Robbie Stanton - Architecture portfolio (MArch)

4.2 PORTFOLIO CONTINUITY IN ARCHITECTURE

Robbie Stanton

CONTENTS Privacy and Publicity: Muller House, Adolf Loos

4

When In Bollington: One day Sketching workshop

12

When In Milan: One day Threshold workshop

16

Happy Valley, Bollington: Oddments and Epigrams

24

Cotton Connections: Knitting, Weaving, Wrapping, Pressing

56

Cotton Connections: Shop Drawing / Construction

86

The Reader: Seminars and analysis

120

Masterplanning: One day workshop

130

Readings

136

Appendices

138

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3

“We have become more refined, more subtle. Primitive men had to differentiate themsleves by various colours, modern man needs his clothes as a mask. His indiviudality is so strong that it can no longer be expressed in terms of items of clothing… his own inventions are concentrated on other things.” ­

The privacy and publicity brief required the creation of a 1:20 model. “A material model is the emodiment of an idea, and therein lies its magic.”

The building allocation, the Muller house by Adolf Loos, encouraged a primary analysis of the interior, which we exposed by creating a model that could be opened like a folding book.

ADOLF LOOS : MULLER HOUSE

( PRIVACY + PUBLICITY )

­

a Colomina, 1996

THE RAUMPLAN

“The dimensions, including height, should also be varied to suit each room, with the result that his houses became three-dimensional jigsaws of interlocking spaces, with many floor and ceiling levels, connected by short flights of steps and crisscrossed by views from one to the other.” ­

EXPOSING THE INTERIOR: A SERIES OF SUBTLY LINKED SEPARATED AND DEFINED VOLUMETRIC SPACES The task of constructing the model in three dimensions enforced an appreciation of an interior arrangement which initially appears complex, but in contrast is well circulated and functional.

It also highlighted the idea of the theatre box with controlled internal rooms where certain intruders are intended to be seeing and inhabitants hidden.

On the opposing pages the main public spaces, summer and regular dining rooms, and the living room are highlighted within the nuanced programmatic form.

The exterior shell of the structure is contrastively flat faced and two dimensional, punctuated by openings that primarily reflect interior organization.

“How should one dress?

Modern. One is modernly dressed when one stands out the least” ­

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­­­­­a Moore, 2011

LOOS DIAGRAM AND TEXT

­­­­­a Loos, 1936

7

“Loos constructs a space (without having completed the working drawings), then allows himself to be manipulated by this construction.”

“Do not judge a book by its cover”

8

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­­­­­a Colomina, 1996

Material>Ornament Ornament in both buildings is mostly limited to the materiality and the visual aesthetic that comes from a raw substance. Whilst Loos is famous for his statement ‘Ornament is crime’ the muller house might be considered grandiose in its interior. It was only the richness of the raw material adding to the image of opulent pattern.

COMPARISONS AND CONTRASTS: MULLER HOUSE AND NEW ART GALLERY WALSALL

Circulation Circulation within the Muller house provides a controlled vertical journey through the building with levels and half levels seamlessly linked and the stairs themselves forming room like spaces. The stairwell shown in Walsall gallery arguably has a similar approach to breaking the internal journey on a larger public scale.

Raumplan These two images of living room and gallery immediately appear similar in their use of orthogonal volumetric massing with textured materials brining subtance to the modern forms.

““There lives not one single architect who does not carry within himself a bit of Loos.”” ­

a Critic, 1930 (quoted by Moore)

The window Here Loos and Caruso St. John differ in architectural approach. Whilst Loos treats the window only as a means to light, often barring the external world with curtains, the Walsall gallery frames external views as if peices of art.

Exterior

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Complex, interlocking interiors are imbedded in exterior monolithic forms punctured only in places.

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“I prefer drawing to talking.

Drawing is faster and leaves less room for lies” ­

Drawings allow us to play between imagination and representation of hard information. The one day drawing workshop in Bollington encouraged a prioritisation of idea over the necessity for a ‘good drawing’, quelling the architect’s constant search for image and perfection.

WHEN IN BOLLINGTON : ONE DAY SKETCHING WORKSHOP

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a Le corbusier, 1961

DETAIL (LINKING SURFACES)

(FORM AND SHADOW)

A SPACE BETWEEN (PLAN)

(VOLUMETRIC PERSPECTIVE)

My chosen site was an unused patch of land sunk behind the high street in Bollington’s historic triangle.

A fragmented, decaying bench sits in an untouched corner of the site below. Hard shadows and harsh fragmented structural forms add to the perceived chaos of this everyday object.

Saturated watercolours were used to quickly identify different zones within the site plan; open land, green space, a river, a bridge and existing structures.

By giving these distinct forms volume, the spatial relationships of the space were better depicted. This form of three dimensional perspective aids the understanding of space and how it could potentially be used.

The sketch attempts to depict the play of material textures; shingle, stone wall, strands of grass and timber, leading to the walled barrier of the site.

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“I love the feeling of being anonymous in a city I’ve never been before.” ­

One of the fastest ways to learn is to discover, and the study trip to Milan allowed an exploration of a city with an extremely diverse range of architectural influences. The drawing task encouraged an in depth study of the thresholds that defined a street or site.

WHEN IN MILAN : ONE DAY THRESHOLDS WORKSHOP

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a Bryson, 1984

MILAN SKETCHBOOK The “When in Bollington” workshop highlighted the potential power of drawing to quickly express form or ideas.

We continued to experiment with drawings, subjects and styles whilst in Milan. Below are some

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examples from my sketchbook.

The colonnade was originally sketched out of interest but eventually led to me choosing its surrounding square, San Lorenzo Maggiore as a threshold study site.

“A squiggle is free and fluid but not random; its curves are related to the geometry of the hand and the arm.” ­

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a Unwin, 2010

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“Good architecture is often invisible, but it allows whatever is happening in that space to be the best experience possible.” ­

a Von Ellrichshausen,, 2014

AXONOMETRIC THRESHOLD STUDY OF SAN LORENZO COLONNADE My fascination with this site, the public square of San Lorenzo Maggiore sitting in front of the basilica, stems from the subtle differentiation of its various spaces and uses.

The colonnade threshold serves a number of roles simultaneously; separating public realm from tram route, partially enclosing a slower paced seating area, providing inhabitation in itself and framing the view of the stepped back threshold of formal clarity, the elevation.

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PROCESS OF AXONOMETRIC STUDY The majority of the work was hand sketched on an A1 sheet, detailing the primary threshold of the site, the colonnade.

Unaltered drawing shown below.

The digital process started with stitching site photography to form the varied colours and textures of the street facade seen below.

AXONOMETRIC THRESHOLD STUDY OF SAN LORENZO COLONNADE The axonometric studies were done in pairs in order to describe two sides of a space. Alex Cook’s combination of 3D printed modelling and threshold form analysis depicts the other side of the site, the basilica itself. Here thresholds are used to define religious and royal sequence.

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“Buildings are themselves important texts, often providing the first and often most lasting impression of a culture.” ­

Oddments and Epigrams

Continuity in Architecture

The Happy Valley book Oddments and epigrams: an intimate interrogation of Bollington was an opportunity to deeply study and collect all relevant information to our site as a basis for further study.

Dave, George, Steve, Will and I were collaborating to provided information on the wider subject of Geography.

HAPPY VALLEY: BOLLINGTON

( ODDMENTS AND EPIGRAMS )

­

a Silvetti, 1992

101

DIVISION OF LABOUR Please note that pages have been inserted at this point to allow a continued narrative of research.

For a better legible version please refer to appendix, where full size book is attached.

CONTENTS Please note that pages have been inserted at this point to allow a continued narrative of research.

For a better legible version please refer to appendix, where full size book is attached.

PAGE KEY

Introduction

4

Heroic Remnants

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White Nancy Typologies Canal River Diversion Cotton Process Cotton Exports Water and the Mill Mills Industrial Pioneers Mapping the Mills Lowerhouse Mill - Construction Evolution of the Mill Mill studies from Canalside Machinery: Proportion and Scale Canal and Urban Morphology Geology Material Labour Industry and Topography Mill Ponds Potential Typologies: The Mills Gender Roles and Child Labour

16 18 24 25 26 27 28 30 32 33 34 36 38 39 40 41 42 44 46 48 52

Slow Vernacular

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Typologies New House Plan Windows/Doors Terraced Housing - 19th Century Terraced Housing - Contemporary Buildable Space Free Space Topography and Growth Topography and Construction Plot Sizes Potential Development Population Territories Occupation and Use Persistence Degrees of Privacy Zones for Staying Occupation and Use II Degrees of Privacy II Zones for Staying II Occupation and Use III Degrees of Privacy III Zones for Staying III Elevation Studies Lateral Envelopes Words as Symbols Elevation Figures Type: Corridor

56 58 59 60 61 62 63 65 66 64 67 69 70 72 74 76 78 80 82 84 86 88 90 92 96 97 98 99

Speed Study Commute Townscape Public/Private Space Perceptual Image Resident Interviews Famous People Monuments and Memorials

Maps Materiality Topography Green Belt Listed Bridges and Aqueducts Listed Buildings and Structures Conservation Areas Recent Development Green Spaces Flora Flooding Large Scale Topography

102 103 104 106 108 110 111 112

Created by myself Edited by myself Created by geography group Relevent to KWWP

115 116 118 119 120 121 122 123 124 125 126 128

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Canal

River Diversion

Fig 1. River Dean information board

Fig 2. Tunnel accommodating the new course of the river

Fig 3. Aqueduct built after the river diversion

The origins behind the name come from ‘O.E. Denu, later Dene, Dean’ (Betts,2005) which mean valley and if one will walk along the river from one side of Bollington to another it will be fairly obvious how it managed to secure the name. Locally, it was usually mentioned as ‘The Water’, name later taken by the mills water powered by it.

1

2

1. NCCC. (2010) Club History. [Online] [Accessed on 3rd November 2015] http://www.nccc.uk.net/ club_history.htm 2. NCCC. (2004) The Macclesfield Rally – 1953.

[Online] [Accessed on 3rd November 2015] http:// www.nccc.uk.net/macc_ rally_1953.htm

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Betts, R. Norton.

Bollington Through The Centuries. Bollington civic Society, 2005. Print.

When the importance of the canals became a necessity to improve the local industry later in the eighteenth century, a few schemes for The Macclesfield Canal were put forward. Unfortunately, a few problems occurred and by the time the final scheme was approved, another building impediment surfaced. River Dean was going through the centre of the valley , turning the adjacent piece of land soggy and providing no real support for a possible aqueduct in the area (Fig 3.). Charles Nichol, a local, came to the rescue with a river diversion engineering scheme in order to accommodate the canal constructions. ‘He proposed to divert the course of the Dean to flow through the West of Water Street and under the solid rock on the south side of the aqueduct’ (Betts, 2005) which can now be seen around the Recreation Ground area (Fig 2.).

CREDIT : [JAMES O’KANE]

Cotton Process

Cotton Exports 1. Bale Cotton 2. Lap 3. Sliver 4. Roving 5. Yarn

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3 1 2

Ashton Canal

Peak Forest

Liverpool

Ma

Canal

Manchester hip

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Can

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Marple

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Can

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2 Bollington

Macclesfield

sfi

Middlewich

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4

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Ma

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Chester

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Ca

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Ellesmere Port

During the 19th century, cotton was Britain’s biggest export. Cotton and cloth produced in Bollington and the surrounding areas in North West England was cheap and of superior quality; at the peak of the industry, cotton produced here was subsequently shipped all over the world.

rse

Me

5

al

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Kidsgrove

Tippett, L. H. C. (1969) A Portrait of the Lancashire Textile Industry (London: Oxford University Press) p.39

C fie otto In lds n i di (S s c a/ o o W ut lle es he ct t A rn ed fri st fr ca at om ) es c In of ot th the Am ton se e fi co er ica fo ed bre tto r t in is n/ ra tu s gr ns ft tri o po s a pp win rt nd ed g co fro cou T m m nt pr th ry se he c es e , n o Liv t b m se er y pr d po sh es ol ip se to d b th al ed e oc is th T ks en at an he b m d a ale us s s tb m m u u e r ch st em d be ov ebr br ed is ok as and en Fib po d up w re ss irt fib hich is f ib le pr res lit irst oc a er fe es nd all d s be y o to a gin pe n s t ns ope he the n Fr er o cle , fe m d an fu o the in an rthe nto o g d r b th pe dr r e ne aw ea sc r, s o ks utc the ff m up he fib Th or the r, wh re is fro is p e d cot ich a m ro irt ton fo fair ma ces rm ly n s in con y b ble g t s al nd he ist es s fin ent and cot t Th al la tex pro on on e l p wh du ile ce a c ap s ar is m d. a de in to as liv Th er dr e s sli aw live pr ver fram r is od s a e s uc re w ent e a co he to sin mb re s a g in ev Sl le d ed era at iver raw to l t giv en to fra in ua rov me g i tin in ta g g sli the - th gh s is t t live in wi r vo st an lve Ro d s tw vin to iste g t be the d a o y in re nd arn gw q ou uire atte the nd d nu ro on tex ate vin to be d f g is a b for urt ob e her bi n

Map of canals in relationship with Manchester and Liverpool, 1975

1

A

Sectional Diagram of a Cotton Opener

The action of the opener is to break up large lumps of cotton using a combination of leather flaps and spikes, liberating any dust which is extracted from the main chamber. The rollers offer a fairly uniform and consistent sheet of fibre.

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A

B

B

2

C

Sectional Diagram of a Scutcher

The rate of feed is controlled as the fibre passes over grids. A beater generates an air current forcing pieces of dirt to fall through the grids. The fibres are then passed through cages which draw air inwards, filtering out more dirt. Rollers compress the material into a blanket and control the thickness and tex.

3

4

C

5

Sectional Diagram of a Card

The lap is drawn slowly forward under a roller. Saw toothed spikes comb the fibres and draw them onto the large cylinder (this is also sparsely covered with spikes). The refined fibre is collected at a vibrating comb. The cloud-like fibre is gathered to form a sliver, fed through a set of rollers and coiled into a can.

Tippett, L. H. C. (1969) A Portrait of the Lancashire Textile Industry (London: Oxford University Press) p.49-64

CREDIT : [JAMES O’KANE] 31

Water and the Mills

A

B

B

A

C D

C

B’

A’

C’ D’

D

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CREDIT : [SIMINA IONESCU]

Industrial Pioneers

Mapping the Mills

The Antrobus Family - Oakbank / Lowerhouse / Higher and Lower Mills

Alfred J King MP Mill)/MP/Benefactor

Phillip Antrobus was the builder of Lowerhouse including the Lowerhouse Mill in 1818 and more than fifty cottages. Philip Antrobus owned estates in Staffordshire and Cheshire. Philip Antrobus lived in the house known now as The Rookery. It has been re-furbished and divided into six units in 2004-06.

George Antrobus, son of Phillip grew up to be a mill operator like his father. Phillip’s father, also called George lived at a house called Turner Heath next to The Rookery where he developed various mills (Boddington, 2015).

A.J. King the firm was a progressive and expanding enterprise that took over Clough mill in 1878 as a bleachworks. A.J. King became a progressive Liberal member of the Bollington Urban District Council, and played an important role in the completion of the waterworks scheme and in instigating a drainage scheme with sewage works for the village. He represented Bollington on the Cheshire County Council from 1901 to 1906, and was Liberal MP for the Knutsford Division from 1906 to 1910. After electoral defeat in 1910, he and his family moved to Windermere (Boddington, 2015).

1. The Rookery (Happy Valley, 2015: online)

-

Mill

Operator

(Clough

Clarence Mill 3. A.J.King MP election poster (Happy Valley, 2013: online)

Oak Bank Mill Defiance Mill Waterhouse Mill Bannisters Mill Lower Mill Lowerhouse Mill

Samuel Greg Jnr - Mill operator (Lowerhouse) / Benefactor / Humanist

The Swindells Family - Several generations of mill builders, owners and cotton spinners

Samuel Greg Junior was the son of Samuel Greg of Quarry Bank Mill in Styal, one of the best preserved textile mills of the industrial revolution and museum of the cotton industry. Samuel Junior moved to Bollington in 1832 to takeover Phillip Antrobus’ Lowerhouse Cotton Mill. From 1838 the Gregs lived in the house they built in known as The Mount The site had been carefully chosen so that the owner could look down and over his estate and mill at Lowerhouse.

Today The Mount is a Bupa retirement care home (Boddington, 2015). The original explanation for the name Happy Valley comes from Samuel Greg. He valued his workers as people rather than just labour for his mill and he developed the Lowerhouse area with a view to improving their living conditions by providing schooling, a library, and allotments. Greg called Lowerhouse ‘Goldenthal’, German for Happy Valley (Boddington, 2015).

The Swindells family were cotton millers of Manchester and Bollington. Martin Swindells I born in 1784 moved from Manchester to Bollington to run his new Clarence Mill at Bollington. He owned or rented most mills in Bollington at various times, employing over 2,000 people. Martin Swindell was a Proprietor of the Macclesfield Canal Co. As Clarence Mill was totally dependent on the canal for transport of raw material in and finished product out, being close to the canal management was important to him. Martin bought a house for himself and his daughter.

After the death of his father, Martin Swindells II, together with Joseph Brooke, carried on the business as partners. But they gave up all the mills except Clarence.

Martin II built the Adelphi mill with his brother George, opening it in 1856. Adelphi is Greek for 'two brothers'.

Martin retired on 13th January 1869 and left the mills to his son Frederick (Boddington, 2015).

2. The Mount (Happy Valley, 2013: online)

Higher Mills Rainow Mill

Clough Mill

Adelphi Mill

Hough Hole Mill

4. Martin Swindells 2015:online)

I

(Happy

Valley,

Location of mills that have been demolished

Mills that remain PRESENT DAY MAP

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CREDIT : [CHARLOTTE FULLER]

Lowerhouse Mill - Construction

External envelope

Fireproof, water-powered, cotton spinning mill. Built using a brick-arch and cast-iron beam construction to reduce the amount of combustible building materials.

Structural elements - brick arch floors & cast iron columns

To add to the building’s fireproof qualities, the roof trusses were also shrouded with iron sheeting.

View of Clarence Mill and the Discovery Centre from the canal Section showing t-sectioned beam, brick arches, and cast-iron columns

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CREDIT : [COURTNEY MCLOUGHLIN]

Evolution of the Mill

Clough Mill

Waterhouse Mill 1791

Defiance Mill

Lower Mill Circa 1800

Clarence Mill Circa 1877

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Defiance Mill Circa 1800

Ingersley Vale/Clough Mill 1792-3

Bannister's Mill

Hough Hole Mill

Hough Hole Mill 1803

Lowerhouse Mill 1818

Adelphi Mill 1856

Bannister’s Mill 1836

Higher Mills

Higher Mills 1874

CREDIT : [JAHAN OJAGHI]

Mill Studies from Canalside

Machinery: Proportion & Scale The Spinning Jenny & Improved Spinning Jenny

The Cotton Mill in Bollington as an architectural typology gradually morphed from the early 1800s. The rapid development of technology occuring from the 1750s to 1810 was a result of the need to produce cheaper and cheaper cotton. This had a knock on effect in the way that the architecture responded.

Calladine reminds us that it is not the ‘type of the machine but the size and its alignment within the mill’ (A.Calladine J.Fricker 1993: 110) which is of importance with regard to mill size. Further, it can be observed clearly in the plans below the response in widening of the plan to accomodate longer mules which in turn could be worked in pairs and carry more spindles. The architecture of the mill was directly related to its ability to produce and as pressures grew, the architecture changed to accomodate more and better machinery.

The Spinning Jenny was invented by James Hargreaves in 1764. It was the first machine for spinning which allowed for multiple spindles (8 on the original machine), vastly improving productivity and meant that the spinning in cotton could keep up with demand. The machine originally maintained a domestic scale however there were quick improvments which progressed spinning to a larger more industrial scale allowing the spinning of 50-120 spindles at once, however it did require highly skilled workers.

The Water Frame

Clarence Mill plan showing 1938 original mill to the right, the 1841 extension in the centre and 1854 fire proof mill extension to the left.

The Water Frame was invented by Arkwright in 1770. The water frame gettting its name from its power source, was an improvment and made much stronger cotton which could be used for weft, without the need for skilled workers. The scale was adaptable in length and a 7 m length water frame could hold 128 spindles.

The Spinning Mule

Clarence Mill plan showing 1977 rebuilt mill on the site of the original 1938 mill

The Spinning Mule was invented by Samuel Crompton in 1779, it was a hybrid between the Spinning Jenny and the Water Frame, it allowed for a finer strong cotton to be spun and like the water frame flexible in length depending on the amount of spindles. The first Mule was crude with 20-30 spindles but advancements meant that eventually over 1000 spindles could be spun at once.

Adelphi Mill elevation from canalside

The Self-Acting Mule

Adelphi Mill 1956 plan

Clarence mill 1838, width 16.5m 12 mules totaling 6000 spindles, roughly 500 each machine

40

Adelphi Mill 1856, width 26m, the intended width increase to house more spindles on each mule

Clarence Mill 1877 new extension, width 40m, 16 mules equal in length to the width of the builidng each containing 1060 spindles

The Self Acting Mule emerged in the 1830s, through later developments of the original spinning mule and because it was automatic allowed workers to work machines in pairs thus doubling productivity with the same work force.

CREDIT : [COURTNEY MCLOUGHLIN]

Mill Ponds

Defiance and Bobbin Mill Pond

(filled, on the current Pool Bank car park)

Clarence Mill Pond

Oak Bank Mill Pond

(existing, on Harrop Brook)

(used to provide water for the steam engines)

Waterhouse Mill Pond

(filled, on the right side of the viaduct)

Lowerhouse Mill Pond (existing, on river Dean)

Lower Mill Pond

(filled, on the current staff car park)

Higher Mills Pond

(partially filled, used to build Dyers Close)

Rainow Mill Pond

(filled, piece of land along river Dean

A mill owner was dependant on the flow of water to power their mills. Mill ponds played a significant part in providing a constant flow of water through storage and regulation of the discharge. The River Dean did not provide an ample flow of water that was consistant to power a mill at a satiscfactory level and therefore, the only way to ensure a constant rate of water during working hours was to create mill ponds that stored water which could be released as and when necessary.

There were advantages and disadvantages to the location of a mill along the river.

Mills higher up were limited to the amount of water stored in their own pond. Those mills that are downstream benefit from collecting water from the mills above during the working day however, after the end of a working day, there would be less water available to replenish their pond with again. There are several ponds throughout Bollington that still exist, although all don’t contain water (Boddington, 2015).

Ingersley Clough Pool

(existing, on river Dean)

Hough Hole Mill Pond (existing, on river Dean)

A mill dam is a dam constructed on a waterway to create a mill pond. (Wikipedia, 2014) ‘[Water] may be fed by a man-made stream, known by several terms including leat and ‘mill stream’. The channel or stream leading from the mill pond is the mill race, which together with weirs, dams, channels and the terrain establishing the mill pond, is the power producing purpose of the civil engineering hydraulic system.’(Wikipedia, 2015) Happy-valley.org.uk,.

‘Happy Valley; History, Mill Ponds’. N.p., 2015.

Web. 28 Oct. 2015.

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‘Watermills can be divided into two kinds, one with a horizontal water wheel on a vertical axle, and the other with a vertical wheel on a horizontal axle. [Most watermills in Britain had a vertical waterwheel, one of four kinds: undershot, breast-shot, overshot and pitchback wheels.]’(Wikipedia, 2015)

CREDIT : [SIMINA IONESCU]

POTENTIAL Potential Typologies: TYPOLOGIES: The Mills THE MILLS

POTENTIAL HOUSING TYPOLOGIES Flats

A potential future development of the mills.

An example of flats built in Bollington is at Dyers Court which contains 5 storeys of flats each containing 61.2m2 of space.

A - Museums/Galleries B - Business Workshops/Units C - Shops D - Restaurant/Cafes E - Accommodation

This is also an example of using the mill aesthetic style in a contemporary residential building. It is not out of place or seen as an eyesore in Bollington and poses as a precedent for future flat buildings in Bollington.

4 - Flats in the mill style E

B C 5 - Dedicated parking for residents keeping cars from parking on the roads.

Adaptation Adapting the houses already existing in bollington, building in spaces between or changing the fabric of a derelict building for example like Kew house in London. This project benefitted from a thoughtful process of neighbourhood consultation and satisfied both local conservation and planning concerns.

Since the mills have lost their initial purpose for industrial production, there has been a transformation of their use. We are now seeing both Clarence and Adelphi Mills being renovated into apartments, offices, shops, cafes and other general industry spaces.

The residents of Bollington have mainly supported this regeneration of the mills but seek to keep the character of the mills to still express the history and identity of Bollington.

Proposed Parking in the basement of the mills. Reducing parking problems for the town.

The Basements of the mills could have potential for car parks reducing parking in the streets of Bollington, something the residents find important.

An successful example of a mill regeneration is Salts Mill in Saltaire, Bradford. The spaces have been renovated with the support of local artist David Hockney who’s work is displayed in the art gallery there. Most importantly, the renovation has kept the character and identity of the mills.

Something that the residents of Bollington want for their mills.

5-6m

1. David Hockney’s art in the gallery.

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2. & 3. Mill spaces transformed to boutique shops that have proved popular by the locals.

6 - Kew house, London. A successful example of adaptation.

CREDIT : [JAHAN OJAGHI]

Elevation Studies Palmerston St South Elevation 3

Beeston Brow

2

Clarence Road

1

Queen Street

Hamson Drive

4

1

2

3

4

QR link to a continuous pan of the elevations.

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CREDIT : [ROBBIE STANTON]

Palmerston St North Elevation 1

2

3

1

2

3

QR link to a continuous pan of the elevations.

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CREDIT : [WILL PRIEST]

Townscape Left: Silhouette

As the building soars up into the blue vault it also captures it and brings it down to the building.

This capacity to net the sky is particularly rewarding in the fog and mists of England.

Right: Changes in Level

The hilly terrain of Bollington plays a crucial part in defining the townscape. The aqueducts, viaducts, roads and rivers form inctricately woven layers which create a pictureque and dynamic urban environment.

Left: Closed ista

A significant building is placed down and you are invited to step back and admire it. This suburban residential street is punctuated by a heroic and imposing reminder of Bollingtons industrial past, the Adelphi Mill.

Right:

uncation

Foreground cuts out background and the normal, prosaic recession is disturbed. The hilly roads surrounding the happy valley provide many such visual idiosyncrasies.

Left and Right: o ection and Recession

The eye is caught up in the intricacy of the meandor and the result is a repose or dwelling of the mind which is wholly appropriate to the subject, which is a street of houses not a fluid traffic route.

Ascent and Descent

The act of descending implies going down into the known, the act of ascending implies going up into the unknown.

Climbing (left) and descendng (right) the viaduct create entirely opposite sensations for the pedestrian. The same space is perceived as claustrophobic and dark, or light and infinite.

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CREDIT : [ROBBIE STANTON]

Townscape Left: Silhouette

As the building soars up into the blue vault it also captures it and brings it down to the building.

This capacity to net the sky is particularly rewarding in the fog and mists of England.

Right: Changes in Level

The hilly terrain of Bollington plays a crucial part in defining the townscape. The aqueducts, viaducts, roads and rivers form inctricately woven layers which create a pictureque and dynamic urban environment.

Left: Closed ista

A significant building is placed down and you are invited to step back and admire it. This suburban residential street is punctuated by a heroic and imposing reminder of Bollingtons industrial past, the Adelphi Mill.

Right:

uncation

Foreground cuts out background and the normal, prosaic recession is disturbed. The hilly roads surrounding the happy valley provide many such visual idiosyncrasies.

Left and Right: o ection and Recession

The eye is caught up in the intricacy of the meandor and the result is a repose or dwelling of the mind which is wholly appropriate to the subject, which is a street of houses not a fluid traffic route.

Ascent and Descent

The act of descending implies going down into the known, the act of ascending implies going up into the unknown.

Climbing (left) and descendng (right) the viaduct create entirely opposite sensations for the pedestrian. The same space is perceived as claustrophobic and dark, or light and infinite.

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CREDIT : [ROBBIE STANTON]

Public/Private Space

HIGH STREET

1

1

2

4 2

3

Enclosure

Serial vision

Threshold

Townscape as a tool for defining public / private

Floor as a tool for defining public / private

The above sequence of images llustrates the changing nature of public / private space as one walks into an enclosed residential courtyard off high street.

One of the most powerful agents for linking and joining the town is the floor (Cullen).

Typical Public Road

Exposure

4

Bollington has a defined strategy for articulating its roadways and therefore determining the way in which pedestrians and vehicles use them. The examples below show combinations of cobbled stone, paving, and tarmac which define three typical approaches seen throughout Bollington. Cobbled stone paving is a subtle detterant to automobile access which allows a square or side road to have a distinctly pedestrian feel.

limited vehicular access

Private / Pedestrian Road

Pedestrian priority

primary vehicular access

Pedestrian priority

The punctured arch in the street level facade forms an inviting threshold for pedestrians (1). The dark, intimate archway (2) is juxtaposed with the following open courtyard (3), providing a picturesque and stimulating pedestrian experience. The nature of the threshold creates a uinque, slow-paced setting which has a different character from the external road (4).. The enclosure creates a differentiation between public and semi-private space whilst still inviting pedestrian use.

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3

slow r ula vehic ss acce

Semi-Private Residential Road

CREDIT : [ROBBIE STANTON]

Free Space

Buildable Space

This map depicts Bollington’s urban area with surrounding green belt, shown here in white. Bollington has Level 3: Major contribution green belt to its East towards the Peak District, also there is green belt along the South West to project the town from merging into Macclesfield.

There are 2 Areas noted on the Green Belt Assessment Update 2015, as having Level 1: contribution green belt, just south of the school (parcel BT10) and adjacent to Middlewood Way (parcel BT28) in the North.

This reductive map shows the available space in Bollington after all the protective/ green/open areas have been removed. Here large areas of Bollington are hidden in the East, along the canal and in the park areas.

The map has hidden areas such as: Green Belt – as of Arup Green Belt assessment update 2015.

Conservation Areas – as of Bollington Town Council Neighbourhood Plan questionnaire Open Spaces - as of Bollington Town Council Neighbourhood Plan questionnaire

VISUAL FORMATTING

Green Area – CEC plan taken from Bollington Neighbourhood Plan

My role as sub-editor was primarily concerned with the formation of the book as a visually coherent and beautiful whole. All mapping required co-ordination of scale, style and format in order to read as a consistent section of the greater book. Original mapping from all contributors was adapted to the rough format seen below, with some variation permitted.

Areas of High Ecological Value – taken from Bollington Neighbourhood Plan Bollington available space for development here has been reduced dramatically, this shows the towns resilience to drastic change, there desire to retain historic elements of the town, and their attitudes towards future enlargement/urbanisation of Bollington.

The greyscale maps (right) fall within the main section of the book rather than appended at the end and therefore required better integration with the vernacular studies section. Transforming the colour scheme, texturing and detail of the information allowed them to follow on naturally from other pages.

Listed Bridges and Aquaducts

Listed Structures and Buildings

Green Belt

Conservation Areas

River Dean

Green Belt

Bridge Aqueduct Building

Boundary Stone Canal milestone White Nancy Other

Peak District National Park

Contribution

Significant contribution

Major contribution

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Oddments and Epigrams

Recent Development

Continuity in Architecture

Green Spaces

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Oddments and Epigrams

Settlements Arterial Road

Flora

Continuity in Architecture

Large Scale Topography

Forested Areas Canal The flora in the highlighted forested areas are predominantly sycamore and beech, however other species such as oak , birch, lime, ash, rowan and horse chestnut can also be found. Species such as hawthorn, hazel and holly typically make up the shrub layer and the ground flora is made up of species such as bluebell, red campion and bramble.

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Oddments and Epigrams

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“I see buildings falling in Glasgow. I see rubble. I ask myself where that rubble goes.

I discover that it’s crushed then used to build new pedestrian streets - so people are walking on the ghosts of tower blocks.” ­

Knitting, Weaving, Wrapping, Pressing implies an intricacy of intervention, responding to and intrinsically linked with its visual, cultural, social and historical context. Meanwhile the brief title references the importance of craft and the hand, end their potential importance to the context of Bollington.

KNITTING, WEAVING, WRAPPING, PRESSING

( INDIVIDUAL INSTALLATION )

­

a Gaillard, 2009

EARLY EXPLORATIONS OF THE BRIEF My first approach was too simply create an image which summarises my impression of Bollington. Here I combined two of the Happy Valley’s most significant materials; Cotton and brick.

“As we look, the eye touches, and before we see an object we have already touched it and judged its weight, temperature and surface texture.” ­

­

a Pailiasmaa, 2013

heritage cold tones high texture relief

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The patchwork studies the varying textural aesthetic qualites of the town’s physical fabric.

modern warm tones low texture relief

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3D PRINTED LEGO INSTALLATION Digital scanning, 3D modelling and 3D printing have been used to create this micro intervention on a chipped piece of stone.

The presence of this layer of exposed lego, provokes the viewers imagination, suggesting that the entire structure is formed similarly. I am intersted in replicating this patchwork approach to ‘fixing’ Bollington.

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SIMPLIFIED INITIAL IDEA NOTE: PDF is interactive and video should play within slide.

Otherwise please copy following link: https://www.youtube.com/ watch?v=2uBeztEYMXc Thank you

By working with decay and lost forms in a similar fashion to the precedent, I hope to expose the true content of bollington and what has metaphorically built this town; cotton. The illustration shows a broken brick wall ‘fixed’ with contrastingly light string.

The impression is that the physical fabric of the town is infact formed by its history.

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DEFINING THE PROBLEM: (DISCONNECTION WITH HISTORY) Of great importance to architecture of continuity is one that recognises its environment, its history and the positive contribution it can make to its future.

HISTORY

BLOCK

I have identified a discontinuity of Bollington from its industry and will attempt to recognize lost history.

LOSS

RECOGNITION

“ Defaced ruins of architecture and statuary, like the wrinkles of decrepitude of a once beautiful woman, only make one regret that one did not see them when they were enchanting.” ­

­

SOLID

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a Walpole, 1795

FRAME

LINING

STITCHING

PLANES

FRAGMENTING

WEAVING

NETWORK

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HISTORY OF INGERSLEY VALE MILL Ingersley Vale and its mills have a long and illustrious history. There were once three mills in the vale, a waulk mill (wool processing), Ingersley Vale, often known as Clough mill, and Rainow mill, lost to a fire in 1907 and with J. McNulty’s glass works on the site today.

The mill has been altered many times over the centuries. The present structure carries a date stone of 1809 (right). When originally built in 1792/93 as a cotton spinning mill there was a row of cottages and the mill manager’s house located along the valley floor upstream of the mill.

Edward Collier developed the mill and his date stone shows 1809 indicating a re-building.

The mill was again rebuilt after a fire in 1819. Also in the 19th century the cottages and house were removed and additional mill buildings erected over the river upstream of the main mill.

In the 20th century these were altered and extended. The mill is located at the narrowest point in the valley. All these mills were located in the river Dean valley because of the availability of water to drive their waterwheels and mill machinery.

(Happy Valley 2012)

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“The wheel at Ingersley mill is famous for the fact that it was, at 56 feet in diameter, the largest in England, and only beaten in Britain by the wheel at Laxey in the Isle of Man. This was undoubtedly one of the most powerful water wheels installed anywhere. The power of the water was taken through the rim of the wheel enabling the light weight bicycle wheel type structure visible in the picture. Regrettably, some decades after it became redundant, the wheel was removed and scrapped.” ­

­

a Boddington, 2015

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HISTORY OF INGERSLEY VALE MILL

WATER POWER CHANGES OVER TIME

The mill was taken over by A. J. King in 1878 and the buildings converted to a bleachworks. The first floor of the spinning mill was removed to create sufficient headroom for the bleaching processes and a range of new buildings replaced the older structures on the site. There was considerable expansion of the facilities and in 1895, the water wheel was converted to drive a dynamo and all the processes were powered by electric motors.

(Happy Valley, 2011)

Ingersley mill was water powered until the 1950s. In 1803 the power of the river was increased by the construction of Clough pool and the waterfall (left) which stored up enough water to drive the wheel at maximum power throughout the day. Overnight the reserves in the pool were restored while the mill was idle. The water wheel (below) directly powered the machinery until 1895 after which the wheel drove a dynamo and the machinery was powered by electric motors, providing much greater flexibility in the layout and types of machinery that could be used.

(Happy Valley, 2011)

Bleachworks 1895

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Mill office 1930

Paper making 1930s

THANKS TO TIM BODDINGTON FOR SUPPLYING ORIGINAL IMAGES

Remembering the cotton process Inviting the viewer towards a lost space Reinstating the wheel

Highlighting the role of water Remembering important people

Relining the river Exaggerating lost forms

RE-STITCHING THE INDUSTRIAL FABRIC OF BOLLINGTON Physically modelling and collaging my early thoughts on re-stitching Bollington allowed a playful exploration of ways to work with historic forms.

The collage as a whole, like my project, aims to physically reconnect distinct fragments in Bollington’s history.

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FULL COLLAGE MODEL (A1)

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The process of physically stitching allowed me to experiment with the formal qualities of string. Simple stitched outlines are cut and contrasted with more complex networks. Ultimately, in terms of project realisation I am more interested in simplistic forms which exemplify a clarity of the concept and the intervention.

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EXISTING SITE PANORAMA: NORTH FACADE

HIGHLIGHTING LOST STRUCTURES

New chimney as an exaggerated industrial icon

“ From the time a building is completed, its destruction begins.” ­

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­

a Guttemheim, 1994

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Raised level adjacent road

IDENTIFYING SITE FEATURES OPPORTUNITIES AND PROBLEMS

Tower structure on North facade

This map identifies a range of points of interest within the existing site.

“You don’t restore ‘The Last Supper’ by filling in the missing bits - you preserve. You accept the material that has somehow survived.” ­

Water passage connection mill to power source

Mass scale chimney on adjacent raised bank

a David Chipperfield, 2002

Water stream leading to river

Eroding bank walls east of site

Underground riverway leading to mill

Decaying I beams at first floor level on internal structure

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Collapsed east facade

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POTENTIAL PROCESSIONAL SEQUENCE DRAWING VIEWERS TOWARDS THE MILL

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1 - Underground canal

2 - Under the bridge

3 - Decaying steelwork

4 - Approaching Ingersley Vale

5 - Entering the tunnel

6 - Leaving the tunnel

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LASER BEAM TREES

SHOWING ABSENCE

Keiko Sato’s laser beam trees installation use lines of string to visualise absence.

The transparency of the new structure creates beautifully delicate new forms which contrast with the soliditiy of the stump that remains.

Using a similar approach to Keiko’s Laser beam trees it would be possible to mark ‘lost structures’ in Bollington with thin frames. By forming these from strings of cotton the structures will both be literally and metaphorically reminiscent of the cotton industry 81

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CREATING A GHOST STRUCTURE: INDUSTRIAL SCALE Two possible scales for the intervention are being explored; industrial and vernacular. This industrial scale example marks the demolished Oak Bank mill with a ghost structure; a reminder of what has been. The proposition re-creates an industrial landmark for bollington serving as a reminder of its cotton origins.

AN ARTIFICAL GLOW : MICRO SCALE The intervention will play contrasting roles through day and night. Thin lightweight knitted structures will blend into the architectural fabric of Bollington in day light, but the use of artificial light will draw attention at night.

Neon lines will cut through the dark, highlighting the lost or absent spaces which they inhabit.

LYGIA PAPE Lygia Pape’s threaded art installations play with light and texture.

Directing spotlights onto threaded forms makes them appear both bright and translucent. Imbedding lighting into my own proposal could create similar results.

JAMES NIZAN These geometric abstractions are created using light beams; form is created without any need for physical material. A similar ephemeral structure could be created from LED light wires to complete lost structures

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THE FINAL PROPOSITION An ephemeral ghost structure is created by lighting the lost forms of the mill and exagerrating what has been lost with a mass scale icon of industry; the chimney.

“As traditional locational imperatives weaken , we will gravitate to setting that offer particular cultural, scenic and climatic interactions – those unique qualities that cannot be pumped through a wire – together with those face to face interactions we most care about” ­

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­

a Mitchell, 2000

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Ah, to build, to build!

That is the noblest art of all the arts.

Painting and sculpture are but images, Are merely shadows cast by outward things On stone or canvas, having in themselves No separate existence.

Architecture, Existing in itself, and not in seeming A something it is not, surpasses them As substance shadow. ­

­

a Longfellow

As one of the shortlisted six projects, ‘Cotton Connections’ has been explored as a potential live installation at Ingersley vale mill.

The realities of site constraints and ownership led to a redefined output for the construction breif; a presentation model of the scheme to be exhibited in Bollington.

SHOP DRAWING / CONSTRUCTION

(COTTON CONNECTIONS)

“Whilst the ambition of this scheme is appreciated, the HCA cannot currently allow construction work of any kind within the Ingersley Vale property” ­a Homes and communities agency 2015

LIVE PROJECT FEASIBILITY My individual project, restitching the industrial fabric of Bollington, was short listed with 5 other projects for physical construction. A successful presentation day in front of representatives from the neighbourhood planning team emphasised the potential of the live project to boost tourism in Bollington.

The following week’s brief, shop drawing, encouraged us to explore all issues relating to real-life feasibility of the project.

At this stage I was able to recruit two more members, Jahan Ojaghi and Sam Stone so please note that responsibility for the following section is shared.

The immediate and most obvious complication with the site was ownership. The Homes and communities Agency are legal owners of the Ingersley vale mill after it was sold to them by

ALTERNATIVE SITES indepedent developers in 2009.

After various attempts to build housing either within the current structure or in place of the demolished structure the site has been left stagnant in a state of decay.

Phone and email contact were used to contact the HCA and discuss possibility of realising the live project. However, this quickly highlighted some problems Sandra from the neighbourhood planning team had forewarned. Reaching the needed responsible members of the organisation was a significant challenge and in general the HCA were not particularly collaborative.

Relatively early in in the shop drawing brief we received an email stating that construction on site would not be possible due to significant risks and hazards.

Accepting that the original intended site was coming against opposition from the owners we briefly explored alternative sites within Bollington.

However, whilst these explorations highlighted much more realistic construction spaces we felt much of the original power of the project was lost.

Ultimately, the project was sitefocused, with the decaying ‘lost’ structure allowing the unique interplay between old and new.

Entire ghost structures were possible elsewhere (i.e lost chimneys around bollington) but to not have any of the original fabric of the building seemed a shame.

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POSSIBLE CONSTRUCTION Explorations of potential construction methods took place in preparation for the project being deemed viable for on site completion.

Power drill required

As we were working with an building prone to decay or even collapse it was important to have a ‘light touch’ installation which did not rely heavily on the existing structure and could be removed easily.

The sketch on opposing page illustrates our early decision to attach EL wire with eye hooks which would provide stability in tension whilst not overly damaging existing surfaces.

However, the model making process has highlighted an alternative method of having a separate support structure for the lighting which avoids the problems related to interacting with the existing structure. This approach was inspired by the dovecote studio by Haworth Tompkins

EL wirecraft supplies with electrical generator

Only the minimum necessary brickwork repairs were carried out to stabilise the existing ruin prior to the new structure being inserted. Decaying existing windows were left alone and vegetation growing over the dovecote was protected to allow it to continue a natural process of ageing and decay. ­­­­­­a Haworth Tompkins Architects 2009

Plastic archer plugs

Brick clips as alternative fixing?

Method of inserting eye-hook in wall requires hole bored into brick end by casbridge drill bit.

Hook to be installed with standard masonry fixing plug.

Thread ‘ELWire’ through hooks in brick wall

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Manually fix screw hooks

Install Plastic anchor plug

Using Casrbide drill bitt, drill hole

Hole bored

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BOLLINGTON AT NIGHT Whilst exploring physical construction possibilities it seemed necessary to consider the role my intervention could play in Bollington. Whilst there were some examples of aesthetic artificial light being used for aesthetic purposes (seen in Christmas lighting at the butchers and the turning on the lights festival) the features are seasonal.

In an otherwise dark landscape my intervention will provide a bright eye-catching image attracting users to an undervisited area and further highlighting Bollington’s lost connection to rich industrial history.

There are no houses directly surrounding the site so should not provide a problem for locals.

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HOW TO LIGHT THE “COTTON CONNECTIONS�

After visiting the Enlighten Manchester light art festival, I saw a wide range of material possibilities. However, the Electroluminescent wire seen in the above moving piece seemed most suitable to my project.

For my own video of the moving installation click here or copy this link: https://vimeo.com/149423691

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Resonate, an interactive sound and light installation, entertained audiences in Frankfurt at the opening party for the 2012 Luminale. The EL wire in this scenario has been tied to hooks in the surrounding structure. A number of affordable lighting suppliers including EL wirecraft and Surelight can be used for such work.

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PLANNING INGERSLEY VALE MODEL AND ORGANISING COMPONENTS As a result of practical limitations in realising the live project, Laura proposed a change to the final output.

A scale model of the full proposition seemed the best route to successful exhibiting the potential project to the people of Bollington.

Discussions within the group and members of the workshop explored the various possible scales and styles of model.

Ultimately a 1:100 model which is framed primarily around the mill itself with some associated topography seemed the best solution.

This exploded axonometric breaks down the various components of the model and the way in which they relate.

Chimney structure formed from prefab I-beams with light wires fed through beams

1.3mm thick ‘angel hair’ electrice luminescent wire fed through cross section of beams Gable beam structures to sit on perimeter walls with 2mm drilled holes for wires EL wire as above Prefab I-beams as above

9mm thick laser etched plasterboard with hand scratched finish to form ruin walls Timber layers topped with smooth sanded plaster to form adjacent road topography 450mm x 650mm grained light plywood base

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REPLICATING THE EROSION PROCESS The fragile nature of a decaying or lost building was poetically replicated with the use of plasterboard which crumbled to the touch.

A continuous process of subtracting, scratching, crumbling, and destroying allowed the original facades of the mill pre-demolition to gradually form into those which stand on the site today.

This process starts with accurately drawing the original elevations on CAD and then subtracting selected pieces of information. Once the areas have been reduced and abstracted the plaster was etched and cut. Then the process continues with hand.

Whilst observing photos of the current site we scratched away patches of bricks and chipped away at the more ruined facades.

The end result is a fragile wall structure which continues to decay mirroring the dialogue of the real mill.

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Fully textured original build facade created on CAD

Selected Information subtracted on CAD

Plaster cover scraped away, laser etched, and hand embellished

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TEXTURAL REPRESENTATION

MATERIAL CONSTRUCTION With the nature of replicating a semi-ruin it was very important to get the textural quality and materiality of the model right.

A few early material options were explored, including but not limited to casting, ceramics, dark-stained ply, and greyboard.

However after several discussions within the workshop we came to a decided media, plasterboard.

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“Limiting the material palette whilst still conveying a descriptive and beuatiful range of textural details and compositions” a Concluded approach from plan

Inspired by a fellow student model created for the “lost Spaces” workshop by George Thompson and Jilly Clifford, I chose to peel off the paper layer from the plasterboard to reveal the ‘clay’ texture below. Etching into this structure would allow a range of material impressions to be created throughout the build.

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COSTING OF MODEL FABRICATION ITEM

PRICE

I-BEAMS (EMA Model supplies order) 3 x Styrene I-beam 12mm packs 1 x Styrene I-beam 8mm pack Subtotal Tax (company added tax separately)

£21.00 £7.00 £28.00 £5.75

TOTAL

£33.75

EL wire (Elwirecraft.co.uk)

FORMING TOPOGRAPHY

3 x 1.3mm Fine ‘Angel hair’ EL wire (White, 1m) Adaptable driver 1 to 3 splitter for EL wire

£12.00 £9.00 £1.98

TOTAL

£22.98

UOM workshop The site features a complex range of topograghy including flatland, masses of rubble, and an raised adjacent road. Collating layers of raw plaster and shaping them to form will allow a ‘clean’ white base which will complement the bold textures of the main model

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450 x 650mm plywood base board 4 x hours on laser plotter Plasterboard

£5.00 £40.00 FREE

TOTAL

£45.00

GRAND TOTAL

£101.73

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1 Planning - Choice of materials, scale1 &Planning 3 Preparation 2 Testing - material size of base, Planning - 2Choice Testing of -materials, material strength scale & size andofsuitability, base, strength-and CAD suitability, elevations drawn, 3 plasterboard 2 Testing - material strength and suitability, - Choice of materials, 1scale & size of base, Preparation - CA risk assessment and access to products, risk timescale risk assessment and access with to products, types of LED timescale wire lighting & sheets typeswetted, of LEDstripped wire lighting of their & backingsheets paperwetted, and st assessment and access to products, timescale experients experients with types of LED wire experients lighting & with assumptions and how long will the model take? battery howrequirements. long will the model take? battery requirements. sanded down to reveal smooth plaster of 10mm assumptions and how long will the assumptions model take? and battery requirements. sanded down to thickness. thickness.

MODEL MAKING PROCESS

5 CAD 4 were 6 - CAD Laser Cutting - CAD elevations Laser Cutting - CAD Detail elevations - etching were theproduced brick and5stone details etching Cut the- All brick facades and stone and apertures details 6 ofCAD the Cut - All f 4 produced 3 Preparation 3 plasterboard 3 produced 2 Testing - material strength and suitability, 2 Testing4 - material Laser Cutting - CAD CAD Detail - etching the brick 5andCAD stoneDetail details erials, 1scale Planning & size of - 2Choice base, Testing of -materials, material strength scale & size andofsuitability, base, strength -and CAD suitability, elevationswere drawn, Preparation - CADelevations elevations drawn, Preparation plasterboard - CAD elevations drawn, plasterboard fed through the laserlighting printer, stone then fed through with the decaying/corroded laser printer, bricks, elements, stone and and architectural decaying/corroded building were elements, set on the andlaser architectural printer tobuilding ‘cut then fed and through laser printer, stone and with decaying/corroded elements, with and architectural were se to products, risk assessment timescale experients and access with to products, types of LED timescale wire lighting experients & with types of LED wire experients lighting &then with sheets types wetted, of LED stripped wire of their &bricks, backing sheets paper wetted, and the stripped of theirbricks, backing sheets paper wetted, and stripped of their backing paper and PREPARATION COMPUTER AIDED COMPONENTS window anddown door to openings were detailed to capture window door features. openings were detailed features. through’ the 10mm plaster, to form a clean edge.the 10m window anddown door to openings were detailed to capture through’ g will the assumptions model take? and battery howrequirements. long will the model take? battery requirements. battery requirements. sanded reveal smooth plaster of sanded 10mm reveal smooth plaster sanded ofand 10mm down to reveal smooth plasterto of capture 10mm features. the essence of the building. the essence of the building. the essence of the building. thickness. thickness. thickness.

Planning: Choice of materials, scale & size of base, risk assessment and access to products, timescale assumptions and how long will the model take?

Testing: material strength and suitability, experients with types of LED wire lighting & battery requirements.

Preparation - CAD elevations drawn, plasterboard sheets wetted, stripped of their backing paper and sanded down to reveal smooth plaster of 10mm thickness.

Laser Cutting: CAD elevations were produced then fed through the laser printer, bricks, stone and window and door openings were detailed to capture the essence of the building.

CAD Detail: etching the brick and stone details with decaying/ corroded elements, and architectural features.

5 CAD 6 - CAD 6 CAD vations4 were Laser produced Cutting - CAD Detail elevations - etching were theproduced brick and5stone CAD details Detail - etching the brick 5andCAD stoneDetail details etching Cut the- All brick facades and stone and apertures details 6 ofCAD the Cut - All facades and apertures of the Cut - All facades and apertures of the printer, bricks, then fed stone through and withthe decaying/corroded laser printer, bricks, elements, stone and and with architectural decaying/corroded elements, with and architectural decaying/corroded building were elements, set on the andlaser architectural printer tobuilding ‘cut were set on the laser printer building to ‘cutwere set on the laser printer to ‘cut 104toand gs were detailed window capture door features. openings were detailed to capture features. features. through’ the 10mm plaster, to form a clean through’ edge.the 10mm plaster, to formthrough’ a clean edge. the 10mm plaster, to form a clean edge. g. the essence of the building.

CAD Cut: All facades and apertures of the building were set on the laser printer to ‘cut through’ the 10mm plaster, to form a clean edge.

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MODEL MAKING PROCESS

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This elevations were 45Degrees being cutto byform laser acutter. clean ‘seamless’ This finish to the to form a clean ‘seamless’ 45Degrees to model form aprepared, clean ‘seamless’ all elevations finish towere the assembled and elevations wereto being cut the by laser cutter.

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DETAILING COLLATING AND FORMING consisted of aoflight layers of a light plywood base, mdf consisted light plywood thick plaster base,walls. mdf layers This was performed on plaster walls. This was10mm thickon plaster fixed delicately walls. This in was place. performed on fixed delicately i layersof a10mm 10mm thick performed le plaster.without cracking deteriorating the brittlecondition plaster. of the building.deteriorating condition of the building. deteriorating condition theplywood building.base, mdf consisted topped with plasterboard and a plaster topped coat sanded topped plasterboard the sanding machine. and a plaster coat sanded the sanding machine. the sanding machine. with plasterboard and a plaster coatwith sanded Test Pieces: testers we made Manual Detail: scoring and Protection: The laser cut to form the topography.

Base model construction Mitre: The sides of the elevations Assemblage: After all peices were to form the topography. toBase: form the topography.

preceding the actual elevations.

The challange was to remove the pieces without cracking the brittle plaster.

scratching away the ordered brick elevations to emphasise neglected/ deteriorating condition of the building.

elevations were sprayed with lacker to harden the delicate etchings.

commenced as elevations were being cut by laser cutter. This consisted of a light plywood base, mdf layers topped with plasterboard and a plaster coat sanded to form the topography.

we mitred at 45Degrees to form a clean ‘seamless’ nish to the 10mm thick plaster walls. This was performed on the sanding machine.

11 11 mitred 11 Mitre 12 12 and 12 cut uction10 commenced Base - Base as model Mitreconstruction - The sides of commenced the elevations as we Mitre -atThe sides of the elevations we mitred - The atsides Assemblage of the elevations - After allwe peices mitred were at cut Assemblage base - After all peices were Assemblage and base - After all peices were cut and base by laser cutter. elevations Thiswere 45Degrees being cuttobyform laseracutter. clean ‘seamless’ This finish 45Degrees to the to form a clean ‘seamless’ 45Degrees finish to the to model form aprepared, clean ‘seamless’ all elevations finish towere the assembled model prepared, and all elevations weremodel assembled prepared, and all elevations were assembled and 106 od base, mdf consisted layersof a10mm light plywood thick plaster base,walls. mdf layers This was performed 10mm thick on plaster walls. This was10mm performed thickon plaster fixed delicately walls. This in was place. performed on fixed delicately in place. fixed delicately in place. and a plaster topped coatwith sanded plasterboard the sanding machine. and a plaster coat sanded the sanding machine. the sanding machine. to form the topography.

cut and base model prepared, all elevations were assembled and xed delicately in place.

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MODEL CONSTRUCTION: PHOTO BOOK OF THE FINAL RESULT

Solid industrial geometry of the old tower cut with empty openings

108

Visualising the lines of light at night. (Please note EL wire will be built into model at exhibition)

109

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111

South elevation cut off by foreground road

South Elevation

North west aerial view of tower

North west perspective

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114

Erosion marks of the lost structure on North facade tower

Plan view showing artificil light lining in main structure

115

Perspective of extruded form on south facade 116

The partially collapsed east facade replicated with crumbling plaster 117

East facade

118

South facade cast in shadow

119

“The transition must be articulated by means of defined in-between places which induce simultaneous awareness of what is significant either side. An in-between space in this sense provide the common ground where conflicting polarities can again become twin phenomena.” a Venturi, 1986

The reader and seminars have provided a thorough academic theoretical backdrop to the design work within our studio.

Our seminar team presented ‘Public vs Private’, for which our group essay is concluded. I have chosen to additionally analayse ‘Architecture as palimpsest’ as the themes explored are particularly relevent to my other projects.

THE READER

(SEMINARS AND ANALYSIS)

AN INTRODUCTION TO THE TEXT PUBLIC VS PRIVATE The text Public vs Private highlighted the differentiation between: public buildings which were influenced exclusively by the overriding architectural theories of the time, and the private French Hôtels, which exhibited a flexibility in their designs that responded to circumstantial influences. The architectural theories influenced by Renaissance ideals focused on unity, whereas circumstantial site specific influences generated architecture of discontinuity, these were exploited to create a distinction between public and private space.

It is this focus on public unity and private discontinuity that we will trace briefly through our essay. The themes are applicable at the urban scale as well as the architectural scale and it is relevant to study both, this text however focuses more closely on internal programme and architecture.

The Italian Renaissance can be seen as providing the prototypes for the movements from Baroque to Neo-classical within the typology of the French Hôtel. The Renaissance movement began in Florence, Italy in the early 15th Century and spanned over two hundred years.

The Renaissance was an age of discovery with inventions such as printing that led to the huge transfer of knowledge around Europe discussing architectural theory among learned architects.

The examples of clear Renaissance urbanism, public buildings and private residencies of the time used the ideals of classical architecture. These ideals had overall clarity and unity that allowed the public to comprehend the overall structure of the architecture, a device that allowed buildings to have effective public interaction.

The internal arrangement of spaces, particularly the axial and symmetrical arrangement, was directly influenced by the sacred buildings of the time. This was due to the great power and wealth of the religious order which had a key influence on society. It is through understanding that this movement in architecture directly influenced the architectural theories of Baroque, Rococo, and Neo-classical, and that the French Hôtel lay outside this strict discourse of architecture that allows us to analyse the interaction of public and private space.

Following the war of religions, towards the end of the 16th century, there was a relative stability under Henri IV’s reign of France. It was during this period, up till the death of Mazarin in 1661 and the retreat of Louis XIV to Versailles, that the Baroque Hôtel rapidly developed.

Whilst the public buildings of the time strictly followed the classical

ideals proposed through Palladian design, the Hôtels began to be increasingly influenced by circumstantial conditions. Themes of discontinuity, differentiation, local symmetry were consciously being sought by Architects such as Louis le Vau. This can initially be seen on an urban scale; where indistinguishable private dwelling contrasts with the regular, continuous facades of public squares such as Place Royale defining the public space.

“Planning on whatever scale level should provide a framework - to set the stage as it were - for the twin - phenomenon of the individual and the collective without resorting to arbitrary accentuation of either one at the expense of the other.” ­

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a Venturi, 1997

Society’s obsession with public display and hierarchy resulted in emphasise of public sequence through the Hôtel through the art of residue. It is in plans of Hôtel Lambert and Hôtel Beauvais where the use of poché clearly articulates rooms in different manners and forms a schism between the public and private. A distinctively identified public sequence becomes the ‘figure’ supported by the ‘ground’ of the private rooms.

“Rather than insisting upon total design, as in Baroque public buildings, the architects of the Hôtels utilize the principle of discontinuity to demonstrate that independence and identity of the part can be achieved without sacrificing the unity of the whole” (Dennis, 1986:75) The Rococo period was a time of transition, from the public dominance and formality of the Baroque to individual freedom and a move towards greater privacy of the neo classic period. This transition was also evident in the evolution of the Hôtel, with a move from the party-wall urban Hôtels to the suburban free standing Hôtels and more importantly the development of the internal plan.

The significant changes started to happen towards the end of Louis XIV reign in 1715. The architect J H Mansart was instrumental to Hôtel design and the Place Louis Le Grand in 1699, which was the start of the shift towards the private. His project for a Hôtel (16991708) was that catalyst; the plans included circulation and service corridors to bypass rooms, along with appartement de commodite appearing alongside the appartement de parade on upper floors.

These design intentions evolved quickly and are clearly visible within the Hôtel de Matignon (1722-1724 – Jean Courtonne), an urban chateaux where plans showed greater flexibility, practical distribution of secondary rooms and further levels of privacy. This consideration for function and privacy within the Hôtels developed further by the

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architects of the time and became the beginning of the modern residence.

The next 30 years were dominated by middle class house building that embraced the Rococo style with flamboyant curvilinear forms and elaborate internal decoration. This finally ended with Jacques-François Blondel’s publication of the Architecture Francoise (1752 -1756).

The Neoclassical Hôtel concluded a transformation in architectural approach, whereby strict adherence to theory, particularly in private space, was becoming less evident. Total design, typical to the ‘grand’ public space, was allowed to decline in favour of a newfound discontinuity and freedom in French Hôtel interiors. For example, in Jacques Gabriel’s Petit Trianon all facades were symmetrical with three of the four having a palladian central emphasis. However, the plan was the antithesis of Palladio with only the dining room on the west side matching the façade and the typical major central room replaced by a central solid containing bathroom and services.

The best examples of French Hôtels, including Petit Trianon, still managed to achieve unity and a cohesive whole regardless of this growing rift between public image and private accommodation. The particularization of the Hôtel to a specific context of location and client personality, allowed the pragmatic arrangement of functionally specific interior spaces.

In conclusion, Dennis has revealed that the transitional space between public and private is an important architectural consideration. We have learnt from the architecture of the French Hôtels that at the scale of the city and the building there must be a dialogue between the interior and exterior, programme and urban context.

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OLD BUILDINGS AS PALIMSEST This image of Ingersley Vale mill seems particularly relevant to the notion of architecture as palimsest, with the etchings of the old gable roof telling a rich layered history. The lines of lost structures hint at the associated industrial prowess of Bollington’s history. The different textural patterns subtly fragment the building, and assoicated eras of construction, daddition, and demolition can be perceived by the trained eye.

“An historic building is one that gives us a sense of wonder and makes us want to know more about the people and culture that produced it. It has architectural, aesthetic, historic, documentary, archeological, economic, social and even political and spiritual or symbolic values; but the first impact is always emotional, for it is a symbol of our cultural identity and continuity, part of our heritage.” ­

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­­­­­­a Fielden, 1982

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REPAIRED ARCH ON VIA SANTA MARTA, MILAN

“The past provides the already written, the marked ‘canvas’ on which each successive remodelling will find its own place. Thus the past becomes a ‘package of sense’ of built up meaning to be accepted , transformed or suppressed” ­

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Interestingly in repairing the partial collapse of this arch on Via Santa Marta in Milan the conservationists chose to restore everything; the original piece as well as an area of adaption from the 1980s. This creates an interesting dialogue between what is considered heritage; does even modern adaptation need to be recorded as part of the building story and when do new forms become part of the heritage protected structure?

­­­­­­a Machado, 1976

still being reconstructed

“...remodeling can be seen as writing over, as underlining, as partially erasing, as interstitial writing (writing between the lines), as a way of qualifying, accentuating, quoting, commenting upon, as digression, interlude, or interval, as a new form for an old story…” ­

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80s Red brick reinstated Hybrid original and re-fabricated sculptural element Restored stone New brick Original stone

­­­­­­a Machado, 1976

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“Architecture is most appealing with simple lines and clear ideas. A city, on the other hand, becomes alive when it is rich with experiences and surprises.

So the paradoxical challenge is to simultaneously create simplicity and variety, diversity and coherence. In other words, to create a city in the building” ­

All our collated research on Bollington has fed into the project that will guide the remainder of our fifth year, our collective masterplan, formed of each indiviual project. The day workshop provided an opportunity to efficiently collate our relevant findings and let them infrom a proposed future for Bollington.

MASTERPLANNING : ONE DAY PLANNING WORKSHOP

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a Ingels, 1961

MASTERPLANNING PROCESS Firstly we broke into groups; history, tonscape, sport and culture, transport; dividing ourselves to suit our previous knowledge from creating the happy valley. Therefore, I worked within the townscape group. Will, Jenny, Dalia, and I defined the strengths, weaknesses, threats, and opportunites relating to Bollington’s townscape.

Our masterplanning consultant suggested forming a local building code for new homes as this was crucial to maintaining character in Bollington.

This work was then presented to the wider group with potential crucial sites highlighted. These were small pockets of land for new homes or potential ‘centres’ for bollington which currently lacks a sense of place.

Ultimately all the various explorations and potential developments relating to the sub-groups formed a single map to feed into our consolidated masterplan.

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CRITICAL FEEDBACK TO SEPARATE GROUPS

CONSOLIDATING AN ATELIER MASTERPLAN

DIVIDING INTO SUBGROUPS AND MAPPING IDEAS

DEFINING STRENGTHS, WEAKNESSES, OPPORTUNITIES, AND THREATS

CREATING A LOCAL BUILDING CODE FOR NEW HOMES

“The first gesture of an architect is to draw a perimeter; in other words, to separate the microclimate from the macro space outside. This in itself is a sacred act. Architecture in itself conveys this idea of limiting space. It’s a limit between the finite and the infinite. From this point of view, all architecture is sacred.” ­

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a Botta, 2014

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“THE AUCTION” The refining process led to 22 potential sites requiring individual propositions. Rather than random selection we chose to auction the sites to the highest bidder in terms of strength of proposed intervention. If too many were interested in the same site then location then we reverted back to drawing out a hat. This system in the end worked democratically with everyone being responsible for a site which stimulated them and contributed uniquely to the entire masterplan.

INDIVIDUAL PROPOSED SITE After putting forward my interest in Ingersley vale I was required to bid against two others with my early proposal ideas for the site. I was selected as John feared I “might leave the course if I wasn’t.” Perhaps my appetite for this specfiic site was too ferocious?

INDIVIDUAL PROPOSED PROGRAMME Whilst programme is yet to be explored fully, initial thoughts are leading towards hotel / housing with great peak district hikes available from the front door.

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READINGS AND REFERENCES

Amazing Video (2015) A very satisfying use for 3D printing. Available at: https://www.youtube.com/ watch?v=2uBeztEYMXc (Accessed: 21 December 2015).

Boddington, T. (2008) Bollington, Cheshire UK, home page. Available at: http://www.happy-valley. org.uk/ (Accessed: 24 November 2015).

Boddington, T. (2015) Happy valley; Ingersley Clough mill. Available at: http://www.happy-valley. org.uk/history/mill-ingersley.htm (Accessed: 8 December 2015).

Boddington, T. (2015) Happy valley; history.

Available at: http://www.happy-valley.org.uk/ history/history.htm (Accessed: 26 November 2015).

Bryson, B. (2010) A short history of nearly everything. London: Transworld Digital.

Chase, P., Gans, D. and Corbusier, L. (1999) Le Corbusier talks with students: From the schools of architecture. New York: Princeton Architectural Press.

Colomina, B. (1996) Privacy and publicity modern architecture as mass media. Cambridge, MA: The MIT Press.

Corbusier, L. and Etchells, F. (1974) Towards a new architecture. 7th edn. New York: Holt, Rinehart and Winston.

Cullen, G. (1971) The concise townscape. Chatham: Butterworth Architecture.

Dennis, M. (1988) Court and garden: From the french Hôtel to the city of modern architecture (Graham Foundation / MIT press series in contemporary architectural discourse). Cambridge,

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MA: The Graham Foundation for Advanced Studies in the Fine Arts.

Longfellow, H. W. (1845) Poems (notable American authors). Reprint Services Corp.

Design, E. (2014) Frieze magazine | archive | archive | Lygia Pape. Available at: http://www. frieze.com/issue/review/lygia-pape/ (Accessed: 4 November 2015).

Luminale (2011) Start. Available at: http:// luminale2012.fh-mainz.de/en/ (Accessed: 21 December 2015).

Discovery Centre (2011) Bollington photo archive.

Available at: http://bollingtonphotos.co.uk/ (Accessed: 4 November 2015).

Ellrichshausen, P. Von (2013) Pezo Von Ellrichshausen: To the pacific edge | Blog | royal academy of arts. Available at: https:// www.royalacademy.org.uk/article/pezo-vonellrichshausen-to-the (Accessed: 21 December 2015).

Geometric abstractions, made using nothing but light beams (2012) Available at: http:// www.fastcodesign.com/1670060/geometricabstractions-made-using-nothing-but-light-beams (Accessed: 1 November 2015).

Haworth Tompkins Architects. (2009) Haworth Tompkins / built works. Available at: http:// haworthtompkins.com/built/proj04/index.html (Accessed: 3 December 2015).

Housing for older and vulnerable people (2014) Available at: https://www.gov.uk/government/ organisations/homes-and-communities-agency (Accessed: 4 December 2015).

Ingels, B. (2014) Douglas Coupland: Everywhere is anywhere is anything is everything. United Kingdom: Black Dog Publishing London UK. Littlefield, D. and Lewis, S. (2008) Architectural voices: Listening to old buildings. United Kingdom: Wiley, John & Sons.

Luzern, E. A., English and D-Reutlingen, J. S. (2002) Caruso st. John: Knitting, weaving, wrapping, pressing = stricken, weben, einhüllen, prägen.

Edited by Luca Deon and Tony Hafliger. Boston, MA: Birkhauser Verlag AG.

Pozzi, G., Cucchi, E. and Botta, M. (2001) Mario Botta: Santa Maria degli Angeli sul Monte Tamaro.

Bellinzona [Switzerland]: Casagrande.

Silvetti, J. (1992) Interactive Realms: The Bridge of San Francesco and the Palazzo. Cambridge, MA: Harvard School of Design.

Unwin, S. (2010) Twenty buildings every architect should understand. New York, NY: Taylor & Francis.

Machado, R., Aur, M. and Scheibler, F. G. (1994) Progressive Architecture. Pittsburgh: University of Pittsburgh Press.

Venturi, R. and Scully, V. (2002) Robert Venturi: Complexity and contradiction in architecture.

2nd edn. New York: Museum of Modern Art in association with the Graham Foundation for Advanced Studies in the Fine Arts, Chicago.

Marcus, J. S. (2009) Of museums and cemeteries: David Chipperfield on Neue Museum. Available at: http://www.wsj.com/articles/SB1000142405274 8703792304574503763695817996 (Accessed: 21 December 2015).

profile, V. my complete (2008) Metamorphosis by Keiko Sato (laser beam tree trunks!). Available at: http://kathrynrodrigues.blogspot.co.uk/2011/02/ metamorphosis-by-keiko-sato-laser-beam.html (Accessed: 30 October 2015).

Matrana, M. R. and R, M. M. R. (2005) Lost plantation: The rise and fall of Seven oaks. Jackson: University Press of Mississippi.

Mitchell, W. J. (2000) E-topia: ‘Urban life, Jim--But not as we know it’. United States: The MIT Press.

Moore, R. (2014) Learning to dwell: Adolf Loos in the Czech lands – review. Available at: http://www. theguardian.com/artanddesign/2011/feb/20/ adolf-loos-riba-exhibition-review (Accessed: 21 September 2015).

Pallasmaa, J. (1996) The eyes of the skin: Architecture and the senses. London: Distributed to the trade in the USA by National Book Network.

Pallasmaa, J. (2009) The thinking hand. United Kingdom: Wiley, John & Sons.

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APPENDICES Oddments and Epigrams: An intimate interrogation of Bollington (Click here to read the full publication on Issuu) ... or copy and paste following URL : http://issuu.com/continuityinarchitecture/docs/oddments_and_epigrams_book_2015

Public vs Private: Seminar Presentation Dissertation: Mapping thesis and methodology Enlighten Manchester precedent video (originally linked within portfolio) ... copy and paste following URL in case document is not being veiwed as interactive pdf: https://vimeo.com/149423691

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DISSERTATION THESIS AND METHODOLOGY MAPPING

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Maintaining identity through adaptive re-use of sacred buildings

Decline of the Church

Heritage

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Adaptive re-use

National data

Public opinion

CONSENSUS SURVEYS AND QUESTIONNAIRES

Architectural drawings

Raw data

PHOTOGRAPHIC EVIDENCE

ANALYTICAL DRAWING

Clients

Benefactors

Inhabitants

Architects house

Community centres

nightclubs

P U B LI C

COMMERCIAL

LIGHT

VOLUME

THE SPIRE

WINDOW

MATERIALITY

Heritage, memory

and the politics of identity: s on the cultural landscape

St. Mary-at-Lambeth Church, London

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Case studies are hugely important to my empirical chapters and defining the conclusion. These branch off into two groups; exemplar Dutch studies and the contemporary British studies to be critiqued. The empirical chapters will be structured in terms of architectural devices, with a cross analysis of successful and problematic examples. A series of contrasting new residential, public, and commercial functions will be studied with their associated ethical implications. Data gathering methods will rely heavily on interviews; architects, inhabitants, conservationists and benefactors will prove important contacts. Site visits, consensus information, questionnaires, surveys, analytical drawings, and photographic evidence will provide empirical support.

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This diagram illustrates the formation of my thesis on maintaining identity through the adaptive re-use of sacred architecture in the United Kingdom.

Reading from left to right, the diagram explores the combination of my individual and atelier based interests in defining my topic. This leads into the identification of a problem, the abandonment of churches, which I aim to explore through my dissertation. The central circular ideogram defines the major thematic groups to analyse through my literature review, with the most significant groups; sacred architecture, cultural and historical identity, and adaptive re-use emphasised in a darker tone. Specific references branch off from these.

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NEW USES (Implications for continued identity)

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Research Question: To What extent can the historical, cultural and emotional identity of sacred buildings be maintained through adaptive re-use?

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by Robbie Stanton

Self interests

CONCLUSIONS

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DISSERTATION DIAGRAMMING: Initial direction, process flow, and the collation of evidence

UK

Exemplar studies NETHERLANDS

EMPIRICAL CHAPTERS

Selexyz Dominican library St. Jakobs Church, Utrecht

Modern bookstore, Zwolle

Ruud Visser house, Rotterdam