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MATERIAL REVOLUTION Growing a Sustainable Textiles Culture thesis design document

document contents Presentation Slides 03-56

Thesis Manifesto 57-61

Global Import/Export Mappings (A1) 62-73 Relief Collages (A4) 74-80 Large Format Mapped Timeline (0.59x4.2m) 81-89 UK Assemblage Contextualisation 90-94 Current Industry Contextualisation 95-99 Proposal Contextualisation for Future 100-111 Mycelium Production Process 107

Towards Market Inclusivity - Gender Neutrality 110

Architectural Proposal Siting 112-113 Site Contextualisation 114-119

Strategies: Site Layout (1:500 @A1) 120 Infrastructural 120-127 Economic 128 Supply 129-132 Programmatic 133-142 Technological 143-146 Public (1:200 @A1) 149

Key Drawings: Floor Plans (1:200 @A1) 150-155 Site Sections (1:200 @A1) 156-161 Technical Section (1:20 @A0) 162-164 Visualisations 165-170 Image Credits 171 References 172 Bibliography 173

vacant

Original Cotton Mill | c.1829 Chimney Engine House Weaving Shed

historic assets

Key Mill Extensions | c.1880 + Lift Tower 1902 Research Laboratory 1947 Barrel Vaulted Shed 1955

Retained Concepts High Level Bridge Research Programme

demolished

converted

proposed

1600-1700

1700-1800

18000-1900

1900-2000

2000-2020

production process production process

Waste Depot Sterilisation of growth medium: Spent Hops & Grain Used Coffee Grounds

stage

01

Inoculation & Incubation Cultures introduced to growth medium

stage

02

“I enjoy the anticipation of these runs, waiting for the materials to surface.It mimics nature, the journey starts under the surface... �

Incubation Runs

Culture & Research Labs Organisms cultivated & tested

stage

03

Drying Tower Biomaterial dried to inactivate growth

stage

04

Drying Immersion “as soon as you turn the corner you feel the dense facade release, light and void takeover�

Algal Dyehouse Biomaterials stained with natural, biobased dyes

stage

05

micro-algae fabric dyes

dynamic in sunlight

Drying Tower Biomaterial absorbs dye

stage

06

“this vertical space draws on North light supplemented by mechanical ventilation to administer light and heat�

Drying Tower

‘The Exchange’ Biomaterials transferred to original mill building for processing

stage

07

“The Exchange draws on historical infrastructure and recruits it to facilitate people and product movement...”

‘The Exchange’

“the threshold between existing and proposed provides unique perspective of modern textile production...”

‘The Exchange’

Tailoring & Finishing Material handed over to artisans

stages

08-12

stage

09

“I get here early for

breakfast before I start at

8am, the rising sun through the algae, that’s the good stuff...”

Algaehouse Restaurant

semester i

textile as global cultural assemblage

Textile as Cultural Assemblage The Cultural Assemblages studio seeks to explore the tracing of complex frameworks, either seen or unseen, that stimulate a change in society.

The studio instigates a focus of investigation into these multi-scalar phenomenons, facilitating research at varying scales and contexts.

Textiles remain one of the largest and most complex industries in the modern world. The earliest evidence of textiles found in Dzudzuana cave, Georgia estimated to be between 30,000 and 36,000 years old1, the production of goods made from fibre has been an integral part of communities for thousands of years, with some having considerable cultural and religious significance. (Figure 01) Textiles have played a part in historical events that have been instrumental in an increasingly capitalist society, from the Industrial Revolution to the Atlantic Slave Trade and the British Empire.

The initiation of the project demanded an understanding of the global reach of the industry and the unique relationships that these present.

Figure 01

Family photograph A funeral procession for a tribal princess in Kalabari, Buguma, Nigeria - family members

discarded clothing

environmental decline Figure 02

Newspaper Headline The impacts of extremely high textile consumption: increasnig amounts of unwanted clothes are flooding weaker global texile markets, resulting in considerable industry damage or complete eradication

Figure 03 Aerial photograph taken by NASA Photographic evidence from NASA highlights the vast water demands of cotton farming, resulting in the drastic depletion of the Aral Sea

our over-consumption is damaging the environment

Figure 04 WRAP Statistic WRAP sees itself as a ‘catalyst for positive economic and environmental action’ and aims to ‘vision a world in which resources are used sustainably’

A Globalised Economy Lewis Mumford highlights the impact of the mechanisation of production and the role this plays in redefining society.

The expanding population and nature of the human species has driven the exponential growth and development of technology in the textiles industry. Invention of the mechanised equipment kick-started the role of the machine and quickly outperformed artisans who previously performed these tasks.

The industrial revolution brought life to the first examples of these ‘megafacilities’ and factories, becoming the engine behind manufacturing, growth and economical prosperity. The UK’s access to the global market expanded, along with production and demand.

The British Empire, facilitated innovation to expand globally. Knowledge was traded worldwide, and the USA, Japan and China quickly up-scaled new methods, leaving Britain behind. Limited by its small land mass and population, Britain’s textile industry saw a dramatic decline with production outsourced to other countries, increasing imports and reducing exports.

Despite the geographical location, fossil fuels became the important source of power to run the newly invented machines, creating a much larger need for natural resources and pollution due to the increased draw in on natural gas and coal.

“one must now keep one’s eye on ... the industrialists and mechanical inventors.

They were responsible for most of what was good and almost all that was bad.” lewis mumford, ‘the intensate industrial town’, the culture of cities

textile import export To shed light on the complexity of the assemblage at present day, analysis of historical import and export proved insightful, this investigation covered the last 4 centuries, dating back to 1600.

The following mappings were produced to highlight the hotspots of trade and their subsequent networks across the globe.

The maps are constructed hierarchically to allow the reader to establish the main nations from a glance. The more trade via a country resulted in it appearing larger in the mapping.

It is also important to note that the information depicted in these drawings show a personal interpretation of historic narrative and statistical data, they are open to interpretation and question. An infinitely accurate depiction of the assemblage will never be able to be truly revealed due to the bias of history and societal stance.

Kate Bowles - photograph of C18 madder dyed textile Early example of madder dye textile, a natural dye that was the first to be synthesised, paving the way for the mass synthesisation commencing in 1856 under William Henry Perkin

Figure 04

decoding the drawings The drawing has been arranged so that the physical appearance of each country/region and its connections indicate its relatinship and statusin the wider assemblage. These maps should not be read in the same light as a conventional map, they are snapshots of a spatial reconstruction of the textile network over a period of 420 years.

Scale This is all about relativity, the areas bear no resemblance to actual size and scale of geography, the larger they are, the more they wer involved in the trade at that specific period of time.

Linetype A dashed line represents areas were areas were exporting more goods than importing, and a solid line indicates the inverse.

‘X’ These represent significant or symbolic ‘players’ in the network but do not represent the involvement in volume.

Pink String The string represents a physical connection, an interrelation between geographical areas. This is also in reference to the tie-dye technique and ‘madder’ red dye, the first to be synthesised and introduced to trading nations via the depicted network.

1600-1700

1600-1700

1700-1800

1700-1800

18000-1900

1800-1900

1900-2000

1900-2000

2000-2020

2000-2020

social implications The previous mapping brought light to the extent of the scale of the assemblage but does not infiltrate the social implications of a global assemblage.

Collage proved an effective method to demonstrate narrative and tactility in snapshots of time. They manifest in digital and analogue format, offering an alternative depiction of important social issues.

In isolation they portray a unique scenario, but collectively they reveal an alternative global mapping, ones that focuses on emotion and can inspire change.

inhabited infrastructure Whilst technological advancement has given life to important inventions, with the benefit of increased productivity, we have lost sight of the role of the human.

The presence of mechanisation in production has dramatically dehumanised the process. The proximity of customer to product has also reduced as the reduction in the number of artisans working in the industry and the move towards mega facilities has limited our accessibility to the production process.

This is also something that we see in the 21st century with the rapid digitisation of data, has eradicated several jobs and crafts but we must consider that whilst this may improve efficiency and perhaps quality, it is important to consider the negative effects. such as the loss of employment or redefinition of employment roles as a maintainenance and creator of systems rather than the creator.

But this moves us further away from the product, the accessibility of the processes involved and the tangability of these become harder to read as we become further removed. Furthermore, we become less engaged and feel less responsible, causing devastating effects.

work ethic(s)

children between ages 5-14 forced to work in manufacturing

war effort

people paper

it is estimated that if consumers paid 1.8% more, underpaid textile workers salaries should increase by 50%

luddite riots

Luddite Riots, 1779 in Britain, caused damage to machinerythat threatened the livelihoods of artisans

assemblage It is undeniable that the UK benefitted from foreign imports, introducing new textures and materials to the population and capitalising on their power and international authority to boost their production prowess.

The cotton industry became the most important import and export, this trade centring itself in Manchester due to its geographical location, using The Pennines as a source of power, and close proximity to Liverpool which was an international port.

1600-1700

1700-1800

1800-1900

1900-2000

mapped timeline xxx

2000-2020

mapped in analogue, stitched in digital

lancashire textiles The North West of England, particularly Lancashire, became the powerhouse of the Industrial Revolution. Its prominent geographical position in close proximity to the Pennines provided the vital source of power for the growing industry.

Over 32% of world production of cotton was produced here at the peak of the industrial revolution and 50% of the UK’s exports were of cotton goods prodcued in this area of the country.

Most of the infrastructure and mills have been demolished but evidence of the industry still remains and it is important to consider how these buildings might be brought into the network of current use.

During the 19th century, Manchester was the international centre of the world’s cotton industry and hence acquired the name ‘Cottonopolis’.

The term marks a shift in the approach of the industry, moving from the home-weaving communities where manufacturing was centred within the domestic setting to an up-scale in production through machinery and everincreasing numbers of mills and warehouses.

It is also important to consider the reference to the ‘metropolis’, commonly used to describe large cities. From our understanding of this word, it is hard to seperate connotations of power and the ‘mega-city’. Whilst in the UK, London is referred to as the metropolis, there are six key areas that are considered metropolitan, of which Greater Manchester is one. It is in these areas that the population is most densely located compared with other areas in the UK. Historically, these areas were considered the main cogs that made the megamachine behind the British industrial power that produced and distributed textiles globally. At its peak in 1853, the city of Manchester boasted 108 mills that were dedicated to the processing of cotton.

“...Market Street, into Mosley Street, or Cooper Street, for instance. Here stand the great warehouses, five or six stories high, all large and imposing, some of them stately and elegant. At night these warehouses are brilliantly lighted from top to bottom...�

Johann Georg Kohl, 1844

mass production The Industrial Revolution saw the quick up-scale of manufacturing techniques in order to produce more in less time.The ability to mass produce has arguably been a blessing and a curse; the world has benefitted from unprecedented access to goods but this has also given rise to the mass consumerism and waste that currently plagues the planet’s health.

If we are to make big changes to improve the sustainability of the industry, these are the issues that need addressing alongside the replacement of damaging chemicals used in many ofthe currentmanufacturing processes such as synthetic dyeing.

The distribution of production, particularly mass production also creates an issue. Currently China and India have are some of the largest exporters of textiles goods, yet the working conditions for many o fthe employees are dangerous and/or unhealthy long term.

We must cultivate working environments where individuals are able to carry out tasks in a safe andcomfortable environment and are paid fairly by employers.

pre-offshoring — we always knew somebody who was in the garment industry... but once we removed that emotional investment from the equation, we cared less about our clothes 2

Dilys Williams director of the Centre for Sustainable Fashion at the University of the Arts London

cause for concern: waste more garments are being bought & discarded than ever more than half, 57%, end up in landfill, with synthetic materials, used in 72% of garments, taking over 200 years to completely break down

how much?

UK recorded 800,000 tonnes of process waste from clothing demand in

product lifecycle Consumer use creates microfibre waste through washing synthetics – nearly 35% of microfibres polluting marine habitats come from this source.

NEED FOR CHANGE Looking forward, the farming and production methods we rely on today combined with our attitudes towards consumption are completely unsustainable.

The planet cannot absorb and mitigate the damage at the current rate and our outlook on commodity and value are having a detrimental and unhealthy effect.

There is a need for change.

Early efforts to offset and move towards needed change are acknowledged. However, moves need to be bigger and faster. This is also an opportunity for us to re-establish the wider supply chain, becoming more aware of the source and footprint of our textile consumption and exploring ways to reinvigorate local textile opportunities.

The industry’s textile production has a bigger carbon footprint than all international flights and shipping combined.

3

Greenpeace

micro(bial)-factories Steps are being made to overhaul the industry’s production processes however the sheer scale and impact of the textile economies are far reaching and entrenched in modern society.

Micro-factories propose the digitisation of previously mechnanical features, focusing on the personalisation of clothes and reduced production time. Whilst these are postive moves for the environment and customer in the use of resources, it fails to adress our attitudes towards consumption and there are further alternatives that incorporate alreading existing waste into the production process.

If we are to move forward we need to disrupt the system and change attitudes towards production and consumption, whilst slowing down the production process and reduce demand for new material.

Looking to traditional processes, they rely on products from nature to produce and treat garments but currently these are also requiring large amounts of natural resources and is largely unsustainable.

But what if we were to look into new research that is using waste products and naturally occuring bacteria to create new life such as algae, fungus (mycelium) and bacteria (bacterial cellulose).

we need a material revolution and we need it now 4

suzanne lee

relative cultivation period

biomaterial lab production

mycelium At small scale mycelium can be cultivated in plastic bags whilst they engulf the substrate. Large volumes of wate from other industries can be channelled into containers ready for mass mycelium incubation.

The volume and weight of these incubators can be accommodated by the structure, suspension allows inspection by employees from all angles and perspectives without risking contamination of this sterile environment. Temperatures to be kept between 24-27 degrees celsius with a combination of automated ventilation through the buildings skin and solar powered heat supply.

bacterial cellulose Bacterial cellulose can be used to generate new materials from biomass waste produce such as sugar, beer and food. Currently this method of production is being carried out in relatively small volumes as it is yet to gain momentum in the mass market.

However, there is potential to create the infrastrucuture needed for this method of production by using the biomass waste created by industries that already exist. Using the waste from large food industries, particularly when located strategically in larger cities, can provide an enormous resource for a new subsiduary to the existing assemblage. Not only are we able to create new, more sustainable and biodegradable materials, we can derive them from products that are often discarded and of no further use to the other major industries.

gender neutrality on the high street A move towards a more inclusive society opens up a different approach to consumer goods, particularly those that offer individuals a mode of identification such as fashion and beauty. This could make a considerable difference, particularly in non-binary and transgender communities, whereby access and representation has not served them previously.

Many high street brands have released ‘gender neutral’ collections as opposed to offering mens and womens labels. This contributes towards reducing disparity and rethinking marketing and branding streams. Whilst the volumes of garments will need to increase due to the streamlining of collections and increas in demand for a larger market, the supply and consumption chains can be simplified.

The move towards the ungendering of fashion can have a positive impact environmentally by limiting the range of new clothes but can maintain the dynamisim of the industry oof new design by offering unique garments and textile products, made with a new generation of materials.

zara’s ‘ungendered’

asos collusion label

selfridges ‘agender’ campaign 2015

inclusivity mainstream unity capsule wardrobe

limit the range, free the expression This facility can offer a curated collection of garments that can appeal to the mass market without the need to produce a vast array of different garments.

This will improe the efficiency and fiancial viability of the facility whilst tackling consumer attitude towards their wardrobes.

The limited collection will focus on quality with revolutionary materials and unique details that reflect the material it has been made with.

This will allow for material development and managed production streams that serve the population rather than swamp the market with unnecessary production, which is what is currently happening on the high street. It will cause us to stop and think about what we want from our clothes.

Of course, the expansion of this type of facility can open uup opportunity to broaden the selection of garments, specifically linked to that of its location and source. This will introduce the element of choice whereby consumer may want to purchase a garment produced in a facility from a particular region that specialise in a different species of fungus, bacteria or algae.

This will be determined by the access and environmental conditions that may dictate what specie of biomaterial is readily available.

For example, inland facilities will differ from their coastal counterparts, recruiting the diverse range of marine of freshwater species, all with their

own textures, colours and biological characteristics that can offer character to their products.

It has been estimated that there are between 200,000 - 800,000 species of microalgae and over 11,000 of macroalgae. If we can see the range and breadth of characteristics of current research, these have only looked into the a small fraction of the material available, often testing one specie at a time. Imagine what options we could uncover as we continue ot research and test with different species.

Original Cotton Mill | c.1829

Key Mill Extensions | c.1880 +

Chimney Engine House Weaving Shed

01

Lift Tower 1902 Research Laboratory 1947 Barrel Vaulted Shed 1955

01

01

Retained Concepts High Level Bridge Research Programme

01

01

01

vacant

01

Original Cotton Mill | c.1829 Chimney Engine House Weaving Shed

grade II*

02

Key Mill Extensions | c.1880 + Lift Tower 1902 Research Laboratory 1947 Barrel Vaulted Shed 1955

low quality

03

Retained Concepts High Level Bridge Research Programme

demolished

04

converted

05

proposed

06

waste as resource uk commerical waste streams

Types of waste can be used to provide a growth source for the biological organisms. As a move towards a circular economy, waste must be actively reduced, and the remainder can be reintegrated back into a production cycle.

The following mappings indicate the ‘wealth of waste’ around the UK, indentifying particular waste streams and their distribution at national scale.

This will become a defining factor when cosidering the expansion of the ‘Sustainable Culture, Bio-Factory’ network, sourcing waste material from a ‘local’ 20 mile radius to reduce the carbon footprint.

breweries

commerical food manufacture

waste mapping abstraction

production process production process

algaehouse strategy

Photo credit ColtArupSCC

“I enjoy the anticipation of these runs, waiting for the materials to surface.It mimics nature, the journey starts under the surface... �

Incubation Runs

Drying Immersion “as soon as you turn the corner you feel the dense facade release, light and void takeover�

“this vertical space draws on North light supplemented by mechanical ventilation to administer light and heat�

Drying Tower

“The Exchange draws on historical infrastructure and recruits it to facilitate people and product movement...”

‘The Exchange’

“the threshold between existing and proposed provides unique perspective of modern textile production...”

‘The Exchange’

“I get here early for

breakfast before I start at

8am, the rising sun through the algae, that’s the good stuff...”

Algaehouse Restaurant

image list Figure 01

Family photograph (author’s own)

Figure 02

Kubania, J. (2015). How second-hand clothing donations are creating a dilemma for Kenya. [online] the Guardian. Available at: https://www.theguardian.com/world/2015/jul/06/ second-hand-clothing-donations-kenya [Accessed 5 Nov. 2019].

Figure 03

Nasa.gov. (2014). World of Change: Shrinking Aral Sea. [online] Available at: https://earthobservatory.nasa.gov/world-of-change/AralSea [Accessed 13 Feb. 2020].

Figure 04 Figure 05

Wrap.org.uk. 2020. Sustainable Textiles | WRAP UK. [online] Available at: <https://wrap.org.uk/sustainable-textiles> [Accessed 18 June 2020].

Bowles, K., 2017. 18C Madder Dyed Textiles. [image] Available at: <http://katebowles.blogspot.com/2017/02/18thc-madder-dyed-fabrics.html> [Accessed 18 June 2020].

Schofield, J. (2018). A short history of Manchester: the rise and fall of Cottonopolis. [online] Confidentials. Available at: https://confidentials.com/manchester/a-short-history-of-manchester-the-rise-and-fall-of-cottonopolis [Accessed 12 Feb. 2020].

Levine, G. (2017). Mapping the Rise of Fast Fashion in Manchester: What Does the Future Hold? [online] Return. Available at: https://return.co/mapping-the-rise-of-fast-fashionin-manchester-what-does-the-future-hold/ [Accessed 10 Feb. 2020].

references 1

https://www.facebook.com/thoughtcodotcom (2019). What Ancient People Did With a Little String and a Lot of Ingenuity. [online] ThoughtCo. Available at: https://www.thoughtco.com/the-history-of-textiles-172909 [Accessed 17 Jan. 2020].

2

Jasmin Malik Chua (2019). Fast fashion companies like Zara, Boohoo, and H&M are bad for the environment and economy. [online] Vox. Available at: https://www.vox. com/2019/9/12/20860620/fast-fashion-zara-hm-forever-21-boohoo-environment-cost [Accessed 3 Feb. 2020].

3 Hanson, J. (2019). Fast fashion - this industry needs an urgent makeover | Greenpeace UK. [online] Greenpeace UK. Available at: https://www.greenpeace.org.uk/news/fast-fashionthis-industry-needs-an-urgent-makeover/ [Accessed 8 Feb. 2020].

4

TED (2020). Why “biofabrication” is the next industrial revolution | Suzanne Lee. [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=7pMhqyteR5g [Accessed 11 Feb. 2020].

‌

bibliography Levine, G. (2017). Mapping the Rise of Fast Fashion in Manchester: What Does the Future Hold? [online] Return. Available at: https://return.co/mapping-the-rise-of-fast-fashionin-manchester-what-does-the-future-hold/ [Accessed 10 Feb. 2020].

Uddin, F. (2019). Introductory Chapter: Textile Manufacturing Processes. Textile Manufacturing Processes. [online] Available at: https://www.intechopen.com/books/textile-manufacturing-processes/introductory-chapter-textile-manufacturing-processes.

Historic England (n.d.). Historic Textile Mills of Greater Manchester: Survey Review and Heritage Audit Executive Summary.

Phelps, A., Gregory, R., Miller, I. and Wild, C. (n.d.). The Textile Mills of Lancashire The Legacy.

Mumford, L. (1971). The Myth of the Machine. London, Secker & Warburg.

Labs.theguardian.com. 2020. Child Labour In The Fashion Supply Chain. [online] Available at: <https://labs.theguardian.com/unicef-child-labour/> [Accessed 18 June 2020].

En.wikipedia.org. 2020. 2013 Dhaka Garment Factory Collapse. [online] Available at: <https://en.wikipedia.org/wiki/2013_Savar_building_collapse> [Accessed 18 June 2020].

Historicengland.org.uk. 2020. [online] Available at: <https://historicengland.org.uk/images-books/publications/engines-of-prosperity-new-uses-old-mills/engines-of-prosperity-nw-main-report/> [Accessed 18 June 2020].

Common Objective. 2020. Fashion And Waste: An Uneasy Relationship. [online] Available at: <https://www.commonobjective.co/article/fashion-and-waste-an-uneasy-relationship> [Accessed 18 June 2020].