MArch Portfolio Elizabeth Ridland

Academic Portfolio ELIZABETH RIDLAND M.ARCH 2019-20

Contents ARB Criteria

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Reflective Statement

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Stage VI The Everyday Museum of Durham Cultural Assemblages: Architecture as Social Phenomenon

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Stage V The Transitional Modern Potemkin Transitional Objects and Transitional Phenomena

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Homeostasis Technology Studio: Thinking Through Making

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Academic Writings Dissertation Dreams of a Perfect Little City

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Tools for Thinking about Architecture The Festivalisation of Public Space

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Architecture and Construction: Process and Management Procurement of the Design Team Within Novation (Stage 4)

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Construction and Management Report on Thesis Works

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ARB Criteria MAPPING THE M.ARCH JOURNEY

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Ability to create architectural designs that satisfy both aesthetic and technical requirements.

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Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences.

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Knowledge of the fine arts as an influence on the quality of architectural design.

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Adequate knowledge of urban design, planning and the skills involved in the planning process

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Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale.

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Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors.

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Understanding of the methods of investigation and preparation of the brief for a design project.

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Understanding of the structural design, constructional and engineering problems associated with building design.

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Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate

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The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations

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Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning.

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With regard to meeting the eleven General Criteria at Parts 1 and 2 above, the Part 2 will be awarded to students who have: 1.

ability to generate complex design proposals showing understanding of current architectural issues, originality in the application of subject knowledge and, where appropriate, to test new hypotheses and speculations

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ability to evaluate and apply a comprehensive range of visual, oral and written media to test, analyse, critically appraise and explain design proposals

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ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals

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critical understanding of how knowledge is advanced through research to produce clear, logically argued and original written work relating to architectural culture, theory and design

5. understanding of the context of the architect and the construction industry, including

the architect’s role in the processes of procurement and building production, and under legislation 6.

problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances

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ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect

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REFLECTIVE STATEMENT

Reflective Statement CRITICAL INTRODUCTION AND REFLECTIVE SUMMARY The return to my architectural studies for my masters degree has been a bittersweet journey that has made me reflect and question my position in this industry several times over, as it should. At times overwhelming, with the overall experience being enriching both professionally and personally. I have thoroughly enjoyed the encouragement for experimentation and theological exploration, which has taken me down avenues I would never have imagined pursuing. This freedom has propelled me undeniably towards developing a more critical and ethical voice when questioning contextual cultural identities in architectural studies and the fluidity of heritage. This academic portfolio demonstrates a narrative of this developed exploration of identity, localism and heritage; themes that have matured naturally across both studios in both years. I have documented and mapped this collective summary of my academic works corresponding to the specified ARB part 2 criteria to display my professional growth.

When I began my masters studies, I brought with me a passion for environmental sustainability from my undergraduate years. Whilst still a professional interest I continue to explore privately, my masters studies addresses a greater issue with the growing societal need of consumerism and the social impact this has on the sustainability of our cities and local communities, almost hypocritically within our conservation of buildings and local identity. The ‘Tools for Thinking about Architecture’ essay provided an early opportunity for me to probe the relationship of consumerism to the degradation of our public space through social phenomena such as festivalisation or museumification. Additionally, I have thoroughly enjoyed placing myself within Michael Di Giovine’s heritage-scape and questioning the utopian idealisms of public space and unity through heritage.

Meanwhile, heritage and cultural identity are much the same. I find enjoyment in this paradoxical relationship between people’s identity and their buildings, pushing the boundaries of social architectural conservation and blur the distinction between ‘right’ and ‘wrong’. In reality there is no right or wrong way of ‘protecting’ a building, only a question on who we are conserving these buildings for and who pays for it.

I had the opportunity to be able to take this inquiry further and refine my research skills by writing a dissertation, in which I directed my focus onto my hometown of Durham. I investigated Durham city’s relationship with UNESCO as being a designated World Heritage Site; specifically the effects of when an international perspective of heritage collides with local cultural heritage. The wealth of social and cultural assemblages that expanded from this topic naturally filtered into my final year thesis project, focusing on the issue of museumification and the wider social issues that stem from this. Personally I do not wish to be the designer responsible for turning our cities into living museums and would encourage others to reflect also on their own agency as a designer. At the same time, cities in continuous transition can have a major impact on the human psychology, especially when homogenising for a globalised idealistic image of a perfect tourist city. This was the inspiration of my fifth-year studies in the studio transitional phenomena and the transitional object in Vienna. As with all my projects, I prefer to work outwards in. An example of this is clearly shown in my fifth-year works starting with an intervention on an urban scale before transitioning into a building then human scale.

A review of all my works thus far show that I do prefer designing to exaggerate social issues to highlight and forwardly present them as a growing dystopian concern. In my opinion, controversial though it may be, this creates a more realistic approach to the academic architectural project as it is not a utopian idealism that does not necessarily reflect the pluralities of voices and societal contestations that change over time. With this approach I learned that it is okay to not have a B/W attitude as architecture is continuously evolving with society just as life is reflected in our architecture. This is a lesson I learned through many sleepless nights, waffling conversations, and tight deadlines during my studies. One of my greatest strengths has been my attitude towards theory and developing a vast library of readings to support my academic studies; outlines of these readings can be found throughout this academic portfolio and listed in the bibliography.

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REFLECTIVE STATEMENT

The transition from working practice to returning to academic studies was challenging for me. I only spent a single year in practice in fear that if I did not leave when I did then I would not return to my studies due to financial temptation and security. After looking back and discussing with others who took more years out in practice between part 1 and 2 I feel relieved that I made the right choice for myself. I am far more confident in my stage six thesis works than my stage five works for this reason. By the time, my sixth year came about, I had already developed a rich library of research material which I wanted to expand on. Whereas in my stage five works I was still trying to discover my voice while experimenting with alternative practices, materials, and representation. During these years I have discovered a fondness for working in collage and greatly admiring the works of architects and artists such as Tatiana Bilbao. As an example, Bilbao expresses her dislike for the architectural render as obstacles damaging the creative process whereas collage can help produce a more collaborative exploratory design. I agree that the computer render can become almost too real or too precious, to the point it becomes limiting. I believe this style of representation and working is ideal for collaborative practice and the sharing of ideas, which is what doing a masters (and by extension any academic architectural studies) is all about. I intend to continue this way of collaborative working into practice.

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What interests me is how the pandemic will spark inspiration and innovation for future studios, and my own future works. Not only are Universities having to adapt but the architectural community as a whole. To name a few: confronting the housing crisis, re-imagining hospital design, designing new office layouts, schools and even public streets. Everyday life is changing and so must the next generation of architects. For me the next step is to be part of this movement and work towards obtaining my Part 3, which this masters degree has helped prepare me for. I would like to consider returning to academia in the future, potentially for a PhD and further academic research, when I can financially support myself to do so. I find the subject of architectural heritage and subsequent insider-outsider psychology to be fascinating and worthy of further consideration. As there are no right or wrong answers, only differing complexes of social perspectives, the conversations this topic can bring is enriching and fundamental to the teaching of conservational attitudes in early architectural studies.

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My approach to design leans more towards thinking through making as I love model making. A physical model or artefact will help me understand and interrogate form, structural intention, and language far more easily than a 2D format. Therefore, with the shift to working at my confined desk space and coffee table I could no longer produce work the way I previously did in the studios. This is evident in my final works of my thesis project, which changed from being a physical artefact presented in the final exam to a more classical digital ‘pin up’. The loss of physical contact, while at first difficult, quickly became manageable thanks to our studio’s design tutors additional weekly support and tutorials over video calls. Managing the home/work balance was also tested due to there now being no physical boundary between the two, which is something I find everyone during this pandemic has experienced. I feel I have adapted well under the circumstances and have proceeded to produce the work to the best of my abilities considering these unpredictable circumstances. I have focused on bridging the work from before and after this shift to maintain a seamless thorough proposal, keeping a strict work timetable, and setting realistic work goals. What I have found is how much slower work is produced at home compared to the studio which had to be additionally accounted for when timetabling and prioritising drawings. Saying this, I would have liked to work into a few more drawings and produce more physical models for my final thesis works. However, this was not physically possible at this time.

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During my sixth-year thesis project a new series of unforeseen challenges were introduced through the global pandemic of COVID-19. It was around this time I also lost a close family member, which added another blow to morale. Throughout my masters studies, studio culture had been one of the strongest attributes towards developing myself academically and growing stronger as a unit. All of a sudden this traditional studio dynamic, older than myself, was completely uprooted and the situation turned to adapt or drown. I was fortunate enough to have an apartment in Newcastle where I could stay with a small desk, laptop and (questionable) internet connection.

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Stage VI THE EVERYDAY MUSEUM OF DURHAM This final year thesis project analyses the effects of museumification on the Durham peninsula, my home city. It explores the processes of re-contextualising the assemblage of heritage and identity within a wider societal heritage-scape. Meanwhile, it aims to question the position that we as architects place ourselves within the narrative of conservation, interpretation and adaptability.

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THE STUDIO

Cultural Assemblages ARCHITECTURE AS SOCIAL PHENOMENON The ‘Cultural Assemblage’ studio, as the name suggests, aims to explore the processes of making and unmaking social assemblages, while comprehending of the role of architecture within these sequences. The research undertaken in this thesis project is supported by the works of French theorists Deleuze and Guattariand in their development of Assemblage theory. Manuel DeLanda later streamlined this theory in his books “A New Philosophy of Society” (2006) and “Assemblage Theory” (2016), which have become predominant references in this project and studio. Assemblages, like constellations, branch across all scales of society while connecting them within a complex network of interactions. They comment on the synergy of the intangible in the routines that are continuously unmade and re-contextualised in the flow of time, yet work together to form the everyday. These ethereal social elements of change are what facilitates assemblage theory.

Heritage is one such intangible element that is dominant to social identity, yet so easily broken down and remade by nations, governments and residential communities. The complexity of this social change is expanded on in the works of Michel de Certeau in his book “The practice of Everyday Life” where the routines and interactions of our everyday shape the people who we become. The making and breaking of these assemblages challenge individual as well as collective identities as a result. The Heritage-scape is a theoretical realm that describes a utopian model of the geopolitical social order, termed by Michael Di Giovine (2009). Indeed, cultural heritage is a plausible tool for forging connections between people from all corners of society using idealistic language reminiscent to UNESCO’s aims of peace and global harmony. As this thesis progresses, the dynamic between localised cultural-heritage identity and world heritage is argued in Durham.

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DELEUZE AND THE SOCIAL MARTIN FUGLSANG & BENT MEIER SORENSEN (2006)

THE HERITAGE-SCAPE MICHAEL DI GIOVINE (2009)

THE PRODUCTION OF SPACE HENRI LEFEBVRE (1991)

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A THOUSAND PLATEAUS: CAPITALISM AND SCHIZOPHRENIA GILLES DELEUZE & FELIX GUATTARI (2004 ED.)

THE PRACTICE OF EVERYDAY LIFE MICHEL DE CERTEAU AND STEVEN RANDALL (1988)

ASSEMBLAGE THEORY MANUEL DELANDA (2016)

A NEW PHILOSOPHY OF SOCIETY MANUEL DELANDA (2006)

THE STUDIO

THE MUSEUM

THE MUSEUM

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THE MUSEUM

Introduction THE MUSEUM Museumification is a contemporary phenomena that occurs within living heritage cities, where cultural assets are valued more as potential artefacts in an exhibit than for their traditional value; the identity of the city is displayed as an idealised form in order to attract visitors. Therefore museumification has significant ties to the tourism industry and cultural identity. This project attempts to explore the effects of the growing tourism industry on the historical living city of Durham. In 1986 Durham became one of the first nominated World Heritage Sites listed in the UK, introducing the city to the expanding global market for touristic heritage. This was the catalyst that sparked an overwhelming touristic branding of the city that consistently questions the position of the locale in this new city narrative.

Museumification has thusly become

“Museumification can be understood

part of the everyday in Durham,

as the transition from a living city to

where the Castle and Cathedral are

that of an idealised re-presentation

presented

of

of

cultural

heritage on display as exhibits within the museum of Durham. Hence the

appropriate title of this project: ‘The Everyday Museum of Durham’. Exploring the exhibits, tourists and residents that perform on the stage of curated landscapes of the city.

Meanwhile, investigating the factors that constitute the everyday and the misplaces pasts that contribute to the locale perspective. This research will culminate with the design an intervention that respond to the museumification of Durham and challenge the perception of the tourist in society, referencing heavily to the interactions within the heritage-scape and Durham.

Semester 1 of this thesis project focuses on the analysis and mapping of museumification in Durham and developing the theory rich narrative that runs throughout. Semester 2 approaches designing an architectural intervention responding to the findings of semester 1.

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their

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curating

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selectively

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endeavours in the UK. Effectively,

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religious

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(DI GIOVINE 2009; P.261)

and

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value as a potential museum artefact”

power

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considered not for its use but for its

Norman

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is

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everything

examples

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wherein

romantic

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itself,

as

ROUTES OF ROOTS

ROUTES OF ROOTS By mapping the contextual roots of Durham, the narratives of Durham as a World Heritage Site (WHS) becomes clearer: being able to define the Who? What? and Where?; effectively routing the roots. Understanding the context of Durham within the UK and its dynamic to UNESCO’s global heritage network is imperative to framing this project, hence this was the starting point for this investigation. Durham was one of the first WHS in the UK. The relations of all the WHS currently listed in the UK to the capital cities and central governments is a vague and interesting dynamic, showing Durhams appearance on the list to be symbolic rather than geographic. The choice to include Durham on the WHS to represent the UK was a political one, and benchmarked a precedent for other tentative sites. Continuing to develop a contextual understanding of the Durham City peninsula and the WHS, a series of plans were made to show the typical topographical and geographical location information necessary for developing a thorough design brief. These specific plans will become more relevant towards design development within this project, but presently helps frame this semesters mapping investigation by providing the plans in which to expand and develop.

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LANDSCAPE & ECOLOGY

FLOOD LEVELS

GEOLOGY

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TOPOGRAPHY

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EVERYDAY HERITAGE

Everyday Heritage EXPLORING THE EVERYDAY MUSEUM One of the first challenges of this project is attempting to translate the intangible by locating and defining cultural heritage in Durham. Now it must be recognised that heritage is not homogenous; it will be perceived differently depending on the character behind the perspective, and their connection to that place. This is a developing narrative that will be expanded on within this thesis, and into design. For the sake of simple discussion, heritage can be categorised thusly across residential, national and international planes (Boyd & Timothy 2011). This project begins by attempting to define ‘residential’ heritage on site, otherwise perceived as heritage at a local level and widely accepted as heritage on the ground at an ethnographic and anthropological perspective in heritage studies (Brumann 1999). Listed buildings provide tangible data that can be used to map significance

(LOWENTHAL 1994; P.50)

a heritage narrative, that are protected for future generations to experience. Mapping the location of listed buildings on the

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of cultural and historic significance within

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Listed buildings are recognised as buildings

site provides logical insight into what is recognised as culturally significant at a

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“So demanding are national attachments to identity that they often leave little room for individual, local, or regional heritage”

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from a local governmental (council) level.

site boundaries in a comparative study. What becomes clear

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residential level; juxtaposed to the cultural world heritage

current WHS boundary. The greatest concentration of listed

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is the disparity and variation both within and beyond the

considerable difference between this harsh boundary that

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buildings remain within the peninsular, but there is still a

forming a profoundly selective narrative of cultural assets

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acts more like a wall cornering off segments of the city,

connotations, challenges the relationship between heritage

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on display. Selectiveness, beyond the associated political

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and identity, specifically seen at this everyday residential

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level.

EVERYDAY HERITAGE

Collage is a representative technique used throughout this project. In order to begin mapping these elements of heritage and identity at at an ‘everyday’ level, collages were used to represent each new layer of information. The first in this section represents how much the ‘everyday’ has changed with contemporary times, splicing images of listed buildings streets within or just outside the WHS boundary, and removing the tourist to see what is left behind.

The first layer in this mapping series uses the information gathered from the listed building study to act as a base map; infrastructures established locally as being culturally significant enough to warrant local government conservational protection. Meanwhile, this is juxtaposed against the current WHS boundary, Castle and Cathedral; both iconic to the history of the city and the central focus within

UNESCOs

interpretation

of

Durham’s

heritage

image. Additionally the location of the old city walls when drawn against the existing WHS boundary shows the lack of inclusion. Most of the old city walls and gatehouses no longer exist, but the original medieval layout for the city lingers as a constant reminder of its histories and people.

To this day the way people are channeled and have to travel through the peninsula reminisces on the traditional access and routes of the city. It is interesting how such a predominant feature of the city is not included within the UNESCO bubble of protection. English Heritage include the remaining parts of the wall on their danger list, most listed as grade 1 (Historic England 2019). Pilgrimage was also a crucial element to the founding of Durham, and remains a symbolic in the religious identity of the city through the continued use of the Cathedral. Unfortunately records of the old pilgrim routes leading to the Cathedral have been lost to time. However, by mapping the location of regional affiliated churches, cross-referencing historic maps of the city and recording the routes and relationship to the Cathedral, a general image emerges of the possible routes of the religious pilgrim across the peninsula. This is shown in layer 3. An interesting development emerges between the marketplace and the Cathedral, both central points of gathering for the community. Most of these routes pass through the medieval marketplace, still in use to this day as a marketplace and public square. The marketplace is not included in the WHS boundary, once again showing the difference between the residential level of heritage and that within the international. From this study, areas of residential movement and pilgrimage begin to naturally form, which can be highlighted within these bubbles of movement and circulation within the city’s peninsular. These are the spheres of everyday significance. Layer 4 begins to isolate these areas further into heritage ‘corridors’.

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EVERYDAY HERITAGE

Mapping layer 1 (Isolating the WHS boundary and assets) -20

Mapping layer 2 (Comparing boundaries to the medieval city walls) -21

Mapping layer 3 (Interpreting Pilgrimage Routes) -22

Mapping layer 4 (Defining ‘Heritage Corridors’ to isolate significant areas of everyday heritage) -23

Mapping layer 5 (The ‘iconic’ Views) -24

EVERYDAY HERITAGE

Since the rise of the picturesque traveller, artists and writers have sought out the romantic landscape of Durham with famous views reoccurring in their works. Renowned painters such as Turner and Wilson-Carmichael among acclaimed examples. In his ‘Outline of European Architecture’ Pevsner describes the infamous view of the Cathedral from Prebends’ Bridge as “one of the great architectural experiences in Europe” (Pevsner 1963; pp.159-60). I have attempted to map these historic key views of Durhams ‘picturesque’, as seen opposite. Natural beauty and the inspiring peninsula landscape is what sets Durham apart; should it not be also be recognised by UNESCO as a ‘cultural landscape’ (Gfeller 2013). Perhaps the natural heritage is recognised, but not as universally valuable. This is where the difference in residential values challenges that

of

internationally

‘universal’. While there is a historic cultural identity that connects people locally and

globally

through

architecture of the Castle and Cathedral, the natural

the knowledge and existence as part of it. The environment

TURNERS RENDITION OF DURHAMS LANDSCAPE (NATIONAL GALLERIES OF SCOTLAND 2019)

is seen as an experiential

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experience of Durham than

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a visitors imagination and

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identity connects more to

personal heritage. There is no single image of Durham WH:

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extension of the local, accumulating memories, and forms a

national politicians and international tourists. Thus, from

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Heritage will be interpreted differently by residential locals,

heritage coincides with an anthropological understanding of

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what we have explored, the understanding of world cultural

One of the wealthiest subjects emerging from this study

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‘culture’ is branded in wider global society.

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the connections within humanity, similarly to how the word

pilgrimage has changed in Durham is compelling, especially

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was pilgrimage. The contemporary interpretation of how

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since it is such a rich part of its history, present, and possibly

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its future.

EVERYDAY HERITAGE

THE PILGRIMAGE Exploring the theme of pilgrimage further, this section begins by investigating the historical routes of pilgrimage in Durham and its relationship to the present WHS. Pilgrimage is a reoccurring element in the character of Durham, conceived with the histories and legends of the city’s origin. There are two stories of the move of St Cuthbert. The first, favoured by historians, was how the monks in seeking refuge from viking raids founded Durham, an ideal fortifiable peninsula protected by the river and steep banks. The second is the legend of the Dun Cow. Fearing for their lives from viking raids, monks fled Holy Island with the body of St Cuthbert to find his final place of rest. During the journey the leader of their community Bishop Aldhun had a vision of St Cuthbert demanding to be taken to ‘Dunholme’ but nobody knew where it was, so continued to wander Northumberland. The monks unable to continue, a cow girl (milk maid) passed by and asked if anyone had seen a lost dun (brown) cow. A young woman said she had seen the cow heading in the direction of Dunholme and pointed out the way. The monks followed the girl and the Dun Cow till they arrived at Dunholme, and were finally able to bury St Cuthbert and built the White Church, which would later mature into Durham Cathedral.

This would become the Durham we know today. The legend of the Dun Cow is part of the identity of Durham, not just as a fortified peninsula, but as the focus of pilgrimage for over a millennium. Pilgrimage peaked in Durham in the 12th century, when the shrine of St Cuthbert attracted a large number of pilgrims to Durham. Pilgrimage’s global significance was founded on the ability to connect people and their faith to place, rooting their beliefs and individual identity within a collective. It was important to me and this project to map this journey of the Dun Cow, and capture it in a series of 3D collage dioramas that show the story of each key scene when viewed at a specific point.

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3D DIORAMAS DEPICTING THE STORY OF THE DUN COW

EVERYDAY HERITAGE

EVERYDAY HERITAGE

Using these dioramas I was able to show the pilgrims journey through Northumberland to reach Durham from the Holy Island of Lindisfarne.

In many ways tourism is the modern pilgrimage. People visit places that inspire or generate an emotional connection that encourages the wanderlust. The tourism industry is imperative to Durham’s economy since the 1980’s and remains prominent within its WHS management plans.

Heritages sites, such as Durham, are marketed for global tourism for their uniqueness. Although this can also link back to what was previously specified within heritagescape: Heritage sites are typically understood as a present reminder of our pasts, a confirmation of subjective political negation of identity, place and memory, and it is something we create rather than already own or curate. Much like sites of pilgrimage, sites of cultural heritage express historical and contextual changes within our consumer society, but only what is deemed ‘worthy’ of visitation. Therefore the conservation of these sites becomes a task of preserving them at one specific point in time, or in the case of Durham, within an architectural epoch connoting the dualities of state power and overwhelming religious presence. The act of freezing GA2

this idealised viewpoint to guide visitors interpretation is the museumification we see in Durham. Therefore Durham

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is burdened by the ‘museum effect’ where, like with the historical routes of pilgrimage, the city is always under the

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this modern pilgrimage, preset by UNESCO.

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pressure of seeing and performing. The city becomes part of

The phenomenon of touristic heritage consumption, while

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commonly perceived as a negative for the museum effect, can prompt active preservation through widening the

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audience of appreciation to an international level. There is an obvious fragile balance emerging in Durham between

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tourism consumption and heritage conservation. This survival via destination led consumerism may bring with

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it too many modern pilgrims and the threat of ruin or the distortion of its histories. Yet what are these historical

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and contextual realities? To answer that, this project must divulge into the forgotten pasts of Durham; to explore the examine the reminiscent soul of the city and its people.

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pasts misplaced. To see past what visitors are shown and

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PILGRIMAGE AND DURHAM: A MAPPING EXERCISE SHOWING THE PILGRIMS ROUTES AND JOURNEY TO AND THROUGH DURHAM FROM LINDISFARNE AKA HOLY ISLAND

A PAST MISPLACED

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A PAST MISPLACED

A Past Misplaced THE HIERARCHY OF HERITAGE So far this project has analysed the residential levels of heritage in depth, but there remains a lot unsaid about the disparity between local heritage and world heritage. As previously stated, heritage is a matter of perspective and relation to place; not homogenous but rather hierarchal. In today’s rapidly globalising world, the ideologies of a peaceful cultural coexistence declared by UNESCO’s WH list is a tool used in fostering a sense of peace in the minds of men. WHS are then set the ambitious task to be all things to all people.

By appropriating these cultural assets, UNESCO juxtaposes them in order to reimagine a harmonious global community that Di Giovine names the heritage-scape (2009). WHS are symbolic in their national presence, to represent a country on a global list, but also establishes a societal sense of community through culture. Whilst heritage sites are built from local nominations, they are defined globally through UNESCO’s designation. Durham WHS is a living place, but chapter resolves is the understanding that Durham is more

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it is a marketed and manufactured place. But what this

facade value for its aesthetics and artefacts. Durham is a

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than a sum of materialistic criterium and is observed at

these stories have become misplaced in translation amidst

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social living site that is built on ancient skills and legends;

transitory values of individuality and collective memory

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the hierarchy of heritage. In the process of displacing these

where their identity is challenged. Much like how museums

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the local is forced into a newly-construed heritage-scape

exhibits (Di Giovine 2009). Therefore, for this investigation,

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re-contextualise the objects in their possession for their

ourselves with the levels of heritage in Durham and their

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it is imperative to explore these pasts to better acquaint

relics and stories of our past is essential to asserting the

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significances within the heritage-scape. The survival of

1981). These are the materials of historical study that act

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relevance of antiquity contextually in society (Hunter

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as guarantors of historical and cultural identity for future

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generations.

A PAST MISPLACED

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A PAST MISPLACED

UNESCO AND STATEMENTS OF SIGNIFICANCE In order to be on the World Heritage List, a site must qualify at least 1 of 10 criteria set by UNESCO. These criteria help UNESCO define and regulate a site’s ‘Outstanding Universal Value’. UNESCO recognises Durham for 3 specific criteria (II, IV, and VI). The first: Durham Cathedral represents one of the largest and most pristine examples of Norman Architecture, whist the Castle’s Norman Chapel is one of the oldest surviving rooms in Durham. Also, Durham Cathedral’s architecture represents a period between movements, with innovative and advanced construction for its era. I delve into more detail on this in semester 2. And finally, the protection and restoration of the relics of St Cuthbert, Bede and Oswald, important to the memory of the evangelising of Northumberland. VI was passed as a supplementary of the other 2, as it relates to the relics belonging to the Cathedral.

In addition to these significances, UNESCO asks the site’s management to outline statements of significance that evolve from these criteria. Currently there are 8 statements

being universally ‘valued’ over all else. But it questions the sense of identity that is perceived in Durham. Durham appears more curated than ever, just like an exhibit in the expanding international museum of UNESCO. In order to value our pasts, we must first recognise them. Durham must practise preservation that is able to respect the legacies and histories of past industries in order to create the better industry of tomorrow. Therefore, an extreme way to demonstrate this museumification would be to amplify Durham’s nostalgiascape in a way that isolates the local and become tourist in their own homes. Recreating landscapes that are seemingly

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innocuous and manufactured to be consumed by tourists.

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These are the qualities that are recognised by UNESCO as

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residential level like an old communication switchboard.

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veering paths of information that is supplied beyond the

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what is recognised as significant in the WHS. The constantly

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UNESCO’s criterion and Durham’s WHS; demonstrating

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This graphic illustrates the complex relationship between

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DWHS 2017; pp.10-16).

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of significance that run alongside UNESCO’s criterium (see

A PAST MISPLACED

TIMELINE Whilst attempting to define heritage identity in Durham and analyse the displacement of locals and local values in Durham, an industrial timeline was drawn. In order to visualise the legacies and origins of Durham it was important to investigate its industrial histories beyond the conventional story that is sold to visitors by the WHS. Durham has an incredibly rich industrial background with reasonably known links to coal and the Northern railways.

However, there are also lesser-known yet significant roots in mustard production, carpet-making, weaving and even at one point considerations for maritime exploitation. These are the local histories that have shaped Durham into the city we know today, but are also the histories that have been since damped and lost as the city becomes more marketed for the touristic image. Below is a timeline of Durhams industrial histories that have shaped it to become the city we see today. Contemporary economies and political agendas displaced these industries in favour for retail and tourism in Durham. But their legacy lives on through the local residents and historians, the living libraries of the community. But what will happen when these people are gone? That is the tragedy of heritage in Durham, the risk of this industrial identity being displaced and a contextual relationship between people and place lost.

Durham itself is used to represent an era of major architectural and religious influence at an international level. Elements of Durhams industrial history illustrated in this timeline are lost to this overpowering narrative; physically changing the residential and national heritage identity of Durham and the UK.

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A PAST MISPLACED

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DURHAM LUMIERE: THE LIVING MUSEUM

Durham Lumiere SITE VISIT AND STUDY There became the fortunate opportunity to study Durham during the Lumiere Festival; a charity run light-art festival that runs for 4 nights every 2 years. This unique opportunity provided ideal conditions for a 4 day long site study. During this festival Durham becomes a living art museum, supporting 35 installations featured in and around the city. Prior to this visit, extensive research was carried out on the festival, as shown by the infographic below.

Durham Lumiere is sponsored and ran by Durham County Council, and incorporates several layers of community and international involvement. For example, getting local schools involved to create sculptures. Whilst the theme of community is heavily promoted within the management of the festival, the potential disruption and the disassociation of the local in favour of the exhibits provides this study with tangible evidence in which to investigate.

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DURHAM LUMIERE: THE LIVING MUSEUM

Part of this initial research prior to Lumiere looked at the influence of the festival within a global market. While only 1% of visitors were found to travel internationally for the festival, unsurprising for the scale and location of the festival, the online ticket purchases and recorded visitor satisfactory questionnaires showed a large spread of countries across the world (DCC 2016). The global network has its fair share of marketing involvement in Lumiere, advertising the city as this museum of art. Durham literally becomes a museum for 4 nights. It is the perfect study opportunity for this project promoting the ‘everyday museum of durham’. Initially, in this site visit study, the aim was to capture the reoccurring themes that occur during the festival and uncover any unseen elements that may provide food-for-thought later in developing the project’s design brief. Additionally, a study of the normalities of the festival were also key such as: where people would walk, who was working and where, as well as how easy it was to get around the city. Effectively this became an exercise of professional

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people watching.

DURHAM LUMIERE: THE LIVING MUSEUM

Initial thoughts on Lumiere: The weather was awful.

Yet despite the arctic temperatures and thrashing rain attendance across all days was good. Thousands of visitors passed through the gates. While the festival was free tickets were required to get into the island peninsula around the Marketplace, Castle and Cathedral between the hours of 4:30-7:30pm. Ticketing was used to prevent overcrowding, although the effectiveness for queuing to see installations was questionable. Durham Lumiere 2019 featured the return of several favourites from previous years, in homage to its 10 year anniversary. Some notable returning installations included Portals, a personal favourite, the ILOVEDURHAM snow-globe and FOGSCAPE #03238 on the river. Fogscape in

particular

is

a

prime

example of how to use a landscape

effectively

in

this city-museum setting, but

it

falls

explanation

short of

in

its

what

it

represents. Fogscape is one of

the

most

atmospheric

light installations on display at Lumiere, at the foot of PHOTOGRAPH OF FOGSCAPE #03238 WHILE ON STUDY VISIT (DURHAM LUMIERE 2019)

the Cathedral bleeding into the river and woodlands.

The

installation

was

one

of the most popular with professional photographers, as most days were spent battling the way through forests

of

umbrellas

tripods in

and

attempting

to reach the muddy river path and the viewing point.

But

truthfully

the

most

interesting aspect is what it represents: the story of ‘St Cuthberts Mist’. Durham avoided being successfully bombed during WW2, although one raid in 1942 did give rise to the local legend. The story goes that the Luftwaffe attempted to target Durham as a site of national and historical importance, but was thwarted when Cuthbert created a mist that covered both the Castle and Cathedral, sparing them from being bombed. The exact events of the night are disputed by contemporary eyewitnesses, but the legend remains. This provided the inspiration for Fogscape, detailed by the artist. However on the Lumiere webpage and the official printed literature this precedent for the piece is missing. It seems, once again, a lack of knowledge of histories and legends is experienced on the site, in what is becoming a common reoccurrence within the everyday museum of Durham.

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DURHAM LUMIERE: THE LIVING MUSEUM

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Photographs from Lumiere over the four days of study.

DURHAM LUMIERE: THE LIVING MUSEUM

Security was a well known presence throughout the festival. Apart from the abundance of neon jackets, there was one striking theme that comments not only on Durham specifically, but on wider society. This being the constant plethora of phones in view. Everything is experienced through a phone screen, no matter the festival or event, and Lumiere was no exception. As I walked around, everywhere I went all I could see was phone screens, where it became more interesting to view the festival through the phone screen of others. So that is what this study did. It is in these moments people can brand themselves and the places they visit into a idealised reality. In an attempt to preserve a memory, the camera is the only object that experiences the moment, as a picture only ever be a twodimensional of

the

reproduction

‘real’.

Why

do

we feel the need to take photographs or experience the world through a camera lens? Batisse & Bolla (1999; p.79) argue: “despite the PHOTOGRAPH OF FOGSCAPE #03238 WHILE ON STUDY VISIT (DURHAM LUMIERE 2019)

popularity of photography, it could be argued that the camera lens is merely the Claude glass of a previous century, such that it is easy to look but more difficult to see” a provocative theory that grows on what we know about

the

memory, heritage. living

links

between

identity What

memory

and

separates and

the

camera is the eye which is sensory and truthful, it cannot lie or bend reality towards a touristic perfection. This amplifies the growing disruption of Durham landscape, where these visitor consider it a physical object to observe and enjoy, whilst to the longterm resident it is more an extension of themselves beyond a camera frame. By viewing the festival through the phone screens of others it helped guide where the most popular spots and viewpoints were. These were the areas of greatest study, which chiefly comprised: The Market Place, Cathedral Interiors as well as the more static pieces. It was compelling to see how many of the interactive pieces were only ever touched by children, adults preferring to stand to the side, capturing it with their phones of course.

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DURHAM LUMIERE: THE LIVING MUSEUM

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Photograph montage from Lumiere Viewing Durham through a phone screen

DURHAM LUMIERE: THE EXHIBITION

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DURHAM LUMIERE: THE EXHIBITION

without looking at the page, to reflect the initial experience of walking through the site. Areas where significant periods of time were spent, such as where the majority of crowds were or places that forced you to stop, were also highlighted on this mapping. When comparing this sketch to the original visitor map for Lumiere it is key to note the major disruption that occurs through the lack of crowd control in the peninsula. The ticket system only partially successful in this management. As time progressed and the weather worsened, the general age of visitors changed from families

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to primarily adult groups.

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path systems that were in place. It was drawn from memory,

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to see all the installations and incorporate all the one way

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drawing shows the route taken through the festival in order

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festival as possible through a series of mappings. The above

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During Lumiere it was important to capture as much of the

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THE EXHIBITION

THE EXHIBITION

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route, concentrating on areas with installations as well as disruptive viewing platforms and crowded areas where you are forced to stop.

This method of unfolding and story-

telling is strong for this project detailing the everyday museum of Durham.

Developing on these drawings, I created my own mapping of the museum of Durham during Lumiere, showing the progressional journey through the festival as well as provide a synopsis of the on site encounters of exhibits during the

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visit. This map can be seen on the following page.

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the next. Drawings were taken of key moments along the

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through the site, with each installation unfolding after

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as I did. In sorts this became a new form of pilgrimage

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through Lumiere, to allow viewers to experience Lumiere

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a series of drawings that showed my experiential journey

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Corresponding to the previous drawing exercise, I produced

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THE EXHIBITION

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THE EXHIBITION

Map of the Museum

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THE EXHIBITION

One of the most pronounced factors from the journey through Lumiere was the movement of people and crowd management. Crowding from visitors is not unexpected for Lumiere, but from studying the one-way river walk system it becomes clear how these crowds move in consistent pulses that was amplified at around 7:30pm, when tickets were no longer necessary to enter the festival. The data for this study was taken as a median across the Thursday and Friday, by the weekend a no-stop policy had been put in place preventing the continuation of the people watching excise. However, the data remains as a consistent and accurate representation of the crowds disruption across the city. Lumiere requires visitors to acquire tickets to enter during peak hours, meaning residents must also have tickets to access their own homes during these times, the very definition of disruptive and inconvenience. Residents are customarily offered passes to allow them special access, however, this is disruptive to their everyday routine. One again the local is made to change their attitudes and response

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to tourism in the city.

MAPPING THE MUSEUM

Mapping the Museum MUSEUMIFICATION AND DISRUPTION In order to process all the information gathered so far, a mapping of the museum was composed. This map begins to overlay the layers of information gathered during the site study and the previous mapping studies. The aim of this was to collect all this projects research on the areas of museumification and disruption in the city on one drawing.

The first of these new mappings, shown on the right, works into the previous exercise from exploring the ‘everyday’. The journey through Lumiere and the site study was projected onto the residential heritage corridors and the previously established routes of significance.

The next mapping, seen on the following page, shows the areas of concentrated disruption via crowds. This is clarified by illustrating the location of most crowding and the tracked movement of these crowds across the site, as well as the most concentrated areas of visitors and disruptive blockades. Blockades were set up around the site in efforts to maintain a one-way routing system around the site, although it became more a hindrance than a help while on site. These stoppages easily became one of the most annoying elements on site, making selective public space feel unwelcoming and an exclusive privilege for the few.

For example, Durham University students were allowed access into these restricted areas, whether they lived in the area or not, only requiring their student pass. Only locals who received a gold residential pass were also allowed this luxury to walk through their own city during the hours of 2pm to 2am. Gold passes and bought exclusivity evokes imagry of theme-parks and museums. The place of the local is both within and without of the city’s identity; essentially becoming another visitor.

The two layers of mappings coincide auspiciously and begin to refine areas that may be potential sites for a design installation. Therefore, the next step in continuing this mapping exercise was to separate any extraneous noise from the drawing, and concentrate on the areas identifiable as being symbolic of disruption and museumification.

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MAPPING THE MUSEUM

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Mapping Overlay 1 (Route Taken and Location of Art Works)

MAPPING THE MUSEUM

Mapping Overlay 1 (Route Taken and Location of Art Works) This spread allows for a side by side comparison.

These drawings were originally produced on trace paper as overlays.

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MAPPING THE MUSEUM

Mapping Overlay 2 (Following Crowds)

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MAPPING THE MUSEUM

As seen on the right, by combining and then simplifying all the layers of information from the previous exercise I can create a diagrammatic representation of the main elements and areas of disruption to the local resulting from museumification. There are several elements to this drawing, starting with the size and movement of crowds across the site. As expected the movement of crowds correlates to the position of installations or exhibits, all the while controlled by the series of blockades and one-way systems in place.

The city appearance is shaped by this over-curated visitor experience to view specific sights in a specific way in a highly mechanical fashion. The blockades themselves create unique moments within the city, so called no-go areas, that fracture the existing circulation of the city, and creating a sense of exclusivity to the site. These appear as negative spaces within the plan, heavily monitored and controlled by differing forms of governance, such as volunteers and hired security. More importantly, they reflect areas of significant disruption to the everyday lives of the people that live and work there. Even post Lumiere, a sense of exclusivity lingers behind in the city. However, the most notable areas of this disruption occur where these crowds and curated visitor experiences collide, shown on the mapping as the shaded dotted zones. Coincidentally this happens to also be the areas most reminiscent of being in a theme park; arguably the location of most tangible museumification as the areas

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of capital and cultural disruption.

The museumification of Durham is therefore reflected in the

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continuous disruption of everyday life, to the point it begins to become part of the new everyday. This act is encouraging

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the disassociation of the local from the narrative of the city and challenging their cultural identity, as seen in the timeline

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study. Changes to the city as a result of its festivalisation is predominantly unfavourable to the local residents, where

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this touristic consumer culture is challenging the existence of traditional values (see Cudny, 2016). Thus the relationship

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between the local and the city is threatened, casting doubt on the residents to their right to the city and their own

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identity within it. The city in experiencing a constant flow of visitors and events transforms into a permanent exhibition,

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an idealistic over-curated display, turning everyday into an open day and converting every local into a tourist. Durham

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is transitioning into an idealised representation of itself for the tourist in order to continually support its tourism proponent of the heritage-industry.

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industry; a signifiant industry to the city’s economy and

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MAPPING THE MUSEUM

Developing on this line of enquiry, the final phase of this exploratory mapping study was to combine all the drawings so far into one master mapping. The aim of this was to assemble all the tangible and intangible elements of museumification in Durham into one collective narrative in which to extract the most prominent and reoccurring themes.

The most notable of these themes being the crowding and disruption of touristic culture on the city centre, and the distancing of locals cultural identity as a response to the museum effect and curated heritage.

The map itself distinguishes the connections between: the initial contextual plans, the historic routes of pilgrimage, the study of Lumiere and the mappings of disruption to the city and the local. A clear zone appears around the peninsula, creating an interesting dynamic between the inside and outside of the current WHS boundary. As of 2017, new plans to extend the WHS to include the wider landscape and riverbanks of the peninsula have been proposed, but are still awaiting response from ICOMOS and UNESCO. The relationship between this proposed boundary and the existing boundary is evident on this mapping, and greater incorporates the areas of disruption seen from the site studies. Surprisingly the current boundary of the WHS is an interesting moment of study within the site’s area of study, behaving as a physical barrier of heritage on the site despite it being characteristically ethereal. A visitor may not be able to draw the exact location of the boundary line, but there is an additional significance laid on the site as a result of its existence that alters the visitors interpretation of Durham’s cultural heritage. It is along this boundary we also see the most areas of capital disruption and physical restriction through the site. Overlaying all of these moments of touristic disturbance and cultural significance helps pinpoint the most disruptive zones to perform as sites for my own architectural assemblage. These are shown on the map as the black dots, with their geographical relationships to each other illustrated by circular zoning.

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MAPPING THE MUSEUM

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MAPPING THE MUSEUM

THE TOURIST AND THE LOCAL To be able to understand the role of the tourist industry, this project must first establish the identity and character of the tourist in Durham. Tourism is often visualised as an overreaching superstructure that exists beyond the tangible, that branches within the heritage-scape and society (see Nash 1981). The phenomena of tourism has strong links to legend, religion and art, which provides substance to the symbolism of the living museum display. Through early acts of pilgrimage, the speculated historical origin of tourism, society has shown its need to travel for an unspoken spiritual fulfilment and enjoyment:

humanity’s

wanderlust.

Contrary to the local the modern pilgrim, alias the tourist, can enjoy repeated encounters with the same place over an extended period of time to fulfil this need.

The tourist can separate themselves from their own quotidian existence and visualise themselves within idealised destinations that may provide the unique and exciting.

To the local, however, these interactions are part of their everyday as the city forms a pillar of permanence within their cultural identity narrative. Local GA2

interaction with the city can therefore be considered bound to the everyday, where

nurtured by familiar legacies, histories and overlapping memories, which create the complex nostalgias and pride one describes

their

‘Home’.

There

then

becomes an interesting dynamic where

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of this relation between local and city is

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the place (Di Giovine 2009). The intimacy

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person feels intimately connected with

THE OUTSIDER’S PERSPECTIVE

at the most mundane level, hence that

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the city directly influences the person

are brought together by a common appreciation for the

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the local meets the tourist in the city. Their existences

perspective positions separates these two groups into the

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city within their individual identities, but the emotional

to see, or the outsider and the insider. I attempted to show

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visitor and the resident, the sightseer and part of the exhibit

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this relationship between the insider and the outsider

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through collage.

MAPPING THE MUSEUM

The key difference between outsider and insider is the psychological experience of resonance and wonder within a place. The personality of a place, its histories and mythos, intertwines with the insider in what is considered as a cultural identity. The complex assemblage of the collective memory, people and place, demonstrates how for the insider the city is internalised as being a part of ones own being.

The insider believes they intimately know the city as much as they know their own mind (Di Giovine 2009). Rather than a continuous flow of the ‘new’ that euphoric to the outsider, the insider receives enjoyment from the microcosmic interactions with a space they feel an extension of themselves. This is a heavily emotional connection that constructively distinguishes the approach of the insider and outsider, and prompts the question of who the real tourist in Durham is. In Durham’s encouragement of the tourism industry and the capitalisation of its cultural heritage as international tourist attractions,

the

insider

is

becoming

further excluded from the city’s narrative, where the shared intimacy and identities are challenged or reconditioned. Therefore the insiders identify drifts further away from the residential figure to become a visitor in the place they call home. These complex themes are not easy to capture, but instead may be interpreted as the negative effects of museumification.

The

confusion,

distortion

and

re-

contextualising of cultural heritage as exhibits to visit and enjoy is captured in a final collage. The idea is to show the disorientation and turmoil in the space between the insider and the outsider. Cultural heritage in Durham is literally turned on its head in the process of transforming it into a narrative sellable to visitors. The 3D collage was assembled with layered images associated with the tangible architectural elements of the WHS, as well as photographs of Durham prior to WHS listing and ancient paintings of local legends banished to the background, faded with time. The remaining qualities are there for individual viewers to interpret, much like Durham itself. May it prompt the question: Am I an insider or am I an outsider?

The questioning of cultural identity is clear in Durham, exaggerated by the museumification of the city.

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MAPPING THE MUSEUM

THE EVERYDAY MUSEUM: THE DESIGN BRIEF

REFINING THE DESIGN BRIEF In summary, Semester 1 formed a contextual study of Durham that investigated the effects of museumification on the locale populous, in search of possible directions in which to take this project. The analytical nature of this semester has lead this to be a theory heavy book like narrative so far, which has been reflected in this portfolio layout.

The

museumification

of

cultural

heritage

in

such

a

living historic city is a contemporary issue prompted by commercialised globalism and the tourism industry, causing the distancing of locale by re-contextualising cultural identity.

The

‘everyday’

residential

heritage

becomes

exhibits within the museum peninsula of Durham. The design brief for this project must react to this.

Therefore, the ambitious aim of this project is to create an exaggerated museum-scape that exploits the societal needs to collect, curate and wander. This can be achieved by designing a route through Durham connecting 4 pavilions on the sites of major disruption located from the previous mapping studies. These pavilions will support the branded imagery and identity of the everyday museum by housing activities that allow the city to behave more like a museum.

For example, curating the movement of people through the mundane, ticket booths and toilet blocks, temporary exhibits and gift shops. The purpose being to emphasise the isolation of the local within the museum, thus amplify the imagery of Durham city as a museum island. The intention of the events housed in these pavilions is to construct an incentive to travel, an encouragement of museum symbolism through architectural intervention that manufactures the visitors interpretation of the city and its people. Sites such as Berlin provide ample examples of ways of manufacturing or doctoring histories in this way. The exaggerated museumscape is captured in this illustrative drawing. The objective of this project to amplify the way things are going in favour of the touristic experience and how far the city can be pushed to become a living museum.

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THE EVERYDAY MUSEUM: THE DESIGN BRIEF

DISSECTING THE MUSEUM

Museum Precedents DISSECTING THE MUSEUM In order to design the pavilions and route of the museum, the next logical stage in this project was to collect a series of museological precedents and design typologies. These studies provide inspiration for form, as well as lessons in how to interpret the museum in an architectural language.

This forms a repertoire of references for museological design, supported by the readings of ‘A Design Manual: Museum Buidlings’ (Naredi-Rainer, 2004) and ‘Museum Design’ (Li, 2013). These readings provides inspiration for different museum presidents across the world. I chose to focus on the historic or heritage related projects, as to not only learn the basics of museum layout design but also analyse the differing approaches to interpretation, reuse and (in some cases) restoration. Examples of some of the collected works can be seen on the following page.

The designed pavilions that support the everyday museum of Durham will practice containing consumerism by manufacturing a tourism industry 2.0; like museum factories. Through detailed precedent studies as well as a thinking-through-making approach to design, this project will resolve how these might appear and interact with the tourist routines on the site.

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SAN TELMO MUSEUM EXTENSION

BY BY FUENSANTA NIETO AND ENRIQUE SOBERANO

THE NEUE NATIONALGALERIE

BY LUDWIG MIES VAN DER ROHE

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NATIONAL MUSEUM OF SCOTLAND

BY GARETH HOSKINS ARCHITECTS

NESTLE CHOCOLATE MUSEUM

BY MICHEL ROJKIND

JEWISH MUSEUM BERLIN

BY DANIEL LIBESKIND

KAAP SKIL MARITIME MUSEUM

BY FRANCINE HOUBEN AND FRANCESCO VEENSTRA JAMES-SIMON-GALERIE BERLIN

BY DAVID CHIPPERFIELD

REDESIGN OF MILITARY HISTORY MUSEUM, BY DANIEL LIBESKIND

DISSECTING THE MUSEUM

DISSECTING THE MUSEUM

Entrance Library

Cafe

Temporary Exhibit

Exhibition

Offices

Shop

rd rtya Cou

Lookout

Toilet

Conservatory

Ti Atrium ck et s

Storage

Education Centre

Lobby

Lecture Hall

Laboratory

After the interrogation of these president studies, I wanted to distill the key elements of a museum layout and floorpan in order to know what activities would be necessary to include in my route and the everyday museum. Using a word cloud, I was able to input the activities and programme of as many museum precedents I could collect. The more times an activity was repeated, the larger the word became. The result can be seen above. As expected, exhibition spaces were the most prominent feature in museum programming; followed by shops, cafes and storage spaces. These are the programmes that makes a space a museum. Therefore, these are the activities I need to focus on and include along my route through Durham in order to fully develop the peninsula into a museum. Including these activities will give the impression of museum design and being in a museum, which is one of the aims of this project emphasising the museum-scape.

The next logical step would be started to organise these into 4 groups to assign to each of the 4 pavilions. Refining these actives provides a more believable backbone to the design of the pavilions. As seen in the word cloud study, the most reoccurring activities in a museums programming were Exhibit spaces, Shops, Cafes and Administrative storage facilities.

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DISSECTING THE MUSEUM

The Museum

Exhibit

Laboratory

Library

Atrium

Lobby

Toilets

Courtyard

Storage/Administration

Conservatory

Tickets

Entrance

Offices

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Lookout

Cafe

supportive activities, that are less frequent but can help

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These can be further developed to include additional

breakdown of this spacial activities planning can be seen in

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facilitate the appearance of a museum’s design. The

From mapping studies completed in semester 1 the locations

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this diagram to the right.

from the precedent studies, we know that the shop or gift

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of the 4 pavilions are known. Using what we have discovered

Therefore, for the everyday museum the last pavilion along

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shop is routinely located at the end or exit to the museum.

applies for the Cafe, which is commonly located around the

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my route through Durham must be a shop. The same logic

Cafe pavilion must be located central to the city, close to the

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main entrance or by significant exhibitions, therefore the

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to each of the pavilions can be seen above.

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Cathedral. The breakdown of these activities and assignment

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Education Centre

Shop

PLANNING THE ROUTE: RETURNING TO PILGRIMAGE

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PLANNING THE ROUTE: RETURNING TO PILGRIMAGE

Planning the route RETURNING TO NOTES ON PILGRIMAGE AND DURHAM As previously explored, Durham has a rich history of Pilgrimage dating back to its founding legends. The Cathedral remains the heart of the community, and attracts many for its experiential qualities whether religious or wanderlust. As such, pilgrimage remains a prominent theme for contextualising durham both for the insider and the outsider. We can take inspiration from the old contexts of past pilgrimage to Durham to inspire a design installation for the new modern pilgrimage. For example, the journey from the Holy Island of Lindisfarne to Durham took the retreating monks across the causeway in a specified route as not to get caught out by the sea or stuck in the sinking sands. This plotted route across the causeway, also known as Pilgrims Way, is a literal example of the designed route,

forward onto the next part of this thesis project: Plotting and designing the route.

Additionally, at this stage I began to focus in on Durham Cathedral and the Castle as the main Exhibits in the museum of Durham that the tourist/modern pilgrim will want to see. What UNESO defines in their Norman architectural significance can be the greatest inspiration for designing a language of my route. This project is about manufacturing moments along the route as if directing a sequence of exhibits through a museum. This pilgrimage routing through Durham must touch on the spacial organisation qualities of the Cathedral and Castle, and consequently disrupt the

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Durham local.

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pilgrims way through Durham. This was the thoughts going

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of way marking could also be applied to plotting out my own

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a simple yet aesthetically pleasing journey. This simple plan

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markers, as to define the safest way to cross. This makes for

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The causeway route is marked out by large wooden place

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with thousands of visitors making the journey every year.

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which over time has had spiritual significance attached to it

PLANNING THE ROUTE

PLOTTING THE ROUTE After developing a deep understating on the location of the pavilions and activities, as well as analysing the programmed activities necessary to be included in these spaces, the next step is to plot the route through the city. The masterplan to the right shows the city before the route has been plotted.

We can identify the areas of current major disruption and the festivalisation offset by its museumification. This is shown again in the same style as before, highlighted with black dots. The areas of most disruption are the areas we want our pavilions, as they will act as hubs for museum activities, and amplify the museumification of the city further. These 4 sites are shown as the large black dots. Their location is mapped against the existing UNESCO and proposed durham Council WHS boundaries, showing the relation between the heritage site and the congested areas of disruption.

The route must journey across the city, connecting the pavilions to the major attractions such as the Castle and the Cathedral. In order to curate an experience or flow through the city, this route must be one way. It must also inspire the wanderlust of the tourist and frame the idealistic heritage view predetermined by UNESCO. The exaggerated museum route will further overshadows the local and with it their cultural identity. To design the experience tailored to the tourist, I used instagram to investigate the most common photos taken of Durham by visitors, using multiple variations of the #Durham. I layered these views and photos over the masterplan to visualise the most desired points to include along the route, as seen on the following page.

These will be fundamental photograph opportunities that heighten the touristic experience by framing the city in the most touristically attractive perspective. The route therefore is created by joining together these touristic hotspots and photo point opportunities to the pavilion sites of disruption.

This final layer to the masterplan detailing the final route pathway is shown on the following page.

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Overlay mapping showing ‘iconic’ views; Originally printed on trace.

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Overlay mapping showing the route, pavilions/activities and photography/view points; Originally printed on trace.

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PLANNING THE ROUTE

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PLANNING THE ROUTE

As heavily explored in the theory of this thesis, the modern pilgrim or tourist will react differently to relics of the museum in relation to their intimacy to the cultural heritage it represents.

For example, a tourist feels compelled to photograph the Cathedral, where a local will not, because why would someone take a photo of their own home? When personifying Durham as a ‘museum island’, the isolation of the local should be so severe they become a tourist in their own home. By contracting the fantastical or foreign, residents too will take pictures and touristically interact with the city.

To further illustrate the designed progressional experience through the city, I modelled the route on a topographical model.

The aim was to see how the route would interact with the context of the city physically/topographically as well as mentally through its effect on the cultural identity of the local via an exaggerated

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living museum-scape.

PLANNING THE ROUTE

Now the layout of the route has been planned and developed, how to access the route should be established.

One of the most important elements to this route and thesis has been pilgrimage as a reoccurring theme throughout.

Being reminiscent of the ancient pilgrimages of Durham, the access too should reflect this- being it is the new route for pilgrimage for the tourist otherwise known as the modern pilgrim of Durham. There are 5 bridges that cross the river Wear to access our museum peninsular; 3 only allow pedestrian foot traffic and 2 allow both cars and pedestrians.

Significantly, entry by car is limited in

Durham due to minimal car parking and access around the site by car. Therefore, most visitors from outside the city arrive by train or bus for convenience. Fortunately, the bus and train station are located close to one another. When mapped on the site of the planned route, a natural direction of travel for visitors begin to form funnelling them down North Road across Framwellgate bridge. This access point onto the peninsular would be an opportunistic point of entry for the new touristic through the city. I have attempted to show this in this pinned drawing; the proposed route plan is in black string and the direction of funnelled visitors onto the route is shown in pink string. This was primarily used as a personal tool for developing ideas of how and where to provide access onto my designed route.

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PLANNING THE ROUTE

DESIGNING THE ROUTE

Designing the Route FROM PLANNING TO DESIGN Now the positioning of the museum route through Durham has been plotted, the focus of this thesis shifts to the design

THE ROUTE

and architectural language of the route. The design brief is to re conceptualise the city peninsula as a museum in order to further exaggerate the museumification of the city, curating the touristic experience into an idealised form. The design of the permanent route structure needs to reflect on what has been developed so far: the significance of the pilgrimage, Norman Architecture and contemporary attitudes of heritage within modern society and the heritage-scape. Therefore, the best place to start is to look back at museum design and circulation and learn from masters of the ‘promenade’.

The thesis must develop on how to interpret as well as inspire the wanderlust that drives the modern pilgrim using architectural design.

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DESIGNING THE ROUTE

THE INFLUENCE OF CHIPPERFIELD As a master of the museum and modernism, David Chipperfield is a significant influence to this project. In practice, Chipperfield has mastered the balance between ordinariness

and

specialness;

the

everyday

and

the

fantastical.

My interpretation of the methodology of

Chipperfield approach to architectural intervention would be that architecture does not need to be loud to make a noiserather reconcile society with modernity through expressive and

meaningful

materiality.

Chipperfield

has

worked

extensively on the development of

Berlin’s

museum

island.

One of the greatest examples of this is Chipperfield’s Jameswhich JAMES-SIMON-GALERIE BERLIN- COLUMNS

BY DAVID CHIPPERFIELD

acts as a gateway to Berlin’s museum island, and the start of the intended route through the island. The slender columns by

famous sketches by Friedrich ‘cultural

acropolis’ (Chipperfield, 2020). architectural

language

of the gallery adopts existing classical

elements

of

the

Museum Island, primarily from the external architecture,

It would be a missed opportunity then not to apply

making continuous reference to Schinkel, Stüler and the

these lessons from Chipperfield. Durham has a wealth of

other architects involved in the creation of Museum Island

architectural inspiration for the development of my own

in the mid-late 1800’s. The compelling materiality of the

architectural language. One of the most prominent elements

buildings rely on the contrast between natural stone and the

is the Norman influence, which is key to the international

original island palette of limestone, sandstone and rendered

interpretation of Durham. What makes Durham Cathedral

façades. Smooth in-situ concrete was used the interior

unique is its innovative design and vaulting construction for

spaces, creating a flawless continuity between spaces that

its time, which is recognised by UNESCO. The Cathedral we

seem to flow into one-another. With this contemporary

see today was built in 1093-1133 making Durham Cathedral is

interpretation of the classical promenade, Chipperfield

one of the oldest surviving Norman Romanesque cathedrals

demonstrates his understanding and mastery of modern

in England. It is used as the prime example of the thick

urban scale design.

piers and columns used in the Romanesque style pre-dating Gothic (Hopkins, 2014). Groin vaults had been invented by

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the Romans, but they were rarely used after the decline of the Roman Empire because of their geometrical complexity.

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Wilhelm

However, the Normans at Durham Cathedral felt confident enough to use them for the nave, prefiguring the Gothic

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inspired

in form, if not its structure. This developing architectural language provides ample inspiration for my own architectural

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motif

form responding to the context of Durham. The aim of this architecture is to not only to inspire the motif of travel, but

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also to magnify and exploit the museumification of the city and its ‘sellable’ Norman architecture. I intend to interpret

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become

the Cathedral and the Romanesque as Chipperfield did on

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the museum island.

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design,

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DESIGNING THE ROUTE

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Romanesque Elements

DESIGNING THE ROUTE

IDENTIFYING THE ROMANESQUE Following on from the discussion of Chipperfield, I began to investigate the significant Norman architecture of Durham: specifically its Romanesque early christian Cathedral. The Romanesque style appeared in Europe in the mid 11th to mid 12th century. The characteristics of this architectural style include west towers, round arches, apses, barrel vaults, as well as thick piers and columns (Fazio, 2014). Taking inspiration from Durham cathedral, I began to extract these elements and analyse their design motifs, as shown in a series of collages.

Romanesque literally means ‘resembling Roman’; this architecture

revolves

around

its

spatial

organisation

and connotation of empiric powers. A district rhythm is established in these buildings, mainly churches, through the repetitive spacing of columns and piers, which is punctuated by the crossing of arches and vaults. When we discuss political powers heightened by architecture, the baroque and romanesque are usual suspects. The Normans were central to both the development and the spread of this style. The key innovation in Cathedral design was the bay, which the

Meanwhile, Gothic architecture introduced complex themes of light to the equation, introducing the flying buttresses and other innovations such as the stained-glass window.

For this project, I will stay true to Durham Cathedrals Norman Romanesque style and take inspiration from these 6 main themes.

Personally, the most inspirational elements I draw from are the uniqueness of the Cathedrals vaulting and the contrasting thickness of its walls and open spaces, which is only amplified by its logical and symmetrical spatial organisation. These are what I take forward into my approach of contemporary reinterpretation and methodical

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design.

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characterised by thick walls and a heaviness to its structure.

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2014). The romanesque was all about spatial organisation,

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see Romanesque soon make way for the Gothic (Hopkins,

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the different regions of Europe via pilgrimage routes would

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increasing interchange of architectural ideas shared between

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the Battle of Hastings in 1066 and subsequent conquest. The

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Normans introduced to England following their victory at

DESIGNING THE ROUTE

Therefore, for the design of the main route I took inspiration from Durham Cathedrals barrel and ribbed vaulting, which is significantly unique in the history of European architecture.

Through a series of massing models, scale 1:100, I explored the interpretation of the romanesque arched and vaulted form, playing on repetitive and symmetrical language favoured by the Normans and the Romans. The purpose of this interpretation is to create a form that can be positioned to deliberately frame the specific views along the route while entertain visitors with an aesthetic language. To create my own ‘Pilgrims Way’; something worthy to host visitors but also be part of the attraction.

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DESIGNING THE ROUTE

DESIGNING THE ROUTE

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DESIGNING THE ROUTE

Pilgrimage: Journey & Ritual -83

DESIGNING THE ROUTE

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The final design delivers on a contemporary interpretation of the romanesque vault and arch, using concrete materiality

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DESIGNING THE ROUTE

pillars of the Cathedral. The intention is to clad the pillars,

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to replicate a thickness associated with the thick stone

The design repeats itself methodically in its language along

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which will be further explored as this chapter continues.

feeling of Durham Cathedral’s interiors, as shown in the

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the route and throughout the city, making sure to give the

frames the touristic view. The repetitive form and simple

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collage coloured perspective. Meanwhile, it consistently

to the shifting topography of Durham. Since the route has

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formwork required for its construction allows it to adapt

modular and repetitive as to accommodate this continuous

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to run along the entire peninsula, the route needed to be

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change in ground level.

DETAILING THE ROUTE

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DETAILING THE ROUTE

The construction of the route is designed to be appropriate for the changing topographical levels on the site; the repetitive concrete column structure allows for a repeated formwork that can be cast onsite on a strip foundation to maximise, time, cost and material efficiency. Strip is less invasive than pile; due to the existing ground works and quality of soil, pile foundations may not be appropriate environmentally, if

no concern over storing the individual columns. The strip foundation is also the most economic for developing a long route, helping share load weight and distribute the weight evenly across the structure, decreasing risk of fracture.

There is also the opportunity to be able to use admixtures in the concrete; since the design features a cladding system the aesthetic appearance of the concrete causes no concern.

Super-plasticiser admixtures such as recyclable FlyAsh or Microsilica can be added to reduce the water content, make the mixture workable for longer hours and help strengthen the compressive strength of the concrete in the process (Bell & Rand, 2014). See also Plunkett (2015), Rand (2016) and

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Corner, Fillinger & Kwok (2018).

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the premise of where it is cast it will remain. There is also

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the foundation connection is more reliable and stable, under

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which is an average height of 5m. As it is cast into the ground,

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also means there is no limit to the size or shape of the route,

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it as a valuable asset exhibit in the museum. Casting on site

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not about degrading the landscape, but would rather protect

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not additionally damaging environmentally. This project is

ANANSI PLAYGROUND BUILDING- CORIAN ACRYLIC PANELS

BY MULDERS VANDENBERK ARCHITECTEN

DETAILING THE ROUTE

By utilising a plastic, acrylic polymer, cladding system I can exaggerate the synthetic materiality of mass produced entertainment spaces such as theme parks or shopping centres. These panels can be easily attached with a simple metal brace; they are extremely durable and survive weathering which is important to consider when designing in the north east of England. The panels can be made separately and install in an interlocking system, attached to the concrete pillars using its metal frame, with its external edges seamlessly glued together. As the panel system is acrylic, it can also be engraved or detailed. An example of a project that does this is the Anansi playground building in the Netherlands. The pattern they designed and used depicted fairy tale stories on the side of a Kindergarten, as seen in the images above. Similarly, I chose to also engrave a pattern into the acrylic polymer sheets. The pattern mock up, shown on the right, takes inspiration from the figures detailed in stone on the facade of Durham Cathedral. These chosen figurines represented legends and folk tales of the past, such as the Dun Cow we previously discussed in this project. The engraved figurines in this pattern represent the total commercialisation of local legend, exploiting the locals cultural histories as background props in the detail of this design.

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The concept is that the tourist pays for the experience using an online ticketing system, using their phones to scan their ticket codes at an entry turnstile, getting onto the route to meander through the museum and experience what it has to offer them. The museum highlights and exhibits the

international

interpretation

of

Durham’s

heritage

through the Castle and Cathedral, over the locals heritage and subsequent cultural heritage identity. It is more than re-contextualising the position of Durham in the heritagescape but rebranding the living city as a living museum. The collage above is a simple representation of the main route structure in context with the existing urban city-scape of Durham.

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DETAILING THE ROUTE

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Section through the original landscape of the Cathedral

DETAILING THE ROUTE

Below is a concept drawing of what the route may look life if it were to be taken to the extreme by interacting directly with the Cathedral to provide the most direct route for the tourist, tailoring the experience just for them, and completely disrupting the local fabric. The original can be seen on the previous page.

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Section A Overview of Route Structure

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Section B

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OVERVIEW OF THE ROUTE

OVERVIEW OF THE ROUTE In this final diagrammatic overview of the route, we can begin to unpack the circulation of my proposed installation across the city. The route itself is designed like a machine to feed people through the city-museum and in doing so forcing visitors to experience a predetermined vision of Durham designed specifically for them, as the outsider.

The drawing shows the flow of people and their experience through the museum. Their interaction within the identified areas of major disruption to the local highlighted, and aligned to maximise the disruption and degradation of any local cultural identity. The route taking over, breaking apart and reforming to the new identity.

The route’s architectural language wishes to remain minimal yet reflective on the Norman Architecture UNESCO praises Durham for and promotes on an international level. It homogenises a touristic setting across the city by designing to commercialise the city and profit off the tourist. The route is prepared for pleasing the tourist while disrupting the lives of the local in a way that is uncomfortable and local/native born there. But this is a reality that reflects on

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commercialising as someone who identifies as a Durham

UK, and even expanding into Europe. The constant changing

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what is happening to all living heritage cities across the

society within the heritage-scape. If heritage is to unite

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routines of the tourist reflects that of the value of global

commercialisation will surely degrade this unity over time.

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us through our differences, then its homogenisation via

within the heritage-scape.

But it is up to the individual

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This route therefore represents something much larger

everyone is an actor within this “playhouse of diversity”

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reader to decide where they sit in this performance, as

(Di Giovine 2009; p.275). That is the truth in what makes

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with a different part to play and a contrasting point of view

route installation takes on such a significant role in Durham.

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this social assemblage so complex, and why this designed

exaggerated museum-scape of ‘the everyday museum

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To complete the transformation of the peninsula into the

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architecturally developed to sit alongside the route.

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of Durham’ this thesis proposes, the pavilions must be

SITE 1- THE CAFE PAVILION INSPIRED BY MUSTARD INDUSTRY

SITE 2- THE ADMINISTRATIVE PAVILION INSPIRED BY COAL MINING INDUSTRY

SITE 3- THE EDUCATIONAL PAVILION INSPIRED BY CARPET INDUSTRY

SITE 4- THE SHOP PAVILION INSPIRED BY SHIPPING INDUSTRY

DESIGNING THE PAVILIONS

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DESIGNING THE PAVILIONS

Pavilions DESIGNING THE 4 MUSEUM PAVILIONS Along the route there are 4 pavilions that facilitate the activities associated with the museum design and practise.

This was explored in a previous study using a word cloud exercise earlier in this thesis. The location of these pavilions were also determined earlier by studies from semester 1 and the activities required on each site made clear. These pavilions are necessary icons to further promote the literalness of the new museum peninsula. Whilst there is an international expectation of cultural heritage preset by UNESCO, the locals heritage values become overshadowed.

The past industries that built Durham to this point become overpowered and misplaced, and with it the locals heritage and cultural identity.

A major part of the start of this thesis explored the misplaced histories and the hierarchal nature of heritage (please refer back to pages 31-35 of this document). Drawing on these misplaced pasts to inspire architectural innovation I chose to to explore 4 of the lost industries of Durham’s history for the industry we see today, that being tourism and the

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that could have been; industries that laid the foundation

and finally the ambitious marine dreams of developing the city into a seaport to rival nearby Sunderland. It is with

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were the: mustard industry, carpet weaving, coal mining

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everyday museum. The industries I chose to explore further

shifting perspective and fluidity of heritage, not only a

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these pavilions the project develops its narrative on the

seen at multiple scales, as described in the heritage-scape.

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political tool but also as a hierarchal structure that must be

museum-scape. Site 1, being the intended cafe pavilion,

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The new industry completely taking over in this exaggerated

maintaining this food and trade link. Site 2 was allocated

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was assigned the mustard industry with the intention on

social machines, which I resolve in this chapter. Site 3 was

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the coal mining industry due to the hierarchal nature of both

nature. Finally, site 4 the shop and lookout is the only site

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assigned the carpet weaving industry due to the interactive

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location for an industry relating to seaports and trade.

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located on the water and therefore is the most appropriate

DESIGNING THE PAVILIONS: SITE 1

SITE 1: THE CAFE PAVILION & DURHAM MUSTARD The first pavilion along this route is a cafe pavilion and temporary exhibit space, inspired by the historic mustard industry of Durham. In 1720 a Durham inhabitant named Mrs Clements discovered a method of grinding mustard seeds like flour produced a stronger flavour and smooth mustard.

This process and smoothness is what set Durham mustard apart, and became the base for what we know English mustard to be today.

SATIRICAL PRINT BY ISAAC CRUIKSHANK (THE BRITISH MUSEUM)

Satirical posters from the time boast the powerful flavour of its mustard over its Italian and french counterparts.

As

trade

routes

strengthened and competition from London grew too great, the original Durham mustard trade died out.

It has since passed into the hands of Colemans of Norwich. However, You can still buy a jar of “Mrs Clements� branded mustard from the East India Company.

The mustard pavilion design is site specific to its curved location as can

IMAGES ASSOCIATED WITH THE MUSTARD MAKING PROCESS

be seen from its site plan. The key moment located central to the plan is the temporary exhibition space, taking inspiration from the mustard making process of crushing the mustard seeds which Mrs Clements developed.

As

visitors

continue

to travel through the route they are forced into a narrow corridor with limited light and textured walls, like mustard seeds being fed through the process. The narrow route then opens onto an enlarged mortar bowl, open to the elements to create the feeling of being exposed and the process of crushing.

Continuing through the space opens up further onto the cafe space with a large glass facade, maximising the light and view of the Cathedral. The cafe had to be positioned like this in oder to maximise this view, which is important to the experience of the tourist.

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SITE PROGRAMMING FOR SPACIAL MASSING AND LAYOUT

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SITE ANALYSIS

DESIGNING THE PAVILIONS: SITE 1

DESIGNING THE PAVILIONS: SITE 1

Through a series of 1:500 massing model studies I was able to experiment with the layout of the cafe and event space activities within the restrictions of the site. I wanted to play around with the contemporary architectural language I had developed thus far in the project; producing a series of forms geometrically focussed to follow function.

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The final iteration for this design focusses on the insertion

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DESIGNING THE PAVILIONS: SITE 1

design circles this key space, but is still able to exploit

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of the mortar bowl for providing this open space. The whole

curvature of the site, allowing traffic to still pass, as that

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the views of the Cathedral. The space morphs around the

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the peninsula.

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road provides delivery and construction access to the rest of

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DESIGNING THE PAVILIONS: SITE 1

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MENS TOILET

WOMANS TOILET

CAFE

ROUT

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KITCHEN

EXHIBIT SPACE

CAFE

DISABLED TOILET

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It is important to note that all the pavilions in addition to

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DESIGNING THE PAVILIONS: SITE 1

temporary exhibit space easily accessible on the route to

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their predetermined museum activity programmes have a

The visitor is fed through the route and pavilions in a set

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the point where the visitor never have to leave the route.

constantly changing and adapting routines of the tourist,

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sequence. Facilitating the temporary provides also for the

scape. All of these pavilions are schematic. They are

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reflecting the values of global society within the heritage-

scape, but each focuses on one key space in its design. For

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functional in facilitating the imagery of a city-museum-

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example, the mortar bowl exhibit space for the mustard

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inspired first pavilion on the route.

CONCEPT 3D COLLAGE LAYING COAL MACHINERY

DESIGNING THE PAVILIONS: SITE 2

SITE 2: THE ADMIN. PAVILION & DURHAM COAL The next pavilion along the route is home to all of the administrative facilities such as offices, storage, rentable conference rooms and staff quarters for route workers such as cleaners, security or guides. Inspired by the coal industry, the design specifically explored the multilevel machinery and coal seams. Using 3D collage, I began by extrapolating the industrial forms from within coal machinery seen above ground. Their tall layered structures are about elevating goods up and above while maintain the lives of those working down below. Since this is the administrative pavilion, this was always going to be the largest and tallest of all the facilities in the museum. This pavilion focusses on the heritage nature of workers and management in the museum, drawing parallels to the hierarchal nature of heritage this theses has repeatedly explored, showing only what we want the visitor to see. The office and meeting rooms are positioned on the top floors with the intention for them to look out and down over the visitors below, observing their pilgrimage through their museum. These work spaces are made temperate and light through the specific and selective positioning of glazing partnered with thick concrete massing throughout the entry and upper levels structure. Alternatively the public toilets and staff facilities are kept out of sight below entry level, hidden away like everything else in Durham deemed redundant to the sellable idealist image. A section of the final developed design for the pavilion can be found on the next few pages; it shows this hierarchal relationship between levels. The local employed route worker at the bottom, the tourist in the middle and the organisers and management team on top watching over.

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CONCEPT SKETCH FOR LEVELLING AND HIERARCHAL LAYOUT

EARLY CONCEPT COLLAGE OF OLD COAL MACHINERY ABOVE GROUND

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IMAGES OF COAL SEAMS

DESIGNING THE PAVILIONS: SITE 2

Coal is one of the more recent industries, finally disappearing around the 1980’s to be replaced with government schemes of retail and tourism rebranding. The success of which is debatable. Coal is a source of power- literally when burned and figuratively politically. Coal is also very identifiable, especially when seen in coal seams. The stark black contrasts against the stone like a natural horizontal pathway cutting through the rock. This provided inspiration for the key space of this pavilion- the main exhibition atrium where tourists must travel through to continue their journey. This space features a coal seam floor that continues the route physically though the pavilion exploiting the materiality of

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CONCEPT PERSPECTIVE OF KEY MOMENT OF COAL SEAM RUNNING THROUGH SPACE

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the coal.

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CONFERENCE ROOM

CONFERENCE ROOM

HALLWAY

LIFT

OFFICES CONFERENCE ROOM MEETING ROOM HALLWAY

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EXHIBIT SPACE STORAGE

PLANT LIFT

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STAFF ROOM

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Key Section of Site 2: The Administrative Pavilion Section to show layout of levelling and repetitive language of the arch’s design reflected throughout In all of the architectural design of this project, whether for the route or the pavilions, the language remains consistent with that developed earlier in this thesis that started with the museum presidents and the study of Chipperfield. The interpretation of the arch and vault are continuous throughout. Thick walls and the thresholds between the route and the pavilion buildings are a reflection on the thick qualities and spacial organisation techniques of the Romanesque.

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CARPET WEAVING AND EQUIPMENT AS PART OF THE ANCIENT CRAFT

DESIGNING THE PAVILIONS: SITE 3

SITE 3: THE EDUCATION PAVILION & CARPET WEAVING Carpet weaving is one of the oldest trades and skills in Durham with medieval routes. The span of this industry across the north of England and Scotland is vast, with trade links to Durham existing today as far as Barnard Castle.

The next pavilion along the route after passing through the admin pavilion we get to the educational exhibit. This pavilion is home to the interactive permeant exhibits one tends to see in most contemporary museums. This space provides workshops, an interactive exhibit hall, a small lecture facility and even space for visitors to dress up as a monk and fully immerse themselves in this experience.

As carpet making is a skill still alive in Durham, this pavilion provides work rooms and work shops to encourage this further, although not to an industrial level rather an interactive experience for tourists to get involved. The key detailed space is a continuation of the route arched structure through the interiors, the interactive arch form inspired by traditional carpet weaving frames and equipment. I used this pavilion as an opportunity to explore the arch as a facilitator for creating weaved carpets.

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SITE ANALYSIS

DESIGNING THE PAVILIONS: SITE 3

DESIGNING THE PAVILIONS: SITE 3

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DESIGNING THE PAVILIONS: SITE 3

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DESIGNING THE PAVILIONS: SITE 3

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LIFT WORKSHOP

DRESS UP STATION

WORKSHOP

VIEWING BOX LIFT

INTERACTIVE WALKWAY

LIFT

EXHIBIT SPACE

EXTERNAL VIEWING PLATFORM

LIFT WOMANS TOILET

HALLWAY MENS TOILET DISABLED TOILET -129

SMALL LECTURE HALL

DESIGNING THE PAVILIONS: SITE 3

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SKETCHES OF ARCH CONCEPT, INSPIRED BY THE WEAVING STRUCTURE USED IN CARPET MAKING

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3D COLLAGE OF THE INDUSTRIAL MACHINERY USED IN CARPET MAKING TO EXPLORE FORM AND CONCEPT

DESIGNING THE PAVILIONS: SITE 3

STRUCTURE OF THE MAIN KEY SPACE ELEMENT: THE INTERACTIVE WEAVERS ARCHES

DESIGNING THE PAVILIONS: SITE 3

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DESIGNING THE PAVILIONS: SITE 3

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DESIGNING THE PAVILIONS: SITE 3

The

structure

was

inspired

from

traditional

weavers

stations to help pull and weave visitors in and through the space. As you can see in the key section below, the feature archways continue the route through the pavilion but also provide an interactive experience to help engage the tourist and encourage them to fully invest into the museum experience. Exhibition spaces, workshops and costume rental provide an increased interactive experience that helps promote the commercialisation of the city that comes with

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museumification and this scheme.

CONCEPT DRAWING OF NEPTUNE AND THE DURHAM SEAPORT

DESIGNING THE PAVILIONS: SITE 4

SITE 4: THE SHOP PAVILION & SEAPORT DREAMS As we approach the end of our journey along the route we reach the final destination, the seaport inspired pavilion. This site acts as a lookout over the picturesque river and of course the concluding statement of any museum- the gift shop. In the early 1700’s Durham city management had an ambitious dream. Whilst observing the success of Sunderland and its seaport, Durham dreamt up a scheme for dragging a canal to connect the river Tyne and Wear, effectively turning the city into a seaport. Whilst the dreams were large the funding was not, and with the ever increasing size of shipping boats far exceeding anything the river Wear could bank the scheme was lost. All that remains of this ambitiously wacky scheme is a statue of Neptune with a descriptive plaque. This industry provides ample of inspiration for developing form and detailing design. Visitors pass through this pavilion like cargo boats, channelled through the gift shop where they can stock up on their Durham mustard souvenirs or even a Cathedral postcard.

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SITE ANALYSIS

DESIGNING THE PAVILIONS: SITE 4

DESIGNING THE PAVILIONS: SITE 4

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DESIGNING THE PAVILIONS: SITE 4

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DESIGNING THE PAVILIONS: SITE 4

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EXTERNAL VIEWING PLATFORM

LIFT

LIBRARY

SHOP

STORAGE

VIEWING STATION

PLANT

LIFT EXHIBIT SPACE

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WALL TEXTURE DETAIL INSPIRED BY REFRACTION AND RIPPLING OF WATER

DESIGNING THE PAVILIONS: SITE 4

A dramatic scheme demands a dramatic water-based feature. The steel structure juts out suddenly across the river by approximate 6m, suspended above the ground. The constructional precedent used for this detail was Goulding house which uses a similar system, although a lot higher of the ground than my own. The height is determined by the steepness of the riverbank. I wanted to create a caustic water effect projected through the structure of my design, as to create the illusion of being underwater. To do this I analysed the landscape works of influential architect Luis Barragán.

Specifically, the Cuadra san Cristobal water feature where his design uses a water feature as an architectural highlight, one which earned him numerous prestigious design awards.

Directing water in this way through the structure and out into a large body of water is exactly what I have tried to replicate in the key space of my design of this pavilion. I created a caustic rippling water effect by projecting flowing water through the main structure of the building, across a structural glass floor (which acts as the ceiling for the main space), and out into the river. This creates the illusion of being underwater. The circulation through the space was developed using Santos’s Water Museum which follows the flow of water through a sequence of spaces. Similarly I make sure there is a progression of movement though the floor plan, making sure every visitor must exit through the shop.

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CUADRA SAN CRISTOBAL WATER FEATURE

BY LUIS BARRAGÁN

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DESIGNING THE PAVILIONS: SITE 4

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CONCLUDING STATEMENT

Thoughts on the Everyday Museum of Durham CONCLUDING STATEMENT The final drawing to close this project and conclude this guide to the the everyday museum of Durham is an overview of the proposed museum intervention. This map of the museum shows the route in its entirety, arranged pavilions and its connection to its outsider user. This is not only a physical map of the museum, but a mapping of its experiential journey. From Cathedrals to Mustard, to selfie taking monks. This is a museum-scape built for the touristic experience. With this we can begin to unpack the greater issue with museumification on a wider societal scale. Consumerism in the tourist industry is changing the face of our historical cities to the point where, as insiders, we can barely recognise them anymore. Our living breathing historical cities are becoming literal living museums.

Specifically to this project, the warranted effect from architecture is to concentrate attention to the effects of tourism mismanagement on our living historic city centres in the name and exploitation of cultural preservation. It in a way that is uncomfortable and commercialising,

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interprets the homogenous role of designing for the tourist

tourist reflects that of the values of a global society within the heritage-scape. As a local born to Durham, it is my

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park. The constant changing and adapting routines of the

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almost like organising the city as if it were a theme-

my own identity makes me question my position in this new

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childhood home. The nostalgic attachment to the city and

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narrative of my museum-scape intervention.

for nearly 6 years and in that time Durham has dramatically

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I have lived away from Durham for my architectural studies

without. An insider who is disturbed by Durham becoming

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changed. I have become a person both within the city and

this work. An outsider who can look at this project as an

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an exhibit and protecting the exaggerated finale of this in

While this project is an exaggeration of museumification

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academic prediction to provide for a growing societal need.

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this is the way things are headed in the future.

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there is a dystopian promise that lingers in its message as

CONCLUDING STATEMENT

This project is meant to challenge the viewers thoughts on preservation and the considered context of cultural identity. It intends to challenge the ‘post card’ culture of contemporary architectural conservation in the light of the growing societal significance of the tourism industry. The key point being the discrepancy and hypocrisy between ‘interpretation’ and ‘adaptability’ - which feeds into the museumification we see today. Not just in Durham but everywhere.

Durham is an ancient medieval city; the point of this project is not to refurbish the city, but rather add to it to exaggerate the museumification and maximise the tourist experience over the local inhabitants. How one interprets restoration is called into play here- on one hand this project is an example of restoration in regards to sustainably providing for the growing societal need and securing the survival of the ancient monuments such as the Castle and Cathedral for generations to come. On the other hand, the local identity is being decontextualised to fit into a larger narrative of that attractive to the visitor- an exhibit in a living museum.

History is written by the victors, so too is heritage. This project prompts a conversation on how we as architects approach ‘conservation’ design and how the industry should be more aware of the effects of museumification on the profession and the local.

Therefore the role of architecture as a phenomenon within this project is to concentrate attention to the exploited effects of tourism management and industry on our living historic cities, under the guise of cultural preservation.

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CONCLUDING STATEMENT

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We will see you soon.

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Thank you for visiting the Everyday Museum of Durham

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Stage V TRANSITIONAL OBJECTS AND TRANSITIONAL PHENOMENA This stage V studio explored the transitional qualities of Vienna, characterised ‘the Potemkin city’ by Adolf Loos. This project investigated the historic importance of the Potemkin and proposed the ‘modern Potemkin’ through a dystopian urban intervention. The proposal becomes a transitional membrane to bridge two differing social conditions, and create an ‘in-between’ urban pocket.

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THE STUDIO

Introduction VIENNA THE POTEMKIN CITY Adolf Loos named Vienna “the Potemkin City� in his early writings commenting on the historicism of the facades of Vienna, particularly along the Ringstrasse, as being over ornamented and paraded falsehood. The term Potemkin refers to the idea of a fake facade that tries to relay the ideologies of a perfect society. The Potemkin facades of the Ringstrasse, our area of study, present this historicism in promoting power and wealth. The truth behind these facades is that what they promote is a fantastical view on how the city wants to see itself, rather than what it actually is. I previously explored this theme in an urban setting in semester 1 on my site concluding that the city public spaces have become festivalised in the Ringstrasse and a sense of locality has been lost to the modern Potemkins. In this semester I wanted to explore the Potemkin facades on my site, in particular the Rathaus City Hall, at a more detailed building scale as asked of us in our year brief. The Potemkin ideology is deeply imbedded into the facade of the Rathaus just as described by Loos causing me to question how far is this idealism set into the culture of Vienna. As the project developed the theory became heavily resolved around intervening directly onto the facade of the Rathaus as to disrupt the Potemkin. The reasoning behind this project can be split into two categories: the practical and the theoretical.

Semester

1

investigated

the

festivalisation

of

the

Rathausplatz, a large public area in front of the Rathaus. The transitional qualities of this space undergoing change from continuous events makes access and circulation around the site and Rathaus extremely difficult. Therefore the purpose of this project was to encourage alternative circulation as to combat this problem; an architectural intervention developed in semester 2. The secondary influential social factor comes from the study of localism in Vienna designing a new purpose for the Rathaus facade that can adapt to the environmental and social qualities of the site rather than idolise the Potemkin past. For this a lot of technical study went into responsive architecture as well as transitional objects; the aim for my proposed facade to be a form of transitional object that is personalised to the site but directly interacts with the existing Potemkin. Here I must stress the importance of reading this design portfolio as the works are highly integrated and were developed simultaneously along side each other. This portfolio should be read as a process of exploration. The narrative of the thesis is present throughout, and continuously growing with the project.

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THE STUDIO

THE STUDIO

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THE STUDIO

The Transitional City TRANSITIONAL OBJECTS AND TRANSITIONAL PHENOMENA The intentions of this studio, Transitional Objects and Transitional Phenomena, was to analyse and respond to the transitional qualities within Vienna’s Ringstrasse. We began this year by visiting Vienna and the Ringstrasse, our area for study. The construction of the Ringstrasse followed the ideology that the more impressive the building the more impressive the urban economic, social and political potency appeared to be. At the time it gave the impression of being a top political and economic location with the illusion of ‘strength’ to the rest of Europe; this was a political necessity due to Vienna’s central location and large neighbours. This earned Vienna its title by Loos as the Potemkin city that it is. However, gathered from our visit to Vienna, it is clear to see how this continues through to today via the effects of festivalistaion. As societies become more commercialised and economically driven so do our cities. There is a need for Vienna to be seen as a top economic location so as to uphold prestige on an international level and attract tourists.

As such, the number of consumer facilities in Vienna is growing exponentially. The most attractive area for tourists being the Ringstrasse. Festivals and events are desirable for marketing cities internationally and seen to contribute towards a positive economic climate for businesses. In a way, the distraction of modern festivals are becoming the false propaganda for cities, they are the modern Potemkin. This

However this does come at a cultural cost which can be visibly seen through the effects this is having on Vienna’s public

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now acts as a stage for modern activities and lifestyle.

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become Viennas modern Potemkin, whilst the old Potemkin

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project argues how the phenomena of festivalisation has

and event spaces are in a state of constant transition to the

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spaces, such as the Rathausplatz. These public exhibition

everyday into an open day and every local into a tourist. This

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point they are virtually a permanent exhibition, turning

in constant transition due to festivalisation further. It

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projects looks to explore this idea of an urban environment

on the Ringstrasse and exaggerate what a continuation of

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questions what is festivalisation, what effect it is having

the intensity of festivalistaion in the Ringstrasse. There is

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this transitional phenomena might become by magnifying

refuses to address, and if not the unsustainable nature of

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a problem with Vienna’s Potemkin identity that the city

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constant transitioning will inevitably cause the death of the

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“local” in Vienna.

VISITING VIENNA

VISITING VIENNA At the start of semester 1 we visited Vienna. During the visit to Vienna, I explored the city making observations and drawings on the transitional qualities of our independent sections of the Ringstrasse and surrounding areas. I drew a transect starting from the Innere Stadt, running through my awarded section of the Ringstrasse (The University Ring) and out towards the suburbs beyond. I first captured the progressive journey through a way-finding exercise using photography, which can be seen above. As I travelled the route I documented the transitional conditions and interrelationships between the inner and outer city with the ring intervening between the two. Intrinsically there is a distinct difference in character between the three areas as you move through them, the Ringstrasse being the most affluent and touristic. The difference in urban character formed the backbone for individual investigation specifically into the view of Vienna as a transitional city.

I was fortunate enough that during my visit the Rathuasplatz and Rathaus was being set up for an even to open on the final day of the study visit. As the area was in a constantly condition of transition due to the events being set up it made it extremely difficult to move through the public space in the days leading up to the event. To the right is the transect route taken through the three distinct districts; the orange line shows the main route taken with smaller black lines showing the different routes I was conditioned to take as I passed through the area. The blockades and conditioning started to question the quality of public spaces in Vienna and who they belong to- which is certainly not the local.

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MAPPING OF TRANSECT ROUTE, ORIGINALLY PRINTED AS A BANNER

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VISITING VIENNA

VISITING VIENNA

As part of the study, I decided to produce a series of studies documenting the change to the Rathaus (City Hall) and its front park-like public space the Rathuasplatz during the set up for a new festival in our final 3 days. What I found was a unforgiving site for a student to study. Jungles of scaffolding from setting up the event made it near impossible to take any pictures of the site. Armed police stood guard at the supposed entrances and would divert people around, be it tour groups or locals. Locals shouted at the people blocking the entrances, obviously annoyed by the huge detour they had to take. This has to be the most ‘un-public’ public space in Vienna and an intimidating first impression. Thursday proved to be more hopeful as even from a distance it was visible that the majority of scaffolding had been removed, replaced instead with a stage and event tents. However, a giant inflatable duck has been placed at the entrance to the Rathausplatz completely dominating the space around it.

The surrounding buildings are already so large that seem almost scaleless in their situation; the addition of a giant duck adds to this scalelessness. On the final day the event had opened its doors and one of the parks had reopened for public use. However, the purpose of this seemed only to allow additional access to the event rather than typical city park use. The event was extremely crowded. I was able to study in more detail the Rathaus and the way the event had been set up to use the available space. I was able to record some time lapse videos of the event, which captures the chaotic nature of the events on site.

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VISITING VIENNA

The first of a series of mappings taken on site describes the movement of tour groups within the Rathausplatz in 10 minutes. Whilst this was a quick study it was extremely informative and interesting to note the movement of large groups of people through the supposed ‘public’ space. It is rather orderly and concentrates around the most unusual aspect of the site- the giant inflatable duck.

This 30 minute study watched the direction where people were taking photographs and the frequency that they occurred. The larger the dot, the more people stopped to take a photo there. Interestingly, people tended to take the same pictures from similar if not the same angles. However, the most intriguing observation found that more people were responsive and took pictures of the inflatable duck rather than the Rathaus itself. This questions the nature of the Potemkin facade Loos describes. It has become the back-drop for the new; a stage prop for the modern Vienna.

The question to follow this upon return from Vienna would to investigate why this is and when or how did this happen.

This mapping shows the progression of built infrastructure over the course of the three day study visit on the site and how it transitioned between states. Each day has a different layer which were superimposed on top of each other. Therefore, would show up as the darkest and the new structures as the

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the most prominent features that reoccured over the days

of public routes remained an obstacle for the entire time and

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lightest. The boundary fences that cornered off the majority

event on the Friday was also added to show context of the

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so can be seen as the darkest. The route taken through the

the

general

movement

direction and concentration across the site. Since the next stage of this project will be to investigate, interrogate and propose an intervention on the site the knowledge of access and human behaviour on the site is crucial and will remain a key part of the design. Especially in regards to entrances

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and orientation.

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showing

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diagram

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Movement

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access to the event and how it was organised.

SYMPOSIUM

Symposium EXHIBITION OF THE TRANSITIONAL JOURNEY For the symposium our studio combined extensive group work with individual mappings taken in Vienna. The concept was to capture the overall transitional qualities observed as a collective across the ringstrasse and present our findings in an innovative and interactive medium. As such, we produced a 1:1250 model of the Ringstrasse made from acrylic. Lights were angled to shine a path through each section, to mark the routes taken by each student for the transect.

In addition to the group model, each of us produced a transect mapping of our individual initial findings from Vienna as well as a conceptual model to demonstrate a key theme or transitional quality. These readings were suspended directly inline with our transect sections for contextual clarity.

Visitors were encouraged to walk around the ring and interact with work. For me the phenomena of the inflatable duck idolised by tourists was the most prolific. The ironic suspension that Vienna is in, stuck in a a consistent transition between events and festivals that the transition itself is a permanent feature locals are having to live with. The oxymoronic relationship is fascinating, hence the need to show it

through

my

symposium

work.

My

model shows my transect route with the congregation of people all headed towards the Ringstrasse and the golden inflatable duck,

almost

idolising

the

new

and

modern. The Rathaus acts like a back drop to frame the golden duck, so it was printed on thin trancing paper and suspended in white frames around the duck. Always in the backdrop, its perfect Potemkin facade idyllic but ignored. The transitional mappings mapping

accumulated excises

and

the

conclusive

transect

route

drawings into a layered drawing. I was able to suspend photographs and on-site mappings onto acetate sheets and pin them along the transect route, layering and suspending them to create an almost holographic effect.

The pins were placed along the route I studied through the Innere Stadt, University Ring, and Suburbs picking up the differentiating qualities and transition in character. The route was marked out with black string, the thicker the string the more prominent the route through. As evident on the final drawing the amount of blockades and rerouting webbed my initial journey across the site and was more chaotic than just a simple cut through.

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PHOTOGRAPH OF THE STUDIOS COLLECTIVE WORKS COMPILED FOR THE SYMPOSIUM

routine where its public space has become

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PHOTOGRAPHS AND TRANSITIONAL TRANSECT MAPPING BANNER FROM THE SYMPOSIUM

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SYMPOSIUM

FESTIVALISATION IN VIENNA

Festivalisation in Vienna ESTABLISHING THE ISSUE AND BRIEF Reflecting on the symposium a key theme of the transitional qualities brought about by the festivalisation of Vienna and its public spaces emerges. The Rathaus and surrounding Ringstrasse buildings have become like a set backdrop to the performance space of events and festivals, ironically fading into the background. Historically they were built for grandeur and political purpose, to characterise false pretences of strength and power in Vienna, using classical ornamentation from eras of prominent power and strength to do so. Loos refers to Vienna as the “Potemkin city” for this very reason. So we have to question, how have these buildings faded away into irrelevancy? They have become upstaged by the novelty of a giant inflatable duck. This transitional phenomena is driven by commercialism and the economic need of the city. Festivals and events are a new technique for the international marketing of Vienna’s importance just as Emperor Franz Josef did before in the Ringstrasse. Therefore, the question that needs answering for this project is simple: what will become of Vienna and its public spaces as a result of festivalisation? The endless cycle of festivalisation is not sustainable therefore Vienna will always remain in this uncertain state of transition between each festivals and events.

Festivals play an important roll in city promotion and city marketing. By attracting visitors, festivals will boost the local economy and provide a positive economic climate for business. Thus cultural means are used and exhausted towards an economic end- but what does this mean for local culture? The social climate of the space is dramatically altered with eventual loss of traditional values. The threat to the urban climate is so dramatic in Vienna’s Ringstrasse that events and festivals happen back to back and the public spaces they inhabit are stuck in a constant transition. So much so, it appears the transition is permanent. Public spaces are now not so public after all, and the local is threatened to become a tourist in their own home.

This project proposes to interrogate and produce an intervention highlighting the issue Vienna has with the festivalistaion of their public spaces in the Ringstrasse and how it has become the new Potemkin facade. This project intends to exaggerate the effects of festivalisation and radicalise the modern Potemkin. To create my own ‘duck’ to dominate the Rathausplatz, representing the wrong and un-natural, and push this conceptual idea to the breaking point.

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PHOTOGRAPHS TAKEN ON SITE OF THE FESTIVALISATION OF THE RATHAUSPLATZ

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FESTIVALISATION IN VIENNA

THE SITE

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THE SITE

The Site SITE AND LOCATION STUDY The Rathausplatz is one of Viennas most well known public outdoor event space. Vienna hosts approximately 10,000 events a year across the entire city according to their tourist information website. The Rathausplatz in the Ringstrasse boasts its location for ease of access via public transport and proximity to the city centre. It is located in District 8, which happens to be the smallest district in Vienna, known for being affluent. Annually the Rathausplatz houses the majority of main festivals and events in the Ringstrasse.

Some events include Veinna’s official city Christmas Market Film festival and many many music events. The university

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and ice rink, Beer and Gin festivals, the infamous Vienna

including the Rathaus, Rathausplatz, Burgtheatre and the

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ring or “Universitätsring” consists of several key buildings

Gothic and Neo-Baroque hall built between 1872 and 1883.

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university of Vienna. The Rathaus (City Hall) is a giant Neo-

top grandeur. Due to the effects of the Rathausplatz, the site

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It is a symbol of extravagance and high power with over the

events makes circulation around the site extremely difficult

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can become very congested. The constant transition between

Ringstrasse passes through the site providing transport

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and disruptive. The circular tram line that runs around the

two roads surrounding- these are the two roads that define

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access. The majority of the site is pedestrianised with the

cross between city districts. Being pedestrianised, there are

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the boundary of the ringstrasse and act as a threshold to

the event space being used, several access points can be

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several access points throughout the site. However, due to

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traveling around the site extremely difficult.

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compromised at once and are usually blocked. This makes

THE SITE

RATHAUSPLATZ

MUSEUMSQUATER (MQ)

WIENER EISIAUF-VEREIN

I started by investigating the range and availability of MUSEUMSQUATER (MQ)

RATHAUSPLATZ

event spaces in the Ringstrasse. Above I have extracted all the public event spaces in the Ringstrasse as well as Stephenplatz which marked the central point of the Innere Stadt where our studio all originally took our transects from. From these key public outdoor event spaces I selected the three most prominent and profound venues. This being the Rathausplatz, MQ and Vienna’s public Ice Rink Wiener Eisiauf-Verein. These three hold the most annual public events in the Ringstrasse.

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WIENER EISIAUF-VEREIN

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THE SITE

drawing exercise I combined the key elements from each of

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Using the three event spaces taken from the previous

current state of festivalisation in Vienna and will be used to

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those spaces to create a collage. The collage represents the

this is to encourage the unusual as to keep on producing the

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contrast with my own future intervention. The idea behind

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effect the inflatable duck had on the people in Vienna during

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the study visit.

THE CONCEPT

The Concept OVER-FESTIVALISING VIENNA The ambition of this project is to exaggerate the effects of festivalistaion in Vienna’s public space as a method of exploration into transitional phenomena of the modern Potemkin. Whilst previously exploring the connections between all the events and festivals in the city I began to envision what it could look like if they were all happening at the same time across the city as a design concept for this project. Therefore, I produced a series of concept drawings to illustrate how this could happen by layering several main events and festivals that happen in Rathausplatz on top of each other forming the base of one large mega festival. This idea of the over-festivalised space completely dominating the Rathausplatz that just like the phenomena observed in Vienna with the inflatable duck the Rathaus just comes the Potemkin stage prop that fades into the background. This concept provides more opportunity to exaggerate the issue of festivalisation and the modern Potemkin to the point it completely disrupts the entire city of Vienna. The overall intervention must be both disruptive and transformative.

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EXAMPLE OF CONCEPT DEVELOPMENT SKETCH CONNECTING REOCCURRING FEATURES BETWEEN EVENTS AND FESTIVALS

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THE CONCEPT

THE DESIGN

DESIGN DEVELOPMENT Starting with the site, I could begin to draw form from the location of previous events and festivals that occur within the Rathausplatz. The proposal of a megafestival calls for significant density, one that cannot be escaped. By looking at the destiny of overlapping events a narrative begins to form between events that can be layered and overlap. This itself can justify how events and festivals can interact with each other but in a chaotic manner. As I have explained previously, the effect of festivalistaion on these public space seems to turn them almost ‘un-public’ with the inability of locals to use these public spaces unless the event planned for that space is open, creating the effect of a continuous transition between setting up events, which is relentless on the local population and social urban climate. If these spaces are then exaggerated further, we can only imagine how impossible these spaces would be to navigate if constantly changing.

It would create an impenetrable bubble that would make everyone who enters become a tourist or simply not be able to utilise the space. As more and more festivals and events are added, the more disruption but also the more transition will occur, bringing the whole city down with it.

As long as the intervention continues to grow, it will retain the unusual and unique qualities of the ‘duck’ and exemplify the modern Potemkin. As a result the old Potemkin city will remain the stage for the modern Vienna.

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DEVELOPMENT 5MASSING OF PROPOSED FRAMEWORK IN RELATION TO PREVIOUS MASSING

DEVELOPMENT 4MASSING OF PROPOSED SITE FOR DEVELOPMENT

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SITE ANALYSIS 2ENVIRONMENTAL ELEMENTS SUCH AS SOLAR, NOISE AND ORIENTATION FOR THE PROPOSAL

SITE ANALYSIS 1TRANSPORT ROUTES AND ACCESS TO THE SITE

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DEVELOPMENT 6MASSING OF PROPOSED FRAMEWORK WITH POSSIBLE LEVEL CHANGES TO HOUSE EVENTS

SITE LOCATION 3MASSING OF CURRENT EXTERNAL AREA FOR EVENTS AND/OR FESTIVAL USE

CONCEPT SKETCH OF LOCATING ALL EVENTS ON SITE AT ONCE

THE DESIGN

THE DESIGN

To create my structure I returned to the layered collage with previous events that occur in the Rathausplatz at different times of the year. I was able to layer all the events so that they would overlap. I then drew over this, and then simplified the drawing so I could extract horizontal and vertical lines from it. This then resembled a frame outline that could support and exaggerate my proposed mega-festivals structure. I decided to focus the frames on individual events instead of them all overlapping. This produced a series of frames that could be linked together with festivals and events as well as provide the changes in level that would be necessary.

When these frames are viewed together they should have the overall outline as the first frame exercise. The confusing uniqueness suits this project well, but becomes an aesthetic support that attracts more visitors.

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THE DESIGN

THE DESIGN

To further understand how the framework would work on the site I decided to model the intervention and Rathausplatz at a 1:500 scale. To represent the Potemkin facade of the Rathaus and its relation to the festivalisation intervention I decided to only show the front facade and have it act as a stage prop for my massing model. Immediately the sense of scale is lost on the site as the proposal is extremely domineering and takes over the entire space. The Rathaus has a sense of scaleless-ness so being able to out-scale the Rathaus will provide further distance between the modern and old Potemkins and keep the Rathaus as just a backdrop as this exaggerated project intends.

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Originally the frame was going to sit within the existing

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THE DESIGN

art above, the frame can be used as another tool to completely

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boundaries of the Rathausplatz but, as shown in the concept

invades and ultimately takes over the urban climate. The

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dominate and take over the space and its surroundings. It

modern potemkin which this frame does by implementing

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concept is to promote the idea of the mega-festival and the

Trellis for a plants. Additionally, the frame completely

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a base for events and festivals to be places and grow, like

to access what would usually be public park used in events.

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alienates the local, and by doing so making it even harder

and overemphasise the point this project is trying to make

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This would only increase the tension of the urban climate

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about the effects of festivalisation on public spaces in the

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Ringstrasse.

The final intervention in semester 1 was designed as a form of thought provocation. The project was proposed as a ‘megafetsival’ that would cause the maximum disruption and exaggerate the effects of festivalisation. Having understood that my site in the Ringstrasse both benefits and suffers from festivalisation, I wanted to continue this exploration into the actual buildings on the site- in particular the Rathaus.

There was great disruption on the site and being able to conduct a research thesis on the effects of this transitional phenomena at a building scale rather than urban would be advantageous, as is explored in semester 2.

An opportunity can then be taken to delve more into the idea of a transitional object. Donald Winnicott’s “Playing and Reality” develops a deeper understanding of what is meant by a transitional object, introducing the main elements that build into being such an object. He writes about the use of an object consciously and unconsciously, in which I would like to relate the future design work to be relative to the local.

To design and create a thesis project that can transform to become a more personal response to the site, to the local and by extension to Vienna.

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THE RATHAUS

The Rathaus SEMESTER 2: THE BRIEF The Rathaus is the city hall of Vienna and site for the local government of Vienna. Built in 1872-1883 as part of the construction of the Ringstrasse and to replace the older city hall that had been outgrown for some time. Designed by architect Friedrich von Schmidt, who stylised the building to the likings of Emperor Franz Josef as to fit with his architectural agenda. The building features Neo-Gothic and Baroque styles with heavy ornamentation of saints, politicians and notable leaders. The building hence was made to look very impressive and promote the empires political and cultural stability. The Rathaus is still in use politically today and houses the office of the Mayor of Vienna as well as the city council chambers. It is PHOTOGRAPH OF RATHAUS BY JOHANN EVANGELISTA IN 1893, VIENNA

also the site for serval annual events such as festivals and balls. With two large festival halls (the festival hall and the visitor hall) as well as an event courtyard central to the building it is able to house several events at once.

Most notably (and famous) is the new years ball and several balls that are hosted in the Rathaus during ball season in Vienna.

Vaulted

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throughout the structure and stand out as prominent features of the architecture. Unique to the Rathaus, these vaulted spaces feature both internally and externally. In the axonometric drawing to the right I have began to isolate the Rathaus facade as well as show the location and attributes of the vaulted external corridors in the facade.

Knowing the history of the Rathaus it is important to ask the hypothetical question of what does the Rathaus represent.

Historically I have already discussed how the construction of the building with its Potemkin facade was used to promote power and authority through historicism. However, in modern times the neo-classical ornamentation is not enough to do so, and its presence has become faded into the background like a prop to a play. Therefore, I propose that this project will be about transforming the Rathaus into an object that can be used advantageously to combat the concerns of festivalisation and improve the constricted of access to the surrounding public spaces on site. Meanwhile, the deeper meaning that goes beyond the facade will be to intimately respond to the Potemkin facade of the Rathaus and explore this theory further.

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THE RATHAUS

INHABITING THE IN-BETWEEN

The Concept INHABITING THE IN-BETWEEN The aim of this project is to expose the Potemkin ideology within the Rathaus facade and stage an intervention that will effectively become a transitional element to bridge the public space and private activities within the Rathaus. This intervention will be a method of exploring the transitional qualities of the Rathaus facade as well as respond to the current (and proposed) effects of festivalisation. The proposed reasoning for this intervention will be to insert localism back into the site as well as increase occupation into the Potemkin facades.

In order to achieve these aims, I propose intervening directly into the existing face of the Rathaus to expose the interior world. In order to fulfil the logistical needs of this studio brief, experimenting with ways to occupy the facade is crucial and conclude with a proposed full floor plan. The idea is to force all the Potemkin ideology into the facade to break it apart and be able to occupy it, and therefore give it a modern purpose. To retain this idea of transitioning, the Rathaus facade must be seen as middle ground and therefore become a transitional object on the site. I believe the best way to accomplish this would be to dismantle or regulate some form of destruction of the existing facade and allow an organic element to reform it into something new and adaptable. Traditionally the ringstrasse is built of stone and brick, therefore in this project I would like to reflect on material choices and be very critical with how this proposed structure is built. The sketch above is taken from my sketchbook as an early rendition of explaining the relationship of the proposed development to the existing Rathaus facade and the Rathausplatz. The proposal acts a buffer membrane between the two; a space that requires occupation.

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INHABITING THE IN-BETWEEN

BALL CULTURE AND THE VIENNESE WALTZ The most prominent cultural activity performed within the Rathaus are Balls, which are usually charitable. These events are annual, well attended and extremely formal with set rules and traditions. Balls have become a staple in Viennese culture since they were reintroduced in the golden-age of Vienna in the 19th century. There is a lot of tradition behind the ball culture of Vienna and is coupled with some rather strict etiquette taught to attendees growing up. Such as debutants, who wear white dresses and dance their first waltz when attending their first ever ball. These dancers usually undergo months of dancing lessons to perform these dances, most crucially the waltz. Fashion is also of extreme importance, and the dress code is strictly enforced.

Ball culture, in itself, is promoting this fantasy idealism reminiscent of the Potemkin facades of the Rathaus. The ballroom of the Rathaus where these dances take place is located at the very front of the building within the Potemkin facade. Two very different conditions can now be observed on the site: the festivalised Rathausplatz in the public domain versus the interior pompous world of the ballroom. The facade of the Rathaus is all that exists to separate these two opposing worlds.

Therefore, in this project we can treat this facade as a membrane and the proposed project acts

world, creatively perforating parts of the facade to extend and blend the activities of both the park and the ballroom.

The most significant of all the dances performed during balls in the Rathaus is the Viennese

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This will involve exposing the exclusive interior

Dance Diagram (Tango) By Andy Warhol in 1962

as the in-between to bridge these two worlds.

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Waltz. This dance is ceremonially performed and is one of the oldest forms of dancing the Waltz.

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It is a tradition that tends to be passed down generationally. The Viennese waltz is performed

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faster than any other ‘slow-waltz’ and contains a transition move that is unique to this dance. This

design of my intervention. In order to draw and map the dance I began looking into notational diagrams as a form of representation. I took great inspiration from the works of Stan Allen (in particular his “Mapping the Unmappable: On Notation” 2009) as well as artist Andy Warhols

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dance diagrams.

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explore ways that the dance could influence the

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the Viennese waltz and the Rathaus, and began to

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this research I was inspired by the relationship of

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Waltz, hence it is called a rotary dance. During

Cluster Band Notation By Stan Allen From “Mapping the Unmappable: on Notation” 2009

pattern that is commonly associated with the

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step also helps complete the circulative dance

DEVELOPING THE DANCE

Continuing this rationale, I began to study the viennese waltz in more scrutinising detail and began forming a series of notations to help map this dance moment against the facade of the Rathaus. These notational diagrams experimented with bringing the Viennese waltz into a physical form. I chose to use the transition step move within the Viennese waltz as the base of this study, as it is unique to this form of waltz as well as traditionally performed at balls in the Rathaus. I then plotted the steps as well as the full dance sheet against the facade. I found the steps were a more clear indication of the movement in the dance, especially the rotational elements of the dance. At each intersection where the steps stopped I sketched the dancers at that point in the dance. I then overstayed a simplistic form of those dancers over their position of the dance on the facade. This plotted a series of simplistic forms that could be developed into a more detailed proposal. With the notational scripture of the dance beneath, already a sense of circulation and movement can be seen.

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DEVELOPING THE DANCE

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DEVELOPING THE DANCE

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After establishing basic form from the steps and dancers across the facade I continued to model these as if attached like parasites to the surface of the building. At this stage I began to think where I would need to interact and intersect

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the Rathaus facade to create this new membrane with spaces for occupation. To keep these shapes complex and organic,

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as to relate back to the dancers, the forms were extruded and compressed to match the human biology and proportions of

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the dancers bodies. The linear attributes of the waltz these form were based off proved to be extremely useful as allowed

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for these forms to be lined up as well as intersect at floor levels to be able to interact with the existing world of the

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ballroom within. Above I produced a series of simple models to show the proposed conceptual form for the base structure

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of this proposed membrane. This model was drawn in plan and can be seen to the right. The idea is to try and develop more specific to the site.

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this form further using the attributes of the site to become

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DEVELOPING THE DANCE

Having developed a narrative for the form of my proposal I continued to work in plan. The projection of the Viennese waltz on the facade needed to be detailed to its location, as to become site specific, and be able to maximise its effect on the surrounding festivalised environment. This process helped refine the form of the growths and punctures in the facade, as to provide space for occupation and access points from around the existing sites. This involved returning to the previous drawings where I explored the conditions and opportunities of the site. Taking the site plan from the previous page, I prepared a series of notational diagrams to explore the usage and manipulation of form.

I first established the access points on the site, leading to key paths and surrounding buildings that could provide alternative routes around the site. By linking these together I was able to see the most opportunistic intersections, that could maximise the efficiency of access to the new proposal.

In these spaces I proposed openings and new staircases to access higher levels, such as the ballroom, directly. I then started to play with the depth of the spaces, overlaying the rotational dance movements of each of the dancing figures over the dance pattern established on the facade in previous drawings. This allowed me to being pinpointing areas of interaction and opportunities for activities, such as for balls/dancing and circulation. To add to the functionality of the design, I introduced key views such as over the park and the Burgtheatre that sits directly opposite. These key views provide framing for positioning the structure and maximising the amount of light. These diagrams begin to shape the proposal more realistically and provide a means of exploration similar to that of Stan Allen.

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DEVELOPING THE DANCE

I continued this series of drawings by massing the area of development on the facade, showing it as a darkened mass.

This way I can physically show the areas of penetration within the facade, available for occupation with activity. The activity that takes place in these spaces is what will shape these spaces socially. They need to be balanced between the two worlds as previously discussed and be a blended version of both. Additionally, I then massed the finalised proposal on the ultimate iteration of the drawing, using all the previous drawings to finalise the shape and overall form of the new interacting membrane. The appearance of which, acts like an invasive growing mass of the facade of the Rathaus.

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DEVELOPING THE DANCE

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MATERIAL INVESTIGATIONS

Material Investigations DEGRADING THE FACADE Material tests were conducted to explore different ways chemical intervention could be used to degrade the facade of the Rathaus, and be able to grow a new structure from it. To begin these tests I created a 3D printed 1:100 model of a small section of the Rathaus which in Baroque fashion is repeated linearly. From this model I created a silicon mould and cast several plaster prototypes in which I could experiment on with different chemicals. The chemicals I experiment included a strong acid, a weaker acid and bicarbonates. The desired outcome was to see if I could ‘dissolve’ or chemically intervene within the Rathaus facade while using chemical reactions to produce ‘waste’ material deposits that could effectively become the new structure. If successful, these chemical agents would be integrated or attached to a facade detail that would disperse the chemicals in the desired areas of the design. Plaster was used to model the facades as the material compound most similarly resembles the sandstone and limestone used in the Rathaus construction.

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One of the tests conduced used a highly concentrated form of

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MATERIAL INVESTIGATIONS

facade was completely submerged. As introducing an acid to

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hydrochloric acid, slowly introduced to the model until the

and water. The sale deposits could be used as a structural

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an alkaline, the results expected would be to produce a salt

penetrating though to the interior world of the Rathaus.

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material to build new structure within the facade, while

model crumbling and discolouring. There is obvious signs

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The result was not as clear as I would have liked, with the

acid is not justifiable for this project. With environmental

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of decaying on the facade, but the material use of a strong

equipment that would be necessary to spray the facade (and

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factors to think about as well as feasibility of setting up the

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this does not seem like a logistical solution.

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fixing/maintaining this equipment on the facade panels)

MATERIAL INVESTIGATIONS

Again, another acid test although using a slightly weaker different acid that would produce a sulphuric acid as well as a salt (calcium chloride). Since part of this project has an environmental element, introducing an acid as a byproduct may be unsuitable and justifiably dangerous. However, the reaction did produce a ‘bubbling’ effect which produced chalk-like deposits of degraded plaster on the surface of the facade. On a larger scale this could be useful in producing fine material to then repurpose into contracting the new ‘dancing’ facade structure. Above a sketched a possible elevation of what this test may look like if applied to the facade of the building.

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One iteration of these tests involved simple baking soda

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MATERIAL INVESTIGATIONS

These materials have been simplified for this test but can

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and vinegar to reproduce a simple base and acid reaction.

result produces a highly degraded facade that crumbles to

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be replaced with more industrial chemicals in practise. The

to control and lack of precision with openings. Logistically

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touch. This type of chemical intervention would be difficult

solution may to be removing select parts of the facade

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chemical intervention seems to be less suitable. Another

other biological agent) to invade the facade. This type of

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manually then introducing a micro-organism (or some

similar to that of bedrock. On that Rathaus this would

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degrading the facade produces a ‘base stone’ with pores

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produce a limestone substrate that could be used to support

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the growth of invasive plants.

MATERIAL INVESTIGATIONS

To conclude the material tests, chemical intervention seems to be too invasive and direct and the deposits it creates are unreliable to create form from. Therefore an additional biological agent should be introduced to help dismantle, degrade and eventually inhabit the space. This links back to the living architecture research undertaken as part of reading on Protocells, as well as returning a social aspect to the project that reunites the design to nature and the locality of the site. A balance between the synthetic construction elements and the organic growing structure is needed in this project. The previous design work interrogating the viennese waltz and locality of the site performs standardly in producing an architectural intervention, but is synthetic as made my myself and ultimately is a pre-designed element. Introducing this biological material provides the means for an adaptable living architecture that grows to break away parts of the space and inhabit them with new activity and life. This is possible by first accelerating the weathering effect the facade to create breaks in the facade and a limestone substrate, which can support the growth of plants (such as Lithophytes). These invasive plants, carefully curated, can be used to invade the new spaces and adapt to the new environment created.

With the introduction of plants the project can begin to develop on its programme. Therefore the revised brief following these material tests proposes the project to take the shape of a vertical park with a ballroom key space.

This extension of both the Rathausplatz and the interior ballroom of the Rathaus provides a unique environment to play around with the idea of a vertical world. Therefore the revised proposal is ‘the vertical botanical ballroom’. Above I have created a concept collage of this.

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STRUCTURAL INTENTIONS

Structural Intentions The structural intention of the project is to design a

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DESIGNING THE STRUCTURAL FRAMEWORK

following a consultation with tutors and our technology review I decided against this in-favour of using more

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Originally I intended to design this as a steel frame, but

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framework to support the natural growth of the facade.

this standardised frame, I decided to look into a method of

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natural materials relating specifically to the site. Instead of

the panel system but also be able to take the more complex

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3D printing the frame structure. This frame would support

in this project. This style of construction provides a degree

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organic shape of the dance on the facade as designed earlier

to be assembled on site similar to that of prefabricated slabs

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of freedom in its off-site construction, where it only needs

design of the interior framework of the new structure, which

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or SIPs construction. The drawings above show the formal

interrogated. This maximises the circulation of the space

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also follows the route of the Viennese waltz as previously

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and shows the route that dancers inside the new proposed

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ballroom space will go.

STRUCTURAL INTENTIONS

To capture the balance between synthetic and organic I painted in acrylic two separate structural identities on the facade of the Rathaus, as opposing options. The first is a synthetic influence on the facade, and reflects the harsh angles which come as a result of a steel frame. The second took on organic qualities to show the possible growth and life that could engage the facade. This small but informative investigation into the atmospherical and aesthetic differences between the two once again bring this project back to having to occupy the in-between. Being both synthetic and alive.

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STRUCTURAL INTENTIONS

3D Printing Limestone 3D PRINTING THE STRUCTURE 3D printing in architecture is a relatively new technology that has taken over and is starting to become more mainstream in its global applications. The “Office of the future” in Dubai is a critical example of how far this technology can be pushed to produce a fully habitable working space. In this project I specifically researched into the more advanced and experimental forms of 3D printing construction in architecture. Great research has been done on being able to use alternative materials, not just plastics or concrete, in 3D printing. For example printing using limestone quarry waste that is repurposed for construction. Currently the scale of these prints are ‘mid-range’, but the aim is to apply this technology into the construction industry. Using the limestone slurry waste from quarries, 3D prints can be made just like standard concrete printing construction. This project looks to create a series of 3D printed blocks, that when placed together build up the complex dancing frames. These blocks can be hollow or printed solid.

They are printed to the specific shape of the designed waltz form then easily assembled on site using bolts,

are assembled on site to produce a frame that appears solid from the outside but is actually hollow.

A steel beam frame would be too impersonal on the site, while the 3D printed limestone

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statue of Liberty, where these panels

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resembles structure similar to the

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PROCESS OF 3D PRINTING LIMESTONE

like a jigsaw puzzle. The assemblage

surrounding buildings, appearing more natural and organic.

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reflects on the materiality of the existing Rathaus and

an organic element to the project that helps promote a new

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This choice in material reflects on the need to encourage

vertical botanical ballroom. But this can also refer back

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meaning to what the Rathaus represents- the proposed

visuals of an organic growth that can support itself and

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to the premise of exposing the Potemkin, pushing these

a shell, but still requires some form of flooring system to

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adapt on the facade. Creating this new structure acts like

new structure would allow other elements to sit on top such

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extend the existing Rathaus internal spaces. However, this

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as a facade system that could support the plants for the

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initial phases of the project.

STRUCTURAL INTENTIONS

This choice in material reflects on the need to encourage an organic element to the project that helps promote a new meaning to what the Rathaus represents- the proposed vertical botanical ballroom. I refer back to the premise of exposing the Potemkin in the concept of this project; pushing these visuals of an organic living growth on the facade that can support itself and adapt to its climatic environment. The life cycle of the proposed building also benefits from this integrated technology by recycling quarry waste into usable construction materials. The purpose of this material is to act as a medium to support plant growth with deliberate parts of the existing facade will be removed to allow for this growth to invade the interior ballroom located in the Rathaus facade. The material will be allowed to decay over time as the plants grow around it, becoming this living structure. The decay can be reused in other construction or support the biological material on the facade.

I propose this structural process to be built in phases, following the route of the Viennese waltz used to derive the organic form of the proposal. The process of these phases can be seen to the right, showing the gradual growth and decay of this structure. The overall effect is of a growth disrupting the Potemkin facade of the Rathaus in a balance of synthetic and natural design. An example of what this phasing may look like can be seen on the next page, to the right. The 3D printed panels that make up this phasing can be produced offsite and transported to site. Due to the two main roads that provide access directly to the Rathaus logistically this should not be a problem. Since it is competed in phases, not all components need to be transported to site at once making it easier to manage the site. The components are also easy to stack and move around the site, befitting the actual construction of the project greatly. The simple construction of bolting these pieces together also reduces the time on site having to built the structure, benefiting the logistics of the project further.

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PHASE 2

PHASE 3

PHASE 4

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PHASE 6

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PHASE 1

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STRUCTURAL INTENTIONS

30MM-70MM FLOOR FINISHES (TIMBER FLOORBOARDS/RAMPS/CEMENT TILES)

15MM PLYWOOD/BLOCKBOARD/CHIPBOARD

250MM STEEL HONEYCOMB CELLS (FT. SFRM) 2MM STEEL SHEET WITH EPOXY ADHESIVE LAYER (FT. VBM)

15MM FIRESHIELD PLASTERBOARD (AND CEILING DETAIL)

Honeycomb Composite Paneling DESIGNING THE STRUCTURE After moving away from a standard I-beam steel structure I wanted to look into occupying the 3D printed shell with a lightweight flooring system that could extend the existing spaces of the Rathaus that have been invaded by this new development. In this research I discovered composite panels, and in particular honeycomb composite panels.

Mainly used in the restoration of old buildings, these panels are light weight and extremely strong as to support a lot of weight. They are installed in a similar way to a stranded steel I-beam floor system, although thinner and specialised. The internal structure of these floors resembles that of an aeroplane wing, lightweight but extremely strong, minimising the amount of connections from wall to ceiling in the original structure. These composite panels can also be flexible and take the shape of any space they are needed, therefore ideal for creating slow gradual ramps. As long as the panel is sandwiched they cannot be moved and are therefore very useful in embodying old buildings and providing a strong brace flooring. The hollow nature of the honeycomb cells means they can be filled with other useful materials, whether insulation, ventilation or providing space for services. Whilst useful for providing this space for pipes, wires and ducts they are also well protected and easily accessed if needed to be maintained, which in turn is more cost effective.

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STRUCTURAL INTENTIONS

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Image of honeycomb model as well as sectional structure drawing of the proposed honeycomb composite panels.

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1:10 detail of integrated honeycomb composite panel flooring

INSIDE OUT

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Inside Out DESIGN FROM THE INSIDE OUT At this stage in the project a thorough exploration has been done looking at the structural design from the outside inwards toward the Rathaus, but the project would benefit from also looking from the inside out. The ballroom is a key space that already inhabits the facade of the Rathaus, and will be the key area of interest in this project of fining that in-between. Therefore, I started this study of the ballroom by drawing it out and studying the existing properties of the internal space. A 1:50 elevation that was part of this study can be seen above. This front ballroom hosts the majority of balls and events that take place, and therefore central to Vienna culture and society. Interacting with this space is interacting socially with the transitional setting, like the historical Potemkin itself. Whilst so public, it is still seen as its own secluded separate world. As relevant as the Potemkin, this ideal ‘perfect’ Vienna that is painted using the ballroom must be disturbed and brought out to the realities of this site. These events can be exposed just as we expose the Potemkin facade of the building, and bring out the activities that take place there into the new structure.

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INSIDE OUT

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Adjacency diagram constructing the proposals programme

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Access points and existing interior entry-ways

INSIDE OUT

Combined drawing tracking dancers during a complete fully attended waltz

Drawing that overlayed the pattern of dance scaled to the existing facade to locate interacting and overlapping points of interest

Using the previous set of drawings, mapping the movement of the dance and access points to see the best organisation of the proposed habitable space. Developing on internal form.

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INSIDE OUT

Combined design development for intervention on facade through ballroom -203

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Dance rotational studies of 3D areas to be used as areas of intersection and to disrupt the facade. These are my key areas of intersection.

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Vienese Waltz by Johan Strauss overlayed on ballroom and previous drawings that notated and tracked the dance sequence, then moved to inhabit the facade. This drawing intended to show the possible occupation and organisation of space in plan.

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Combined design development for intervention on facade through ballroom.

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Final proposal drawing for internal layout, highlighting the key areas of intersection and occupation.

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THINKING IN SECTION

Thinking in Section OBSERVING THE IN-BETWEEN IN SECTION Part of the studio brief proposed working in section to develop the narrative and detail for this project. Throughout this project I continuously worked into one key section curating through the facade of the Rathaus, moving it when required to cut through the ballroom and key moments of activity and interaction with the facade. Below is a scaled down existing section of the Rathaus facade, originally drawn at 1:50. On the opposite page to the right is a concept proposal for the scheme in section, showing the overall growth and incorporation into the facade. This conceptual section visualises what spaces the dancing facade creates as well as the atmospherical qualities generated from the choice in material and organic form. The final proposal and sectional details were developed from this drawing and forms part of the final design development of this project.

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INSIDE OUT

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THINKING IN SECTION

I produced an additional 1:20 detail of the key space where the ballroom and Rathausplaz meet, seen above. This space is occupied with a continuation of the ballroom, that acts an

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final programme for how the proposed structure will be used

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on the Rathaus facade, drawn at 1:50. As part of developing the

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To the left is a fully detailed section of the proposed intervention

the ballroom including the balls. Therefore dancers of the

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an extension for the festivals and events that take place in

facade and extend their dancing into the new structure. The

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Viennese Waltz performed in the Rathaus can now occupy the

issues of access and circulation caused by the festivalisation of

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initial purpose of the proposal was to allow a solution to the

and locals to access the space and use it as circulation. This

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the site. The improved access and walkways now allow visitors

worlds further in the occupation and activity of the design. The

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circulation also follows the dancing route, integrating the two

giving a true sense that it is ‘alive’. The application of the

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space becomes atmospherical with its overgrown appearance

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ventilation gaps sets a mood in the occupied space.

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3D printed panels with inlaid glass, thin 3D-printed-panels or

THINKING IN SECTION

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20mm partition infill (either thinned limestone 3D printed panels, toughened laminated glass or a ventilation gap) 50 x 40mm partition timber glazing bed Metal angle Silicone bedding pad 300mm 3D printed limestone panels Vertical garden cladding system Structural steel bolt plate 35mm bolts + washer 200 x 200mm steel column support + ventilation space Packed ground levelled to required foundation height finished on site 500 x 200mm screed infill Column base bolt plate Grout Anchor bolt and plates in concrete Existing stone foundations 1000 x 5000mm (approximately) concrete Drainage gravel 120mm Perforated PVC drain pipe

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CONNECTION

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50 x 150mm Steel Frame 55mm Rotational and ventilation gap 50mm Steel frame backing for panels Drainage board and root barrier Filter fabric Waterproofing membrane 135mm Vertical planting growing medium panel with inlaid expanded mesh mesh (65mm) Lithophyte and base planting + surface treated with erosion control fabric mesh 30mm PVC drainage pipe to allow maximum drainage out of the panel Cant strip Steel gutter tray Steel metal cap Motorised hinge connected to photovoltaic and internal temperature sensors with 0o-90o-180o rotation of panels 140 x 50mm PVC cap and parapet support Steel siding over underlayment Metal cant strip bolted to parapet support Metal cap flashing Waterproof membrane 12.5 x 180mm hidden-edge finishing in plasterboard Skirting 20-40mm floor finish (porcelain/cement tiles and timber floorboards) used to create a smooth and even floor level 100 x 270mm timber stud Honeycomb composite panel flooring system (please see previous detail) 15mm Plaster ceiling finish Structural steel bolt plate 35mm bolts + washers 100 x 300mm Fire stop 3D printed limestone panels

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Metal cap flashing 30 x 145mm Steel parapet support Waterproof membrane Cant Strip Steel siding over underlayment Metal (steel) cap flashing Motorised hinge Vertical garden cladding system 50 x 120mm supporting timber bracket Structural steel bolt plate 20mm bolts + washers Steel frame and bracing system Steel cap and facia board Steel cap and gutter tray Gravel 32mm PVC drainage pipe to allow maximum drainage out the panel Perforated galvanised steel bent plate Drainage board Treated firring board Lead flashing 50 x 140mm Timber parapet cap Rubber adhesive waterproofing layer Fixed steel connection in steel frame 35mm bolts + washers

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Additionally, to accompany my long sections in print I produced a series of plans of my design intervention on the Rathaus facade. These plans help show the change in level and the clear movement through the facade and piercing deeper into the Rathaus. These plans were drawn 1:500 on a sheet 900x2000mm, approximately 2A0 portraits. The section line relates to the previous sections.

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GROUND FLOOR

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FIRST FLOOR

ENVIRONMENTAL STRATEGIES

Environmental Strategies ENVIRONMENTAL CONSIDERATIONS IN DESIGN Environmental thinking has been incorporated into this project in both design and technology as an ongoing process.

I have managed to summarise this process into 7 key areas of main consideration.

1)

Solar Gain

Vienna features cold winters with high radiation vs hot summers with longer days. There is a risk over overheating and heat loss during these times of the year. Due to the graphical location of Vienna Austria the temperate differences are considered gradual and different to that of the UK. The design proposal was orientated to take advantage of framing the views, providing key natural daylight and opening up the space. The proposed responsive motorised facade cladding is programmed to a sensor that detects internal temperate and light levels, if the internals become too dark the cladding system opens to allow in natural light. Since the structure itself is semi-translucent in places lighting has been used to maximise the atmosphere and mood of the space. Thermal massing is also key. The stone and brick have high thermal mass and can absorb larger amounts of heat and then release it gradually, balancing out the hot and cold cycles of the day. This is extremely important as the designed space is both external and internal therefore needs a high thermal mass to regulate the difference temperatures.

2)

Air Quality

When it comes to air quality noise levels and ventilation are crucial factors. Air quality is significantly improved using vegetation, which is used throughout the proposal and an invasive tactic on the face of the building. It is said healthy air makes healthy people - therefore there is also a social aspect to this sustainably not just environmental.

Fortunately, access to a wind across the open space in front of the Rathaus means natural ventilation is possible and built into the structure where applicable. Increasing the access to wind and ‘fresh air’ is not only energy efficient but helps increase the air quality. The plants/vegetation growth can also act as a small noise buffer which will be necessary since the Rathaus is sandwiched between two main roads, making up the ringstrasse ring road.

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ENVIRONMENTAL STRATEGIES

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Thermal Massing and Solar Gain strategy diagram

ENVIRONMENTAL STRATEGIES

3)

Materials

The process of this project utilises waste product and recycles material where possible. For example, the 3D printed panels take advantage by reusing limestone slurry which is mining waste.

Biological growth relies on the

materials already available on site to grow, attaching and deteriorating the facade. Since this is a form of living architecture it is naturally going to grow and adapt over time, increasing the proposed buildings life expectancy (not so much the original Rathaus). The 3D panels will one day become overgrown and unnecessary to the process. At that time, they could be taken away, ground up and reused in 3D printing more structures elsewhere. Since they take a very long time to weather down, this is the more likely end to their lifecycle. There is no refrigerants used in this proposal to reduce any further contributions to global warming. The remaining main material components may be considered biodegradable as, over time, will decay. But in time, this decay can help create the next iteration of the design- such as providing nutrients for the next generation of plants or become substrate for more 3D limestone panels. Since this is an external structure, there is little to no proposed insulation. The focus became of making sure joints and floors were waterproof and fireproof.

4)

Renewable Energies

Whilst a consideration, this was admittedly not the main focus environmentally in this project. The unpredictable nature of the biological growths means photovoltaics may possibly be grown over eventually, decreasing their efficiency and effectiveness. This project actively promotes reducing fuel use, and therefore pollutants. Assemblage on site, reduces time and resources on the project and minimises the amount of machinery on the site. Winter and Summer months require separate thermal control strategies due to the difference in climate. Trees and planting can provide additional shade and help prevent overheating in the summer (and less energy needed to manually cool the occupied space). These plantings at the same time provide greater solar access to the building in winter.

5)

Lighting

Natural daylight is a key component in this project. Natural daylight in the internal spaces forms almost atria conditions as to support plant growth. Glazed openings, light shafts and even light shelves for the deeper spaces are used to achieve these conditions. Artificial lighting is limited to that already existing in the Rathaus, to reduce energy use. Those light fittings that remain are replaced with high-efficiency fittings as to increase the efficiency of the building but also reduce costs as well.

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Winter planting, day-lighting and shading

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Summer planting and shading

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Paper collage showing the materiality atmospherical properties of the scheme in an exaggerated framed view from within the interiors of the proposal.

ENVIRONMENTAL STRATEGIES

6)

Ventilation

The new proposed design is positioned to make use of the onsite wind (airflow on the site), and can be used for natural ventilation. Fresh air is very important to the scheme,

openings in the 3D printed structure, positioned to maximise this effect. Natural ventilation is still active even when the responsive facade panels are closed, due to the fact these ventilation openings are never closed. During rainy days, the panels provide protection over these openings so the space is still habitable (and the people inside do not get wet). Smoke ventilation and fire prevention have also been considered in the detailing of this proposal (where it was

vertical

gardens

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increase

the

biodiversity on site and encourage wildlife to return to the city centre and specifically the site. Besides plants, this

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includes the nowadays very rare and exclusive local.

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and

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planting

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Using

Biodiversity

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7)

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possible to draw the detail for).

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heat and ‘old’ stale air is then dispensed via high ventilation

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enters via natural winds and the difference in pressure. The

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due to the size of the proposed development. Cold fresh air

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effect is the most applied solution across the new scheme

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please refer to the points made in 2-Air Quality. The stack

REFLECTIVE CONCLUSION

The Transitional Potemkin REFLECTIVE CONCLUSION TO STAGE V In an attempt to bridge the unbridgeable, this project explored the balance between: the automated and the natural, the interior and the exterior, as well as locality and festivalisation. In order to create and inhabit the membrane among the clashing contexts I theorised an adaptable responsive architecture that is ‘living’ in a sense. All the while, responding to the social context of the existing Potemkin; disrupting and re-inventing the Rathaus facade post the modern Potemkin. The development of this project was just as important as the final outcome; the entire project and thesis can be read as a process that could continue to grow architecturally past the point of ever being defined as ‘finished’. As with truly adaptive sustainable architecture there is never a certain endpoint, as to be able to change with its surroundings, and transition between states constantly.

This is the transitional object.

I thoroughly enjoyed the creative freedom of this inventively combining theory with integrated technologies as to explore my theme of balancing the relationship between the synthetic and the natural and inhabiting the in-between. This semester highlighted to me the importance of responsive and adaptive architecture within society. Since this project worked in developing the in-between it also had to inhabit the space between the designed and the natural. Many architects have criticised the relationship of architecture to nature either working with it or within it. This project works attempts to balance both worlds. Repeating the theme of producing architecture in-between two opposing forces. This resulted in a highly enjoyable process-driven experimental architecture that developed a natural storylike narrative for this portfolio.

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REFLECTIVE CONCLUSION

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Technology Studio TECHNOLOGY STUDIO: HOMEOSTASIS This technology studio ran parallel to semester 1 of stage V, encouraging us to develop our own technology precedents in our design work. In this portfolio I have included a selection of the additional works from these workshops here, including group work. I chose to take part in the ‘Homeostasis’ studio that focused on combining lessons from nature into material science, electronics and soft mechanics into a buildings external skin. The outcome of this studio was to research and produce some form of responsive facade panel, or part of a panel, that was inspired by the mechanisms of nature.

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THINKING THROUGH MAKING

Thinking Through Making MATERIAL EXPLORATION Thinking through making week occurred early within Stage V semester 1 and was a valuable time for introducing technology groups that may become crucial to future project work. This infancy period of research and primary exploration became extremely beneficial as an influence for incorporating technology into current and future projects. In this week I researched techniques applied within Homeostasis and current technologies behind kinetic facades. This included: the use of a planar system with 2D rotation, exploring 3D movement to create and minimise facade openings, origami folding

structures,

twisting/rotating

and

interlocking

elements, as well as scissor and pivot moving patterns. I began to make some sketch models using card and craft foam to visualise some of the research I had undergone. It was at this time I was able to begin thinking on ways a facade can be treated like a second skin to a building, and how this can be used to a designers advantage to be more economically and environmentally efficient. While card and paper are a good ‘sketch’ material, it is beneficiary to consider the move to using smart materials that have a shape ‘memory’ including alloys (metals and electrocromatic films), fabrics (elastics), plastics (Shape-memory polymers) or suspended fluids (for example Thermochromic inks).

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THINKING THROUGH MAKING

structure. Since this is such an early stage in this research these test are manually operated though through the course of this exploratory technology studio this should be replaced

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rotating interlocking element, and a simple push- pull 3D

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demonstrating examples of origami folding structures, a

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Three experiments were made using card and paper

materials. Through theses tests it was clear the limitations

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with biomimicry (plant inspired) systems using smart

mechanically reliant and therefore be less energy efficient.

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of rotating and pivoting units and that may be more

as larger frames, which will impede on the thickness of the

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There also comes the risk in the need for more support, such

overall facade as thin and light as possible. Therefore, future

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overall facade. For this project we wish to try and keep the

similar to that of natural systems that open and shut. These

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tests should try to encourage more 2D and 3D movement

nature, in particular the triangle and the hexagon. The end

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tests have also shown the benefit of using shapes found in

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light and ventilation efficient, as well as space efficient.

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scheme should aim to be energy efficient, exploit natural-

THINKING THROUGH MAKING

BIOMIMICRY Biomimicry

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implementation of systems found in nature, adapting them suitably to help maximise efficiency. The Fibonacci code is a frequently documented case found in architectural study of this field as it is known as the law of nature. This sequence creates a very stable shape that can be found in shells, sunflowers, the branches of trees and even the movement of bugs. However biomimicry can influence serval aspects of design, including materials and form. To generate form the generative techniques applied tend to seek animals and plants as inspiration to which deployable typologies and technologies are applied to become structural components.

There are several typologies that this project has already looked at that apply this mythology. I believe my own design project also follows this process, although focussed on the response to the specific context of the site as to become a living architecture.

Techniques used in biomimicry look at the micro scale of nature, taking inspiration from cellular qualities to sequences. In biology, nature has evolved to be as energy efficient it can be in its movement- which is what this style of architecture wants to replicate. Applied techniques include folding and curving structures, tessellating shapes and origami. This is a great area to start to think about the process of Biomimicry. For example, the movement of a flower opening although simple in appearance has a lot of mechanics working within. Plant cells have properties that are able to create actuator-type “smart� materials that use movement as a response to a climatic change. This creation of movement focuses more on structure of the materials used. The folding motion of a flower is not so easily replicated, but can be explored through the use and application of smart materials. A sketch of this motion and movement study can be seen to the right.

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Continuing thinking about this folding movement of an

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THINKING THROUGH MAKING

studies of this type of movement as it appears in nature.

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opening and closing mechanism I began drawing more

using the same lily opening strategy as mentioned in prior

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The invention of the umbrella mechanism was inspired

although is inspired by more compositional features in the

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theory. This hinge mechanism shows mechanical actuation

a hinge system out of cardboard that replicates these

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opening movement of a flower. In these studies I created

umbrella. This simple sketch model was built so it could be

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same features, as inspired by the opening of a flower and

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easily dismantled and played around with to fully explore

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this movement.

THINKING THROUGH MAKING

SMART MATERIALS There are two major groups of smart materials discussed in this studio: shape changing materials that show instant (sometimes spontaneous) movement, and shape memory materials that retain a ‘memory’ of a shape in which to return to under the correct conditions. In this studio, we focussed our limited time on the research and exploration of shape memory materials which included polymers, alloys and hybrids. With these experiments the material was the activator as it was the moving component that controlled the system.

During this time we, as a collective studio, moved to working in the laboratories to experiment with these materials. Nitinol wire, a shape memory alloy, has to be trained by super heating the metal in the desired shape then quenching. This process ‘saves’ the shape within the molecular structure of the wire, so when heated it returns to the desired shape. While interesting and possibly useful, the wire held little strength and was unfortunately unable to hold any significant weight. Nitinol springs however provided a greater movement that was able to pull or rotate light objects. I tested the strength of these strong using a frame, where I gradually added weight to get a rough estimate of the possible capabilities of using smart springs.

From this point I started to think of alternative materials that could be used to create components of the future panels and project work. Materials including fabrics, plastics, thin metal sheets and rubbers. This process, along with some of these alternative tests can be seen photographed to the right.

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We were also provided access to shape memory polymers to trial and investigate on their capabilities in a responsive facade system. These polymers work the same way as the shape memory alloys as previously discussed. When the polymer was heated it became flexible and malleable but

the glue. In order to continue the tests I had to sew the polymers into the testing shapes, which were developed as part of group work. This is elaborated on in the next page of this portfolio.

After conducting these tests I conclude that the amount of heat energy required to make this system move outweighs the previous levels of efficiency in mechanical systems already applied in architecture outside responsive or sustainable levels. I cannot justify using this system or polymer material in my own projects. This being said, the tests were actually successful, although I would have preferred the system to open with heat and not close (which I was unable to train

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the material to do so).

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necessary heat needed to make the polymers move melted

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to glue the strips to the paper testing medium however the

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to return to its closing position. In the first set of tests I tried

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moved (possibly using a Nitinol spring) and when cool tried

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polymer to act as a hinge, when warm it was able to be

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shape. I was able to train a small strip of the shape memory

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when it cooled it hardened and returned to its original

THINKING THROUGH MAKING

GROUP WORK It was during this period of experimentation our studio leader split us into groups to work on our panel systems.

In our group we brought our previous notes and research together to create a collective design. Opting to focus more on the act of biomimicry to open and close a system, we aimed to create a simple component of a panel and not a whole panel system. Our design took inspiration of umbrella movement, to open to allow light and ventilation through the facade and close to prevent overheating and glare, therefore maintain an internal equilibrium and designed homeostasis.

The opening and closing mechanism originally consisted of two sprints attached to an independent frame. When cool the springs relax and allow the folded origami umbrella to open. When the system is heated, though direct sunlight over time, the springs recoil and pull the folds of the folded shape back to close the facade. The gaps in the facade allow for some light to come natural through, making it a more habitable space behind the facade. We found that in order to reverse and reset this mechanism we needed a third spring that would become exposed when the system was closed, when this spring heated up (such as the sun rises for the next day) the spring will recoil and shrink pulling the shape back open. This system fully reacts to the surrounding environment and does not rely on mechanical intervention.

This is a more pure form of natural inspiration, responsive architecture and biomimicry in movement.

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Our final panel was created in a 500x500mm frame as

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was used to replicate the standardised frame which the

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specified in our technology studio brief. Chicken wire

approximately 100x100mm wide and were positioned on a

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facade panel system supports itself from. Each unit was

nitinol spring system was attached to the wire frame and

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single stationary rod, to hold them in place of a frame. The

with plastic infills that provided the necessary rigidity for

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fabric folded units; the edges of the units were combined

to match the fabric colour and unify our final proposal. The

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the springs movement. The frame and wire was pained black

unique light quality, which would create more atmospheric

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frames and perforated appearance of the tragic creates a

get the system to open and close, it was not very efficient

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and aesthetically pleasing spaces in practise. While we could

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and required a lot of heat energy to activate, which on a

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larger scale would not be practical.

THINKING THROUGH MAKING

ORAGAMI

Returning to the paper prototypes from the start of the technology studio I reconsidered biological influences that can influence my thinking as a designer. One of the more reoccurring themes in bio-inspired design is Origami, which is a trend appearing more in more in fashion and architecture. Origami works as a series of fold to create a different form as it moves, which can be adapted into the functionality of a responsive facade. Starting with one module we can build a shape up to create a second skin; this is an example of 3D origami.

At the beginning of my design work I started to respond to the facade of an existing building on site the Rathaus (city hall and Vienna government chambers). The heavily ornamented facade embodies a grandiose persona that visualises the ideologies of the empire at the time. Adolf Loos commented on this reflection of reality as the build up of the Potemkin City that is Vienna. In order create an interactive and response project to this existing architecture I considered creating a second skin or panel system. This system could react to the existing environment on the site, and be able to adapt and grow in the available conditions.

To start drafting this skin I introduced sheet origami to the project- a form of origami that uses tessellating geometries to be able to fold and change shape. I had previously explored strong shapes and patterns that occur in nature early in my technology studio, so returned to these triangular and hexagonal shapes. As a result I creates a paper model that could grow and shrink, like a breathing membrane. As the sheet is pulled back the spaces between the hexagonal panels is reduces, creating a closed facade. When open, air and light is allowed to pass through.

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From the paper tests I then began to think how this shape and movement pattern is translated across different scales as well as how well it could be recreated in different stronger materials. I started to create smaller prototypes, as to become a more manageable scale, using flexible mediums to act as the medium to support the panel system.

The materials I explored included metals, woods and fabric. sheet but felt this was too impersonal of a material choice to

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I was able to create a flexible second skin using a fabric

worked successfully in order to create a working prototype that could open and close manually. On a larger scale it was

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previously explored into the gaps between the panels, which

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use in my design work. I then integrated my hinge system

in some smaller gaps. This could be avoided by using a

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harder to accurately position the hinges by hand, resulting

and tessellation in factory conditions. In order to create a

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computer to accuracy generate the pattern of movement

model to demonstrate this opening and closing mechanism,

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more accurate structure, I made a smaller scaled prototype

thickness and weight of the materials, removing parts of

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which was more successful. I also experimented with the

create. In these tests I tried perforating the panels to provide

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the panels to play with the light and experiences they would

portions of the facade panels. These created gaps could

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small access of light, as well as completely removing large

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against the harsher environmental conditions.

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be filled with laminated glass to provide some protection

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Academic Writings COLLECTION OF MASTERS ACADEMIC WRITINGS In this section I have included summaries of all the writing works that accompany my masters studies. To keep this portfolio condense and reflective, I have done my best to supply synopsis versions of each submission, accompanied by key drawings and images.

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ARC8062 DISSERTATION IN ARCHITECTURE

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ARC8062 DISSERTATION IN ARCHITECTURE

Dissertation DREAMS OF A PERFECT LITTLE CITY : INVESTIGATING THE EFFECTS OF WORLD HERITAGE STATUS ON DURHAM CITY Durham Castle and Cathedral became one of the first UNESCO World Heritage Sites in the UK in 1986. The significance of this achievement has been underplayed in literature, and frequently overlooked as a textbook example. However, this dissertation explored the truth behind the World Heritage facade of Durham by analysing the past 30 years of its listing. Investigating and scrutinising how World Heritage Site status has had tangible and intangible effects on the tourism industry, identity within the global market and historic building conservation in Durham. While there has been previous research on the effects of World Heritage and critiques of UNESCO, that have been imperative to this study, none have focussed specifically on Durham. Durham is a deceivingly complex and political example of a World Heritage Site, that this dissertation begins to break down in its effort to define World Heritage as a political process. Due to the lack of theoretical analysis of the intangible effects of World Heritage in Durham, this dissertation heavily relied on the procurement and resourcing of primary research to piece together an understanding and develop the research

to simply state a lack of observed change in Durham. In reality the intangible effects outweigh those easily perceived. The further the research questioned Durham, the more layers within a heritage identity were found, further complicating what should constitute outstanding universal value. Despite industry uncertainty and political adversity, Durham’s heritage survives and its World Heritage Site inscription provides hope for its continued conservation. However, the uncertainty of funding partnered with the ambiguity of UNESCO’s authority and judgement of ‘universal’ values

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make its future uncertain.

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provide it through our identity and memory. It is too shallow

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political and only boasts the substance and power that we

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from this exercise found World Heritage to be intensely

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and thorough conclusions on its own. The emerging findings

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provided insight so that this dissertation could make valid

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based literature has supported primary research and

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narrative. UNESCO, Anthropologic and Heritage-theory

ARC 8051 TOOLS FOR THINKING ABOUT ARCHITECTURE

Tools for Thinking about Architecture THE FESTIVALISATION OF PUBLIC SPACE Festivalisation is the phenomenon causing cities to become more engrossed with developing an attractive festival culture, to the point where it is having an adverse effect on the socio-urban fabric of the city, especially in the public realm. This paper seeks to answer the questions: What is happening to our public space as a result of festivalisation?

Consequently what effect is this having on a global, national and local scale? To attempt to answer these questions, a variety of multi- disciplinary readings were employed in order to address the diversity and richness of the topic.

Public space is central to a city’s community; it is historically defined as an integral social space that promotes coexistence within a city. Festivalisation has fractured these spaces in an attempt to advance and promote them, particularly through city branding and the developing tourist economy.

Festivalised public spaces turn the city into a theme parkthe ideal attraction- free from the presence of the poor, crime, filth and general disagreements. The character of the space, the heritage and tradition along with authenticity as a right to residents is lost. Instead, branding has turned public spaces into homogenised shopping malls, that appease the demands of both visitors and investors, all the while attaining to global consumerism. Public space has become more for the benefit of visitors over residents; the example of Venice highlighting the tension between the tourist and the local. Locals are slowly losing their right to the city’s public spaces as well as the right to even occupy them (Lefebvre, 2014). Privatisation is excluding social groups in favour of consumers and tourists, and, public spaces have become more a luxury for those who can afford it rather than a free public realm for everyone (Sorkin, 1992). Examples from ‘world cities’, such as New York, stress how this is a global problem and not just a national or state crisis (Zukin, 1995). The image of a city that retains contemporary festivals and events while providing access to all social groups is radical thinking. It can, however, provide hope for community projects and advancements in cultural tourism all the while letting us dream of utopia (Harries, 1997). Changes to public space as a result of festivalisation are predominantly unfavourable to local residents.

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Architecture and Construction PROCUREMENT OF THE DESIGN TEAM WITHIN NOVATION (STAGE 4) The fist assessment of this module was a group presentation on a choice of case studies provided by the University. Our group chose to investigate the procurement of the design team within the novation period which occurred during Stage 4 of the RIBA plan of works for the new student Sports Centre on Richardson Road. This involved the transition from the Durham University Framework to a bespoke framework, which then became the template for the NEUPC framework which Newcastle University will now be used for future projects. To keep the presentation focused and concise we chose to phrase the advantages and disadvantages in the perspective of the client, and evaluate risk and value as we progressed through. In the case of the sports centre, Newcastle University wanted to separate their professional team from the Design team procured using the Durham Framework; while the design team was novated to the contractor. With the Sports Centre, the legal ‘break-up’ and transfer of parties within a pre-constructed framework required additional legal contracts to be drawn, with additional cost. The Durham framework henceforth became more constricting than liberating of individual parties duties due to the now overly complicated novated contractual obligations, making communication between parties increasingly difficult. This also came at large who was obligated to novate these new contracts. This

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additional administrative costs for Newcastle University

cons of the NEUPC framework chosen and novation, and proposed alternatives for the framework that was used. An

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was the issue we chose to investigate further and look at

create a new framework specifically tailored to Newcastle

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fundamental need for future projects and have since created

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University’s needs. The university recognised this as a

is to go through the OJEU and not use a framework at all.

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the NEUPC. One alternative to using the Durham Framework

appropriate and suitable in practice; the benefits of using

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procurement of Newcastle University construction projects.

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ARC8061 ARCHITECTURE AND CONSTRUCTION: PROCESS AND MANAGEMENT

SUBMISSION 2: 2000 WORD REPORT I chose to write my reflective report on the construction management of my route and pavilions in my sixth year thesis project. In this report I described hypothetically the two stage procurement that I envisioned for this project and the relationships between the client, design team and construction team. I made sure to highlight the advantages and disadvantages of using two stage design and build, illustrating where possible. Since the report was so restrictive in its word count, I was selective in its discussion. I wanted to focus on the contractual risk between the client and contractor, and their perception of value. Throughout this report I remained aware of the RIBA stages of work as well as the ARB (2017) The Architects Code: Standards of Professional Conduct and Practice. RIBA’s code of practice is extremely important to us as professionals. I feel confident in my understanding of contractual obligation and the professional role of the architect. The submission asked us to discuss two key issues that we must consider for our individual projects. I chose to firstly acknowledge the additional legalities and documents necessary due to the presence of heritage assets near the site, and the implications of this on the perceived value and risk to completion. Secondly, I felt it necessary to unpack my choice in two-stage design and build procurement and the effects if achieving value and controlling risk.

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