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.
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.
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.
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 complex arrangement.
Footpath Analysis.
Following our visit to our hedgrow we document the variety of different footpaths we encoutered on our
Rabbit Hole Location.
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.
Gravel & Bark - from pathway leading to the parash church
Grass
Cobblestone
Cobblestone
Rabbit Hole Photo. Photograph
1:40
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 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.
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 hidden stone which appears old and worn, perhaps the remnant of a past Hedgerow that was replaced.
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 good cover. The clump of Ivy continues for several metres with the addition of number of other species of weeds commonly present in Scottish Hedgerows
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.
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 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.
The next portion of the Hedgerow made up of what we determined as either Elder Tree or Wild Privet. The similarity in appearance of the species makes hard to tell. This species provides sufficient cover, aided by ivy, however still has several gaps at the bottom.
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 the hedgrow with more exposure to sunlight. 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. evident from this part of
Seasonal Leaf Colour Changes
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
Clay Plant Imprints
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.
Bramble (Robus Fruticosus)
Scots Elm (Ulmus Glabra)
Horn Beam (Caprinus Betulus)
Ivy (Hedra)
Hawthawn (Crataegus Monogus)
Holly (Ilex Aquifelius)
Herb robbert (Geranium Robbertium)
Goldenrod (Solidago)
Holly (Ilex Aquifelius)
Scots Elm (Ulmus Glabra)
Horn Beam (Caprinus Betulus)
Goldenrod (Solidago)
White Lace Flower (Orlaya grandiflora)
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.
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:
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.
Plan of the hedgerow at 1:40:
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.
Acetate Model Photos
Precedent
“ 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.”
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.
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.
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
The interior is supposed to represent the “druggery” and mundane lifestyles that
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.
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.
Zumthor simply describes
Source From: Archdaily
Source From: Archdaily
Source From: Archdaily
Source From: Archdaily
“I had my idea, sent it to her, she liked it, and she came up with her idea, reacted to my idea, then 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 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.”
The memorial consists of two separate buildings. A 410-foot wooden structure surrounding fabric cocoon containing a Zumthor installation.
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.
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”.
Front Elevation
Back Elevation
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.
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 series of 62 repeated shapes supported by the adjacent beams, creating the feeling of narrow, never-ending tunnel. This follows similar themes to that of a hedgerow, a narrow threshold between two open plains of field.
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.
Peter
Steilneset Memorial.
Architect
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.
by Peter Zumthor
Zumthor simply describes his collaboration with Bourgeois in an interview
Source From: Dezeen
Source From: Dezeen
Source From: Dezeen
Source From: Dezeen
Source From: Dezeen
Source From: Dezeenn
Source From: Dezeenn
Venetian Palace - Fondazione Querini Stampalia.
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.
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.
“Scarpa, more than any other Italian architect, has brought back decoration into architecture.”
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 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.
1973
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.
by Carlo Scarpa
- SHERBAN CANTACUZINO
Source From: Metalocus
Source From: Metalocus
Source From: venetionside
Source From: venetionside
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
The Tofu Factory - Caizhai Village, Songyang
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.
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.
The tofu factory not only performs sustainably in terms of construction and maintenance, but also promises far-reaching social resilience.
Source From: Archdaily
Source From: Archdaily
Source From: Archdaily
Source From: Archdaily
Source From: Archdaily
https://archswc.cooper.edu/Detail/objects/7534
https://www.villaemo.org/single-post/2017/03/28/the-fa%C3%A7ade-of-villa-emo entrance of the house and are the building outstanding than the other parts. the coats of arms 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
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 the distance, rising majestically above the plains, creating an
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].
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
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].
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
Palladio explains
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
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.
Source From: Andrea Pollard by Marc Mitchell Cohen
Food Preservation
Decay Extract
The Life of the Forest
by Juhani Pallasma
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.
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.
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.
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
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.
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.
The movement of moisture around cells to cause dried food
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.
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.
Apple & Banana
The thinly cut apples and bananas dried in a matter of days due to their lower moisture content
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
AirDrying Test Results
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.
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
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.
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 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.
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.
Ancient traditional grape air dried house architecture in turpan grape valley, Xinjiang Province China
Women
Examples of Pickled food stored in glass jars
Pickled Pickles
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.
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.
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.
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.
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.
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 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.
While crops require high humidity, ventilation is also required or the food will rot.
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.
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.
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.
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.
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.
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.
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.
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 salting product in Italian cooking.
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.
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.
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. 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.
Flattened fish drying in the sun in Madagasca
Microscopic photography of dehydrated cells
The movement of moisture around cells to cause dried food
Microscopic photography of frozen cells
Traditional Ice house
Rubbing Salt into meat
Hanging Cured Meat Stored in the Wind
Smoking House Diagram - 1849
Rubbing Salt into meat
Hanging Salmon in traditional Smoker
Design Development
The Life of Lines - Line and Blob
by Tim Ingold
“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”
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.
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.
Analysis of the Hidden Space
Taking the forms of the hidden space these can be rearranged to create a regulated structure.
Exploring the Structure Further
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.
Investigating Organisation
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.
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 central circulation route, with branch like routes to each preservation space.
III Plan:
Elevation:
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.
Initial Framework Model
Finalised Designs
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.
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.
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.
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.
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 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 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’, 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.
Isometric Exploration
Watercolour Snapshots
Axonometric
The Axonometric bellow shows the roofing and structure of each preservation space and central pathways.
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.
