Regenerative Design Studio Complete Portfolio

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THE REFRAME RESIDENCY JAHNAVI J MArchD | DS3 A Regenerative Perspective of Design

Tutors: Melissa Kinnear| Alex towler| Tamara Khan| Zuzanna Krzyzanowska| Rebecca Bleeze

ABSTRACT Designing for Regeneration: A Systems-Based Approach This portfolio explores an approach to architecture grounded in regenerative thinking—one that views place as a living system shaped by ecological, cultural, and material relationships. Rather than imposing solutions, the work seeks to reveal and activate the latent potential of context through adaptive reuse, participatory processes, and locally sourced materials. Regenerative design is treated not as an aesthetic or checklist, but as a practice of deep listening, reciprocity, and longterm stewardship. Each project becomes a catalyst for mutual evolution between people and place, embracing complexity and fostering systems that can thrive over time.

‘ BECOME EVERYTHING ONE IS CAPABLE OF BECOMING.....’

ABRAHAM MASLOW

ACKNOWLEDGEMENTS This body of work would not have been possible without the encouragement, insight, and generosity of so many people, to whom I am deeply grateful. Thanks to Melissa and Alex for guiding us in DS3 through this year and for the genuine care they have shown in all of our projects.

This process would have been so much more stressful without the constant reassurance from their end. Thanks to the rest of the tutors for their valuable inputs at various stages.

I want to thank my parents and friends for always having my back when the work was stressful and for pushing me to achieve the best.

Lastly,I want to thank my grandfather for always being my muse.

CONTENTS a. Abstract b. Navigating the portfolio c. Glossary

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Context

Stories of Place

The Trigger

The Actualizer

- Poem - Carol Sanders’ Essence Patterns of place - Deep understanding of place leading to building- The Archive - Manifesto

- Site Introduction and selection - Retro昀椀t types explored - Timeline of use - Situating hut within Falkland

- Regenerative design frameworks - Imaging Falkland - Potential of place

d. Epilogue e. Bibliography f. Appendix

- Site analysis - Program details - Interim stage - Final design details

NAVIGATING THE PORTFOLIO

RIBA stage of design that the page falls under

Red border on the sheetCase study for design (not including all references of research)

Regenerative principle applied as an icon

Material/ Stakeholder passports to trace the narrative of construction and use NOTE: Refer appendix to read the details of each passport

Chapter name

Grey border on the sheetProduct used/ potential stakeholder

The Archive

NOTE: Any image not credited in the portfolio is author’s own

GLOSSARY Actualization: The realization of full potential, both personally and within stakeholder systems, as part of a living

Partnerships: Collaborations between stakeholders, investors, communities, and places. Effective partnerships

design process.

are built on shared purpose, mutual respect, and regenerative goals.

Adding Value: The act of enhancing the regenerative capacity of a system or place. This can happen through

Patterns: Recurring relationships or structures in nature and culture that inform regenerative design. Understanding

design interventions that improve ecological, social, or cultural outcomes.

and aligning with patterns leads to more harmonious interventions.

Caring :A foundational mindset in regenerative design—focusing on understanding and supporting the essence

Problem Solving: A mindset focused not only on resolving issues but on revealing and growing the potential of a

of people, place, and systems with empathy and attention.

system through design.

Change: Not just a shift in form or function, but a deeper transformation guided by evolutionary thinking, long-

Regenerative Design: A design philosophy and practice that goes beyond sustainability to actively restore,

term development, and patterned interventions that promote systemic growth.

renew, and revitalize communities and ecosystems. It integrates ecological, social, cultural, and spiritual dimensions.

Change Agents: Designers or practitioners who facilitate and support regenerative processes by enabling co-

Regenerative Development: A process of co-evolution between people and place that builds long-term

evolution between people and place.

vitality. It involves both the inner growth of individuals and the outer transformation of systems.

Community / Communities: Groups engaged in the design process. In regenerative design, communities

Stakeholders: Anyone affected by or involved in a design project, including clients, users, community members,

are seen as co-creators whose local knowledge, values, and engagement shape outcomes.

and investors. In regenerative work, they are co-designers and co-stewards of change.

Designing for Evolution: A design approach focused on fostering ongoing change and development, rather

Systems: Complex, living wholes made up of interrelated parts. Regenerative design treats systems as dynamic

than delivering 昀椀xed outcomes. It aims to increase the resilience and adaptability of systems over time.

Developmental Aims: Long-term goals that support the growth and evolution of living systems. These are often

and interconnected, requiring thoughtful interventions at multiple scales.

Three Lines of Work: A regenerative development framework that integrates:

emergent, complex, and tailored to the unique potential of a place or community.

proactive, co-creative, and relational rather than merely transactional.

1. Inner work (personal development), 2. Work with others (relationships, community), 3. Work in the world (project or place-based actions)

Essence: The unique character or identity of a place or system, often revealed through its inherent gifts or

Values: Principles that guide regenerative design. These often include care, integrity, co-creation, and long-term

Engagement: Meaningful involvement of stakeholders in the design process. Regenerative engagement is

potential rather than its problems or de昀椀ciencies.

thinking. Value in this context also refers to the ability of a system to regenerate and evolve.

Evolution: A natural process of development in regenerative systems, where change is continuous and driven by

Vocation / Vocation of Place: A deep sense of purpose or calling—both for individuals and for places.

cooperation, diversity, and adaptation over time.

Discovering and aligning with vocation is a key aspect of regenerative design, revealing what a place or person is truly meant to become.

Guilds: Collaborative groups of stakeholders (e.g., craftspeople, designers, community members) who bring their unique skills together to catalyze regeneration in a place.

Imaging: The creative capacity to envision future possibilities for a place or system—a vital skill in regenerative design that shapes intention and direction.

Inner Work: Personal development, self-awareness, and re昀氀ection that support a designer’s ability to work ethically and intuitively within regenerative frameworks.

Leverage: Strategic points of in昀氀uence in a system where small actions can create large, meaningful impacts— often referred to as “transformational leverage.”

Living Networks: Interconnected systems of people, ecology, and place that continuously interact and evolve.

Recognizing and working with these networks is central to regenerative design.

Meaning-Making: The process of understanding and connecting with place and purpose through design. It

involves interpreting the deeper signi昀椀cance behind design choices.

Nestedness: The idea that every system exists within larger systems. Regenerative design works across these scales, from the smallest detail to the broadest context.

Nodes / Networks: Key points or connections within systems that can in昀氀uence broader change. Design projects often identify and work through these nodes to create system-wide transformation.

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CONTEXT

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-Regenerative design frameworks -Imaging Falkland -Potential of place

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PERSPECTIVE ON DESIGN What does it mean to be regenerative?

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credits: Regenesis group

Regenerative design is an emerging paradigm that rede昀椀nes the role of design in our relationship with the natural and built environment. Unlike conventional sustainable approaches that focus on minimizing damage, regenerative design—as articulated by the Regenesis Group—seeks to create systems and places that are not only resilient, but capable of continually renewing and evolving. It is rooted in a profound understanding of place: the ecological, cultural, and historical context that shapes and sustains a living system.

This design philosophy calls for a shift in mindset—from one of extraction and control to one of participation and co-evolution. It involves working with nature rather than against it, and with communities rather than for them. By engaging diverse stakeholders in a collaborative, place-sourced process, regenerative design fosters mutual development—where human activities enrich rather than deplete the vitality of ecosystems and communities.

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Although multiple frameworks exist with respect to regenerative design, this project follows the principles in the book Regenerative Development and Design by Pamela Mand and Ben Haggard as a guide to design. The book wonderfully describes the basics of regenerative architecture with real life examples from architecture practices around the world.

The following 9 principles form the crux of the subject and guide how design decisions are made in relation to the site.

REGENERATIVE DEVELOPMENT AND DESIGN PRINCIPLES Hosted! The Reframe Residency |The Context

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Design for EVOLUTION

Premise: Every living system has inherent within it the possibility to move to new levels of order, differentiation, and organisation 10

Guide for applying Principle: Designing for evolution doesn’t mean designing evolution: Evolution is an emergent process - one that arises out of multiple interactions among living beings and their environments We can’t design or predict speci昀椀c outcomes of evolution, but we can create evolution-friendly conditions that in昀氀uence the trajectory and speed of change

Partner with Place

Premise: Co-evolution among humans ad natural systems can only be undertaken in speci昀椀c places, using approaches that are precisely 昀椀tted to them Guide for applying Principle: How big is here? Every project is nested within its place which is the proximate whole which is nested within the grater whole

How does here work? Pattern literacy - ability to scan disciplines and sources of information in order to bring them together in a way that generates meaning There are three types: Patterns of geophysical organizing, patterns of biological organizing and patterns of human organizing

What kind of here is this?

The following criteria and guidelines can be used by designers to help communities steer their own evolution: -Maintain the potential for evolution -Align with the wisdom of nature -De昀椀ne projects by their roles -Grow value-generating capacity

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How do local people describe place?

How do local people express place?

What do local people love about their place?

Call forth a Collective Vocation Premise: The sustainability of a living system is tied directly to its bene昀椀cial integration into a larger system Guide for applying Principle: Discovering a vocation- See a trajectory - Draw on legacies - Identify iconic events and people - Take inspiration from the future

Employing vocation as a source of directionCriteria that a vocation of place must meet: -It is grounded in a deep, pattern-based understanding of the local web of life -It depicts the place’s potential within its region and beyond in a way that local people experience as authentic, meaningful, and signi昀椀cant -It is integrative and holistic in ways that bridge cultures, classes, and generations -It can be translated into personal aims and principles that people 昀椀nd relevant in their own lives and work -It is capable of serving as the regenerative source of direction for a project, reminding everyone on the team of their larger purpose

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Co-Evolving Mutualism Premise: Projects should be vehicles for catalyzing the cooperative enterprises required to enable evolution Guide for applying Principle: Anchor thinking to the future - bring into mind the larger purpose of the project.

Start general, then go to speci昀椀cs- With the

image of a particular future as context, use the 昀椀ve forms of capital to map out the kinds of stakeholder that will be necessary contributors. Test the wholeness of the map by asking if the envisioned guild will contribute to genuine wealth by helping to grow all 昀椀ve capitals.

Map relationships - map the mutually bene昀椀cial relationships that could be established among these stakeholders. Map the web of relationships as it emerges to create a concrete image that you are seeking to bring into being.

Catalyze the guild - A stakeholder guild should

Work from POTENTIAL Premise: Potential comes from evolving the valuegenerating capacity of a system to make unique contributions to the evolution of larger systems Guide for applying Principle: Stay oriented to potential: -Remember whats essential -Remember the context -Value the restraints -Map the emerging pattern of relationships

Find your distinct Valueadding role Premise: The continuing health of living systems depends on each member living out its distinctive role 11

Guide for applying Principle: Develop the capacity for imaging Engage ‘being thinking’ as the context for ‘function thinking’ See everything in motion

Find the right level of potential: Work on

Don’t work on the project from the level of the project

individual elements aims too low, but too ambitious a scale of change effort can cause a project to collapse before it starts

Set goals that address both existence and potential

Harness the energy of potential: The moment of seeing potential is a particularly important hinge point in a project. Many regenerative initiatives have died unrealised at this juncture.

grow the resources, energy, and creativity available to its members and the project. Look for a strategic opportunity that would catalyze the group of key stakeholders and potential champions, one that could simultaneously move the project and the guild forward by providing them wit the experience of working together co-creatively

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Nodal Interventions

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Design the design process to be Developmental

Become a Systems Actualizer

Premise: Small conscious and conscientious interventions in the right place can create bene昀椀cial, system-wide effects

Premise: A project can only create systemic bene昀椀t within a 昀椀eld of caring, co-creativity, and co-responsibility

Premise: The actualization of a self requires the simultaneous development of the systems of which it is part

Guide for applying Principle: Map the nodes- A designer who wishes to in昀氀uence

Guide for applying Principle: Start with a collective process to discover potential

Aim one: Awaken Caring Aim two: Honor complexity Aim three: Be a wokr in progress

Create an ‘equation of co-responsibility’

Elements: Fields of caring Energy 昀椀elds Culturally determined seeing Pattern literacy Self-observing and self remembering

a particular system, eg. a neighborhood, needs to assess the 昀氀ows and exchanges occurring there.

Identify the right node for the intervention you want to make- Scale of 昀氀ow is an important

consideration with regard to both the volume of 昀氀ows moving through a particular location and the potential in昀氀uence they might exert within larger systems. To be both successful and transformative, a project needs to take each of them fully into account.

Choose the appropriate relationship with a node - It is also important to bear in mind that a high

volume of 昀氀ow is not always bene昀椀cial or benign. It can also be destructive.

Approach design as a reciprocal developmental process Make the core values of the project explicit and shared, and use them as a source of creativity Employ new measures of success Identify or invent the portfolio of design tools and technologies that are appropriate tot he unique character of a place

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Images: Map of scotland showing Fife, Location of Falkland estate within Fife

FALKLAND ESTATE Location and Brief Introduction

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Falkland Estate is located in Fife, Scotland; nestled in the Lomond Hills valley. Fife or Kingdom of Fife lies in between Edinburgh and Dundee; sandwiched between the Tay and Forth rivers.

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The hand drawn map of Falkland estate reveals the textures of the estate from a bird’s eye view and gives an initial sense of place. It is overlaid with images of the potential sites on Falkland estate which can be developed as regenerative design projects and an attempt is made again to show the feel of these spaces through hand drawing Hosted! The Reframe Residency |The Context

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RELATIONSHIP BETWEEN SITES IN FALKLAND ESTATE DS3| Jahnavi J| 19272222

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TIMELINE OF EVENTS IN FALKLAND A comprehensive timeline of all the events which have happened in Falkland Estate in the past and present is created.

Key: Pre Historic Settlements and People Events Discoveries and Inventions Landscapping Water and Natural elements| Contextual

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POTENTIAL FOR REVIVAL Sites of interest around Falkland estate WESTFIELD -Old farm steading at the front near entrace and Stables -Building in a dilapidated state and needs new vision -Potential to be the new hub for Falkland because of its central location, nearby to all natural attractions and built sites

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PILLARS OF HERCULES -Cafe at the entrance to Falkland Estate -Old delapidated building at site needs to be refurbished -Potential to expand on the organic farming and camping aspects of Pillars of Hercules cafe -Key site at entrance; will recieve the most footfall

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KILGOUR -Farm steading similar to West昀椀eld but bigger -Longer history than other buildings on site; initially was a church with a burial ground -Located off site compared to the other chosen areas; could become potential for site to develop as a private hub

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CRICKET PAVILION -Devising a new plan for the cricket pavilion -Very popular sport and draws in a lot of visitors to Falkland - Currently the only site which has any stable funding at all; from members and sponsors -Possibility for subsidiary use in winters when cricket is not played

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WESTFIELD DS3| Jahnavi J| 19272222

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CURRENT SITE CONDITIONS: WESTFIELD Timber: Used for structure, 昀椀nishing, sawdust, wood for oven, furniture Stone: Used for walls and founda琀椀on, mainly structural Corrugated sheet: Roof covering presently, maybe used as protec琀椀ve covering later Plaster/ Poin琀椀ng which is made of lime

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1- Empty house a昀琀er tenant moved to di昀昀ernt loca琀椀on 2- Old unused garage 3- Tom’s plants- current resident of Wes琀昀ield 4- Storage of garden tools and equipments, Tom’s plants 5-Part of central court which was roofed before (2006) 6-Main electricl lines for Wes琀昀ield 7-Old storage and vehicle shed, currently used for storing materials 8-Current tenant on site, owns a greenhouse, may delve in farming

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Slate used for roof shingles Earth/ Clay used for walls, artefacts

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FRO VIL M FA L L MA AGE KLAN T D SPI E D HROU EN GH

Metal/ Steel used for columns, mainly structural support Bricks used for 昀椀lling holes in walls- used for construc琀椀on of walls/ repairs later Clay pan琀椀les used for roof shingles, ground up in 昀氀oor and as facade elements Conifers planted near site; around Maspie BurnMaspie Den Entry and exit to site Sun and wind paths Throughfare to be established and views

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H, SE C U T PI HO T KE ND C RI KLA C , FAL S E , UL RM C R A HE IC F F O AN S AR ORG L L PI G, , S N LE RNI B A A ST LE M F O DO L R F EL OO FI H SC

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TO AN CHAN D THR ORG CEFIE LD OU GH ANIC FAA FAR RM M LAN D

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YEARLY MAPPING OF SYSTEMS AND ACTIVITIES DS3| Jahnavi J| 19272222

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Main Tree types in the Falkland wood -Douglas 昀椀r -Norway spruce -Larch -Scots pine -Oak -Beech

Main crops grown on West昀椀eld farm before -Oat -Turnip -Hay -Wheat 25 -Barley -Cabbage -Potato

Main animals domesticated at West昀椀eld farm -Bullock -Crossed lambs -Pigs -Horses -Milch and calving cows -Bulls -Sheep -Stirks

WESTFIELD USE IN THE PAST: HISTORIC SYSTEMS credits: Falkland and its People, Playfair and Burgess

2 0 0 6 v s 2 0 2 3 : 4 o f t h e 5 interi or roofs suppor ted by s t e e l b e a m s c o l l a p s e i n sid e Hosted! The Reframe Residency |The Context

2 0 1 8 v s 20 2 3 : Maj o r p o rt i o n o f w e s t e rn r o o f c o l l ap se s , da mag e s o n t h e so ut h e r n ro o f fix e d af t e r 2 0 18

MAPPING DAMAGE AND RECONSTRUCTION WITH GOOGLE EARTH HISTORIC IMAGERY DS3| Jahnavi J|19272222

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FALKLAND POTENTIAL AS PER RESIDENTS Credits: Falkland Estate Video

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Quigley Farm, located in Quigley Canyon, is a comprehensive neighborhood development initiative designed to generate sustainable economic, social, and environmental bene昀椀ts. Spanning 300 acres, the project integrates housing development, agriculture and food production, community gardens, greenhouses, and recreational spaces. At its core, it also serves as an educational center and includes workforce development and income generation opportunities.

Key components of the farm include: Residential Properties (simple lots, duplexes, clustered housing) Food Systems (permaculture, food prep centers, culinary hub, farmer’s market, community gardens) Recreational Areas (playing 昀椀elds, tracks, trails) Wellness and Design Facilities (gym, health center, makerspace, tool library)

Quigley Farm

Quigley Farm

The initiative is funded by plot sales and donations, supported by a foundation focused on food systems and education. Quigley Farm also prioritizes conservation, collaborating with Wood River Land Trust for stream restoration and sustainable land use.

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Learnings Integrated Planning: The project showcases how combining housing, agriculture, education, and wellness can create resilient, self-sustaining communities.

Community-Centric Design: Strong emphasis on local food systems, recreation, and public partnerships ensures community engagement and bene昀椀t.

Community-centric Design

Sustainability and Conservation: The inclusion of conservation easements and environmental restoration re昀氀ects a long-term ecological vision.

Multi-Stakeholder Collaboration: Successful partnerships with schools, local departments, and food coalitions highlight the importance of collective effort.

Case study

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1.

The site model was made in groups and the access routes to the site were visualized: 1- Roof plan view of West昀椀eld with its current context 2- Access to West昀椀eld from the trail routes 3- Access to West昀椀eld from the Stables, Pillars of Hercules, Field of Learning, Cricket pitch and House of Falkland 4- West facing bird view of west昀椀eld showing third access from Falkland village through Maspie Den route

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4.

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The image above is a collection of materials scavenged from Falkland estate.

The following pages delve brie昀氀y into the methods of construction using these materials found in Fife, scotland in the present and the past

MATERIAL MAPPING

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CONSTRUCTION WITH TIMBER: TYPICAL FLOOR SECTION

TIMBER

In order to stiffen the 昀氀oor joists, often dwangs were used which were lateral bracing elements inbetween the 昀氀oor joists

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CONSTRUCTION WITH TIMBER: TYPICAL UPPER FLOOR SECTION

CONSTRUCTION WITH TIMBER: TYPICAL WALL SECTION

Deafening was often used in between the 昀氀oor joists of the upper 昀氀oors in order to mainly provide sound insulation between 昀氀oors along with insulation: has probability of reuse

All sections and details represented here were drawn during the INFORM friday series by Historic Environment Scotland where they talk about traditional building methods in Scotland and strategies for retro昀椀t of the same.

The section above shows the detail of timber 昀氀ooring with stone walls used in the past. The important aspect to note is the ventilation space or the solum void under the 昀氀oor which provides insulation and avoids damp in historic buildings built with natural materials

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CONSTRUCTION WITH TIMBER: FLOOR INSULATION For ground 昀氀oors, in order to provide some insulation, wood 昀椀bre bats were inserted inbetween 昀氀oor joists with a help of a thin strip of timber batten attached at the bottom of the raised joist- air 昀氀ow under the system was of utmost importance to prevent mold and damp DS3| Jahnavi J|19272222

slate| tiles

CLAY PANTILE

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Clay pantiles used in Scotland had a typical double turned S-shape which assited the laying of the tile on the roof and drainage of water from the same. In Falkland, most of these pantiles came from Aberdeen where they were manufactured

COMPARISON OF END COURSE: SLATE AND PANTILE While laying the slate one has to do so in 2-3 layes in the end as a easing course which protected the walls better

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SLATE Slate is usually laid on the roof by nailing it to timber battens attached to the roof rafters; a layer of roo昀椀ng sheet goes under the battens to provide water proo昀椀ng. It is essential to ensure a head lap and side lap for each slate tile laid in 2-3 courses so that there is no leakage of water Hosted! The Reframe Residency |The Context

fibre: thatch

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THATCHING Two types of thatching processes are seen in traditional buildings in Scotland. The traditional thatching process uses a curved needle with a hole to thread and secure the thatch in place and the Marram process uses 50x50cm and 5-8cm thick turf beds under the marram grass for thatching. The netting under the turf is held in place by stones hooked to the bottom

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COB AND ADOBE Both cob and adobe blocks constitute the use of earth mixed with natural straw 昀椀bres for reinforcement. Adobe blocks cast and dried in the sun can be used in similar laying patterns as brick walls. On the other hand, cob can either be castin-place directly or with wooven supports on the inside for reinforcement stone|earth

COB MIX The most common method of construction in the present times with adobe blocks is to run a steel rebar as support from within the brick, continuing through the stack above. The rebar can be run through the block either by drilling a hole or by using half adobe bricks to form a space in the centre, later 昀椀lled by adobe or cement mortar.

DRY-STONE WALLING Most of the traditional stone construction was either dry stone walls or used similar principles to a dry stone wall. The wall was laid in the pyramid shape with larger heavier stone on the bottom with rubble in between and with cross pieces in intervals for bonding

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STRAW AND HEMP- LOW CARBON ALTERNATIVES Typically a timber frame is constructed for supporting the structure and depending on whether the timber is encased in hempcrete or not its width is determined. For structures with hempcrete on both sides of the timber framing, spacers can be used to adjust the insulation width. A slip form shuttering is used on one side and it is moved up as and when hempcrete dries; the other side can be a full shuttering or plaster or could also be another slip form.

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CROWSTEPS AND HARLING The distinctive feature of certain Fife houses is having the crowsteps on the gable end wall- square blocks of stone at the gable edge forming a stepped pro昀椀le Harling is a common method of lime rendering used in Scotland which leaves a textured surface- it uses lime mixed with aggregates and is breathable, suitable for composite construction credits: Designed to Perform, Tom Dollard Hosted! The Reframe Residency |The Context

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FALKLAND SYSTEMS The different underlying systems of Falkland estate are analysed using the Five Capitals framework of Natural, HUman, Social, Produced and Financial capitals.

The three concentric circles represent the time, past systems represented in the innermost layer, the present systems in the middle and ending with the future potential systems on the outermost layer Hosted! The Reframe Residency |The Context

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PLACE SOURCED POTENTIAL DEEP UNDERSTANDING OF PLACE LEADING TO BUILDING

The collage of place-sourced potential shows the current socio-cultural context of the site in its proximates whole of falkland estate. The collage represnts the systems that make up Falkland estate and is further detailed out in chapter 2.

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Playa Viva is a sustainable resort adjacent to Juluchuca in Mexico. With pristine beaches, private nature reserve, turtle sanctuary, ancient ruins, natural estuary which a home to over 200 birds, it is not just a phenomenal place to visit on vacation but demonstrates how design sourced from the potential of a place and the understanding of its systems will allow the place to thrive.

Playa Viva

Playa Viva

‘Juluchuca was dying’ The environmental, economical and social systems of the place were on a decline. Regenerative design addresses all these systems. Although such a process can be much slower than conventional design processes, it is more effective and ef昀椀cient as it leads to a deep commitment to the place exhibited by all the stakeholder systems. Training and learning became integral parts of this process, for examples, the farmers received training on biodynamic growing.

At the heart of the initiative is the recognition that the vitality of a place emerges from nurturing relationships— both human and ecological. Playa Viva engages directly with local businesses and communities through a range of initiatives, including education programs, wellness activities, and the creation of job and business opportunities. These are not top-down interventions but co-created platforms, such as workshops and training, that empower locals to develop their own capacities and livelihoods.

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Learnings

Place-sourced potential is not a static asset, but a living quality that unfolds through intentional relationships and reciprocal investment, revealing the higher-order possibilities of regenerative design

The Playa Viva project, as illustrated in the diagram, demonstrates a regenerative approach rooted in place-sourced potential by fostering mutually bene昀椀cial relationships among local stakeholders. Playa Viva supports local businesses and communities through education programs, wellness initiatives, and job and business opportunities, including workshops and training. These investments lead to the development of a turtle sanctuary and support for a local salt harvester co-op, ensuring fair pricing and community empowerment. The project’s success emerges from a foundation of care, love, and deep understanding of the place, enabling it to navigate complexity and enact regenerative design. It highlights how aligning with the unique potential of a place can catalyze systems of reciprocity and collective thriving.

Case study

STAKEHOLDER MAPPING USING FIVE CAPITALS FRAMEWORK AND THREE LINES OF WORK

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The Five Capitals Framework is a tool used in regenerative development to recognize and map the diverse forms of value that stakeholders contribute and exchange within a system. It expands the de昀椀nition of investment beyond 昀椀nancial capital to include natural, social, human, and manufactured capital. By capturing this full spectrum of resources—ranging from ecosystems and community relationships to skills, knowledge, infrastructure, and money—the framework reveals the interconnected web of contributions that support a project’s long-term success. It helps identify who holds a stake in the “proximate whole” and highlights the mutual bene昀椀ts that arise when a guild of stakeholders aligns around a shared purpose. Thus, analysing the stakeholders with this frameowrk allows one to develop a more holistic exchange network amongst the stakeholders involved

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STAKEHOLDER ANALYSIS Once the stakeholders are identi昀椀ed, to have any real value in design, it is crutial to organise these stakeholders based on the ‘Agency’ and ‘Affectedness’ that each one has in the project. This means that for example, an owl residing on site might be higly affected by the demolition of the building but has very little agency in in昀氀uencing the process.

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The analysis helps to identify the stakeholders with low agency and high affectedness who need to be treated with the greatest amount of care/compassion during the design process

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NESTEDNESS OF SITE The nestedness collage describes the three physical states of the project at the scale of the site, the proximate whole and the larger whole in their current conditions. This becomes the baseline inspiration for the archive later in the portfolio

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Although multiple frameworks exist with respect to regenerative design, this project follows the principles in the book Regenerative Development and Design by Pamela Mand and Ben Haggard as a guide to Casa Familiar, in collaboration with architect Teddy Cruz, represents a transformative approach to neighborhood housing in San Ysidro, emphasizing the role of architecture as a catalyst for political, economic, and social change. The project focuses on affordable housing integrated with adaptable, small-scale, high-density, mixed-use developments. It rede昀椀nes the idea of housing density—not merely in terms of the number of units but by the richness of social, cultural, and economic interactions within the space. Initiatives like “Living Rooms at the Border” illustrate this model, blending private dwellings with communal spaces, informal businesses, and affordable housing overlays, aiming to reshape urban policy and stimulate inclusive community environments. design. The book wonderfully describes the basics of regenerative architecture with real life examples from architecture practices around the world.

casa Familiar

Casa Familiar and Teddy Cruz

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The following 9 principles form the crux of the subject and guide how design decisions are made in relation to the site.

Learnings

Design can enable value-generating capabilities and systemic tranformations, architects can become a translators/ middle men between the user and the larger nested systems

Casa Familiar demonstrates that the most impactful design ideas often emerge from the needs and responses of marginalized communities, driven by a sense of urgency.

The project underscores the vital role of architects and designers as translators and connectors between topdown political and economic systems and grassroots social activism. Key insights include the importance of fostering social exchanges that go beyond physical infrastructure, leveraging community intelligence for future innovation, and creating collaborations that activate new political and economic frameworks. Ultimately, the project illustrates how design can enable value-generating capacities and systemic transformations within underserved neighborhoods.

Case study

LAW OF THREE The Law of Three is a regenerative framework rooted in the idea that all dynamic and creative processes arise from the interaction of three distinct but interdependent forces: af昀椀rming, denying, and reconciling. Rather than viewing opposition as a deadlock, this model suggests that when an active force (af昀椀rming) encounters resistance (denying), a third force (reconciling) can emerge to synthesize or transform the tension into a new possibility. In a regenerative context, this triadic principle can be applied to ecological, social, or design systems, encouraging holistic thinking and evolution through creative tension. It moves beyond binary thinking to embrace complexity and invites practitioners to look for the hidden third element that enables transformation, making it a powerful tool for fostering resilient and lifeenhancing outcomes.

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THREE LINES OF WORK: AIMS The Regenerative framework considers that the aims for any task is three-fold: the 昀椀rst line of work is to develop oneself, the second to develop the team or the proximate whole and third to add value to the larger whole that one is a part of or is working on. Based on this framework, a diagram of aims is charted out for both the author as well as Falkland estate itself.

credits: Devani Santos, Build it Green

SELF

FALKLAND ESTATE

The author, Jahnavi Jayashankar, is considered as the individual, the proximate whole is considered to be the second year DS3 studio in MarchD program for the year 2023-25 and the greater whole is considered as the design profession

West昀椀eld is considered as the site/context, Falkland estate as the proximate whole and Scotland is considered to be the greater whole for this project

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3.

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2.

to spread awareness about the regenerative way of thinking, to be able to spread the ethos of regenerative architecture through the work accomplished, as a profession move from notions of sustainablity to truly regenerative design

to locate Falkland estate on the map of scotland as one of the pioneers in land management and regenerative development, establish mutually bene昀椀cial links for Falkland estate with similar programs and places around Scotland so they could funtion as a group

to work together and uplift each other when we are in a creative block, to utilise the strengths of each persona dn work as a team to overcome more complex problems, to always have each other’s back throughout the year

to integrate the different systems on site and to enable then to work as a network towards a common vocation, to image a complex exchange pattern between all different elements that make up Falkland

to understand my design language, to allow myself to enjoy the design process, to design something that excites me even if it seems hard at 昀椀rst

to leverage west昀椀eld’s location and develop it into a central hub for Falkland’s future vistor activities

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3.

2.

1.

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SIX VALUE ADDING STREAMS FOR WESTFIELD DS3| Jahnavi J| 19272222

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The Brattleboro Co-op is a community-driven initiative where the physical building itself is considered secondary to the deeper purpose: fostering meaningful connections and enabling collaborative work. It serves as a platform for co-evolution, emphasizing collective growth and transformation rather than just economic transactions.

Originating from a buying club rooted in local procurement, the Co-op has gradually evolved into a community institution, aiming to shift market dynamics and reestablish grassroots values and cooperative ethics.

Key goals include: -Reinstating the grassroots mindset and ethics of cooperation.

-Promoting local farming and food culture through the market.

-Supporting green behaviors (e.g., reducing supply chain carbon, bulk buying).

-Becoming a non-displaceable entity by embedding itself in local systems.

-Expanding to incorporate local businesses and other food co-ops for broader collaboration

Brattleboro co-op

Brattleboro co-op

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Learnings

Built structure is secondary Impactful change involves creation of stakeholder networks

The Brattleboro Co-op teaches that impactful community change doesn’t hinge on physical infrastructure, but on the networks and relationships it supports. Its evolution from a simple buying club to a committed community institution illustrates the power of local economic ecosystems and shared values. By nurturing local food systems, reducing environmental footprints, and embedding ethical cooperation into daily practice, the Co-op becomes more than a store—it becomes a social catalyst. The project highlights the importance of market shifts through value-driven choices and reinforces that resilience lies in community ownership, identity, and non-displaceability. It also underscores the need to scale through partnerships, integrating local businesses and organizations for a stronger, decentralized support structure.

Case study

VISIT TO FALKLAND ESTATE: MIND MAP OF THE EVENTS AND SITES SEEN DURING THE THREE DAY VISIT TO FALKLAND ESTATE IN NOVEMBER 2024 On the left is the mind map of the visit to Falkland estate, highlighting the different objects of interest, the textures and feel of spaces and also to give a sense of how we experienced Falkland estate on the visit.

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FIRST IMPRESSIONS: POTENTIAL OF PLACE AND PERSONAL CONNECTION TO SITE Following the Regenerative design ethos, a design concept was not realised until after the site visit to the estate because the personal connection to the site was unknown. The trip to Falkland estate was not just necessary to get the detailed physical documentation of the exisiting buildings and site context but it was crutial in order to realise the essence of the place that the author connected with. For the design to be truly regenerative for the design and the designer, the designer has to re昀氀ect on what they see as their value adding role to the site, on top of the potential of the site itself. (note: tone shifts to 昀椀rst person for the description of the 昀椀rst impressions of the site) ‘The visit to Falkland Estate was three days long and in all we covered a varitey to different sites within the estate and in the Falkland village.

As soon as we enter the place, there is an overwhelming sense of peace. We were enveloped in the sounds of nature and cascading waters and city life seemed far away. But what caught my eye was the remenants of the sustainable build school in the 昀椀eld of learning we saw on the second day. Having done a specialisation about material research and construction technologies, I had realised my interest in alternative building techniques and materials. In fact, two weeks before the site visit, I was working with cob structures.

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I would never have imagined the extent to which Falkland estate would have delved into this topic of alternative building- it seemed like a topic that uncovered more and more exciting details as i searched. I realised that i had worked with EBUKI in the south, the same organisation from which Becky and Tom had conducted workshops in Falkland. The images on the left are few of the many I have from this part of the site.

I knew then that THIS is what excites me about Falkland. I knew this was something i can add value to if i worked on and something that would enrich my own understanding of architecture and design in the process.’

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STORIES OF PLACE

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-Poem -Carol Sanders’ Essence Patterns of place -Deep understanding of place leading to building- The Archive -Manifesto

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LISTENING TO THE LAND

Beneath the stone, beneath the wood, A thousand stories pulse and brood — The forest breathes, the 昀椀elds exhale, The hidden systems weave their tale.

The rivers carve, the winds renew, The soil remembers what once grew.

Each broken beam, each crumbling wall, Still hums the rhythms of it all.

Not ours to take, but ours to hear: The whispered needs, the long-held fear, The chance to mend, to heal, to weave, Not just to build, but to believe.

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In roots and rain, in craft and sky, The answers wait — not loud, but sly.

To see the place, one must become Part of its slow, unfolding sum.

A dwelling shaped by timbered hand, By straw and earth and windswept land, Grows not from drawing, plan, or line, But from the deep and listening mind.

Thus place and maker intertwine, Thus Falkland’s breath informs design.

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Essence patterns of place Cosmological Stories of Place Societal Stories of Place

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Spiritual Mythological Psychological

Socio-Cultural Economic Settlement

Planetray Stories of Place

Biological Hydrological Geological

Essence patterns of place

Although multiple frameworks exist with respect to regenerative design, this project follows the principles in the book Regenerative Development and Design by Pamela Mand and Ben Haggard as a guide to design.

The book wonderfully describes the basics of regenerative architecture with real life examples from architecture practices around the world.

The following 9 principles form the crux of the subject and guide how design decisions are made in relation to the site.

credits: Carol Sanders in her talk, Regenesis

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PLANETARY STORIES OF PLACE

GEOLOGY HYDROLOGY BIOLOGY

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GEOLOGICAL SYSTEMS The geology of Falkland Estate, situated in Fife, Scotland, is deeply rooted in a complex and dynamic geological history shaped by ancient marine environments, volcanic activity, and glacial forces. The estate lies within a region characterized by Devonian Old Red Sandstone and Carboniferous bedrock, including limestones, shales, and coal seams—evidence of long-vanished tropical seas and swampy landscapes. Volcanic activity during the Carboniferous period gave rise to striking features like the nearby Lomond Hills, formed from basalt 昀氀ows, dolerite intrusions, and extinct volcanic vents. The most recent Ice Age further sculpted the terrain, leaving behind glacial deposits, drumlins, and raised beaches. Fossil-rich sedimentary layers along the coast showcase ancient corals, crinoids, and plant remains, while historical coal mining and sandstone quarrying underline the area’s geological and economic signi昀椀cance. This rich geological tapestry provides insight into the deep history of Falkland’s land and continues to shape its identity and use today.

This map shows the soil water capacity, Carbon content and phosphorous content

The map classi昀椀es the soil found on the estate depending on the soil texture in the nitrate vulnerable zones

MAIN SOIL TYPES 54 Soil composition of Drumain A series found on lomond hills: -Dark brown (10YR4/3) -Brown (7.5YR4/4) -Dark Yellowish brown (10YR4/4) -Strong brown (7.5YR5/6) -Brown (7.5YR5/4)

The mapping highlights the types of bed rock and soils found on the estate

Soil composition of Darieth A series found on the estate: -Dark greyish brown (10YR4/2) -Brown to stong brown(7.5YR4/4) -Greyish brown (10YR5/2) -Brown to dark brown (10YR4/4) -Dark greyish brown rotten rock (10YR4/2)

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The mapping highlights the geological features found around the estate and the land capability division for agriculture and forestry

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HYDROLOGICAL SYSTEMS

The mapping highlights the soil runoff and erosion risks along with 昀氀ood risks in areas close to the site

NESTED WHOLE

The mapping highlights the types of bed rock and soils found on the estate

Nestled in the valley of the Lomond hills, the Falkland Estate is fed by burns like Maspie and Arraty, which originate in the hills and ring down fresh water through the rich forests and agricultural land in the estate; only to join the tributaries of river Eden in the end.

Sandwiched between the Firth of Tay and forth rivers, Fife is drained by two major catchments of River Eden (314m^2) and River Laven (422 m^2) but also boasts of other rivers like River Ore,Black Devon and the multitude of smaller burns in the area. Hence the region, as part of past volcanic activity, not only has reserves of igneous rocks but also has a variety of sedimentary formations and deposits; which shaped by the wind and weather conditions have left formations like the Bannet stone northeast of The West Lomond.

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Porous Sandstone: Aquifer allowing flow through rock

“Water represents the source, spirit and 昀氀ow of people and resources necessary to renew and support the 昀氀ourishing life of this place” ~Falkland Estate Book

In 1766, pipes were laid called the Lady’s Well which provided spring water for the people living in Falkland town. The burns or springs originating from the Lomonds were celebrated for this purpose since they provided the people with one of the most essential resource of daily life: Water.

When the Bruces (Onesiphorys Tyndall Bruce and wife Margaret Bruce) re-designed the landscape within the estate with the help of architect Alexander Roos, they used water from the burns as a prominent landscape feature, creating small waterfalls and ponds sprinkled around the estate; the fish pond which currently is at the main entrance to the stables and the waterfalls along Maspie den walk near the current Falkland School being part of this.

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Fractured stone: Aquifer allowing flow through fissures and cracks

AQUIFER TYPES Due to the nature of Fife’s (especially Falkland’s) bedrock being composed of porous Devonian sandstones, it forms a highly productive bedrock which allows for groundwater flow. Along with this, there is also the presence of fractured Strathclyde group of rocks which form moderately productive aquifers. The images show the baseline conceptual idea of an aquifer and the distribution within Falkland estate.

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moad

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SONOROUS LANDSCAPE

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“The 昀椀rst story we heard about the Falkland Estate, and one that immediately captured our imagination was that the burns that traversed the grounds of The House of Falkland has been ‘tuned’. The Estate had been extensively developed.”

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~Re-Sounding Falkland by David Chapman and Louise K Wilson

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jan 1997 2006 2015 2020

july 1997 2006 2015 2020

jan 1998 2007 2016 2021

july 1998 2007 2016 2021

jan 1999 2008 2017 2022

july 1999 2008 2017 2022

jan 2000 2009 2018 2023

july 2000 2009 2018 2023

jan 2001 2010 2019

july 2001 2010 2019

GROUNDWATER LEVELS EASTER LATHRISK OBS m3/s 10.000

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1.000

There seems to be a lot of interest in understanding Falkland as a sonorous landscape; by Ninian who is the current lairds or other stewards who have been part of the estate works. It does not come as a surprise since one can hear the distant trickling of water cascading across the estate no matter where they are stood inside. In the book re-sounding Falkland,the authors talk about the designed landscape of the estate and how water was used as a prominent feature of the same. There are many cascades, waterfalls and ponds dotting the Falkland Estate which in essence guide a traveller not just along a physical trail of beautiful landscapes but also along a spiritual journey as all other chaos is curtailed by their sounds. In fact, the book goes on to describe how the pitch of the sounds collected from each of the cascades was used to create the six channel sound-piece about the estate called Cascading.

When asked about what someone retains from Falkland after their visit, amongst all the things that pop up from the mundane to the poetic, the land and the water remain the biggest influences.

“Nowadays, thanks to restoration work in Maspie Den and beyond, water is once again - and in more ways than one - a source of refreshment for people who travel the estate and its ‘sonorous landscape’”

0.100

jan 1991 1997 2006 2015

july 1991 1997 2006 2015

jan 1992 1998 2007 2016

july 1992 1998 2007 2016

jan 1993 1999 2007 2017

july 1993 1999 2007 2017

jan 1994 2000 2008 2018

july 1994 2000 2008 2018

jan 1995 2001 2009 2019

july 1995 2001 2009 2019

~Falkland estate book

RAINFALL EDEN AT STRATHMIGLO

RAINFALL STATISTICS FROM 1985-2020 FROM 0-200MM DS3| Jahnavi J| 19272222

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BIOLOGICAL SYSTEMS The drawing on the right maps the different type of species seen in Falkland in terms of the trees, plants, animals, birds, insects and others. The mapping process involved multiple sources which may have mentioned the existance of mapped species in them. For the list of sources refer to the Bibliography in the end.

Each different source is mapped with a different coloured dot on the map to reveal the complexity of the mapping process.

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FARMLAND DATA The drawing below maps the divisions of Falkland’s farmland which fell under the West昀椀eld steading when it was one of the 4 major Farm steadings in the estate.

The map gives the name and number of each division, its area in acres and the image on the right records the data from 1909 to 1920 about which crop was grown in each of these segments

NOTES FROM WESTFIELD RECORD BOOK

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3% 5.2% Cabbage Wheat

5.9% Barley

34.1% Oats 18.5% Hay

23% Turnips

10.4% Potatoes

COMPARISON OF CROPS GROWN

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WOODLAND DATA The map below shows the forestry division number for each part of Falkland’s forest, as mapped in the 2014 Forestry Management Plan. It also tells the planting period of each of these woodland divisions and the type of trees found in this area.

Note: Map to be read upside down ( based on numbering of the woodland divisions)

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KEY Sycamore

Red cedar

Sitka Spruce

Oak

Mixed plantation Mixed conifers

Open ground Felled awaiting restocking in 2014

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Scots Pine

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WOODLAND DATA The above maps are taken from the Falkland Estate’s Landscape restoration plans. The plans are arranged with West昀椀eld steading in the centre and highlighting the events proposed which will have an impact on the site.

West昀椀eld highlighted in red Events highlighted in green In summary, the proposals look at the landscape both in terms of visual aesthetics and bene昀椀t for the biodiversity around and propose to remove the non-native trees, especially conifers and give importance to broadleaves and re-plant local broadleaves in the woodland. Some of the woodlands, based on previous use and proposed new activity, are not re-stocked and just cleared or thinned, for example , near the trenches or North parks.

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SOCIETAL STORIES OF PLACE

SOCIO-CULTURAL ECONOMIC SETTLEMENTS

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SOCIO-CULTURAL SYSTEMS

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1- Lomond Hills, Ancient Pictish settlesments found, Archaeological digs, Joe- from the estate, Aberdeen University 2- Cob oven and stove, the Stables, arts and crafts’ stores 3- GO Falkland and Big Tent Festival, Cricket Pitch painting 4- Childrens’ Parliament and artist work at the Stables 5- Sustainable build scoolf, EBUKI, Archaoebuild, Rebearth and Duncan Roberts, Wildstrong Falkland 6- Furniture auction, cattle auction and Falkland fair 7- AI farm tutoring, Talking stones 8-1000 huts project, Hut of Wellbeing 9-Woodworks, woodland hub, Sandra-local artist,Simple shelterAndrew Douglas 10- Trail of thought 11- Temple of decision student reconstruction projects, Hole Ousia 12- Falkland House School for autistic boys 13-Wilder ways and timber reuse by Fife Rural skills partnership

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ECONOMIC SYSTEMS Instead of mapping the economic systems of the whole of Falkland and giving data regarding the percentage of working and non-working population, the mapping dealt with in this portfolio highlights the major establishments and natural sites around Falkland Estate which bring in the income for the estate at the moment and the extensive names of all the networks that Falkland Estate has been a part of either directly or indirectly is listed down to understand the estate’s economic and social bearing in Falkland/Fife.

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List of Organisations and People around Fife involved with Falkland Estate in the past either directly or indirectly: - Amy, Historian on site and resident of one of the huts in 1000 Huts Project - Sandra, local artist in Falkland - Paul Morrison artists and Weymss artists, current exhibition in Falkland stables - Falkland centre for Stewardship - The National Tree collection - Fife Rural Skills Partnership - RSA, Royal Scottish Academy - Rebearth - University of Aberdeen Archaeology - Sustainable Build School, Falkland estate - Monthly makers and Producers market, Falkland Estate - Community Woodlands Association - Dr.Rehema White, University of St.Andrews for Place,Folk,Work - Scottish Universities Insight Institute 63 - Studio Baird architects - Reforesting Scotland - Historic Environment Scotland - Woodland Trust - Tom Christian, artist currently exhibiting - Archaeobuild - Fife Contemporary - Built Environment Scotland - Fife Council - The Bothy Project - Allaince - Healthandcare.scot - Fife Today - Duncan Roberts - Seaton Baxtor, emeritus professor at University of Dundee, Scotland, U.K. and the Robert Gordon University, Aberdeen - Fife Bird Group - Sabotauers Club - Trees for Life - Scottish natural Heritage - Historic Falkland - Nature Scot - Falkland Palace and Garden - Undiscovered Scotland - Falkland Gardening Group - Fife Cultural Trust - Falkland blanket, Newburgh loom - The Architectural Heritage Society of Scotland DS3| Jahnavi J|19272222

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1914 SETTLEMENTS HIGHLIGHTED OLDER SETTLEMENTS IN RED:1642

2024 SETTLEMENTS HIGHLIGHTED

SETTLEMENTSMAPPING THE CHANGES Settlements includes the human interventions that have happened on site either for farming or for other purposes, living, hunting etc., The two maps above compare the mapped settlements and routes from 1914 and 2024; the 1914 map also includes a typical hut construction from the time which shows the characteristic details of Falkland’s construction. The most interesting aspect of map reading is understanding the purpose of creation of the map since they tell a lot about the information read from the document itself.

Although the two maps appear similar at 昀椀rst glance, many nuances change when observed carefully, for example, the original roof footprint of West昀椀eld steading can be accessed from the old maps before part of the roof collapsed, the use of the estate for farming, quarrying and processing can be understood by the 1914 map which highlights all the major and minor farm steadings and their auxilary spaces like the sheep wash near West昀椀eld and Kilgour or the water wheel next to the Kilgour steading.

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COSMOLOGICAL STORIES OF PLACE

SPIRITUAL MYTHOLOGICAL PSYCHOLOGICAL

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COSMOLOGICAL STORIES The 昀椀nal layer of mapping adds essentially what would be the soul of the place, the intangible aspects of the land which talks about the myths and beliefs of the people in Falkland, of the philosophy and ethos on site and of the elements that make Falkland ‘FEEL’ like itself

1- Lomond Hills: The essence of Falkland Once a person has visited Falkland, it is hard to not talk about the Lomond hills which is the backdrop no matter where you are on the estate; its essence

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2- The Maspie den lady: a myth The story goes that a young man followed a lady on one of his miserable days. The lady was captivating and told him about life, changed his outlook but then proceeded to jump into the maspie den. Then there was no lady; just the 昀氀owing waterfall 3- The Temple of decision: a place to re昀氀ect The temple of decision was created as a folly in space by the Bruce family and they enjoyed dinners at the place with friends. It was not called ‘temple’ until one of the later visitors described it that way and it stuck since many people visited the site to re昀氀ect when there was internal turmoil- a temple of thought and decision 4- The Trail of thought: Art on the estate Two artists, Lesley Acheson and Sebastian Chaloner, spent hours creating natural sculptures in Falkland’s landscape during covid to draw the attention away from the more known touristy sites which were choking up the estate due to high visitor traf昀椀c 5- Talking Stones: Philosophy and ethos The dry stone wall near Pillars of Hercules farm cafe has 23 old Scottish words carved on it with mundane meaning like ‘STRAVAIGIN (roaming, aimless wandering)’, ‘PLOWTERIN (walking in mud, splashing about)’, ‘BURLIN (moving rapidly or dancing)’ and makes one stop and think about the intent behind these DS3| Jahnavi J| 19272222

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The design manifesto draws from the research of the site. Place-making follows from the context and the context of Falkland is its resource. The ethos of the design is metaphorically guided by the elements on site and this follows through from the trigger to the actualizer

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THE TRIGGER ReFrame Hut

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-Site Introduction and selection -Retro昀椀t types explored -Timeline of use -Situating hut within Falkland

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SITE SELECTION BASED ON POTENTIAL

During the site visit, two potential hut sites emerged: -one was an open 昀椀eld to the west of the steading which had stunning views all around -the second was an opportunity to 69 retro昀椀t two existing huts on site

Two types of potential sites identi昀椀ed

Shed 1: wood

The intriguing image of the three chairs in a small hut overlooking the valley forces one to imagine an evening tea with friends sitting inside a cozy hut and enjoying the nature around- this promts the selection of the retro昀椀t sites for the project

Shed 2: stone

Opportunities Hosted! The Reframe Residency |The Trigger

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SPATIAL REASONINGWHY THE HUT? At the beginning of the year, the exercise of measuring ones workspace and planning its spatial use for the year was carried out and the image on the left bottom shows the inteded use of the author’s room. However as the time progresses and the workload varies, the author noticed that she mainly does the mapping and archiving work on the 昀氀oor and all the other furniture fades into the background.

The room is used for two purposes:

PRESENT USE 70

- a big open central 昀氀oor space for mapping - a place to sleep and re昀氀ect When asked to imagine oneself in the hut building on site, the author considers their lifestyle and realises that smaller and distributed spaces help her work more ef昀椀cienty and having an open 昀氀oor space in the outdoor would highly increase her productivity.

The huts on site are then envisioned for a research user who mainly wanders around the estate and is not afraid to work out in the open. The user needs a space to sleep and maybe send an occasional email to a friend and a space to cook and clean up but otherwise they can pretty much adapt to a nomadic life outside. This description of the lifestyle drives the design process for the trigger.

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NESTED PROGRAMS

Program ideas for West昀椀eld and How it relates to the hut on site

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u-square Feder 72

hƐƋƵĂƌĞ ĨĞĚĞƌ͗ ŝƚLJ ĂƐ Ă YƵĂƌƌLJ r architecten and C rchitects

“ he dismantling of se eral neighbouring buildings ro ides the ro ect with waste streams that can be con erted into re ur osed raw materials or e am le, bric s and gla ing are being reused and other raw materials rec cled and used as flooring ew building materials are bio based, such as acoustic cla lasters and hem crete n this wa , the ro ect manages to greatl reduce the inflow and outflow of building materials, thus reducing CO2 emissions”

Case study

STONE SHED

Details of the retro昀椀t- An insert

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STONE SHED Systems within

Water from the wells used as drinking water Rainwater harvested and puri昀椀ed used as bath water, washing clothes, dishes and cleaning Sawdust from building on site used for compos琀椀ng toilet- prevents odour Storage spaces for daily use items Plants used for be琀琀er air quality with compos琀椀ng toilet Compos琀椀ng toilet uses less water and is suitable for loca琀椀on Waste water from cooking and bathing to waste water puri昀椀ca琀椀on and then ground

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Wood昀椀re stove to use less energy- uses waste from built site Wastewater treatment before water reaches ground Skylight to create a be琀琀er environment for crea琀椀ve ac琀椀vity Pinboard for crea琀椀ve ideas and memories Gu琀琀er for draining water Materials from the site used for walls as material experiments Solar panels for genera琀椀ng electricity to be stored in ba琀琀eries for 琀椀mes when main line cannot be tapped/ working

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STONE SHED Details

WALL DETAILS Image on the left shows the details of the wall construction and how the services are integrated into the hut

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TIEING WOOD COLUMNS TO WALL On order to attach the internal wood structure to the stone walls, teplo tie wall ties are used at 900mm c/c horizontal and 450mm c/c vertical in a grid with an embedment of 65-85mm into the wall

COMPOSTING TOILET A composting toilet is proposed and sawdust from working on site is reused inside to reduce odour along with pine cones collected from the forest

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Year 1, 2, 3

Ex i s t in g

Chiseling to remove old and wasted plaster

Connecting pipes and wires for hut systems

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Cleaning and storing; organising for further use

New pointing for corrected stone wall after washing and cleaning

Digging ground for wiring and pipes

Storing and stacking material for reuse

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STONE SHED Timeline of use

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WOOD SHED

Details of the retro昀椀t- A skin

Proposed wood shed on site with the modular construction before it becomes a collage of different cladding materials on the outside

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WOOD SHED Concepts

Photo of discarded studies from Sustainable build school which became the inspiration for the hut 78

RE-SHEDDING The concept of re-shedding devised for the wood shed draws inspiration from the natural process of ecdysis in reptiles, where animals shed their skin periodically to adapt to growth, environmental changes, or life cycle stages. Just as reptiles and other animals moult for bene昀椀cial reasons— such as seasonal shifts or developmental milestones—a building could be designed with a similarly dynamic outer layer. This “skin” could be intentionally temporary, allowing for replacement, adaptation, or renewal in response to environmental conditions, material lifespan, or functional needs. Re-shedding, in this sense, becomes a metaphor and mechanism for architectural adaptability, where the building evolves over time rather than remaining static. This approach promotes sustainability, 昀氀exibility, and responsiveness—which can be based off of user needs or experimentation while living in the hut

Expanding on this idea, the concept of “one building, many skins” introduces an experimental layer to the design, where a single structure becomes a platform for material research and ongoing transformation. A researcher working on site explores and tests a variety of locally-sourced or experimental materials by applying them directly to the building’s surface. This turns the architecture itself into a living laboratory—its façade shifting over time as new skins are trialed, evaluated, and replaced.

These iterative material changes not only re昀氀ect seasonal or environmental shifts, but also deepen our understanding of how different materials around the estate perform in real-world conditions. Through this process, the building becomes both a shelter and a site of inquiry, embodying a continuous dialogue between permanence and impermanence, tradition and innovation.

The end result is envisioned as a rich collage of all the material tests—each layer telling a story of experimentation, adaptation, and learning—making the building not just a functional structure but a visible archive of its own evolution.

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WOOD SHED Systems Within

YEAR 1 AND 2 WITHIN THE HUT

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YEAR 3 Water from the wells used as drinking water Rainwater harvested and puri昀椀ed used as bath water, washing clothes, dishes and cleaning Sawdust from building on site used for compos琀椀ng toilet- prevents odour Storage spaces for daily use items Plants used for be琀琀er air quality with compos琀椀ng toilet Compos琀椀ng toilet uses less water and is suitable for loca琀椀on Waste water from cooking and bathing to waste water puri昀椀ca琀椀on and then ground Hosted! The Reframe Residency |The Trigger

Wood昀椀re stove to use less energy- uses waste from built site Wastewater treatment before water reaches ground Skylight to create a be琀琀er environment for crea琀椀ve ac琀椀vity Pinboard for crea琀椀ve ideas and memories Gu琀琀er for draining water Materials from the site used for walls as material experiments Solar panels for genera琀椀ng electricity to be stored in ba琀琀eries for 琀椀mes when main line cannot be tapped/ working

Sea琀椀ng area for res琀椀ng and working Electricity from the main grid or from ba琀琀ery store Ba琀琀ery store Portable wind turbine for genera琀椀ng electricity stored in ba琀琀ery Portable wind turbine for genera琀椀ng electricity stored in ba琀琀ery Windows with sealant to prevent air loss; be琀琀er insula琀椀on External electricity from ba琀琀ery store/ gird in the beginning DS3| Jahnavi J|19272222

WOOD SHED Details

2.

3.

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CLADDING DETAILS In order for the structure to have changing skins, it was important to study the mounting types for the different types of cladding and to devise a detail that can accomodate a variety of cladding material. The two main divisions were of the mounted type detail which needed battens for support and the woven type which needed vertical supports to weave a thinner 昀椀brous material before casting either earth or similar material.

1- Detail devised to accomodate both casting and cladding 2- Wooven and clad detail 3- Mounted system detail 4- Layers of construction

4.

1.

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WOOD SHED Details

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1.

The structure of the wood hut keeps changing its skln as and when the user feels its necessary out of comfort needs or just purely based on experimentation by the user. The model highlights this dynamic nature of the skin by using different types of cladding in a single detailed model in 1:10 scale:

2.

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3.

4.

1- Cladding type detail 2- Casting type detail 3- Exterior views and material textures 4- Internal view and layers of construction

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Reusing old timber beams for the new form of hutexpansion

Sourcing materials from different regions for walls

Expanded hut used to house people from residency

Milling and sanding the timber- reuse of existing material

Deconstructing shed

82 Cleaning and storing

Experimenting with the materials for the hut

Ex i s t in g

Ye a r 1 , 2

Year 3

WOOD SHED Timeline of use DS3| Jahnavi J| 19272222

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FALKLAND SYSTEMS WITH ADDITION OF HUT The addition of the hut in the context starts to change the systems currently in place and triggers a cyclic change to a more balanced output

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CONSTRUCTION TIMELINE

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SPATIAL USE

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1.

2.

3.

4.

The process of living and working in the hut for three years is imaged; one can connect with the user experience and struggles along the way: 1- Sorting the material found on site and processing it by hand to a useable degree. Since no fancy equipment is available, much of this process happes by hand and takes a long time in order to scavenge old material and take down the parts to be reused 2- In order to retro昀椀t the old stone building, the lime plaster has to be cleaned, chipped and a new layer of plaster needs to be applied to protect the walls and make it more suitable for habitation 3- Once complete, the utility hut is cozy enough for one person to cook and use but most of the time of the user is spent outside on the estate 4- The hut is only used as a respite from work- to re昀氀ect and sleep

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THE ACTUALIZER ReFrame Residency

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-Site analysis -Program details -Interim stage -Final design details

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EXISTING SITE CONDITION

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Door to upper 昀氀oor granary/ chicken coops

Steel columns in the interior: mostly a barn

Looking inside from the courtyard

Level difference in the courtyard- feeding galleries

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South facing elevation of site: current condition

Courtyard as seen from the overgrowth

isometric top down view of the s

North and west facing elevations of the current site showing the slope of the land

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SUN PATH ANALYSIS WITH HELIODOME

8:30 AM

12:30 PM

JUNE

The sun path for scotland is quite low and hence in summers there is light in the sky till extremely late in the night ans sunrise happens pretty early as well. As seen in the heliodome, even at 8:30 the sun seems to be already higher in the sky

MARCH SEPTEMBER

The is much lower in the sky when compared to June. As seen from the images of the heliodome, suring 8:30 am and 5 pm the light is from much lower angles

5 PM

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8:30 AM

12:30 PM

5 PM

DECEMBER

8:30 AM

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12:30 PM

The sun is lower in the sky for the whole of December. The heliodome images shows how the angle of the sunlight even during the noon at 12:30 pm is quite low. There might be problems of glare due to direct sunlight during winter months if windows face the south or west directions

5 PM

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EXISTING SITE CONDITION The existing site condition is analysed by creating panoramas of the drone footage from site and then overlaying it with the understanding of the materials, structural aspects, spatial/temporal perception, emotional perception and visual elements; this gives a holistic understanding of West昀椀eld in its present state.

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1.COUR T Y A R D P A N O R A M A

2.PANO R A M A T A K E N I N S I D E O F T H E R U N - D O W N C HI CK E N C OOP DS3| Jahnavi J| 19272222

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1.

2.

KEY PLAN

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YEARLY MAPPING OF SYSTEMS AND ACTIVITIES DS3| Jahnavi J| 19272222

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PROJECT VISION Built values

Falkland Estate has great potential to adapt and change as the settlements change, yet each part of the estate retains a part of its rich history as a valuable collage.The project views the site as a quarry, both logically and for materials; And as an extension of this vision, aims for the project to become an archive of the place. It seeks to explore the principles of retro昀椀t and reuse which align with the clients values for a circular practice and also challenges the architect with intricate details of joinery and material which become the crux of the project.

Loosef it Retrof it Current use case : R Proposed use case : D1

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A L T E R N A T IV E MATERIAL NEED

I S S U E S TAC K LE D W I T H P RO P O S AL

SITE AS QUARRY

E D I T I N G E X I S T I NG CYCLES

AD DI TI ON OF NE W C YC LE S

Using the materials from West昀椀eld and from other sites around Falkland estate in order to build

Using the byproducts from the systems exisiting on site and creating circular processes

Introducing systems that will balance the existing cycles in Falkland

- Fund Demonstrator Project - Establish a collaborative Biomaterials construction working group - Support existing farmers, growers, processors - Encourage new entrants to the sector, support testing and innovation - Advocate for change with council - Simulate demand by educating home-owners and home-buyers - Further work into productive and regenerative land management - Further work into leanring impact of biobased materials on health and wellbeing - Further work into leanring impact of biobased materials on retro昀椀t projects

BRIEF FOR PROGRAM Hosted! The Reframe Residency |The Actualizer

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COMBINED PROGRAM Archive and Research unit and its place in the tetrad

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ARCH I V E

RE S E A RC H

Building will store and display past works by participants

Participants will innovate to create newer prototypes and projects for diplay and demonstration

Vo cat io n o f Pla c e C a nva s o f C ha n ge In it i at ive f ro m t he pa r t ic ip ant s a n d ho st s S tewa rd o f t h e pl a ce a n d re so u rc e

Place So u rc e d Po tent i a l Transitional location with acce s s to am en i t i e s Abandoned existing bu i l d in g fo r reu s e Proximity to Maspie den and co n ifero u s fo rest Large open field ava i l ab l e to wo rk D irect footpaths to all places wit h i n an d o u t s i d e s ite

Hosted!

Th e ReF ra m e Resi denc y

C o -Evo lv in g Mu t ua li sm B r in gi ng to get her peo pl e f ro m n ot o n e bu t m a ny pro fe ss io ns Wo rksh o p gat he r in g t h e lo ca l peo pl e a nd a r t ist s S ta keho l de r s up po rt In it i a l gra nt s

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Rege nerat ive C a pa bi li t y Pu t Fa lk l a nd o n t he m a p i n a bi g way B e nef i t fo r u se r a nd t he u se d U si ng arc hi te c t ure a nd co nst ru ct i o n a s see d ca pt ia l fo r a c cele rate d g row t h

The brief is developed in such a way that it considers the phasing of the project as an important part of the design itself; The change in project states in昀氀uence the activity inside and vice versa. Initially as an archive of the place it is able to open the curtains to Falkland’s resources which can be tapped upon by any regenerative practitioner willing to take the initiative, for the profession and the land. The research agenda happens during the residency and adds back circularly to the then exisiting data network.

The architecture aims to make use of the materials around the site with the intent of increasing system ef昀椀ciency and becoming a systems actualiser. Thus construction drives the initial innovative and creative base of the later residency.

The tetrad will thus be put into effect!

Hosted! The Reframe Residency |The Actualizer

RESID E N C Y 6 months of focused study and work by professionals who are aiming to make the shift to regenerative thinking within their professions

EN D OF R ES ID ENC Y SH OW Gallery exhibiting and celebrating all work from the Residency with locals and outside stakeholders who could be potential clients for workshop

W O R KS HO P 6 months of workshop inviting local people and enthusiasts to practically test the ideas explored during residency

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REFRAME RESIDENCY CONSTRUCTION

A L T E R N A T I V E M A TE RIA L US E: RE IN STA TIN G GROWN M A TER I A L SY STEM S

PROPOSED PROGRAM Hosted! The Reframe Residency |The Actualizer

Using locally grown materials to build thus becoming a systems actualizer for natural and built cycles

RE US E/ RE TR O FI T Using the built project as demonstrator for repurposing old farmsteads, using materials available locally DS3| Jahnavi J|19272222

LEGAL CONSIDERATIONS CHANGE OF USE CLASS AND PERMITTED DEVELOPMENT RIGHTS (PDR) Although the Fife Council allows for certain permitted development on the sites of old agricultural or forestry buildings, the proposed design may fall out of the considerations of the PDR. A proper Pre-Application evaluation is necessary to determine the exact type of planning permissions required for the project because of its loose昀椀t program.

1. Classes 18B and 22A contain permitted development rights (PDR) for the change of use, and certain building operations to effect the change of use, from use as an agricultural or forestry building respectively to use as a dwelling.

2. Building operations are only permitted by Classes 18B and 22A to the extent that they are reasonably necessary to convert the existing building to use as a dwelling.

They are limited to:

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- the installation or replacement of doors, roofs and exterior walls; - the installation or replacement of water, drainage, sewerage, electricity, gas or other services; - partial demolition to the extent necessary to carry out the installation or replacement of doors, roofs and exterior walls; and - the provision of access to the dwelling and of a hard surface for parking of vehicles ancillary to the enjoyment of the dwelling.

BRIEF OUTLINE AS PER RIBA GUIDELINES

USE R E XPE RIE NCE :

CO N S TR UC TIO N IM P A C T:

- To be able to feel the contrast between the old and new and how seamlessly they are integrated - Ability to work hands-on on the project and see it change in real time- reward for efforts - To be able to experience life away from the city yet still be comfortable.

- Reducing the carbon footprint is at the crux of the design ideas for the project. It aims to be an example project of reuse of old infrastructure buildings which remain in a desolate and dilapidated state after their original function is rendered useless, for example the farmsteads which were abandoned at the dawn of modern technology in agriculture.

- It views the project as a built archive of the place; a space that uses the available material on site and applies them onto the structure in new and unique ways, thereby making the detail of construction itself an exhibit.

- The construction guilds for the project as it moves along in phases will be the same as its program guild ensuring that the client has satisfaction of hands-on experience and the site has a reliable workforce.

PLA CE MAKI NG: - The project effectively is a cluster of research sites within the old steading anchored by the new build-Scale of the place is dictated by the old farm stead on site. By analysing and doing a complete reconstruction of the same, one can understand the 昀氀ow of spaces in a functional farm building and apply this knowledge in space planning for the future to reduce can repair and reconstruction costs.

- Textures of the project will depend on the site and surroundings since the project wishes to use the site as a quarry

C UL TURE AND COMMUNI TY :

1. Classes 18C and 22B contain permitted development rights (PDR) for the change of use, and certain building operations to effect the change of use, from use as an agricultural or forestry building respectively to use as a 昀氀exible commercial use or a 昀氀exible commercial use permitted by this class to another 昀氀exible commercial use.

Where a change of use of a building to 昀氀exible commercial use has been made under the provisions of either Class 18C or 22B, the use of the building is considered to be ‘sui generis’ and does not sit within any of the use classes speci昀椀ed within the schedule to the Town and Country Planning (Use Classes) (Scotland) Order 1997.

7. The partial demolition of any building should therefore be minimised and generally con昀椀ned to work essential to make the building suitable for use as a 昀氀exible commercial use. While partial demolition is only permitted to the extent it is reasonably necessary to carry out the operations speci昀椀ed above, it is recognised that in some cases doing so could enhance the design and appearance of the proposed conversion. It should also be noted that (with the exception of guttering and pipes for drainage or sewerage, 昀氀ues and aerials) development carried out under Class 18C or 22B may not have the effect of extending the external dimensions of the building at any given point. For the avoidance of doubt, demolition of the existing building and erection of a replacement does not fall under this PDR and will require a planning application.

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TYPE OF CONTRACT: Collaboration Contract CURRENT USE CLASS: R PROPOSED USE CLASS: D1

- The project aims to bring together not just the local community but also the network of like-minded people in different professions who want to shift to a regenerative way of life. It sentially questions the residents ‘How do you plan to use Falkland to envision innnovative ideas for your profession?’ ‘How do you plan to make the shift to a regenerative lifestyle?’ and ‘What part of this project remains back in Falkland?’, to ensure that the work happening in the residency is groundbreaking and fresh along with being fully integrated into Falkland’s existing systems.

- To create long lasting relations between the Falkland estate trust and the participants of the residency and the workshop; The project aims to be the link that can allow the notion of stewardship established by the client to fully take effect.

- It also aims to create a 昀椀nantial and vocational resource for falkland and balance out the exisiting natural and human cycles.

- One of the core ideas of the project is to reveal the pallette of the place, in the sense that by revealing to the world what resources Falkland has to offer, it opens the gates for professionals looking for these resources to come utilise them.

The project especially celebrates the built and material cultures of the site; considering these as contexual as the nature around.

O P ER A T ION A N D M A IN TE N A N C E: - By allowing the new build to be used also as a test bed for research and PhD students in the residency, the maintenanace of the building is made partly the responsibility of the participants, driving the idea of stewardship.

FL EX IB I LITY A N D A D A P TA B I LITY : - Flexibility is a key consideration for the framstead project since it wants to reactivate the abandoned farm building and ensure that in the long run it can adapt to the needs of professionals from multiple 昀椀elds.

- The program factors in the ambiguity of the vocation of the people using the site and hence creates space which can easily be multifunctional and suit a variety of needs.

- The project also grows from the work of the people who utilise it, thus allowing for itself to be a canvas of change, similar to Falkland Estate itself

E N ER GY P ER FO R M A N CE : - The aim is for the project to use as much as possible energy generated by its own processes and not depend on the grid.

- The construction also focuses on reducing the cost and energy spent on rebuilds by creating a holistic understanding of the existing structure and using its skeletons for the new build.

- The program encourages the regenerative way of life thus attempting to build a more sustainable lifestyle on site.

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PROPOSED PROJECT TIMELINE

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Lot 8

ot rchitects, ssemble rchitects and telier uma th century train de

ot building was renovated to rovide a new works ace or design and research or telier uma who ocus on bioregional design and materials this included a lace or timber, metal, ceramic and te tile. ro ect is success ul in using local materials and is a large scale a lied research ro ect or bioregional architecture. t was also realised with hel rom local stakeholders. hat stands out is the truth o materials and construction seen in the building in act this makes it almost like the building itsel is a testament to the design innovations and rocesses. uilt design e resses the site story and the design story.

They aim to create a lasting im act through training rograms and transmission ro ects where they can use the building itsel to e lain the details o the rocess.

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Strawbale House 99

Straw Bale House/ Sarah Wigglesworth’s House Sarah Wigglesworth architects

“ t is hard to succinctly introduce a structure which has been proudly filled with ‘too many ideas’, according to Till, but here is a version: 9/10 Stock Orchard Street is a house and an office for Wigglesworth’s eponymous architecture firm” t is a sel build house made by Jeremy Till and Sarah igglesworth themselves. t stands as sel made e am le o ecological architecture. The bulk o the house is a igsaw o bio based, re used and sel made com onents. The hairy walls are cotsworld straw bales barley “The recent retrofit, which took place in 2019, did not require any major changes or upgrades to the building’s core materials otably, the famous straw bales and their novel rainscreen protection remain in good condition” Sarah and Jeremy are believers that structures should be built to be maintained, that they should ‘never stay still’.

They describe buildings as being like organisms, or bodies, that must be maintained and ‘tweaked’.

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Warwick Hall Community Centre

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The participant cycle highlights the main issue that Falkland Estate had in the past in running a program like the Build School and magnifying its potential. If the program included only the residency then the interested people would come in, work and leave and the project never takes off and declines after the 昀椀rst few years. If it was only the display galleries, then 昀椀nding work would be a hassle and interest shown in site would be extremely temporary. If it was just the workshop then 昀椀nding workshop topics would be an issue and mentorship during the workshop would be a problem. Connecting all these aspects together ties in the individual loose threads to create a stakeholder cycle that can be sustained on a long term basis

PARTICIPANT CYCLE IN PROGRAM Constraints and activating agents

CRAFTSPERSON ARCHITECT PRESENTER

MAIN ISSUE COMMUNITY LEAVES

PhD/ RESEARCH STUDENTS

Client highlighted issue

APPRENTICES

RESIDENCY

PROJECTS

ARTISTS

LS

A C O

STAKEHOLDERS

L

PROFESSIONALS

STED L

CONTINUING THE CYCLE

INTERE

DISPLAY

OCAL

S

AR

TIS

TS

TANGIBLE RESULT

PARTICIPANTS

WORKSHOP

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CT

OJE R P N SE

CHO

PROFESSIONALS

STAKEHOLDERS CRAFTSPEOPLE

inspiration for image: Material Cultures

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EXCHANGE BETWEEN PRIMARY PARTICIPANTS

Relationship between Falkland systems and introduced systems

RESOURCES Falkland is rich in natural resources like forests and water bodies, in heritage and culture and is an excellent location for work in multiple different 昀椀elds

HOST Falkland has welcoming hosts and they have the concept of stewardship which allows for participants to view the place as their own

COMMUNITY The project will create a well connected network of professionals who can aid Falkland with respect to any issues no matter the 昀椀eld of enquiry

FINANCE The workshops and residency will slowly create a dependable stream of income

SKILLS It will bring to Falkland leading creators of different 昀椀elds who can come up with innovative solutions to issues in the estate

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VOCATION SPACE TO STAY/WORK It will provide amenities for a good stay and peaceful study

The workshop creates a network of education for local people and anyone interested in topics of the residency

CREATIVITY

INITIATIVE AND CARE Falkland cares about the work done by and within the estate and will be the forefront in supporting participant creations

It encourages the participants to dream of the next regenerative step for their professions and for Falkland

INNOVATION It can connect the stakeholders with innovative methods with live project testing

FALKLAND SYSTEMS DS3| Jahnavi J| 19272222

INTRODUCED SYSTEMS Hosted! The Reframe Residency |The Actualizer

RESIDENCY NETWORK IN SCOTLAND

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The network of artist residencies in Scotland is studied and mapped to understand the potential users of space. The design started off with the idea that PhD researchers will use the site but later developed into a residency. The unique points of Scotland’s residency network was analysed to better 昀椀t in Hosted! the ReFrame Residency into this context.

Refer appendix for research details.

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ALTERNATIVE BUILT MATERIAL AND CONSTRUCTION EXPLORATION IN FALKLAND Falkland Estate has already taken the first step towards exploring sustainable construction techniques and low carbon material use in various workshops like the Sustainable Build school which happens on a field close to Westfield ( next to cricket ground) and Woodland hub which happens at Chancefield. There is an opportunity to renew both these activities by creating the main hub at Westfield and depending on these as subsidiary spaces within the program.

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SUSTAINABLE BUILD SCHOOL

WOODLAND HUB

The Sustainable Build School at Falkland Estate is part of a broader initiative to revive Fife’s forest culture by promoting the use of local, natural materials and sustainable construction practices.

Inspired by a growing movement to value locally-sourced products—similar to the rise of local food culture—Falkland Estate advocates for reducing “wood miles” by supporting local timber production.

Though Fife is traditionally less recognized for timber work than food, this is changing. The Estate, managed by the Falkland Stewardship Trust, practices continuous cover forestry and is dedicated to rural skills training, particularly for young people entering forestry and related 昀椀elds. By collaborating with experts in sustainable building, Falkland hosted the 昀椀rst Build School to foster hands-on learning in eco-friendly construction and natural material use, laying the foundation for future programs in sustainable development.

The WoodWorks pilot project was launched to help young people reconnect with Scottish woodlands. Its goal was to empower creative youth to establish woodland-based enterprises through support, training, and mentoring. In 2015, the project received £74,100 in public funding for a two-year, part-time trial. It was led by the Centre for Stewardship in partnership with dot.rural and Hot Tap Media. Key funding came from Dundee University’s Design in Action initiative and the Heritage Lottery Fund’s Young Roots programme. The Forest of Falkland was chosen as the pilot site for WoodWorks.

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MANAGEMENT STRUCTURE AND STEWARDSHIP- RESOURCE STEWARDSHIP CONCEPT s Ending?

What i

‘Beacon of learning to act sustainably’

‘Hospicing the dying culture & valuing our elders/tradi琀椀ons’

‘Intrins琀椀c over extrinsic values’

‘A place where people live and act sustainably’

‘Landlord-shit’ ‘fer琀椀le ground’

Loss What are the pa�erns, pathways and prac�ces that lead to success?

Wise What are the essen�al quali�es Love Action that make this a place of wellbeing?

How is it now?

How to tend new shoots and create condi�ons for sustainable growth?

What is the new order and how is it unfolding?

Courage ‘untangling’ ‘tending + valuing soil + workers’

‘Acknowledging failings and celebra琀椀ng successes’

‘Everyone welcome’

‘Container Leadership’

‘fair shares, balance, giving and taking’

‘Regenera琀椀ve compos琀椀ng culture’

‘becoming more ‘engendering trust’ than the sum of our parts’ ‘finding our ‘Steward-Ownership’ place’ How do we distribute leadership?

How are we all owning it?

Wh

o ar

e t o d ay ’ s s t e w

s? a rd

.t

..

... . ’ e M ‘ From .. . ’ s rt a u t S ‘ m o Fr

‘Breakthrough’

‘Seeding’

t is Beginning?

Wha

Tranformation ha s e ppe do n? w Ho

What are we learning from the old order?

How do we dismantle what no longer serves us?

Who is holding the whole?

o‘

S te

. .. to ‘

We’

w a rd s h

ip’

credits: Ninian Stuart, inheritor of Falkland Estate

NINIAN’S IDEA OF STEWARDSHIP HOW TO CARE FOR FALKLAND?

Ninian Stuart inherited Falkland estate from his father and has cared for it for years. His emotional attachment to the Estate has recently provoked him to think of better ways of management of the same- away from the landlord ownership model. Being an extremely well-read man himself, Ninian has described the goals for Falkland Estate’s future as a stewardship: By this he means that the Estate ownership will be passed on to a Trust which will run on behalf of the people. Passing the power from a single family to the local community needed certain guidelines and Falkland estate adopted the Regenerative model.

Since then, Falkland Estate ( through the Falkland Estate Trust, Falkland Stewardship trust and Ninian ) has been a part of a variety of programmes that promote regenerative thinking in different 昀椀elds. Through this, Ninian hopes to restore Falkland to its best state possible.

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BECOMING THE STEWARD OF THE BUILT RESOURCES

Becoming a steward of a site’s built resources means taking on a long-term, responsible role in maintaining, adapting, and caring for the physical and material aspects of a place with deep respect for its history, ecology, and future potential. To steward built resources is not simply to preserve or maintain structures, but to engage critically with their use, origin, and impact—making conscious decisions about repair, reuse, or transformation that align with the site’s character and sustainability. This requires a mindset that values longevity over convenience, and local materials and craftsmanship over imported or wasteful alternatives. True stewardship involves understanding the interdependence between the built environment and its social and ecological context, and acting in ways that support both. It demands respect not just for the aesthetic or economic value of the site, but for its cultural narratives, natural systems, and the community it serves. In doing so, a steward must listen to the land, honor the labor embedded in its materials, and intervene only in ways that deepen its integrity.

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OUTCOMES OF THE CLIENT MEETING: INPUTS FROM ADELE The Project brief was presented to Adele, who is a current resident of Falkland Estate and involved with the Trust, on Tuesday 18th of February 2025 and her inputs suggested that a self-build residency is greatly sought after in Falkland by many people but hasn’t been put into fruition yet because of roadblocks with planning permissions required for new build huts on the site.

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Many of the major stakeholders mentioned in the design later were mentioned by Adele in her inputs and this information was key in shaping the outcomes of the project and shortlisting the stakeholders who need to be involved in the same, as well as detailing of some of the technicalities like sewage and water on site.

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LEGACY OF FALKLAND ESTATE AS HOSTING SITE The consolidated timeline of Falkland Estate shows how it has been a canvas of change for multiple guilds of people over the years. The common intension among the guilds was to develop the land into something betterwhich would also serve their purpose

CHANGE

R E G E N E R AT E

I N I T I AT I V E 107

HOST

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ST E WA R D

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W

oo

dl

an

d

Hu

Materials and food

b

Maintenance and care to woodland

Construction material, 昀椀rewood and food

Maintenance and care to farmland

S

W

VIE

OPPORTUNITY: Fully built and unused

Sta

ble

s

Falkland

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LOCATION POTENTIAL Looking at West昀椀eld in the greater context of Falkland highlights the fact that it is centrally located to the woodland and farmlands, to the important sites in falkland and to all the natural attractions sprinkles around the estate. This inturn becomes West昀椀eld’s biggest potential.

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NEED WITHIN BUILT COMMUNITY TO TRANSITION TO LOW-CARBON MATERIALS

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NEED WITHIN BUILT COMMUNITY TO TRANSITION TO LOW-CARBON MATERIALS: CONSTRAINTS FACED BY INDIVIDUAL ARCHITECTS CASES

Case 1

Case 2

The by Christina Godiksen on 27th February 2025 highlights the problems that individual researchers face when working with new materials: the testing process and approvals take too long and is usually outside the capacity of the individual or team. This needs an organisation who can speci昀椀cally lobby for such certi昀椀cations so that research work can be smoother; This idea is integrated in design by having the of昀椀ce which stays in direct contact with stakeholders on behalf of the participants

Review of Urban Mining study by the year 1 student in Digital Craft in Architecture on December 12 2024 highlighted the possibility of considering sites as quarries becfore being approached by reclamation sites. This allows for carbon saving in reuse process; This also highlights the importance of site context study in terms of material characteristics identi昀椀cation and mapping

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GROWING POPULARITY OF REGENERATIVE THINKING IN DIFFERENT PROFESSIONS Once the construction of The ReFrame Residency is completed, the program guild will expand to include professionals from many other 昀椀elds and not just the building industry. The common feature amongst the people selected for the residency at Falkland is their interest to shift towards the regenerative paradigm either within their 昀椀eld or outside. This vision can be backed up by data from newspapers in the past which show the rising interest in regenerative thinking in various different 昀椀elds like agriculture, forestry, music and even the healthcare sector.

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SUMMARY OF PROGRAM OBJECTIVES

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Building with the Community

Hosting Regenerative professionals across all fields

Funding from sponsors from varied fields

Initially, the program guild and the construction guild of the project will be

By inviting people with similar goals and

Suppliers and professionals from around Falkland can be involved in the gallery

passion, a very creative and inspiring environment is created, buzzing with new

the same: Local community involved in workshops will practically test solutions on the built space and best ones will be adapted. The space

and can absorb the innovative

groundbreaking ideas

ideas for future public use in other projects they serve

remains dynamic

Using the Built Project as a Demonstrator Project for Reuse and Alternative Material Use/ Research Focusing on the immediate need in the building community,

the project will illustrate the potential of a regenerative project in a setting like Falkland Estate; an

example

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Linking Stakeholders through Project-based Potential Linking focused groups of

stakeholders depending on ongoing projects in the space- ensuring stakeholder relationships that are more permanent

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ReFRAME RESIDENCY :Actioner Mixed broadleaf and conifer plantations Companion Farming established and in full swing By-products used in construction and the product used by the Falkland Estate Full system of stakeholders established who are involved in primary exchange with Falkland

MATERIAL SOURCING TIMELINE The timeline for the procurement of materials and the establishment of stakeholder networks is visualized in terms of the project phasing timeline.

EXISTING These ideas also directly play into the cost of the projects in these stages:

- Conifer Plantations - Large Pastures Currently bene昀椀tting neither human nor land

Existing

Stakeholders not identi昀椀ed or mobilised

Reframe hut: Hardly any cost incurred by Falklandmostly upto the researcher

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Stage 1 Residency: Low cost, possible for Ninian or the trust to mobilise with fundraisers or grants The ReFrame Residency: Self relient in producing income and construction guilds necessary for project completion; also uplifts the other establishments on site

ReFRAME HUT: The Scavenger Understanding available material and how it can be used regeneratively: Wandering and collecting samples Stakeholders identi昀椀ed but no real strength to mobilise them

ReFRAME RESIDENCY STAGE 1: Enabler Conifer Plantation: To be converted into broadleaf mixed plantation Farmland: To persue companion farming Use current waste material in design + enable these changes to happen quicker Stakholders starting to be mobilised- extended upto Fife borders and involving mainly local community

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FALKLAND SYSTEMS WITH HOSTED! RESIDENCY The addition of the Hosted! ReFrame Residency systems to Falkland Estate’s exisiting ones removes the imbalance between the different aspects, for example, Utilising the enormous natural resource available, the project brings in new 昀椀nantial systems which is crutial for the Estate.

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S tewa rds h i p o f S tewa rds hi p

PROJECT TETRAD

Compared to Falkland and West昀椀eld

Vo cati o n o f P l a ce C a nva s o f C h a n ge I n i t i ati ve f ro m t h e p a r ti ci p a nts a n d h o sts S tewa rd o f th e p l a ce a n d re s o u rce

Roya l Pa l a ce .

L a n d S ove re i g nt y.

B i o re g i o n a l C e nt re

Falkl an d

Awa ke ni ng ki ns h i p bet we e n pe o p l e a nd pl a ce .

T i m e B i ndi ng : I nte rge ne rat i o n a l I n he r i ta nce A n ew e co - s o ci a l co m pa ct Credits: Ja ke, 20 23

H osted!

P l ac e S o u rc e d Po tenti a l Transition al l o cat i o n wi th a c c e ss to am en i t i es Ab an d o n ed ex i st i n g b u i l d i n g fo r re u s e Proximity to M as p i e d en a n d co n i fero u s fo rest La rge o p e n f i e l d ava i l ab l e to wo r k Direct footp at h s to al l p l a c e s w i t h i n a n d o u t s i d e s i te

T h e ReF ra m e Res i d en c y

Mutu alis m Cu rios ity and Initiative G enuine Interest In c u lcating Community goals

Transitional Location Available infrastructure Canvas of Change Exisiting Materia ls N atural Contex t-farm ing and forest

We st f i el d

Bringin g in stakeholders and grant s Un derstandin g systems / H istor y Marketin g Involvin g L ocal commun ity

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Re i nstate We st fi e l d i nto Fa l k l a n d Rev i ve H e r i ta ge Enga ge wi t h co m m un i t y, co ntex t Knowl e d ge a nd s k i l l s ha r i n g , ho st fo r stewa rds h i p

Rege nerat ive C apabi li t y Put Fal kla nd on t he ma p in a bi g way B en efi t for use r a nd t he use d Usi ng arc hite ct ure and const ruc ti on as s eed capt ial for ac c el erate d g row t h

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C o - Evo l v i n g M u tu a l i s m B r i n g i n g to geth er p eo p l e f ro m n o t o n e b u t m a ny p ro fe s s i o n s Wo r ks h o p gath er i n g th e l o ca l p eo p l e a n d a r t i sts S ta keh o l d e r s u p p o r t I n i t i a l g ra nts

Credits: Jessica, Joeizha Jahnavi, Shanaya

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DRAFT PROPOSAL CONSCIOUS DECISIONS INFORMED BY THE PLACE ABOUT HOW TO REUSE

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PROPOSED OVERALL ZONING HOSTED! THE REFRAME RESIDENCY

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The overall design mainly has two languages: The residential and work spaces which are retro昀椀t into existing structures follow their language and the gallery spaces and community centre then ties all these spaces together and sits in contrast with the language of the site, however still respecting its methods of construction and logic; these spaces are highlighted in blue. The master planning also places a great deal of importance on the fact that West昀椀eld is centrally located to the farmland, woodland and sites of interest around Falkland when organising spaces and thinking of the materials to be used.

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THE ACTUALIZER

INTERIM STAGE

ReFrame Residency

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CONCEPTUAL ZONING HOSTED! THE REFRAME RESIDENCY PHASE 1

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Phase one of the project requires minimal intervention and a design that can sustain itself as a standalone prototype of the larger program in case the client fails to mobilize the costs required for thr project. The strategy is to intervene into the best maintained part of the site and reduce the amount of groundwork required to get the project started. The interventions on site will also happen in strategic places, for example, the extension of the house is removed which will have structurally less implications than if one were to change any other portion of the dwelling. The biggest challenge faced here was the orientation of the exisiting house being backwards; the design deals with this by splitting the house into two parts: one used as a dwelling of the current resident of West昀椀eld who will be moved and the second used as a studio space and workshop as part of the residency design.

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BRATTLEBORO CO-OP; EVOLUTION

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Casa Familiar and Teddy Cruz The Brattleboro Co-op project emphasizes that the physical building is of secondary importance; instead, the focus lies in the social connections and meaningful work that the co-op facilitates. It acts as an instrument of co-evolution, where initiatives such as the request for a food co-op and buying clubs help shift the market toward supporting local producers.

This market shift helps reinvigorate the grassroots mindset and cooperative ethics, leading to the establishment of a committed community institution.

Learnings The learnings from this project highlight two key insights.

First, promoting local farming and food culture through the market fosters green behavior, reduces reliance on high-carbon supply chains, and helps build a non-displaceable community entity.

Second, there is an opportunity to expand the co-op model to include local businesses, organizations, and other food cooperatives, thereby strengthening the local ecosystem and creating a broader, sustainable network of collaboration.

Case study

Design for the Evolution of underlying Systems and Grassroot Mindsets

DESIGN INTENT HOSTED! THE REFRAME RESIDENCY PHASE 1

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The draft proposal for the interim stage design is detailed in the image on the left

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DESIGN STRATEGY HOSTED! THE REFRAME RESIDENCY PHASE 1

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1.

2.

3.

EXISITING

REMOVE

ADD

Towards the east of West昀椀eld steading and on the way to it from the Stables is a derelict garage and the house of the previous tenant. Since the tenant is moving away from Falkland, the well-maintained house is available to use

The extention of the house is removed and two walls of the garage facing north and south, which initially had large 昀氀oding doors are removed to make space for new additions to the site

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The studio and workspaces pierce through the exisiting house like a box, utilising the existing kitchen as the new kitchen for the residency. The garage is extended towards the North to add dormitory rooms and a small library inside and the spaces are connected by a winding pavilion which is also used to display the works and works-in-progress of the users. The space towards the west of the dormitory and surrounded by apple trees is used for bigger prototypes and is called Sculpture Garden

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KEY 1- Vehicular drop-off point 2- Main entry to dormitory 3- Library and lounge 4- Shared toilets 5- Dormitory 1 6- Dormitory 2 7- Dormitory 3 8- Ramp access to studio spaces through pavilion gallery display- store gallery 9- Steps access to studio space through pavilion 10- Studio 11- Exisiting kitchen 12- Workshop 13- Outdoor workstation (昀氀at) 14- Access to 昀椀rst 昀氀oor 15- Exisiting house retro昀椀t as residence of Tom who currently stays in West昀椀eld 16- Outdoor work areas 17- Sculpture garden- store gallery 18- Possible parking for 2-3 cars

13 16

12

15

+0.00m

14

11

6

7

10

5

4

3

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+2.00m

17

18

2

8

9

1 Access from Stables Note: Design +0m refers to +125m on site

0m

3.125m

9.375m

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2 3 +3.00m

1

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KEY 1- Studio bedroom 2- Ensuite from exisiting bathroom 3- Access to 昀椀rst 昀氀oor Note: Design +0m refers to +125m on site

0m

3.125m

9.375m

FIRST FLOOR PLAN DS3| Jahnavi J| 19272222

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SOUTH FACING ELEVATION OF PHASE 1 DESIGN

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Refer pavilion details page 131

Refer load paths page 179

Refer model images page 183 and page 132-133

Refer typical wall section details page 130

Refer stakeholder and material details page 128

DETAIL CROSS-SECTION OF INTERIM STAGE HUT The garage currently on site is converted into a dormitory by extending towards the north.

The details for the new build vary slightly from the retro昀椀t details owing to lesser contraints from the site itself.

126

In order to utilise the level drop on site as an opportunity, the walls of the extended hut are slightly offset to the roof line, creating a shaded portico which acts as a bench for sitting when one walks down onto the ground. Since the space outside is meant to be for working and live testing, the portico offers respite to the users to take a break in the middle of a workday.

KEY PLAN

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AREA STATEMENT AND COMPARISON OF TYPE DISTRIBUTION Hosted! The Reframe Residency |The Actualizer

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MATERIALS

Clay pantiles used for dormitory roof

Cedar shingles for pavilion roof and 昀氀at roof

Spruce for studs and battens

Trust

Douglas 昀椀r for structural timber

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Users

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STAKEHOLDERS

Mentors

Reuse of roof truss removed from steading

Straw for insulation

INTERIM STAGE MATERIAL PROCUREMENT AND STAKEHOLDER GUILDS The interim stage esentially establishes the material cycles envisioned for Falkland estate in place. The conifers that are removed during forest management are used for construction and the farm activity after being reinstigated provides materials for insulation.

The vision behind the interim stage is simple: It is a low cost simple construction which introduces people to Falkland’s resources and opportunities.

At this stage it is of utmost importance to collaborate with the Falkland Estate Stewardship trust to invite the local artisans and craftsmen to become mentors for apprenticeships on site. Since the construction method is simple, the project can be achieved by a guild of people training in speci昀椀c 昀椀elds under the guide of an expert. Integrating the program and construction guild reduces the pressure on the program to include other income generating spaces.

The interim stage has all the facilities to become a standalone project, aided by the fact that the mostly well-maintained house on site will require very less efforts to retro昀椀t according to passihaus standards. It only expands and adapts to become an of昀椀ce space once the main design is complete.

It then serves as a base for actualisation, providing direct connection for the residency participants with the outside world of stakeholders and certi昀椀ers.

Sandstone reused for foundation

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PROCESS: ITERATION TO DESIGN Hosted! The Reframe Residency |The Actualizer

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Reused clay pantile 375x250mm 50x25mm timber battens at 300mm c/c 75x12mm spacers on rafter Damp proof membrane pinned to rafters 200x75mm rafters at 600mm c/c Lead gutter with pro昀椀le bent to shape as required at rafter edge 19mm thick oak wood slats as external 昀椀nish to hide gutters 50x12mm spacers underside of rafters for attaching roof panels; creates void for electric wires 15mm thick beech wood roof panels at 1200mm c/c 200x300mm ring beam 125mm strawcrete panels upwards of 600x600mm in size, encased in 12mm th timber framing for support 175mm straw insulation bats cut to size required on site for thermal and acoustic insulation 15mm woodwool board for adhesion

WALL SECTIONAL DETAIL MATERIAL TEXTURES

20mm Lime harling on the interior 15mm Lime render on the exterior 昀椀nished with 15mm thick oak wood slats as exterior wall 昀椀nish

In the new build, in order to achieve good thermal comfort and indoor occupant comfort, two layers of insulation are used: 1- Strawcrete panels 2- Straw insulation bats

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The combination of the two ensures sound proo昀椀ng and heat proo昀椀ng on exterior walls. The interior non-load breaing walls are insulated with cast-on-site strawcrete between the stud wall construction. The model shows the typical wall detail in the 1:5 scale, revealing the layers of construction.

130mm limecrete 昀氀ooring with 20mm screed 昀椀nish

150mm foam glass as insulation and base support for limecrete 昀氀ooring 200x300mm ring beam at column base

RADIX screw pile at min.600mm offset from existing stone walls with 20mm steel base plate for attachment to column to min. depth 1000mm

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2.

3.

1.

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PAVILION JONIERY DETAIL SANDSTONE AND WOOD 4.

In order to construct the pavilion connecting the studios and dormitory spaces, a stone foundation is used by reusing the stone that will be available when the walls are demolished for the 昀椀nal phase of the Hosted! residency. The joinery between the stone and timber is crude and dictated by the material available but the inspiration comes from japanese joinery techniques. A test was conducted to see how the materials sit together:

The vision for the same is to invite the craftsmen from around Falkland to be part of the project by conducting apprenticeships here in the summer where they construct the pavilion as part of a live project, thus integrating stakeholders and creating construction guilds from program guilds

1- Materials collected from site visit 2- Sandstone from site cut to form by a diamond blade with water jet 3- Timber from site cut to form by bandsaw 4- Proposed joinery

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Strawcrete

1.

4.

TEST 1 The aim of the test was to see how straw behaves in comparison to hemp when used in the same ratios to make strawcrete: 132

1- Starting material: straw and hemp 2- Equal quantities of each considered, used directly as available; no processing 3- Mixes with similar quantity of lime and water 4- Hempcrete and strawcrete blocks formed

2.

5- Hempcrete(above) and strawcrete(below) textures From Test 1 it was possible to understand that straw 昀椀bres are longer and would need to be cut to size before attempting to make the blocks. The texture of the straw is smoother and hence it either requires more lime binder or an additive to be able to hold itself together like hempcrete

3.

5.

Strawcrete

7.

a.

b.

TEST 3

c.

6.

The most common binder in hempcrete is meta-kaolin which is obtained when you 昀椀re the commonly available kaolin clay at high temperatures. Owing to the 昀椀ring process, meta-kaolin has high carbon content and is unsuitable. However, being objects made from 昀椀red earth, bricks and clay tiles when powdered can be a good substitute for meta-kaolin. Another material with similar properties is 昀氀y ash which is obtained by wood burning. Although having a similar high carbon content, due to the use of wood burning oven on site, the use of 昀氀y ash in strawcrete can create a cycle of zero waste and end up reducing the overall carbon footprint of the project.

d.

TEST 2

7- Test 3 used both powdered tiles(left) and 昀氀yash(right) as binder with straw and lime in the ratio of 8:1:1 straw: lime: binder. The results were similar and produced bricks which were of passable quality compared to hempcrete. Further material tests can con昀椀rm or deny the same.

In test 2, the effects of straw length and amount of lime binder was tested.

6- a and b used longer straw 昀椀bres; c and d use shorter 昀椀bres. a and c have normal lime content; b and d have higher lime content than what is normally used for hempcrete.

8- Textures of strawcrete with powdered tiles (left) and 昀氀yash (right)

The block with shorter 昀椀bres held itself together the best. However, although the block with higher lime binder had a better coating of binder on each strand, it became very brittle after drying, a drawback of using too much lime in the product. This revealed the need for another additive with lime for better coating and more rigidity in the end product.

MATERIAL STUDY CONCLUSIONS After all the tests conducted, the 昀椀nal mix that was used in the design is of straw: lime: binder (either 昀氀yash or powdered tiles/bricks) in the ratio 8:1:1.

Further testing is needed to con昀椀rm the material characteristics speci昀椀cally for the substitute of hemp with straw but for purposes of this project and with the limitation of time, it is considered that the u-values and insulation properties are similar to hempcrete.

Construction methods typically used for hempcrete is borrowed and applied for strawcrete which appears in the project as both cast-in-place strawcrete and as panels of size 600x600mm encased within a timber framing structure. (credits: FutureBuild)

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Wheatex

WHEATEX PRODUCT PROFILE

Of the materials considered on site from the farmland, hemp was an unlikely product to introduce in Falkland just for the sake of its byproduct’s use in the design . Straw was a good alternative with many ways of using like straw bale wall construction, light earth or a similar mix with straw like hempcrete.

Along this line of thinking, Wheatex was an ideal product found in the 2025 FuturBuild expo in London because of its innovative technology of using straw to produce thermal and acoustic insulation bats.

The manufacturers were contacted during the process of the design and samples of the product was procured for the sake of understanding the material better. Refer the model details pg175 for detailed images of the same.

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Low thermal conductivity: Enhances energy ef昀椀ciency by minimising heat loss or gain through walls and 昀氀oors.

Acoustic performance: Reduces noise transmission, creating a quieter and more comfortable environment.

Flame resistance: The surface chars and hardens, extinguishing the 昀氀ame once the heat source is removed. It does not spread, melt, or release toxic fumes.

Breathable: Ensures long-lasting performance, even in damp or humid conditions.

Air-昀椀ltration: Enhances indoor air quality.

Easy to install and cut to size: Simpli昀椀es installation, allowing for precise 昀椀tting in any space without releasing dust or microplastics.

MATERIAL PROPERTIES:

Non-directional 昀椀bre structure: Optimizes absorption, boosting overall insulation

Considering the technical data provided by the company, Wheatex is an excellent product, especially for use in historic retro昀椀t projects.

Retro昀椀t of old buildings made with natural materials requires breathable insulation and render materials to avoid problems with moisture and wheatex provides an ideal low carbon and natural solution for the same. The thermal conductivity is very similar to foam (at 0.02 W/ mK) and hence one does not lose out on the insulation properties when making the shift to straw based insulation bats; providing an environmentally conscious material solution for the design.

performance.

Circular: Made from waste materials and fully recyclable.

Lightweight & Durable: Reliable, maintaining performance and effectiveness over time.

Safe & Non-toxic: Free of VOCs and chemicals, no irrertants for human and animal contact and respiratory health, making it a safer choice for both workers and residents. credits: Agreka Build website

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THE ACTUALIZER

FINAL STAGE

ReFrame Residency

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CONCEPTUAL ZONING HOSTED! THE REFRAME RESIDENCY PHASE 2

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Phase of the design involves the changes made to the actual steading on site. The completed interim stage functions at a small scale as the Hosted! Residency until the main steading is capable of inhabitation. The process starts from the residential side in order to 昀椀rst expand the capacity of users and then slowly the other parts of the design are completed. The process will involve live testing and demonstrations by participants and the most ideal solutions will be implemented on site. Hence, the design will evolve naturally when the space is used as envisioned. During this stage, the material cycles established in phase 1 will come to reap bene昀椀ts and the harvests will be used in the design process to complete the cycles. The systematic approach ensures that the project remains functioning at capacity at any given point of time. Once the main building is retro昀椀t, the smaller scale phase 1 intervention will serve as an of昀椀ce for people lobbying for testing and certi昀椀cations/ patents, ensuring the success of Hosted! ReFrame Residency.

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RETROFIT STRATEGY RESIDENTIAL AREA

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RETROFIT STRATEGY CENTRAL GALLERY SPACE

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RETROFIT STRATEGY WORKSHOP AREA Hosted! The Reframe Residency |The Actualizer

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DESIGN INTENT TRANSITION FROM EXISTING TO PROPOSED STRUCTURE

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1.

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EXISITING

REMOVE

ADD

The existing condition of West昀椀eld with dilapidated structure, inaccessible spaces due to the roofs collapsing and overall abandoned space in a location with utmost potential to integrate activity in Falkland Estate

Removal of the two main spaces in the middle and thereby opening up the space at the intersection of the access roads creates a celebrated entry to the site and creates unobstructed tunnel views to farmland and woodlands around

The gallery space added in a middle becomes an anchor not just physically but also metaphorically in terms of the program of the space. As illustrated in the stakeholder cycle in the interim stage, the project will fail without an outlet to display work within the residency to the outside world; the structure will remain as two disconnected elements without the central gallery

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MAKE SPACE 141

MAKE SPACE WHAT SHOULD YOU CONSIDER IN A SPACE FOR ‘MAKING’ In the design process, the book ‘Make space’ was crutial to spatial understanding in the project. Being a loose昀椀t retro昀椀t project, the spaces did not have a permanent furniture con昀椀guration to follow. The project’s aim is to allow people from different sectors to participate in the residency. The variation in the guild of people using the space at any given time makes it impossible to design for a particular activity. The book however describes how to make spaces for ‘making’. These conscious considerations make the space feel purposeful and designed instead of leavong them as empty shells for people to adapt later on.

The spaces considered in the design are highlighted in the photos above for reference.

Case study

FUTUREBUILD 142

LOW CARBON MATERIAL USE IN FUTUREBUILD KEY TAKEAWAYS Having been to FutureBuilde summit for two years in a row, mapping the development in the low carbon building materials could be traced: - The industry is moving at an extremely fast pace in terms of innovations in low carbon materials and this has seeped even into conventionally higher carbon material production like bricks and concrete - Material passorts were being discussed as a possibility in 2024 but in 2025 they were already a standard and a requirement for the retro昀椀t projects happening - Multiple establishments were now providing retro昀椀t services for home owners for self build - Hemp and straw are extremely popular low carbon materials at the moment because of their carbon eqestration properties, ease of growth and processing and insulation properties similar to foam products -Wheatex was the FutureBuild Innovative product of the year - Multiple construction details were on exhibit and were used as inspiration in design process; especially having seen and heard about the process of construction in real life - Material samples were collected which can become potential stakeholders for Falkland’s project

Case study

ARNAU ESTUDI D’ARQUITECTURA,OLOT, SPAIN The Chicken Coop, designed by Arnau Estudi d’Arquitectura in Olot, Spain, is a thoughtful adaptive reuse project that transforms a former chicken coop into a serene workspace. This 51 m² structure harmoniously integrates with its natural surroundings, emphasizing material textures and the framing of views.

Material Textures: The renovation maintains the rustic charm of the original structure while introducing contemporary elements. Natural materials like wood and recycled paper are prominent, offering a tactile and warm interior ambiance.

The use of recycled paper for drawings and the presence of wooden benches contribute to a minimalist yet cozy environment. These materials not only re昀氀ect sustainability but also resonate with the building’s history and the surrounding landscape.

Framing of Views: Large windows are strategically placed to capture the beauty of the surrounding landscape, allowing occupants to observe seasonal changes and wildlife. The design encourages a deep connection with nature, as described by the architects: “We watch the seasons and life go by through the window while we know that this little paradise is just a lucky fragment of the broken mirror of life.” This intentional framing transforms the windows into dynamic artworks, constantly changing with the environment.

Overall, The Chicken Coop exempli昀椀es how thoughtful design can repurpose a simple structure into a space that fosters creativity, tranquility, and a profound connection with nature.

The Chicken Coop

THE CHICKEN COOP

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Case study

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KEY 1- Oudoor pavement 2- Cul-de-sac for vehicular drop-off 3- Central landscape feature 4- Oudoor discussion area 5- Landscape buffer 6- Accessible entry 7- Main entrance to site 8- Stairs emulating chicken coop access to 昀椀rst 昀氀oor 9- Intergrated landscapping with stairs with signages 10- ‘Know your space’ display 11- Main cafe counter 12- Cafe seating; can convert to extended gallery 13- Gallery/ Community centre space 14- Permanent displays and store 15- Wall display and shelving for sheets 16- Transition corridor 17- Existing livestock feeders converted into planter boxes 18- Accessible entry to store gallery 19- Store Gallery 20- Floor to ceiling glass windows opening to farm at the back 21- Escape room 22- Toilets 23- Main Public toilets 24- Residency entrace 25- Accessible entry to residency 26- Shoe and cloth racks 27- Ground 昀氀oor lounge

28- Day lounge 29- Access to First 昀氀oor 30- Ground 昀氀oor studio 1 31- Ground 昀氀oor shared toilets 32- Ground 昀氀oor convertible room 1 33- Ground shared toilet between convertible rooms 34- Ground 昀氀oor convertible room 2 35- TV lounge 36- Library 37- Work desks 38- Kitchen 39- Utility room 40- Utility toilet 41- Counter space/ transition 42- Dining room 43- Common toilet 44- Ground 昀氀oor large studio 45- Cul-de-sac space 46- White room 47- Workshop 48- Plant room 49- Machine workshop 50- CNC space 51- Dark room 52- Printers, machines and utility 53- Kiln space 54- Storage 55- Retro昀椀t stone hut 56- Retro昀椀t wooden hut

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Access from Falkland Village 54 53

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7 8 KEY 1- Entrance display on 昀椀rst 昀氀oor 2- Small studio 3- Lounge 4- Access from ground 昀氀oor 5- Peanut gallery 6- First 昀氀oor studio 1 7- First 昀氀oor shared toilets 8- First 昀氀oor studio 2 9- First 昀氀oor lounge 10- Access to attic space

11-First 昀氀oor ensuite 1 12-First 昀氀oor ensuite 2 13-First 昀氀oor ensuite 3 14-Main Entrance staircase from outside emulating chicken coop entrance in the past

14

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1- Attic studio room 1 2- Shared attic toilets 3- Attic studio room 2 4- Attic lounge 5- Access from 昀椀rst 昀氀oor 6- Attic ensuite room 1 7- Attic ensuite room 2 8- Attic ensuite room 3

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ACCESS TO SITE KEY VIEWS

1- Access to the site from the trail routes going up to the Temple of Decision and Tyndall-Bruce Monument.

Following these routes further, one can reach Woodland hub and Kilgour as well

1.

2.

2- Access from Falkland Village directly without entering from near Stables. Leads to a winding route along the Maspie den walk and slopes up towards vechicle route from Falkland village: Hill road. Further down this road leads to expeditions on Lomond hills 3- Main access route from the Stables, Falkland House School, Field of Learning, Cricket pitch, Pillars of Hercules and Organic farm. This will become the main vehicular access route to the site, utilising parking at Pillars of Hercules 4- Site as seen from ‘Talking Stines’; the drywall etched with local words leading from Pillars of Herculese cafe to Hosted! Residency

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NORTH FACING ELEVATION HOSTED! THE REFRAME RESIDENCY PHASE 2 Hosted! The Reframe Residency |The Actualizer

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KEY PLAN Refer load paths page 178 Refer landscape design page 167 Refer roof design page 165

Refer typical truss section page 175

Refer cross section model page 149-150

Refer furniture detail sheet page 169 Refer design of truss page 165 Refer lighting and ventilation page 181,184 Refer stakeholder details page 152-153

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Refer escape room details page 168

DETAIL CROSS-SECTION OF CENTRAL GALLERY SPACE The central gallery space is roofed by a portal truss, connected to the retro昀椀t space with a corridor. The corridor roof completely tranperant with skylights and is a transition space. Clerestory windows provide ventilation for the spaces and provide good indoor air quality. Slit windows in the gallery space walls brings in the outdoor nature to the interior space.

All details are referenced in later pages for better understanding of each aspect of the space.

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1.

2.

DETAIL CROSS-SECTION MODEL OF GALLERY SPACE 1- North elevation with stone wall and clerestory window detail. This also shows how the newly built timber structure continues the existing stone architecture 2- View of the connecting corridor and the Escape room in section showing the details of construction 3- View of the gallery truss from inside after it is 昀椀nished with sheathing slats; viewing the structure through a screen 4- Details of the sheathing slats which act as interior roof 昀椀nish for central gallery space Bottom- Model elevation looking towards design west

3.

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4.

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5.

6.

DETAIL CROSS-SECTION MODEL OF GALLERY SPACE 5- South elevation showing the existing stone wall, the landscapping on the outside and the construction details of the gallery truss wall and roof with gutter 6- Top view of the Escape room roof which shows the layers of roof construction in new build 7- View of the gallery truss from inside before it is 昀椀nished with sheathing slats 8- Close-up of truss section showing the height difference between top of existing stone wall and truss roof- space used for ventilation of gallery 150

Bottom- Model elevation looking towards design east

7.

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8.

Hosted! The Reframe Residency |The Actualizer

Located in Ageo, Japan, this warehouse and of昀椀ce space for a machinery parts trading company is characterized by its exposed timber gable roof and innovative use of natural light. The building features a full-length skylight, allowing sunlight to penetrate the two-story interior. A suspended tent beneath the skylight diffuses the light, re昀氀ecting it onto the ceiling and creating a comfortable working environment. The diamond-shaped void formed by the timber roof truss acts as an environmental 昀椀lter, aiding in temperature regulation by channeling warm air during winter and exhausting heat in summer

SUNPU CHURCH

AGEO WAREHOUSE ARII IRIE ARCHITECTS, JAPAN

Situated in Shizuoka, Japan, the Sun-Pu Church is a minimalist, windowless structure designed to provide a serene space for worship. The church’s interior is lined with horizontal pine slats, and its thick walls and ceiling are insulated to block external noise from the adjacent railway. Natural light enters through slits in the ceiling and sidewalls, creating a gauzy, ethereal atmosphere within the sanctuary. This design choice ensures that worshippers are enveloped in a tranquil environment, free from external distractions

Ageo warehouse Sunpu Church

AGEO WAREHOUSE

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LIGHT QUALITY

SUNPU CHURCH TAIRA NISHIZAWA, JAPAN

Both projects masterfully manipulate natural light to enhance their respective spaces. The Warehouse in Ageo utilizes a full-length skylight and a diffusing tent to evenly distribute light, fostering a bright and comfortable workspace.

In contrast, the Sun-Pu Church employs strategically placed slits in its ceiling and walls to introduce soft, diffused light, cultivating a contemplative and serene atmosphere.

While the warehouse’s design emphasizes functionality and energy ef昀椀ciency, the church focuses on creating a spiritual and introspective environment through its nuanced lighting.

Case study

STAKEHOLDER INTEGRATION

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ETWORK Hosted! The Reframe Residency |The Actualizer

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REUSED ON SITE

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CO E NN

Beech for interior panels, slats and furniture

FROM THE FARM

Oat straw for insulation

Woodland hub reinstated as sawmill and base for material processing

N ON EC T

C

Pillars of Hercules to serve the 昀椀nal cafe on site and hence the design helps develop current establishments

Farmland cycle mainly affects the areas around the West昀椀eld steading but the main farm activities are shifted to the organic farm and construction material is harvested to Hosted!

Larch for structural wood

The central truss has multiple layers which all use different types of woods from the Falkland foreset depending on the availability and use in the design as structural or interior applications

Cedar shingles

Field of learning becomes key space for larger outdoor gatherings from site

Artists and activities in Sables are effectively integrated into Hosted! program and project helps develop these

Kilgour imaged as extension of Hosted! and used for materials

SYSTEMS INTEGRATION

Organic farm is reinstated and used for store of new materials produced from the Farmland Cycle

Trail spots will recieve more regulated traf昀椀c once the residency is in full swing and awareness is created

154 Woodland cycle mainly affects the site close to West昀椀eld and Chance昀椀eld which is close to woodland hub; The material hub of the project

FROM THE WOODS

Coppiced oak for studs and supports like battens

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Scots Pine

Mixed Conifers

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Larch

Inspiration for illustration: Material Cultures

WOODLAND CYCLE

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Mixed broadleaf and mixed conifers for red squirrel habitats Phase 1 Felling 2014-2018

Phase 2 felling 2019-2023

Phase 3 Felling 2029-2033

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Inspiration for illustration: Material Cultures

FARMLAND CYCLE West昀椀eld in the pastHome farm steading

5.2% 5.9% 3%

Greenhouse

Oats

Hay

Potatoes

Barley

Turnips

Wheat

34.1% 18.5%

Cabbage

10.4%

23%

Farming stops because of new technology and deterioration of West昀椀eld

West昀椀eld

Tom’s plants

Replenishing the soil in West昀椀eld for ef昀椀cient yearly farming

Introducing pea as third crop (any legume for cold weather)

Labour and care for farm from people and occupation for people

Fertilizer

Income

Demonstration and education for local farming community

Food and other byproducts

Life cycle

PEA TURNIP

OATS

Wastage

Composted Organic matter

Composted Organic matter

Food and other byproducts

Tom’s plants and Greenhouse

COMPANION FARMING

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Reintroduce Oats and Turnips (any grain with lroot vegetable)

Current West昀椀eld Farm

Fixing nitrogen content in soil Wheatex- straw bricks for insulation Breaking up the soil in deeper parts Strawcrete

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Life cycle

end of life span

Re-processing and reuse Lime

Fly ash

Processing

Powdered tiles/brick

LOCAL COMMUNITY

WALL CONSTRUCTION

Light Earth

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DESIGN ITERATION THROUGH MODELLING

1.

2.

3.

The design development starts with a simple folded plate with a large box cutting through it in the front and moving under the folded plate roof.

Works well with the geometry of existing roof but dif昀椀cult to integrate into existing site as is.

The addition of a 昀氀at roof between the folded plate and the existing roof aallpws for better integration but site appears too built up and there are multiple single use spaces which can be detrimental to 昀椀nal use of the spaces

The large box cutting through in the front is removed and the folded plate is allowed to turn and roof the back of the space; thus the front portion is fully opened up and is more inviting for users. Dynamic losse昀椀t spaces are imagined inside which is better for future use

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DESIGN CONCEPT

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DESIGN ITERATION 1

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DESIGN ITERATION 2

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AREA STATEMENT COMPARISON : ACHIEVING BALANCE

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Top left- Area Statement of initial iteration of the design Top right- Area statement of 昀椀nal proposal The comparison of the area staements from the initial developmental stages and 昀椀nal proposal reveals how the areas for different activities were balanced on site so that no particular activity has greater bearing on the overall program. The Hosted! residency is meant to run as an integration of Live-Work-Network and all three of these have equal bearing the in the success of the design.

For example, if the public space was higher as shown in the developmental stage area statement, then most part of the design would remain empty and unused for greater part of the year, eventually leading to the decline of the project. By integrating multiple functions like cafe/ gallery/ communnity centre to run in the same public space, the area is always bustling with one activity or another and will create continued interest for the occupancy of the project

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CONCEPTUAL ZONING HOSTED! THE REFRAME RESIDENCY PHASE 3

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The last developmental stage imaged for West昀椀eld includes a new build to the west of the current establishment which is meant to serve as the larger community centre and space for workshops and gatherings to happen. This phase of the design is left as a loose end to be developed in the course of the Hosted! residency itself. It is a purely self-designed and selfbuilt structure that is meant to develop over multiple testing stages within the workshops conducted in the residency. It acts as the perfect test bed for multiple projects to take off with practical site demonstration and help with quicker standards testing and certi昀椀cation.

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PROJECT TIMELINE VISUALIZED HOSTED! THE REFRAME RESIDENCY

The stills below show the project progressing through various phases and how the entire process is designed to be developmental. Within the stills of the project, certain individuals and materials are highlighted with their passports to give an example of the guilds and stakeholders involved at every stage. This comparative timeline reveals the regenerative design ethos behind the project.

PASSPORTS

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1.

2.

Interim phase: The hut present on site is retro昀椀t partly into a dwelling for moving the current stakeholder in West昀椀eld and partly into a studio and workshop. The garage is converted into dormitories and link to the studio through a winding gallery pavilion. This phase invites the local craftsmen and experts to come in and conduct summer apprenticeship programs where in they can quickly and costeffectively construct the simple structures with bespoke joinery rooted in craft. Material cycles are started and put in place.

Development phase: Once the Residency is in full swing with the smaller intervention near the hut, the income is invested back into slowly developing the bigger project for the steading itself. The project starts from the residential side construction and demolition of the other areas so that anyone coming into site can be accomodated better 昀椀rst.

Local residents of Falkland get involved in this stage to bring in suitable candidates and mentors for the residency. The project is running in small-scale and only local architects have stepped in still.

Material cycles are established and on-going.

Hosted! The Reframe Residency |The Actualizer

3.

Final phase for West昀椀eld steading: Once the construction for the residency is complete, participants are invited not just from construction 昀椀eld but other areas like music and art to work in the residency. Plans for a future extention of the community centre is in place and piques the interest of the built community in workshops. Material cycles have reaped bene昀椀ts and there is a greater overall integration of all systems surrounding the site. The small scale intervention that ran as the residency for 15 years is converted into an of昀椀ce lobbying for material testing and patents for projects developed within Hosted!

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DESIGN OF THE ROOF RULES DERIVED THROUGH SITE GRIDS

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2.

3.

The design for the gallery roof started with the idea of abstracting the existing roof form but still continuing the same methods of construction and maintaining the essence of the place. By alternatively mirroring the ridges, a design similar to folded plate was created. But the folded plate structure, although excellent in stability, has a tendency to roof linear spaces but the space of the gallery was required to be an L-form. In order to create the curve in the geometry and still maintain some order, overlapping grids were used to 昀椀nd anchor points to tether to. The grid was based on the tangible and experiential aspects that would get affected by roof design and the rule was to always end with a roof surface sloping towards an exisiting wall.

1-Grid of experienced site elements 2-Grid for intangible site elements from mapping 3-Overlapped grids with anchor points 4-Roof form

4.

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DESIGN OF THE TRUSS BENDING MOMENTS ON PORTAL FRAME AND REASONING BEHIND FORM

1.

Shape of the Truss: The outer shape of the portal truss is derived from the roof form.

Considering the bending moments on this frame, it is offset asymmetrically, making the joints with maximum bending moments to be thicker; this results in an ef昀椀cient design that saves material. Instead of a solid truss, this shape is envisoned as a system of parts that transfers loads as a single unit

3.

External Roof Covering: The layer of battens and cedar shingles on top further reinforce the roof and make it rigid against lateral loads. Every element added to the system is alternatively perpendicular to one other, making the 昀椀nal structure very robust

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2.

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Expanding to a system of trusses: Since the truss spans 10m and over, the thickness of timber needed is more than what is available locally. To overcome this constraint, the truss system has two layers of trusses acting as a single unit because of connections in between. This system is then placed alternatively mirrored to form the roof design. The folded structure has more structural stability than a 昀氀at roof and the interconnections at joints inherently also acts as lateral bracing making the system stronger as a whole than as a single unit

4.

Internal Roof Finishes: The inside part of the roof is 昀椀nished with beech wood slat which act not just as a screen, enhancing the lighting and experience in the space but also become the sheathing for the roof giving it additional rigidity against wind loads and bending moments

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Cone house

The Cone House by Trigueiros Architecture is a striking residence nestled on a hillside in a Swedish archipelago, seamlessly blending traditional craftsmanship with modern design. Its most distinctive feature is the complete cladding of the exterior— including walls, roof, and entrance—in cedar shingles. This approach draws inspiration from traditional Scandinavian techniques used in churches, showcasing how natural materials can be adapted to complex geometries.

The steep roof pitch, in昀氀uenced by the sloping topography, allows all three levels of the home to share elevated views of the island landscape. Inside, the use of waxed oak planking for ceilings and 昀氀oors, along with an oak staircase extending through the entire house, adds warmth and continuity. Large windows and a skylight permeate each space with natural light, framing views of the waterfront and enhancing the connection between the interior and the surrounding nature. The interior palette, featuring Swedish marble stones and white walls, complements the natural textures of the wood, creating a harmonious and contemporary living environment.

Overall, the Cone House exempli昀椀es how thoughtful material selection and attention to detail can transform traditional building methods into a modern architectural expression that is both functional and aesthetically compelling.

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CONE HOUSE TRIGUEIROS ARCHITECTURE, SWEDEN

Case study

LANDSCAPPING THE FRONT ENTRY HOSTED! THE REFRAME RESIDENCY The road from Stables in Falkland Estate, the one from Falkland village to West昀椀eld and the trail routes to Temple of decision and Tyndall-Bruce monument all meet at a point in front of West昀椀eld steading which becomes the main entrance to site. And since it is a large open space, it is important to consider the landscape strategy and how to soften the scale The front space is divided into two by a lanscapped bit with benches on one side and accessible entry and ramp on the other side. The landscape is envisioned not just as a buffer between the public and private spaces but also as a respite from the internal workshop areas which allows users to informally continue or start their conversations out in the open and amongst nature; truly heightening the experience of being in Falkland Estate

View of fro

nt space visualized

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FEEL OF SPACES AREAS INSPIRED BY ‘MAKE SPACE’ credits: Make Space

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PEANUT GALLERY The peanut gallery comes from theatres where people sat on mezzanine 昀氀oors eating peanuts and watching shows. It is esentially a corridor from which the viewer can see the work happening in the workshop without disturbing or being part of it. The design used the past chicken coop entrance as an entry to the peanut gallery, highlighting past use

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WHITE ROOM

ESCAPE ROOM

While in a workshop brainstorming, one would want to express and test their ideas out in multiple different ways.

Instead of being limited by a sheet of paper, the white room allows the user to draw on walls, the 昀氀oor and anything in sight

After working long hours on a project, the user might want to recuperate before continuing. The escape room is, as the name suggests, a space to espace the work. In contrast to the open work spaces, it is a small cozy private room for lounging and relaxing

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FURNITURE DESIGN

Since the central space behaves as a gallery, a cafe and a convention centre for workshops, it is important to consider the type of furniture used in the space. The gallery needs unobstructed open space, the workshop needs tables and chairs, a talk would need a bunch of chairs and the cafe needs permanent table and chairs. Seemingly contrasting, this issue is solved by integrating the chair as part of the table legs.

FURNITURE FOR DYNAMIC SPACES

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1- Integrated condition; solid; one unit 169

2- Chair being pulled out like a drawer 3- Open/ transperant table legs and free moving chair

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Possible Arrangements: a.Open gallery with tables for display b.Talk space with chairs and long table for display or snacks c.Divided workshop with two instructors d.Single large workshop with 4 tables of participants

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e.Single main central display with long benches f.Tables pushed to edges to create space for new central display object in gallery

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SIGNAGES IN THE WORKSHOPS SHARED SPACE SIGNAGES FOR EFFICIENT WORKING

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BEFORE YOU GO

Owing to the fact that most of the spaces in the residency are shared spaces, multiple people might be using the same desk and chair one after the other and in multiple different ways. It becomes essential to set some rules as to how the space needs to look before a person leaves so that shared making spaces can work effectively.

Inspired by ‘Make Space’ the signages designed within the workshops add character to the space.

The signages can be more detailed, letting the person know exactly where certain equipment needs to go or they can be simple like the example shown. Either way they create order and keep the space running effectively for longer.

THIS IS A SHARED SPACE -ALL CHAIRS GO UNDER THE TABLE -YOUR WORK GOES IN THE SHELEVS ON THE SIDE -RETURN ALL THE EQUIPMENT TO ITS PLACE -CLEAN YOUR WORKSPACE -RELAX

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TYPICAL WORKSHOP 171

FIRE ESCAPE AND ACCESSIBILITY STRATEGIES CONSIDERED FOR FIRE SAFETY AND SPECIALLYABLED ENTRY

KEY Fire exit First aid kits Break glass

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Flammable Fire Hydrant Accessible exit

Assembly point

Fire stairs

Fire exit routes

Emergency dial

Transformer

Fire routes

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ELECTRICAL LINES IN GALLERY TRUSS

KEY Removal of stale air from high activity area Pumping freshly heated air after heat exchange in unit Probable locations of solar panels Heated spaces MVHR sub units

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MVHR (Mechanical ventilation with heat recovery) units work by extracting stale air from areas in the design with higher activity and exchanging the heat with fresh air from outside to heat the space and conserve energy .

However because of limitation of ducting in a 5m radius around unit, a series of sub units operated by control system in panel room is opted

HEATING AND ELECTRICAL STRATEGY

ELECTRICAL LINES IN TYPICAL TRUSS

STRATEGIES CONSIDERED FOR THERMAL COMFORT AND ELECTRICAL LINES

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THERMAL COMFORT LEVELS COMFORT STANDARDS IN SCOTLAND AT DIFFERENT ACTIVITY LEVELS BASED ON ACTIVITY IN RESIDENCY Based on ASHRAE 55-2017 The psychometric chart is considered for the site for two different types of activities: -Standing with medium activity: For most part of the design’s life, the people in the residency or workshop are working and moving around and this is averaged to medium activity while standing -Seated with light activity: For the other part of the day after the work is over, the users will take time off and laze around in the lounge areas and this is averaged as light activity while seating

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Left top: Comfort conditions for medium activity while standing Left bottom: Comfort conditions for light activity while seated

For both, considering the conditions of light noticable wind and light winter clothing, the charts on the left hand side represent how the perception of comfort conditions changes with activity on site. Also noting that for most part of the year, the site has cold winter conditions, it is easier to cater for the workshop activity than the residential spaces.

Hence, the residential spaces are more insulated and heated but the workshop spaces open to the outside and require lesser efforts for similar comfort perception.

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VentaVolt, BiPVco and shine

PRODUCTS CONSIDERED PROFILES FOR SUITABLE PRODUCTS/ POSSIBLE STAKEHOLDERS

VentaVOLT 100% Off-grid streetlighting

Considering the fact that the location for West昀椀eld is not very accessible for heavier machinery or trucks to come up at large for digging and installation, the idea was to 昀椀nd lighting solutions that do not require the complex process of creating footing and drawing from grid electrical lines. VentaVolt at FutureBuild offers the ideal solution.

Relationship between Hosted!

Residency and Trigger Hut Project 174

credits:ventavolt brochure

Along the path of making West昀椀eld more self suf昀椀cient and less dependent on the grid, solar panel integration is crutial. BiPVco has the ideal integrated solar panel roo昀椀ng systems which could be used in West昀椀eld without spoiling the external aesthetics with over roof solar pv panels.

credits: shine website

credits: BiPVco website

The Trigger Hut project creates a space for potable wind turbines and solar pv for living the complete off-grid lifestyle. There is potential to integrate these ideas and take them further with the 昀椀nal stage of Hosted! Residency project where wind energy and solar power, although not generating all the energy required by the project, can complement the energy drawn from the grid and reduce the load on the electrical lines.

Japanese cedar shingle 610x350mm

Reused clay pantile 375x250mm 50x25mm timber battens at 300mm c/c

North facing skylight with proper damp proo昀椀ng, thermal insulation and sound proof; non-operable

Cor-A-Vent S400 roof vents 75x12mm spacers on rafter

Triple glazing for skylight

Damp proof membrane pinned to rafters Lead gutter with pro昀椀le bent to shape as required at rafter edge 200x75mm rafters at 600mm c/c

50x25mm battens at 300mm c/c with 50x12mm timber members as 昀椀llers 150x50mm timber spanning direction of portal truss slope at 600mm c/c

200x300mm beam supporting rafters 50x12mm spacers underside of rafters for attaching roof panels; creates void for electric wires 15mm thick beech wood roof panels at 1200mm c/c 19mm thick oak wood slats as external 昀椀nish to hide gutters 150x75mm timber members as supports for clerestory windows Clerestory windows; heat and sound proof glass

200x75mm timber spanning between truss end points/ joints For greater lengths of truss members- two members joined together with steel bolts oweing to limitations in procurement and material processing

Portal truss with outer layer as 150x75mm timber, inner layer as 100x75 members with min.300mm spacing (at thinnest points) to 800mm at thickest as two layers working together Clerestory windows; properly heat and sound proofed with triple glazing

150x75mm transfer beam from clerestory supports to internal ring beam at 600mm c/c 19mm wood plate for 昀椀nish in between transfer beams 75mm chamfer in existing stone wall for effective timber stone joinery aesthetic from outside 40mm wall plate drilled into stone wall for beam attachment 200x300mm ring beam attached to wall plate

50x12mm beech wood sheathing with 50x25mm supports at 300mm c/c 20mm timber plate between trusses for 昀椀nish 150x75mm coppiced oak members between truss for supporting wall panel and providing lateral bracing

600mm th existing stone wall 50x75mm stud wall between post-beam system; act as lateral bracing and support for strawcrete Existing windows

Lead gutter bent to pro昀椀le as per requirements and measurements on site

75mm ventilated air cavity between old and new wall construction 12mm coppiced oak wall board as backing for strawcrete 175

20mm th beech wood internal wall panels

225mm th strawcrete cast on site 15mm woodwool board for adhesion with 20mm lime render as harling 15mm hardwood 昀氀ooring panels 130mm limecrete 昀氀ooring with 20mm screed 昀椀nish 150mm foam glass as insulation and base support for limecrete 昀氀ooring

200x300mm ring beam at column base 15mm 昀椀nishing for earth 昀氀oor 100mm th Earthen 昀氀ooring with lime

200x300mm transfer beam from column base to beam at foundation head 200x200mm beam at foundation head

40mm hardwood plate against existing step min.150mm insulation; typically foam glass

RADIX screw pile at min.600mm offset from existing stone walls with 20mm steel base plate for attachment to beam to min. depth 1000mm

150mm x75mm transfer beam from truss to ring beam at foundation head 150mm gravel bed on levelled ground as base 150x150mm 昀氀oor beam between trusses 300x150mm ring beam at foundation head Set of three RADIX screw piles in a triangular cluster to prevent bending moment at truss base ; min. 1000mm depth with 20mm steel base plate for beam; min.600mm away from exisiting step or walls

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GALLERY TRUSS WALL Hosted! The Reframe Residency |The Actualizer

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600mm

RETROFIT STONE WALL

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WALL SECTION DETAILS TYPICAL RETROFIT WALL AND TRUSS WALL DETAIL DS3| Jahnavi J|19272222

TECHNICAL DESIGN SECTION WORKSHOP SPACE

Beech wood panels for interior 昀椀nish 1200mm c/c 50x25mm battens with 50x12mm members inbetween for 昀椀nish 150x75mm ridge board on one side Rafter tie 100x75mm, following design of existing truss on site

Reused clay pantile 375x250mm

Original rafter roof design similar to queen post truss system

100x75mm timber supports for skylight Operable glass skylights- thermal and sound proof Refurbished exisiting roof truss following rafter roof design 150x75mm

Lead gutter as per size required

200x300mm beam supporting roof truss 150x75mm timber members as supports for clerestory window Clerestory window 150x75mm transfer beam between clerestory member and internal beam 75mm chamfer along exterior edge of existing wall seamless joinery between timber/ stone 200x300mm ring beam attached to stone wall through 40mm th timber wall plate

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75mm ventilated air cavity between old and new wall construction 12mm coppiced oak wall board as backing for strawcrete

225mm th strawcrete cast on site 15mm woodwool board for adhesion with 20mm lime render as harling 600mm th existing stone wall Built-in shelving for workshop storgae

50x75mm stud wall between post-beam construction as latereal ties and support for panels 13mm limecrete 昀氀ooring with 20mm screed 昀椀nish

25mm th screed as 昀氀oor 昀椀nish

150mm th foam glass as base and insulation for limecrete 昀氀ooring 200x300mm tranfer beam from column base to offset foundation beam 300x300m beam at column base

75mm th 昀氀oor insulation 100mm th 昀氀oor concrete 昀氀ooring

200x300mm ring beam at foundation top

min. 150mm th compacted hardcore for ground supported concrete

Radix screw pile foundation min. 1000mm deep and at min. 600mm offset from existing stone walls; with steel head plate as base for beam Darelith soil

300x300mm ring beam at column base 200x300mm transfer beam for foundation offset 200x300mm ring beam at foundation head 20mm steel base plate 600x450mm concrete asymmetric strip foundation at min.600mm offset from original stone walls

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Key Plan Hosted! The Reframe Residency |The Actualizer

1000 HUTS PROJECT-HUT OF WELLBEING CASHWOOD FALKLAND ESTATE

RADIX

RADIX

The Hut of Wellbeing project in Fife, Scotland, exempli昀椀es the effective application of RADIX screw pile foundations in sensitive woodland environments. Developed by Reforesting Scotland, this initiative provides a tranquil retreat for carers and individuals with life-limiting conditions. Situated within the Falkland Estate, the project required a foundation solution that minimized environmental impact, particularly to the mature trees and their root systems.

To meet these requirements, RADIX supplied and installed a combination of six RADIX PRO 76mm ground screws and ten RADIX EXT 76mm extendable screw piles. These foundations were installed without excavation, preserving the surrounding ecosystem and providing immediate load-bearing capacity. This approach facilitated the construction of a 7.2m x 3.6m timber hut, complete with a sleeping area, kitchen, toilet, and decking, without disturbing the natural habitat.

The success of this project highlights the versatility and sustainability of RADIX screw pile systems, particularly in projects where environmental preservation is paramount.

Their application in Falkland demonstrates their suitability for similar eco-sensitive developments.

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178 1-The structural system used in gallery space is a portal truss made of two layers of timber truss acting as a single unit. The folded design of roof provides added stability and enables the entire gallery portion structure to behave as a single unit. The screen added as a 昀椀nish on the inside also provides lateral stability by acting as sheating for the Portal truss.

2-The sky;ights sit on top of the truss and construction will still be visible from the space inside in order to highlight the process of ‘Making’

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3-To counter bending moment at foundation, instead of a single screw pile, a system of three piles place in a triangular format is used , adding stability 4-The foundation is offset from exisiting walls by minimum of 600mm with ring beam at pile top and at column base in order to not disturb existing construction

LOAD PATHS GALLERY/ CONVENTION SPACE TRUSS DETAILS

Gravity loads are shown in red Lateral and uplift loads are shown in green Counter force from soil is shown in blue 0mm

2400mm 600mm

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LOAD PATHS NEW BUILD DETAILS Gravity loads are shown in red Lateral and uplift loads are shown in green Counter force from soil is shown in blue

1-The structural system used in design is a column-beam timber construction with stud walls in between acting as lateral bracing. The stud walls are not load bearing and load transfer happens through timber frame. Felled non-native conifers are treated on site for structural wood and coppiced oak is processed for stud wall.

2-The design uses RADIX screw piles throughout in order to not disturb exisiting wall foundations, whose depth and nature remains unknown. RADIX was used in 1000 huts project on site and hence is already a stakeholder involved with Falkland Estate.

3-Once roof trusses are removed from existing walls, lateral ties are required so that the wall doesnt collapse from buckling under wind loads. A ring beam runs around the perimeter and transfers this load back to postbeam system; the timber beam being attached to wood plate drilled to the stone wall.

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WATER AND SEWAGE MANAGEMENT STRATEGIES FOR RAINWATER HARVESTING AND SEPTIC TANK ON SITE

The location of the previous septic tank on site is unknown. Maspie burn, although near the site, cannot be accessed for potable water. The water from the burns reaches the village and is puri昀椀ed and pumped back to the estate. The inlet water commentions happen from both the village supply and rain water harvested from site. As per the 昀氀ood risk maps (refer Chapter 2 Hydrology) West昀椀eld has potential for rainwater harvesting, which can be used for 昀氀ushing and washing; the capacity of 7.5L is ideal for the larger site and smaller units can be found in other parts like hut and of昀椀ce The new septic tank location is chosen based on the distance from building walls, site gradient, distance from trees and natural species, distance from wells and water sources, distance to drainage point (open 昀椀eld), distance from access points and obstructions on site

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KEY Black/grey water to septic tank Inlet water pumped from village Rainwater collection to tank Rainwater paths

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Areas with maximum noise Areas with intermittent high level noise Buffer zone; dynamic activity and noise levels Low level noise Upper 昀氀oors with higher sound insulation Noise escape into surroundings Cross ventilation paths

KEY

Additional cross ventilation during summers

Wind tunne l effect during sum mers

181 Landscape

buffer

West昀椀eld m apped wind directi on- SW/S/W

Landscape buffer

ACOUSTIC AND VENTILATION STRATEGY STRATEGIES FOR SOUND PROOFING AND AIR QUALITY

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The window placement in the design is such that there is either cross ventilation or normal ventilation in every room. Especially in the central gallery area, the trusses are raised above the level of the exisiting stone walls to provide clerestory windows which enable good indoor air quality. For the retro昀椀t spaces, the mortar and damaged stone course on the top is removed and clerestory windows are created in the periphery for the purposes of light and ventilation Keeping the front main door and the north facing 昀氀oor to ceiling windows open creates a wind tunnel due to Venturi effect providing solace for workshops in summer

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MATERIALS AND U-VALUES THERMAL COMFORT CONSIDERATIONS

Sandstone

Strawcrete

Straw bats

Wood panel

Thermal conductivity: 3.24 W/mK

Thermal conductivity: 0.08 W/mK

Thermal conductivity: 0.05 W/mK

Thermal conductivity: 0.134 W/mK

Structural wood Thermal conductivity: 0.13 W/mK

Lime render Thermal conductivity: 0.12 W/mK

Air cavity Thermal conductivity: 0.025 W/mK Note: Values for straw are based on approximation and comparison to similar products in the market and needs actual testing to con昀椀rm or deny

U-Values for Typical walls in Design

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0.129 W/m2K

1.361 W/m2K

0.158 W/m2K

New build timber wall

Gallery truss wall

Retro昀椀t stone wall

15mm oak wood panel 10mm lime paster 25mm woodwool board 175mm strawcrete 125mm straw bats 25mm woodwool board 20mm lime harling

25mm oak wood panel 150mm air cavity 25mm oak wood panel

500mm sandstone wall 75mm air cavity 225mm strawcrete 15mm woodwool board 20mm lime harling

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CHOSEN MATERIAL TEXTURES 1:5 MODEL OF BUILDING FOR VISUALIZATION

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1. 1:5 wall section showing layers of construction; from outside: Lime render 20mm thick as harling, 25mm woodwool board for adhesion, straw bats for thermal and acoustic insulation 125mm thick, strawcrete panels 175mm thick with 12mm board for support in sizes upwards of 600x600mm, wood panels for outside 昀椀nish 2.Roof gutter and ventilation detail; Cor-A-Vent S-400 inbetween spacers on 150x75mm rafters with weather proof membrane, battens on top with clay pantiles

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3.Lime render texture when applied 4.Outside 昀椀nish of the wall 5.Gutter detail; hidden gutter at end of rafter and external wall 昀椀nish continues till top of gutter edge 6.Strawcrete panels; made from processed straw, lime and powdered tiles or bricks from site cast into panels

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LIGHTING STRATEGY REGENERATIVE EXPERIENCE WITHIN GALLERY SPACE AND ASSOCIATION TO LIGHT

Mid- year sun path from Heliodome experiment The Skylights for the central Convention centre/ Gallery was located considering the sun path on site and the lighting requirement within the space. Triangular skylights are oriented towards the north bringing in the diffused light. The bigger trusses are located on three slops which point to the front reception display, the gallery and the cafe - highlighting the main area within a space that remains mainly dynamic in use.

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The light is further diffused by the use of thin timber slats of 25mm thickness as sheating on the underside of the gallery trusses as the 昀椀nish; they act like a screen, reinforcing the regenerative experience inside the gallery. It also hides the lighting and helps to create a soft glow for the space inside during the night. ‘ As I enter inside, a tiny beam of sunlight warms my skin and catches my attention. The beautiful valley sprawls in the background as my eye follows the beam of sunlight and lands on the ‘Know your space’ display. As I move around taking in the display, the massive wooden trusses appear and disappear behind the thin wooden screen, playing hide and seek with my eyes and with the light.

I 昀椀nd the object of my desire in the centre of the gallery, another ray of light illuminating it and it feels surreal. I can hear the birds outside, I feel the warmth of the place; inside and out’ ~lighting experience inspiration

Day and night Views of Gallery Space DS3| Jahnavi J| 19272222

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UNOBSTRUCTED VIEWS VISUAL STRATEGY FOR THE SPACES

Protecting the stunning views that Falkland has to offer during the design was of utmost importance. The spaces are designed to draw the eye towards the view of the valley and windows frame views outside wherever possible (retro昀椀t constrains window placement dur to exisiting arrangement) The removal of exisitng spaces in the centre allows for unobstructed views through the gallery space right from the time that one enters the design and for every moment within. The spatial co-ordination enables a sense of calm as one can orient oneself to peaceful views at any point; thus fortifying the regenerative experience of the spaces

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COMMON AREA IN RESIDENCE

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MAIN ENTRANCE AND GALLERY CAFE

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CARBON CONSIDERATIONS DESIGN DECISIONS FOR REDUCING CARBON FOOTFRINT

SELECTION OF MATERIALS Procurement and use

There is a conscious effort to make the project low carbon not just in the procurement stage but also to reduce the whole life carbon of the building

Sandstone

Timber

The stone used in the design is mostly reused from what is available on site directly or from other sites within Falkland estate.

Methods have been conceived to deal with the exisiting stone for different types of joinery and purposes. If the walls are reused however, they are tied with timber beams and are re-pointed

Careful study of Falkland’s forestry plans is used to identify tree species which are to be felled and removed to be used for construction. This reduces the carbon expended by them in transport of felled trees and also saves the trouble of buying timber from outside. The broken sawmill on site is reinstated

Straw

Pantiles

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Strawcrete and Straw bats

DRAFT PROPOSAL Conscious design Initial mapping of current and past site conditions helps to understand not just the climatic aspects of design but also allows the conscious planning of future design, for example, the residential area is retro昀椀t into the portion which used to be the house for the steading thereby reducing the need to spend energy in converting a different fabric into heated residential space. Sound proo昀椀ng is reduced by placing heavy equipment in the spaces which help tractors and machines and hence opened outside.

Conscious design reduces changes required and hence the carbon expended

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Instead of introducing hempcrete as a new crop for Falkland, studying the farm cycle helped to narrow down on crops that can bene昀椀t the Estate and construction ; which are known to grow effectively in the 昀椀elds surrounding the project

Pantiles have high carbon fottprint unless reused and hence the pantiles on site are reused in various ways; they are either reused directly on some roof or if damaged are powdered and used as an additive in strawcrete since they can substitute meta-kaolin; another high carbon material

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EPILOGUE CRITICAL REFLECTIONS

After reviewing the body of work I’ve produced over the past year, I’ve taken the time to re昀氀ect on my design process and overall journey in this epilogue. Before applying for my Master’s degree, I was drawn to several contrasting 昀椀elds within architecture and was unsure about which path to pursue. Coming into Oxford Brookes University, I chose to explore two specialisations that initially seemed unrelated to me: Advanced Digital Architecture and Regenerative Design.

However, specialising in both Digital Craft in Architecture and the Regenerative Studio has helped me connect these interests. It revealed the link between technical design and context-based research—two areas I now realise are deeply intertwined.

The design process in DS3 has been one of the most rewarding experiences of my academic life. Although there were many stressful moments throughout the semester, embracing the regenerative ethos allowed me to engage in self-re昀氀ection and personal growth through the design journey. The Minded for Design sessions led by Alex were particularly grounding during times when I felt lost, and I am deeply grateful for that guidance.

For over three years now, I’ve been questioning the concept of “change” in architecture. Looking back, my undergraduate thesis can, in hindsight, be classi昀椀ed as regenerative design—something I fully understood only this year. I’ve come to see that my design approach has remained consistent throughout these years, even if I used to think of it as messy. Designing with care and sensitivity to context has always been one of my strongest traits and deepest interests in architecture, now more than ever.

Working with the Falkland Estate and Ninian as clients has been a wonderful experience. We had the chance to present our designs to them at various stages of the project, and their feedback consistently helped re昀椀ne the 昀椀nal product. I am incredibly proud of Hosted!—it has been one of the most ful昀椀lling projects I’ve worked on. While it may not be perfect or entirely complete, and although I questioned many design decisions throughout, I still believe that the project—at least in its current, interim stage—is entirely feasible to construct in real life. This tangibility, both in process and output, marks a signi昀椀cant evolution in my design con昀椀dence. I recall doing a similar project in undergrad where I knew the design was contextually inappropriate, and I was more focused on the research than the 昀椀nal design. With Hosted!, I feel very differently. I’m genuinely excited by the possibility of taking it forward with the Falkland Estate beyond the academic setting.

This year, I also worked as a teaching assistant for 昀椀rst-year Digital Craft in Architecture students, which allowed me to visit Grymdyke Farm multiple times and engage with many architects and craftspeople. The amount I’ve learned from this has been overwhelming. Hosted! began as a tribute to my love of working on the farm. The lifestyle and processes there deeply in昀氀uenced the project’s brief—so much so that the spatial zoning and design seemed to 昀氀ow naturally from that experience. I’m immensely grateful to Adam and to the DCA team. Beyond the innovative use of technology in this specialisation, the spirit of digital craft—leveraging tech to create ef昀椀cient ways of working with complex materials—has been instrumental in shaping my future professional aspirations.

I’ve also developed a growing interest in retro昀椀t, having completed retro昀椀t-focused projects two years in a row at Oxford Brookes. The technical complexity of retro昀椀t work continues to fascinate me, and I’m curious to see how it can evolve in practice. That said, I admit that I often got carried away with technical detailing, sometimes spending too much time on aspects that may not signi昀椀cantly impact the 昀椀nal outcome. My time management wasn’t ideal, but I thoroughly enjoyed the process. Would I do it again within a university setting? Probably not. But when I think about the kind of work I want to pursue professionally, the answer is a de昀椀nite yes. I now have far more con昀椀dence than I did two years ago.

BIBLIOGRAPHY Mang, P. and Reed, B., 2016. Regenerative development and design: A framework for evolving sustainability.

Hoboken, NJ: Wiley.

Doorley, S. and Witthoft, S., 2012. Make space: How to set the stage for creative collaboration. Hoboken, NJ: Wiley.

Dollard, T., 2022. Designed to perform: An illustrated guide to delivering energy ef昀椀cient homes. 2nd ed. Abingdon: Routledge.

Playfair, T. (Research) and Burgess, R. (ed.), 2020. Falkland and its people. Falkland: The Falkland Society.

Fallon, H., Macal, E. and Grandhomme, O., 2023. Verbiest: Approximations. A house and an artist’s workshop in Molenbeek. Cologne: Walther & Franz König.

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FIN.