop’ really make the area come to life.

Smells of the ‘Floop’

TALKING

Smell is one of the most prominent of the senses. The ‘Floop’ connects the city with nature, combining a combination of natural smells and controversial man made smells of the city.

34

Materiality and Time - Flatness of today’s standard construction

ANTI-AGING GLASS

The machine made materials used for construction in today’s society such as scale-less sheets of glass, enamelled metals and synthetic plastics, present their surfaces to the eye from behind a mask, conveying little evidence of their material essence or age. A large proportion of buildings today, deliberately aim at ageless perfection, and they without incorporating the critical dimension of time, or the unavoidable and mentally significant process of aging.

ANTI-AGING STEEL

PAST

FUTURE

The disconnection from the experience of time in today’s society has devastating effects on individuals mental well-being. In the words of the American therapist Gottard Booth, “Nothing gives man fuller satisfaction than participation in processes that supersede the span of individual life.” Many need to feel established in the continuity of time and materiality in architecture allows us to feel as though we have been and are part of this experience. Architecture allows us to inhabit limitless space and endless time.

(Pallasmaa, 2012)

“Natural Materials - Stone, brick and wood - allow our vision to penetrate their surfaces and enable us to become convinced of the veracity of matter. Natural materials express their age, as well as the story of their origin and their origins and their history of human use. All matter exists in the continuum of time; the patina of wear adds the enriching experience of time to the materials of construction.”

Juhani Pallasmaa 35

Materiality on site

Bricks

Bark

Metal Fencing

Concrete

Textured Metal

Glass

The textures experienced on the ‘Floop’ range from Bricks, remnants of the areas history, to metal and timber fencing, concrete to glass on the façades of buildings. Vegetation makes up a large proportion of the site with a wide variety of plants and tree species.

The site itself generally possesses materials enabling you to experience the history of the structures through touch, and the materials experienced show properties of aging allowing a connection to the past.

36

Importance of shadows - Emotional experiences Deep shadows and darkness are essential in revisiting emotional memories as they give the ability for your mind to dim the sharpness of vision, make depth and distance ambiguous, and invite unconscious peripheral vision and tactile fantasy.

In order to think clearly, the sharpness of vision has to be suppressed, as thoughts occur in the absent mind. Homogeneous bright light paralyses the imagination. Mist and twilight awaken the imagination by making visual images unclear and ambiguous.

??

?

“The use of enormous plate windows, they deprive our buildings of intimacy, the effect of shadow and atmosphere.”

-Luis Barragain

“We have lost our sense of intimate life, and have become forced to live public lives, essentially away from home.”

-Luis Barragain (Pallasmaa, 2012)

37

Personal Site Experience - Light vs Dark My experience on the ‘Floop’ made me analyse the shading and lighting throughout the walk. This made me aware of the areas creating intrigue through limited views due to the topography and the visual distraction heightening experiences.

Tunnels create very dark spaces with Tree shading creates patterns that hard edge shadows that can only be can be easily manipulated by the manipulated by the suns orientation. natural environment. It creates dappled light rather than hard edge shadows.

DARK Bridges throughout the ‘Floop’ create dark and ambiguous spaces. Your eyes are forced to focus on the light and vegetation on the other side. Sound is heightened in these spaces with little visual distraction, particularly on sunny days where the exposure obscures vision ahead.

Embankments alone have little shading where you are able to see all aspects of the surrounding environment.

No embankments or trees, means there is no shading or ambiguity for those using the space. Sound isn’t heightened in these areas as you are distracted by your surroundings.

MEDIUM/DARK

MEDIUM

MEDIUM/LIGHT

LIGHT

Embankments either side of the path create darker areas where vision is reduced, combined with trees and vegetation this reduces light levels even further creating intrigue.

Trees either side of the path creates shading but allows for views out of the ‘Floop’. This allows for less intrigue and imagination as the higher levels of lighting creates visual distraction to the surrounding environment.

Although you are able to see out it also creates a sense of security.

Embankments alone have little shading where you are able to see all aspects of the surrounding environment.

No embankments or trees, means there is no shading or ambiguity for those using the space. Sound isn’t heightened in these areas as you are distracted by your surroundings.

38

Importance of Water - Sensory Experience - Tranquillity The ‘Floop’ itself’s most recognisable forms of water include, Gorton reservoirs, The secret lakes, Highfield Country Park ’Brickie’ and Nico Ditch. These provide areas of recreation, seclusion, tranquillity and immersion in the natural environment. They create spaces for people to feel disconnected and at peace.

‘fog for people to look into and feel’

- Fujiko Nakaya

The element of mystery can be created through use of water, where the natural environment can create fog or mist depending on the changes in temperature, allowing for an ever changing scene. The natural environment can sculpt the mist and fog with the wind changes as well as human interaction and movement changing it’s movement and shapes. Whether water in the form of ponds or lakes creates fog naturally, or produced artificially through misters as a piece of artwork, it is clear that it has profound effects on our senses and imagination. Examples of this sculpting mist effect can be seen through the work of Fujiko Nakaya’s fog sculptures.

Water in the landscape or within buildings creates a sense of tranquillity. Whether that’s through the sound or running water, the attraction of wildlife, or reflections of the surrounding environments. Water allows people to feel calm and relaxed, allowing heightened imagination and senses. This could be due to the quieter environment making users more aware of their surroundings or the opposite, making people unaware of their surroundings. Water tends to have the ability to facilitate a slower pace physically, by it’s density, as well as tranquil properties, helping to reduce the fast pace nature of today’s modern culture.

Although many of Fujiko’s art pieces are temporal, the piece, ‘Foggy wake in a desert: An ecosphere’ entered the permanent collection in Sydney 1976 and reconfigured and retitled in 1982, now located in the NSW art gallery sculpture garden. It became a public favourite due to the interactive experience and mystery it entails. Designed to be self sustaining it helps vegetation growth and cultivation of a variety of species. Another example the ‘Foggy forest’ exhibited in 1992 Tokyo, a space for children to interact.

Water experimentation within buildings such as the curtains of water in ‘Luce Tempo Luogo’ by DGT Architects creates moods and effects hard to describe and can oly be experienced and remain for the time spent in that particular building.

(Rule, 2012) (Argyraides, 2011) (Medium, 2019)

Water used externally in buildings such as ‘Stamp house’ by Charles Wright Architects creates a therapeutic environment surrounding the building as well as preserving and reintroducing the native wetland.

(Rochford, 2020) - Image - Refer to Pg 63 (Frearson, 2013) - Image - Refer to Pg 63 (Argyriades, 2011) - Image - Refer to Pg 62 (W, 2016) - Image - Refer to Pg 63 (DesignBoom, n.d.) - Refer to Pg 62 (Wikipedia Commons, 2017) - Image - Refer to Pg 63

“Fog is physical and can totally immerse you,” “When fog obscures your view…invisible wind becomes visible. It transforms your everyday environment instantaneously into illusory time-space… When you are inside, it is no longer a visual experience but you use all your senses to grasp it.”

- Fujiko Nakaya

39

Precedent Study - Tado Ando - Water Temple (Shingonshu Honpukuji) Architecture creates an series of personal impressions. Buildings such as Tado Ando’s ‘Water Temple’, integrate seamlessly the building with the natural environment, volumes, surfaces, textures and colour contrasts, creating a unique experience for each individual visitor/user. The series of concrete walls create light and shadows, while the pool forms reflections of the surrounding mountains, sky, rice paddies and bamboo groves, en-stalling meditative properties to the user. From the Washed white concrete walls externally, to the saturated red walls internally, the architecture has fused every aspect of design together, rejecting the thought of a collection of isolated experiences.

Instead it embodies and infuses its material, natural, spiritual and physical presence within its structures.

(Silloway, 2004) (Pallasmaa, 2012)

40

Atmosphere and Construction In order to gain an understanding of the properties Architecture should posses in order to feel emotion, I decided to use Peter Zumthor’s philosophy on architecture, by reading his book ‘Atmospheres and Construction’. Peter believes in order to feel emotion and to feel moved by an experience, a building must have an atmosphere. There are a series of categories he uses to aid design. The following explore these ideas in order to understand the requirements to emotional design.

“I just love looking at. How do people design things with such a beautiful, natural presence, things that move me every single time. “

“One word for it is atmosphere” “So what moved me? Everything. The things themselves, the people, the air, noises, sound, colours, material presences, textures, forms too - forms l can appreciate.

Forms I can try to decipher. Forms l find beautiful. What else moved me? My mood, my feelings, the sense of expectation that filled me while I was sitting there.

Which brings that famous platonic sentence to mind.

Beauty is in the eye of the beholder. Meaning it is all in me.”

- Peter Zumthor (Zumthor, 2006)

41

The Body of Architecture

Peter talks about the body as capsule for experiences, we experience many cultures for example, and this is stored within our bodies. Our skin acts as a covering, preventing us from seeing what’s beneath, this can be seen within architecture. A building may have concealed, many artefacts, cultures and experiences hidden behind its surface, through the use of materials, layering creates a sense of intrigue to the user. The combination of layers and concealment with materiality creates atmospheric spaces.

Spaces that touch on your emotions and feelings.

“It’s like our own bodies with their anatomy and things we can’t see and skin covering us ”

-Peter Zumthor

“Not the idea of the body - the body itself! A body that can touch me.”

- Peter Zumthor

(Zumthor, 2006)

42

Material Compatibility

The presence of a range of materials is inevitable within architectural designs, however, there is a need to understand the densities and weights of materials in order to achieve dramatic atmospheres. A material itself can be modified and enhanced for example, through differing lighting, it can take on varying properties to its natural form, the way in which a material is cut, sawn or polished can also create an entirely different form and therefore atmosphere. Attention must be paid to the details of aesthetics. The different weights and densities of materials can either enhance an atmosphere or overpower it. Materials too far apart won’t create a reaction, where as too close together will kill the mood.

“Materials react with one another and have their radiance, so that the material composition gives rise to something unique.”

- Peter Zumthor

(Zumthor, 2006)

43

The Sound of a Space

“There are buildings that have wonderful sounds, telling me I can feel at home. I’m not alone.”

- Peter Zumthor

Sounds experienced within the interior of a building are determined by the nature of the surfaces and their materiality. Surfaces reflect, absorb or accentuate sound, creating different environments or experience for the building user. All buildings have an element of sound.

Sounds can reflect a certain setting or place and can allow one to experience a memory from the past. Buildings should reflect the buildings users and how certain activities might sound in a space.

Mystery in sound arises, when you believe you are experiencing silence, however, if you were to extract all foreign sound from a room, through specialist acoustic technology, you would realise that sound still exists within all buildings. Mystery is created through the ambiguous and unknown sounds of ‘silence’, this somehow creates a tone and a sense of stillness, leaving the cause up to the individual to decipher .

(Zumthor, 2006)

44

The Temperature of a Space

The temperature of a space can compare the material choice in its physical form, for example metals generally are cold to the touch compared to timber which is warm, to how a room can make one feel. A particular atmosphere can create a cold or warm environment, whether this is through material choice, lighting type or colour etc.

Temperature can decipher how one feels about or experiences a space.

(Zumthor, 2006)

45

Surrounding Objects

“These houses are incredibly full of beautiful details - One might even say excessively so!

And you feel the presence of Heinz Bienefield, and all these things he’s made all over then place.”

- Peter Zumthor

Peter expresses his intrigue in objects others use to decorate or express their personalities within their homes. These objects allow the building to come together, creating a caring and loving environment, showing a deep relationship between the building and it’s inhabitants self being. He argues that these objects aren’t a burden as we move through life, but a way of a building becoming personal as opposed to a building an architect has designed with limited personality to the inhabitant.

(Zumthor, 2006)

46

Between Composure and Seduction

“The feeling that I am not being directed but can stroll at will just drifting along. You know?”

- Peter Zumthor

A buildings design should explore the way in which users move around and interact with different areas of a building. Without forceful direction, but rather a seductive suggestion, inviting one through the building, allowing for a sense of freedom. These spaces created should also seduce one to stay in a space, rather than solely a means for access and direction. Architecture and design can be related to music, allowing one to drift around from one space to the next, whilst allowing the activity to sculpt the environment surrounding.

(Zumthor, 2006)

47

Tension between Interior and Exterior

“What do I want to see - me or someone else using the building later - when I am inside? And what do I want other people to see of me?”

- Peter Zumthor

Architecture allows for interior and exterior spaces, whether this be seamless transitions between the two, or a definite divider. The feeling a building gives us, is the concentration as we enter a space, making us aware of a different atmosphere, a feeling of safety, privacy or enclosure. When designing, it is important to decipher how much of an interior is to be shared with the exterior. The facade of a building can tell us a different story to what’s hidden on the interior, however, its up to the architect/ designer/client, as to how much is divulged to the outside world.

(Zumthor, 2006)

48

The Light on Things

“the light on things, is so moving to me that I feel it almost as a spiritual quality.”

- Peter Zumthor

Lighting is one of the most important aspects for creating moods and tones within interior spaces. Lighting, whether this be artificial or natural, should be a priority from the beginning stages of design. The use of natural lighting is particularly important. It possesses spiritual qualities, suggestive of powers beyond our existence, creating feelings of amazement and infatuation as it reflects from surfaces. Peter suggests two main ways of factoring light in to a buildings design. The first, designing a space as a pure mass of shadows, allowing one to carve out the darkness with light, and the second, the knowledge of a materials properties, allowing one to choose certain materials to fit together a strategy.

(Zumthor, 2006) (The Architectural Review, n.d.) - Image - Refer to Pg 63

49

Architecture as Surroundings

“perhaps one of the buildings will come back to them 25 years later, involuntarily, and they’ll remember a corner, a street, a square, with no thought of it’s architect”

- Peter Zumthor

Nostalgia 25 Years Later..

1995 Childhood home

Peter’s personal work reflects on the matter of architecture as surroundings. This doesn’t form an aid for design but rather a recognition of the importance of architecture for others. Architecture built and shared with others allows it to become a part of peoples lives. Architecture can move people, touch people, create a sense of relief and heal people. Buildings can be remembered years later, and be nostalgic to people who have formed experiences and memories in them.

(Zumthor, 2006)

50

The Proposal Memories can be sacred to an individual or can be shared with many, allowing people to share memories of the past together.

The proposal will encapsulate individuals memories, allowing items to be preserved in a time capsule. These capsules can be shared with any building user allowing others to reminisce or be educated on the beloved past of others experiences.

Karen Connolly Memories

The atmospheres created within the buildings design will allow individuals or groups to experience memories with no distractions allowing for high emotions of nostalgia. The proposal will also give the opportunity for groups to spend time at a retreat, combining the time capsule with accommodation, allowing people to share memories and recollect experiences.

51

Programme Proposal

CHECK-IN THIS WAY Karen Connolly Memories

Karen Connolly Memories

CHECK-IN THISWAY WAY CHECK-IN THIS Karen Connolly Memories

Vacancies

Karen Connolly Memories

The proposal will incorporate many aspects of design, including landscaping and architectural design. These have been broken down in to categories to show what the site will include.

CHECK-IN THIS WAY Vacancies

Vacancies Vacancies

Preservation

Spirituality

The idea of a time capsule allows past, present and future generations to preserve aspects of their lifetime experiences and history within a building. This allows the owner or other building users to reminisce or can be used in the education of another generation.

Creating spiritual spaces through atmospheric design is important in allowing building users THIS WAY to feel focused withoutCHECK-IN distractions, allowing a strong connection to experiences and emotions.

Vacancies

Karen Connolly Memories

CHECK-IN THIS WAY Vacancies

Karen Connolly Memories

Inclusion

Tranquillity

Sensory

Seclusion

As well as accommodation, the site would benefit from social facilities such as a cafe, attracting the ‘Floops’ users to the site. The proposed site is located on the boarder of Highfield Country Park, which would make great use out of the facility.

Through landscape design, the proposed site will encompass aspects of tranquillity, creating an inviting, spiritual and slow paced atmosphere, whilst encouraging biodiversity and natural environments.

Landscaping and architectural design will allow for sensory stimulation and exploration, allowing people to interact with the site.

Spacial layout will allow certain aspects of the building to be secluded and intimate. The use of nature can create a hidden environment allowing different atmospheres to be developed.

(Daelemans, n.d.) -Image - Refer to Pg 62

52

Proposed Site N

Highfield Road 0

50m

100m scale 1:1250

PRODUCED BY AN AUTODESK STUDENT VERSION

TUDENT VERSION

ee Gr

Starbrook Street

Ravenoak Avenue

e

u en v A ay w n

10m

ens

Cra

rd y Ga Wra

nag eW ay

Pullman Close

Highfield Country Park

St Andrew’s C of E Primary School

10m

50m

100m scale 1:1250

53

PRODUCED BY AN AUTODESK STUDENT VERSION

0

PRODUCED BY AN AUTODESK STUDENT VERSION

The proposed site lies between two important and well remembered sites of industrial heritage, the UCP Tripe factory, Jackson’s brickworks and Highfield piggery.

This location could be a trigger to many locals nostalgia containing two bridges, having been preserved from the former railway.

Embankments on either side of the ‘Floop’ allows for a variety of levels, shading techniques and seclusion from its surroundings.

Similar in topography to the original quarry, located on Highfield Country Park may also be a trigger to local nostalgia.

Education

Community

Attraction

Natural Environment

Located on the original site of Jackson’s brick quarry is now St Andrew’s C of E Primary School. In close proximity, the proposed time capsule, can act as an education facility for the younger generation, to learn and experience memories and historical moments of the areas past.

Bordering the proposed site is an existing housing estate.

As this proposal encapsulates the community, its heritage and memories, it is important to integrate the local community with the development.

Highfield Country Park is a natural attraction for recreational walkers, dog walkers and nature enthusiasts. With no cafe and social buildings on site, makes for a great opportunity to allow locals to interact and experience the site.

The proposed section of the site has many varieties of grasses, shrubs and trees. From dense shaded forest sections to open airy grass sections. As well as vegetation varieties, it is also home to a diverse collection of wildlife species.

Dense Forest

N 0

10m

50m

100m scale 1:1250

Landscape within the site

Topography

PRODUCED BY AN AUTODESK STUDENT VERSION

History

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Why choose this site?

The embankments and Highfield Country park contain varying tree species making sections of dense forest. This creates different environments for species of wildlife as well as creating a contrast in lighting. Without defined direction, it creates a suggestive guide to routes around the park.

Dense Shrubbery A large proportion of the site is overgrown with dense shrubbery, creating a different environment to the dense tree sections. Being lower in height, spaces around this type of vegetation feel more open and less concealed.

This too creates guidance for direction.

Open Grassland Highfield Country Park has sections of open grassland, creating breathing spaces within the landscape. The boarders of the cycle path have shelter belts allowing the path to feel open and less secluded.

54

Proposed Site Conditions The chosen site has a diverse history, sandwiched between the former Jackson’s brick works, Highfield Piggery and the former UCP Factory.

Today, the site has two bridges, one for pedestrian access and the other vehicular, allowing people to access Highfield country park at different entrance levels. These have both been preserved and retain much history over the generations.

The sloping gradient of the Country park creates steep embankments as well as an existing ditch in which the former railway was laid. Overall this site allows for a connection to the sites rich history as well as the incorporation of the cycle path itself. The topography allows for interesting use of heights and layers. With very close proximity to existing residential areas, it allows for the connection of and inclusion of residents in to the scheme.

55

Experiencing the site in relation to Peter Zumthor’s principles of atmospheric design The Body of Architecture: The secrets, activities and culture of the past is hidden in the fabric of the existing bridges still visible on the site.

Material Compatibility: Materials on site mainly include brick, steel, timber and vegetation. These materials offer a range of colours all complimentary of each-other.

We are the personaliies of the Floop

The Sound of a Space: Sound is experienced differently depending on your location on site. Bridges create echoes as sound bounces off surfaces, where as, the green bank of trees and vegetation absorb the noise.

The temperature of a space: Bridges create dark and cold feeling environments, while open areas feel warm due to the volume of greenery and exposure to sunlight.

Surrounding Objects: The community are the personality of the ‘Floop’. Where a house would contain personal belongings, the ‘Floop’ contains community and culture by the way of allotments and parks for the community.

Between Composure and Seduction: The green embankments, vegetation and barriers create a form of way-finding and navigation, allowing users to drift along leisurely without a need to be consciously alert to refrain from getting lost.

Tension Between Interior and Exterior: The green embankments and trees in particular create a barrier to the outside world, only allowing outsiders a glimpse of what the ‘Floop’ has to offer.

The Light on Things: The trees create a dappled effect responding as the weather changes. Bridges create dark spaces open to imagination as visual distraction decreases and open areas allow light to flood in.

From the outside I didn’t realise it was this green

After gaining an understanding of the guide principles of atmospheric design, I wanted to relate this to the context of the site. The image is my own interpretation of how I see the ‘Floop’ as an atmospheric experience. To the left, I have broken down each principle and expanded with examples of atmospheres created and experienced by myself.

56

What’s Next?...

es pher e s o tm nc ate a experie le e r c ng rsib uildi algia, to e irreve stalb a an th ost no ow c ns of n turn to ance of order H ‘ f o rt re in tio lume ke emo g us to he impo quired experio v t e t vo to sr win h firs ed The der to e ries allo s explor ropertie ividuals throug r d r d p o a e in o e mem roject h nd the wing in explor Zumtho r e u o n p a uniq ’ thesis society ace, all has bee by Pete maa. Th f p ? d s past today’s built a s on. This and use ni Palla ctions o e o a ti l p d l t gia sign an ey emo roduced by Juh fic reco ss of ca i v e d e e p to d and con nciples xpresse ite spec he proc he sens t s i t e r l e , enc de’ of p nciples ng with well as r to fee i o e ri s a ‘gu with p mory, al lored, a s, in ord g p e in e n x s alo ss of m been e gh sen r an n, e v e o u c ig proc ast have ies thro d to sed des on r p e t o the em I in ropo or my ch ot m p c g e y j n f o p m turi stalgia. is pr eloping needed to incor ity h t o f n s v n o t of ase hilst de iremen site I aim commu se. h p u xt e qu er sw e ne analysi g the re using th the wid veryday ute, h t e e In in y ro n’ to l for h sit n ntify ycle gy. B dept ll as ide ) typolo ing dow of trave to the c eflect o r s e w s as w uilding( n of ‘slo a mean esign in style, to d s b e sen he notio track a oposed aced lif ir past. e t r e p l p c rate the cy ng the h a fast on of th t ti g usin orporati hose wi a reflec c t By in llow for ings and d a will surroun r thei

s ’ t a h W

. . . ? t Nex

57

Bibliography ARGYRIADES, M., 2011. Luce Tempo Luogo | Yatzer. [online] Yatzer. Available at: <https://www.yatzer.com/Luce-Tempo-Luogo-Toshiba-Milan-2011> [Accessed 22 November 2020].

Barton, N., 2014. The Meaning Of Nostalgia, The Psychology And Philosophy Of Nostalgia.. [online] Psychology Today. Available at: <https://www.psychologytoday.com/us/blog/hide-and-seek/201411/ the-meaning-nostalgia> [Accessed 10 November 2020].

Berry, W., 2012. Imprisoned By Your Life. [online] Psychology Today. Available at: <https://www.psychologytoday.com/gb/blog/the-second-noble-truth/201205/imprisoned-your-life> [Accessed 10 November 2020].

Brian, J., n.d. The Great Depression In Britain - Historic UK. [online] Historic UK. Available at: <https://www.historic-uk.com/HistoryUK/HistoryofBritain/Great-Depression/> [Accessed 3 November 2020].

Brown, S., 2014. Society’S Self-Destructive Addiction To Faster Living. [online] New York Post. Available at: <https://nypost.com/2014/01/04/societys-addiction-to-faster-living-is-destroying-us-doctor/> [Accessed 8 November 2020].

Boym, S., 2011. Nostalgia | Svetlana Boym. [online] Monumenttotransformation.org. Available at: <http://monumenttotransformation.org/atlas-of-transformation/html/n/nostalgia/nostalgia-svetlana-boym. html> [Accessed 10 November 2020].

Calamusso, J., 2015. The Importance Of Preserving Historical Sites To Maintain A Communities Identity. [online] Oneonta.edu. Available at: <https://www.oneonta.edu/academics/research/PDFs/SRCA2015-Calamusso.pdf> [Accessed 22 October 2020].

Catford, N., 2018. Disused Stations: Levenshulme South Station, Chorlton-Cum-Hardy, Wilbraham Road, Hyde Road. [online] Disused-stations.org.uk. Available at: <http://www.disused-stations.org.uk/l/ levenshulme_south/> [Accessed 23 November 2020].

Cherry, K., 2020. Take A Deeper Look Into Human Memory. [online] Verywell Mind. Available at: <https://www.verywellmind.com/what-is-memory-2795006> [Accessed 23 November 2020].

Citypopulation.de. 2020. City Population - Site Search. [online] Available at: <http://citypopulation.de/search.html> [Accessed 8 November 2020].

Clarke, L. and Broncz, E., 2019. Fal-Low: Has The State Of Fallowfield Reached A New Low? - The Mancunion. [online] The Mancunion. Available at: <https://mancunion.com/2019/01/30/fal-low-has-thestate-of-fallowfield-reached-a-new-low/> [Accessed 17 November 2020].

Courses.lumenlearning.com. n.d. Introduction To Memory | Boundless Psychology. [online] Available at: <https://courses.lumenlearning.com/boundless-psychology/chapter/introduction-to-memory/> [Accessed 24 October 2020].

Crawford, K., 2020. Historic Preservation Is At The Heart Of A Strong Community. [online] Eu.greenvilleonline.com. Available at: <https://eu.greenvilleonline.com/story/life/announcements/2017/05/19/ historic-preservation-heart-strong-community/332294001/> [Accessed 21 October 2020].

Dickinson, D., 2018. Good Architecture Is Not Produced By Rejecting History—Or By Replicating It, Either. [online] ArchDaily. Available at: <https://www.archdaily.com/893732/good-architecture-is-not-produced-by-rejecting-history-or-by-replicating-it-either> [Accessed 22 November 2020].

Doron, G., 2010. The Dead Zone and the Architecture of Transgression. City, [online] 4(2), pp.247-263. Available at: <https://www.tandfonline.com/doi/pdf/10.1080/13604810050147857?needAccess=true> [Accessed 17 November 2020].

Engineering Timelines. n.d. Lower Gorton Reservoir. [online] Available at: <http://www.engineering-timelines.com/scripts/engineeringItem.asp?id=772> [Accessed 23 November 2020].

En.wikipedia.org. 2020. Duchess Of York Hospital. [online] Available at: <https://en.wikipedia.org/wiki/Duchess_of_York_Hospital> [Accessed 23 November 2020].

58

Glinert, E., n.d. A Brief History Of The Manchester Bee. [online] Bee in the City MCR. Available at: <https://beeinthecitymcr.co.uk/manchester-bee/> [Accessed 10 October 2020].

Google My Maps. 2020. Fallowfield Loop - Points Of Interest – Google My Maps. [online] Available at: <https://www.google.com/maps/d/viewer?mid=1rrFQ1YidL1g5_EEMCJcUuoXdADthtxeL&ouid=0&ll=5 3.44193085967839%2C-2.179929326465928&z=17> [Accessed 23 November 2020].

Gross, R., n.d. The Secret Power Of Nostalgia: How You Can Use It To Fuel Your Creativity And Enrich Your Design. [online] Canva. Available at: <https://www.canva.com/learn/nostalgia/> [Accessed 10 November 2020].

Haniel, F., n.d. Haniel Geschäftsbericht 2015 - The Four Phases Of The Industrial Revolution. [online] Haniel.unternehmensberichte.net. Available at: <http://haniel.unternehmensberichte.net/reports/haniel/annual/2015/gb/English/1045/the-four-phases-of-the-industrial-revolution.html> [Accessed 20 October 2020].

Hidden Manchester Map. n.d. Thirlmere Aqueduct. [online] Available at: <https://hidden-manchester.org.uk/waterways/thirlmere-aqueduct.html> [Accessed 23 November 2020].

Historicengland.org.uk. n.d. Section Of An Early Medieval Boundary Ditch Known As The Nico Ditch In Platt Fields 480M SSE Of Platt Hall, Manchester - 1015132 | Historic England. [online] Available at: <https://historicengland.org.uk/listing/the-list/list-entry/1015132> [Accessed 23 November 2020].

HUANG, X., HUANG, Z. and WYER JR, R., 2016. Slowing Down in the Good Old Days: The Effect of Nostalgia on Consumer Patience. Journal of Consumer Research, [online] p.3. Available at: <https://www. researchgate.net/publication/305269468_Slowing_Down_in_the_Good_Old_Days_The_Effect_of_Nostalgia_on_Consumer_Patience> [Accessed 9 November 2020].

Hughes, M., 2019. Study Shows We’re Spending An Insane Amount Of Time Online. [online] The Next Web. Available at: <https://thenextweb.com/tech/2019/01/31/study-shows-were-spending-an-insaneamount-of-time-online/> [Accessed 11 November 2020].

Huppatz, D., 2009. Designer Nostalgia in Hong Kong. JSTOR, [online] 25(2), pp.14-28. Available at: <https://www.jstor.org/stable/20627803?seq=1#metadata_info_tab_contents> [Accessed 10 November 2020].

Kahn, N., 2020. Encoding Definition (Psychology) And Its Role In Memory | Betterhelp. [online] Betterhelp.com. Available at: <https://www.betterhelp.com/advice/psychologists/encoding-definition-psychology-and-its-role-in-memory> [Accessed 24 October 2020].

Kathuria, D., 2017. Why Slowing Down Is A Better Idea In Today’s Fast-Paced World. [online] YourStory.com. Available at: <https://yourstory.com/2017/05/slowing-down-better-idea?utm_pageloadtype=scroll> [Accessed 11 November 2020].

King, J., 2019. The Magic Of First Moments: How To Slow Down Time And Create Rich, Lasting Memories. [online] Medium. Available at: <https://medium.com/1-one-infinity/the-magic-of-first-momentshow-to-slow-down-time-and-create-rich-lasting-memories-83d621c73b9b> [Accessed 9 November 2020].

Leibach, J., 2013. Why Do I Get Nostalgic?. [online] Science Friday. Available at: <https://www.sciencefriday.com/articles/why-do-i-get-nostalgic/> [Accessed 11 November 2020].

Lesley.edu. 2020. How Memories Are Made: Stages Of Memory Formation | Lesley University. [online] Available at: <https://lesley.edu/article/stages-of-memory> [Accessed 25 October 2020].

Martire, G., 2016. The Physical Effects Of Stress: How Your Fast-Paced Life Can Kill You - Dr. Ginger Martire – Saratoga, CA. [online] Dr. Ginger Martire – Saratoga, CA. Available at: <http://www.gingermartirephd.com/physical-effects-stress-fast-paced-life-can-kill/> [Accessed 11 November 2020].

McLeod, S., 2013. Stages Of Memory. [online] Simplypsychology.org. Available at: <https://www.simplypsychology.org/memory.html> [Accessed 24 October 2020].

Medium. 2019. Where Earth Meets Sky, Find Fujiko Nakaya. [online] Available at: <https://medium.com/national-gallery-of-australia/where-earth-meets-sky-find-fujiko-nakaya-786fbca2c18a> [Accessed 22 November 2020].

Nixon, G., n.d. Industry,Map,Sports, Railways. [online] Levyboy.com. Available at: <http://www.levyboy.com/industry.htm> [Accessed 23 November 2020].

59

Pallasmaa, J., 2012. The Eyes Of The Skin. 3rd ed. Chichester: Wiley.

Pidd, H., 2018. Housing Crisis: 15,000 New Manchester Homes And Not A Single One ‘Affordable’. [online] The Guardian. Available at: <https://www.theguardian.com/cities/2018/mar/05/british-cities-developers-affordable-housing-manchester-sheffield> [Accessed 18 November 2020].

Pittdixon.go-plus.net. n.d. Stockport Branch Canal. [online] Available at: <http://www.pittdixon.go-plus.net/ac-stockport-br/ac-stockport-br.htm> [Accessed 23 November 2020].

Pollitt, S. and Box, D., 2019. Mancunians ‘Priced Out’ Of City-Centre Living By Foreign Investors. [online] BBC News. Available at: <https://www.bbc.co.uk/news/uk-england-manchester-47417655> [Accessed 18 November 2020].

Railwaypaths.org.uk. 2020. Fallowfield Loop Line, Manchester | Railway Paths | Public Routes, Roads And Paths Suitable For Cycling, Walking, Horseriding And Wheel-Chair Use. [online] Available at: <http:// www.railwaypaths.org.uk/our-achievements/fallowfield-loop/> [Accessed 5 November 2020].

Reynolds, M., 2017. The Science Behind The Internet’S Unstoppable Nostalgia Addiction. [online] WIRED UK. Available at: <https://www.wired.co.uk/article/nostalgia-technology-timehop-spotify-time-capsule> [Accessed 9 November 2020].

Roos, D., Money, Economics and Concepts, n.d. How Gentrification Works. [online] HowStuffWorks. Available at: <https://money.howstuffworks.com/gentrification1.htm> [Accessed 5 November 2020].

Rule, D., 2012. The Whisper Of The Opaque. [online] Broadsheet. Available at: <https://www.broadsheet.com.au/sydney/art-and-design/whisper-opaque> [Accessed 22 November 2020].

Salboy. 2020. Manctopia – Is The Property Boom Good For Manchester? - Salboy. [online] Available at: <https://salboy.co.uk/2020/08/manctopia-is-the-property-boom-good-for-manchester/> [Accessed 18 November 2020].

Scullard, V., 2019. Why Levenshulme Is So Much More Than The New Chorlton. [online] Manchester Evening News. Available at: <https://www.manchestereveningnews.co.uk/in-your-area/levenshulmemuch-more-than-chorlton-15737319> [Accessed 13 November 2020].

Sedikides, C. and Wildschut, T., 2020. The motivational potency of nostalgia: The future is called yesterday. Advances in Motivation Science, [online] 7, p.75. Available at: <http://www.soton.ac.uk/~crsi/ Sedikides%20%20Wildschut%202020%20Advances%20(002).pdf> [Accessed 9 November 2020].

Silloway, K., 2004. Water Temple Hyogo Japan By Tadao Ando. [online] Galinsky.com. Available at: <http://www.galinsky.com/buildings/watertemple/index.htm> [Accessed 20 October 2020].

Smartcitiesdive.com. n.d. Why Fake Vintage Buildings Are A Blow To Architecture, Historic Neighborhoods, And The Character Of A City | Smart Cities Dive. [online] Available at: <https://www.smartcitiesdive. com/ex/sustainablecitiescollective/why-fake-vintage-buildings-are-blow-architecture-historic-neighborhoods-and-char/254116/> [Accessed 22 November 2020].

Southampton.ac.uk. n.d. What Nostalgia Is and What It Does | Nostalgia | University of Southampton. [online] Available at: <https://www.southampton.ac.uk/nostalgia/what-nostalgia-is.page> [Accessed 13 October 2020].

The Human Memory. 2019. Sensory Memory | Types Of Memory Facts & Information. [online] Available at: <https://human-memory.net/sensory-memory/> [Accessed 25 October 2020].

The Nostalgia Diaries. n.d. Remember Reminder #8: Slow Down. [online] Available at: <https://nostalgiadiaries.com/2017/06/02/remember-reminder-8-slow-down/> [Accessed 9 November 2020].

The Manc. 2020. These Powerful Portraits Show The Levenshulme Community Standing Strong During Lockdown - The Manc. [online] Available at: <https://themanc.com/feature/these-powerful-portraits-show-the-levenshulme-community-standing-strong-during-lockdown/> [Accessed 15 November 2020].

Unitedcattleproducts.co.uk. n.d. Welcome To The United Cattle Products Supporters’ Site | Unitedcattleproducts.Co.Uk. [online] Available at: <http://www.unitedcattleproducts.co.uk/> [Accessed 23 November 2020].

Urbed.coop. n.d. Organic Cities | URBED. [online] Available at: <http://urbed.coop/projects/organic-cities> [Accessed 11 October 2000].

60

Wilks, C. and Kelly, K., 2008. Fact, Fiction And Nostalgia: An Assessment Of Heritage Interpretation At Living Museums. [online] Researchgate. Available at: <https://www.researchgate.net/publication/267962795_Fact_Fiction_and_Nostalgia_An_Assessment_of_Heritage_Interpretation_at_Living_Museums> [Accessed 27 October 2020].

Williams, R., 2020. Manchester After Engels. Places Journal, [online] (2020). Available at: <https://placesjournal.org/article/manchester-after-engels/?gclid=EAIaIQobChMI7_Xzz8_j7AIVSed3Ch05VgJTEAAYASAAEgKJGfD_BwE>.

Wilson, J., 2014. Nostalgia Sanctuary Of Meaning. [online] Core.ac.uk. Available at: <https://core.ac.uk/download/pdf/211345702.pdf> [Accessed 13 October 2020].

Zumthor, P., 2006. Peter Zumthor. Basel: Birkhäuser, pp.10-65.

61

Bibliography - Images ArchDaily, 2013. Light Matters. [image] Available at: <https://www.archdaily.com/362554/light-matters-louis-kahn-and-the-power-of-shadow> [Accessed 13 November 2020].

(Edited)

Argyriades, M., 2011. ‘Luce Tempo Luogo’ Water Curtain. [image] Available at: <https://www.yatzer.com/Luce-Tempo-Luogo-Toshiba-Milan-2011> [Accessed 22 November 2020].

(Edited)

Belshaw, K., 2019. Cotton Factories, Union Street, Manchester.. [image] Available at: <https://blog.scienceandindustrymuseum.org.uk/ancoats-from-cotton-to-cool/> [Accessed 23 November 2020].

(Edited)

Daelemans, B., n.d. The Church Of The Light Makes A Cross Out Of Luminance Against Darkness.. [image] Available at: <https://faithandform.com/feature/andos-cross/> [Accessed 22 November 2020].

Depositphotos, I., n.d. Park bench. [online] Depositphotos. Available at: <https://depositphotos.com/vector-images/park-bench-drawing.html> [Accessed 4 May 2021].

DesignBoom, n.d. Foggy Forest, 1992.. [image] Available at: <https://www.designboom.com/art/fujiko-nakaya-praemium-imperiale-sculpture-2018-10-27-2018/> [Accessed 22 November 2020].

(Edited) 62

Frearson, A., 2013. The Stamp House. [image] Available at: <https://www.dezeen.com/2013/03/04/stamp-house-charles-wright-architects-withstands-cyclones/> [Accessed 22 November 2020].

(Edited)

Rochford, L., 2020. Levenshulme’s Secret Lake. [image] Available at: <https://www.spottedbylocals.com/manchester/levenshulme-secret-lake/> [Accessed 22 November 2020].

(Edited)

The Architectural Review, n.d. Peter Zumthor: The Swiss Shaman. [image] Available at: <https://www.architectural-review.com/essays/books/peter-zumthor-the-swiss-shaman> [Accessed 19 November 2020].

(Edited)

W, S., 2016. Fog Sculpture - NGA Sculpture Garden. [image] Available at: <https://www.weekendnotes.com/fog-sculpture-national-gallery-of-australia/> [Accessed 22 November 2020].

(Edited)

Wikipedia Commons, 2017. Highfield Country Park Pond. [image] Available at: <https://commons.wikimedia.org/wiki/File:Highfield_Country_Park_Pond.jpg> [Accessed 22 November 2020].

(Edited)

63

How can we evoke emotions of nostalgia, to experience unique memories, allowing us to return to the irreversible past?

STUDIO 2 ANNA REZIN MARCH YEAR 2 ATELIER USE MANCHESTER SCHOOL OF ARCHITECTURE

Project Aims and Objectives Following on from Studio 1, I intend to do an in depth site analysis for the existing site, as well as the surrounding areas and to gain an increased understanding of the culture of the community that has shaped Levenshulme. I will be investigating the existing building typologies to ensure the proposal is appropriate in context. Studio 2, will look in depth at the building programme in order to inform the development of the masterplan as well as buildings. It will show the development of the proposal as well as intentions for Studio 3.

02

Thesis Proposal Background - Manchester is currently under a significant transformation with large amounts of development taking place.

- Some communities are becoming more multi-cultural due to the process of gentrification. Although this helps struggling areas, it also changes the community that many feel nostalgic towards.

- Development of large disused sites are seen as being profitable to developers and planners however the city is littered with smaller disused sites that have become transgression zones.

Issues to be addressed - The culture of today’s society has led to individuals leading fast paced lives.

- Many become and feel disconnected from the world and live lives in isolation unable to see what’s beyond the urban wall.

People are often becoming trapped in the cycle of today’s society leading to addiction in the form of success.

Deliverable Aims -

A series of atmospheric spaces fulfilling the needs of different site users.

-

A space allowing individuals to disconnect from today’s modern culture, that of fast paced lifestyle and addiction to success. Allowing a connection to past experiences and memories.

-

A space for the local community to revisit the past and reconnect with those who share similar memories and experiences.

Objectives - Atmospheric design principles aiding design in order for individuals to feel a strong connectivity to emotions evoking nostalgia.

- Allowing a space for communities to connect/ reconnect - Spaces for individuals and communities to store and reminisce on past memories.

03

HIS WAY TO STUDIO 2

35 36 37 38 39 40

Contents

06

S1 RECAP 06 07 08 09 10 11 12 13 14 15 16-17

18 26 30

Nostalgia - Sentimental longing for a former place or time that no longer exists Nostalgia - Collective vs Private - Restorative vs Reflective Nostalgia Triggers Society’s self-destructive addiction to living faster Trapped in the system Has life in isolation made us unaware of our surroundings and how fast paced our lives have become?

Disconnect from the system of modern culture Why has Nostalgia become important to our lives?

Experiencing Nostalgia without replicating the past Atmosphere and Construction Atmosphere and Construction - Design Principles

S2 OBSERVING CULTURE 18 19 20 21 22 23 24 25

Let’s Begin Observing Life - The site and it’s surroundings Analysing Features - The site and it’s surroundings Analysing The Home - A Private Space Materiality - A Glimpse in to the past - An expression of age Community Allotments - A Semi-Private Space Green Spaces/Parks - Shared Public Spaces The ‘Floop’s’ Artwork - Culture and Memories

S2 SITE ANALYSIS - CONTEXT 26 27 28 29

30 31 32 33 34

The Site Why choose this site?

Site Analysis - Building Uses Site Analysis - Infrastructure Links

41

S2 MASTERPLAN DEVELOPMENT Programme Proposal Existing Site - Breaking Barriers Masterplan Strategy - Green Link Improving connectivity and desirability Improving ecology - Creating a wetland Preserving the Existing Environment - Integration of Existing and Proposed Dividing Site Users - Altering the pace of activity

41 42 43 44 45 46 47

48

Karen Connolly Memories

55

S2 SITE ANALYSIS - CONTEXT Surrounding Context - Site sketches Existing Site Conditions Ecology Arrangement on existing site The ‘Floop’ - Connection and Boundary The ‘Floop’ - A Boundary

Existing Site Sections Existing Site Topography Existing Site - Sunlight Analysis Site Analysis - Vehicular and pedestrian Access Activity on Site Speed of Travel

67

S2 PROGRAMME PROPOSAL 48 49 50 51 52-53 54

Programme Proposal Experiencing the Journey Building Requirements - Atmospheric Spaces Programme - Spatial Arrangement The home - A time capsule Programme - Spatial Arrangement

S2 ARCHITECTURE DEVELOPMENT 55 56 57 58 59 60 61 62-63 64 65 66

67-68 69

Existing Context - Massing Existing Context - Density Precedent Studies - Form and Connection Proposed Massing Preservation of Existing Features Masterplan Development - Massing Arrangement Spatial Arrangement - Layout Hierarchy Initial Ideas - Design Development Initial Building Proposal - Floor Level Strategy Initial Ideas - Design Development What’s Next?

Initial Ideas - Design Development Bibliography Bibliography - Images

Karen Connolly Memories

04

Let’s take a trip down memory lane ...

A quick recap of Studio 1

05

Nostalgia - Sentimental longing for a former place or time that no longer exists Nostalgia [ no-stal-juh, -jee-uh, nuh- ] noun A wistful desire to return in thought or in fact to a former time in one’s life, to one’s home or homeland, or to one’s family and friends; a sentimental yearning for the happiness of a former place or time.

Nostalgia is an emotion involving recollections and fond memories for ones personal past. These memories are preserved and embraced for later reflection. These experiences may involve social relationships or momentous incidents that occurred at a certain period in time, or to the specific individual.

The emotion can often be triggered by encountering familiar senses to that particular moment in time such as smell, sound, an artefact, photos, by engaging in conversations, or by the feeling of loneliness. Nostalgia is the bitter-sweet emotion filled with warmth, happiness and joy of the meaningful lived past. Yet this emotion can equally be tinged with feelings of sadness, missing, emptiness or longing for moments irredeemably gone.

(Definition of nostalgia | Dictionary.com, n.d.)

(Barton, 2014) (What Nostalgia Is and What It Does | Nostalgia | University of Southampton, n.d.)

(Wildschut and Sedikides, 2019) (Huppatz, 2009)

Nostalgia, originating from a combination of the Greek words nostos (to return home) and algia (a painful condition). The term was coined by the Swiss physician Johannes Hofer (1688/1934) to capture the adverse symptoms displayed by Swiss mercenaries in the service of European monarchs.

Nostalgia was later regarded as the ‘Swiss illness’. Recognised symptoms included pining for alpine landscapes, fainting, fever or even death. Between the 19th and 20th century, definitions of nostalgia changed. Nostalgia came to be regarded as a form of depression. Today nostalgia is regarded as ‘a sentimental longing for the past’.

“At first glance, nostalgia is a longing for a place, but actually it is a yearning for a different time - the time of our childhood, the slower rhythms of our dreams. In a broader sense, nostalgia is rebellion against the modern idea of time, the time of history and progress.”

- Svetlana Boym

(Wilson, 2014)

06

Nostalgia - Collective vs Private - Restorative vs Reflective +

+

“[t]ime, unlike space, cannot be returned to ever; time is irreversible. Nostalgia becomes the reaction to that sad fact.”

- Linda Hutcheon PRIVATE NOSTALGIA

COLLECTIVE NOSTALGIA Collective nostalgia refers to events or objects that are widely shared between groups, neighbourhoods, cities and nations, tying together symbolic experiences from the past, which can under proper conditions trigger off wave upon wave of nostalgic feeling in multiple individuals at the same time. Collective nostalgia helps to strengthen feelings of positivity as groups recall fond memories.

The condition in which those symbolic images and allusions from the past which by virtue of their resource in a particular person’s biography tend to be more idiosyncratic, individuated, and particularistic in their reference; for example the memory of a parent’s smile.

Through design, companies have harnessed the sentimental and emotive feeling of collective nostalgia to market products. Well know brands have focused on captivating audiences emotions to advertise products, playing on the past where consumers feel safe and comfortable whilst creating a sense of local and trusted produce.

“People are realising that consumers enjoy the experience of nostalgia and they’re capitalising on that.”

- Tim Wildschut

(Boym, 2011) (Wilson, 2014) (Huppatz, 2009) (Gross, n.d.)

(Wilks and Kelly, 2008) (Sedikides and Wildschut, 2019)

RESTORATIVE NOSTALGIA Restorative nostalgia focuses on ‘Nostos’ and aims to reconstruct the lost home patching up the memory gaps.

REFLECTIVE NOSTALGIA Reflective nostalgia dwells on ‘algia’.

It savors the emotions evoked by its recollection rather than attempting to rebuild the past.

“If restorative nostalgia ends up reconstructing emblems and rituals of home and homeland in an attempt to conquer and specialise time, reflective nostalgia cherishes shattered fragments of memory and temporalises space.”

- Svetlana Boym

07

Nostalgia - Triggers “I think of nostalgic experiences when I’m sad as they often make me feel better”

- Participant

Lonely

Exploring the generalised triggers of nostalgia and the physical elements responsible for individuals feeling nostalgic. Negative mood conditions in general tend to trigger spells on nostalgia, it is this that counteracts the effects of distress, restoring positivity and well-being, which in today’s society is particularly important with mental illnesses being one of the most cause for public concern. There are various ways in which nostalgia can be triggered for both positive and negative mood conditions for both collective and private nostalgia. These come in various forms, taking people back to a certain place or time from the past.

Entertainment (Games) Smell Photographs

Scared

Sad

Nostalgia - Triggers - The ‘Floop’ “I find that belonging to community groups online allows me to connect with others who grew up here. It’s interesting seeing old photos others have of the area”

- Danny

“Smell is a big one for me. I can smell something in particular and it instantly takes me back to a time and place and I remember every detail”

Taste Social Connectivity

- Mark

Sound (Music) Anxious

Depressed

Films “The most common trigger for me would be music, it takes me back to certain memories throughout my life and allows me to relive them.”

- Emily

(Wildschut and Sedikides, 2019)

08

Society’s self-destructive addiction to living faster The pressure to achieve money, power and success has driven us to lead fast paced lives, causing individuals to spiral out of control.

If we can’t keep up with the fast pace of today’s society, is there something wrong with us?

What are the costs of speed addiction?

R WO K

How do we slow down?

S ES R ST

RESPONSIBILITY DEPRESSION

LIFE

(Brown, 2014)

09

Trapped in the system The feeling of being trapped in society is experienced by a large proportion of the population, where the continual push from the ‘rat race’ has led to a controlled life. Whether this be trapped at an unfulfilling job, trapped in a city in order to be in close proximity to a job or generally unhappy with life, despite basic needs being met. The quest for success has left people wanting, and more so, tied to ideals that are not providing happiness.

RESPONSIBILITY The current climate forces individuals to take on increasing responsibilities resulting in many feeling overwhelmed and stressed, particularly in the work environment. Many feel as through these responsibilities related to status are essential to the success of their life.

When in reality, these are controlling ones life, trapping them in society.

(Berry, 2012)

ADDICTION The desire for growth and achieving breakthroughs, may push individuals in to the realm of addiction. The need for continual success creates a narrow field of enjoyment and fulfilment. Little activity in life will seem as exciting or interesting as the breakthroughs you’re making. The world offers many opportunities for growth, however, work addicts become further buried in the world of artificial breakthroughs.

SUCCESS The understanding for many is that the key to happiness is success. In an attempt achieve success, in order to live happily, individuals manage to become trapped in their own lives.

Success may only be captured whilst goals are progressing, in some cases this may only be momentarily. The desire to strive for constant success and the accumulation of status-related things, leads to individuals being controlled by these things.

“People are aware they feel trapped, even if they do not understand why. Other times they are unaware they have imprisoned themselves, and they can’t find an escape.”

- William Berry

10

Has life in isolation made us unaware of our surroundings and how fast paced our lives have become?

Stress related mental disorders are ever increasing in the modern world and are quickly becoming one of the biggest health problems for public concern. Modern society, particularly in urban areas, has isolated people from the surrounding environment, as well as, the constant pursuit for success creating a distraction from the possibility of a slower life by reflecting on simpler times. Individuals are so caught up in the fast pace life, they don’t realise what is beyond the wall. Could reflecting on the past allow us to change the speed in which life is lived?

R SLO

Social media is ingrained in a large proportion of the populations daily lives, for some, a way to escape this isolation of daily life in order to connect to their surroundings and memories outside this bubble, is through apps such as ‘timehop’. This allows individuals to look back on past social media posts, helping people to reflect on their lives.

STRESS (Reynolds, 2017)

REDUCED WORK-FLOW

FREQUENT SICK-LEAVE

“smartphones gave us the ability to document every single aspect of our lives – but they don’t help us make sense of the information. Reflecting on past memories is a way to slow down and make sense of all that noise, he says. “It doesn’t matter where people are – it matters that we’re thinking about how people are documenting their lives while we’re living in them in a way that’s helpful.”

-CEO Timehop - Matt Raoul 11

Disconnect from the system of modern culture Loneliness

Stress

Physical Well-being compromised

Sleep Deprivation

FAST PACED SOCIETY

DISCONNECT

EFFECTS

The culture of today’s society seems to be in an unidentifiable rush, with individuals increasing responsibilities and workloads, drawing people in to the monotonous ‘rat race’, where life is fast paced. Our times of leisure also seem to pose the same fast tempo properties with busy social obligations. The dose of calmness and stillness is hard to come by in today’s world. For a large proportion of the world, the internet has made rapid and dramatic changes to society. We are able to stay connected to everyone in the world, whenever and wherever we want, whether this be business or leisure.

On average we spend more than one hundred days per year connected to the internet. But what effect does this have on our mental health? Should we focus on making a conscious effort to disconnect from the world? Isolation from our surroundings, work addiction and increased responsibility and stress along with the continuous push from the ‘rat race’ have played detrimental roles in the increased concern for health issues around the world.

The fast paced lifestyle often blurs the boundary between positive stress and negative stress. Positive stress often brings enjoyment and fulfilment from working toward inspiring and achieving goals, however, negative stress can cause a feeling of anxiety, restlessness, and depleted of energy. It is necessary for individuals to allow time to reconnect and be present in the activities taking place which can be incredibly valuable. The consequence of not allowing a disconnection from modern culture may result in these unwanted stresses, loneliness, increased physical ailments and sleep deprivation. The fast paced lifestyle often seen causes unwanted aggression, a disconnect from one’s surroundings and lack of control.

(Kathuria, 2017) (Martire, 2016) (Hughes, 2019)

Can nostalgia help us to disconnect?

12

Why has Nostalgia become important to our lives?

Nostalgic childhood memories seem to resemble in our minds the feeling of a slow paced lifestyle carrying on in to early adulthood. New experiences in these early years takes longer for our minds to organise, making the experience more memorable. These new experiences are exciting and vivid, creating the perception that time is slowing down. As we age, the monotony and predictability of daily life appears to speed time up.

Reminiscing on these memories, takes us back to the slow paced lifestyle experienced when these moments were being captured.

Taking us out of the fast paced lifestyle currently being experienced.

Remember to SLOW DOWN! Today’s society, The endless race to success, Sees us living at a hundred miles per hour, We have everywhere and nowhere to be at the same time & We work to exhaustion, Because it makes us successful.

But if we look at our nostalgic routes, We remember the days when things seemed calm & Slow & We had time to think & And experience the beauty that surrounds us.

Youthfulness

Motivated

A time when time STOOD STILL. Reminiscing on our past, Time stands still, Just for a brief moment in time & Nostalgia, Enables us to slow down & Gives us the ability to savour, Every last moment & Allows us to be us again With those who experienced it with us.

Goal Persuit Risk Taking

Inspired

Growth Orientation

Reduce Stress

Boost Mood Reduce Loneliness

Nostalgia Familiar surroundings Valued

Social Support

Improves Relationships

Social Connectedness

As well as the storage of memories, the recall process allows Individuals to savour memories of nostalgia once having been recalled. This allows for prolonged enjoyment of positive experiences, resulting in greater patience in processing these experiences.

(Remember Reminder: Slow Down, n.d.)

(King, 2019) (HUANG, HUANG and WYER JR, 2016) (Sedikides and Wildschut, 2020)

13

Experiencing Nostalgia without replicating the past “No imitation of the past makes new buildings anything other than new.”

-Duo Dickinson

Undo

Ctrl+Z

Redo

Ctrl+Shii+Z

Cut

Ctrl+X

Historic buildings often are a trigger point for people feeling nostalgic about a certain place or period of time, often reflecting on a simpler, slower paced time in our lives. Through activities and cultures, buildings are created, helping to make up a place’s identity.

Copy

Ctrl+C

Paste

Ctrl+V

With this is mind, I felt it wasn’t possible to ‘recreate’ the past, with reference to the buildings located on the ‘Floop’.

Paste as plain text

Firstly, the community and activities taken place in order to give the buildings their identities, and beating hearts, has long gone. Secondly, a buildings materials and presence, creates a story. This allows people to experience their historic past, by opening a window in to that certain period of time. With no way of using the exact materials of the original buildings would make it a ‘fake’, hurting the character of the area and further diminishing the actual history of the buildings. Finally, instead of moving architecture forward it slows the momentum of progressing technology and design. Architecture should reflect today’s world, culture and technology rather then replicating the past.

Select all Spellcheck Wriing Direccon Inspect

Ctrl+Shii+V Ctrl+A New...

Ctrl+N

Open...

Ctrl+O

Browse in Bridge...

Alt+Ctrl+O

Browse in Mini Bridge...

Open As...

Alt+Shii+Ctrl+O

In response, this project will not set out to recreate the past, but respond to it by allowing individuals to reflect on the past through carefully planned atmospheric spaces. The intention is to design and cater for the present generation and current community with architecture and technology that reflects this.

History is a part of everything, because it is the truth, not a style. In architecture, we tend to use the superficial aesthetics seen in history as a way to justify the wrecking or the reproduction of the past. But the new does not exist to simply invalidate or replicate the old.

-Duo Dickinson

(Dickinson, 2018) (Why Fake Vintage Buildings are a Blow to Architecture, Historic Neighborhoods, and the Character of a City | Smart Cities Dive, n.d.)

The proposed new architectural development will set out to construct buildings with modern design features in mind, focusing on atmosphere, emotion and stimulation of the senses, in order to create a space allowing individuals to recollect memories, in order to connect with the former site. This allows not only for past generations a chance to reminisce, but will also accommodate future generations as they experience their past, which may or may not have any relation to the site directly. In order to gain an understanding in the properties of emotion evoking architecture, I have chosen to look at the work and guidelines of both Juhani Pallasmaa and Peter Zumthor.

14

Atmosphere and Construction In order to gain an understanding of the properties Architecture should posses in order to feel emotion, I decided to use Peter Zumthor’s philosophy on architecture, by reading his book ‘Atmospheres and Construction’. Peter believes in order to feel emotion and to feel moved by an experience, a building must have an atmosphere. There are a series of categories he uses to aid design. The following explore these ideas in order to understand the requirements to emotional design.

“I just love looking at. How do people design things with such a beautiful, natural presence, things that move me every single time. “

“One word for it is atmosphere” “So what moved me? Everything. The things themselves, the people, the air, noises, sound, colours, material presences, textures, forms too - forms l can appreciate.

Forms I can try to decipher. Forms l find beautiful. What else moved me? My mood, my feelings, the sense of expectation that filled me while I was sitting there.

Which brings that famous platonic sentence to mind.

Beauty is in the eye of the beholder. Meaning it is all in me.”

- Peter Zumthor (Zumthor, 2006)

15

Atmosphere and Construction - Design Principles “It’s like our own bodies with their anatomy and things we can’t see and skin covering us ”

“Materials react with one another and have their radiance, so that the material composition gives rise to something unique.”

“There are buildings that have wonderful sounds, telling me I can feel at home. I’m not alone.”

THE BODY OF ARCHITECTURE

MATERIAL COMPATIBILITY

THE SOUND OF A SPACE

THE TEMPERATURE OF A SPACE

Peter talks about the body as capsule for experiences, we experience many cultures for example, and this is stored within our bodies.

Our skin acts as a covering, preventing us from seeing what’s beneath, this can be seen within architecture. A building may have concealed, many artefacts, cultures and experiences hidden behind its surface, through the use of materials, layering creates a sense of intrigue to the user. The combination of layers and concealment with materiality creates atmospheric spaces. Spaces that touch on your emotions and feelings.

The presence of a range of materials is inevitable within architectural designs, however, there is a need to understand the densities and weights of materials in order to achieve dramatic atmospheres. A material itself can be modified and enhanced for example, through differing lighting, it can take on varying properties to its natural form, the way in which a material is cut, sawn or polished can also create an entirely different form and therefore atmosphere. Attention must be paid to the details of aesthetics. The different weights and densities of materials can either enhance an atmosphere or overpower it.

Materials too far apart won’t create a reaction, where as too close together will kill the mood.

Sounds experienced within the interior of a building are determined by the nature of the surfaces and their materiality. Surfaces reflect, absorb or accentuate sound, creating different environments or experience for the building user. All buildings have an element of sound.

Sounds can reflect a certain setting or place and can allow one to experience a memory from the past. Buildings should reflect the buildings users and how certain activities might sound in a space. Mystery in sound arises, when you believe you are experiencing silence, however, if you were to extract all foreign sound from a room, through specialist acoustic technology, you would realise that sound still exists within all buildings. Mystery is created through the ambiguous and unknown sounds of ‘silence’, this somehow creates a tone and a sense of stillness, leaving the cause up to the individual to decipher .

The temperature of a space can compare the material choice in its physical form, for example metals generally are cold to the touch compared to timber which is warm, to how a room can make one feel. A particular atmosphere can create a cold or warm environment, whether this is through material choice, lighting type or colour etc. Temperature can decipher how one feels about or experiences a space.

-Peter Zumthor

(Zumthor, 2006)

- Peter Zumthor

- Peter Zumthor

16

Atmosphere and Construction - Design Principles “These houses are incredibly full of beautiful details - One might even say excessively so!

And you feel the presence of Heinz Bienefield, and all these things he’s made all over then place.”

“The feeling that I am not being directed but can stroll at will - just drifting along. You know?”

SURROUNDING OBJECTS

BETWEEN COMPOSURE AND SEDUCTION

TENSION BETWEEN INTERIOR AND EXTERIOR

THE LIGHT ON THINGS

Peter expresses his intrigue in objects others use to decorate or express their personalities within their homes. These objects allow the building to come together, creating a caring and loving environment, showing a deep relationship between the building and it’s inhabitants self being. He argues that these objects aren’t a burden as we move through life, but a way of a building becoming personal as opposed to a building an architect has designed with limited personality to the inhabitant.

A buildings design should explore the way in which users move around and interact with different areas of a building. Without forceful direction, but rather a seductive suggestion, inviting one through the building, allowing for a sense of freedom. These spaces created should also seduce one to stay in a space, rather than solely a means for access and direction.

Architecture and design can be related to music, allowing one to drift around from one space to the next, whilst allowing the activity to sculpt the environment surrounding.

Architecture allows for interior and exterior spaces, whether this be seamless transitions between the two, or a definite divider. The feeling a building gives us, is the concentration as we enter a space, making us aware of a different atmosphere, a feeling of safety, privacy or enclosure. When designing, it is important to decipher how much of an interior is to be shared with the exterior. The facade of a building can tell us a different story to what’s hidden on the interior, however, its up to the architect/designer/client, as to how much is divulged to the outside world.

Lighting is one of the most important aspects for creating moods and tones within interior spaces. Lighting, whether this be artificial or natural, should be a priority from the beginning stages of design. The use of natural lighting is particularly important. It possesses spiritual qualities, suggestive of powers beyond our existence, creating feelings of amazement and infatuation as it reflects from surfaces. Peter suggests two main ways of factoring light in to a buildings design. The first, designing a space as a pure mass of shadows, allowing one to carve out the darkness with light, and the second, the knowledge of a materials properties, allowing one to choose certain materials to fit together a strategy.

- Peter Zumthor

- Peter Zumthor

(Zumthor, 2006)

“What do I want to see - me or someone else using the building later - when I am inside?

And what do I want other people to see of me?”

“the light on things, is so moving to me that I feel it almost as a spiritual quality.”

- Peter Zumthor

- Peter Zumthor

17

THIS WAY TO STUDIO 2

Let’s Begin ...

18

T BE T ALL

Observing Life - The site and it’s surroundings

In order to gain an increased understanding of the local communities interactions and culture, I decided to investigate the main categories I personally observed on site, showing the different building and site uses in order to understand the separation between private and communal culture, history and memories.

THIS GATE MUST BE KEPT LOCKED AT ALL TIMES

PRIVATE PROPERTY THIS GATE MUST BE KEPT LOCKED AT ALL TIMES

PRIVATE

SEMI-PRIVATE

PUBLIC

19

PRIVATE PROPERTY

Analysing Features - The site and it’s surroundings

THIS GATE MUST BE KEPT LOCKED AT ALL TIMES

THE HOME THE HIDDEN TREASURE

MATERIALITY A GLIMPSE IN TO THE PAST

ALLOTMENTS A PRIVATE COMMUNITY

GREEN SPACES & PARKS SHARED PUBLIC SPACES

PRIVATE PROPERTY

ARTWORK CULTURE, EXPERIENCES & MEMORIES

20

Analysing The Home - A Private Space Culture and climate in the UK have played a big role in the way we live in our homes. Whilst walking the streets surrounding the site, it became apparent that the home is a place of privacy, with little being visible to the passers-by on the street.

The home has become a time capsule for memories, experiences, culture and heritage but is kept tucked away and hidden from it’s own users and extended community. The large volume of terraced housing leaves mostly windows and doors to the front and rear of the property, where you will find closed doors and windows, curtains obscuring views, fencing, trees and hedging to restrict vision, small front gardens to keep passers-by at bay and parked cars on pavements, not deliberately to restrict views but appears too, forcing you to keep eyes on the pavements rather than peoples homes.

Curtains/Blinds Vegetation Walls/Fencing/Gates Stationary Vehicles 21

Materiality - A Glimpse in to the past - An expression of age As expressed in Studio 1, there is great importance in the choice of material used. A material can give a glimpse in to the past, both historically and culturally. It shows how a community lived and evolved as well as the history of the area through weathering, staining and markings following happenings at different periods of time. The site and surrounding areas structures are predominantly red brick, following the history of the area and potentially shows some of the history of the ‘Floop’ with Jackson’s brick works having previously been located at Highfield Country Park. Texture evolves through a materials lifetime. If one has the ability to touch and feel a surface they are able to experience the materials past.

2021

The built environment is an extension of the natural environment.

Structures can be seen to have evolved over time, with vegetation growing between and over materials on site. Merging the natural world with the man-made world.

1922

22

Community Allotments - A Semi-Private Space There is a clear distinction between the ‘Home’, a private space and the Semi-Private outdoor space of a community allotment. The allotments surrounding the site seem to be the home away from home, allowing certain parts of the community to interact. Although these spaces are well used by the local community, they are also locked away from the extended community, where only site users and owners are welcome to interact.

Outside of the home or workplace, the allotments allow people to express culture and heritage whist sharing memories or experiences with one another, but only within that allotment community, which seems to be restricted to one housing community based on location.

The idea of the allotment as a social group in theory is a good way to interact with one another, however, in reality it doesn’t quite convey.

Job commitments and schedules mean users don’t interact as much as it seems.

THIS GATE MUST BE KEPT LOCKED AT ALL TIMES

Residential Area Highfield Country Park (Public) Community Allotment (Semi-Private)

It’s a bit like how neighbourhoods work really, you know your neighbours but you don’t know the whole street. Everyone seems to come down at different times so you rarely see many people here.

- Sheila

23

Green Spaces/Parks - Shared Public Spaces

The culture of the modern world has forced us to focus greatly on the work environment. For most, the natural world is an escape to the world outside our daily routine. For the time spent in nature allows us to slow down and observe the environment surrounding us. The parks are a destination as opposed to a journey making the moments spent here more valuable and slow paced. The Parks surrounding the site are greatly used by local communities and act as the buffer space for the different communities either side of the ‘Floop’ to connect. Unlike the allotments they are shared spaces for all ‘Floop’ users to enjoy allowing interactions that may not be possible if it were semi-public.

Some locals share similar visions in preserving the environment for future generations, voluntary groups such as, the bee preservation movement have created a combined community in a shared space making it possible for a collaboration between multiple communities.

24

The ‘Floop’s’ Artwork - Culture and Memories

Artwork can be seen throughout the length of the ‘Floop’ and surrounding areas. This can be seen in the form of graffiti, paintings or community made crafts. The graffiti could present the communities culture and resilience, whilst planned murals can be found in areas including Gorton, promoting the areas historic value and appreciation. Crafts and paintings can be found around the local parks, schools and housing estates, presenting identity, community spirit and culture.

In every form, artwork brings together the local communities allowing others to share experiences, history, culture and memories.

The presence of art and colour allows for individuals to remember certain places due to the distinctiveness in appearance, setting it apart from the surrounding environment. This allows people the ability to remember certain places from a certain period in time.

25

The Site N

Highfield Road 0

100m scale 1:1250

PRODUCED BY AN AUTODESK STUDENT VERSION

TUDENT VERSION

ee Gr

50m

Starbrook Street

Ravenoak Avenue

e

u en v A ay w n

10m

ens

Cra

rd y Ga Wra

nag eW ay

Pullman Close

Highfield Country Park Fallowfield

St Andrew’s C of E Primary School

Chorlton

Levenshulme

Burnage South Reddish

10m

50m

100m scale 1:1250

16

PRODUCED BY AN AUTODESK STUDENT VERSION

0

PRODUCED BY AN AUTODESK STUDENT VERSION

The proposed site lies between two important and well remembered sites of industrial heritage, the UCP Tripe factory, Jackson’s brickworks and Highfield piggery.

This location could be a trigger to many locals nostalgia containing two bridges, having been preserved from the former railway.

Embankments on either side of the ‘Floop’ allows for a variety of levels, shading techniques and seclusion from its surroundings.

Similar in topography to the original quarry, located on Highfield Country Park may also be a trigger to local nostalgia.

Education

Community

Attraction

Natural Environment

Located on the original site of Jackson’s brick quarry is now St Andrew’s C of E Primary School. In close proximity, the proposed time capsule, can act as an education facility for the younger generation, to learn and experience memories and historical moments of the areas past.

Bordering the proposed site is an existing housing estate.

As this proposal encapsulates the community, its heritage and memories, it is important to integrate the local community with the development.

Highfield Country Park is a natural attraction for recreational walkers, dog walkers and nature enthusiasts. With no cafe and social buildings on site, makes for a great opportunity to allow locals to interact and experience the site.

The proposed section of the site has many varieties of grasses, shrubs and trees. From dense shaded forest sections to open airy grass sections. As well as vegetation varieties, it is also home to a diverse collection of wildlife species.

Dense Forest

N 0

10m

50m

100m scale 1:1250

Landscape within the site

Topography

PRODUCED BY AN AUTODESK STUDENT VERSION

History

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Why choose this site?

The embankments and Highfield Country park contain varying tree species making sections of dense forest. This creates different environments for species of wildlife as well as creating a contrast in lighting. Without defined direction, it creates a suggestive guide to routes around the park.

Dense Shrubbery A large proportion of the site is overgrown with dense shrubbery, creating a different environment to the dense tree sections. Being lower in height, spaces around this type of vegetation feel more open and less concealed.

This too creates guidance for direction.

Open Grassland Highfield Country Park has sections of open grassland, creating breathing spaces within the landscape. The boarders of the cycle path have shelter belts allowing the path to feel open and less secluded.

27

Site Analysis - Building Uses 0

10m

50m

100m scale 1:1250

Educational Building Commercial Building Residential Building

PRODUCED BY AN AUTODESK STUDENT VERSION

N

Religious Building Health Building Allotment Space

Green/Recreational Space Sports/ Recreational/ Other

To the left of my proposed site is a primary school. The proposal will include facilities aiming to teach the new generations the past communities cultures and heritage, as well as educate in the natural environment and self sustainability in food production.

This will help integrate the areas uses of allotments with education to the wider community and ‘Floop’s’ users.

Either side of site are allotments.

Many users feel disconnected to the allotment family due to factors such as timings. The site will also help to connect both sites and allotment communities, creating a space for users to meet and discuss interests.

28

Droylsden High Street

Manchester

Trains to Huddersfield, Leeds, York, Hull, Newcastle.

1

Fallowfield High Street

Chorlton-cum-hardy High Street

Levenshulme High Street 3 2 1

4

2

PRODUCED BY AN AUTODESK STUDENT VERSION

Movement around the site

Reddish High Street

3

Withington High Street

Trains to New Mills Central, Sheffield.

Stockport

N 100m scale 1:1250

Trains to Crewe, South Wales, London.

Trains to Stockport, Sheffield, Derby, Nottingham.

Primary/Secondary/Tertiary Roads

PRODUCED BY AN AUTODESK STUDENT VERSION

0m

Site Analysis - Infrastructure Links

Metro Link

Local Link Public Transport

City/Town Centre

Train Services

Train Stations

Green Spaces/Parks

High Street

Reservoir

Fallowfield Loop

(Manchester South Network Map, n.d.)

Closest Train Stations to the ‘Floop’ 1 Ryder Brow - 12min walk 2 Reddish North - 14min walk 3 Levenshulme - 11min walk 4 Mauldeth Road 20min walk

Closest Bus Stops to the ‘Floop’ 1 Milwain Road Levenshulme - 5min walk - 172,727 2 Scarisbrick Road Levenshulme 7min walk - 197,748,749

29

PRODUCED BY AN

STUDENT VERSION

Surrounding Context - Site sketches F 0

10m

50m

N

A

B

100m scale 1:1250

PRODUCED BY AN AUTODESK STUDENT VERSION

A D B

C E C

D

E

F

G

A

Levenshulme high-street is located in close proximity to the proposed site with most transport links situated here. Tertiary roads guide users to the ‘Floop’ from the main high-street.

B

Entrances to the site in some cases are hidden and untidy. Backing on to terraced house gardens this long strip of land has become a dumping ground for waste.

C

St. Andrews C of E Primary School boarders the proposed site with fences surround the school for safety and security, leaving an unsightly appearance from the ‘Floop’ and Highfield Country

D

Highfield Country Park creates an area for diverse wildlife and species. Areas have been maintained and enhanced to encourage and preserve wildlife such as the Bee preservation movement group.

Surrounding residential areas mainly consisting of terraced or semi-detached housing, with on street parking and rear gardens.

Large Semi-Private community allotments create spaces for locals to live sustainably and socialise.

These areas are enclosed by fencing limiting the site to allotment owners only.

E F G

Groups such as the bee preservation group have created areas to enhance wildlife biodiversity particularly in Highfield Country Park.

G

30

Existing Site Conditions A

B

C

D

E

F

G

H

D E F B A

C H G

SITE SKETCHES A

The cycle way itself in current condition is a tarmac ground covering with overgrown vegetation growing freely either side.

B

The cycle way has an incline leading up to Highfield Country Park and the Lattice bridge, creating a large ditch, where the old railway line would have been. This section is very overgrown and is prone to water accumulation.

C

Between the residential housing estate and the sloping embankments of the ‘Floop’ is a strip of grassland fenced off, blocking all connection between the houses and the green spaces.

D

An existing bridge connects the housing estate to Highfield Country Park. This bridge contains a part of the ‘Floops’ history, culture and heritage within its structure and materials.

E

Connecting the ‘Floop’ with the higher section of Highfield Country Park is a set of stairs, showing the steep incline of the embankments either side of the cycle way.

F

The incline of the path creates differing levels of embankments on either side as well as the ditch being formed as the elevation increases.

G

The Lattice bridge also retains elements of the ‘Floop’ and historic buildings history, where it previously was used as access from the UPC factory to Jackson’s Brickworks on either side.

H

Highfield Country Park creates a green space for increased wildlife diversity and preservation. This is a popular location for dog walkers.

31

Ecology arrangement on Existing site

MANAGED GRASS Grass Varieties Weed Varieties Shrub Varieties Tree Varieties

UNMANAGED GRASS Grass Varieties Weed Varieties Shrub Varieties Tree Varieties

UNMANAGED VEGETATION Grass Varieties Weed Varieties Shrub Varieties Tree Varieties

These areas contain a multitude of grass varieties ranging from Lalang grass to New Zealand Flax.

These areas contain plants known as weeds from Geum Urbanum, Smyrnium olusatrum to nettles.

(Levenshulme Allotments, 2021) - Image - Refer to Pg 69

These areas contain shrubbery such as Elm leaf Blackberry, Pteridium Aquillinum (Bracken), Salix bebbiana to Ilex aquifolium (Holly).

These areas contain Tree species including Fagus sylvatica (Beech), Quercus cerris (Oak), Acer platanoides (Maple).and Betula Pendula (Silver Birch).

BUILT UP AREA

SPARSE FOREST Grass Varieties Weed Varieties Shrub Varieties Tree Varieties

DENSE VEGETATION Grass Varieties Weed Varieties Shrub Varieties Tree Varieties

DENSE FOREST Grass Varieties Weed Varieties Shrub Varieties Tree Varieties

ALLOTMENT

32

The ‘Floop’ - Connection and Boundary CONNECTING PEOPLE AND PLACES Education

The ‘Floop’ (highlighted in blue) allows local communities to travel to nearby areas with ease for both work and education commitments along the length of the cycleway. A large volume of schools and nearby towns are situated within close proximity to the ‘Floop’ making it an easy and direct connection, connecting people and places.

Education CONNECTING GREEN SPACE The ‘Floop’ provides a good connecting corridor allowing locals to navigate with ease, the local green spaces. The green corridor connects various parks, lakes, reservoirs and local history along its length, reducing the need for individuals to veer off the cycleway.

SEPARATING NEIGHBOURHOODS AND COMMUNITY Although length-way the ‘Floop’ allows for local communities to feel connected, it also acts as a separation or barrier to communities living either side of the cycleway. It seems as though the neighbouring residential areas have limited interaction with separated activities such as allotments, a social activity. There is also a divide in building type with factory building being situated to the south of the ‘Floop’.

X X X

X

X

Residential Community Industrial/Commercial area Community Allotments

X

33

The ‘Floop’ - A Boundary

SEPARATING NEIGHBOURHOODS AND COMMUNITY The communities inhabiting the areas located either side of the proposed site are separated by the ‘Floop’.

The residential area as well as community allotments have been isolated as separate communities, both which can be reached through two bridges crossing the cycle way. Although bridges connect the two sites physically, there is a clear separation and barrier between the communities reducing the social connection.

There is a need to help join these separate areas within the proposal to create a wholeness around the site.

Lattice Pedestrian Bridge

Community Allotment Residential Area Cycle path

Brick Vehicular/Pedestrian Bridge 34

Highfield Country Park

Existing Site Sections

Fallowfield Loop Cycle Path Residential Area

Section A-A

Section B-B

Section C-C

PRODUCED BY AN AUTODESK STUDENT VERSION

Existing Railway line

E

E D

D C C

B

B

A

A Section D-D

N

Section E-E

10m

50m

Key

100m scale 1:1250

35

TUDENT VERSION

0

Existing Site Topography

4500mm

3500mm 4500mm

0.0mm

2800mm

36

Existing Site - Sunlight Analysis Winter Equinox

15:00

12:00

09:00

Summer Equinox

SUNLIGHT ANALYSIS

19:00

S E

N

W

The embankments either side of the cycle path particularly in winter create shading throughout the lower sections of the site. However, as seen in the analysis above, the upper bank North of the ditch captures winter sun throughout the day, which if the proposal was located on this side could benefit from the natural heating properties of the sun. During the summer months, the entire site can be seen to have direct sunlight. The existing vegetation will have an impact on sunlight exposure or the quality of light, for example this 37 may be dappled.

Site Analysis - Vehicular and pedestrian Access ACCESS RESTRICTIONS

1 3 2

4

1

The residential areas surrounding the site are predominantly terraced housing, meaning residents must park cars on either side of the road.

This reduces the usable road width for vehicle access. Low volumes of traffic wouldn’t cause problems for the existing residents but large volumes of traffic would cause traffic in these residential streets.

2 3

4

Highfield Country Park 8

7

Pedestrian Access

Vehicular Access

5

6 A large proportion of the residential roads in particular are dead ends, reducing connectivity around the site. This means any new access roads to site must be distinct and easy to find.

7 6

5 8

07

38

Activity on Site COMMUTING - FAST PACED - JOURNEY A large percentage for use of the ‘Floop’ is directed to cyclists and walkers.

The long cycle path allows individuals to commute to nearby urban areas as well as school commuters to and from nearby housing estates. The nature of commuting creates a fast paced environment as individuals want to get to and from locations as quick as possible.

CYCLING

WALKING

RECREATIONAL - SLOW PACED - DESTINATION The ‘Floop’ also caters to those who take part in recreational activities, creating a much different environment. Recreational activities create a slower pace and more enjoyable experience as the ‘Floop’ and surrounding green areas are destinations for enjoyment and relaxation.

WALKING

DOG WALKING

WATER SPORTS

HORSE RIDING

FISHING

CYCLING

ART

GARDENING/ALLOTMENTS

39

TUDENT VERSION

Speed of Travel

NO NEED TO WEAR HIGH VISIBILITY JACKET

Wider Cycle path allows cyclists to speed up as there is more room to manoeuvre around other ‘Floop’ users.

NO NEED TO WEAR HIGH VISIBILITY JACKET

Slow Speed Zone Intermediate Speed Zone Fast Speed Zone

N

100m scale 1:1250

Areas with less vegetation allows for the route to be more visible, allowing cyclists to speed up with any obstacles ahead being pre-empted.

NO NEED TO WEAR HIGH VISIBILITY JACKET

PRODUCED BY AN AUTODESK STUDENT VERSION NO NEED TO WEAR HIGH VISIBILITY JACKET

These areas highlight areas of significant incline.

Depending on direction of travel this may force users to speed up or slow down.

Dark areas such as bridges reduce visibility forcing cyclists to slow down some what.

NO NEED TO WEAR HIGH VISIBILITY JACKET

Areas where the cycle route is a straight path, allows for cyclists to see any obstacles ahead.

This straight line allows for a faster speed.

Bends in the cycle route means visibility isn’t as good as if it were a straight line. This creates a slight obstacle forcing cyclists to slow down.

NO NEED TO WEAR HIGH VISIBILITY JACKET

These areas show obstructions on the ‘Floop’ by the form of barriers.

These force cyclists in particular to slow down.

NO NEED TO WEAR HIGH VISIBILITY JACKET

NO NEED TO WEAR HIGH VISIBILITY JACKET

These areas show seating within the ‘Floop’. Seating allows individuals to take in their surroundings allowing individuals to slow down.

NO NEED TO WEAR HIGH VISIBILITY JACKET

Areas of high traffic and circulation force cyclists to slow as a safety precaution. If cyclists were to travel too fast there is a risk of pedestrians being hit.

Narrow sections of the ‘Floop’ force cyclists to slow down as they pass obstacles or wait for oncoming traffic before passing.

NO NEED TO WEAR HIGH VISIBILITY JACKET

40

Programme Proposal

CHECK-IN THIS WAY Karen Connolly Memories

Karen Connolly Memories

CHECK-INTHIS THIS WAY CHECK-IN WAY

Vacancies

Karen Connolly Memories

The proposal will incorporate many aspects of design, including landscaping and architectural design. These have been broken down in to categories to show what the site will include.

Karen Connolly Memories

CHECK-IN THIS WAY Vacancies

Vacancies Vacancies

Preservation

Spirituality

The idea of a time capsule allows past, present and future generations to preserve aspects of their lifetime experiences and history within a building. This allows the owner or other building users to reminisce or can be used in the education of another generation.

Creating spiritual spaces through atmospheric design is important in allowing building users CHECK-IN THIS WAYallowing a to feel focused without distractions, strong connection to experiences and emotions.

Vacancies

Karen Connolly Memories

CHECK-IN THIS WAY Vacancies

Karen Connolly Memories

Inclusion

Tranquillity

Sensory

Seclusion

As well as accommodation, the site would benefit from social facilities such as a cafe, attracting the ‘Floops’ users to the site. The proposed site is located on the boarder of Highfield Country Park, which would make great use out of the facility.

Through landscape design, the proposed site will encompass aspects of tranquillity, creating an inviting, spiritual and slow paced atmosphere, whilst encouraging biodiversity and natural environments.

Landscaping and architectural design will allow for sensory stimulation and exploration, allowing people to interact with the site.

Spacial layout will allow certain aspects of the building to be secluded and intimate. The use of nature can create a hidden environment allowing different atmospheres to be developed.

(Daelemans, n.d.) -Image - Refer to Pg 69

41

Existing Site - Breaking Barriers FENCING PREVENTING ACCESS AND VISUAL CONNECTION

FENCING DIVIDING AREAS

IMPROVING CONNECTIVITY The existing site shows a clear division between the neighbouring residential area and the ‘Floop’. One of the main aims of the proposal, is to improve the connectivity around the site, enabling easy access and inclusion of local residents with the development and natural surroundings.

EXISTING CONNECTIONS

PROPOSED CONNECTIONS (Google Earth, 2021) - Refer to Pg 69

42

Masterplan Strategy - Green Link

Addressing connectivity around the site, led to the decision to redevelop the nearby access routes. I felt it was important to connect the existing residential areas to the development as well as integrating the natural environment with the built areas. The existing access routes are poorly maintained, resulting in unattractive and disused spaces, making the pathways unwelcoming. With this project I wanted to focus not only on creating a sense of Nostalgia, but creating an environment that can be personalised by the local community that enhances the ecology of the area, a movement increasing in popularity in Levenshulme as seen in Highfield Country Park, adjacent to the proposed site. In doing this I wanted to create a green link, that connects the proposed development to the main road and existing residential area.

PRODUCED BY AN AUTODESK STUDENT VERSION

PUBLIC ALLOTMENT

HIGHFIELD COUNTRY PARK COMMUNITY HUB EDUCATION HUB

NATURAL ENVIRONMENT/LANDSCAPING STRATEGY TIME CAPSULE GREEN LINK

EXISTING FOOTBRIDGE COMMUNITY CAFE WETLANDS

REFLECTION

ATMOSPHERIC DESIGN COMMUNITY ARTWORK TIME CAPSULE GARDENS/ SEATING

PROPOSAL

DEFINED LINKS TO SITE

CONNECTIVITY

CAFE/ COMMUNITY HUB

INTEGRATION OF EXISTING RESIDENTIAL AREA

N

100m 0

WETLAND

EXISTING ECOLOGY PRESERVATION

ECOLOGY

FORESTRY AREAS COMMUNITY PERSONALISATION 43

PRODUCED BY AN AUTODESK STUDENT VERSION

Improving connectivity and desirability The disconnection from the main road and lack of maintenance has led to this section of land being used incorrectly, where litter has accumulated making it an undesirable space for recreation.

My initial response for the green link is to create a main entrance way from the main road, linking the adjacent houses to the proposed development as well as the natural environment. In doing this, the local community and adjacent houses would have a space for recreation and personalisation, allowing the community to create spaces reflecting the culture of the area and community. The idea would be to produce a space creating a visual connection to the development through landscaping and natural features. Below, are two precedent studies of comparable schemes showing the initial thinking behind the landscaping strategy. Firstly, the combination of allotment spaces with planted sections and secondly, the use of SuDS to manage water runoff in replacement of the existing ditch located on the site.

THE MALINGS, OUSEBURN - ASH SAKULA ARCHITECTS The Scheme aims to blend traditional building typologies with street design in order to produce outdoor communal spaces.

It promotes informal interactions between neighbours, and provides shared resources such as communal allotments.

It has allowed for the engagement of the local community, contributing to the creativity and cultural development of the development.

(The Malings | Ash Sakula Architects, n.d.)

THE GREY TO GREEN SCHEME, SHEFFIELD - SHEFFIELD CITY COUNCIL WITH ROBERT BRAY ASSOCIATES. EXISTING SITE ACCESS

KEY

The scheme is a retro-fit SuDS project, and also the UK’s largest inner city ‘Green Street’. The SuDS were introduced to help manage water runoff whilst aiming to increase urban biodiversity by creating a wildlife corridor. It is also used to promote health and wellbeing whilst creating an attractive setting for site users.

(Dunnett, n.d.)

44

Improving ecology - Creating a wetland XIXI WETLAND ESTATE, HANGZHOU - DAVID CHIPPERFIELD ARCHITECTS.

Users of the ‘Floop’ can experience water in several instances along the cycleway. These include Gorton Reservoirs, the home to water-sports, the secret lake, an ideal fishing location and several connections in the form of historic ditches, aqueducts and ponds, the remnants of Jackson’s brickworks.

The development is located on the outskirts of Hangzhou, Eastern China, within a man-made wetland park. The project aimed to create a relationship between the architecture (apartment complex) and the landscape, where apartment blocks look to be embedded within the water and natural landscape.

The different levels created around the site, have provided a series of external spaces forming a village-like community.

The strong connection to water along the ‘Floop’ led to the inclusion of a wetland area as the primary site for the development. Not only does this increase biodiversity in the area, introducing new species, but also creates a unique space for local residents and schools to interact and learn. The proposed wetland located on the cycleway, would force site users to slow down and take in the natural environment, whilst providing a series of different atmospheres and environments for building users to enjoy. Water as an element, makes for interesting effects such as mist, creating a sense of mystery, allowing for different environments that change daily according to the weather. This creates an ever changing atmosphere within the site and building, having an ever changing effect on the users interactions and perceptions.

(Mairs, 2015)

KEY LONDON WETLAND CENTRE, QUEEN ELIZABETH’S WALK, BARNES, LONDON. - WILDFOWL & WETLANDS (WWF) London wetland offers a tranquil haven in the city, enabling visitors to disconnect from the city environment and reconnect with nature. The wetland, created on the site of redundant reservoirs, has created the perfect environment for a variety of species to inhabit. The site offers scenic walks and seating areas for visitors to interact and explore.

(Nature reserve, n.d.)

HEALTH BENEFITS The natural environment has many health benefits to humans helping to reduce stress related illness.

BIODIVERSITY Wetlands are increasingly important in the preservation of species, creating a web of ecosystems and continual nutrient supply in order for species to thrive. 10% of all species in the UK are found in our wetlands.

FLOOD PROTECTION Wetlands trap and slowly release surface water, reducing the risk of nearby flooding.

FOOD/EDUCATION Wetlands provide a food supply to many around the world. This project will focus on education for the community in sustainability and the encouragement of wetland creation.

(Why wetlands, n.d.)

45

PRODUCED BY AN AUTODESK STUDE

Preserving the Existing Environment - Integration of Existing and Proposed In order to create a space for the community, I feel as though it is important for the site to be created and personalised by the community itself, in order that it holds personal culture and integrity. The incorporation of the existing natural environment with additional landscaping features is important in creating a space that can be used by the community as well as creating a strong connection between the external environment and the architecture.

N

SHEN SHEN GARDEN OFFICE, SHANGHAI CHINA - YUSHE YUZHU

10m

50m

100m scale 1:1250

TREE SURVEY - (MAINLY CONSISTING OF SILVER BIRCH, OAK, CHESTNUT)

TUDENT VERSION

0

The Office building aimed to incorporate the existing trees within the scheme, creating a seamless transition between internal and external spaces. The building can be seen to weave in-between the existing trees in order to preserve as many as possible. Where trees weren’t preserved in their existing position, they were replanted in appropriate locations around the site. The building’s layout and range of levels allows the users to experience the trees at different heights, ranging from trunk to canopy.

(Griffiths, 2018)

KEY

Woodland and unmanaged areas surrounding the building proposal integrates the communities culture with the new development.

(Yijie, 2018) - Image - Refer to Pg 69

46

‘CYCLING THROUGH WATER’ - BOKRIJK - VISIT LIMBURG

My personal experience of the ‘Floop’ led to the approach of separating the site uses of journey and recreation, formed from the fast pace vs slow pace transport methods. Whilst walking the ’Floop’ the majority of the time was spent watching out for cyclists, which deferred attention off of the natural surroundings and connection to the experience.

Therefore, the proposed site is aimed to create a separation between the cycleway and pedestrian footpaths. This will help to increase circulation and connectivity between the residential area, the proposed development, Highfield Country Park and St. Andrew’s C of E Primary School.

The trail offers users the opportunity to experience the reservoir from eye level, allowing them to be fully imerced in the site and it’s surrounding’s. It provides a cycleway from one side to the other without disrupting any views of the surrounding scenery.

(Cycling through Water: An unconventional dip into Belgium’s ponds - Unusual Places, n.d.)

PRODUCED BY AN AUTODESK STUDENT VERSION SLOWER PACE

REDUCING BARRIERS

N

SAFER SCHOOL ENTRANCE Separating the fast paced cycleway with pedestrian pathways creates a safer entrance for St. Andrew’s C of E Primary School.

PRODUCED BY AN AUTODESK STUDENT VERSION

100m ale 1:1250

Dividing Site Users - Altering the pace of activity

The current cycleway creates a barrier between Highfield Country Park and the Existing pedestrian bridge, where users must stop before crossing. Separating the uses will reduce the barrier and create a stronger connection and circulation for pedestrians around the site.

Acknowledging that the cycleway is used differently by the varying forms of transport and site users, is important in understanding how the site will respond to the different paces of movement. Providing a separate cycle way that doesn’t interfere with connectivity around the site proved to be a good solution. Therefore, the cycleway will aim to slow the pace of users, allowing them to interact with the proposed development and the natural environment.

47

Building users

Programme Proposal

RECONNECT

REFLECT

DISCONNECT

SLOW PACE

RECONNECT

Site Users

DISCONNECT

The proposal caters for two different groups of people. The building users, the people intending to use the building for reconnection and reflection, and those that pass through the site in the form of a journey, such as commuters. The proposal will be designed to accommodate the two uses.

48

Experiencing the Journey The feeling of being trapped in society is ever increasing, where the continual push from the ‘rat race’ has led to a controlled life. The idea of Nostalgia has become a coping mechanism and joyous, warm feeling for those needing to disconnect from their current life. Though a series of controlled spaces, the building programme allows users to disconnect from society, allowing them to reconnect with the great past as they meander their way through the journey of memory lane.

DISCONNECT

Karen Connolly Memories

RECONNECT WELCOME

Site Users

REFLECT

Karen Connolly Memories

Karen Connolly Memories

NATURAL ENVIRONMENT

SLOW PACE

JOURNEY/ CIRCULATION Karen Connolly Memories

EXIT

Karen Connolly Memories

Karen Connolly Memories

Karen Connolly Memories

Building users

WELCOME

WELCOME

Karen Connolly Memories

WELCOME

WELCOME

WELCOME

Karen Connolly Memories

WELCOME Karen Connolly Memories

Karen Connolly Memories

NATURAL ENVIRONMENT

ENTRANCE

REMOVE BELONGINGS

MEMORY CAPSULES

JOURNEY/ CIRCULATION

ATMOSPHERIC SPACES

COMMUNITY

EXIT

WELCOME

WELCOME

49

WELCOME

WELCOME

er Re

8oz Whole medjool datescipe 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

School Dinner Recipe

8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

School Dinner Recipe

8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

Building Requirements - Atmospheric Spaces

all Bakry Val Dia

Summer

1995

School Dinner Recipe

8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

School Dinner Recipe

8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

Karen Connolly Memories

Items found within individual time capsule boxes identify the rooms and spacial requirements needed in order to create form and spatial arrangements. To the left are two examples of time capsules with elements informing room requirements.

all Bakry Val Dia

Summer

1995

School Dinner Recipe

Personal

Karen Connolly Memories

8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs Photographs/Historical 3oz Butter

Karen Connolly Memories & Cultural Photographs

School Dinner Recipe

Karen Connolly Memories

School Dinner Recipe

8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

6oz flour 2 eggs 3oz Butter

1995

e

all Bakry Val Dia

Summer

all Bakry Val Dia

School Dinner Recipe

Summer

8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

1995

School Dinner Recipe Summer

1995

8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

School Dinner Re

8oz Whole medjool date 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

er

Karen Connolly Memories

1995 all Bakry Val Dia

1995

8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

Karen Connolly Memories

Example 1

Personal Soundtracks/Walkman/MP3 Karen Connolly Memories School Dinner Recip Summer

Summer

School Dinner Recipe Reading Rooms School Dinner Recipe 8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

all Bakry Val Dia

School Dinner Recipe

Karen Connolly Memories

School Dinner Recipe

8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

Vinyl Record/CD’s/Downloads School Din

ner Rec

Books

Communal Space School Dinner Recipe Summer

Summer

8oz Whole medjool dates ipe 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

1995

all Bakry Val Dia

1995

Sc8ozhoo Wholle Di medjnne r sRecipe ool date

8oz6oz Wh Boilole ing Wat mederjool dates 6oz Boi flourling Water 6oz 2 eggs 6oz flouterr 3oz But 2 eggs 3oz Butter

all Bakry Val Dia

Summer

1995

Sound Room all Bakry Val Dia

Summer

1995

all Bakry Val Dia

Summer

Diaries

1995

School Dinner Recipe

8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

Recipes

Cinema Room

School Dinner Recipe

8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

Films/Old Footage 50

Example 2

School Dinner Recipe 8oz Whole medjool dates 6oz Boiling Water 6oz flour

all Bakry Val Dia

Summer

1995

199

School Dinner Recipe

8oz Whole medjool dates 6oz Boiling Water 6oz flouScr hool Dinner 2 eggs8oz Whole medjool Recipe 3oz But6oz ter Boiling Wat dates

all Bakry Val Dia

Karen Connolly Memories

Summer

all Bakry Val Dia

Karen Connolly Memories

Games

chool Dinner Recipe

Whole medjool dates z Boiling Water z flour eggs Butter

3oz Butter

Programme - Spatial Arrangement

The Building as a whole integrates a series of experiences and individual journey’s. Levels of Natural Daylight are important in the creation of atmospheres within the spaces created. The location of spaces can be arranged in regards to the lighting required.

RECONNECT DISCONNECT

REFLECT

NATURAL ENVIRONMENT

NATURAL DAYLIGHT

Water - Tranquillity & reflection Fog - Ambiguity Tree Species - Seclusion Plant Species - Biodiversity

COMMUNITY Cafe - Community Gathering Space for building & Site users Kitchen WC Facilities EDUCATION FACILITIES Tables/Seating

JOURNEY/CIRCULATION

SLOW PACE

READING ROOMS

COMMUNAL SPACE

SITE USERS EXIT

Direct - Avoid disruption Separate - Reduce annoyance between pedestrian & Cyclist, Journey & Destination

Fog - Reduce Visual distraction Path width - Control Speed Integrate Building Connection

Cooking Facilities Seating & Tables Communal Kitchen

Natural Flow - Seduction between spaces Experience - Contemplation Senses - Evoke emotion

ENTRANCE

REMOVE BELONGINGS

Single Pods - Individual Contemplation Seating - Homely environment Controlled Lighting - Reading light Dark Room - No visual distraction

Visible - Public Building Low lighting - Clear mind Multiple - Connecting Spaces

Disconnect - Remove surroundings Reduce Distraction - Live in the moment

SOUND ROOM Sound Proof - No Noise distraction Sound Technology Seating - Homely Environment Simple Room decor - Limited distraction

MEMORY CAPSULES Storage - Heritage/Culture Visual Memories Educational - School Groups Communal Memory Experience

CINEMA ROOM Dark Room - No visual Distraction Sound Proof - No Noise distraction

BUILDING USERS EXIT Natural Flow - Reduce barriers between indoor & outdoor

JOURNEY/CIRCULATION Natural Flow - Seduction between spaces Experience - Contemplation Senses - Evoke emotion

51

LOFT SPACE

Loft spaces become storage areas for personal belonging, accumulating memories of the past, that have been stored away in fear of forgetting beloved memories once lived. These belongings are rarely seen and are occasionally pull out to relive the feeling of nostalgia.

FIRST FLOOR

The first floor of a home is more personal than ground floor, where limited people are welcome to wander. These spaces are far more separated and individual, usually making up bedroom spaces.

GROUND FLOOR

The ground floor of a home allows home owners to welcome others in to the body of the dwelling, with a large proportion of the floor plan available to be explored by guests being a shared floor. These spaces are communal and are seen to have higher use-age and activity.

BASEMENT FLOOR

The home - A time capsule

Basements are typically seen as storage rooms or spaces set up for particular functions after redevelopment such as home cinemas, work spaces or studios or snugs due to the absence of noise disruption or low natural lighting levels.

The home is a time capsule full of memories and experience lived by those who inhabit it. By analysing the home as a time capsule, will direct the arrangement and order of spaces within the proposed building. By looking at the properties of each floor, I will gain a better understanding of the structure and atmosphere required throughout the building in order for building users to feel at home.

52

The home - A time capsule

Stairs within the home allow occupants the ability to travel through spaces and floors. Stairs resemble a sign of privacy leading to floors with increasingly private rooms or areas of lower activity. Within the proposal, stairs will act as a form of journey circulating building users through atmospheric spaces allowing users to reflect as they move from space to space.

The symbol of stairs, similar to the home shows a form of privacy as one moves through the building.

This can also be seen within the landscaping design where stairs seclude and isolate areas creating spaces of privacy and reflection.

53

6oz flour 2 eggs 3oz Butter

all Bakry Val Dia

CIRCULATION

all Bakry Val Dia

Summer

1995

REMINISCE

School Dinner Recipe

REMO

Karen ConnollyV Memories

WELCOME

M

MU

8oz Whole medjool dates 6oz Boiling WaterREFLECT XITflour E6oz 2 eggs 3oz Butter

N IT Y C A FE

Karen Connolly Memories

STORY TELLING

REMINISCE

DISCONNECT

all Bakry Val Dia

DEFINED Summer

Karen Connolly EXPERIENCEMemories

all Bakry Val Dia

Summer

FEEL

LISTEN

1995

ool Dinner Re N Sch 8oz Whole medjool datescipe 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

WATCHSchool Dinner Recipe 8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

EXPERIENCE

Karen Connolly Memories

LISTEN TENSION BETWEEN INTERIOR & EXTERIOR

READ I

SECLUDED

REMINISCE

FEEL

INFO

BASEMENT FLOOR

N

8oz Whole medjool dates 6oz Boiling Water 6oz flour WELCOME 2 eggs WELCOME 3oz Butter

CINEM A

OMS RO

S OU

WELCOME

1995

G

School Dinner Recipe

D

OM RO

OM RO

NATURAL EN

DIVERSE

CULTURE

School Dinner Recipe

WELCOME

Karen Connolly Memories

L SPACE

Karen Connolly Memories

RA ENT NCE

TENSION BETWEEN INTERIOR & EXTERIOR NMENT RO I V

A UN

1995

8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

DEFINED

SECLUDEDWELCOME

Summer

SURROUNDING OBJECTS

ELONGINGS

NATURAL EN

Y/ NE R U

all Bak y Val Diar

8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

Karen Connolly Memories

8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs 3oz Butter Karen Connolly DISCONNECT Memories

NMENT RO I V

School Dinner Recipe

EB

TRANQUIL

8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

COM

JO

1995

School Dinner Recipe

CULTURE

THE BODY OF ARCHITECTURE

1995

M

BETWEEN COMPOSURE & SEDUCTION

School Dinner Recipe

INFO

ll Bakay Val Diar

Summer

Karen Connolly Memories

Summer

LISTEN

LOFT SPACE

MATERIAL COMPATIBILITY

Karen Connolly Memories

JOURNEY

STORE

GROUND FLOOR

THE TEMPERATURE OF A SPACE

CO

THE LIGHT ON THINGS

8oz Whole medjool dates 6oz Boiling Water RY CAPS 6oz flour MO U 2 eggs ME STORIES 3oz Butter

S LE

THE SOUND OF A SPACE

ScHERITAGE hool Dinner RecipeCOLLATE

8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

FIRST FLOOR

Programme - Spatial Arrangement

School Dinner Recipe

School Dinner Recipe

8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

School Dinner Recipe

8oz Whole medjool dates 6oz Boiling Water 6oz flour 2 eggs 3oz Butter

WELCOME

Karen Connolly

Summer

54

1995

Existing Context - Massing

GABLE END - SINGLE PITCH EXTENSION

STACKED DOUBLE GABLE END

GABLE END - GABLE EXTENSION

GABLE END - FIRST FLOOR COACH

STAGGERED GABLE END

ANGLED CORNER GABLE END

7500mm

Understanding and analysing the existing typology and form is important in developing a proposal that responds to the area, and that creates a connection to the local community and context. I felt it was important to understand the scale of existing dwellings and form in order to generate a proposal to suitable scale that blends in to the existing community, rather than making a bold statement. Regulating the height of the proposed development is important due to the close proximity of the existing residential area, being mindful that existing houses aren’t being overlooked where privacy isn’t being compromised.

EXISTING SITE - RESTRICT HEIGHT TO REDUCE OVERLOOKING

55

PRODUCED BY AN AUTODESK STUDENT VERSION

Existing Context - Density

EXISTING SITE ARRANGEMENT

N 0

10m

50m

100m scale 1:1250

PRODUCED BY AN AUTODESK STUDENT VERSION The existing context surrounding the site is predominantly residential. This includes terraced houses and semi-detatched houses. When looking at the area in plan, once detaching the landscape and infrastructure from the architecture, it shows many separate blocks. In taking this feature forward, I would like to create a similar layout, where building uses are provided in separate structures around the site. This allows each room to have a stronger connection to the external environment as users circulate from one space to the next as well as in-keeping with the surrounding context.

INITIAL SPATIAL ARRANGEMENT FOR DESIGN PROPOSAL

56

Precedent Studies - Form and Connection VITRAHAUS, WEIL AM RHEIN, GERMANY - HERZOG & DE MEURON. The aim of the project VitraHaus is to seduce, entice, charm and publicise, providing a space for presenting the Vitra Home collection. The project endeavours to join two existing buildings on site, the Vitra design museum by Frank Gehry and the Conference pavilion by Tado Ando. The showrooms are designed to be reminiscent of familiar residential settings, where the internal proportions are classed as domestic scale, due to the resemblance to the residential characteristics. The stacked gable ends produce a scene of piled houses or even a layered vertical city. Carefully designed angled cantilevered volumes create a three dimensional assembly, creating underpasses and covered areas as well as focusing attention to views. Five storey design allows views both in and out of the building, promoting products to passing customers.

(Etherington, 2010) (Moore, 2010)

(Baan, n.d.) - Image - Refer to Pg 69

A HOUSE FOR ESSEX, WRABNESS, ESSEX - GRAYSON PERRY & FAT’s CHARLES HOLLAND. The home is found nestled in to the surrounding landscape overlooking the Stour estuary, not attempting to replicate the surrounding materiality but instead offering an additional aesthetic. A secluded entrance takes the user on a pilgrimage to the building entrance. The building is complied of four components increasing in size as the building progresses toward to estuary. Perry based the home’s artistry and design on a fictional character, ‘Essex Everywoman’. The detailing depicts the life story of the character, embedding the history and culture of the character in the building.

(Mairs, 2015) (Living Architecture, n.d.)

(Hobhouse, 2017) - Image - Refer to Pg 69

57

Proposed Massing Using the existing context as a guidline to creating form and massing, I have complied a series of massing blocks that will make up the majoiry of the proposed buildings. The existing form acts as a reflection rather than directly mimicing form and materiality.

(Manchester Libraries, 1965) - Image - Refer to Pg 69

ACKNOWLEDGING HISTORY The former site was a UCP factory in the production of tripe. One of the prominent features and a landmark of the area was the tall chimney, visible from the surrounding areas. This is a feature I find interesting, not to copy or replicate the history but the significance of providing a viable landmark for the area, being that it is a building for the community, used by the community.

BRIERFILD MILL - ART INSTALLATION

GLASS CONNECTIONS

ANGLED CONNECTIONS

LAYERING FORM

Taking the existing first floor coach house, this concept will be replicated within the proposal by creating glass links between buildings, allowing users a stronger connection to the natural environment as well as creating visual connections in to the building.

Angled connections allow for particular routes through the building drawing users in a particular direction, as well as creating views through the building, providing picture frames to external features and landscapes. Angling the form creates suspense where views can’t be seen on initial entry.

Creating layering allows for a three dimensional form as well as creating visual connections across all floors. The play on cantilever’s can create lighting changes in certain spaces as well as coverings creating courtyard spaces.

In-Situ, decided to reinstate the mills clock positioned on a tower overlooking the surrounding area. They felt that the town of Brierfield looked up to this landmark as a symbol of progression, and with the clock stuck in time since the closure of the mill, the progression of the town had ceased. As well as reinstating the clock they added a bell to allow the community involvement in the building, where the ringing bell was symbolic of positive news. This idea of inclusive design at Brierfiled, has allowed me to think about how the community can be involved with my proposal.

(Morrison, 2021)

58

Preservation of Existing Features The preservation of historic features is very important to this proposal, allowing the community to maintain a connection to it’s cultural past. The lattice bridge, originally the connection point between Highfield Country Park and the now demolished UCP Factory remains in use on the existing site. This is a prominent feature on the site and will therefore remain the focal point of the design, connecting communities.

The bridge will create access points in to the proposed building as well as circulation spaces passing through, enabling building users to experience aspects of the sites history.

EXISTING LATTICE BRIDGE

PROPOSED LINKS THROUGH EXISTING BRIDGE ARCHWAY 59

PRODUCED BY AN AUTODESK STUDENT VE

Masterplan Development - Massing Arrangement

F A

E C

B

Option 1

D

Option 2

N

After establishing the form and density I was aiming to reflect from the existing context, I set about arranging the building massing on the site. Existing density, showed both larger blocks, in the form of terraced housing, and semi detached housing created singular blocks around the site, this meant that I was aiming for both larger blocks and smaller separate buildings. The above diagrams show my thought process whilst developing the block arrangement on site.

0

10m

50m

100m scale 1:1250

Option 3 Building orientated to green link angle to provide consistent arrangement.

Circulation

B

Building orientated to the angle of the existing bridge, in order that access in to the building from the bridge can be achieved easily. This orientation also angles the building towards to entrance to Highfield Country Park.

C

The angled entrance allows for a defined entryway with a build up of suspense to the viewing platform overlooking the site.

D

Building in line with existing building line.

Community Cafe Cinema Room Sound Room Reading Rooms Services Time Capsule Recreation

E

Community recreation area positioned at the end of residential road, to provide views in to the building as well as a vista through the building to Highfield Country Park.

F

To allow maximum views down in to the wetlands and ‘Floop’ cycleway, the building is orientated to the green link.

BASEMENT

STUDENT VERSION

A

GROUND

1st

2nd

60

Spatial Arrangement - Layout Hierarchy

Communal (Public Non-Specific)

STEP 2

STORE BELONGINGS

STEP 3

WC

STEP 4

CIRCULATION

STEP 5

COLLECT BELONGINGS

STEP 6

WC

STEP 7

VISIT CAFE

STEP 8

VISIT SHOP

Private/Semi-Private

FIRST FLOOR

LOBBY COMMUNAL AREA

CLOAK ROOM RECEPTION

NATURAL ENVIRONMENT

WC

ENTRANCE

Communal (Specific)/Semi-Private

CIRCULATION

EXTERNAL CIRCULATION

SEATING AREA

GROUND FLOOR

The Hepworth, Wakefield David Chipperfield Architects

ENTER BUILDING

LOFT SPACE

READING SPACE

In order to understand how building users may use the space, I looked at the Hepworth gallery by David Chipperfield Architects to identify the most efficient and successful layouts. The journey through the building is important, where seduction, according to Peter Zumthor’s principles of atmospheric design, is important in guiding users through spaces. Starting with the disconnection from the outside world, by leaving all distractions at the entrance, followed by the series of graduating actions upon entry. I further developed the spatial arrangement by directly and indirectly linking spaces. In Identifying actions taking place in certain spaces, led to the arrangement of particular building uses.

STEP 1

TIME CAPSULE

LIFT

CAFE

Private/ Semi-Private

NATURAL ENVIRONMENT

LOBBY

SPATIAL ORGANISATION Due to a main circulation space providing access to all floors, the high volume activities taking place in the cafe area would cause disruption to the quieter activities taking place around the building. Therefore, the decision was made to locate the cafe in a separate building, whilst still being accessed through the main building. Some floors share overlap in activities, where spaces are linked and are visible through the different levels, creating a strong connection throughout the entire building.

READING ROOMS

CINEMA SOUND ROOMS

BASEMENT FLOOR

Communal (Specific)

61

Initial Ideas - Design Development

Angled entrance to guide building users Bike Storage Cloak room lockers Vertical circulation connecting floors as well as providing disabled access Mezzanine take away cafe - no seating - intended for site users rather than building users Green roof to help blend the building with the grass bank behind Cantilever Vista through building

PRODUCED BY AN AUTODESK STUDENT VERSION

Lobby to reduce heat-loss

WC in accessible space with easy waste disposal and connections to mains Reception area Double height space allowing a visual connection between activities on each floor Seating area Information point/shop

GROUND FLOOR PLAN WC stacked for ease of drainage and connection Viewing platform Cinema room

Individual Reading pods - Initial sketch still to be designed

Double volume cafe for building users with entry on to viewing platforms

Small Internal courtyard Sound rooms surrounded by wetlands allowing users to be immersed with

Glass walkway to create a stronger connection with the wetland and surrounding natural environment

N

BASEMENT FLOOR PLAN

10m

50m

100m scale 1:1250

62

RODUCED BY AN AUTODESK STUDENT VERSION

0

Initial Ideas - Design Development

PRODUCED BY AN AUTODESK STUDENT VERSION

Vertical circulation connecting floors as well as providing disabled access

Access to First floor directly from Loft space to ensure efficiency whilst providing users with a journey around the building Loft space containing memory boxes reflect the compact feeling of a loft space in a home

SECOND FLOOR PLAN Stairs provide access directly from the loft space to the entrance lobby to ensure good circulation through the building as well as creating a journey through the levels Community hub allows for a space to accommodate many uses, allowing building users to interact

N 0

FIRST FLOOR PLAN

10m

50m

100m scale 1:1250

63

ODUCED BY AN AUTODESK STUDENT VERSION

Double height space allowing a visual connection between activities on each floor

Initial Building Proposal - Floor Level Strategy The building shows a clear separation between floor levels, referring to the programme proposal where different activities were allocated to certain floors, depending on the relevance to the study of the home as a time capsule.

In order to reduce building height to restrict overlooking of existing homes, the first floor is shown as a half floor height, made possible by the number of floors.

Second FFL +3.600mm

Ground FFL + 0.500mm First FFL + 1.500mm

Site Entrance FFL +/- 0.000mm Basement FFL - 3.200mm

Water Level - 3.500mm

64

Initial Ideas - Design Development

65

What’s Next?...

voke e o t urn der n or s to ret ity i s e u n er osph llowing commu has m t It sa ea ng reat emorie e existi hulme. ction c g n s th ne en ildi em a bu e uniqu xplored e of Lev e discon tween n a c e c be ag th ‘How xperien ject has ch herit yed in n point around f o e ri ro nt in pla tio me volu algia, to thesis p d to the op’ has connec oveme nalysis o d n ts t ‘Flo ite a nd m st?’ nost bute ng a Seco The ons of sible pa s contri ons the providi ibility a depth s uiremen s ti a r n q emo e irreve e that h restricti focus o t acces en an in it ’s re esign. d n l r e h e a e n u t s h a ti gd lt rr to to e cu e poten es and t the cu y. It has he site buildin h t l plan d r a e ti and red th muniti gating ectivit ng of t t i as an s in i ti o n he m dscape the t expl een com st inves er con erstand s well a p lo a tt an d h il deve e a full l throug t the betw wo, wh lore be ased un roposal r e p h s t p rt ou nt ud the ite to ex an incre terplan to fu will incl ironme through lation d s s n n mp nte env ng his the to gai itial ma r ct I i site. T nternal ric lighti d conte n e e i j d o n r i a o e pr an he uce this cross t specific tmosph ection y. f o prod a a e p ll efl phas e design develo to create dea of r externa t x e o i v als en esi he and ues In th e a coh n. I will techniq velop t ernally r e t g ensu nd desi shading urther d , both in f a f wetl ration o aim to s on site ll o a expl ing. I wi ded are u d buil gh secl u thro

. . . ? t x s Ne

’ t a h W

66

Bibliography Ashsak.com. n.d. The Malings | Ash Sakula Architects. [online] Available at: <https://www.ashsak.com/projects/malings> [Accessed 14 February 2021].

Barton, N., 2014. The Meaning Of Nostalgia, The Psychology And Philosophy Of Nostalgia.. [online] Psychology Today. Available at: <https://www.psychologytoday.com/us/blog/hide-and-seek/201411/ the-meaning-nostalgia> [Accessed 10 November 2020].

Berry, W., 2012. Imprisoned By Your Life. [online] Psychology Today. Available at: <https://www.psychologytoday.com/gb/blog/the-second-noble-truth/201205/imprisoned-your-life> [Accessed 10 November 2020].

Brown, S., 2014. Society’S Self-Destructive Addiction To Faster Living. [online] New York Post. Available at: <https://nypost.com/2014/01/04/societys-addiction-to-faster-living-is-destroying-us-doctor/> [Accessed 8 November 2020].

Boym, S., 2011. Nostalgia | Svetlana Boym. [online] Monumenttotransformation.org. Available at: <http://monumenttotransformation.org/atlas-of-transformation/html/n/nostalgia/nostalgia-svetlana-boym. html> [Accessed 10 November 2020].

Dickinson, D., 2018. Good Architecture Is Not Produced By Rejecting History—Or By Replicating It, Either. [online] ArchDaily. Available at: <https://www.archdaily.com/893732/good-architecture-is-not-produced-by-rejecting-history-or-by-replicating-it-either> [Accessed 22 November 2020].

Dunnett, N., n.d. Grey to Green. [online] Nigel Dunnett. Available at: <https://www.nigeldunnett.com/grey-to-green-2/> [Accessed 14 February 2021].

Etherington, R., 2010. VitraHaus by Herzog & de Meuron. [online] Dezeen. Available at: <https://www.dezeen.com/2010/02/19/vitrahaus-by-herzog-de-meuron-2/> [Accessed 17 February 2021].

Griffiths, A., 2018. Yushe Design slots office around existing trees in Shanghai suburb. [online] Dezeen. Available at: <https://www.dezeen.com/2018/06/17/yushe-design-shen-shen-garden-office-shanghai-architecture/> [Accessed 15 February 2021].

Gross, R., n.d. The Secret Power Of Nostalgia: How You Can Use It To Fuel Your Creativity And Enrich Your Design. [online] Canva. Available at: <https://www.canva.com/learn/nostalgia/> [Accessed 10 November 2020].

HUANG, X., HUANG, Z. and WYER JR, R., 2016. Slowing Down in the Good Old Days: The Effect of Nostalgia on Consumer Patience. Journal of Consumer Research, [online] p.3. Available at: <https://www. researchgate.net/publication/305269468_Slowing_Down_in_the_Good_Old_Days_The_Effect_of_Nostalgia_on_Consumer_Patience> [Accessed 9 November 2020].

Hughes, M., 2019. Study Shows We’re Spending An Insane Amount Of Time Online. [online] The Next Web. Available at: <https://thenextweb.com/tech/2019/01/31/study-shows-were-spending-an-insaneamount-of-time-online/> [Accessed 11 November 2020].

Huppatz, D., 2009. Designer Nostalgia in Hong Kong. JSTOR, [online] 25(2), pp.14-28. Available at: <https://www.jstor.org/stable/20627803?seq=1#metadata_info_tab_contents> [Accessed 10 November 2020].

Kathuria, D., 2017. Why Slowing Down Is A Better Idea In Today’s Fast-Paced World. [online] YourStory.com. Available at: <https://yourstory.com/2017/05/slowing-down-better-idea?utm_pageloadtype=scroll> [Accessed 11 November 2020].

King, J., 2019. The Magic Of First Moments: How To Slow Down Time And Create Rich, Lasting Memories. [online] Medium. Available at: <https://medium.com/1-one-infinity/the-magic-of-first-momentshow-to-slow-down-time-and-create-rich-lasting-memories-83d621c73b9b> [Accessed 9 November 2020].

Living-architecture.co.uk. n.d. Living Architecture. [online] Available at: <https://www.living-architecture.co.uk/the-houses/a-house-for-essex/overview/> [Accessed 17 February 2021].

67

Mairs, J., 2015. David Chipperfield creates “village” of stone dwellings. [online] Dezeen. Available at: <https://www.dezeen.com/2015/10/26/xixi-wetland-estate-david-chipperfield-china-hangzhou/> [Accessed 15 February 2021].

Mairs, J., 2015. Grayson Perry and FAT reveal the interiors of House for Essex. [online] Dezeen. Available at: <https://www.dezeen.com/2015/05/15/house-for-essex-fat-grayson-perry-charles-holland-livingarchitecture-alain-de-botton/> [Accessed 17 February 2021].

Martire, G., 2016. The Physical Effects Of Stress: How Your Fast-Paced Life Can Kill You - Dr. Ginger Martire – Saratoga, CA. [online] Dr. Ginger Martire – Saratoga, CA. Available at: <http://www.gingermartirephd.com/physical-effects-stress-fast-paced-life-can-kill/> [Accessed 11 November 2020].

Moore, R., 2010. Vitrahaus by Herzog & De Meuron, Weil am Rhein, Germany. [online] Architectural Review. Available at: <https://www.architectural-review.com/buildings/vitrahaus-by-herzog-de-meuronweil-am-rhein-germany> [Accessed 17 February 2021].

Morrison, K, (2021). Steps I want and can take to help shape a world that I want to live in, Presentation at Manchester Metropolitan University, Manchester, 5th Febuary. n.d. Manchester South Network Map. [ebook] Manchester: Transport for Greater Manchester, p.1. Available at: <https://assets.ctfassets.net/nv7y93idf4jq/5BKnT8dI9tffUv30bQYons/636c8c7504ed0c53af42b7ed87576ba6/Manchester_South_map.pdf> [Accessed 21 February 2021].

Reynolds, M., 2017. The Science Behind The Internet’S Unstoppable Nostalgia Addiction. [online] WIRED UK. Available at: <https://www.wired.co.uk/article/nostalgia-technology-timehop-spotify-time-capsule> [Accessed 9 November 2020].

Sedikides, C. and Wildschut, T., 2019. The motivational potency of nostalgia: The future is called yesterday. Advances in Motivation Science, [online] 7, p.75. Available at: <http://www.soton.ac.uk/~crsi/ Sedikides%20%20Wildschut%202020%20Advances%20(002).pdf> [Accessed 9 November 2020].

Smartcitiesdive.com. n.d. Why Fake Vintage Buildings Are A Blow To Architecture, Historic Neighborhoods, And The Character Of A City | Smart Cities Dive. [online] Available at: <https://www.smartcitiesdive. com/ex/sustainablecitiescollective/why-fake-vintage-buildings-are-blow-architecture-historic-neighborhoods-and-char/254116/> [Accessed 22 November 2020].

Southampton.ac.uk. n.d. What Nostalgia Is and What It Does | Nostalgia | University of Southampton. [online] Available at: <https://www.southampton.ac.uk/nostalgia/what-nostalgia-is.page> [Accessed 13 October 2020].

The Nostalgia Diaries. n.d. Remember Reminder #8: Slow Down. [online] Available at: <https://nostalgiadiaries.com/2017/06/02/remember-reminder-8-slow-down/> [Accessed 9 November 2020].

Unusual Places. n.d. Cycling through Water: An unconventional dip into Belgium’s ponds - Unusual Places. [online] Available at: <https://unusualplaces.org/cycling-through-water-an-unconventional-dip-into-belgiums-ponds/> [Accessed 15 February 2021].

Wilks, C. and Kelly, K., 2008. Fact, Fiction And Nostalgia: An Assessment Of Heritage Interpretation At Living Museums. [online] Researchgate. Available at: <https://www.researchgate.net/publication/267962795_Fact_Fiction_and_Nostalgia_An_Assessment_of_Heritage_Interpretation_at_Living_Museums> [Accessed 27 October 2020].

Wilson, J., 2014. Nostalgia Sanctuary Of Meaning. [online] Core.ac.uk. Available at: <https://core.ac.uk/download/pdf/211345702.pdf> [Accessed 13 October 2020].

Wwt.org.uk. n.d. Nature reserve. [online] Available at: <https://www.wwt.org.uk/wetland-centres/london/wildlife/nature-reserve/> [Accessed 15 February 2021].

Wwt.org.uk. n.d. Why wetlands. [online] Available at: <https://www.wwt.org.uk/our-work/why-wetlands> [Accessed 15 February 2021].

Zumthor, P., 2006. Peter Zumthor. Basel: Birkhäuser, pp.10-65.

68

Bibliography - Images Baan, I., n.d. The VitraHaus Project. [image] Available at: <https://www.dezeen.com/2010/02/19/vitrahaus-by-herzog-de-meuron-2/> [Accessed 17 February 2021].

Daelemans, B., n.d. The Church Of The Light Makes A Cross Out Of Luminance Against Darkness.. [image] Available at: <https://faithandform.com/feature/andos-cross/> [Accessed 22 November 2020].

Google Earth, 2021. Existing Site. [image] Available at: <https://earth.google.com/web/search/Highfield+Country+Park,+Manchester/@53.44195647,-2.18290996,61.65643578a,220.73782415d,35y,84.1 6619889h,54.59687524t,0r/data=Co0BGmMSXQolMHg0ODdiYjNlYjk3ODE5Nzk3OjB4NTNhZDMyNTAzNmFlMWYwORkInSFmQLhKQCGkMmpjkWsBwCoiSGlnaGZpZWxkIENvdW50cnkgUGFyaywgTWFuY2hlc3RlchgBIAEiJgokCbWx-SFNuUpAEaZ8VYMMt0pAGdI2Vs_uQQHAIebehHUKeAHA> [Accessed 19 February 2021].

Hobhouse, J., 2017. A House for Essex. [image] Available at: <https://theculturetrip.com/europe/united-kingdom/england/articles/fancy-staying-in-grayson-perrys-stunning-a-house-for-essex/> [Accessed 17 February 2021].

Levenshulme Allotments, 2021. Levenshulme Allotment. [image] Available at: <https://www.levenshulmeallotments.co.uk/> [Accessed 3 January 2021].

Manchester Libraries, 1965. United Cattle Products factory. [image] Available at: <http://www.unitedcattleproducts.co.uk/buildings_manchester003.php> [Accessed 18 February 2021].

69 Noun Project (2021). Noun Project Icons. {Online Image} {Accessed 20 February 2021} http://thenounproject.com

How can we evoke emotions of nostalgia, to experience unique memories, allowing us to return to the irreversible past?

STUDIO 3 ANNA REZIN MARCH YEAR 2 ATELIER USE MANCHESTER SCHOOL OF ARCHITECTURE

Project Aims and Objectives Following on from Studio 2, I intend to develop the proposed building and site, to address the existing context and the requirements from the local community, in order to provide better connectivity and community interaction. I will be looking at the approaches and entry points to the site, addressing both building and site users. I intend to look closer at the internal environments within the building as visitors explore the building both internally and externally, using natural lighting to create a sense of atmosphere and mystery through shadows.

02

Thesis Proposal Background - Manchester is currently under a significant transformation with large amounts of development taking place.

- Some communities are becoming more multi-cultural due to the process of gentrification. Although this helps struggling areas, it also changes the community that many feel nostalgic towards.

- Development of large disused sites are seen as being profitable to developers and planners however the city is littered with smaller disused sites that have become transgression zones.

Issues to be addressed - The culture of today’s society has led to individuals leading fast paced lives.

- Many become and feel disconnected from the world and live lives in isolation unable to see what’s beyond the urban wall.

People are often becoming trapped in the cycle of today’s society leading to addiction in the form of success.

Deliverable Aims -

A series of atmospheric spaces fulfilling the needs of different site users.

-

A space allowing individuals to disconnect from today’s modern culture, that of fast paced lifestyle and addiction to success. Allowing a connection to past experiences and memories.

-

A space for the local community to revisit the past and reconnect with those who share similar memories and experiences.

Objectives - Atmospheric design principles aiding design in order for individuals to feel a strong connectivity to emotions evoking nostalgia.

- Allowing a space for communities to connect/ reconnect - Spaces for individuals and communities to store and reminisce on past memories.

03

Contents S2 RECAP

07

07 08 09 10 11 12

S3 TAKING A DIFFERENT APPROACH...

13

13 14

THIS WAY TO STUDIO 3

15

16

16 17 18

19 20 21 22

Entrances to the site

S3 CREATING A TRUE GREEN LINK

27 28 29

27

Entering from the residential street- Community Involvement

S3 DESIGN DEVELOPMENT 28

Building Development - Massing & Arrangement

S3 PROPOSED SCHEME 29 30 31 32 33 34

Proposed Scheme - Site Plan Proposed Scheme - Ground Floor Plan Proposed Scheme - Basement Floor Plan Proposed Scheme - South Elevation Proposed Scheme - Sections Proposed Scheme - Building Journey

Creating a True Green link - The natural process of succession Creating a True Green link - Reconstructing the cycle path Landscape Layout - Planting Strategy

S3 ENTERING THE SITE FROM THE ‘FLOOP’ Entering the site from the ‘Floop’ - (West) Permeable Covered Seating Entering the site from the ‘Floop’ - (East) The Journey - A Cyclist Experience

the smell whilst going past to Express Dairies

holding 6" nails on the track as the trains came

collecting "namers" on the Milky Way

Smelling the biscuits hearing the train

19 the smell whilst going past to Express Dairies

Let’s Begin Taking A Different Approach

S3 ENTRANCES TO THE SITE

15

23

Existing Site - Breaking Barriers Masterplan Strategy - Green link Improving Connectivity and Desirability Improving ecology - Creating a wetland Preserving the Existing Environment - Integration of Existing and Proposed Dividing Site Users - Altering the pace of activity

S3 ENTERING FROM THE RESIDENTIAL STREET

23 24 25 26

S3 ENTERING FROM THE GREEN LINK Entering From the Green Link SuDS Detailing - Reviling memories Entering From the Green Link Entering from the Green Link - Community Allotment

04

Contents

35

61

S3 BUILDING JOURNEY 35 47 36

Building Journey - Building and Site Entrance Building Journey - A surprise View

48 37 38 49

THE DEPOSITORY Building Journey - The Depository - Disconnect to Reconnect Building Journey - The Depository

39-40 50 41 42

SENSORY DEPRIVATION Building Journey - Sensory Deprivation Building Journey - Sensory Deprivation - Perspective Section Building Journey - Reflection Garden

51 52 43 53 44 54 45 46

MEMORY TOWER Building Journey - Memory Tower - Acknowledging history Building Journey - Memory Tower Visual from residential road Building Journey - Memory Tower Axo Building Journey - Memory Tower Reading Pod

55 47 56 57

Building Journey - Creating Atmospheric shading

48

CINEMA ROOM Building Journey - Cinema Room - Designing for flexibility

58 49 59

Building Journey - Integrating Interior and Exterior

50

THE COMMUNAL KITCHEN Building Journey - Communal Kitchen/Recreation Mezzanine

51 52 53 54

THE SOUND ROOMS Building Journey - Sound of a Space Building Journey - Sound Room Perspective Section Building Journey - Sound Room - External Courtyard Building Journey - Sound Room - Internal Visual

55 56

COMMUNITY CAFE Building Journey - Community Cafe Building Journey - Internal Cafe Visual

61 Reflection 62 Bibliography 63-64 Bibliography - Images Karen Connolly Memories

05

Let’s take a trip down memory lane ...

A quick recap of Studio 2

06

Existing Site - Breaking Barriers FENCING PREVENTING ACCESS AND VISUAL CONNECTION

FENCING DIVIDING AREAS

IMPROVING CONNECTIVITY The existing site shows a clear division between the neighbouring residential area and the ‘Floop’. One of the main aims of the proposal, is to improve the connectivity around the site, enabling easy access and inclusion of local residents with the development and natural surroundings.

EXISTING CONNECTIONS

PROPOSED CONNECTIONS (Google Earth, 2021) - Refer to Pg 69

07

Masterplan Strategy - Green Link

Addressing connectivity around the site, led to the decision to redevelop the nearby access routes. I felt it was important to connect the existing residential areas to the development as well as integrating the natural environment with the built areas. The existing access routes are poorly maintained, resulting in unattractive and disused spaces, making the pathways unwelcoming. With this project I wanted to focus not only on creating a sense of Nostalgia, but creating an environment that can be personalised by the local community that enhances the ecology of the area, a movement increasing in popularity in Levenshulme as seen in Highfield Country Park, adjacent to the proposed site. In doing this I wanted to create a green link, that connects the proposed development to the main road and existing residential area.

PRODUCED BY AN AUTODESK STUDENT VERSION

PUBLIC ALLOTMENT

HIGHFIELD COUNTRY PARK COMMUNITY HUB EDUCATION HUB

NATURAL ENVIRONMENT/LANDSCAPING STRATEGY TIME CAPSULE GREEN LINK

EXISTING FOOTBRIDGE COMMUNITY CAFE WETLANDS

REFLECTION

ATMOSPHERIC DESIGN COMMUNITY ARTWORK TIME CAPSULE GARDENS/ SEATING

PROPOSAL

DEFINED LINKS TO SITE

CONNECTIVITY

CAFE/ COMMUNITY HUB

INTEGRATION OF EXISTING RESIDENTIAL AREA

N

100m 0

WETLAND

EXISTING ECOLOGY PRESERVATION

ECOLOGY

FORESTRY AREAS COMMUNITY PERSONALISATION

08

PRODUCED BY AN AUTODESK STUDENT VERSION

Improving connectivity and desirability The disconnection from the main road and lack of maintenance has led to this section of land being neglected, where litter has accumulated making it an undesirable space for recreation.

My initial response for the green link is to create a main entrance way from the main road, linking the adjacent houses to the proposed development as well as the natural environment. In doing this, the local community and adjacent houses would have a space for recreation and personalisation, allowing the community to create spaces reflecting the culture of the area and community. The idea would be to produce a space creating a visual connection to the development through landscaping and natural features. Below, are two precedent studies of comparable schemes showing the initial thinking behind the landscaping strategy. Firstly, the combination of allotment spaces with planted sections and secondly, the use of SuDS to manage water runoff in replacement of the existing ditch located on the site.

THE MALINGS, OUSEBURN - ASH SAKULA ARCHITECTS The Scheme aims to blend traditional building typologies with street design in order to produce outdoor communal spaces.

It promotes informal interactions between neighbours, and provides shared resources such as communal allotments.

It has allowed for the engagement of the local community, contributing to the creativity and cultural development of the development.

(The Malings | Ash Sakula Architects, n.d.)

THE GREY TO GREEN SCHEME, SHEFFIELD - SHEFFIELD CITY COUNCIL WITH ROBERT BRAY ASSOCIATES. EXISTING SITE ACCESS

KEY

The scheme is a retro-fit SuDS project, and also the UK’s largest inner city ‘Green Street’. The SuDS were introduced to help manage water runoff whilst aiming to increase urban biodiversity by creating a wildlife corridor. It is also used to promote health and wellbeing whilst creating an attractive setting for site users.

(Dunnett, n.d.)

09

Improving ecology - Creating a wetland XIXI WETLAND ESTATE, HANGZHOU - DAVID CHIPPERFIELD ARCHITECTS.

Users of the ‘Floop’ can experience water in several instances along the cycleway. These include Gorton Reservoirs, the home to water-sports, the secret lake, an ideal fishing location and several connections in the form of historic ditches, aqueducts and ponds, the remnants of Jackson’s brickworks.

The development is located on the outskirts of Hangzhou, Eastern China, within a man-made wetland park. The project aimed to create a relationship between the architecture (apartment complex) and the landscape, where apartment blocks look to be embedded within the water and natural landscape.

The different levels created around the site, have provided a series of external spaces forming a village-like community.

The strong connection to water along the ‘Floop’ led to the inclusion of a wetland area as the primary site for the development. Not only does this increase biodiversity in the area, introducing new species, but also creates a unique space for local residents and schools to interact and learn. The proposed wetland located on the cycleway, would force site users to slow down and take in the natural environment, whilst providing a series of different atmospheres and environments for building users to enjoy. Water as an element, makes for interesting effects such as mist, creating a sense of mystery, allowing for different environments that change daily according to the weather. This creates an ever changing atmosphere within the site and building, having an ever changing effect on the users interactions and perceptions.

(Mairs, 2015)

KEY LONDON WETLAND CENTRE, QUEEN ELIZABETH’S WALK, BARNES, LONDON. - WILDFOWL & WETLANDS (WWF) London wetland offers a tranquil haven in the city, enabling visitors to disconnect from the city environment and reconnect with nature. The wetland, created on the site of redundant reservoirs, has created the perfect environment for a variety of species to inhabit. The site offers scenic walks and seating areas for visitors to interact and explore.

(Nature reserve, n.d.)

HEALTH BENEFITS The natural environment has many health benefits to humans helping to reduce stress related illness.

BIODIVERSITY Wetlands are increasingly important in the preservation of species, creating a web of ecosystems and continual nutrient supply in order for species to thrive. 10% of all species in the UK are found in our wetlands.

FLOOD PROTECTION Wetlands trap and slowly release surface water, reducing the risk of nearby flooding.

FOOD/EDUCATION Wetlands provide a food supply to many around the world. This project will focus on education for the community in sustainability and the encouragement of wetland creation.

(Why wetlands, n.d.)

10

PRODUCED BY AN AUTODESK STUDE

Preserving the Existing Environment - Integration of Existing and Proposed In order to create a space for the community, I feel as though it is important for the site to be created and personalised by the community itself, in order that it holds personal culture and integrity. The incorporation of the existing natural environment with additional landscaping features is important in creating a space that can be used by the community as well as creating a strong connection between the external environment and the architecture.

N

SHEN SHEN GARDEN OFFICE, SHANGHAI CHINA - YUSHE YUZHU

10m

50m

100m scale 1:1250

TREE SURVEY - (MAINLY CONSISTING OF SILVER BIRCH, OAK, CHESTNUT)

TUDENT VERSION

0

The Office building aimed to incorporate the existing trees within the scheme, creating a seamless transition between internal and external spaces. The building can be seen to weave in-between the existing trees in order to preserve as many as possible. Where trees weren’t preserved in their existing position, they were replanted in appropriate locations around the site. The building’s layout and range of levels allows the users to experience the trees at different heights, ranging from trunk to canopy.

(Griffiths, 2018)

KEY

Woodland and unmanaged areas surrounding the building proposal integrates the communities culture with the new development.

(Yijie, 2018) - Image - Refer to Pg 69

11

‘CYCLING THROUGH WATER’ - BOKRIJK - VISIT LIMBURG

My personal experience of the ‘Floop’ led to the approach of separating the site uses of journey and recreation, formed from the fast pace vs slow pace transport methods. Whilst walking the ’Floop’ the majority of the time was spent watching out for cyclists, which deferred attention off of the natural surroundings and connection to the experience.

Therefore, the proposed site is aimed to create a separation between the cycleway and pedestrian footpaths. This will help to increase circulation and connectivity between the residential area, the proposed development, Highfield Country Park and St. Andrew’s C of E Primary School.

The trail offers users the opportunity to experience the reservoir from eye level, allowing them to be fully imerced in the site and it’s surrounding’s. It provides a cycleway from one side to the other without disrupting any views of the surrounding scenery.

(Cycling through Water: An unconventional dip into Belgium’s ponds - Unusual Places, n.d.)

PRODUCED BY AN AUTODESK STUDENT VERSION SLOWER PACE

REDUCING BARRIERS

N

SAFER SCHOOL ENTRANCE Separating the fast paced cycleway with pedestrian pathways creates a safer entrance for St. Andrew’s C of E Primary School.

PRODUCED BY AN AUTODESK STUDENT VERSION

100m ale 1:1250

Dividing Site Users - Altering the pace of activity

The current cycleway creates a barrier between Highfield Country Park and the Existing pedestrian bridge, where users must stop before crossing. Separating the uses will reduce the barrier and create a stronger connection and circulation for pedestrians around the site.

Acknowledging that the cycleway is used differently by the varying forms of transport and site users, is important in understanding how the site will respond to the different paces of movement. Providing a separate cycle way that doesn’t interfere with connectivity around the site proved to be a good solution. Therefore, the cycleway will aim to slow the pace of users, allowing them to interact with the proposed development and the natural environment.

12

THIS WAY TO STUDIO 3

Let’s Begin ...

13

Taking a different Approach...

Following Studio 2, as expressed, the importance of preserving as many existing trees and using the existing slope to inform the building placement and design, I feel wasn’t addressed correctly as well as the large scale massing not suitably fitting the site context. This led to the redesign and reconfiguration of the site and building. Although the building itself didn’t meet the aims of the outlined thesis brief, the landscape and wetland design worked well for the scheme, creating a tranquil environment for reflection and contemplation.

With scale and placement now the priority, the proposed scheme endeavours to fit effortlessly within the existing landscape, minimising scale and mass of the building blocks. The design is aims to fit in and around the existing trees, making them part of the design with focused views out on to the natural landscape.

The proposed scheme aims to create a journey for the user as they flow through the building. The rooms guide users from one atmospheric space to the next, using both internal and external spaces, allowing users to experience the whole site. Interventions enable users the ability to use other senses in addition to sight, this allows for a stronger focus and less distraction .

14

Entrances to the site

PRODUCED BY AN AUTODESK STUDENT VERSION

The proposed site has many access points in order to create connections to and from several surrounding areas, this helps to increase efficiency and connectivity across the site. The proposal includes the redesign of these spaces to link them directly to the proposed building, whilst creating spaces for the community to enjoy. The diagram below shows access points and views on entry to the site.

N 10m

50m

15

100m scale 1:1250

Site Plan (NTS)

ESK STUDENT VERSION

0

Creating a True Green link - The natural process of succession

Following the removal of the train line, the natural process of succession took over creating a true green corridor for locals to feel immersed by the natural environment, removing all feeling of being situated in the city. With the introduction of the cycle path tarmac, the full immersive experience somehow feels reduced. It could be argued that the cycle path may have benefited from being constructed within nature, allowing for the preservation of greenery rather than creating a division in the green corridor with a permanent tarmac path. This has led to thoughts of addressing the existing cycle path to enhance the natural environment as well as the connection to the proposed development.

16

Creating a True Green link - Reconstructing the cycle path

The existing tarmac creates a barrier through The existing tarmac is to be removed to create a The blank canvas begins to grow, allowing for a the green corridor, where the natural process of blank canvas in order for the vegetation to grow. more diverse landscape in preparation for a raised succession is prevented. Rather than providing walkway. a material that connects with the surrounding environment, it creates a defined path that tears through the landscape.

A raised timber walkway will extend the length of the ‘Floop’ providing a cycle and walkway that is immersed within the natural environment. With management, the vegetation is able to grow around and up through the decking providing a stronger connection to nature. Each panel will be treated with a non slip surface.

17

PRODUCED BY AN AUTODESK STUDENT VER

Landscape Layout - Planting Strategy The site has been divided in to different planted sections based on the existing landscape. The site provides various drainage strategies and includes a wide variety of year round planting to keep the development desirable throughout the year. The large planted areas aim to increase biodiversity adding to the productive work being carried out by the local community.

KEY

N 0

10m

50m

100m scale 1:1250

Built Area

Ground Cover

Wild Meadow

Wooded Area

Landscaped grasses

Grass Roof

Community Allotment

Wetland

SuDS Drainage

These areas currently overgrown by undesired weeds will be stripped back making sure to preserve existing trees and replanted as a wild meadow.

LANDSCAPED GRASSES To create a distinct separation between SuDS, sloped areas and landscaped areas, the majority of the green link will include landscaped mounds of ornamental grasses.

COMMUNITY ALLOTMENT Community Allotments will allow all site users the ability to be involved in the scheme. Planting to be decided by the community.

PRODUCED BY AN AUTODESK STUDENT VERSION

WILD MEADOW

SUDS DRAINAGE SuDS along the green link will replace the existing ditch, providing drainage management as well as creating a desirable walkway for the site users.

The SuDS will include a range of draught resistant plants of varying heights as well as the introduction of new silver birch trees for consistency across the development.

WOODED AREA Secluded wooded areas provide a sense of privacy for site users as well as creating a barrier and privacy for the neighbouring property.

This area includes the introduction of new trees to increase the density.

GRASS ROOF Flat roofs at ground level to be planted with wild flowers, this creates the sense of a continuation of planting from the ditch in which the building is situated.

WETLAND The wetlands will include a variety of submerged plants in order to keep the water well oxygenated, emergents and floating plants. It will include reed beds, rushes and a variety of flowering plants whilst the surrounding edges will consist of marsh planting.

18

KEY

1

3

2

10m

50m

Existing trees to be preserved within the landscape in order to make the landscaping more desirable, wild planting will be integrated to enhance the colour and species diversity whilst making the planting more manageable.

2

The existing tree provides a natural divider in the cycle path allowing a split in the path for both pedestrian and cycle routes. The addition of a seating area also creates a prominent divide in the cycle way, whilst creating a safer transition from the fast paced cycle route to combined path use.

3

The covered seating area combines the existing trees with a protected communal area at the entrance/exit to the local primary school where users can safely congregate.

4

Splitting the cycle path and pedestrian path at this point creates a safer entrance/exit to the primary school.

4

N

100m scale 1:1250

19

PRODUCED BY AN AUTODESK STUDENT VERSION

0

St. Andrew’s C of E Primary School

1

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Entering the site from the ‘Floop’ - (West)

Permeable Covered Seating The seating area integrates the surrounding natural environment and trees fluidly within the design through the open and permeable design. An open structure allows users the ability to see views in all directions, from the primary school, to the purpose made wetlands. Seating in the form of permanent benches and deep window seating allows for users to experience views in different directions as well as monitoring activity across the site. The materiality replicates materials used within the main building design to ensure continuity across all built forms.

20

PRODUCED BY AN AUTODESK STUDENT VERSI

Entering the site from the ‘Floop’ - (East)

3

2

1

0

10m

N 50m

100m scale 1:1250

PRODUCED BY AN AUTODESK STUDENT VERSION KEY

1

The natural slope of the existing gradient creates a separation and buffer space between the cycle path and pedestrian path.

2

A wider planted section opens up the space to suggest an active area to slow down fast pace bike users. This space creates a zone for pedestrians to see oncoming traffic as well as a new link to the proposed community allotment space above.

3

A new community allotment space as well as seating area connects the community to the development as well as quicker access to the ‘Floop’.

21

The Journey - A Cyclist Experience 1

Areas of incline and decline can be found along the cycle route, allowing cyclist to descend under the overhead walkways.

Inclines will naturally slow down pace.

2

Areas beneath the overhead walkways are naturally darker, reducing visibility on entry. This also forces cyclists to slow down.

3

Kinks and turns in the cycle path forces cyclists to slow down in order to make corners as well as reducing direct visibility across the site.

4

Creating areas of wider and narrow pathway allows the speed of movement to be controlled. Narrowing the cycle path across the site creates a slower pace where passing cyclists must slow.

The division of the cycle path from the pedestrian path allows for the slowing of pace from the predominantly commuter cyclists, allowing them to slow down pace and allow for reflection and contemplation as they enter the site. This gives not only building users, but site users an experience of the building and surrounding landscapes. A series of slowing mechanisms have been used in order to reduce the pace of cyclists as well as a private seating area for reflection.

KEY 22

holding 6" nails on the track as the trains came

Entering from the Green Link

WATER FEATURE Creates a connection to the wetlands, giving a preview of what is to be expected further along the site.

Green Link Plan COMMUNITY ALLOTMENT The allotment is located at the intersection between residential road entrances. Locating the allotment on the green link means visitors are forced to pass the space, allowing them to be involved in the activity.

LANDSCAPED GRASS MOUNDS Include Various ornamental grasses and Silver Birch trees.

SuDS Provide drainage management and increased biodiversity.

Materiality & Planting

the smell whilst going past to Express Dairies

collecting "namers" on the Milky Way

Smelling the biscuits hearing the train

holding 6" nails on the track as the trains came

BREAKING BARRIERS To ensure maximum efficiency and involvement, the residential road is connected to the allotment space.

RAISED WALKWAY Provide direct access to the site whilst allowing water feature to flow beneath.

ACCESS PATH Allows residents access from the rear of existing properties to the street or site.

ED

UC

OD

PR BY the smell whilst going past to Express Dairies

collecting "namers" on the Milky Way

TV

EN

the smell whilst going past to Express Dairies

collecting "namers" on the Milky Way

Smelling the biscuits hearing the train

UD

ST

holding 6" nails on the track as the trains came

SK

DE

TO

holding 6" nails on the track as the trains came

AU

Smelling the biscuits hearing the train

AN

Planted grass mounds line the walkway leading to the wetlands.

The organic forms resemble the natural landscape where the building sits in and around the landscape.

N SIO

ER

N

:1 le 1

2

10 50

0m

KEY

23

the smell whilst going past to Express Dairies

collecting "namers" on the Milky Way

Smelling the biscuits hearing the train

holding 6" nails on the track as the trains came

SuDS Detailing - Reviling memories

The SuDS contain personal memories of local residents engraved on to blocks embedded within the SuDS. The change in water levels vary depending on rainfall, creating an interactive memory capsule. The blocks link to the time capsule building, replicating the form, creating a connection between the green link and wetland site.

“Holding 6” nails on the track as the trains come” “Smelling the biscuits and hearing the train” “Collecting “Namers” on the milky way”

the smell whilst going past to Express Dairies

collecting "namers" on the Milky Way

Smelling the biscuits hearing the train

holding 6" nails on the track as the trains came

“The smell whilst going past the express dairies”

24

Entering from the Green Link The green link provides a safe well lit walkway for pedestrians and cyclists. Specific features help link the walkway to the proposed building and wetlands further along the site, offering users a glimpse of what can be expected.

25

Entering from the Green Link - Community Allotment As part of the green link, an allotment allows for community engagement and interaction. This provides an open allotment for all members of the public as opposed to a semi-private garden.

26

PRODUCED BY AN AUTODESK STUDE

Entering from the residential area - Community Involvement

N 0

10m

50m

100m scale 1:1250

TUDENT VERSION Located closest to a residential street, a community allotment along with external and covered seating areas have been created to allow for community engagement. With little seating along the ‘Floop’ I felt it was important to introduce spaces for local residents to sit and enjoy the natural surroundings as well as creating a zone for local community groups. The covered seating area provides a safe location for allotment users and is positioned at the top of a proposed staircase leading directly on to the ‘Floop’ footpath.

KEY

27

Building Development - Massing & Arrangement Starting with an arrangement of massing blocks surrounding the existing trees, the building form was developed with an arrangement of levels and differing heights, reflecting the arrangement of activity of each floor, explored in S2. The scale of massing blocks reflects the scale of the existing semi-detached houses located adjacent to the site, in order to ensure the scale was in-keeping with the existing buildings. To ensure the existing residential area maintains privacy and to minimise over-shading of properties, the new development maintains a low building height not exceeding the existing housing height with the exception to the memory tower, where it becomes a feature landmark being visible from the residential street. Glazing is minimised on the street face to ensure privacy is maintained.

3.

1.

4.

2.

5.

28

Proposed Scheme - Site Plan

PUBLIC ALLOTMENT

COVERED PUBLIC SEATING

PRODUCED BY AN AU

GREEN LINK

47

47

COMMUNITY CAFE

CYCLE PATH

PRODUCED BY AN AUTODESK STUDENT VERSION

PUBLIC ALLOTMENT

EXTERNAL PUBLIC SEATING

‘FLOOP’ FOOTPATH

EXISTING LATTICE FOOTBRIDGE WETLANDS 0

10m

50m

100m scale 1:1250

PROPOSED SITE PLAN 1:500 @ A1

STUDENT VERSION

COVERED PUBLIC SEATING AREA

N

29

PRODUCED BY AN AUTODESK STUDENT VERSION

Proposed Scheme - Ground Floor Plan 1. External Seating

2. Cafe

3. Entrance

4. Depositary

5. WC’s

6. Sensory Deprivation

7. Memory Tower

8. Recreation Mezzanine

The existing ‘Floop’ has limited public seating, therefore the proposed scheme sets out to create external areas for the public to enjoy the natural environment.

Catering for both building users and site users, the ground floor cafe allows site users the ability to purchase goods without taking the journey around the entire building.

Positioned off of the main access bridge allows for quick and easy access, without making visitors detour.

To ensure all visitors enter the building in the same way, a ramp is used to guide visitors to the entrance viewing platform. Enclosed by walls, the entrance ramp take visitors from the green link to a surprise view over the wetlands site before entering the building.

It is important for visitors to be detached from any outside distractions. The depositary room allows for visitors to leave all belongings in a safe space whilst experiencing the journey around the building.

The building journey sequence is designed in order of convenience, where visitors generally visit the WC before making their way around the building. This space offers waiting area seating and is partially closed off to ensure a smooth journey for those not using the WC.

In order to allow visitors to enter the memory tower with a clear mind, the sensory deprivation room aims to reduce visual distractions, making users focus on other senses.

The memory tower is the main circulation space around the site, taking visitors across all floors. It holds the public’s time capsule boxes, with individual reading pods allowing visitors the opportunity to reflect on the past as they look out on to the wetlands and surrounding green spaces.

The communal kitchen and recreation area allows for a space where the local community can share experiences and interact. This recreation space is a mezzanine level above the kitchen space, leading out on to an outdoor paved area.

N 0

10m

50m

100m scale 1:1250

STUDENT VERSION

5

7

4

3

6

8

1

2

GROUND FLOOR PLAN 1:200 @ A1

30

Proposed Scheme - Basement Floor Plan 9. Cafe

10. Corridor of Reflection

11. Cinema/Theatre

12. Viewing Platforms

13. Communal Kitchen

14. Water Garden

15. Cyclist Seating Courtyard

16. Sound Rooms

The journey through the building ends in a community cafe where visitors are able to reflect and interact with each-other and the experiences and memories gained. The cafe being a social building, is separated from the main time-capsule building to maintain a tranquil environment in the atmospheric spaces.

A corridor leading to the external garden is connected to the floors above through a grid ceiling, allowing visitors to hear various sounds through the building as visitors are in different stages of their journey.

Mirrored walls allows visitors to see reflects coming from the past.

To enable visitors to enjoy films as a group a cinema room makes up one of the atmospheric spaces. This room also doubles as an education facility. The requirement for a quiet environment led to the room being located at the end of a sound proof corridor to the far end of the site embedded in the embankment.

Several viewing platforms can be found around the site, allowing visitors to further explore the wetlands in addition to the main building masses. These spaces allow for tranquillity, reflection and contemplation.

The communal kitchen allows the community to interact and connect.

The kitchen leads out on to an external viewing platform.

The garden is enclosed in walls making a secluded space for reflection and contemplation. This space awakens the senses with limited visual distractions and sounds of rain hitting water.

The cycle path is diverted under the footpath, in order to allow cyclists to slow pace and experience the site, a seating area has been created within the external courtyard.

The sound rooms have limited windows to allow users to focus on the music rather than the surroundings. To increase privacy, the rooms have a planted section surrounded by perforated walls to restrict views in.

PRODUCED BY AN AU

11

13 9

14

15 16

N 0

10m

50m

100m scale 1:1250

BASEMENT FLOOR PLAN 1:200 @ A1

STUDENT VERSION

10

PRODUCED BY AN AUTODESK STUDENT VERSION

12

31

Proposed Scheme - South Elevation

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTOD

SOUTH ELEVATION 1:200 @ A2 0

10m

50m

N 100m scale 1:1250

32

ESK STUDENT VERSION

The proposed scheme is designed to sit in to the slope with green roofs aiming to create a seamless transition between the slope and building. The slope allows the building to sit low in elevation ensuring the building scale is kept to a minimum. Both existing trees and new trees are spread over the site, creating a see of green across the site, breaking up the building masses. The choice of materials is kept to a minimum, with light grey brick mimicking fog and mist, allowing the building to blend in at certain times of the day, revealing the building, once the fog has disappeared. To reduce the appearance of a large mass of building, charred timber cladding is used to break up the facade.

Proposed Scheme - Sections KEY 1. Glass Link 2.Existing Residential Dwellings 3. Depository 4. Mirrored walkway 5. Cyclist Garden 6. Cycleway 7. Sound Room 8. ‘Floop’ Walkway

PRODUCED BY AN AUTODESK STUDENT VERSION

The proposal is designed to fit within the existing landscape, where the separate building masses sit embedded in the grass slope. The slope has been used to both bury areas of building underground as well as accentuating the topography and natural environment with floating glass links hovering over the planted wild grass. In addition to maintaining the existing slope, different levels have been created to provide views of the building and gardens from different levels. The proposal ensures building heights are kept to a minimum, maintaining privacy in the existing residential dwellings.

2

Sections 1:200 @ A3

1

B A A B

Section A-A

KEY

2 PRODUCED BY AN AUTODESK STUDENT VERSION

3 4

7

5

8

6

33

Section B-B

Proposed Scheme Building Journey The building is designed by creating a sequence of rooms in order of convenience for visitors, where one room follows on from the next, guiding visitors through the range of atmospheric spaces. By creating a defined route, means all users take the same path to the past, whilst material interventions give glimpses of what’s to be expected further ahead in the building, connecting the different floor levels. The route guides visitors through the entire building as well as external courtyards and private viewing platforms that can be explored at visitors choice.

34

Building Journey - Building and Site Entrance The green link creates a single distinctive route, guiding visitors around the site. The prominent existing lattice bridge, highly contrasting in materiality and colour against the proposed scheme, stands out as a main feature within the site, guiding visitors to the ‘Floop’ and Highfield Country Park.

The main entrance is designed to blend in to the surrounding context, where walls create a sense of suspense not allowing a full view of the site from the green link until entering the viewing platform.

35

Building Journey - A Surprise View In-keeping with the building masses, the entrance is kept simple with clear signage and direction suggestive of the building entrance. The journey to the viewing platform over the additional building and wetlands consists of a ramp, inclusive of all building users, that is enclosed by walls, giving hints towards the pending view. Once entering the viewing platform, glazed balustrades allow for an uninterrupted view.

36

Karen Connolly Memories

Building Journey - The Depository - Disconnect to Reconnect

WELCOME

In order to eliminate any distractions from the outside world or daily lives, the depository enables visitors to safely store all possessions whilst experiencing nostalgia within the building. Depositing all belongings allows visitors to have a stronger connection, allowing them to be present in the time and place, where the mind isn’t being controlled or distracted by outside goings on. It also creates a better space for interaction between visitors and a blank canvas for reflection and contemplation.

37

Building Journey - The Depository A section of grid floor creates a connection to the passage below, this allows sounds of people’s experiences to be heard throughout the building, showing visitors a glimpse of what’s to be expected. Deep windows allow for informal seating whilst visitors wait for belongings to be stored.

Based on an individuals memory of the area, the depository is designed to resemble the idea of drying racks at a local dye works. As well as creating an interactive feature, it provides an obstacle forcing visitors to take a journey around the room. The feature has the ability to be raised when not in use, attracting attention to the pitched ceiling above, forcing visitors to focus, not only what’s in-front of them but to explore further than the immediate visual. In addition to the hanging store, lockers are accessible for further storage.

38

Building Journey - Sensory Deprivation

The sensory deprivation room aims to provide a cleansing environment in order to enter the memory tower with a clear mind. The Deep shadows and darkness are essential in revisiting emotional memories as they give the ability for your mind to dim the sharpness of vision, make depth and distance ambiguous, and invite unconscious peripheral vision and tactile fantasy. In order to think clearly, the sharpness of vision has to be suppressed, as thoughts occur in the absent mind. The space is mainly lit by use of natural lighting through the use of strip skylights. Natural light possesses spiritual qualities, suggestive of powers beyond our existence, creating feelings of amazement and infatuation as it reflects from surfaces. The surfaces chosen both absorb the light and reflect it around the space as it enters from both above and below.

Sounds experienced within the interior of a building are determined by the nature of the surfaces and their materiality. Surfaces reflect, absorb or accentuate sound, creating different environments or experience for the building user. This room, being open to the exterior of the building and circulation spaces below allows for sound to be experienced from other areas of the building, creating a sense of intrigue. The sound of the water feature also creates a soothing sound in order to clear the mind.

(Zumthor, 2006)

39

Building Journey - Sensory Deprivation

PRECEDENT STUDY RAIN ROOM - rANDOM INTERNATIONAL BARBICAN, LONDON

Created by designers rAndom International, the rain room allows visitors the ability to experience the interactive art piece where visitors have the ability to feel, hear and touch the water drops as they fall without getting wet.

The high tech design allows cameras to track visitors motions as they walk through, ensuring visitors remain untouched. Water is recycled, as it falls through the grid designed floor, it is pumped back up to the ceiling to fall again.

(Chalcraft, 2012) (Dezeen, 2012) - Image - Refer to pg 63 (Getty Images, 2012) - Image - Refer to pg 63

40

Rain water can be harvested in the roof space allowing for a constant supply of water to be used for the rain room water feature.

Harvested water is filtered from the roof through pipes in to a suspended grid ceiling feature. If additional water is required during summer months, water can be pumped up through the wall from the water garden below.

A grate ceiling feature creates ambiguity and mystery, restricting views to the origin of the water from the ceiling.

In addition it creates interesting and blurred lighting through the grid.

The water feature positioned in a dark room allows for the mind to be clear, allowing visitors to focus on the sound of the water rather than being distracted by surrounding objects.

Dark surfaces create a sense of mystery and reduce visual distractions.

The Reflection garden allows for a secluded location away from distractions surrounded by a perforation brick wall.

Although connected to the wetlands, this area has a concrete floor below the water making the water depth far shallower than the wetlands.

The semi external rain room connecting to the water garden allows for visitors to experience the sound of rain from different areas of the building. The shallow water depth creates a clearer view of water hitting the surface as well as louder sound.

Building Journey Sensory Deprivation Perspective Section Sensory deprivation is important in clearing the mind of visual distractions. Located prior to entering the memory tower allows visitors to enter the tower with a clear mind. Dark spaces heightens our senses where we are unable to rely on vision alone, therefore paired with a sound feature allows us to focus on this feature giving us a sense of focus and opens our minds allowing us to capture new experiences.

41

Building Journey - Reflection Garden PRECEDENT STUDY SAN MICHELE CEMETERY DAVID CHIPPERFIELD ARCHITECTS VENEZIA, ITALY

The water garden is a place of reflection and contemplation, surrounded by walls creates a secluded location for visitors to be uninterrupted with their thoughts. The combination of being immersed by water and the sound of the rain feature creates a sense of tranquillity, where focus can be clear without distractions from the surrounding area being problematic. The hidden rain feature allows visitors to hear the water as it hits the water surface, but being tucked away allows for the senses to be the source of recognition as opposed to visually being able to identify the source.

The proposal for the redesign of Venice’s principal cemetery, won by David Chipperfield architects, was selected to develop and extend the island of San Michele. The design was Informed by key principles of scorci (views), campo and corti (courtyards), calle (lanes) and giardini (gardens) in order to create a sense of settlement, security, enclosure and seclusion.

Phase two encompassed the construction of a new island featuring four tomb buildings.

The tombs were designed as simple mass forms with gardens at water level. These gardens create a space for reflection and contemplation.

(Balsamini, 2019) - Image - Refer to pg 63 (David Chipperfield Architects, San Michele Cemetery, 2005)

42

Building Journey - Memory Tower - Acknowledging history

PROPOSED TOWER The proposed tower becomes a focal point, leading visitors towards the site. Residential roads become connected to the site by the visual connection created.

(Manchester Libraries, 1965) - Image - Refer to Pg 69

ACKNOWLEDGING HISTORY The former site was a UCP factory in the production of tripe. One of the prominent features and a landmark of the area was the tall chimney, visible from the surrounding areas. This is a feature I find interesting, not to copy or replicate the history but the significance of providing a viable landmark for the area, being that it is a building for the community, used by the community.

BRIERFILD MILL - ART INSTALLATION In-Situ, decided to reinstate the mills clock positioned on a tower overlooking the surrounding area. They felt that the town of Brierfield looked up to this landmark as a symbol of progression, and with the clock stuck in time since the closure of the mill, the progression of the town had ceased. As well as reinstating the clock they added a bell to allow the community involvement in the building, where the ringing bell was symbolic of positive news. This idea of inclusive design at Brierfiled, has allowed me to think about how the community can be involved with my proposal.

(Morrison, 2021)

43

Building Journey - Memory Tower Visual From Residential Road The tower creates a focal point at the end of the residential road. Windows allow site users the ability to see activity within the building, but limited windows in the stairwell only, reduces any overlooking in to residential properties. The simple but striking windows lead down on to the floor by lighting in the pavement to create a visual guide up the building.

44

The memory tower follows the floor level layout set out in S2 by dividing the floors in to activity levels. The top three floors being quieter spaces for reflection, containing reading pods with views on to the wetland and green spaces surrounding the site, whilst the First Level provides a communal space for visitors to interact and communicate. The Ground and Basement Levels provide circulation spaces leading to additional rooms and experiences as visitors make their way around the site. The tower has been designed to minimal width to provide only what is needed, in order to reduce distractions by adding unnecessary additions to the space.

Bespoke timber furniture creates slots for memory boxes to be housed and displayed. Visitors are able to view all boxes as well as create additional, allowing others to share experiences and memories.

BASEMENT LEVEL

GROUND LEVEL

FIRST LEVEL

SECOND LEVEL

THIRD LEVEL

FOURTH LEVEL

Building Journey - Memory Tower Axo

Angled walls in-front of the reading pods allows for a planted section, creating a strong connection to the natural environment. The perforated bricks allow light in to the space in order for the plants to thrive. These areas will include shaded species such as mosses and ferns. Open-able windows allow for additional irrigation or maintenance if required.

In order to maintain privacy from site users and keep a consistent building form, the memory tower uses perforated bricks on the exterior face, this reduces lighting levels slightly but also allows views out on to the green spaces surrounding the site. This allows natural light to enter the designed planted sections.

45

Building Journey - Memory Tower Reading Pod

46

Building Journey - Creating Atmospheric shading Atmospheric shading is important in creating a sense of mystery as well as creating spaces to ‘pause’. Throughout the journey there are various features aimed to slow the pace of travel as users make their way around the building. In looking at the shading experienced on the ‘Floop’ itself explored in S1, there is a series of different lighting experiences, from dark areas transitioning in to bright light as users pass in and out of tunnels, to dappled light experienced as users walk beneath the trees.

The building aims to mimic these experiences through facade treatments, reflecting interesting shading on the interior of the building.

PRECEDENT STUDIES NGAMWONGWAN HOUSE JUN SEKINO ARCHITECTS AND DESIGN CO. BANGHHEN, THAILAND

Designed as a residential building in the tropical climate of Thailand, bricks have been arranged in order to leave gaps, reflecting the lifestyle of housing required in tropical climates, where the interior and exterior are integrated spaces. The perforated bricks allow for a barrier from the afternoon sunlight, as well as providing privacy against passers by. The perforations leave interesting chequered patterns on the interior of the building.

(Mairs, 2015) (Spaceshift Studio, 2015) - Image - Refer to pg 64

MONTREAL HOUSE JEAN VERVILLE ARCHITECTE MONTREAL, CANADA PERFORATED BRICK FACADE

TIMBER SLAT FACADE

METAL GRID FLOOR AND CEILINGS

The perforated brick facade allows the internal spaces to remain private from the external environment and external site users. Positioned on the South face of building façades allows for protection against overheating during summer, whilst creating interesting shading on the internal floor and walls.

For the timber clad sections of the building, timber slats offer distorted views to the natural landscape outside.

It also creates dividers between spaces.

These slats are used in the darker sections of the building, also aimed to create interesting shading .

The steel grid floor is used to create pauses in the journey as well as creating a connection between different floors in the building, this creates intrigue and gives a glimpse of what’s to come. To increase light levels in the recreational room a translucent ceiling sits above the grid.

The three storey home was designed with a steel grid frame core, capped with a skylight, creating theatrical shadows throughout the interior.

The grid form creates “pauses,” with functional spaces, allowing users to appreciate the journey throughout the building. The grid also creates intriguing divisions between the spaces, separating different activities taking place within the home.

(Carlson, 2021) (Jean Verville Architecte, 2021)-Image-Refer to pg 64

47

C

Building Journey - Cinema Room - Designing for flexibility

C

D BY AN AUTODESK STUDENT VERSION

Section C-C

PRODUCED BY AN AUTODESK STUDENT VERSION

KEY

The cinema room creates a space for people to relive the past through video. In addition to a film room, the space doubles as an auditorium for school groups. The seating is designed to allow for flexibility within the space.

Seating can be added for lounge seating while watching movies and taken away to create spaces for community functions.

48

Building Journey - Integrating Interior and Exterior Rather than a space for contemplation and the need for sensory deprecation, the communal kitchen acts as a shared space for visitors to interact and reflect, therefore the space is designed to be a lighter and airier atmosphere. This led to a visual connection to the external gardens and wetlands when entering the space, creating a seamless boundary between the interior and exterior. The visual connection on the journey allows visitors to see the outdoor viewing platform accessible from the communal kitchen showing that there are additional outdoor areas to be accessed.

49

PRODUCED BY AN AUTODESK STUDENT VERSION

KEY

Section D-D 1:200 @A3

D

The Recreation room allows for visitors to interact and share experience, without interrupting any spaces of contemplation. The room is surrounded by the wetlands and external gardens, where visitors can enter private viewing platforms directly from the communal kitchen space. Large sliding glazed doors provide a strong connection to the outside world, allowing sounds from the surrounding site to be heard from within this space. Perforated brick facade to the South creates protection against the summer sun to reduce overheating, whilst creating interesting shadows on the interior. The mezzanine level provides an formal seating area with a metal grid floor creating a visual connection between Levels.

D

Building Journey - Communal Kitchen/Recreation Mezzanine

Section D-D STUDENT VERSION

47

50

Building Journey - Sound of a Space

The experience of nostalgia through reflection provided throughout the building, is often heightened by the lack of sound interference, where the majority of spaces are quiet. However I felt it was important to provide rooms where there is no noise experienced at all, through sound proofing technology. This can be experienced in the sound rooms. Sounds experienced within the interior of a building are determined by the nature of the surfaces and their materiality.

Mystery in sound arises, when you believe you are experiencing silence, however, if you were to extract all foreign sound from a room, through specialist acoustic technology, you would realise that sound still exists within all buildings. Mystery is created through the ambiguous and unknown sounds of ‘silence’, this somehow creates a tone and a sense of stillness, leaving the cause up to the individual to decipher .

(Zumthor, 2006)

51

Building Journey - Sound Room Perspective Section

Taking inspiration from the existing lattice bridge, the shelving design follows the form of the balustrade, creating a connection to the existing features on site.

In order to maintain privacy from site users, the sound rooms area isolated from the outside world, where perforated bricks allow views out, but distort views in from the public. Minimising lighting levels and views, creates limited visual distractions allowing room users to connect with the music and give a stronger ability to reflect and reconnect.

Perforated bricks rest on concrete beams above the surface of the water, allowing water to pass underneath freely reducing the risk of stagnation.

Sound panels are required to reduce distortion and to improve sound quality.

52

Building Journey - Sound Room External Courtyard A small external garden allows for sound room users to have a connection to the natural environment as well as a visual connection to the ‘Floop’ walkway and sky. The inclusion of the wetland in the external courtyard allows users the feeling of tranquillity and serenity. Guarded by walls, the room is made to feel peaceful and private, whilst also providing a connection to the outside world without distraction, allowing visitors to feel safe and secure.

53

Building Journey - Sound Room - Internal Visual

54

Building Journey - Community Cafe PRODUCED BY AN AUTODESK STUDENT VERSION

The final location of the journey is the community cafe. This area creates a space for visitor interaction and allows for individuals to enjoy the natural environment whilst eating local produce. The location of the building is kept separate from the main building, where noise levels may be higher, this means spaces of reflection won’t be disrupted.

The journey to the community cafe allows visitors to walk through the wetland site, passing under the existing lattice bridge, as a final reflection of the areas history and past experiences of locals having used the site through time. The cafe is separated by levels for both site users and building users. For site users, the upper floor, accessed via the existing bridge allows for take away food and drink, whilst the lower floor is used as a dine in cafe only accessed via the main building.

F E E

Section E-E F

KEY

Sections 1:200 @A3 PRODUCED BY AN AUTODESK STUDEN

Section F-F

55

Building Journey - Internal Cafe Visual

56

Building Journey - Internal Cafe Visual

57

Building Journey - External Courtyard Visual

58

Building Journey - Fog Adding to Mystery - Sensory Experience The element of mystery can be created through use of water, where the natural environment can create fog or mist depending on the changes in temperature, allowing for an ever changing scene. The natural environment can sculpt the mist and fog with the wind changes as well as human interaction and movement changing it’s movement and shapes. Whether water in the form of ponds or lakes creates fog naturally, or produced artificially through misters as a piece of artwork, it is clear that it has profound effects on our senses and imagination. The wetlands created within this project will naturally create mist and fog in certain environments, where fog can be retained for extended periods due to it’s location in a ditch.

‘fog for people to look into and feel’ PRECEDENT STUDY

- Fujiko Nakaya

Although many of Fujiko’s art pieces are temporal, the piece, ‘Foggy wake in a desert: An ecosphere’ entered the permanent collection in Sydney 1976 and reconfigured and retitled in 1982, now located in the NSW art gallery sculpture garden. It became a public favourite due to the interactive experience and mystery it entails. Designed to be self sustaining it helps vegetation growth and cultivation of a variety of species. Another example the ‘Foggy forest’ exhibited in 1992 Tokyo, a space for children to interact.

“Fog is physical and can totally immerse you,” “When fog obscures your view…invisible wind becomes visible. It transforms your everyday environment instantaneously into illusory time-space… When you are inside, it is no longer a visual experience but you use all your senses to grasp it.”

(Medium, 2019) (W, 2016) - Image - Refer to Pg 64 (DesignBoom, n.d.) - Refer to Pg 63

- Fujiko Nakaya

59

Building Journey - External Wetland Visual

60

Thesis Reflection ive ohes to c a as ted crea ding are y to e v it n ha ve I rrou ommun veral e u i s l e c se Ib e and ject, unity e for th creating scaped o r p s sis pac nt, omm and s the isting c ding a s ironme ands, l es space i h t f l v x n i d t o i e on he prov tural en a we g prov reflect o t ti t c s s e l i n e w a i n refl hat allo ted, wh o the n ncluding d build ility to uld hav o p b U i o t t se nnec ain a he a ity me ted ,Iw opo sche rther co connec iodivers e the pr users t period nity to g in to e b u v e u r ng be f e mor eased belie n allowi ased tim l comm e furthe lored I . s m r t a c beco of in llotmen mplatio an incre the loc and div ave exp tion c s h s e a area ng and nd cont es. With ws with al storie like to constru egy. e d t c ti a i l u d a plan ection xperien r interv individ e I wou tion an ape str fl e e c c c of re ast and ct furth f specifi more tim y produ us lands pact u o p g o m r i h d i g t c e e n i s e n h n i o t n W f th tion to c gh e tand ly co ory. are o connec es w liked r unders ific hist es throu mental a a re n i c ess e e mo o create at addr ary bett reas spe l strateg e enviro d a t m m h a a een he need ilding th the pri ink the onment match t b e v s u t th s a r t, I h nity and vide a b o addre tant to envi iques to c e j t n o ro u or tech sis p a comm er to pr portant re imp te. e h t o ord is it im theref diate si this ave on g n i n i , e h is w rs nly Follo ding can ing use e. Not o users. It the imm t l d il a bu the buil he peop the site than jus t r with eeds of but also a rathe e s n r r the ing use nded a e build t the ext abou

. . . n o i t eflec

R n o p U

61

Bibliography Ashsak.com. n.d. The Malings | Ash Sakula Architects. [online] Available at: <https://www.ashsak.com/projects/malings> [Accessed 14 February 2021].

Carlson, C., 2021. Jean Verville Architecte inserts gridded steel lightwell into Montreal home. [online] Dezeen. Available at: <https://www.dezeen.com/2021/03/01/mso-play-pause-jean-verville-architectehouse-renovation/> [Accessed 28 April 2021].

Chalcraft, E., 2012. Rain Room installation by rAndom International at the Barbican. [online] Dezeen. Available at: <https://www.dezeen.com/2012/10/04/rain-room-by-random-international-at-the-barbican/> [Accessed 22 April 2021].

Divisare. 2005. David Chipperfield Architects, San Michele Cemetery. [online] Available at: <https://divisare.com/projects/18411-david-chipperfield-architects-christian-richters-san-michele-cemetery> [Accessed 22 April 2021].

Dunnett, N., n.d. Grey to Green. [online] Nigel Dunnett. Available at: <https://www.nigeldunnett.com/grey-to-green-2/> [Accessed 14 February 2021].

Griffiths, A., 2018. Yushe Design slots office around existing trees in Shanghai suburb. [online] Dezeen. Available at: <https://www.dezeen.com/2018/06/17/yushe-design-shen-shen-garden-office-shanghai-architecture/> [Accessed 15 February 2021].

Mairs, J., 2015. David Chipperfield creates “village” of stone dwellings. [online] Dezeen. Available at: <https://www.dezeen.com/2015/10/26/xixi-wetland-estate-david-chipperfield-china-hangzhou/> [Accessed 15 February 2021].

Mairs, J., 2015. Grayson Perry and FAT reveal the interiors of House for Essex. [online] Dezeen. Available at: <https://www.dezeen.com/2015/05/15/house-for-essex-fat-grayson-perry-charles-holland-livingarchitecture-alain-de-botton/> [Accessed 17 February 2021].

Medium. 2019. Where Earth Meets Sky, Find Fujiko Nakaya. [online] Available at: <https://medium.com/national-gallery-of-australia/where-earth-meets-sky-find-fujiko-nakaya-786fbca2c18a> [Accessed 22 November 2020].

Morrison, K, (2021). Steps I want and can take to help shape a world that I want to live in, Presentation at Manchester Metropolitan University, Manchester, 5th Febuary.

Unusual Places. n.d. Cycling through Water: An unconventional dip into Belgium’s ponds - Unusual Places. [online] Available at: <https://unusualplaces.org/cycling-through-water-an-unconventional-dip-into-belgiums-ponds/> [Accessed 15 February 2021].

Wwt.org.uk. n.d. Nature reserve. [online] Available at: <https://www.wwt.org.uk/wetland-centres/london/wildlife/nature-reserve/> [Accessed 15 February 2021].

Wwt.org.uk. n.d. Why wetlands. [online] Available at: <https://www.wwt.org.uk/our-work/why-wetlands> [Accessed 15 February 2021].

Zumthor, P., 2006. Peter Zumthor. Basel: Birkhäuser, pp.10-65.

62

Bibliography - Images Balsamini, M., 2019. David Chipperfield’s sober extension of San Michele island cemetery in Venice. [image] Available at: <https://www.wallpaper.com/architecture/san-michele-island-cemetary-venice-italy-david-chipperfield-architects> [Accessed 22 April 2021].

DesignBoom, n.d. Foggy Forest, 1992.. [image] Available at: <https://www.designboom.com/art/fujiko-nakaya-praemium-imperiale-sculpture-2018-10-27-2018/> [Accessed 22 November 2020].

(Edited)

Dezeen, 2012. Rain Room. [image] Available at: <https://www.dezeen.com/2012/10/04/rain-room-by-random-international-at-the-barbican/> [Accessed 22 April 2021].

Getty Images, 2012. Rain Room. [image] Available at: <https://nationalpost.com/photos/visitors-part-the-rain-in-a-surreal-experience-at-the-rain-room> [Accessed 22 April 2021].

63

Bibliography - Images Google Earth, 2021. Existing Site. [image] Available at: <https://earth.google.com/web/search/Highfield+Country+Park,+Manchester/@53.44195647,-2.18290996,61.65643578a,220.73782415d,35y,84.1 6619889h,54.59687524t,0r/data=Co0BGmMSXQolMHg0ODdiYjNlYjk3ODE5Nzk3OjB4NTNhZDMyNTAzNmFlMWYwORkInSFmQLhKQCGkMmpjkWsBwCoiSGlnaGZpZWxkIENvdW50cnkgUGFyaywgTWFuY2hlc3RlchgBIAEiJgokCbWx-SFNuUpAEaZ8VYMMt0pAGdI2Vs_uQQHAIebehHUKeAHA> [Accessed 19 February 2021].

2021. Jean Verville Architecte inserts gridded steel lightwell into Montreal home. [image] Available at: <https://www.dezeen.com/2021/03/01/mso-play-pause-jean-verville-architecte-house-renovation/> [Accessed 28 April 2021].

Spaceshift Studio, 2015. Brick grates set into the walls of a Bangkok house hide a series of outdoor spaces. [image] Available at: <https://www.dezeen.com/2015/04/30/ngamwongwan-house-bangkok-jun-sekino-perforated-brickwork/> [Accessed 28 April 2021].

W, S., 2016. Fog Sculpture - NGA Sculpture Garden. [image] Available at: <https://www.weekendnotes.com/fog-sculpture-national-gallery-of-australia/> [Accessed 22 November 2020].

(Edited)

64