Lines in the Landscape - HJB

Lines in the Landscape.

Explorations 2022

B182734 B164207 B184847

EXPLORATIONS: LINES IN THE LANDSCAPE

EXPLORATIONS: LINES IN THE LANDSCAPE

CONTENTS

Through the Hedgerow.

5

Culross.

12

Hedgerow.

21

Xray.

Precedent Studies.

35 36 38 40 42

Zinc Mining Muesum - Peter Zumthor.

Steilienset Memorial - Peter Zumthor.

Venitian Palace - Carlo Scarpa.

Tofu Factory - Xu Tiantain.

Villa Emo - Andrea Palladio.

46

Air Drying.

47

5 Techniques of Preservation.

Development through Design.

52

The Hidden Space.

55

Plan Iterations.

61

Initial Design.

Finalising Concept.

76 80 86 92 100

Plans.

Sections.

Elevation.

Preservation Processes.

Rendering.

110

Exhibition.

Food Preservation.

2

3

This chapter conveys a connection between modern England and its past through Jamie’s humanisation of these peoples and how she relates their lived experiences with her own. She describes how the modern housing scheme she lived on were near to remnants of five thousand years of occupation. How a long-barrow used to lie where a roundabout at a motorway now exists and how an estate of 1930’s bungalows swirl around an ancient stone. She draws up similarities between these ancient features and modern landmarks.

Light & Dark Constant X-Ray

Jamie recounts her experiences working as a digger on a Neolithic monument for a summer.

Having to take it apart piece by piece with a team of archaeologists. She juxtaposes herself and her young colleagues with the constructors of this monument thousands of years ago – working long hours under the mentorship of the elders, in this case the archaeologists.

Skeletal Concealed

Hedgerows 4

Sightlines

by Kathlene Jamie

She describes the skill of the archaeologists, having to tell a something from a nothing, analysing the smallest pieces of evidence to draw conclusions. She notes how even though the henge was being destroyed, it was still in use, and the site it was built on would always be in use in some way or another. She describes how she felt a deep connection to the distinct topography that the Neolithic people understood so well.

5

Culross.

This sketch describes the journey we took through Culross, combining a series of elevations, perspectives, and plans from the moments on the journey we found most inspiring into a complex arrangement.

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1 100m 50m 0 50m

Charcoal and pen imagination of a down a rabbit hole, the burrows rabbits may choose to hide in and textures this internal enviroment may have.

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Rabbit Hole Location.

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Following our visit to our hedgrow we document the variety of different footpaths we encoutered on our walked route. We walked through the town from the eastern carpark, up to

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WALKED ROUTE ON SITE VISIT

0 5 25

WALKED ROUTE ON SI

250m

1 : 2500

200m

Footpath Analysis.

EXPLORATIONS: LINES IN THE LANDSCAPE

Cobblestone Type 1 - Path outside Culross Primary School

Tarmac - from the surrounding main road

8// 2//

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Cobblestone Type 2 - Route via Mid causeway

Site

Gravel & Bark - from pathway leading to the parash church

Hole location

Rabbit Hole Photo.

Photograph of the rabbit hole at the site, due to the lack of damage of grass and surrounding plants. We do not believe this rabbit hole is still in use.

3// 3//

6//

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Slate Steps - route up path behind Culross garden

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Grass Trail - from pathway leading through our headrow site

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Upturned Brick - Route heading north from Balgownie Way opposite Culross west carpark

Cobblestone Type 3 - Outside Mercat Cross (a cross sybolisng a town and which county Culross operates under)

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EXPLORATIONS: LINES IN THE LANDSCAPE

EXPLORATIONS: LINES IN THE LANDSCAPE

1:40 1:40

Hawthorn Crataegus Monogyna

Bramble Rubus Fruticosus

While the fence does carry on at this point, the sparse hawthorn hedge takes over from the Elm, creating gaps in the hedge again and offering little cover and populated by a mass of brambles.

14

Hornbeam Carpinus betulus

Scot’s Elm Ulmus Glabra

This long section of Hedgerow, constructed entirely out of Scot’s Elm, appears well-maintained, standing at a height of 3.6m, providing very good cover, with a thick base and pleasant appearance. It appears to be newer than the Hawthorn hedgerow opposite due to the lack of variety of Flora species. More evidence towards it relatively recent construction is the barbed wire fence it is built around, protecting the field from intrusion but perhaps impacting the ability of fauna to cross the hedgerow with ease.

Scot’s Elm Ulmus glabra

Goldenrod Solidago

Bramble Rubus Fruticosus

Ivy Hedra

Cow Parsley Anthriscus sylvestris

Cow Parsley Anthriscus Sylvestris

This side of the Hedgerow begins exposed to the field, with a mess of grass and weeds shielding a well-constructed barbed-wire fence. The grass surrounds a hidden stone which appears old and worn, perhaps the remnant of a past Hedgerow that was replaced.

Bramble Rubus Fruticosus

This is an opening onto the field the hedgerow lines, it is ill-maintained, with overgrown grass and invasive weeds. The fence borders the field to the left, with some shelter provided by the sparse Scot’s Elm trees that line it.

Ivy Hedra The Hedgerow begins with an unmaintained but large mass of Bramble and Ivy plants covering an unknown species. While the climbers hide the species, they extend the height of the hedgerow and give it good cover.

Herb Robert Geranium Robertianum The clump of Ivy continues for several metres with the addition of a number of other species of weeds commonly present in Scottish Hedgerows

Hawthorn Crataegus Monogyna

Ivy Hedra

Cow Parsley Anthriscus sylvestris Stinging Nettle Urtica Dioica

Stinging Nettle Urtica Dioica

Bramble Rubus Fruticosus Stinging Nettle Urtica Dioica

Hawthorn Crataegus Monogyna

Elder or Wild Privet Sambucus nigra or Ligustrum vulgare

Hawthorn Crataegus Monogyna

The Ivy subsides at this point, replaced with Hornbeam – perhaps suggesting this is the species which the ivy covers at the start of the Hedgerow, it looks mostly un-maintained, but provides a solid structure to the hedgerow. Nettles line the bottom of the Hedgerow.

Stinging Nettle Urtica Dioica At this point, the most common species in Hedge-making, Hawthorn, takes over. In England and Wales, Hawthorn hedgerows were traditionally planted so their stems would grow at a low angle. Scottish HedgeẨ rows were not planted in this way, and the stems often grow vertically. This leads to lower branches breaking off, perhaps due to help from animals, creating sparse and gappy hedgerows.

Ivy Hedra

Hawthorn Crataegus Monogyna

The next portion of the Hedgerow Is made up of what we determined as either Elder Tree or Wild Privet. The similarity in appearance of the species makes it hard to tell. This species provides sufficient cover, aided by ivy, however still has several gaps at the bottom.

Holly Ilex aquifolium

This is another exposed portion of Hawthorn. The straight top of the Hedgerow suggests that this portion of it is managed and trimmed. Notably, Nettles seem to grow more abundantly in parts of the hedgrow with more exposure to sunlight.

Herb Robert Geranium Robertianum Herb Robert Geranium Robertianum Ivy once again takes over the hedgerow at this point, with some hawthorn peeking underneath. It again provides solid cover, with cow parsley growing from the floor. It is evident from this part of the hedgerow that it has not been well planted, the best hedgerows are always thickest at the bottom, providing cover for animals. This one is sparse at the bottom, with many exposed trunks.

Holly takes over at this point of the hedgerow, breaking up the sparse hawthorn. It is denser, and provides good cover, but is again sparse at the bottom due to the way it has been planted.

Hawthorn Crataegus Monogyna

The Hedgerow breaks at this point Perhaps, due to animal action, natural processes, or purposeful human action.

The gap does roughly match up with the other side of the hedge, suggesting a purposeful removal for some sort of farming benefit. It shows the grassy bank which lines either side of the hedgerow, especially on the side of the field, which provides notable benefits for the field such as contributing to soil fertility, acting as a break against soil erosion and flooding, and even protecting the hedgerow itself from machinery or chemicals used in agriculture.

Hawthorn Crataegus Monogyna

Cow Parsley Anthriscus sylvestris Hawthorn continues after this break, but has a different appearance. It has seemingly been trimmed recently, suggesting this part of the hedge becomes more managed.

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EXPLORATIONS: LINES IN THE LANDSCAPE

EXPLORATIONS: LINES IN THE LANDSCAPE

Seasonal Leaf Colour Changes

Clay Plant Imprints

We created a graph to document the colour changes of leaves from varying species at our site through different seasons. Information taken from: The architecture of Trees by Cesare Leonardi

These clay imprints were taken from samples collected at our site in Culross during September (Autmn). This was done as an example of preserving the exact texture and form of plants beyond a plants lifespan.

Winter

Autumn

Summer White Lace Flower (Orlaya grandiflora)

Goldenrod (Solidago)

Horn Beam (Caprinus Betulus)

Scots Elm (Ulmus Glabra)

Holly (Ilex Aquifelius)

Spring

Bramble (Robus Fruticosus)

16

Scots Elm (Ulmus Glabra)

Horn Beam (Caprinus Betulus)

Ivy (Hedra)

Hawthawn (Crataegus Monogus)

Holly (Ilex Aquifelius)

Herb robbert (Geranium Robbertium)

Goldenrod (Solidago)

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Painted Elevation We created this painting to try and capture the sporadic density of the western side of our hedgerow, observing how the light shines through the gaps in the hedgerow. It inspired a focus on the representation of a hedgerow in British folklore.

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EXPLORATIONS: LINES IN THE LANDSCAPE

EXPLORATIONS : LINES IN THE LANDSCAPE

Darkroom Photography Inspired by botanist Anna Atkins, we used the negative space to document the shapes and extures of plants collected from our site

Photo taken facing north at 12:15. Sun overhead at full brightness.

Photo taken facing north at 15:45. Sun lower to the west, creating overhanding shadowing.

2s 2S

I Facility I

Facility

We chose krokus 35 colour SI in the darkroom

We Chose Krokus 35 colour sl in the dark room.

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4s 4S

6s 6S

II Testing II

Testing

Test four different exposed times to selcect the best results.

These ranges from 2s,to4s, 6s, the & 8s from topfortofinal bottom.

Test four different exposed times select best option results.

They 2s 4s 6s 8s fromto top to bottom. the final plans We chose 8s are exposed method document In the end, we chose 8s exposed method to document the final plants.

8s 8S

III Pictures III

Final pictures

Picture sample Picture sample.

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Krokus 35 colour SI Exposure 8/10s Filter 4

Acetate Model Drawings Inspired by the Xray like images produced in the darkroom we decided to produce series of sections and elevation in the X & Y axis and in plan.

These are then later layered to produce an 3 dimensional acetate model of the hedgerow.

X Axis:

I IV

II V

III

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VI

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Y Axis:

Plan of the hedgerow at 1:40:

Using this series of sections we were able to plot a consistent rise in elevation, view the changes in bush densities/ species changes. While showing the man made versus natures growth.

To organise the acetate model, we created a plan of our hedgerow. This shows the barbwires connection to the hedgerow, symbolic of humans intervention with the creation of a natural space.

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sce

tio

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Acetate Model Photos This model gave a unique perspective of the hedgrow, the spaces inbetween branches, the density of varying plants, and how the hedgerow leaned and grew around the man-made barbwire fence

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“ The ocular bias has never been more apparent in the art of architecture than in the past half century, as a type of architecture, aimed at a striking and memorable visual image, has predominated.”

Elevated Tectonic

Pallasmaa’s observations are nihilistic eye ‘deliberately advances sensory and mental detachment’ whereas the narcissistic eye views architecture as a means of self-expression.

Viewing buildings as only a visual commodity therefore making the world a meaningless visual journey. Pallasmaa consistently uses renaissance and baroque art as a comparison between his viewpoint while referencing famed works of Frank Lloyd Wright, Alvar Aalto and Le Corbusier as having the same memories and haptic senses with the viewer. To further this point, Pallasmaa draws our attention to the technological advancements in the design process and push the boundaries of construction but tends to flatten our multisensory imagination.

Stereotomic Threshold Linear

Precedent 32

Pallasmaa, Juhani a prolific Finnish architect and professor of architecture and dean at Helsinki University. Discusses his concerns about ‘the inhumanity of contemporary architecture and cities, can be understood as the consequence of the neglect if the body and sense, and an imbalance in our sensory system.’ The book itself derived from a series of essays and publications.

Critically examining modern architecture focusing on what humans see to the eye yet does very little to satisfy our other senses. The superiority of vision has led to an ocular-centric architectural world aiming to create a more striking and visually memorable building.

The eyes of the Skin: architecture and the senses

by Juhani Pallasma

This thought provoking extract leaves readers and architects a series of questions that could be considered when designing for the future Do we remember the places have been to for the site we have seen, of for the sound, smell and texture? Or are the experiences that we have and remember enhanced by senses other than sight

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Zumthor simply describes his designs by section

The meuseums are split across 4 differing buildings, inteded to minimise the visual impact to the surrounding enviroment. wooden legs create sturdy yet natural frame above rugged landscapes. The timber frames go up the outerwalls of the enclosed space creating a natural envolope to hold the used space.

Inside mining artifacts are kept in within pitch-black display niches.

The angular walls and ceiling of the space are textured with linear markings that appear to reference the cuts made into stone to extract zinc.

The interior is supposed to represent the “druggery” and mundane lifestyles that miners went through. Yet comes across far more minimalist and sleek

Source From: Archdaily

Source From: Archdaily

Zinc Mine Museum.

by Peter Zumthor

Zumthor designed a series of buildings for the site of the former Allmannajuvet zinc mines in Sauda, which first opened to the public in late 2016.

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His stilted museum buildings cling to the rugged terrain bordering a tourist route that now runs past the disused zinc mines. The mines were in use for only 18 years, before being shut at the end of the 19th century.

Source From: Archdaily

Source From: Archdaily

“I had my idea, I sent it to her, she liked it, and she came up with her idea, reacted to my idea, then I offered to abandon my idea and to do only hers, and she said, ‘No, please stay.’ So, the result is really about two things — there is a line, which is mine, and a dot, which is hers… Louise’s installation is more about the burning and the aggression, and my installation is more about the life and the emotions.”

Zumthor simply describes his collaboration with Bourgeois in an interview

Front Elevation

Source From: Dezeenn

Back Elevation

The memorial consists of two separate buildings. A 410-foot wooden structure surrounding a fabric cocoon containing a Zumthor installation.

The interior fabric made from woven fibreglass has been beaten by the harsh climate of Vardo but is expected to last a further 72 years.

A square smoked glass room with a 39-foot roof on each side containing works by Bourgeois. The Zumthor structure consists of a timber frame manufactured off-site and assembled in long rows of 60 bays, containing coated fiberglass membranes that are suspended from cables, each of the braces and tapered at both ends. Inside is a wooden walkway 100 meters long and 1.50 meters wide.

Peter Zunthor is famed for his uncompromising exoskeleton like structure with wooden beams consistently running in the X, Y & Z axis. The structure in the steilest memorial is based around a series of 62 repeated shapes supported by the adjacent beams, creating the feeling of a narrow, never-ending tunnel. This follows similar themes to that of a hedgerow, a narrow threshold between two open plains of field.

All imprinted with 91 small windows randomly placed along a narrow corridor, each with a description based on some origional sources from the time . A single light bulb is visible through each window and is intended to evoke the region’s “little curtainless window lamps in houses”.

The model produced uses a series of mirrors to replicate this feeling, a never ending repeat of the frame, a tunnle of vision though the form.

Source From: Dezeen

Source From: Dezeen

Source From: Dezeen

Steilneset Memorial.

by Peter Zumthor

Architect Peter Zumthor designed this monument on the Norwegian island to commemorate a witch suspected of being burned there in the 17th century.

The Steilneset memorial in Vardø consists of two buildings. One was entirely designed by Zumthor and the second building is an installation by the late Louise Bourgeois.

36 Source From: Dezeen

Source From: Dezeen

Source From: Dezeenn

EXPLORATIONS: LINES IN THE LANDSCAPE

“Scarpa, more than any other Italian architect, has brought back decoration into architecture.”

December 1973 - SHERBAN CANTACUZINO

The work began with the removal of later decorations and orniments, stabilization of the now acient walls and preserving origional architectural features. While building a new wooden bridge and new enterance.

The foundation is cleverly integrated into the urban fabric of Venice. Visitors begin their journey mostly in Piazza Maria Formosa, strolling through streets, boulevards and squares between Venetian buildings, passing through the entrance of a bridge over a canal leading to the gallery itself, to the backyard, the centerpiece of the gallery. form a transition. Complex. Urban Fabric and Foundation share the idea of ​​islands separated by water.

The underlying stampalia consists of a series of thresholds that create journeys through the use of different materials and water. Each transition between spaces has been carefully considered to create a different atmosphere, from the city to the hall, from the canal to the gallery, from the main exhibition to the backyard. These thresholds connect different spaces by carefully handling light textures and views.

The centeral path was then restored fitted with new leves and boarders to compete with the unusually high water levels within the lagoons Water is an essential element to the garden, stretching between the land side of the palace and the heigh perimiter wall. The garden with a cherry tree, magnolia and pomegranate, is a unique courtyard that attest the Carlo Scarpa’s love for Japan. Set into the surrounding walls is a mosaic designed by Mario De Luigi made of a tesserae of gold, black and silver Murano glass, a typical Scarpa signature. Glass and concrete underline the fragility and value of nature and art.

In order to contrast the ancient with the new, smooth stone surfaces fill the exsisting surfaces to modernise and maintain the now contemporary space.

Source From: venetionside

Source From: Metalocus

Venetian Palace - Fondazione Querini Stampalia.

by Carlo Scarpa

Fondazione Querini Stampalia used to be a family home for the prominent Venetian Querini Stampalia family, one of the founding venetian families. In 1947 renevation of the ground floor and garden area began, this was completed a decade later.

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Water is the main character highlighting back to the initial distruction from a flood. The palace looks back through water gates along the inner side, becoming a consistent themel.

19 Source From: Metalocus

Source From: venetionside

EXPLORATIONS: LINES IN THE LANDSCAPE

Source From: Archdaily

The new factory is programmed on a linear slope following the river at the village enterance. The buildings volume is spread along the slope with six production functions: preparation, grinding, boiling, deep frying, drying and tasting. All the production spaces are designed and equipped to upgrade traditional tofu products fitting with food certificateion requirements. This will allow for the products to sell in city supermarkets and increase the village economy.

A covered walkway for visitors takes the steps up to observe the traditional tofu making process in sequence, and finally arriving at the tasting hall facing an open plaza to the south. An assembly timber structure system is applied to the building as a modern production factory and also creates a dialogue with the vernacular woode structure.

The factory is both production and exhibition space for the traditionl herritage for Caizhai Village. A local village union has been set up to operate the factory and encourage the community as shareholders of this collective economic entity Source From: Archdaily

Source From: Archdaily

The Tofu Factory - Caizhai Village, Songyang

During the day, the factory is designed with plenty of natural light. At night, two LED lighting systems are deployed for production needs or basic night lighting needs to reduce energy consumption. The building requires a simple maintenance process. Energy savings through natural lighting, natural ventilation, rainwater collection systems, and efficient wastewater treatment ensure a moderate lifestyle while preserving the cultural characteristics of the area.

by Xu Tiantian

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The tofu factory not only performs sustainably in terms of construction and maintenance, but also promises far-reaching social resilience.

The project located in a traditional village named caizhai in china. For the past two hundred years some Caizhai is nationally known for the best tofu production in china. Unfortunately due to many small private family workshops the families do not have the correct food certifications to sell to mass markets.

Source From: Archdaily

Source From: Archdaily

[Rilievi 1972: pl. III].

Villa Emo

EXPLORATIONS: LINES IN THE LANDSCAPE

nce of the house and are

the building tanding than the other parts. e coats of arms e of the facade

Progression of extreme and mean ratios in the main floor plan of the central block.

Geometric overlay by Rachel Fletcher on surveyed drawing of Villa Emo by Mario Zocconi and Andrzej Pereswiet Soltan, [Rilievi 1972: pl. III].

Location:Vedelago, Veneto, Italy Andrea Palladio

Plan of the central block, proportioned to a circle and its inscribed double square.

Geometric overlay by Rachel Fletcher on surveyed drawing of Villa Emo by Mario Zocconiand Andrzej Pereswiet Soltan [Rilievi 1972: pl. III].

In the 16th century there was a craze in Northern Italy amongst the very wealthy. The craze was to have a country house built by ‘the‘ architect of the day Andrea Palladio. Palladio lived and worked in Vicenza, just a few hours from Venice and had studied in Rome. He was a classical architect influenced by the Roman design principles of Vitruvius. He used simplicity of style and symmetry to create beautiful, elegant country homes. The super rich merchants of Venice were falling over one another to get a house designed by the man of the moment.

The exterior of the house is very simple, with its warm golden stone and terracotta tiled roof.

Wings stretch from the main villa to west and east, providing pleasant arcades, that offer protection from the sun and the rain. At the end of each wing is a square tower that would have been used as a dovecote. Manicured gardens extend to the front and sides of the house. Visitors would have ascended a ramp, rising several metres up to the imposing portico entrance and the front door. Arriving by carriage and catching a glimpse of the house in the distance, rising majestically above the plains, created an emotion of awe and wonder in the hearts of the guests.

The Exterior is simple, its warm golden stone and terracotta tile roof. wings stretch from the main villa east to best. creating natural arcades offering protection from sun and rain. At the end of each wing is a aquare tower that would have been used as a dovecote.

/Detail/objects/7534 017/03/28/the-fa%C3%A7ade-of-villa-emo

Progression of extreme and mean ratios in the main floor plan of the central block.

Geometric overlay by Rachel Fletcher on surveyed drawing of Villa Emo by Mario Zocconi and Andrzej Pereswiet Soltan, [Rilievi 1972: pl. III].

Manicured gardens extend to the front and sides of the house. visitors would ascend a ramp, rising severeal meters up to the portico entrance. Arriving by carriage and catching a glimpse of the house in such frontispieces mark the entrance of the house and are the distance, rising majestically above the plains, creating an emotional necessary of awe and wonder within the guests.

for the grandeur and magnificence of the building which thus has a front part more outstanding than the other parts.

Besides they are very useful to bear the coats of arms which are usually placed in the middle of the facade Palladio explains

Source From: Andrea Pollard by Marc Mitchell Cohen

reference：https://archswc.cooper.edu/Detail/objects/7534 https://www.villaemo.org/single-post/2017/03/28/the-fa%C3%A7ade-of-villa-emo Source From: VillaEmo Plan of the central block, proportioned to a circle and its inscribed double square.

Geometric overlay by Rachel Fletcher on surveyed drawing of Villa Emo by Mario Zocconiand Andrzej Pereswiet Soltan [Rilievi 1972: pl. III].

Source From: VillaEmo

Villa Emo - Veldelago, Italy

by Andrea Palladio

such frontispieces mark the entrance of the house and are necessary for the grandeur and magnificence of the building which thus has a front part more outstanding than the other parts.

Besides they are very useful to bear the coats of arms which are usually placed in the middle of the facade

In the 16th cetury the famed architect Andrea Palladio built a series of country houses for the wealthy. Palladio lived and worked in Vicenza, he was a classical architect influenced by the roban design principles of Vitruvius. He used simplicity of style and symmetry to create beautiful homes.

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The Exterior is simple, its warm golden stone and terracotta tile roof. wings stretch from the main villa east to best. creating natural arcades offering protection from sun and rain.

Palladio explains Source From: Venitowawy

Source From: VillaEmo

reference：https://archswc.cooper.edu/Detail/objects/7534 https://www.villaemo.org/single-post/2017/03/28/the-fa%C3%A7ade-of-villa-emo

Progression of extreme and mean ratios in the main floor plan of the central block.

Geometric overlay by Rachel Fletcher on surveyed drawing of Villa Emo by Mario Zocconi and Andrzej Pereswiet Soltan, [Rilievi 1972: pl. III].

The article mainly talks about changes in the forest. In the beginning hint, the following talking is not from humans normally. What if from landscape or other silent creatures? Firstly, from the view of the nematode questioned by Uexkull, a new world shaped, creatures were knowing subjects in that world. How we observe the forest.

Decay

Nematodes through the help of beetles move from tree to tree. However, in that world, the nematodes become powerful people and challenge or damage the matsutake sometimes or in some special conditions. Next part author tells us the reason why this happens. Because of the invasive alien species, even the same creatures in different locations the character or the degree of damage are different. Then go back to the nematode’s world, there is some smaller scale world behind, and fungus are feeding them.

This example shows us not only adventure on a different scale but also polyphonic assemblages.

Extract Transmute Disperse Scarcity

Food Preservation 44

The Life of the Forest

by Juhani Pallasma

They create livable/killing situations. Speciesspecific abilities are homed in coordination. And the presence of the coordinator is through the influence of historical change. Understanding a landscape story requires knowing the inhabitants of it, human and not human. The author tries to let us use a neutral view to think about the disturbance. We need awareness of the observer’s perspective in social theory. Some examples show perspective is quite variable. In the end, use the forest in four areas, emphasize the forest meeting different questions or in different livable life and adventures.

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EXPLORATIONS: LINES IN THE LANDSCAPE

EXPLORATIONS: LINES IN THE LANDSCAPE

Ancient traditional grape air dried house architecture in turpan grape valley, Xinjiang Province China

Women canning produce in Asheville, N.C during WW1

Pickling with vinegar most likely originated in Mesopotamia around 2400 BC, with the pickling of vegetables continuing in the Middle East region, spreading eventually to Europe and the rest of the world. Pickling with salt fermentation most likely originated in China around 9000 years ago

Air-drying has been used throughout history, primarily in dry, sunny areas of the world such as the Middle East. The UK does not provide optimal conditions for air-drying due to its high humidity, however in the middle ages, purpose-built ‘Still-houses’ were constructed to dry food in areas with little sunlight.

These still-houses would often contain a fire which would provide the necessary heat to dry.

A diagram of mould caused by drying food at the wrong humidity

The movement of moisture around cells to cause dried food

Air-drying extracts moisture from food, removing this moisture inhibits the growth of bacteria and mould. If food is dried at proper temperatures, the food retains natural enzymes, also preserving enzymes during longterm storage.

Air-circulation promotes rapid drying by moving evaporated and stagnant moisture away from the food, if more of the foods surface is exposed to moving air, the faster the drying.

If the humidity of a room goes above 60%, there is a high-risk for mould to grow, in Scotland the average relative humidity year-round is 82%, suggesting the need for careful monitoring of the atmosphere at all times.

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Food should be spread out and cut thin to expose more surface area to the air, some food may need additional preparation, for example, vegetables should often be blanched or steamed before drying.

Pickling was used as a way of preserving food for when stores were low and long journeys. It was especially popular on sea journeys, with salt pork and beef being popular with sailors. In the UK, pickling is popular, coming in the form of pickled beetroots, walnuts, gherkins and condiments such as Branston Pickle.

Examples of Pickled food stored in glass jars

I Apple & Banana

The thinly cut apples and bananas dried in a matter of days due to their lower moisture content

II Orange & Blackberry

The oranges took significantly longer to dry due to their higher moisture content, but did not develop any mould, unlike the blackberries which were left whole

Pickling refers to the process of preserving food in an acidic solution, either with vinegar or salt (brine).

The acid in the salt solution is produced by anaerobic fermentation. The process of pickling alters a foods texture and flavour and the process can produce B vitamins created by the bacteria.

Pickling often involves heating or boiling so that the food becomes saturated with the pickling liquid.

Pickled Pickles

When pickling with vinegar, the produce is brought to a boil in a vinegar solution, packed into sterilised jars and covered in the remaining solution. The optimal acidity for the vinegar chosen is 5%.

To extend its shelf life, it can be canned in a water bath or refrigerated. The acidity level means no microorganisms can thrive. The pickles should be left in a cool dark place and left for about 8 weeks to gain the right flavour and texture.

AirDrying Test Results I AirDry

Two tests of apple & bannas and orange & blackberry were chopped and layed out on racks. These are the results of drying food in a room with an average humidity of 56% for 5 weeks.

II Pickling

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EXPLORATIONS: LINES IN THE LANDSCAPE

EXPLORATIONS: LINES IN THE LANDSCAPE

Traditional Ice house

Traditional Ice house

Smoking House Diagram - 1849

Keeping food cold has been vitally important in climates around the world throughout history that were reliant on a yearly harvest. The preservation of food meant survival for them. A root or earth cellar was a structure used for the preservation of food, usually vegetables, usually underground. It kept food from spoiling in the summer and from freezing in the winter. These cellars were often constructed by digging down into the ground and constructing a shed overtop it, by digging into the side of a hill, or building a structure above ground and piling earth around it.

Salting has been the most common way to preserve food throughout history and is often used to prepare food before they are preserved with other methods.

Salting is most commonly performed on meat, fish and vegetables, turning them into products that can be kept through the winter or brought on long journeys before faster transport methods were available.

Smoking was arguably the first preservation technique to be discovered, believed to be as old as the discovery of fire itself. Prehistoric people would hang up their meat to protect it from animals and contamination, often inside caves. The enclosed space was filled with the smoke from their fires and they would notice how the meat ended up lasting for longer.

The Ancient Egyptians were one of the first to discover the properties of salt when used for preservation, it helped their economy thrive. Salt also contains sodium, a vital nutrient that humans must consume as it cannot be produced naturally.

They also noticed covering the meat in sea water prior to this would extend its life even further due to the preserving property of salt. When humans settled onto farms, smoke-houses were created to get rid of the smoke from their homes which increased fire risk.

Flattened fish drying in the sun in Madagasca

Sun-drying is one of the oldest forms of food preservation in the world, with evidence of it dating back to 4000 BC in Egypt and Mesopotamia. While sun-drying has been used for millennia in the southern hemisphere, it is rarely used in the Northern hemisphere which has less sun and where it can often rain ruining the process.

Similar to an earth cellar, the ice house stores ice throughout the year. It was introduced to Britain in the 1600’s, primarily constructed for the wealthy as ice was an expensive luxury usually imported from Scandinavia. Ice houses were usually brick-lined dome structures with drainage for the melt-water.

Microscopic photography of dehydrated cells

Sun is a natural disinfectant, helping cleanse food that may be infected with insects or bacteria due to the heat it produces. Fruit is the only type of produce that can be sun-dried safely due to the high sugar and acid content. The food that is drying should be well-ventilated. Sun-drying needs arguably the least preparation out of all the different preservation techniques, what matters in this case is climate.

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The movement of moisture around cells to cause dried food

If the sun gets too hot, the food can become overheated, if it rains the process has to begin again, meaning the process must be constantly attended too.

Very little preparation actually needs to be carried out in the sun-drying process, some fruits should be cut up into strips.

III SunDry

Microscopic photography of frozen cells

The movement of moisture around cells to cause dried food

Earth cellars operate by keeping crops at a steady temperature and humidity, with most crops being suited to temperatures between 0-2 C° and a relative humidity of 90-95%, however this does vary.

The food in an earth cellar will often last from the harvest in Autumn to mid-late winter.

In an earth cellar, fruit and vegetables should be separated as fruit produces ethylene gas which can accelerate the spoilage of nearby produce. All produce should be checked before being stored as any sign of rot can spread throughout.

IV Cold Store

While crops require high humidity, ventilation is also required or the food will rot.

Rubbing Salt into meat

Hanging Cured Meat Stored in the Wind

Rubbing Salt into meat

Hanging Salmon in a traditional Smoker

Salt acts by drawing water out of food, dehydrating it and eliminating the possibility for bacteria to grow.

Salt is toxic to most microbes because of the effect of osmolarity, or water pressure.

The salting process can involve either dry-brining or wet brining. The dry brining process involves rubbing the product all over with salt or submerging it in salt.

A wet brine involves submerging it in a saline solution.

These can produce different results and form new textures.

While smoking is works best with animal products, vegetables and nuts can also often be smoked. Like sun-drying, smoking can greatly enhance the flavour of food, the type of wood or plant used to create the smoke will influence this.

The food is hung up in an enclosed space, then a fire is lit allowing the smoke to penetrate into the meat.Cold smoking is used primarily as a flavour enhancer and is carried out at temperatures of 20-30C, it retains more moisture in the food, and does not harden the outside layer of the food, but cannot be preserved for as long.

Most bacteria cannot grow in conditions where the salt concentration is greater than 10%, however sea water only has a salt percentage of 3.5%, therefore some bacteria will always grow in salt-preserved food.

After the food has been salted, cooks will often rub the salt off the product as to do not make the final dish too salty, or they will factor the salt level into the cooking process, for example, the use of Pancetta as a salting product in Italian cooking.

V Salt / Cure

It was recently discovered that wood smoke contains phenol which inhibits the growth of microbes that cause food to spoil.Smoking is almost combined with a salting process such as curing or brining beforehand, this draws out moisture, killing bacteria in the process.

Hot smoking is carried out at temperatures of 52-80C, cooks the food itself. The food can be preserved for long periods of time, however it should be made sure that the temperature does not get too low or too much fat or moisture can be lost.

VI Smoke

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Light & Dark “we creatures are… designed to cling, first to the little ones mother, then to others in its entourage… but grown ups too... security, expressions of love and tenderness”

Aperture

Tim Ingold, a professor of social anthropology at the University of Aberdeen, draws a comparison between blobs and lines as a metaphor for the world of life.

Density Skeletal Concealed

Design Development 50

The Life of Lines - Line and Blob

by Tim Ingold

Blobs can only articulate at their edges or fuse together or fuse together in tern obliterating the previously existing smaller blob, whereas lines offer the capacity to cling to objects, the lines extension empowers for growth, trajectory, and knowledge allowing living organisms to wrap around one another and engage in knotting.

Ingold refers to the artwork ‘Dance – Henri Matisse’ describing it as ‘a blob-like way to depict a human’ the figures are voluminous and heavily outlined connecting the interlocking of fingers like lines clinging too one another Ingold argues that the world of life is a thickly woven series of knots and no built from blocks as most commonly think. Highlighting how things join woven between walls, buildings and bodies.

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EXPLORATIONS: LINES IN THE LANDSCAPE

EXPLORATIONS: LINES IN THE LANDSCAPE

Analysis of the Hidden Space Taking the forms of the hidden space these can be rearranged to create a regulated structure.

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These simple sketches highlight how we could use the form of the hidden spaces to inform the structure of our building.

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EXPLORATIONS: LINES IN THE LANDSCAPE

EXPLORATIONS: LINES IN THE LANDSCAPE

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Exploring the Structure Further

Investigating Organisation

To investigate this form further we constructed a 3D model. The metal wire being the metephorical wire through the hedgerow and now being the point of circulation. We found this model created forms of tension and volume within the spaces.

Using the following sketches we further investigated potential building layouts. We decided to design using all six preservation spaces creating a community around preserving local produce. These sketches describe how these spaces would interact with each other.

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EXPLORATIONS: LINES IN THE LANDSCAPE

Charcoal Abstract Plan Iterations These abstract sketches portray the positioning of the structure, form and preservation spaces

EXPLORATIONS: LINES IN THE LANDSCAPE

EXPLORATIONS: LINES IN THE LANDSCAPE

Designing in Plan Combining the explorations found in both the charcoal sketches & spatial analysis, we designed three seperate plans. Each following the consistent theme of a central circulation route, with branch like routes to each preservation space.

EXPLORATIONS: LINES IN THE LANDSCAPE

III Plan:

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EXPLORATIONS: LINES IN THE LANDSCAPE

EXPLORATIONS: LINES IN THE LANDSCAPE

Plan Outline Taking aspects from each of the ideations we produced a consolidated plan, highlighting the connection between each of the spaces. The requirement that air drying and smoking techniques require access to salting for earlier processes meant grouping these spaces, each technique either required or benefit from being ultimately stored in a cool location (underground) moving this spaces into the most central point.

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1:200 Initial Card Massing

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Initial Plan & Section Formalising the plan and 1:200 card massing model shown previously, we produced these sections and elevations at 1:100 1:100 2m

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EXPLORATIONS: LINES IN THE LANDSCAPE

Initial Framework Model To further visualise the framework of the central space we produced a model showcasing the massing, orientation amd frame of our initial stages design at a scale of 1:100.

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While some believe that food is too cheap to reflect the damage it does on the living world, Monbiot believes it is too expensive for the poorest in society. The economics of food production and consumption are as poorly misunderstood as the biology, Monbiot discusses how environmental protection and food justice can both align and clash. He uses an anecdote to highlight the geographical socio-economic divisions – the recreation ground between his middle-class village and lower class housing estate. He discusses the price of food with people from both areas.

Light & Dark

Monbiot points out that the assumption that better infrastructure translates into reduced environmental impacts is a mistake– for example, building roads in existing agricultural areas may reduce food spoilage, and it is often a driver of habitat destruction.

Tectonic

Environmentalists often call for the ‘internalization of the externalities’ – or that the price of goods and services should incorporate the cost of harm done to people, places and living systems, Monbiot believes this is simply unsustainable, and many would starve. ‘Food sovereignty’ promotes the right to healthy food grown in ecologically sound ways giving local people the ability to control their own food systems, breaking the corporate grip on the food chain.

Stereotomic Xray Concealed

Finalised Designs 70

Regenesis: Feeding the World Without Devouring the Planet

by George Monbiot

Monbiot points out that food sovereignty does not account for the agricultural sprawl that would take place if local groups had control, destroying natural landscapes. He also fights against romanticising forms of local food production, pointing out that local areas to grow food do simply not exist – food is grown in fertile areas so it is abundant.

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Culross Community Preservation Concept

Our building is characterized by a thin central space, the ‘constant’, emulating the earlier exploration of the constant of the barbed wire which characterizes the Eastern side of our hedgerow. Its framework is inspired by Zumthor’s Witches Memorial, also emulating the long thin branch structures of a hedgerow.

The central space is ‘hidden’ between the preservation spaces, with gaps formed before them, reflecting the Western side of the Hedgerow in which we explored hidden spaces and how a hedgerow could be occupied internally. It also represents the constrained path that winds between our explored hedgerow.

Our building has a contrasting heavy, stereotomic side, and a light tectonic side. This contrast was set up to represent the contrast between the two sides of our original observed hedgerow and split up the preservation spaces based on their required features. The heavy side is buried into the ground on a slope to accommodate the cold store, smoking room, pickling, and salting room, all of which require cool, less ventilated spaces. The light side is elevated on stilts to give the air and sun drying room access to prevailing winds and light.

A focus on what a hedge represents in folklore led us consider its function and location. We explored the concept of the ‘hedge-witch’, ‘witches’ that lived on the fringe of the village, who practiced traditional Pagan beliefs. The building will be located on the edge of a forest, the barrier between the town and the wild. It will provide a service to them by practicing local and traditional food preservation techniques, each space with its own ‘hedge-witch’, a specific expert on the preservation, that will perform the process and educate the public.

The idea of the ‘edge’, the barrier between the wild and town represents the light and dark, the buried and exposed, a concept inspired by our exploration of the occupation of the hedgerow itself.

The building will be a community food store, providing an opportunity for local business, and individuals to preserve and store food for periods of time. Customers will check-in food at the entrance, then directed by the receptionist to the required preservation space. The customers will then be greeted by an expert at the entrance to the preservation threshold, who will then undergo the preservation process.

Once inside, the customer has the opportunity to access the cafe, view the buried cold store or take the winding stairs to an elevated viewing tower. Upon exiting the customer will recieve either their own produce or an already processed product. The employee working at the exit will then be responsible for ensuring the customer receives the correct allocation of preserved food.

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Isometric Exploration 1:200 1:200 4m

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Section AA 1:100

Facing South

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Facing West

1:100

Cold Store Light Analysis

1:100 Shows how light impacts the cold store and helps maintain the consistant temperature, and following our theme of light & dark

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Elevation CC Facing East

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Axonometric

part 1

Tower

The Axonometric bellow shows the roofing and structure of each preservation space and central pathways.

part 2

Roofing

part 3

part 4

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Circulation Routes Both the community and staff have very similar circulation routes. The customers can deliver food to the preservation spaces but go no further, whereas employees have complete acecess to the preservation spaces and cold store.

Preperation Space Roofing

Path

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Air-Drying Room

Plan

EXPLORATIONS: LINES IN THE LANDSCAPE

EXPLORATIONS: LINES IN THE LANDSCAPE

AirDrying

SunDrying

Plan:

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Perforated timber panels, exposing all produce to air-flow Perforated Timber panels, exposing

Food preparation Food Preparation Zone zone

all produce to air-flow

openings

Airframe dryed-Scottish Elm Frame- A a locally sourced locally sourced Hardwood that hardwood that provides provides stability. Absorbs moisture stability.

Absorbshumidity moisto reduce relative

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Stack ventilation effecr forces warm air to exit Stack Ventilation effect forces warm air to roof exit through roof through openings

Air dryed scottish elm

Sliding ladders giving Slidable Ladders, giving access toaccess shelf to shelves

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ture to reduce relative humidity

Solar Radiation warms

Solarupradiation warms air as it travels chamber air asthrough it travels through chamber

Vents automatically when Ventsopen open automatically humidity is too high in room when humidity is too high

Cold air enters from outside Cold air enters from outside exposed winds exposedtotoprevailing prevailing winds Room is orientated the south-west prevailing Room is orientated to thetoSouth-West prevailing winds, winds, promoting airflowthe through the solar drying promoting airflow through solar-drying chamber

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chamber.

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on top of InsulationRockRock bed Bed on top of insulation provides provides thermal mass to store thermal mass to store heat throughout heat throughout the daythe day

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EXPLORATIONS: LINES IN THE LANDSCAPE

EXPLORATIONS: LINES IN THE LANDSCAPE

Salting

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EXPLORATIONS: LINES IN THE LANDSCAPE

EXPLORATIONS: LINES IN THE LANDSCAPE

Smoking Section:

Plan: Some smoke escapes through chimey at the top to prevent build-up of smoke and reduce fire risk. There is no need for a ventilation effect as the smoke will naturally rise out of the building, and the goal is to keep it contained inside for as long as possible

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Perspective Digitisation III Pickling

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