KRONANDER.F_180387401_ARC3001Portfolio_1of3_20210816

PORTFOLIO JESSICA DUNN | STAGE 3 | 180202816

TABLE OF CONTENTS : REFLECTIVE DIARY

4

FRAMING

6

TESTING

57

THINKING THROUGH MAKING

100

SYNTHESIS

105

CULTURAL BIBLIOGRAPHY

138

APPENDIX

139

GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

THE

G H O S T S

On reflection of my time in Newcastle University, each year has brought me knowledge, enjoyment and growth, all in vastly different quantities. My first year was a blur of both knowledge and excitement, balancing my time as an architecture student, a hockey scholar and attempting to keep a social life made for one hectic year. Although self admittedly I did not get the balance right straight away, looking back it taught me about time management and how to prioritise my studies in the best manner for my own mental health. I believe my real growth as a student came in second year. I can’t quite put my finger on when exactly, but there was a click where things began to make sense and my grades began reflecting that. Despite the pandemic, this positive attitude shone through to my final year and I have both realised my strengths and worked on developing my weaknesses.

Like many, I have found the past 18 months challenging, with the global pandemic and two operations within this time period it has taken a lot of mental strength to motivate myself through to the end. Despite this, I have thoroughly enjoyed the journey my project has taken.

I have learnt the value of iterations more during this year long project than ever before, it has shown me that the first idea is not always the final idea and this process is actually key in my learning journey. A key piece of work I am proud of this year has to be my dissertation. I chose a topic that was not part of my tutor’s recommended list and so research wise I was completely independent. Yet, due to the topic being so controversial and political I genuinely loved every second of researching and educating myself on all these current issues, which inevitably have stemmed from history and now represent themselves within the walls of the cities we live in.

The initial concept for my design project started with a statement from a fellow ‘ghost’, I was describing my interest into Redcar’s wind turbines and was informed that wind turbines are in fact dumped into landfills after their 20-year life cycle. This shocked me, it made no sense for something that enables such a huge amount of sustainable energy would eventually contribute to land pollution. A contradiction of principles.

I wanted to highlight this in my reflection as it shows how important studio’s are in developing projects, without this small input from a fellow student I may not have followed this route and my project could have turned out very differently.

However, it was with this small input it became the main priority for my project to prioritise a sustainable approach in all aspects of design and construction.

It has to be said, this past 18 months have been like no other. COVID-19 has affected every single aspect of life as we know it. It has created an unprecedented climate to work, learn, laugh, love & ultimately live in. I believe as architecture students it has immensely affected our approach to studying, as in the absence of studios we have lost a key element in the creative process of projects. Undoubtedly, the environments of studios are a breeding ground for creativity and so as Studio 3, consisting of 15 ‘Ghosts’, we really focussed from the get-go on making connections. From drawing self-portraits to designing mood boards based on our hobbies, it was all about creating a comfortable environment for us all to grow as students within.

REFLECTIVE DIARY 4

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

User Centric Design

Stimulate Circular Economy

Involve the Tangible and Intangible

Consideration of Scale

STUDIO THEMES

FRAMING

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During the framing phase we focused on systems. Asking the question of ‘ w h a t d e f i n e s a s y s t e m ? ’ Then attempting to identify them within our site. I found this stage of the project very different to anything I had done previously. There was a new introduction of 3D modelling software and at first it was very much like being thrown into the deep end. However, I do believe this is the best way of learning and without this vital p u s h i n t o 3 D s o f t w a r e I would not have been able to represent my project as well as I have further along the project’s process.

Sustainable Tourism

Climate Change

Embody the Interconnected

Be Alive, Dynamic and Kinetic

Systemic Design

Embrace Change and Evolution

These are our studio themes for Ghost In The Machine this year. It was important that these all played a part in our design decisions yet the two key focuses were U s e r C e n t r i c D e s i g n and Systemic Design.

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3 “The Concentration City” is a dystopian short story by British author J. G. Ballard. It focuses on a student named Franz who is determined to fly in the concentrated city, however, there is no room to fly in a city that has no openair space -- not even for a single bird. He comes to the conclusion that there is a wall surrounding the city and beyond there, is the ‘free area’ he so desperately wants.

So, he hatches a plan to ride west on the commuter train, a “supersleeper” that connects all the various sectors and federations of the city, in order to find this “free space”.

After 10 days of nonstop riding on the train, Franz discovers he is now heading East. Confused, he asks the crew who informs him he has always been heading East and to add to the bewilderment when he arrives back to the mainline terminal it is still the same date he left.

Either time has folded or there is no time in the Concentration City.

Figure 1: Visual Representation of The Concentrated City, Martijn Van Berkum

‘What is a system?’

A character in the novel describes the city as being “As old as time”, he states when asked what came before “not these particular bricks but ones before it” It admits that city changes and develops but in essence, is always and forever will be the city.

I’ve linked this concept to my definition of systems as much like the physical being of a city, the systems, both tangible and intangible are forever changing and developing. T h e y e v o l v e a l o n g s i d e t h e c i t y , and although they may not always in sync, there are rare moments where the system develops in perfect harmony with the city itself.

‘Systemic Design’

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JG BALLARD CONCENTRATION CITY

Figure 2: Visual Representation of The Concentrated City,

Maciej Drabik

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

UK MAP

The site is located in Redcar in the North East of England

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

REDCAR Redcar originated as a fishing town in the 1300s, trading with the larger adjacent market town of Coatham. There was a stimulated growth in 1846 when an extension of Stockton and Darlington Railway brought Industry and seaside day trippers to the area. This led to a gradual population growth which only increased with a further extension to the Saltburn railway in 1861, the building of Saltburn Pier in 1868 and the unveiling of Redcar’s racecourse in 1872.

Industrial growth in the late eighteenth century came in the form of ironworks and later steelworks. The Teesside Steelworks at Warrenby quickly became the town’s main employer, founded in 1917 and the steel produced was used to build huge structures such as the Sydney Harbour Bridge, Tyne Bridge, Auckland Harbour Bridge and so many others. The steelworks thrived for nearly a century, however, in 2015 the ovens were extinguished and the steelworks abandoned.

This resulted in around 2,000 locals losing their jobs, a huge blow to people in Redcar, communities across Teesside and the regional economy. Since 2015 the town has attempted to continue life as normal yet, 5 years on, the loss of moral from such a huge economic downfall still lingers throughout the town.

“Redcar: how the end of steel left a tragic legacy in a proud town” - The Guardian 2019

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Figure 3: Photography of Redcar,

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

Figure 4,5,6: Photography of South Gare Breakwater

1850s

1920s

As a studio we split Redcar into sections for each of us to identify the systems running through and around the area. The cut of Redcar I explored was the furthest from the town centre, cutting through South Gare’s breakwater.

I found the history behind this location incredibly significant and so decided to incorporate the systems of its past alongside the present systems.

The Ghost In The System.

1950s

1970s

Historical Maps

Showing Redcar’s urban development into the 18th Century

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

Sewage Pipes

Electrical Power

Breakwater

Coastguard station will have basic facilities and so a sewage system will run through the section.

The mast provides electrical power to the coastguard station and the lighthouse however does not power the lighthouse light due to reliability issues.

Structure built as part of coastal management and to protect an anchorage from the effects of both weather and longshore drift.

Council Services

Sea Wall

Trip advisor- Common theme in comment section was that the beach was always kept clean

The sea walls were built from 1861-1884 and are part of the coastal infrastucture designed to minimise the effects of weathering from the battering waves.

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Light In Tower The light is powered by a Schlunk 100 Watt watercooled hydrogen fuel cell.

This is is more reliable than the mains electricity supply along the exposed breakwater because of its vulnerability in storms.

IDENTIFYING SYSTEMS WITHIN A SECTION 17

GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

Choosing one of the identified systems I created a pop u system behaviorial model.

POP-UP SYSTEM BEHAVIORAL MODEL

I chose the Breakwater structure to focus on, this system revolved around the integrity of the 22 miles of slag walls and how the waves constantly attempt to erode it.

Wave after wave, after wave.

This photograph inspired my design. I made two replica walls from cardboard and then, cutting small grooves and slits into the black paper, created the wave movement.

Figure 7: Photography of South Gare Breakwater

‘Be Alive, Dynamic and Kinetic’

I found the shadows this model created visually represented the wave pattern well. They became alive on the walls, with the slightest movement of the model it changed the scale and angles completely.

If I was to develop this model I would attempt to create an animated loop, showing the shadows move around in a repeated pattern which would reresent the repetitive behavior of the waves daily actions.

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

1859

Close-up perspective views of the 3D model

Developing my representational skills, I then mapped out my systems onto a 3D model. Seeing the site in 3D widened my analysis and I undercovered systems which were not so clear from the 2D section alone.

I discovered the abandoned railway tracks which ran from the city centre, through the steelworks and up to the breakwater. With some research I found out these tracks were used over the decades for many different purposes.

‘E m b r a c e C h a n g e a n d E v o l u t i o n ’

1888

IDENTIFYING SYSTEMS WITHIN A SECTION 20

Full perspective view of the 3D model

3D DEVELOPMENT

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

‘E m b r a c e C h a n g e a n d E v o l u t i o n ’

From reseach I discovered the railway tracks were originally placed to help transport the slag to the breakwater during the construction in 1859. However, once they had served their purpose they became used for recreational activities.

Sail bogeys, powered soley by the wind were invented and used on the site as a means of transport for the public and the lifeguards situated in the lighthouse.

As it turns out the sail bogey, aslo known as the ‘sail train’, was a highly popular spectacle within South Gare. As you can see from the images smart attire was often worn on these journies as it became a high class occassion to sail down the pier.

Illustration of a Sail Bogey

Figure 8: Photography of Sail Trains

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

CASUAL LOOP DIAGRAM

IDENTIFYING SYSTEMS WITHIN A SECTION 3D DEVELOPMENT

‘Embody the Interconnected’

We were assigned another section of Redcar in order to analyse the town’s systems from a new perspective. My 3D section cut through some key town locations: - Train Station - Housing - Job Centre - City Centre, shops, arcades & food shops

EDUCATIONAL

PROMOTES LOCAL BUSINESS MINIMISES COUNCIL EXPENDITURE ATTRACTS LIME LOVING PLANTS

ATTRACTS NATURE ENTHUSIASTS

LOCAL BUSINESS SUPPORT

CAN RELEASE ELEMENTS INTO ENVIROMENT

5 MILLION TONNES OF BLAST FURNASE SLAG

PONDS FORMED IN DEPRESSIONS

POLLUTION OF SOIL

LIGHTHOUSE

OVERSEA TRADE FISHING GOODS

INTERNATIONAL RECOGNITION

LEFT BLAST FURNACE SLAG DEPOSITS

CARRIED RAW MATERIAL OUT TO SOUTH GARE

WATER CHEMISTRY IMPACTED BY SLAG DEPOSITS

ENABLES SHIPS TO DOCK SAFELY TRADE CAN COME INTO REDCAR

WATER NOT SUITABLE FOR DRINKING

CONSTRUCTION OF SOUTH GARE

TOWN DEVELOPMENT

BOOST LOCAL ECONOMY

UNFAVOURABLE FOR AQUATIC BIODIVERSITY

EDUCATIONAL

FISHING SPOT CONSTUCTION WORKERS

SPARKS INTEREST IN LOCATION

1859

TOURISM

GIVES LOCALS JOBS

RAILWAY TRACKS

2020 TOURISM

SIGHTSEEING SPOT

DISTURBS NATURE TEESIDE LIFEBOAT RESCUE SERVICE

1888

LANDSCAPE

LOCALS

TOURIST ATTRACTION

NOT RELIABLE

WORLD WAR I

LIGHTHOUSE CREW

ONE OF A HANDFUL OF SAIL BOGEY TRACKS

FREE TRAVEL TO WORK

NO EMISSION TRAVEL

WIND DEPENDANT

LOCAL PRIDE

GUN INSTALLATIONS

USED BY SAIL BOGEY

BOOSTS TOWN’S MORAL

EVENT

ANNUAL GUN FIRING

SERVICEMEN

EVENTS

INTERESTING LANDSCAPE

ABANDONED RUINS EYE SORE

ENCORAGES BOAT USE

FUNDING

BECOME A SITE OF SPECIAL SCIENTIFIC INTEREST

HIGH LIMESTONE DENSITY

ENCOURAGING NATURAL HABITAT POTENTIAL NEW SPECIES OF PLANTS

TOURIST SPOT

FREE FROM IRONMASTERS

BASE RICH SOIL

These could all be linked by the closure of the Warrenby Steelworks. It had a catastrophic impact on employment across Redcar and hundreds of industrial workers lost their jobs overnight. To diagram this system of employment I illustrated in an animated video how the workers all piled into the job centre and were subsequently distributed into the workplace within the town centre. This not only disrupted the affected individuals, it had a huge impact on

QUICK ACCESS TO WEAPONS

HELPED PROTECT COUNTRY COASTAL BATTERIES DESTRUCTION

VIOLENCE

I did a casual loop diagram to explore the railway tracks in much more depth, focusing on how this one infrastructural system is interconnected to many other systems.

Having already identified some of its past purposes, this method of research uncovered a lot more factors I had not initially thought of.

R e d c a r ’s e c o n o m y.

I believe this task was successful in widening my depth of research as with its ‘open the flood gates’ manner of thinking I found myself opening tab after tab of information in order to discover all of the possible connections. Key systems which repeated throughout were To u r i s m and

Education.

TRACK RUN STRAIGHT TO LIGHTHOUSE

ENVIROMENTAL BENEFITS

ECONOMICAL VARIABLES

SOCIAL VARIABLES

ENVIROMENTAL VARIABLES POSITIVE EFFECT NEGATIVE EFFECT

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

THE USER PERSPECTIVE PROJECTIVE User Centric Design & Stimulating Circular Economy

Following on from Redcar’s Economy, when asked to envision a user protagonist entering my system I chose to explore tourism. This system was present in both of my sections and with Redcar being such a historically rich town there is tourist attractions around every corner.

My device represents the nature of tourism, both its highs and lows. I knew the machine had to run on money due to the economy being the main contribute to tourism and there is an arcade on the seafront of my section and so I used the game ‘coin pusher’ as inspiration. This fitted well as the game has an aspect of chance with it as there’s no guarantee that you will drop loads of coins. This is a similar experience to tourists as they are visiting a place they never have before which means there is always going to be an aspect of uncertainty whether they enjoy it or not.

SPEND

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Illustration of my User Protagonist

TO

3D model of my User Protagonist

SEE

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

THE CROSS STUDIO FORUM The cross studio forum brought together all our 3D sections to in essence create the full picture of Redcar. Our presentation focused on the system each ghost chose to represent, in the form of consecutive animated videos. For me this method of presentation communicated the scale of Redcar and how many different systems are all interconnected across the town.

Consideration of Scale and Systemic Design

Although these systems were clear to us, I think during the forum we soon realised our video wasn’t as straight forward to understand as we initually thought. This was due to the huge scale of information we were trying to communicate, alongside the new methods of online learning we were all trying to get a grip of.

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Group model of systems

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

SYSTEM SCALE MAPPING WIND ENERGY

Development collage for final illustration

The main point I learnt from this drawing is that both wind energy and pure wind have a long list of benefits across The sail Bogey from my first section analysed and the wind all scales. Some overlap, as such t h e e l e c t r i c i t y turbines from my second both encoraged me to look into p r o d u c e d b y w i n d t u r b i n e s c o u l d p o w e r the power of wind and the systems affected by it. I began e l e c t r i c t r a n s p o r t , yet the wind alone (although not with illustrating the wind turbines and much like with the as reliable) could also do the same. This got me interested casual loop diagram, my thought process unravelled and into merging the two concepts, maybe using wind energy the outcome became a collage of illustations. as back-up power for wind alone. Almost as if the w i n d

is going full circle.

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

BENEFITS OF WIND POWER • The UK has always been well suited for wind power, its position in the North West of Europe makes it particularly windy.

• The UK is windiest in winter, which matches the higher demand of energy during that time of year • Wind power contributed 20% of UK electricity generation in 2019, making up 54% of electricity generation from renewable sources.

• Within the United Kingdom wind power is the largest source of renewable electricity.

ELECTRICITY USED TO POWER OVER 40,000 HOMES IN REDCAR

27 WIND TURBINES OFF THE COAST OF REDCAR

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Figure 9: Map Of The UK’s Wind Turbine Farms - December 2020: 10,930

Diagram of Redcar’s current sustainable energy system

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

Figure 10: Photography of Redcar’s coast

The wind farm dominates the landscape of Redcar’s coast. Not only creating a substantial amount of sustainable energy for the town, but providing a unique panorama out across the coast.

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Figure 11: Photography of Redcar’s coast,

Windsurfing is a popular sport, with Redcar’s coastal waves providing the perfect conditions. The turbines create an incredible sceanic backdrop in which windsurfers travel across the country to

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GHOST IN THE MACHINE - STUDIO 3

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GHOST IN THE MACHINE - STUDIO 3

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

2 0 Y E A R L I F E S PA N

WIND TURBINES PILING UP IN LANDFILLS?

A conspicuous waste of materials which is clearly at odds with the sustainability ideals in which created the wind turbines very own existence.

(Previous spread) Figures 12-15: Wind Turbines crowding landfills

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

ALTERNATE OPTIONS END-OF-LIFE OPTIONS PRODUCTS

RESALE

REPOWER GFRP BLADES

REPURPOSE MATERIALS

MATERIALS RECOVERY BUILD

OPERATE

DECISION

DECOMMISSION

CEMENT KILNS WASTE TO ENERGY INCINERATE

LIFETIME EXTENSION

ENERGY

WASTE TO ENERGY JOURNEY

RESIDUES

LANDFILL

Diagram showing the full lifecycle options for wind turbines

• Domestic waste from the town is left in wheelie bins

This insight into the afterlife of wind turbines shocked me and so I began researching into what the alternative options actually are.

The reason why wind turbines are dumped into landfills is because it is seen as the most cost-effective way. There are other options but due to the sheer size of the turbines it causes issues when looking to transport the large parts.

• Wa s t e i s c o l l e c t e d b y w a s t e l o r r i e s each week

Climate Change

• The waste is transferred to energy through incineration.

But what if one of the alternate options c o u l d b e p e r f o r m e d i n R e d c a r ? This would

• This energy is then distributed back out to the town, in the form of heat, electricity and fuel.

enable a much more sustainable outcome for the turbines, making Redcar’s choice for continuing to utilise wind power (in replacing the turbines post life cycle) seem a lot more environmentally friendly.

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• Lorries travel to the ERF centre

Proposed solution

The waste to energy journey

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

THE INTERNAL PROCESS

Figure 16: Waste to Energy Process

Z O N E 1 - Waste is brought in through the waste reception and is tipped into the storage bunker. From the bunker

Z o n e 5 - The superheated steam is used to drive the turbine, generating electricity for the National Grid and

the rubbish is lifted onto a feed hopper by an overhead crane at a rate of 28 tonnes per hour.

producing hot water for the District Energy network.

Z O N E 2 - The hopper feeds the rubbish into a single incineration unit where it is burned at temperatures in excess

Z o n e 6 - The Air-Cooled Condensers are used to keep the temperature of the turbine room managed, with the cool

of 850 degrees centigrade. Above the incinerator is a large boiler where the superheated steam is generated.

ambient air flow outside the finned tubes removing the heat

Z o n e 3 - The cooled flue gases pass through a filter house where the amount of particulate (dust) within the gases

Z o n e 7 - Ash from the incineration process goes into a bunker and is then taken to be recycled into aggregate for

is substantially reduced by the filter bags. Any particulate collected in this process is then stored in a silo for separate disposal later.

Z o n e 4 - Cleaned gases are then released through the chimney. These gases are monitored to ensure they meet

strict environmental regulations and legislation.

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the construction industry. An electromagnetic overband separator removes metal from the ash. The metal is recycled by a local company. Particulates removed from the filtering process are taken to a process plant for treatment and then safe disposal.

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

WHERE AND WHY?

SITE LOCATION & REASONING

The site I chose is located between Redcar and South Gare, on the outskirts of the abandoned Warrenby Steelworks. The site covers approximately 122,300m² which is a huge amount of land however, due to the scale of my process, alongside space for multiple access routes, a large space is required.

The sites location is perfect for the eventual transportation of the wind turbines to the centre, in order to create energy from their materials. Any distance of turbine transportation is made easier when the roads are clear and given the site is surrounded by empty land and abandoned steelworks, there is much less hazards to consider.

Figure 17: Redcar Steelworks

Figure 18: Redcar Steelworks

The main feature of my site is the adjacent steelworks, their skeleton like remains bring an strong industrial essence to the site and this is something I want my project to feed into. Being on the outskirts of the town centre, the steelworks provide a unique industrial skyline as seen below. My project will only add to this skyline, as although it is a much fresher building, it is still an industrial build and so will only compliment the view.

Figure 19: Ariel view of the site

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

S T E E LW O R K S

Own photo: Panorama of site

SITE PROPOSAL

WIND TURBINES

I took this panorama of my site and its surrounding as it clearly shows the state of the derelict and over grown area. The site creates a battlegrown between the industrial works and the overgrowing nature, which has overtime been taking over more and more of the industrial land. The site’s proximity to the turbines is also relevant, as you can see there is a potential clear route from the coast to the site with no obstacles in its path.

OVERGROWN FIELDS 46

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

THE GHOST OF THE SAIL BOGEY

Own photo: Abandoned Railway Tracks

As you can see there are train tracks left in places completely untouched, still bolted into the ground. These tracks have so much history and so I think it is vital that my project appreciates and savours this. Especially with one of my key themes being around climate change and specifically sustainable travel, what better way than to utilise the ideas of the past, and reinvent them into our future.

Honing in on the ghosts of our machinery.

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

PROPOSED PROGRAMME

TIPPING RECEPTION: 40x20x12m

TIPPING HALL: 40x25x30m

INCINERATOR:

20x40x40m

TURBINE HALL: OFFICE STAFF VISITORS INDUSTRIAL STAFF

Alongside being a Waste to Energy Centre I wanted to create an educational experience for visitors, with educational workshops on the different aspects of sustainable energy in relation to natural forces (air, fire & earth). These workshops should overlap with the process, as the process is used as inspiration for the education. I split my programme into the 3 different types of occupants.

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20x40x20m

CONDENSERS: 20x40x10m

FLUTE CHIMNEY:

6x100m (diameter x height)

PROCESS ZONE REQUIREMENTS SPACE NEEDED FOR INDUSTRIAL MACHINERY

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

Own Photos: Industrial vs Nature & Process on site

PRE-TESTING PROJECT DECLARATION Going into testing I had established both the process and location of my site. It was going to be a waste to energy centre in the sparse landscape of the abandoned steelworks. This contrast of industrial and nature was something I wanted to explore during my testing phase as I knew it would be a key design point when looking at the potential materials used and the landscape this was going to create.

My priority during this project was to keep the building as sustainable as possible. To me it made no sense to build a project that contributed highly to CO2 emission in its construction if the sole purpose was to utilise alternate energy sources. The wind turbines had this contradiction in their creation and afterlife, and that is something I want my project to fix, rather than contribute towards.

The users of my project I knew would be either employees or visitors and so I needed to design spaces for both these groups, with potential overlaps in spaces. This idea of merging the education of the process and the physical process itself reflects onto the users of these spaces too. In having communal areas shared by both groups, it allows potential spread of ideas and inspiration, an overheard conversation or simply a glimpse into the life of an industrial worker has the potential to inspire a young person to engage in the sustainable energy sector and subsequently make a positive change to the world as we know it.

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

END OF FRAMING

In confirming our chosen processes and the site location, it marks the end of framing. All the ghosts picked out a system to explore and there we began our testing phase, designing a project to enable our systems to work in a much more efficient manner.

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

TESTING With the scale of the project established I started with massing iterations. I used a range of different approaches in creating a design and in reflection I could have saved a lot of time by responding to the site rather than concepts and precedents. These attempts all took the scale of the project into consideration yet lacked the key intergration into the site and ended up looking like they were cut and pasted into the landscape. It was with this in mind I decided to look beyond the immidate surroundings and have my building respond to aspects of Redcar and South Gare which were not in immidiate proximity. It was a key realisation that due to the scale of the building these distant features would actually be main focus points in the sceneic views from the building, and so to respond to these features when designing was incredibly relevant.

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

PRECEDENT

BIG’s Copenhill, Copenhagen, Denmark

PRECEDENT

KEY ELEMENTS: - Contrast of Mechanics and Nature - Process inside creates a natural slope in their layout, utilise this for landscape oppotunities

Figure 20: Copenhill, ArchDaily

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Veolia’s ERF Centre in Sheffield

KEY ELEMENTS: - Compact layout - Lighting feature contrasting to plain facade

Figure 21: ERF Sheffield, Veolia

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

This particular massing was inspired by the concept of energy, with the hexagonal bonds often used to represent elements in chemistry.

KEY ELEMENTS:

-Not standard rectangular structure which is normally seen with power plants Using these initual precedents I began some massing iterations. Using the zones established earlier I created massings which focused on both creating a slope and having an element of compactness, ensuring the process was able to connect and function.

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-The hexagonal shape represents molecules, the educational journey relates to solids, liquids and gases with molecules at the heart of the process -Having more sides enables a range of entrance points for spaces, Eg. Waste reception can be accessed from both the South and South-West (train and lorry access points)

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

PRECEDENT

DEVELOPMENT

Sketches of potential slope arrangements

Heatherwick’s Vessel, New York

KEY ELEMENTS: - Multiple pathways, routes for magnificent views

The hexagonal structure reminded me of the Heatherwick Vessel in New York and is something I will return to when exploring the interior programme/journey.

- Shape creates unlimited amount of different views across its surrounding

However, in relation to the massing design I decided to go back to the drawing board, using the first precedent of The Copenhill and its slope as inspiration.

Figure 22: Vessel, ArchDaily

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Figure 20: Copenhill, ArchDaily

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GHOST IN THE MACHINE - STUDIO 3

Following on from the concept of a giant slope, I decided to create a model it as it would be much easier to get a feel of the massing in 3D rather than 2D sketches. I used clay to create the main massing and paper straws for the flute chimney.

I enjoyed this method of representation as it gave me a good visual when looking at the site in context as seen in the next spread. It was much easier to develop and draw on this massing compared to a 2D drawing.

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GHOST IN THE MACHINE - STUDIO 3

PRECEDENT

Nanyang Technological University, Singapore

DEVELOPMENT

KEY ELEMENTS: - Sloped green roof in a curved shape - Creating an architectural landscape emerging out from the existing landscape

Using the Clay model as a base I created this conceptual drawing of how the sloped green roof could look. Using the Nanyang Technological University building as inspiration, I created two curves, one for the main process and one for the visitor’s centre.

Here I started thinking about how I wanted the visitors to experience my building, both from afar and once travelling up the structure. Something I explore furthur on in testing.

Figure 23: University Building, Pinterest

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GHOST IN THE MACHINE - STUDIO 3

PRECEDENT

TESTING IDEAS

KEY ELEMENTS: - Facade to scream industrial, with the green roof contrasting -Nature vs Industrial -Utilise the soil dug up from underground space and relocate on tipping reception creating a hill

Centre Pompidou, Paris

KEY ELEMENTS: - Main circulation on the exterior - visitors embarke on a journey up the building - Industrial features line the exterior facade, in essense the building is inside out

TIPPING HALL

WASTE RECEPTION

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TU

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LL /C

ON

ILER

BO

DE NS

ER S

Diagram highlighting the relocation of resources, shown in section

Figure 24: Centre Pompidou, ArchDaily

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GHOST IN THE MACHINE - STUDIO 3

PRECEDENT

DEVELOPMENT

I decided to go for a much more modular shape as when completing my Practice Management module it was highlighted to me that curved structures can be very expensive due to the complex construction required.

With my project’s main aim being sustainability, it made sense to take this into account, as with easier construction it requires less time and materials, which contributes to lower Co2 emissions.

Here I have highlighted the green roofs and the potential visitors route lining the inside wings of the structure.

Both features have taken inspiration from the previous precedents stated.

Comune di Piacenza, Mario Cucinella

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KEY ELEMENTS: Slope emerging from landscape

- Visitors can walk up whole structure as if it was a natural hill in the landscape -

The wings face in towards each o t h e r, c r e a t i n g a c o u r t y a r d

Figure 25: Comune di Paicenza, M C Architects

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GHOST IN THE MACHINE - STUDIO 3

1 . B R E A K W AT E R

4. REDCAR E S TAT E S

2 . S T E E LW O R K S

5. BEACON LANDMARK

3 . R A I LW AY T R A C K

6. WIND TURBINES

SITE ANALYSIS INFLUENCING DESIGN I created the shape and angles of my building based on the key visual landscapes surrounding the site. This was a key development in my project as it made the shape of the building fit into the landscape much more than previous attempts. It also reminded me of the relevance of these features as due to the large scale of the building, these features would become clear landscapes when ascending up the building.

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GHOST IN THE MACHINE - STUDIO 3

MASSING DEVELOPMENT

Model of my proposed massing

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VISITOR CENTRE TESTING

Visitor Centre

The slopes/views created by the massing

Integration of the Railway Tracks

Midday Sun

My first iteration of the visitors centre was purely based on the design of my main building, rather than how I wanted the spaces to be experienced. Looking back this was a learning curve for me. I was so used to designing from the outside to the inside that I disregarded the actual experience. When really the experience I wanted to create should have been prioritised.

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GHOST IN THE MACHINE - STUDIO 3

VISITOR CENTRE TESTING I began trying to fit the spaces I had outlined in my programme, into the proposed massing. It soon became clear that having the visitors centre so far away meant visitors would have to travel a fair distance by foot to experience the process. This would create great visual views of the project as a whole, however it would also make my visitors experience less accessible due to the amount of walking involved which was not what I had envisioned.

I wanted my visitors centre to be powered by the plant’s energy and so again, having t h i s h u g e d i s t a n c e

between builds did not work.

Spatial development

Integrating programme into massing

As diagrammed below, the distance between the visitors and the process made it impossible for any educational connections to be made. This prompted me to go back to the basics and focus purely on h o w I w a n t e d

the process to be experienced from the u s e r ’s p e r s p e c t i v e .

Approximately 120m between visitor entrance and process

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GHOST IN THE MACHINE - STUDIO 3

WASTE PIT

OVERHEAD VIEW WHOLE PROCESS

One of my workshops will be focused on energy sources from the earth and so to have a view of the crane sorting through the waste pit would be a powerful experience for visitors. To view it from a height also enables the visitors to see both the crane and inside the deep pit.

I think seeing the process as a whole is important too, to really get a sense of the huge scale of the project and how each zone connects.

TURBINE HALL

FLUTE CHIMNEY

The turbine hall relates to the air/wind workshop as inside the machinery there is a huge turbine. This will not be visible due to the turbine being enclosed in a larger piece of machinery and so I would like to have a screen projecting onto the view which explains whats going on inside.

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3D PROCESS - VISITOR PERSPECTIVES TESTING HOW I WANTED THE PROCESS TO BE INTEGRATED INTO THE VISITORS EXPERIENCE

The flute chimney being 100m in height gives an opportunity for a viewing platform in which visitors can view over not only the abandoned steelworks but also the entirety of Redcar Town

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GHOST IN THE MACHINE - STUDIO 3

INITIAL SKETCH This illustration shows my visitors centre programme. I started with the chimney as I knew I wanted there to be a journey up to the highest viewing platform. I then began adding in each workshop, their order relevant as some spaces needed to be experienced from different heights as seen on the previous spread.

This illustration was the basis for my subsequent floor plans. I found it was a really good design method in shaping where I needed the spaces to be and having this logical diagram to fall back on when I was testing ideas was very useful.

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Visitor Centre Programme - Isometric Illustration

GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

PRECEDENT

VISITOR CENTRE LOCATION

With the programme illustrated I had to locate where the centre should be and how it should look. With the chimney placed in the central courtyard there was an opputunity to use this as the centre point for the centre. This location made sense as with the educational workshops relating to each step of the process it would need connecting sides to each of the wings. Yet the design of this space was still to be decided and so I went looking for inspiration through precedents on ArchDaily.

Toyama Kirari, Kengo Kuma and Associates

KEY ELEMENTS: - Layered levels creating a kinetic energy to the interior - Use of thin timber to mimic movement -Offset central space, layers not lining up which allows light to travel through the space

Figure 26: Toyama Kirari, ArchDaily

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GHOST IN THE MACHINE - STUDIO 3

TESTING IDEAS

THROUGH THE USE OF MODEL MAKING

Having seen Kengo Kuma’s work I enjoyed how the layers interacting with each other created a space which felt almost as if it was moving.

I created this model by simply just testing different angles of the card and putting them together. These reminded me of stairs and since my model was a giant slope I thought it was fitting to see if they would work together.

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GHOST IN THE MACHINE - STUDIO 3

PRECEDENT

Veolia Waste to Energy Centre, Leeds

DEVELOPMENT

KEY ELEMENTS: - Nature vs Industrial - Creating an architectural landscape emerging out from the existing landscape

Having kept my initual idea of having a hill covering the tipping reception, I also used the same concept for the bottom ash dispenser area (zone 7) rather than having it underground. This meant much easier access and the design also blended into the site with ease, connected to the main structure by a 5 metre high conveyor belt.

- Relocation of soil to Bottom Ash Dispenser - Timber used instead of steel, sustainable materials

Figure 27: Waste to Energy Centre, Inhabitat

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Final massing design

To enable viewing galleries into the building I created these indents into the structure which give visitors climbing the structure a rest stop while also an insite into the process. These spaces are completely open to the public.

The visitors centre folded into the central courtyard means the building is much more compact. This makes the spaces much more accessible to both visitors and workers and allows communal areas to be shared by both visitors and workers.

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GHOST IN THE MACHINE - STUDIO 3

3D PROCESS WITH GREEN ROOF

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GHOST IN THE MACHINE - STUDIO 3

FLOOR PLAN ITERATIONS My floor plans developed alongside the massing transformation and so much like the buildings shape, the plans drasticaally change. I have highlighted both the key views in blue and the connection between user and process in red to show how they change throughout the project.

ITERATION 1

ITERATION 2

ITERATION 3

+ Good views out to the coast + Good connections between user and process

+ Viewing gallery gave great view for user of project + Potential for connections

+ Good views out to the coast + Related to site and surrounding context

- No relation to site context

- No relation to site - User experience mostly underground

- No clear user to process connection

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FINAL ITERATION + Good views out to the coast + Related to site and surrounding context + Great user to process connection and programme

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GHOST IN THE MACHINE - STUDIO 3

TIMBER VS. STEEL

MATERIALITY

During testing I assumed steel framed would be the best suited construction purely due to the fact that most industrial buildings are made from steel due to the high durability. After some research I discovered timber can be just as strong as steel along with many other benefits:

KEY

QUESTIONS WHEN MATERIALITY

TESTING

TIMBER VS STEEL Industrial buildings are typically steel, why? can they be more sustainable? Is timber a suitable alternative?

B L E N D O F N AT U R E A N D I N D U S T R I A L -

- Timber offers superior insulation, low CO2 emissions and great sustainability.

- Timber is a cheaper material than steel, additionally timber constructions are far more durable and require less maintenance so costs are saved on the long run - Timber is highly praised for being environmentally-friendly and a renewable resource, while steel production is one of the biggest polluters.

Do the materials selected show this contrast? are they balancing each other or is one overpowering the other in sections?

S U S TA I N A B I L I T Y Are the materials sustainable? Will they need long term maintanence? Can they be recycled or reused?

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Initial testing diagram showing steel as the primary structure

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GHOST IN THE MACHINE - STUDIO 3

PRECEDENT

Walmer Yard, Peter Salter

PRECEDENT

KEY ELEMENTS: - Contrasting materials

Brisbane Airport, Ned Kahn

- Kinetic panels

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- Energetic facade - moves with the wind - Kinetic panels

- Metal and timber combined

Figure 28: Walmer Yard, ArchDaily

KEY ELEMENTS:

- Can be made with recycled metal panels

Figure 29: Brisbane Airport, ArchDaily

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GHOST IN THE MACHINE - STUDIO 3

BLEND OF NATURE AND INDUSTRIAL Collage of industrial and nature coming together - alongside facade materials

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GHOST IN THE MACHINE - STUDIO 3

SUSTAINABILITY CONSIDERATIONS IN CHOSEN MATERIALS

Analysis asking whether they can be dissembled, reused or recycled. Considering these principles results in an innovative approach to circular and whole life zero carbon design.

GREEN ROOF

CAN IT BE DISASSEMBLED? Yes CAN IT BE REUSED? Yes organic material can be reused. Other elements that form part of the build up could potentially be reused - plastic drainage trays etc.

CAN IT BE RECYCLED? Yes - Growing medium easily recycled. Other components needed for a green roof build up have potential to be recycled although feasibility of this is currently unknown

ROOFING MEMBRANE - EPDM

RECYCLED METAL KINETIC PANELS - ALTERNATE CLADDING CAN IT BE DISASSEMBLED? Yes CAN IT BE REUSED? Yes CAN IT BE RECYCLED? Yes

CAN IT BE DISASSEMBLED? Yes - depending on scale and must be nin adhered CAN IT BE REUSED? Yes in principle but not clear on how easy this is CAN IT BE RECYCLED? Yes in principle but not clear how easy this is, EPDM considered most enviromentally stable waterroofing material

ROOFING INSULATION CLT PANEL ROOF

CAN IT BE DISASSEMBLED? Yes CAN IT BE REUSED? Yes CAN IT BE RECYCLED? Yes - Untreated wood and the low hazard glues used in CLT panels make the product suitable as a biomass fuel

BREATHER MEMBRANE - TYVEK

CAN IT BE DISASSEMBLED? Yes CAN IT BE REUSED? Difficult to reuse due to potential holes CAN IT BE RECYCLED? Yes, Tyvek® can find a second life in products like pallets, park benches and playground equipment, it can also be safely incinerated and, under optimal conditions, will lead to only the release of water and carbon dioxide, leaving no residue.

ALUMINIUM CLICK-ON CLADDING CAN IT BE DISASSEMBLED? Yes - Cladding boards are clipped on CAN IT BE REUSED? Yes, easy construction enables reuse CAN IT BE RECYCLED? Yes - Aluminium can be entirely recycled in a high-value manner indefinitely

CAN IT BE DISASSEMBLED? Yes CAN IT BE REUSED? Yes - depending on life span and care taken when removed CAN IT BE RECYCLED? Yes can be recycled at nearest waste centre to create new insulation.

FULL-FILL WALL INSULATION THERMAFLEECE CAN IT BE DISASSEMBLED? Yes CAN IT BE REUSED? Yes CAN IT BE RECYCLED? Yes

MODULAR STRUCTURAL TIMBERFRAME CAN IT BE DISASSEMBLED? Yes CAN IT BE REUSED? Yes CAN IT BE RECYCLED? Yes

INTERNAL FINISHES - PLYWOOD CONCRETE FOUNDATION

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CAN IT BE DISASSEMBLED? Not without distroying material CAN IT BE REUSED? Yes - Heavy duty machinery would be required CAN IT BE RECYCLED? Yes - You can recycle concrete and use it as aggregate

CAN IT BE DISASSEMBLED? Yes CAN IT BE REUSED? Yes CAN IT BE RECYCLED? Yes

Figure 30: ARC3013 Integrated Construction Illustration

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GHOST IN THE MACHINE - STUDIO 3

THINKING THROUGH MAKING

LINKED TO STUDIO SPECIFIC TECHNICAL RESEARCH For my studio specific technical research, I developed the idea behind my kinetic façade. A key theme in my project is energy and given the process inside focuses on natural sources for energy, it is only fitting for the buildings skin to also utilise the endless amount of natural energy hitting its walls throughout the day and night.

METAL FRAME (ATTACHED TO FACADE WITH TRACKS)

METAL BOLTS ATTACHING PANEL TO FRAME

RECYCLED METAL PANEL WIRE TO MAIN ELECTRICITY LINE

I started with researching the wind in Redcar and discovered the prevailing wind comes predominately from the South West. This hits the longest wall of my building, covering 115m in length and so there is a potential to create a large amount of energy from that surface area.

CIRCUIT

MAGNET

So, for my thinking through making I thought it was fitting to physically try and create a piece of this facade.

Energy Transfer Route Figure 31: ARC3013 Integrated Construction Text & Illustration

TECHNICAL CONCEPTS

METAL FRAME COIL

These were the diagrams I used to represent my model and the basis for my physical model. Using the technical details of the ‘windbeam’ and the design of Ned Khan’s facade I think my facade has great potential to create even small amounts of energy to help power the building.

Wind energy is already utilised along the coast of Redcar in the shape of wind turbines. These are huge pieces of machinery which use turbines and gears to generate massive amounts of energy. My concept focuses on a much smaller scale, with the aim to create enough energy to power a workshop activity (which will be described in detail furthur on) . During my research I found this device called a ‘windbeam’ which captures energy from airflow, the pressure fluctuations around the beam cause it to oscillate rapidly when exposed to airflow and with a magnet placed on the lower side of the beam it enters the coil circle and generates energy. This device can be used indoors and outdoors, close to the ground or high above and so it is perfect for a potential façade adaptation.

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Figure 32: ARC3013 Integrated Construction Text & Illustration

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GHOST IN THE MACHINE - STUDIO 3

THINKING THROUGH MAKING I used materials I had within the house to create this model. Due to the pandemic I couldn’t buy more materials and so I had to use left over bits from stage 2. This meant the card wasn’t the correct colour and so I used kitchen foil to cover the card and get the desired material representation for the panels. For the bolts I also used spare coins and covered them in kitchen foil.

To create the magnet I used a ring of ribbon I’d bought for my stage 2 portfolio and again covered in foil.

I took a slow motion video to get snaps of the kinetic movement but due to my home not having a photography room these shots are not as clear as I would like. If I was to have the resources and correct spaces then I would have advanced this model to not needing a hand to control the movement, maybe a string release or even using a fan to get an accurate representation of the kinetic movement.

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GHOST IN THE MACHINE - STUDIO 3

SYNTHESIS

PROJECT DECLARATION Redcar’s Waste-to-Energy Centre is far from just a recycling centre. The range of facilities it has brings in massive opportunities for not only reseach, but employment, enviromental breakthroughs and most importantly education. The spaces are designed to interconnect both the process and the education of climate change and sustainable energy, creating both a hands on and visual experience for visitors.

With workshops lining each wing of the building and the education based around every step of the process, it enables a clear journey for visitors to embarke on.

The landscape of the building also creates a landmark opportunity for Redcar, with its shape creating a gradual slope which is open to the public to climb and enjoy the magnificent views from the top. This feature embodies the concept of Industry vs. Nature, as coupled with the 100m tall chimney emerging out the centre of the structure, it creates a clear visual contrast of the fresh green grass draped over the structure to the huge concrete chimney with clean emissions seeping out the top.

The project also enables transport opportunities for Redcar. With the refurbishment of the abandoned railway tracks, originally to enable waste to be transported in a more sustainable manner, they also have the ability to provide travel routes from the city centre to both my project and all the way across to South Gare’s breakwater, which previously was only accessible by foot.

The construction and maintanence of the project is also significant. To lower CO2 emissions the train line was utilised in the transportation of materials which allowed large amounts to be transported in less journeys. The onsite soil which was dug up to create the basement, was also used to cover both the reception hall and the bottom ash dispenser, which saved both money and resources. The building is essentially powered by itself, both from the main process and the kinetic facade, both creating sufficent amounts of sustainable energy to keep the building maintained and functioning.

Additionally to all this, the centre essentially generates up to 21MW of electricity to the National Grid, enough to power more than 25,000 homes in Redcar. Up to 45MW of heat is supplied to the District Energy Network which is distributed to residential, leisure, offices and univeristy buildings in the surrounding area. Significantly, the project helps to save around 2.5 tonnes of carbon emissions every hour, which is ahuge contribution in tackling climate change.

Finally, the project also addresses its original purpose of providing an alternate method for the disposal of the wind turbines. In 2034 the 27 turbines lining Redcar’s coast will have reached their life span and will need disposing of. My project, with its close proximity to the coast and its large enough facilities, will therefore be able to convert these structures into energy and save them from being tossed into a landfill. Preventing them from contradicting the initial principle of their creation.

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GHOST IN THE MACHINE - STUDIO 3

MASTERPLAN OVERVIEW

ENGAGING SYSTEMS OF: EMPLOYMENT TOURISM C L I M AT E C H A N G E MINIMISING LANDFILLS THE ECONOMY E D U C AT I O N RESEARCH

E L E C T R I C I T Y F O R N AT I O N A L G R I D H O T W AT E R F O R D I S T R I C T E N E R G Y CENTRE AN INTERACTIVE LANDMARK R E C R E AT I O N A L A C T I V I T I E S REVITILISED GREEN LAND T R A N S P O R TAT I O N T O S O U T H G A R E

PROVIDING OUT:

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GHOST IN THE MACHINE - STUDIO 3

SPATIAL PROGRAMME

BASEMENT

GROUND FLOOR

FLOOR PLAN KEY

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FIRST FLOOR

SECOND FLOOR

THIRD FLOOR

FORTH FLOOR

FIFTH FLOOR

ROOF PLAN

1 - Tipping Hall 2 - Refuse Pit 3 - Boiler Hall 4 - Flute Chimney 5 - Turbine Hall 6 - Condensers 7 - Bottom Ash Disposal Pit 8 - Reception 9 - Labs 10 - Offices 11 - Gift Shop 12 - Staircase 13 - Plant Room 14 - Electrical Rooms 15 - Toilet 16 - Cafe 17 - Kitchen 18 - Educational Workshop 19 - Control Room 20 - Conference Room

Figure 33: ARC3013 Integrated Construction Illustrations

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GHOST IN THE MACHINE - STUDIO 3

GROUND FLOOR 110

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GHOST IN THE MACHINE - STUDIO 3

FIRST FLOOR +5m 112

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GHOST IN THE MACHINE - STUDIO 3

SECOND FLOOR +10m 114

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GHOST IN THE MACHINE - STUDIO 3

THIRD FLOOR +15m 116

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GHOST IN THE MACHINE - STUDIO 3

FORTH FLOOR +20m 118

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GHOST IN THE MACHINE - STUDIO 3

FIFTH FLOOR +25m 120

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GHOST IN THE MACHINE - STUDIO 3

PROJECT SECTIONS Due to the sloping gradient of the entire project, I have found the best representation is section to really show the scale of the different spaces and how they interconnect.

These sections also show the context of the site, how the scale of the steelworks equals the scale of my project.

Location of section

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GHOST IN THE MACHINE - STUDIO 3

PROJECT SECTIONS This section shows the contrasting scales of rooms, from the office spaces to the large industrial tipping area. This section also shows my stack ventilation system which is located in both wings of the large habitated spaces.

Location of section

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CELEBRATION PIECE

GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

VISITOR CENTRE

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This perspective shows the large open space within the visitors centre.

Specifically, it shows how the walkway across the first floor enables ‘sail bogey’ races, powered by the large turbine which gets its energy from my kinetic facade outside. This space has hints of industrial, with the dark steel railings, doors and window panes, yet it also has aspects of nature with plants decending down the spiral staircase. The timber structure brings both aspects together nicely.

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GHOST IN THE MACHINE - STUDIO 3

PERSPECTIVE VIEWS

This long thin space has a corridor for the office workers on the ground floor then it has walkways on the first floor, connecting the wind themed workshop to the turbine machinery on the other side. The space is triple height and has the glass roof covering the entire space. This space was inspired by the National Museum of Scotland, which utilises simular spaces and is part of my Culteral Bibliography as I visited earlier this year. These spaces create such a bright and enticing passageway that the user is almost drawn into entering and experiencing it.

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GHOST IN THE MACHINE - STUDIO 3

PERSPECTIVE VIEWS

This perspective shows the large double heighted gallery space located at +25m. It is accessible from the double doors leading out to the sloped roof and is an oppotunity for the public to view up close the crane moving waste into the incinerator. This was a key visual in my process when designing the spaces as I think it is one of the most mesmerising parts of the journey and with it being so high up, due to the machinery size, it made sense for the gallery to be located at the top of the building.

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GHOST IN THE MACHINE - STUDIO 3

STRUCTURE

This diagram illustates my primary and secondary structure: Concrete foundations, Glulam Beams and Columns.

Secondary: CLT floors and Studs.

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Figure 34: ARC3013 Integrated Construction Illustration

STRUCTURE

This diagram is a development of the previous illustations and it explodes the tertiary structural features. Showing the cladding arrangements with the windows.

Figure 34: ARC3013 Integrated Construction Illustration

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GHOST IN THE MACHINE - STUDIO 3

DETAILED SECTION

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Roof:

Intermediate Floor:

1 - Planting Growing Medium/Substrate Filter Fleece Drainage layer Filter Fleece Extruded Polystyrene (XPS) Insulation Board EPDM Edge fixed CLT timber Roof 200mm 2 - Drainage Outlet 3 - Recycled Metal Parapet Capping Liquid waterproofing Timber Parapet 400mm x 600-700mm 4 - Extruded Polystyrene (XPS) board (insulation) 5 - Clamping Bar 6 - Sheet Metal Skirting 7 - Recycled Metal Railing

13 - 25 mm Screed 12 mm Recycled Rubber Impact Sound Absorption Layer 30 mm Flouring Grade Wood Fibre Insulation Breather Floor Protection Membrane 130mm (5 layers) CLT Panel 30mm Mineral Wool Insulation 14 - 190/540 mm Spruce Glued Laminated Timber Composite Girder + 60–80/540 mm Beech Laminated Veneer Lumber + 110–130/540 mm Spruce Glued Laminated Timber 15 - 4 x 80 mm T Beech Laminated Veneer Lumber Dowel 16 - 33 mm Ash Acoustic Ceiling 17 - Air Duct Services (hanging under exposed beams)

Wall:

Foundations:

8 - Aluminium Click-on Cladding Mounting Track 45mm x 25mm Tyvek Breather Membrane Structural Plywood Sheathing ThermaFleece Insulation (Between load bearing studs) Structural Plywood Sheathing Timber Battens (Service Void) Vapour Control Layer Plywood (Coated in Natural Paint) 9 - Glulam Timber Beam 400mm x 540mm 10 - 150mm x 100mm Recycled Metal Panels (Kinetic Cladding) 11 - Triple Glazed Window 12 - Trimmer 25mm x 200mm

18 - 120 mm Concrete Slab Vapour Control Layer 100mm Insulation Waterproof Membrane 30mm Sand Blinded 150mm Sand Blinded Hardcore 19 - 25mm Insulation 20 - DPC (150mm above ground level) 21 - Concrete Block 140mm x 215mm 22 - 750mm x 600mm Concrete Trench Foundations 23 - 150mm x 100mm Recycled Metal Panels (Kinetic Cladding)

Location of section

Figure 35: ARC3013 Integrated Construction Illustration

GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

CULTURAL BIBLIOGRAPHY Terrassenhaus

Brandlhuber+ Edme, Burlon and Muck Petzet Architekten Berlin 2018

11 Hebelstrasse Apartment Along A Party Wall Herzog & de Meuron Thematic Housing Typology Isobel Prosser, Benoit Rawlings, Jiwoo Kim Philip Russell, Hana Baraka

City Ruins ARC 3001 2020-21

INFLUENCE:

- Use of timber - Exposed walkways

INFLUENCE:

- Layered Form - Journey/Route up the building - Use of kinetic materials

N AT I O N A L M U S E U M O F S C O T L A N D

THE ART OF ARCHITECTURE

Building I visited this year which inspired my design with its use of light tunnels and large spaces connected with walkways.

Programme on SkyArts, which introduced me to Kengo Kuma through his work in Dundee’s V&A gallery.

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APPENDIX THEMATIC CASE STUDY REPORT, BIBLIOGRAPHY & LIST OF FIGURES

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GHOST IN THE MACHINE - STUDIO 3

T

PETER SALTER

E N

N

T

O

S

C

Introduction

4

Theory

10

System

14

Climate

18

User

22

Type

26

Bibliography

&

Illustrations

32

Ghost Group

WALMER YARD

The

Machine 3 Team Members Jessica Dunn User Jacob Hughes System Colin Rogger Climate Rashmi Jayasinghe Type Edward Salisbury Theory Edward Salisbury Introduction & Layout Colin Rogger Introduction & Layout

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After setting up his own practice in 1982, having before worked with Alison and Peter Smithson, Salter now has over 20 years of experience as a visiting critic and lecturer to UK schools of architecture and as a guest speaker at architectural organisations across the globe, he currently sits as the Professor of Architectural Design at Cardiff University having previously worked at the AA and UEL. In 2011 he was awarded the Honorary Fellow of the Royal Institute of British Architects and in 2004 he received the Annie Spink Award, both celebrating contributions to education. His Thai fish restaurant also won the AJ/Boris Royal Academy award in 1991, after he spent time in Japan doing two commissions for International Expositions in the early 1990s.

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Figure 3 - West Street View

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Beginning of Design Conception: 2003 Construction Completion: 2016 Area: 450m2 Residential Client : Crispin and Seb Kelly Associate Designer: Fenella Collingridge City: London

Colin’s Collage

Located in Notting Hill, Peter Salter’s first residential project in the U.K. is composed of four irregularly design houses surrounding a shared courtyard, accessed via an underground car park and coated steel gateway. Developed over 13 years the project seeks to embody Salter’s theoretical standpoints whilst acting as the home of the Bay light Foundation – a registered charity whose primary aim is to increase the general public’s understanding of what architecture can for its inhabitant. By using handcrafted techniques of constructing, it stands to test how we can feel more ‘at home’ by deploying traditional methods instead of digitally processed ones. Salter designed the houses for the client (Crispin Kelly), who had a formed a close learner relationship whilst studying under him at the Architectural Association, both enabling for what Pallasmaa describes as the re-attachment “things particularly from the lived and emotive context” . The scheme seeks to promote the re-integration of more monolithic forms of building back into our technological society.

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“I’m not expecting

lots of sun in these houses, I rather like the sort of moody and some might say dull rooms that you get.

Which the estate agent is not very keen on”

“How do you get

light in and how do you make the most of the light you get?”

– Peter Salter, Newcastle University Visiting Lecture, 28th January 2013*

Internal Photographs of spaces which test domesticity Internal photographs taken from all four houses illustrate the wide variety of material choices employed across the scheme, handcrafted carefully chosen finishes are revealed around each different corner of its programme, inspired

by Japanese design the user always steps up or down into the room.

Windows and small openings at varying heights are inspired by Minka houses allowing light to reach the shallow depth of room plans, creating a wide variety of alternating ‘moody’ experiences.

As people can come and book to stay the intent is for them to realise a new domestic setting, one where those people co-relate with the house around them, attracted by the rough finishes which once used to be a common quality in architecture. The only rooms in which lighter finishes are used are in those at the top of the structure involving roof lights, as a way of creating a stark contrast as those cross up through the threshold via the steel stairs.

Technology vs. Handicrafts Collage Autonomy & Innocence Dissimilar to modern projects it took 13 years for completion, Salter developed his drawings over a period of 6 years, beginning in 2003. His deep understanding and variance in using hand crafted materials fights against the modern way of producing architecture, reminiscing and promoting past methods of designing, he aims for innocence, working in ways that we used to – coming together as a larger group over multiple years with our hands to offer a building which has a deeper cultural prevalence. By taking more time and working with less perfect machine cut methods, his stance aims for buildings to gather an existential emotive grounding. The collage shows a character torn between living in a technologically formed world or one where the materials are only formed via craftsmanship.

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Theory

Illustrations as one - Figure 7

1:200 Plans Lesser Senses & Domesticity The user’s senses are central to Salter’s design, by using craftsmanship rather than technology the dwellings aim for the re-attachment of architecture from its context of the lived and emotive sense, irregular finishes and raw surfaces serve to give a deeper connection between dweller and architecture. Irregular non-gridded plans seek to show a journey, devised by Salter, which reveals and hides engaging materials as you pass through and climb up; extended circulation circa sight means that you encounter more and more throughout, offering a ritualistic and choreographed way of living. He subtly alters conditions and thresholds through material choice to change the feeling of semi-private to private domestic setting, encouraging sharing, a theme adopted by multigenerational living in Japan. Each house has a different layout and different material interior, Salter’s design is there to challenge the way in which we produce architecture, promoting the use of craftsmanship over technology.

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Ram packed Japanese Wall Collage & Kamiichi Mountain Pavilion Pre-cursor Japanese Influences Salter’s only manifested works are based in Japan dating from 1990, smaller scale works intended to investigate vernacular relations between craft and domesticity, where materials are prioritised to create more close experiences. Japanese Minka houses which demonstrate delicacy and strength mixed together; within these houses floor defines the space, as you step up into spaces material change marks the existence of a threshold (something which can be seen exactly in Walmer Yard). Internal patchworks are made by combining different clays and paper, something which is replicated in many of the bedrooms where white clay is used near ceiling heigh windows to reflect daylight deep to enliven dark corners or sections at Walmer Yard. The principle taken from the Japanese vernacular is its wearing of mixtures of materials, from the leaching of the clay or the revealing of the straw, Walmer Yard exemplifies this throughout where hand formed structures become more weathered. The collage demonstrates the change of colours and textures overtime if the exposed rammed walls in Japan. Scanned in pages from the external landscapes log show the Kamiichi rsting pavilion which uses the copper plating pattern illustrated in the collage opposite.

Figure 11 - Kamiichi Pavilion

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1:200 Plans Salter’s Way of Representing In our technological epoch hand drawn works tend to be continued as architecture becomes commoditized, capitalist concerns of tme and efficiency no longer allow for the practice of higher art. Demonstrating imperfection Non-CAD works often are seen as only partially correct, they are a dying art from which Salter looks to celebrate. His drawings reflect upon the methods of craftsmanship within the development, hand drawn, hand crafted thier imperfectness resembles the building’s and shaped materials from the interior and shared courtyard.

Although some incomplete, the drawings show a journey and control via iterations which take pleasure in the fact they are hand drawn.

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Systems Creating architecture within London typically requires the designing from the inside outwards, due to the tight spatial restrictions often imposed. In doing so, the design language is partially formed in relation to the site boundaries - the systems of the preexisting build landscape has an effect on the proposed building. In Walmer yard this appears to be the case, as the refracted lines seen in the site plan appear to reflect the irregular-shaped site boundaries - even though the general design language works in opposition to the surrounding architecture.

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“ arling, Vermilion Sands is Vermilion Sands. Don’t expect to find the suburban norms. People here were individualists.”

Courtyard Collage & Scanned in Page The Psychotropic House of Vermillion Sands agrees with Walmer Yard in raising sensory design questions; in many ways Walmer’s Yard is a real manifestation of a Ballardian standpoint, an architecture which is shaped by the Wengagement of the users sensors with the architecture. It is must be said that a ‘senso-cell’ house is not achievable in our current world, the houses cannot therefore be the exact same, however, like the senso-houses they put how we experience a domestic setting from inside at the centre of their ambition. Similar to Ballard’s views, Salter sought out a sense of uniqueness to it that draws the re-attraction of humans once they have already been, developed overtime and not outcast like those grand mansion mentioned in The Thousand Dreams of Stellavista. Those water coloured facades illustrate kinetic timber panels which have the ability to enable the buildings external mood to change. Salter states in his 2013 Newcastle University APL visiting lecture that the development aims to attract “people who live separate lives almost”.

Themes to take away from case study Sensory Design

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Technology vs. Handicraft

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Vernacular Craftmanship Choreographed Journey

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Figure 14 - Thousand dreams of stellavista page scan In

Construction over a long time

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Architecture or Art?

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Systems of both change and permanence exist within Walmers yard. The top image represents the idea that although the bold, in-situ concrete walls suggest ideas of an unchanging and ‘set in stone’ building, many aspects of the dwellings suggest change.

Dynamic systems include the constant flow of residents due to the short-stay style of residency, adaptable shutters, and revolving car park. Although the permanence may suggest positive qualities of reliability, could there be more done to accommodate the ever-shifting nature of its inhabitants?

Looking at the complex initially, we may assume the tightness of the dwellings in addition to the presence of a shared courtyard and garage would suggest a sense of community to emerge between households. However, there are many reasons which suggest otherwise, such as the client stating to have as much of the space as possible in private ownership. Furthermore, as residents filter inand-out of the dwelling regularly due to the short-stay style of residency, meaningful connections between households will be difficult to form. This isolated social system stands in opposition to shared housing complexes, such as Copper Lane in London, which uses a shared ownership typology where residents foster connections through the shared ownership of the complex and spaces within it.

The idea of the building’s purpose relating to an experience is also supported by the fact all proceeds would go towards the Daylight foundation charity - a charity which aims to help the public’s understanding of what architecture can do and how it can be experienced. Although directing profits to a charitable cause is admirable, it can seem that it enforces the notion that for the wealthy, it’s easier to see architecture as an experience or artwork, when for the less wealthy it’s more commonly associated with a need especially in a place like London.

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It may be easier to view the project as more of an artwork than a functional piece of architecture which seeks to address wider contextual issues. There are many issues facing housing, especially within London, which Salter’s creation arguably fails to address. Salter drew upon many design principles gathered through years of learning and teaching - however many of these features seem to focus on the ‘finer’ aspects of architecture, perhaps neglecting more contextual issues. This is supported through the website’s language when used to describe the project, highlighting aspects such as light, shadow, colour and materiality.

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limate: How does the case study relate to it’s environmental / climate crisis context?

Figure 22 - A Map locating construction materials/A photo from Walmer Yard Above is a map detailing the origin and the production methods of the materials used in Walmer Yard. Included are the routes taken and the C02 emissions as a result of this.

In-Situ Concrete The structure mainly consists of load bearing walls and floor elements of in-situ cast concrete. To offset some of the carbon footprint caused by the production of cement, the architects replaced 35% of the cement with the coal energy powerplant by-product GGBS. This concrete is cast against reused wood in certain places, to amplify the graining effect. In others, a manufactured form-work material is used, which is made artificially smooth. This is a one use material and cannot be recycled.

Figure 23 - Black steel staircase and concrete cast walls

Black Steel Additionally, black steel, imported from wales and coated in bee’s wax (not vegan) act as party walls. Industrial scale bee’s wax is not ethically sourced.

Timber The timber for the Louvres and the Yurt is locally sourced. The Yurt is a timber frame structure, infilled with natural wool insulation, which has relatively low embodied energy being carbon negative.

Yurt structural exploration in section The second drawing highlights the timber Yurt and features a detail section and a construction detail.

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In terms of relating to a climate crisis context, the structure takes only one active stance. The materials used are not sustainable and any thoughts on sustainability are superseded by aesthetic decisions.

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Sunlight Getting sunlight into the spaces was extremely carefully considered:

Figure 28 - Bedroom with the sunlight and the timber louvres

Figure 29 A sketch of an office space with some sunlight

- The ramp to the garage and the stairs into the courtyard act as a oculus which funnels light into the set back space.

- Smooth finishes to allow light to reflect (in particular the ceilings, cast against the phenolic form-work) - Louvres to reflect or deflect light (flexibility reduces reliance on artificial energy) - Slits in party doors, to allow sunlight into the hallways - Pieces of glass that act to magnify the light rays into the staircase -Glass lamps in staircase and Yurt - A clear hierarchy of openings, relating size to their function - Reflective finishes (gold and brass) on door hands and other small details - Roof terraces House one is double aspect, so it can take advantage of the whole range of the sun path. Houses two and three are single aspect meaning it relies on the reflected light from the courtyards. House 4 is so enclosed by the surrounding buildings, it is entirely lit from above, with skylights.

Efficiently harnessing the sun light reduces energy demand and connects people to nature, aiding the battle against climate change.

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Figure 27- An annotated 1:200 plan showing how the basement space could be redesign to accommodate extra dwellings and a bike store

Figure 30 - A sketch of the courtyard with the sunlight shining into it

wards, through the dappled canopy of almost-touching overhangs; then suddenly the full extent of the courtyard opens up on your right, and the sun hits you again.”

- Quote from a journal article in AJ by Will Hunter Figure 31 Collage of drawings showing how sunlight bounces throughout the rooms

Climate

Figure 26 - An axonometric section exploring the tessellation of various building shapes and sizes, and how they communicate and interact with each other

Wider Context Re-using brownfield sites is a key principle behind plans for dealing with the increasing population of London. This provides an overall benefit to the environment since the alternative would have been for housing to spread south into a suburban setting, then requiring building to take place on green belt sites.

The site makes considerate use of a tight site. Using various building typologies, one of which is lowered into the ground to allow views into nature, made it possible for the four houses to take maximum advantage of the space. This is an efficient use of space, which is sustainable in regards to rising populations.

Each house has access to private gardens, allowing for nature to return to the site. Furthermore, a courtyard is created, and although it is made artificially, with wooden elements, the outside space allows for the buildings program to expand outdoors.

A criticism resides in the emphasis and focus given to the large parking garage. Having this amenity encourages users to drive, and this has an impact on the environment due to high CO2 emissions. There is no bike rack which further discourages more sustainable modes of transport.

Climate

Figure 25 - A collage of a London wide context plan, with a site map at 1:11043 as well as a perspective view of the building from Walmer Road. Highlighted are the green belt and brownfield site location as well as crucial services in the immediate area

“B eyond the entry gate you’re led up a gentle set of steps, funnelled left-

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ype: How does Walmer Yard relate to other buildings of its type?

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he project attempts to reinstate the sense of an interior found in the working mews and pubs that I recall from my childhood in the area, and tries to carry the intensity, the variation, something of the smaller scale of the locale,’ explains Salter. Each house has a particular geometry in its form and orientation, in a “push-mepull-you” arrangement that maximises the use of floor area across the development.“

- Peter Salter, Article by Architects Journal, January 2017

Figure 32 - Drain system with options to make it more circular and to recycle the water

Heating, Water, Ventilation When it comes to heating the structure performs poorly. The U-value of the structure is too high, at .35. To get this to the acceptable standard of the time, .20, each flat needs a wood burning stove. This is not as efficient means of heating as it requires a lot of wood, and releases contained CO2.

The thick concrete does act as thermal mass, but it needs to supplemented additionally by in-wall heating. The large number of openings allow for temperature regulation by the user. The sunlight provides some warmth, although the spaces tend to side more with a gloomy atmosphere.

When it comes to water the structure has no efficient means of water recycling. The drain system is sculptural and functional, one a basic level, but not in a considered, sustainable manner. The ventilation system in the building is manual. The openings allow air to be let in and let it flow back out. The use of Tufa block near the openings and in the bathrooms allows for the air to be filtered manually. In the bathroom perforated ventilation strips, as well as extraction systems allow for moisture to be drawn out from the bathroom.

In terms of the climate crisis this shows that the structure is not using its energy efficiently. Water, which is becoming a rarer commodity, is being waste, as is energy and wood in using the stove the heat the flats. This could have been avoided by using more efficient insulation methods, by using a concrete finish on top of an insulated timber frame structure. This would reduce the buildings footprint all around. The ventilation does however perform well and requires no energy.

Figure 35 - Axonometric of Walmer Yard portraying Salter’s ideas on designing at a domestic scale

Climate

over-sized gutters are designed so that you can hear the rain swoosh down the front of the buildings,” says Salter. “I like the idea of the buildings “having weather” - Quotes by Salter

Figure 34 Axonometric drawing of the bedroom and bathroom

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Figure 33 - Heating with the furnace

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GHOST IN THE MACHINE - STUDIO 3 Attention To Detail Through Materiality Materiality played a key role in forming spaces that were unique. Salter’s material pallete consists of rather odd types of materials put together in a harmonious way. Steel , clay, concrete and timber were among the most prominent materials used to create these spaces. The lacquered finish of the wardrobe doors and the wax finishes are some of the techniques to go out different textures for the occupent to feel the mystery of the dwellings.

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here is sprayed lacquered resin and in some instances you can’t tell the lacquer colour – which is an indigo colour – from the steel. Steel is black, the lacquer is blue and the two things start to merge and you can’t tell the form. These are curved forms just like the bathrooms are curved.”

- Peter Salter, Walmer Yard Journal

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hey are not like suburban housing,’ says Peter Salter, describing this scheme for a quartet of houses in London’s Notting Hill. ‘They are quite cellular, like pueblo dwellings.’ This really is speculative housing at its most conjectural; it defies ordinary categorisation and cannot be judged in conventional terms. It doesn’t relate to contemporary and urgent discussions around housing. It offers dense urban living, not to those whose budgets prescribe it, but for wealthier buyers. In that sense it is a stunning rebuke to the anaemic offerings for the rich elsewhere on the market. It should perhaps be sold not as expensive houses, but as an undervalued artistic masterpiece. ”

Figure 36- Domestic Living through geometry and form following human scale

- Article by Wallpaper*

Figure 40 - One of the bedrooms of the four houses: Walmer Yard is not an ordinary set of dwellings.

The housing scheme explores various ways of domestic living. Salter had many influences in designing Walmer Yard including Japanese architecture. The yurt shaped buildings are uncommon to most form of dwellings. The attention to detail is another important aspect where they designed furniture specially for the housing. The dwellings allow people to experience a type of living that is unconventional and allows them to explore their senses. Geometry and form are used with meaning in Salter’s houses from curves to rigid forms. Each space has its own narrative which flows from one space to another.

Figure 41 - The clay and straw walls of one of the Yurt Spaces with its sculptural lights The straw on the dark clay walls glistens when the light reflects on the straw dust giving a warm tone to the space.

Figure 38 - Attention to detail for user experience between one of the living rooms and the communal courtyard

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Figure 39 - Interior of an entrance to a bedroom that portray the combination of materials used by Salter

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Figure 37 - Geometry and form Inspiration from the Japanese Montain Pavillion

Inspired by the Japanese Minka houses, Salter brings in the combined materials that evokes the sense of awareness as you step into a space and knowing that you arrived into a different space.

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GHOST IN THE MACHINE - STUDIO 3 Light and Shadow Lighting was a key concept apparent through Salter’s four houses. How the light gets into these rooms is quite important. Most of the light is from the top ranges of windows, which spreads light on the ceiling and the ceiling then reflects the light into the interior of the room.

“Maybe architecture isn’t actually about the walls, and the floors, and the roofs; but it is more about everything that moves through those things. The time, and the light, and the people...”

- Neil Mclaughlin

... the User.

Figure 42 - Photograph of one of the staircases: Some spaces like the bedroom and the staircase have a sense of gloominess to them where Salter took inspiration from a bedroom in Venice. He wanted to take the same way of how the light bent around the wall, to be present in all the houses. The controlling of light in the rooms gives the room a sense of intimacy and privacy where every corner is a mystery.

Figure 46 - Own Drawing, sketch of photograph by Jim Stephenson

Figure 43 - Living room area in house 3, the lightest house of all. Another example of how Salter uses geometry to bring in natural light in various forms.

User

Some spaces have more light in them while others are more darker. It is evident that each house has different spaces.

Figure 45 - The light across the clay walls of a bedroom: Figure 44 - Light and Shadows from horizontal windows of themaster bedroom in house 2

White Clay is used above Brown clay to bring in more light from the long horizontal windows into dark corners of a room

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Figure 50 - Still from video created and shot by Jim Stephenson.

Peter Salter’s design of Walmer Yard is centralised around the senses of the user. The design of the building, as architectural photographer Jim Stephenson described, has a choreographic nature to it; The user narrates the spaces as they venture through the structure, unlike a typical mass housing project. This was communicated even at the earliest stages of the project, as seen in Figure 48, Salter’s initual drawings communicate a juxtaposition of lines and curves interacting with each other to create an almost poetic composition. A unique choreography of lines creating an experience for the user, unlike no other.

I chose this image to sketch out as I thought it was a key visual in showing the success of the design intensions in a visual form. It shows one of the house’s kitchen space and has been created to allow as much natural light as possible to flood in. This is a great example of user centric design as the kitchen is a fundamental part of a dwelling and so to make it an appealing space to work in, with as much warm light as possible, is incredibly beneficial to the user.

Figure 49 - Own drawing showing a user in one of the dwelling’s kitchen space, preparing a meal. Image based on photograph by Jim Stephenson (figure 50).

Salter’s perspective drawings often include the user within the space he is illustrating. As seen in figure 51, he also uses colour to portray the tones of light flooding into the space. By using figures in his drawings, it brings an aspect of scale and function into the spaces, in which without the user, would look empty. It subsequently shows how even in the initial stages of designing the space, Salter was visioning how the space would be occupied by not only physically beings, but also the natural light and the atmosphere this would create.

Figure 51 - Peter Salter drawing, illustating the user within one of the master bedrooms

Figure 47 - Trace of Peter Salter’s Axonometric drawing. Colour added to show the range of different materials alongside the range of architectural lines and geometrics.

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User

Figure 48- (Collective) Photography by Jim Stephenson and Hélène Binet. Chosen to show depth of different materials used throughout the building, both interior and exterior.

User

The building itself should be described as overwhelming, in every sense. The layers of colour, material, light and structural depth is ever changing as the user ascends through the rooms.

Salter used a combination of new, old and non-standard materials, selected for fitness for purpose rather than ease of construction, convenience or cost.

This resulted in a wide range of materials being welded together, all with a specific purpose, which created a space of not only functional convenience but of aesthetic rawness.

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Figure 52 - Trace of Peter Salter drawing, showing the same kitchen space.

Figure 53 - Own drawing of figure 49 in the style of Peter Salter.

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Figure 55 - Drawing focused on one of the main staircases in Walmer Yard. The colour and tone contrasts dramatically to the warm light found elsewhere in the building.

Figure 54 - (Collective) Photography by Jim Stephenson

The building creates an atmosphere in each of its spaces in which the user can sit and stare and be taken elsewhere, they can have a truly unique experience in every space. This is due to the building being in continuous movement, the light changes the space constantly. Every hour, every day, ever season; telling a new story.

The tone of light created is also key in analysing the user’s experience as each room radiates a different temperature, whether it be a completely different colour or the slightest change in shade, it plays a significant role in ensuring the user’s experience is part of an ever-changing movement. As seen Figure 56, the cool tones of light enabled by the cold materials gives this staircase, an aspect in which is typically a simple and purely functional space, a unique persona in which entices the user to enter.

As seen in figure 58, the light occupies the spaces within Walmer Yard as if it was the user. Due to the cleverly designed window placements, the light is able to dance around the space and by doing this creates unique experiences for the physical user constantly. The positioning of the windows also creates gloomy areas of the space, a key feature Peter Salter wanted within the project.

The placement of the furniture can also be interpretated as a user of the space, especially when it is assembled in a specific manner for the architectural representation.

When architectural photographer, Jim Stephenson, was capturing Walmer Yard it was (and still is) unoccupied, and so to manipulate the shots he composed objects in such a way that hinted to user occupied spaces yet with the absence of any physical human beings.

Every detail of Walmer Yard has a purpose, Salter managed to develop a threshold, a stair, a window or a ceiling from a practical necessity into a particular moment in existence, with its own possibilities for making connections between the human and the physical. For example the windows inside this bedroom are particularly placed at different heights to allow light into the dwelling at specific times of day.

Figure 57- (Collective) Photographs by Jim Stephenson. Showing how the user can be shown through objects in architectural representation.

User

Sitting in bed.

User

Figure 56 - Own drawing of a chair within Walmer Yard.

Figure 58 - Stills from a video shot by Jim Stephenson, showing the light flood into the room

Laying in bed.

Standing height.

Figure 59- Trace of a Peter Salter drawing, showing the bedroom space and highlighting the 3 different window heights

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BIBLIOGRAPHY & ILLUSTRATIONS Introduction: Illustrations Cover - Image from, https://www.theguardian.com/artanddesign/2016/nov/20/ walmer-yard-london-peter-salter-review Figure 1 - Image from, https://walmeryard.co.uk/team/ Figure 2 - Own drawing Figure 3 - Image from, https://www.architectsjournal.co.uk/buildings/walmer-yard-by-peter-salter-four-independent-yet-intimately-related-houses Figure 4 - Own drawing Figure 5 - Own drawing Figure 6 - Edited from Digimap Figure 7 - Images from, https://walmeryard.co.uk/photography/ and https:// architizer.com/projects/walmer-yard/ Theory: IllustrationsFgiure 8 - Own traced and edited drawing from, https://www.architecture.com/ awards-and-competitions-landing-page/awards/riba-regional-awards/riba-london-award-winners/2017/walmer-yard Figure 9 - Own drawing Figure 10 - Own drawing Figure 11 - Images from, https://entirelandscapes.space/Kamiichi-Mountain-Pavilion Figure 12 - Own traced and edited drawing from, https://www.architecture.com/ awards-and-competitions-landing-page/awards/riba-regional-awards/riba-london-award-winners/2017/walmer-yard Figure 13 - Own drawing Figure 14 - Image from, https://www.pinterest.co.uk/ pin/661395895250914498/ Systems: IllustrationsFigure 15 - Own traced drawing from, https://orca.cf.ac.uk/49330/1/Salter%20 four%20houses%20in%20London%20REF.pdf Figure 16 - Image from, http://comparelli.com/walmer-yard/ Figure 17 - Own drawing Figure 18 - Own drawing Figure 19 - Own drawing Figure 20 - Image from, https://www.economicshelp.org/wp-content/uploads/2016/02/ftb-house-price-to-earnings.png Figure 21 - Own traced and edited drawing from, https://ro.pinterest.com/ pin/545991154805512052/

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Climate: Extra Bibliography-“Exploring Peter Salter’s Walmer Yard.” Haworth Tompkins, Lovers, 17 Sept. 2019, www.haworthtompkins.com/process/walmer-yard.

-Salter, Peter. Peter Salter: Drawing Walmer Yard. Piano Nobile, 2016.

-Baylight Foundation. “Home.” Walmer Yard, Daylight Foundation, walmeryard.co.uk/.

-Beardsell, Peter, et al. Peter Salter – Walmer Yard. Circa, 2019.

-ORCA. “Four Houses in London, a ‘Back-Lot’ Development, an Example of Packed Urban Dwellings in Which Privacy, Quietness and Defensible Space Are of Strategic Importance.” ORCA. -Hunter, Will. “Walmer Yard by Peter Salter: ‘Four Independent Yet Intimately Related Houses.’” Architects’ Journal, 12 Jan. 2017, doi:https:// www.architectsjournal.co.uk/buildings/walmer-yard-by-peter-salter-four-independent-yet-intimately-related-houses.

-Dean, Corinna. “Property of the Week: Peter Salter’s Interlocking Walmer Yard Homes.” The Spaces, VF Publishing, 22 Nov. 2016, thespaces.com/ peter-salters-interlocking-walmer-yard-homes/.

-AASchoolArchitecture. “Peter Salter - The Walmer Road.” YouTube, YouTube, 28 Sept. 2015, www.youtube.com/watch?v=B3d6nhnBVk0.

IllustrationsFigure 22 - Own drawing Figure 23 - Image taken from, https://www.pinterest.ie/ pin/317151998756497648/ Figure 24 - Own traced and edited drawing from the book, “Peter Salter: Drawing Walmer Yard” - Piano Books Figure 25 - Own collage including a digimap map, an original drawing and original anotations as well as my own traced drawing from, “Peter Salter: Drawing Walmer Yard” Figure 26 - Own traced and edited drawing from, “Peter Salter: Drawing Walmer Yard”

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Figure 27 - Traced drawing by Edward Salisbury with own drawing overlayed and own anotation Figure 28 - Image taken from, https://walmeryard.co.uk Figure 29 - Own drawing Figure 30 - Own traced, edited and collaged drawing from the book, “Peter Salter: Walmer Yard” - Circa Press Figure 31 - Own traced and edited drawing from the book, “Peter Salter: Drawing Walmer Yard” - Piano Books Figure 32 - Own traced and edited drawing from the book, “Peter Salter: Drawing Walmer Yard” - Piano Books Figure 33 - Anotated image from, https://domstayandlive.com/properties/ walmer-yard/walmer-yard-by-peter-salter-copyright-jim-stephenson-2019-10/ Figure 34 - Own traced and edited drawing from the book, “Peter Salter: Drawing Walmer Yard” - Piano Books Type: Extra Bibliography-https://www.architectsjournal.co.uk/buildings/walmer-yard-by-peter-salter-four-independent-yet-intimately-related-houses -https://www.wallpaper.com/architecture/peter-salters-walmer-yard-is-awork-of-poetry -https://www.theguardian.com/artanddesign/2016/nov/20/walmer-yard-london-peter-salter-review IllustrationsFigure 35 - Own traced and edited drawing from, https://walmeryard.co.uk/ drawings/ Figure 36 - Own traced and edited drawing from, https://www.pinterest.co.uk/ pin/550776229422506626/ Figure 37 - Own traced and edited drawing from, https://walmeryard.co.uk/ drawings/ Figure 38 - Image taken and edited after from, https://walmeryard.co.uk/journal/ Figure 39 - Own traced and edited drawing from, https://walmeryard.co.uk/ journal/ Figure 40 - Image taken and edited after from, https://walmeryard.co.uk/stay/ Figure 41 - Own drawing, Image taken and edited after from, https://walmeryard.co.uk/photography/ Figure 42 - Image from, https://www.themodernhouse.com/journal/walmeryard-notting-hill-field-work-crispin-kelly/ Figure 43 - Image taken and edited after from, https://walmeryard.co.uk/stay/ Figure 44 - Own drawing Figure 45 - Image taken and edited after from, https://www.themodernhouse. com/journal/walmer-yard-notting-hill-field-work-crispin-kelly/ User: Extra Bibliography-https://walmeryard.co.uk/journal/zoomedin-festival/ -https://youtu.be/HXN-B2mvfik IllustrationsFigure 46 - Own drawing based on, https://clickclickjim.com/project/248/walmer-yard-london-peter-salter-and-fennela-collingridgex Figure 47 - Own traced and edited drawing from, Figure 48 - Images from, https://clickclickjim.com/project/248/walmer-yardlondon-peter-salter-and-fennela-collingridgex and Helen Binet Figure 49 - Own drawing based on, https://clickclickjim.com/project/248/walmer-yard-london-peter-salter-and-fennela-collingridgex Figure 50 - Image from, https://clickclickjim.com/project/248/walmer-yard-london-peter-salter-and-fennela-collingridgex Figure 51 - Image from, https://www.archdaily.com/800485/walmer-yard-peter-salter/583df2d2e58ecefe3700011c-walmer-yard-peter-salter-sketch?next_ project=yes Figure 52 - Own traced drawing from, https://www.archdaily.com/800485/ walmer-yard-peter-salter/583df2bde58ecefe3700011b-walmer-yard-peter-saltersketch figure 53 - Own drawing Figure 54 - Images from, https://clickclickjim.com/project/248/walmer-yardlondon-peter-salter-and-fennela-collingridgex Figure 55 - Own artwork Figure 56 - Own drawing Figure 57 - Images from, https://clickclickjim.com/project/248/walmer-yardlondon-peter-salter-and-fennela-collingridgex Figure 58 - Image from, https://clickclickjim.com/project/248/walmer-yard-london-peter-salter-and-fennela-collingridgex Figure 59 - Own traced drawing from, https://www.archdaily.com/800485/walmer-yard-peter-salter/583df2c7e58ecee67900005b-walmer-yard-peter-salter-detail?next_project=yes

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GHOST IN THE MACHINE - STUDIO 3

GHOST IN THE MACHINE - STUDIO 3

BIBLIOGRAPHY

Attewell, B., n.d. Couple with dog, Redcar wind farm. [online] Flickr. Available at: <https://www.flickr.com/photos/bryanattewell/33556372113> [Accessed 12 August 2021].

BBC News. n.d. What happens to all the old wind turbines?. [online] Available at: <https://www.bbc.co.uk/news/business-51325101> [Accessed 12 August 2021].

Business Electricity Prices. n.d. Wind Turbine Facts | Wind Power UK. [online] Available at: <https://www.businesselectricityprices.org.uk/wind-turbine-facts/> [Accessed 12 August 2021].

Cappleman, D., n.d. South Gare Lighthouse.. [online] Flickr. Available at: <https://www.flickr.com/photos/dave_cappleman/8554639531> [Accessed 12 August 2021].

Copsewood.org. n.d. Sails on Rails ; Sail trolleys & bogies. [online] Available at: <http://www.copsewood.org/ng_rly/sailbogie/sailbogie.htm> [Accessed 12 August 2021].

Drabik, M., n.d. [online] Maciejdrabik.com. Available at: <http://maciejdrabik.com/> [Accessed 12 August 2021].

Greenbiz.com. n.d. The circular economy meets decommissioned wind turbine blades | Greenbiz. [online] Available at: <https://www.greenbiz.com/article/circular-economymeets-decommissioned-wind-turbine-blades> [Accessed 12 August 2021].

Griffith, K., n.d. Hundreds of fiberglass wind turbine blades pile up in landfills. [online] Mail Online. Available at: <https://www.dailymail.co.uk/news/article-8294057/ Hundreds-non-recyclable-fiberglass-wind-turbine-blades-pictured-piling-landfills.html> [Accessed 12 August 2021].

LaChance, B., n.d. Wind turbine blades will generate about $675,000 at Casper landfill (PHOTOS). [online] Oil City News. Available at: <https://oilcity.news/ general/2019/08/01/wind-turbine-blades-will-generate-about-675000-at-casper-landfill-photos/> [Accessed 12 August 2021].

Lake, Q., n.d. Redcar steelworks from the fishing huts at South Gare | Quintin Lake Photography. [online] Quintinlake.photoshelter.com. Available at: <https://quintinlake. photoshelter.com/gallery-image/47-North-Yorkshire/G0000pB4wg4JLKEs/I000037wAEVq4v7M/C0000Yw5AOyeH_dw> [Accessed 12 August 2021].

PicClick UK. n.d. Postcard of South Gare Lighthouse at Redcar. [online] Available at: <https://picclick.co.uk/Postcard-of-South-Gare-Lighthouse-at-RedcarYorkshire-282987624975.html> [Accessed 12 August 2021].

Teesmouthbc. n.d. [online] Available at: <https://www.teesmouthbc.com/southgare/> [Accessed 12 August 2021].

Twitter. n.d. [online] Available at: <https://mobile.twitter.com/Pauly_Photo/status/1325870164840226817> [Accessed 12 August 2021].

Vanberkum, M., n.d. Instagram. [online] Instagram.com. Available at: <https://instagram.com/martijnvanberkum?utm_medium=copy_link> [Accessed 12 August 2021].

Windsurf. n.d. [online] Available at: <https://www.windsurf.co.uk/redcar-wind-power-north-sea/> [Accessed 12 August 2021].

ArchDaily. 2020. Solo Visitors No Longer Allowed on Heatherwick Studio’s Vessel After Reopening. [online] Available at: <https://www.archdaily.com/962564/solovisitors-no-longer-allowed-on-heatherwick-studios-vessel-after-reopening> [Accessed 12 August 2021].

ArchDaily. n.d. AD Classics: AD Classics: Centre Georges Pompidou / Renzo Piano Building Workshop + Richard Rogers. [online] Available at: <https://www.archdaily. com/64028/ad-classics-centre-georges-pompidou-renzo-piano-richard-rogers> [Accessed 12 August 2021].

ArchDaily. n.d. CopenHill Energy Plant and Urban Recreation Center / BIG. [online] Available at: <https://www.archdaily.com/925970/copenhill-energy-plant-andurban-recreation-center-big> [Accessed 12 August 2021].

ArchDaily. n.d. Toyama Kirari / Kengo Kuma and Associates. [online] Available at: <https://www.archdaily.com/900661/toyama-kirari-kengo-kuma-and-associates> [Accessed 12 August 2021].

ArchDaily. n.d. UAP + Ned Kahn to create kinetic artwork for Brisbane Airport. [online] Available at: <https://www.archdaily.com/69219/uap-ned-kahn-to-createkinetic-artwork-for-brisbane-airport> [Accessed 12 August 2021].

ArchDaily. n.d. Walmer Yard / Peter Salter + Mole Architects + John Comparelli Architects. [online] Available at: <https://www.archdaily.com/800485/walmer-yardpeter-salter> [Accessed 12 August 2021].

Cucinella, M., 2021. Municipality of city of Piacenza | Mario Cucinella Architects. [online] Mario Cucinella Architects. Available at: <https://www.mcarchitects.it/project/ unified-seat-for-the-town-of-piacenza> [Accessed 12 August 2021].

Earth.google.com. n.d. Google Earth. [online] Available at: <https://earth.google.com/> [Accessed 12 August 2021].

Inhabitat.com. n.d. Recycling and Energy Recovery Facility Veolia. [online] Available at: <https://inhabitat.com/gorgeous-green-11mw-bioenergy-plant-in-leeds-willsort-214000-tons-of-waste-each-year/waste-to-energy-leeds-space-architects-veolia/> [Accessed 12 August 2021].

Resource. n.d. [online] Available at: <https://resource.co/article/veolia-hits-back-over-sheffield-recycling-incinerator-allegations-11988 & https://www.veolia.co.uk/ sheffield/dealing-waste/energy-recovery-facility> [Accessed 12 August 2021].

Solution, G., n.d. Roof Greening at Nanyang Technological University. [online] Greening-solution.com. Available at: <https://www.greening-solution.com/roofgreening-at-nanyang-technological-university/> [Accessed 12 August 2021].

System 31

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GHOST IN THE MACHINE - STUDIO 3

LIST OF FIGURES

Figure 1: Vanberkum, M., n.d. Instagram. [online] Instagram.com. Available at: <https://instagram.com/martijnvanberkum?utm_ medium=copy_link> [Accessed 12 August 2021].

Figure 2: Drabik, M., n.d. [online] Maciejdrabik.com. Available at: <http://maciejdrabik.com/> [Accessed 12 August 2021].

Figure 3: Lake, Q., n.d. Redcar steelworks from the fishing huts at South Gare | Quintin Lake Photography. [online] Quintinlake. photoshelter.com. Available at: <https://quintinlake.photoshelter.com/gallery-image/47-North-Yorkshire/G0000pB4wg4JLKEs/ I000037wAEVq4v7M/C0000Yw5AOyeH_dw> [Accessed 12 August 2021].

Figure 4: Teesmouthbc. n.d. [online] Available at: <https://www.teesmouthbc.com/southgare/> [Accessed 12 August 2021].

Figure 5: PicClick UK. n.d. Postcard of South Gare Lighthouse at Redcar. [online] Available at: <https://picclick.co.uk/Postcard-of-SouthGare-Lighthouse-at-Redcar-Yorkshire-282987624975.html> [Accessed 12 August 2021].

Figure 6: Cappleman, D., n.d. South Gare Lighthouse.. [online] Flickr. Available at: <https://www.flickr.com/photos/dave_ cappleman/8554639531> [Accessed 12 August 2021].

Figure 7: Cappleman, D., n.d. South Gare Lighthouse.. [online] Flickr. Available at: <https://www.flickr.com/photos/dave_ cappleman/8554639531> [Accessed 12 August 2021].

Figure 8: Copsewood.org. n.d. Sails on Rails ; Sail trolleys & bogies. [online] Available at: <http://www.copsewood.org/ng_rly/sailbogie/ sailbogie.htm> [Accessed 12 August 2021].

Figure 9: Business Electricity Prices. n.d. Wind Turbine Facts | Wind Power UK. [online] Available at: <https://www. businesselectricityprices.org.uk/wind-turbine-facts/> [Accessed 12 August 2021].

Figure 10: Attewell, B., n.d. Couple with dog, Redcar wind farm. [online] Flickr. Available at: <https://www.flickr.com/photos/ bryanattewell/33556372113> [Accessed 12 August 2021].

Figure 11: Windsurf. n.d. [online] Available at: <https://www.windsurf.co.uk/redcar-wind-power-north-sea/> [Accessed 12 August 2021].

Figure 12: BBC News. n.d. What happens to all the old wind turbines?. [online] Available at: <https://www.bbc.co.uk/news/ business-51325101> [Accessed 12 August 2021].

Figure 13: Griffith, K., n.d. Hundreds of fiberglass wind turbine blades pile up in landfills. [online] Mail Online. Available at: <https://www. dailymail.co.uk/news/article-8294057/Hundreds-non-recyclable-fiberglass-wind-turbine-blades-pictured-piling-landfills.html> [Accessed 12 August 2021].

Figure 14: Greenbiz.com. n.d. The circular economy meets decommissioned wind turbine blades | Greenbiz. [online] Available at: <https:// www.greenbiz.com/article/circular-economy-meets-decommissioned-wind-turbine-blades> [Accessed 12 August 2021].

Figure 15: LaChance, B., n.d. Wind turbine blades will generate about $675,000 at Casper landfill (PHOTOS). [online] Oil City News.

Available at: <https://oilcity.news/general/2019/08/01/wind-turbine-blades-will-generate-about-675000-at-casper-landfill-photos/> [Accessed 12 August 2021].

Figure 16: Greenbiz.com. n.d. The circular economy meets decommissioned wind turbine blades | Greenbiz. [online] Available at: <https:// www.greenbiz.com/article/circular-economy-meets-decommissioned-wind-turbine-blades> [Accessed 12 August 2021].

Figure 17: Lake, Q., n.d. Redcar steelworks from the fishing huts at South Gare | Quintin Lake Photography. [online] Quintinlake. photoshelter.com. Available at: <https://quintinlake.photoshelter.com/gallery-image/47-North-Yorkshire/G0000pB4wg4JLKEs/ I000037wAEVq4v7M/C0000Yw5AOyeH_dw> [Accessed 12 August 2021].

Figure 18: Twitter. n.d. [online] Available at: <https://mobile.twitter.com/Pauly_Photo/status/1325870164840226817> [Accessed 12 August 2021].

Figure 19: Earth.google.com. n.d. Google Earth. [online] Available at: <https://earth.google.com/> [Accessed 12 August 2021].

Figure 20: ArchDaily. n.d. CopenHill Energy Plant and Urban Recreation Center / BIG. [online] Available at: <https://www.archdaily. com/925970/copenhill-energy-plant-and-urban-recreation-center-big> [Accessed 12 August 2021].

Figure 21: Resource. n.d. [online] Available at: <https://resource.co/article/veolia-hits-back-over-sheffield-recycling-incineratorallegations-11988 & https://www.veolia.co.uk/sheffield/dealing-waste/energy-recovery-facility> [Accessed 12 August 2021].

Figure 22: ArchDaily. 2020. Solo Visitors No Longer Allowed on Heatherwick Studio’s Vessel After Reopening. [online] Available at: <https://www.archdaily.com/962564/solo-visitors-no-longer-allowed-on-heatherwick-studios-vessel-after-reopening> [Accessed 12 August 2021].

Figure 23: Solution, G., n.d. Roof Greening at Nanyang Technological University. [online] Greening-solution.com. Available at: <https:// www.greening-solution.com/roof-greening-at-nanyang-technological-university/> [Accessed 12 August 2021].

Figure 24: ArchDaily. n.d. AD Classics: AD Classics: Centre Georges Pompidou / Renzo Piano Building Workshop + Richard Rogers. [online] Available at: <https://www.archdaily.com/64028/ad-classics-centre-georges-pompidou-renzo-piano-richard-rogers> [Accessed 12 August 2021].

Figure 25: Cucinella, M., 2021. Municipality of city of Piacenza | Mario Cucinella Architects. [online] Mario Cucinella Architects. Available at: <https://www.mcarchitects.it/project/unified-seat-for-the-town-of-piacenza> [Accessed 12 August 2021].

Figure 26: ArchDaily. n.d. Toyama Kirari / Kengo Kuma and Associates. [online] Available at: <https://www.archdaily.com/900661/toyamakirari-kengo-kuma-and-associates> [Accessed 12 August 2021].

Figure 27: Inhabitat.com. n.d. Recycling and Energy Recovery Facility Veolia. [online] Available at: <https://inhabitat.com/gorgeous-green11mw-bioenergy-plant-in-leeds-will-sort-214000-tons-of-waste-each-year/waste-to-energy-leeds-space-architects-veolia/> [Accessed 12 August 2021].

Figure 28: ArchDaily. n.d. Walmer Yard / Peter Salter + Mole Architects + John Comparelli Architects. [online] Available at: <https://www. archdaily.com/800485/walmer-yard-peter-salter> [Accessed 12 August 2021].

Figure 29: ArchDaily. n.d. UAP + Ned Kahn to create kinetic artwork for Brisbane Airport. [online] Available at: <https://www.archdaily. com/69219/uap-ned-kahn-to-create-kinetic-artwork-for-brisbane-airport> [Accessed 12 August 2021].

Figure 30: ARC3013 integrated submission illustation Figure 31: ARC3013 integrated submission illustation Figure 32: ARC3013 integrated submission illustation Figure 33: ARC3013 integrated submission illustation Figure 34: ARC3013 integrated submission illustation Figure 35: ARC3013 integrated submission illustation

174