Design Yearbook 2017

Theatrical Reconstructions: Case studies on authenticity within the politics of heritage
construction
Vili Welroos
Originating from ideas conceived in the 19th century, precise reconstructions are a 20th
century phenomenon caused by the urge to preserve our legacy within a narrative of heritage
construction. It has come to be used and abused by those in control of a dynamic Bourdieuian
field of ‘heritage production’. In the 21st century, this phenomenon is rapidly accelerating
via innovative methods of recording and the possibility for seemingly authentic replication
through new technologies. The project typology, perhaps, highlights an evolving perception
of heritage; one that is built on what existed, or preserved as a physical manifestation of the
past after its destruction. Analysis of perceptions of historic authenticity is performed by
juxtaposing three different case studies – St. Mark’s Campanile, the Berlin City Palace and the
Triumphal Arch of Palmyra. The reason for using these examples is due to their underlying
differences in terms of reconstruction and a comparative analysis based on a theoretical
understanding of the preservation debate is performed. This research proposes that architects
take a critical attitude towards the built (and rebuilt) environment which forms a part of a
complex socio-political struggle taking place before us right now and in the future. Recording
and archiving information renders it usable within reconstructions whilst keeping memories
hidden forever makes their recording obsolete. The dilemma is that it always contains a level of
political contestation. Destruction may be inevitable, but retaining a record allows humanity
to celebrate the physical manifestation of memories in the present, making it indispensable as a
tool for solace. Nevertheless, the debate carries on evolving towards a new type of transformed
neo-physical preservation. What can the differing attitudes taken towards authenticity and
precision tell us about the political struggle they are part of, and what can architects learn
from it today?
Social Housing, The Discography: A soundtrack to Britain’s modernist estates
Adam Hampton-Matthews
The phrases council estate and tower block have become two of the most stigmatised terms
in the English language. Simply thinking about them brings about a plethora of negative
connotations that we subconsciously associate with them. So much so that many of Britain’s
estates are now brandished with the same caustic typologies of ‘dead-ends, vandalism, violence,
and the absence of escape routes’. This ‘fear’ of crime and social malaise within estates is deeply
rooted in British history and politics.
Britain’s modernist estates have long been a social backdrop to which a variety of popular
culture platforms are situated featuring heavily in motion pictures, yet what is less well
documented is the way Britain’s estates have been portrayed in music. Often overlooked in
writings of architectural representation, music could prove a particularly intriguing subject
due to the close and personal relationship artists have with their lyrics; providing a deeper
insight into what these estates meant to the people who lived in them, and how they were
perceived both within a local context as well as across Britain.
The dissertation begins with a study of prolific dystopian-novelist J.G. Ballard, focusing
specifically on his influences within the emerging genre of New Wave music during the 1970s,
reflecting on how artists began to comment on Ballard’s dystopian vision and the realities of
British housing. The subsequent chapters include a comprehensive study of the modernist
housing that developed in Coventry and Sheffield. Over the years, these utopian cities have
proved to be a powerful tool for creativity for some of Britain’s most influential artists in the
music industry. Taking a journey through the music ‘scenes’, this study aims to gain a better
understanding of the relationship between the perceptions of Britain’s modernist estates and
the genres that emerged.
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