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The Everyday Museum of Durham

ELIZABETH RIDLAND

MUSEUM GUIDE 2020

CULTURAL ASSEMBLAGES: ARCHITECTURE AS SOCIAL PHENOMENON

MUSEUM GUIDE 2020: MANIFESTO

Manifesto WELCOME TO THE MUSEUM Museumification is a contemporary phenomena that occurs within living heritage cities, where cultural assets are valued more as potential artefacts 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 relation of tourism and cultural identity.

Durham provides a unique opportunity for this study. Being from Durham I can provide a local perspective while distancing myself and taking an alternative academic ethnographic perspective. As one of the first UNESCO world heritage sites in the UK, Durham has become an example of a living cultural heritage site where a rift has formed between the ideologies of a local perspective of heritage and an international statement on the cities heritage significance.

Where local life is on constant display like an exhibit in a museum.

Everyday is like an open day and every local becomes a tourist in their own home.

Therefore, this project aims to amplify and exaggerate this museumscape and the museumification of Durham. By conducting a series of mappings and exploratory drawings, this project will research and analyse the disruption to the local caused by museumification. In order to exaggerate the museumification of the city, the design brief re-conceptualises the peninsula as a museum, exploring the societal need to collect, curate and wander. It does this by incorporating the design of a touristic pilgrimage route through the city, curating an idealistic tourist experience through the everyday museum that is Durham. The route needed to incorporate 4 pavilions that evoke the architectural language and layout of contemporary museum design.

The location of these pavilions were determined by the sites of major disruption, located using a series of analytical studies.

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SEMESTER 1

SEMESTER 2 -04

THE EXHIBITS

The Exhibits CONTENTS OF THIS MUSEUM GUIDE

THE STUDIO 09

06

INTRODUCTION TO THE MUSEUM EVERYDAY HERITAGE MAPPING 31

A PAST MISPLACED DURHAM LUMIERE

54

68

14

36

MAPPING THE MUSEUM INSIDER AND OUTSIDER

65

MUSEUM PRECEDENTS

75

DESIGNING THE ROUTE

93

CONCLUDING STATEMENT

163

SIGNIFICANCE OF THE MUSEUM

81

PLANNING THE ROUTE

129

166

PAVILLIONS

BIBLIOGRAPHY

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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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A NEW PHILOSOPHY OF SOCIETY MANUEL DELANDA (2006)

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

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

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

THE HERITAGE-SCAPE MICHAEL DI GIOVINE (2009)

THE PRODUCTION OF SPACE HENRI LEFEBVRE (1991)

ASSEMBLAGE THEORY MANUEL DELANDA (2016)

THE STUDIO

THE MUSEUM

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

“Museumification can be understood

new city narrative. Museumification has thusly become part of the everyday in

as the transition from a living city to

Durham, where the Castle and Cathedral

that of an idealised re-presentation

are presented as romantic examples of

of

itself,

wherein

everything

is

considered not for its use but for its

Norman power and religious endeavours in the UK. Effectively, selectively curating their

cultural

heritage

on

display

as

value as a potential museum artefact”

exhibits within the museum of Durham.

(DI GIOVINE 2009; P.261)

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.

This exam document acts as a guide to this project as well as the everyday museum of Durham. This document accompanies my maturing masters portfolio as an illustrated written thesis; unpacking the developing thoughts, research and analysis of museumification in Durham.

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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; representing the architectural histories of Norman conquest and early legends within Christianity in England. 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.

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ROUTES OF ROOTS

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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ROUTES OF ROOTS

Weathering is an important element to the management of Durham’s WHS, and is flagged constantly by restoration teams for its historic buildings as the largest tangible threat (ICOMOS, 2013). The island nature of the peninsula has unique climatic conditions that must be taken into consideration, especially in regards to sustainable design systems and flood or floor levels. Additionally, Durham is historically known for its coal. The soil quality and location may provide unique access to desirable material qualities or additional heartache over designing foundations. which may prove to be problematic on silt or sandy areas.

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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 from a local governmental (council) level.

“So demanding are national attachments to identity that they often leave little room for individual, local, or regional heritage” (LOWENTHAL 1994; P.50)

Listed buildings are recognised as buildings of cultural and historic significance within a heritage narrative, that are protected for future generations to experience. Mapping the location of listed buildings on the site provides logical insight into what is recognised as culturally significant at a residential level; juxtaposed to the cultural world heritage site boundaries

in a comparative study. What becomes clear is the disparity and variation both within and beyond the current WHS boundary.

The greatest concentration of listed buildings remain within the peninsular, but there is still a considerable difference between this harsh boundary that acts more like a wall cornering off segments of the city, forming a profoundly selective narrative of cultural assets on display. Selectiveness, beyond the associated political connotations, challenges the relationship between heritage and identity, specifically seen at this everyday residential level.

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EVERYDAY HERITAGE

Identity is an intangible factor that is not a fixed statistic or knowledge; it evolves with humanity within levels of community and individuality. Therefore issues arise with WHS’s and the everyday

civilian

where

these

residential

identities

become

overshadowed, diluted or even consumed by a larger global market branding the ‘ideal’ city image (Minton 2009). As is the case with Durham, where familiar connection to place has been dominated by a vision of the city constructed and marketed internationally with the intention to attract visitors. Everyday activity therefore becomes a backdrop as a display of ‘living heritage’, elements to add to the aesthetic but forbidden to provide educative substance to the heritage performance beyond that curated for the visitor. Therefore the residential everyday may be featured within the heritagescape as a point of diversity. Di Giovine conceptualises how these identities which make us different may actually be what can connect us all. Developing on this idea, the heritage-scape is this grand “playhouse of diversity” where heritage becomes a stage for all actors to be able to come together, interact and appreciate the real or unreal dramas, that are constantly being made and unmade with each performative iteration (Di Giovine 2009).

While UNESCO attempts to brining nations together with this ideology and peace, they do so

“the heritage-scape can be conceptualised as a grand proscenium, a playhouse of diversity and a platform from which actors of all sorts come together to muse, interact, and present”

selectively, and pre-write their performances as to be more idealistic. Nations have the greatest role in this operation, where city branding and global marketing for tourism is seen as an economic benefit that outweighs all else (Hoggart 1978). Tourists are an imperative part of the heritage scape, being one of the key actors on the expanding heritage stage. The dynamics of the relationship between tourist and local is a topic this thesis will later expand on.

In the past, identity referred not to an individuals consciousness but to their familiarity and self-association, while heritage consisted predominantly of family legacies (Lowenthal 1994). Nowadays, heritage is something inherited and embodied within our collective or individual identity through affiliated memories, monuments and traditions. The places of our everyday become part of who we are.

Continuing throughout this project, there have been attempts at exploring different techniques of representation, one such way being collage. In order to begin mapping these elements of identity and heritage at at an ‘everyday’ level, collages were used to represent

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(DI GIOVINE 2009; P.275)

EVERYDAY HERITAGE

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EVERYDAY HERITAGE

each new layer of information. The first in this section represents how much the ‘everyday’ has changed with contemporary times, splicing images listed buildings streets within or just outside the WHS boundary, and removing the tourist to see what is left behind.

So what concepts of residential heritage can be seen in Durham?

Answering this prompted the mapping of the different levels of intimacy and areas of contextual interest in Durham, 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.

The first layer uses the information gathered from the listed building study to act as a base map; infrastructures established as being culturally significant on the ground to the local populous, enough to nominate and warrant local government conservational protection.

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. 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. Linking back to the medieval fortification of the city this makes sense as it was designed to make pilgrims and merchants pass through for taxation purposes (Pocock 2013). Control over circulation is still in effect today, forming the high-street that leads its way up towards the Cathedral.

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Tracing paper layer 1 (WHS Boundary): Printed on Trace

Tracing paper layer 2 (Comparing Boundaries): Printed on Trace

Tracing paper layer 3 (Interpreting Pilgrimage Routes): Printed on Trace

Tracing paper layer 4 (Defining ‘Heritage Corridors’): Printed on Trace

EVERYDAY HERITAGE

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 (see trace overlays levels 3 and 4).

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

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

Castle and Cathedral, the natural identity connects more to a visitors imagination and experience of Durham than the knowledge and existence as part of it (Berliner & Brumann 2018).

The environment is seen as an experiential extension of the local, accumulating memories, and forms a personal heritage. There is no single image of Durham WH: Heritage will be interpreted differently by residential locals, national politicians and international tourists (Batisse & Bolla 1999). Thus, from what we have explored, the understanding

of

world

cultural

heritage

coincides

with

an

anthropological understanding of the connections within humanity, similarly to how the word ‘culture’ is branded in wider global society (Brumann 1999).

One of the wealthiest subjects emerging from this study was pilgrimage. The contemporary interpretation of how pilgrimage has changed in Durham is compelling, especially since it is such a rich part of its history, present, and possibly its future.

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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 (DWHS 2019). 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 (OneNorthEast 2006). 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.

Therefore it became a a mode of cultural meeting, exchange and inspiration through pilgrims shared spiritual experience. Over time this pilgrimage became an important economic and social stimulus that lay the ground works for early origins of tourism. Cities and trails are built upon remnants of ancient pilgrimage routes where visiting communities bring with them wealth and wanderlust for the

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3D DIORAMAS DEPICTING THE STORY OF THE DUN COW

EVERYDAY HERITAGE

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EVERYDAY HERITAGE

spiritual or emotional. Scholars therefore propose that pilgrimage is closely related to tourism, if not its ancestor (Garcia-Fuentes 2016; Di Giovine 2013). Tourism is the modern pilgrimage. People visit places that inspire or generate an emotional connection that encourages the wanderlust (Solnit 2000). The tourism industry is imperative to Durham’s economy since the 1980’s and remains prominent within its WHS management plans (DWHS 2017). 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 heritage-scape: 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

and overwhelming religious presence. The act

“The past renders the present recognisable. It traces on the ground and in our minds let us make sense of current scenes”

of freezing this idealised viewpoint to guide

(LOWENTHAL 2015; P.86)

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

visitors interpretation is the museumification we see in Durham.

Therefore Durham is burdened by the ‘museum effect’ where, like with the historical routes of pilgrimage, the city is always under the pressure of seeing and performing (Garcia-Fuentes 2016). The city becomes part of this modern pilgrimage, preset by UNESCO. The phenomenon of touristic heritage consumption, while commonly perceived as a negative for the museum effect, can prompt active preservation through widening the audience of appreciation to an international level (Fyall & Rakic 2011). Survival of places of heritage may depend heavily on tourism as capital assets and economic resources of national importance (Binney 1981). There is an obvious fragile balance emerging in Durham between tourism consumption and heritage conservation. This survival via destination led consumerism may bring with it too many modern pilgrims and the threat of ruin or the distortion of its histories. Yet what are these historical and contextual realities? To answer that, this project must divulge into the forgotten pasts of Durham; to explore the pasts misplaced not just what visitors are shown, but the reminiscent soul of the city and its people.

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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

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 it is a marketed and manufactured place. But what this chapter resolves is the understanding that Durham is more than a sum of materialistic criterium and is observed at facade value for its aesthetics and artefacts. Durham is a social living site that is built on ancient skills and legends; these stories have become misplaced in translation amidst the hierarchy of heritage. In the process of displacing these transitory values of individuality and collective memory the local is forced into a newly-construed heritage-scape where their identity is challenged. Much like how museums re-contextualise the objects in their possession for their exhibits (Di Giovine 2009). Therefore, for this investigation, it is imperative to explore these pasts to better acquaint ourselves with the levels of heritage in Durham and their significances within the heritage-scape. The survival of relics and stories of our past is essential to asserting the relevance of antiquity contextually in society (Hunter 1981). These are the materials of historical study that act as guarantors of historical and cultural identity for future generations.

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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 1 of 10 criteria set by UNESCO. These criteria help UNESCO define a site’s ‘Outstanding Universal Value’. UNESCO recognises Durham for 3 specific criteria: II, IV, and VI. II) 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. IV) Durham Cathedral’s architecture represents a period between movements, with innovative and advanced construction for its era, that would later evolve in what became ‘Gothic’. VI) 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 of significance that run alongside UNESCO’s criterium (see DWHS 2017; pp.10-16): SIGNIFICANCE 1: The Site’s exceptional architecture demonstrating architectural innovation.

SIGNIFICANCE 2: The visual drama of the Cathedral and Castle on the peninsula and the associations with notions of romantic beauty.

SIGNIFICANCE 3: The physical expression of the Spiritual and Secular Powers of the medieval Bishops Palatine that the defended complex provides.

SIGNIFICANCE 4: The relics and material culture of the three saints, (Cuthbert, Bede, and Oswald) buried at the site.

SIGNIFICANCE 5: The Continuity of use and ownership over the past 1000 years as a place of religious worship, learning and residence.

SIGNIFICANCE 6: The Site’s role as a political statement of Norman power Imposed upon a subjugate nation, as one of the country’s most powerful symbols of the Norman Conquest of Britain.

SIGNIFICANCE 7: The Importance of the Site’s archaeological remains, which are directly related to its history and continuity of use over the past 1000 years.

SIGNIFICANCE 8: The cultural and religious traditions and historical memories associated with the relics of St Cuthbert and the Venerable Bede, and with the continuity of use and ownership over the past millennium. The continued veneration of Cuthbert and Bede.

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A PAST MISPLACED

The graphic above illustrates the complex relationship between UNESCO’s criterion and Durham’s WHS; demonstrating what is recognised as significant in the WHS. The constantly veering paths of information that is supplied beyond the residential level is reminiscent to that of an old communication switchboard. These are the qualities that are recognised by UNESCO as 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 larger 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.

Durham must practice a form of preservation that recognises the past and integrates a communal sense of affinity between local and visitor in their appreciation for Durham heritage and WH, avoiding transforming urban textures into ‘nostalgic palimpsests’ (Dawdy 2010). An extreme way to demonstrate this museumification would be to amplify Durham’s nostalgia-scape in a way that isolates the local and become tourist in their own homes. Recreating landscapes that are seemingly innocuous and manufactured to be consumed by tourists (Berliner 2018).

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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. 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.

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A PAST MISPLACED

The industrial revolution increased demand on the coal suppliers and placed Durham at the heart of the UK coalfields, which became the country’s main industry until the 1970s. Practically every village around the city had a coal mine, and although these have since disappeared as part of regional decline in heavy industry, the traditions, heritage and community spirit are still evident, as this timeline shows. The peak of coal production in Great Britain occurred in 1913 at over 270 million tons where 58.7 million of those tons came from Durham, and began to decline thereafter despite the increase in mechanisation. The first Durham Miners’ Gala was attended by 5000 miners in 1871 in Wharton Park, and remains the largest socialist trade union event in the world. Strikes in 1972 and 1984 focused public attention on the problems caused by contraction of the industry, and caused deep feelings that are still very evident among many county Durham families.

The strike of 1984 aimed to shut down the British coal industry in an attempt to prevent further colliery closures. The strike lasted 1 year, and the trade union power in general diminished. Following this the closure of the coastal mines began and the loss of 142,000 jobs. Industry and trade was far more self-contained prior to the introduction of railways, producing most goods and services within the city and county. Amongst the largest at this time was the manufacturing of mustard. In 1720 Mrs Clements invented a new method of extracting the flavour from mustard seeds; a mustard mill was opened on Saddler Street post its success. Over time, the Ainsley family became the main name in Durham mustard making and their business was situated in Silver Street. In 1874 the last of the Durham mustard mills were closed due to greater competition outside the peninsular, mainly London.

Durham’s mustard-making trade was passed onto the Colman family, a family firm based in Norwich, and continues to this day. The 18th century saw the rise of the trade union movement in the city. Weaving in durham can be traced as far back as medieval times, and is an ancient trade and skill in Durham. Industrial carpet production became at this time the biggest industry in Durham City. Although most of the medieval weavers who thrived in the city had left by the 19th century, the city was the home of Hugh MacKay Carpets factory, which produced the famous brands of tufted carpets until the factory went into administration in April 2005. The city’s carpet-making tradition ceased with the closure of the factory, but carpet making remains an important part of Durham’s history. This all seems like a forgotten past, hidden behind a cleverly designed facade. 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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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 people watching.

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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 favourites 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 short in its explanation of what it represents. Fogscape is one of the most atmospheric light installations on display at Lumiere, at the foot of 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 tripods and umbrellas in 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

Photographs from Lumiere over the four days of study.

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DURHAM LUMIERE: THE LIVING MUSEUM

Security was a well known presence, with a sea of yellow jacket volunteers, and the occasional blue jacket supervisor abruptly appearing in times of need. Apart from the abundance of neon jackets, there was one striking theme that comments not only on Durham as a site 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. Everywhere that this study went was met by phone screens, where it became more interesting to view the festival through the phone screen of others. So that is what this study did.

Reaching into the instagram-reality; 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 reproduction of the ‘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 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 links between memory, identity and heritage. What separates living memory 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 long-term 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

Photograph montage from Lumiere Viewing Durham through a phone screen

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DURHAM LUMIERE: THE LIVING MUSEUM

THE EXHIBITION During Lumiere it was important to capture as much of the festival as possible through a series of mappings. The above drawing shows the route taken through the festival in order to see all the installations and incorporate all the one way path systems that were in place. It was drawn from memory, 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 to primarily adult groups.

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THE EXHIBITION

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THE EXHIBITION

Corresponding to the previous drawing exercise, I produced a series of drawings that showed my experiential journey through Lumiere, to allow viewers to experience Lumiere as I did. In sorts this became a new form of pilgrimage through the site, with each installation unfolding after the next. Drawings were taken of key moments along the 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 visit. This map can be seen on the following page.

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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 to tourism in the city.

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THE EXHIBITION

MARKETPLACE STUDY The Marketplace proved to be a central point of gathering for Lumiere, and was the area of most crossover during the study route through the festival and city. As previously discussed in earlier contexts of this project, the Marketplace is a central place of gathering for the city, with medieval roots. The modern pilgrim of Lumiere is forced to return several times to the Marketplace, and hence it was one of the most populated areas on the site. Yet its popularity with visitors was cemented by its feature of the iconic ILOVEDURHAM snow-globe by Jacques Rival, an aesthetically pleasing and nostalgic art piece that instinctively creates a dream like reality reminding visitors of the snow globes many enjoyed as children. For these reasons, the marketplace proved ideal for a series of on site studies.

People watching and monitoring crowd movement seemed to be the most fascinating aspect of the square around the snow-globe; this was a non static element that helped show how people use the space and interact with the artefacts, in this case the snow-globe. Behind the plethora of phones and cameras, there seemed a constant flow of people. Carefully observing where people would stop, where they

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THE EXHIBITION

would move or take a photo, and even which direction they chose to move around their space. The results of this hand-drawn site study can be seen on the left. Above is a reflective mapping for contextual interpretation and meditation on return to the studios. The aim of this mapping was to take impressions of the marketplace including: the blocked areas of most congestion, where the most phones were in relation to the orientation of the ILOVEDURHAM sign, the most popular viewing directions, the obstacles and barricades that directly influenced the movement of people around the snow-globe as well as the entrances to shops and access to other streets directly positioned from the marketplace zone. It is a reflective mapping in that it’s translation is thought provoking; it is susceptible as well as strengthened by the memories made from the initial impact from the site. This complex consciousness provides a duality in personas: the local who visited Lumiere and the visitor reading and analytically interpreting their memoirs. In conclusion, the marketplace was a hectic and social space that provides another example of how this zone is central to Durham’s peninsula, or the lobby in the museum.

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THE EXHIBITION

Quick series of watercolour studies of moments from Lumiere’s wandering journey exercise. Presenting the progression of atmospherical aesthetics from the start of the walk through the its conclusion.

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THE EXHIBITION

EXPERIENCE One of the greatest challenges was capturing the emotional and atmospheric tensions whilst on site. Part of this study wanted to pick up on key moments from the journey, using a limited colour palette as an attempt to distill any atmospheric potentials. As for the experience of the site, removing the phone lenses and people phones revealed a dark place with little spirit other than that manufactured for the tourist. Where has this ‘Durhamness’ gone?

As historian Pocock (2013; p.161) describes “Durhamness” is the distilled essence of the city that combines a visitor’s curiosity with local’s love. Durham steadily resembles a field-festival landscape or turnstile for people to whimsically enter and exit that rivals that of typical ‘non-places’ (Augé 1995) where much of the interaction is conducted in globally distributed languages according to globally distributed social conventions. A major part of Lumiere’s identity is the neon lights and festivalisation of the city that hosts it, that explains the uncomfortable perversion of its experience when these elements are removed. Durham becomes a host, a backdrop to a global performance, yet another reoccurring theme. In an early attempt to distort form from this line of enquiry, the above drawings were produced by overlaying the watercolour studies and abstracting positive and negative areas from within the form, with limited success. How does the museum of Durham present its exhbitions and how do we as the visitor experience it?

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THE EXHIBITION

LUMIERE AND THE WORLD HERITAGE SITE Considering the analysis of Durham thus far, one of the key challenges the WHS faces is balancing the conservation of its physical architectural assets, promoting tourism, as well as supporting local cultural engagement to develop a wider understanding and appreciation. Festivals and cultural events have long been used as a tool for world heritage; Edinburgh Fridge festival is the classic archetype in the UK. Lumiere is tactical in this way, using art as a mediator between public engagement, attraction and education. As a WHS Durham must become all things to all people (Smith 2011). The city must act as a precedent of conservation; international tourist attraction; as well as a catalyst for regeneration and educational engagement. Essentially it attempts to make tourism provide for the sites preservation rather than the other way round. For instance, tourism encourages interaction of a wider public audience with cultural heritage when visiting the site. The

conflict with one another, as we see in Durham

“Visiting a World Heritage Site should be a major intellectual experience, on a different scale from visiting some theme park�

with its cultural heritage resembling a sellable

(SHACKLEY 1998; P.1)

greater the interaction from visitors the greater enthusiasm for heritage, which generates funds and support for investment in preservation that might otherwise seem esoteric or elitist (Delafons 1997). These different personas often

commodity within the tourism industry more than a living site. The museumification of the city introduces an element of disneyfication, or the deliberate manufacturing of the spectacle that Shackley (1998) forewarns. Whilst presenting a facade of educational and community engagement, Lumiere also adds to this spectacle culture. Durham becomes a backdrop for Lumiere, and the content flow of societal events that follow. Culture becomes an attraction; the idealised aesthetics appealing more than historic or traditional values.

Durham Castle and Cathedral make a point to present histories of Durham that relate to themselves, yet at times this comes across as still impersonal. Even Lumiere featured Fogscape, inspired by local legend of St Cuthberts Mist, but without consistent local relevancy in the narrative of the city all these efforts seem somewhat tokenistic.

It must not be forgotten that Durham is a living WHS. While it may act as a busy tourist destinations and cultural venue, it is also the home to many locals, who may not appreciate living in a festival.

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THE EXHIBITION

Experimental mapping of Lumiere and its exhibits drawn to locate and exaggerate areas of significant crowding and disruption

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MAPPING THE MUSEUM

Mapping the Museum MUSEUMIFICATION AND DISRUPTION In order to process and culminate all the information gathered so far, a mapping of the museum was composed. This map begins to overlay the layers of this projects research on the areas of museumification and disruption in the city. Working into the previous mapping exercises from exploring the ‘everyday’, the journey through Lumiere and its site study was projected onto the residential heritage corridors and the previously established routes of significance. The two layers of mappings coincide auspiciously and begin to refine areas that may be potential sites for a design installation. The initial mapping exhibits the route that was taken through Lumiere, the location of the light installations as well as the sections of oneway systems and areas of forced redirection of natural movement. A further layer was added to the mapping to demonstrate 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 following step in reviewing this mapping exercise was to separate extraneous noise from the drawing, and concentrate on the areas identifiable as being symbolic of disruption and museumification.

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Tracing paper overlay 1 (Route and Location of Art)

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Tracing paper overlay 2 (Following Crowds): Printed on Trace

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MAPPING THE MUSEUM

As seen on the right, by combining and then simplifying 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 of capital and cultural disruption. The museumification of Durham is therefore reflected in the continuous disruption of everyday life, to the point it begins to become part of the new everyday. This act is encouraging the disassociation of the local from the narrative of the city and challenging their cultural identity, as seen in the timeline study. Changes to the city as a result of its festivalisation is predominantly unfavourable to the local residents, where this touristic consumer culture is challenging the existence of traditional values (Cudny 2016). Thus the relationship between the local and the city is threatened, casting doubt on the residents to their right to the city and their own identity within it. The city in experiencing a constant flow of visitors and events transforms into a permanent exhibition, an idealistic over-curated display, turning everyday into an open day and converting every local into a tourist.

Durham is transitioning into an idealised representation of itself for the tourist in order to continually support its tourism industry; a signifiant industry to the city’s economy and proponent of the heritage-industry (Lowenthal 1994 & Di Giovine 2009).

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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. Therefore the brief for this design project urges the design and consideration of an assemblage within the museum responding to these responsive themes of tourism. More importantly, highlighting the reality of the museumification of our historic cities. 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 (DWHS 2017). 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 cultural architectural assemblages. 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

Central to all themes discussed in this thesis thus far is the topic of cultural identity, which is a subject heavily documented in literature (for example see Gillis 1994, Lowenthal 1994, Miura 2018, Binney 1981, Boyd & Timothy 2011). Family, religion, and history are all well established identity-constituting aspects that are handed down traditionally to form a collective understanding of local cultural heritage. Yet in an advancing technological world, the conflict between traditional contexts of culture and the modern globalisation of cities becomes unavoidable (Souto 2013). Living heritage cities such as Durham must adapt; one way it does this is through its tourism industry and consequently markets selective cultural heritage assets as attractions, as this project has explored.

Once again, returning to the words of Di Giovine in his work ‘The Heritage-scape’, museumification is defined as the process of transitioning a living city to that of an idealised representation of itself, where everything is considered not for its traditional use but for its value as a museum artefact (2009). The everyday of the living city of Durham is henceforth influenced by the tourist and the commercialisation within a global narrative of heritage. It is commercialising on selective narratives of the city by presenting them as idealised exhibits for visitors to enjoy and exploit. The local does not fit in this narrative, until we consider their relationship with the tourist. This is necessary issue to foremost present when responding museumification in Durham and is detailed in the following chapters of this thesis guide.

Destination

culture

has

matured

since

its

beginnings

as

postindustrial production and leisure consumption in the late 21st century; attitudes encouraged by improved global networks and the mass media (Zukin 2010). People naturally approach museums from the perspective of consumers seeking amusement and fulfilment; the museum is obliged to combine an educational value, entertainment value as well as consumer value (Von NarediRainer 2004). Therefore, maintaining the metaphor, Durham as a museum must obey the principles of museum architecture to survive in contemporary times: conserve histories and cultures as future generations inheritance, while remaining the place to be consumed as a source of enjoyment and entertainment (Gorsen 1988).

The interaction of players within the heritage-scape necessary to this projects brief is yet to be discussed, but is categorisable into the theoretical insider and outsider perspective. This will be developed in the following chapters.

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MAPPING THE MUSEUM

Photograph by Bill Brandt of a East Durham Coal-Miner titled ‘Just Home from the Pit’ taken in 1937. Edited to reflect the censored everyday, as well as the muted histories and industries of Durham.

The original photograph is currently archived at MoMA.

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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 (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 (Solnit 2002).

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 (Di Giovine 2009). To the local, however, these interactions are part of their everyday as the city forms a pillar of permanence within

with the city can therefore be considered bound to the everyday, where the city directly influences the person at the most mundane level, hence that person feels intimately connected with the place (Di Giovine 2009). The intimacy of this relation between local and city is nurtured by familiar legacies, histories and overlapping memories, which create the complex nostalgias and pride one describes their ‘Home’. As Pocock eloquently writes in his story of Durham “As place with identity, it reinforces our identity” (Pocock 2013; p.161). There then becomes an interesting dynamic where the local meets the tourist in the city. Their existences are brought together by a common appreciation for the city within their individual identities, but the emotional perspective positions separates these two groups into the visitor and the resident, the sightseer and part of the exhibit to see, or the outsider and the insider.

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THE OUTSIDER’S PERSPECTIVE

their cultural identity narrative. Local interaction

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

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THE EVERYDAY MUSEUM

The Everyday Museum THE SIGNIFICANCE OF THE MUSEUM The exchange between the tourism industry and architecture is a deceivingly complex field of study.

From pilgrimage to

the picturesque, the reoccurring themes of the manufactured spectacle provide insight into the unseen social impacts of tourism and architecture on the cultural identity of both insiders and outsiders, spanning the hierarchy of heritage; reconstructing the celestial connections within the universal heritage-scape. The transformation from a living city into an institution of exhibitions and attractions through the process of museumification is one such aspect which this project has centralised. Once we start treating buildings as antiques, we have already fated them to the phenomena of the museum effect. They become trapped within a bubble of assigned importance, preserved within a curated exhibition for visitors. For the living city this carries greater significance, as it reconfigures the significance of the local’s everyday interactions with the city; their cultural identities challenged as a result. These problems are not created from societies growing fascination in antiques, but rather the change in symbolic importance that is placed upon them (Hunter 1981). While an increase in the number of visitors interested in history and preservation can be recognised as a moralistic and financial benefit to the area, the nature of their attitude towards the past and the value that they put on its relics significantly conflicts residential heritage and their cultural values, as thoroughly explored early in this thesis. The act of preservation is to ensure the survival tangible relics for generational historical study. However, a balance must be found between touristic preservation and the conservation of local values, or risk irreversible loss of identity within the city. The future of the museum-ified city would replace embodiment and ritual with a universal sameness; a commodified landscape of homogenous architecture and franchise labels seen anywhere and everywhere (Brown 2013). This would be the complete transformation into the museum, and beyond into the

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THE EVERYDAY MUSEUM

transcendental realm without spiritual or emotional connection to ground a place to a person, and universalising cultural heritage.

Alarmingly, the ideologies adopted by theme-parks to accommodate all through its homogenous and familiar commercialism are observable. By accelerating and exaggerating the museumification of Durham, it could too become a theme-park. As architecture is the clearest manifestation of material culture (Souto 2013), buildings and cities become instruments within the museum assemblage that facilities an understanding and interpretation of the passing of time. Therefore, when we start categorising artefacts in a museum they begin to lose the levels of intimacy that once existed between people and place; consequently we no longer affiliate our identities to them and relinquish any relationships we have. Notably, living cities embody a uniqueness in their oxymoronic assemblage.

Whilst human behaviour is consistently evolving over time, cities change extremely slowly, providing moments of static crossed with constant moments of reinvention. Architecture therefore plays a significant part in this societal assemblage in preserving periods of time and assuming a cultural significance through its incorporation into the temporal rhythm of the everyday (Delanda 2006). When these traditions and rituals are interrupted, such as through museumification, the identity of the local is disturbed.

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THE EVERYDAY MUSEUM

Contemporary definitions of the ‘Museum’ categories them as central to our societal understanding and interpretation of our pasts. ICOM and UNESCO share an idealistic utopian goal of providing equal for all through the celebration of our differences, although this can be sometimes perceived as naive and an unrealistic expectation of commercialised humanity (Lowenthal 1998). It is no wonder then the similarities are drawn between WH sites and museums.

As a species we enjoy the act of collecting as much as sightseeing or tourism. As a particular kind of collection, the museum is a compilation of natural or cultural objects (Von Naredi-Rainer 2004).

This craving for cultural artefacts stems from the unconscious need for ‘stuff’. Kelner, a psychoanalytical theorist, describe this imposed urgency as one of humanities most basic needs (Kelner 1993), that life revolves around this unquenchable thirst for collecting ‘stuff’ that is only relinquished in death, where it is passed along to the next generation. The reinvention of cultural heritage, such as the Cathedral and the surrounding communities, into collected artefacts uses history to compensate for rapid contemporary development and, in so doing, impedes the view of our own time. Cities are not meant to be like museums. While Durham may be considered timeless in its Norman architectural recognition, it risks becoming a time-capsule, that perseveres histories and cultures like specimens in a jar. A coined term for this phenomena calls these museum cities “islands in time” (Belting 2001; p.89). In behaving like a museum, the city forms a rift between people and place, where the local is forced to reinvent their indignity within this new space. Failing to adapt or conform, the local is lost to the city and becomes a tourist in their own home, existing as neither insider or outsider, but as an outcast.

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“Museums are democratising, inclusive and polyphonic spaces for critical dialogue about the pasts and the futures. Acknowledging and addressing the conflicts and challenges of the present, they hold artefacts and specimens in trust for society, safeguard diverse memories for future generations and guarantee equal rights and equal access to heritage for all people.

Museums are not for profit. They are participatory and transparent, and work in active partnership with and for diverse communities to collect, preserve, research, interpret, exhibit, and enhance understandings of the world, aiming to contribute to human dignity and social justice, global equality and planetary wellbeing.�

-ICOM, 2019 Definition of a Museum -71

THE EVERYDAY MUSEUM: THE DESIGN BRIEF

REFINING THE DESIGN BRIEF 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 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

The design brief for this project must react to this.

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.

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EXAMPLE SEMESTER 1 PIN UP PRESENTATION

exhibits within the museum peninsula of Durham.

THE EVERYDAY MUSEUM: THE DESIGN BRIEF

Synopsis of Semester 1: Working in the studios

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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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JEWISH MUSEUM BERLIN

BY DANIEL LIBESKIND

NATIONAL MUSEUM OF SCOTLAND

BY GARETH HOSKINS ARCHITECTS

NESTLE CHOCOLATE MUSEUM

BY MICHEL ROJKIND

SAN TELMO MUSEUM EXTENSION

BY BY FUENSANTA NIETO AND ENRIQUE SOBERANO

THE NEUE NATIONALGALERIE

BY LUDWIG MIES VAN DER ROHE

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

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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. Henceforth 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.

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DISSECTING THE MUSEUM

Now that the activities necessary for the museum have been identified, 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. Using the word cloud study from the previous page, the most reoccurring activities in a museums programming were Exhibit spaces, Shops, Cafes and Administrative storage facilities. These can be further developed to possible include other supportive activities, that are less frequent but can help facilitate the appearance of a museum’s design. The breakdown of this spacial activities planning can be seen in this diagram to the right.

From mapping studies completed in semester 1 the locations of the 4 pavilions are known. Following this quick study of precedents and the museum the next step would be to assign each pavilion its own activity. Using what we have discovered from the precedent studies, we know that the shop or gift shop is routinely located at the end or exit to the museum. Therefore, for the everyday museum the last pavilion along my route through Durham must be a shop. The same logic applies for the Cafe, which is commonly located around the main entrance or by significant exhibitions, therefore the Cafe pavilion must be located central to the city, close to the Cathedral.

The conclusion of semester 1’s mapping exercises founded the locations of the 4 pavilions that will be connected by a designed route through Durham. Using this diagrammatic plan and the identified locations of the proposed pavilions, we can begin to put together a sequenced pathway through Durham to connect all these key museum spaces as well as arrange a progressional touristic experience through the city.

Routine and circulation will be paramount in the design of this project as much as it is in conventional museum design. When the temporal rhythm of the everyday is interrupted through museumification, the identity of the local is dislodged from the city. So by disrupting the routes of the everyday though a new pilgrimage route through the museum island to connect all 4 pavilion sites, the effect of loss on the locals cultural identity will be amplified. To achieve this there is a need to curate significant moments within the museum, such as designing photograph opportunities along the route. Again, pilgrimage will prove to be a rich contextual argument that can significantly strengthen the narrative of the museum island.

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DISSECTING THE MUSEUM

The Museum

Exhibit

Education Centre

Lookout

Shop

Laboratory

Library

Atrium

Cafe

Lobby

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Toilets

Courtyard

Storage/Administration

Conservatory

Tickets

Entrance

Offices

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, which over time has had spiritual significance attached to it with thousands of visitors making the journey every year. The causeway route is marked out by large wooden place markers, as to define the safest way to cross. This makes for a simple yet aesthetically pleasing journey. This simple plan of way marking could also be applied to plotting out my own pilgrims way through Durham. This was the thoughts going 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 Durham local.

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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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Tracing paper layer 1: Overlay mapping showing ‘Iconic’ Views, Printed on Trace.

Tracing paper layer 2: Overlay mapping showing the route, pavilions/activities and photography/view points, Printed on Trace.

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 living museumscape.

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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

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PLANNING THE ROUTE

As a final layer to this planning exercise I wanted to finalise the programme of my museum’s design. I needed to plot the direction and activities of my route through the museum-scape and confirm the fluidity of the scheme. In doing this provided I became more confidence in the scheme; it helped demonstrate to tutors at the time the location of where activities within the programme of the museums layout were located. This was extremely useful for preparing to design the pavilions, as the requirement of the spaces was discussed here on an urban layer. Therefore, the transition between an urban scale to a building scale in this project was harmonious and logical.

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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 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 noise- rather 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 winning international bid for the redevelopment of the Neues Museum on Berlin’s museum island. Chipperfield takes obvious inspiration from the original powerful classical styles of Friedrich August Stüler’s design, damaged in WWII. The design looked to restore the the original sequence of rooms with a new connecting building that creates continuity with the existing structure and the rest of the museum island development (Jodidio, 2015). A significant part of this development was Chipperfields James-Simon-Galerie design, which acts as a gateway to Berlin’s museum island, and

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DESIGNING THE ROUTE

the start of the intended route through the island. The slender columns seen in the image to the right become a motif inspired by famous sketches by Friedrich Wilhelm IV for his ‘cultural acropolis’ (Chipperfield, 2020). The architectural language of the JamesSimon-Galerie adopts existing classical elements of the Museum Island, primarily from the external architecture, making continuous reference to Schinkel, Stüler and the other architects involved in the creation of Museum Island in the mid-late 1800’s. The compelling materiality of the buildings rely on the contrast between natural stone and the original island palette of limestone, sandstone and rendered façades. Smooth in-situ concrete was used the interior spaces, creating a flawless continuity between spaces that seem to flow into one-another.With this contemporary interpretation of the classical promenade, Chipperfield demonstrates his understanding and mastery of modern urban scale design.

When investigating the everyday museum of Durham, it would be a missed opportunity not to apply these lessons from Chipperfield: a supposed ‘Chipperfieldian’ approach to design. Durham has a wealth of external architecture in which to draw inspiration for the development of my own architectural language. One of the most prominent elements is the Norman influence, which is key to the international interpretation of Durham. What makes Durham Cathedral unique is its innovative design and vaulting construction for its time, which is recognised by UNESCO. The Cathedral we see today was built in 1093-1133 making Durham Cathedral is one of the oldest surviving Norman Romanesque cathedrals in England. It is used as the prime example of the thick piers and columns used in the Romanesque style pre-dating Gothic (Hopkins, 2014). Groin vaults had been invented by the Romans, but they were rarely used after the decline of the Roman Empire because of their geometrical complexity. However, the Norman masons at Durham Cathedral felt confident enough to use them for the nave, prefiguring the Gothic in form, if not its structure. This developing architectural language provides ample inspiration for my own architectural form responding to the context of Durham. The aim of this architecture is to not only to inspire the motif of travel, but also to magnify and exploit the museumification of the city and its Norman architecture.

As Chipperfield did on the museum island, so can I interpret the Cathedral and the Romanesque.

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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

specifically

its

Romanesque

Norman early

architecture christian

of

Durham:

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 Normans introduced to England following their victory at the Battle of Hastings in 1066 and subsequent conquest. The increasing interchange of architectural ideas shared between the different regions of Europe via pilgrimage routes would see Romanesque soon make way for the Gothic (Hopkins, 2014). The romanesque was all about spatial organisation, characterised by thick walls and a heaviness to its structure. 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 design.

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INTERPRETATION CENTRE OF THE ROMANESQUE

BY SPACEWORKERS

CORBERÓ’S HOUSE, BARCELONA

BY XAVIER CORBERÓ

JAMES-SIMON-GALERIE BERLIN MUSEUM ISLAND

BY DAVID CHIPPERFIELD

DESIGNING THE ROUTE

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DESIGNING THE ROUTE

When

discussing

the

contemporary

interpretation

of

the

Romanesque, pilgrimage and the modern pilgrim- a modernist architectural response would be appropriate. When discussing the architectural language of this project, I was repeatedly drawn to modernist examples. The contemporary interpretation of the classical into the societal ‘new’ is what drives my enthusiasm and belief for its appropriateness for this project. Some of the key precedents for this project can be seen here. Corberó’s sculptural interpolation of the arch and promenade speaks for itself. Its unique beauty is aesthetically pleasing while invites the viewer into its labyrinthian structure, as is much desired by myself. Le Corbusier, a founding father of the modernist movement, coined the term the “promenade architecturale” in his description of the Villa Savoye (Samuel, 2007). Superseding circulation the architectural promenade describes the progression of space reading like a story; there has to be an invitation to move forward and progress. The architecture can only be experienced as you walk through it; greatly inspired by the layout of the Athens Acropolis. It follows a sequence of spaces that direct the movement through space, not just designing the physical building but the experience for visitors. The idea of designing an invitation is what escalates this project forward towards developing an experience rather than just a walkway. ‘Interpretation centre of the romanesque’ by Spaceworkers is another archetype of a practice who has attempted to recreate the elements of Spanish Romanesque with a contemporary twist. What becomes clear is the need for a minimalistic approach in order to amplify the architectural language and focus on the interpretative Romanesque. This applies to both the designing of the route and the pavilions. Mies van der Rohe, pioneer of modernist architecture, frequently repeated the aphorisms “God is in the detail” and “less is more”. I would argue this methodology is harder to achieve architecturally than standard taught design.

A greater versed version of these saying is ironically “the devil is in the details”. The spirituality of Durham calls for this contrast.

God is in the detail asks for detail to be considered thoroughly and its importance to the scheme be elevated. The devil in the details connotes a more mysterious, if not hidden, detailing where not everything will be on show rather designed to be simple at first glance but more complex as the design unfolds. While I agree with Mies, this project leans towards the latter. Whether this can be read into as an abandonment of ‘God’ in the details for the temptations of the devil is for the reader to decide.

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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

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Pilgrimage: Journey & Ritual -103

DESIGNING THE ROUTE

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DESIGNING THE ROUTE

The final design delivers on a contemporary interpretation of the romanesque vault and arch, using concrete materiality to replicate a thickness associated with the thick stone pillars of the Cathedral.

The intention is to clad the pillars, which will be further explored as this chapter continues. The design repeats itself methodically in its language along the route and throughout the city, making sure to give the feeling of Durham Cathedral’s interiors, as shown in the collage coloured perspective. Meanwhile, it consistently frames the touristic view. The repetitive form and simple formwork required for its construction allows it to adapt to the shifting topography of Durham. Since the route has to run along the entire peninsula, the route needed to be modular and repetitive as to accommodate this continuous change in ground level.

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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 not additionally damaging environmentally.

This project is not about degrading the landscape, but would rather protect it as a valuable asset exhibit in the museum. Casting on site also means there is no limit to the size or shape of the route, which is an average height of 5m.

As it is cast into the ground, the foundation connection is more reliable and stable, under the premise of where it is cast it will remain. There is also 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 Corner, Fillinger & Kwok (2018).

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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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DETAILING THE ROUTE

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DETAILING THE ROUTE

Running though the approach to getting onto this designed structure: the route’s design offers a simple road marking starting from the original access point on Framwellgate Bridge and leading through the built up market place to Palace Green. The urban build up of buildings mean the designed main structure would make it impossible for cars and deliveries to access the main hughstreet businesses of Durham. As Museumification is a consumerist phenomenon, it would be degrading to the exaggeration of this project to do this, hence this design choice.

With way finding and place-making, sometimes simple markings can make the greatest impact, which is shown here in these collage stills. The insider is kept on the outside while the visiting outsider is kept comfortably within. This joins onto the main structure on the palace green around the Castle and the Cathedral, using a ramp to get onto the raised platform. Just like a conveyor belt to process tourists though the city along my predetermined route. The idea is to create a raised pathway experience running through the heritage site, toning in on those theme park topics of disnification and festivals previously explored. A technical section of the moment where the path meets the main raised repetitive structure via an access ramp is detailed on the next few pages.

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DETAILING THE ROUTE

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DETAILING THE ROUTE

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 heritage-scape 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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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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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 commercialising as someone who identifies as a Durham local/native born there. But this is a reality that reflects on what is happening to all living heritage cities across the UK, and even expanding into Europe. The constant changing routines of the tourist reflects that of the value of global society within the heritage-scape. If heritage is to unite us through our differences, then its homogenisation via commercialisation will surely degrade this unity over time. This route therefore represents something much larger within the heritage-scape. But it is up to the individual reader to decide where they sit in this performance, as everyone is an actor within this “playhouse of diversity” with a different part to play and a contrasting point of view (Di Giovine 2009; p.275).

That is the truth in what makes this social assemblage so complex, and why this designed route installation takes on such a significant role in Durham. To complete the transformation of the peninsula into the exaggerated museum-scape of ‘the everyday museum of Durham’ this thesis proposes, the pavilions must be architecturally developed to sit alongside the route.

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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 that could have been; industries that laid the foundation for the industry we see today, that being tourism and the everyday museum. The industries I chose to explore further were the: mustard industry, carpet weaving, coal mining and finally the ambitious marine dreams of developing the city into a seaport to rival nearby Sunderland. It is with these pavilions the project develops its narrative on the shifting perspective and fluidity of heritage, not only a political tool but also as a hierarchal structure that must be seen at multiple scales, as described in the heritagescape. The new industry completely taking over in this exaggerated museum-scape. Site 1, being the intended cafe pavilion, was assigned the mustard industry with the intention on maintaining this food and trade link. Site 2 was allocated the coal mining industry due to the hierarchal nature of both social machines, which I resolve in this chapter. Site 3 was assigned the carpet weaving industry due to the interactive nature. Finally, site 4 the shop and lookout is the only site located on the water and therefore is the most appropriate location for an industry relating to seaports and trade.

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DESIGNING THE PAVILIONS

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 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 be seen from its site plan.

SATIRICAL PRINT BY ISAAC CRUIKSHANK (THE BRITISH MUSEUM)

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

IMAGES ASSOCIATED WITH THE MUSTARD MAKING PROCESS

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

SITE ANALYSIS

DESIGNING THE PAVILIONS

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DESIGNING THE PAVILIONS

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DESIGNING THE PAVILIONS

It is important to note that all the pavilions in addition to their predetermined museum activity programmes have a temporary exhibit space easily accessible on the route to the point where the visitor never have to leave the route. The visitor is fed through the route and pavilions in a set sequence. Facilitating the temporary provides also for the constantly changing and adapting routines of the tourist, reflecting the values of global society within the heritagescape. All of these pavilions are schematic. They are functional in facilitating the imagery of a city-museum-scape, but each focuses on one key space in its design. For example, the mortar bowl exhibit space for the mustard inspired first pavilion on the route.

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CONCEPT 3D COLLAGE LAYING COAL MACHINERY

DESIGNING THE PAVILIONS

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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SITE PROGRAMMING FOR SPACIAL MASSING AND LAYOUT

SITE ANALYSIS

DESIGNING THE PAVILIONS

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CONCEPT SKETCH FOR LEVELLING AND HIERARCHAL LAYOUT

EARLY CONCEPT COLLAGE OF OLD COAL MACHINERY ABOVE GROUND

DESIGNING THE PAVILIONS

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IMAGES OF COAL SEAMS

DESIGNING THE PAVILIONS

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

CONCEPT PERSPECTIVE OF KEY MOMENT OF COAL SEAM RUNNING THROUGH SPACE

exploiting the materiality of the coal.

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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.

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CARPET WEAVING AND EQUIPMENT AS PART OF THE ANCIENT CRAFT

DESIGNING THE PAVILIONS

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 PROGRAMMING FOR SPACIAL MASSING AND LAYOUT

SITE ANALYSIS

DESIGNING THE PAVILIONS

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

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

DESIGNING THE PAVILIONS

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

DESIGNING THE PAVILIONS

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DESIGNING THE PAVILIONS

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DESIGNING THE PAVILIONS

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 museumification and this scheme.

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CONCEPT DRAWING OF NEPTUNE AND THE DURHAM SEAPORT

DESIGNING THE PAVILIONS

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 PROGRAMMING FOR SPACIAL MASSING AND LAYOUT

SITE ANALYSIS

DESIGNING THE PAVILIONS

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KAAP SKIL MARITIME

BY HOUBEN AND VEENSTRA

GOULDING HOUSE

BY SCOTT TALLON WALKER

WATER MUSEUM SIERRA NEVADA

BY JUAN DOMINGO SANTOS

PLAZA DEL BEBEDEROS DE LOS CABALLOS

BY LUIS BARRAGÁN

CUADRA SAN CRISTOBAL WATER FEATURE

BY LUIS BARRAGÁN

CUADRA SAN CRISTOBAL WATER FEATURE

BY LUIS BARRAGÁN

DESIGNING THE PAVILIONS

DESIGNING THE PAVILIONS

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 BarragĂĄn. 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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WALL TEXTURE DETAIL INSPIRED BY REFRACTION AND RIPPLING OF WATER

DESIGNING THE PAVILIONS

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DESIGNING THE PAVILIONS

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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 interprets the homogenous role of designing for the tourist in a way that is uncomfortable and commercialising, almost like organising the city as if it were a theme-park. The constant changing and adapting routines of the tourist reflects that of the values of a global society within the heritage-scape. As a local born to Durham, it is my childhood home. The nostalgic attachment to the city and my own identity makes me question my position in this new narrative of my museum-scape intervention.

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CONCLUDING STATEMENT

I have lived away from Durham for my architectural studies for nearly 6 years and in that time Durham has dramatically changed. I have become a person both within the city and without. An insider who is disturbed by Durham becoming an exhibit and protecting the exaggerated finale of this in this work. An outsider who can look at this project as an academic prediction to provide for a growing societal need. While this project is an exaggeration of museumification there is a dystopian promise that lingers in its message as this is the way things are headed in the future.

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 hereon 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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Thank you for visiting the Everyday Museum of Durham

We will see you soon.

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Going Going I thought it would last my time— The sense that, beyond the town, There would always be fields and farms, Where the village louts could climb Such trees as were not cut down; I knew there’d be false alarms

In the papers about old streets And split level shopping, but some Have always been left so far; And when the old part retreats As the bleak high-risers come We can always escape in the car.

You try to get near the sea In summer . . .

It seems, just now, To be happening so very fast; Despite all the land left free For the first time I feel somehow That it isn’t going to last,

That before I snuff it, the whole Boiling will be bricked in Except for the tourist parts— First slum of Europe: a role It won’t be hard to win, With a cast of crooks and tarts.

And that will be England gone, The shadows, the meadows, the lanes, The guildhalls, the carved choirs.

There’ll be books; it will linger on In galleries; but all that remains For us will be concrete and tyres.

Most things are never meant.

This won’t be, most likely; but greeds And garbage are too thick-strewn To be swept up now, or invent Excuses that make them all needs.

I just think it will happen, soon.

- Philip Larkin (1972)

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