Solid and Void

Solid & Void ‘’Even A Brick Wants To Be Something’’ - Louis Kahn

Solid / Void Ryan John Cooksey S17123027 Portfolio 1 - Design Exploration BA(Hons) Birmingham City University DATE: 9th January 2020

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1.0. Studio / Interpreted brief ...........4 2.0. Context.......................................8

Contents

3.0.(De)construct ..............................12 4.0.(Re)construct ..............................66 5.0. (Re)make ...................................96 6.0. Appendix....................................134 7.0. Reference ...................................143

Section 1.0

1000 Trades Birmingham: City of 1000 Trades, Workshop of the World. A young city built on small scale industry and production, a workshop of highly skilled craftspeople producing a vast range of products. Making, manufacturing and industry are an intrinsic part of the city’s heritage. However, during the latter part of the 20th century, technological innovation, improved transport links and increasing automation shifted production to areas where production costs were lower and access to transport connections easier. Small-scale industry within the city was replaced by large scale manufacturing in peripheral locations or ultimately overseas. Today we operate in a linear economy where flows of products and goods are global rather than local.

Throughout my exploration, I will explore how we can challenge business-as-usual construction through the lens of sustainable production. 1.3 billion tonnes of solid waste are produced worldwide each year (Circular Construction Challenge, 2018). There are many examples of reducing, reusing and recycling, from zero waste restaurants to tiles made from building waste. But how can these experiments be scaled up to the scale of the building or the city? By supporting existing businesses and creating new opportunities for (re)making, sharing and exchange, I will develop strategies that sustain and enable production- bringing people, technology and ideas together in a cooperative, productive and sustainable approach to making (and remaking) the city.

4

Preface Throughout this exploration, I have recognised that the construction industry is accountable for a large proportion of emissions contributing to the problem of global warming, a phrase that is currently extremely topical. When exploring Digbeth, it’s clear that the ‘workshop of the world’, ‘a city home to a thousand trades’, has been producing goods that have been built competitively… throw away products is an example of the linear economy, causing the global crisis. Long after the products produced have become waste, the building will also follow suit. I have explored that brick is a material used in masses within Digbeth, which in recent years has become part of an unadventurous circular economy. With the waste material being used as an aggregate on sits such as hardcore and temporary roads. What I find depressing is that something that was once ‘beautiful’, serving details and presence to a facade is now mixed with less inventive materials such as a fence post as part of a compacted base. I explore the significance of masonry, through recognising its value of aesthetics and embodied energy. I focus on the permanence that masonry materials hold in an aim to celebrate the aggregate and find a form that allows authenticity faithful to the material.

5

Summarising circular and linear economy Take

Make

Use

Dispose

Linear Economy

a

Reuse

Restore

Circular Economy Design For Durability

Design For Repair

Design for Dismantle Re-purpose Resource EfďŹ ciently

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Design For Longevity

Dispose Correctly

Why is it important to act on a circular economy now:

Achieving a circular economy Achieving a Circular economy is as essential now as ever, especially in the construction industry. “producing 33% (821 million tonnes) followed by mining and quarrying at 29%”. Investigating the process of materials used within the construction industry will lead the Design exploration. Understanding what happens to the embodied energy within materials after use (cradle to grave) is extremely relevant with the current climate situation, elaborated by the UN climate crisis as well as the UK Government announcing a climate change emergency in May 2019. (BBC News, 2019) Collectively the climate crisis has forced plans for a carbon-neutral society by 2030. So ‘Cradle to Grave’ analysis has become ever more significant, with sustainability being at the forefront of briefs. In the UK “50% of all waste generated is from the construction industry”, while the operational embodied energy accounts for “40% of all raw materials”(Baker-Brown, D. 2019)

What has caused this?

The linear economy has been a result of the industrial revolution, allowing materials to be exploited. Extracting, Processing and disposal is just business to most, economic gain over environmental loss has been accepted as an attitude. Competitive prices, as well as every changing technology, has allowed for the ‘throw-away’ attitude.

However, soon that will be changed as laws and costs to dispose of will alter.

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Solid

(Adjective)

Having three dimensions (length, breadth, and thickness), As a geometrical body or figure.

Relating to bodies or figures of three dimensions.

Having the interior completely filled up, free from cavities, or not hollow:

Weight

A body’s relative mass or the quantity of matter contained by it, giving rise to a downward force; the heaviness of a person or thing.

8

Void A completely vacant / empty space.

Permanence

The state or quality of lasting or remaining unchanged indefinitely.

9

Section 2.0

Locating Digbeth: Firstly, it is important to recognise the history of Birmingham, and Digbeth’s relationship to industry. Known as the workshop of the world Birmingham’s presence soured with the turn of the industrial revolution. The city evolved into distinctive segments, Digbeth to the west of the city is where the site situates itself.

ST.Georges And ST.Chad

Jewellery Quarter Eastside

City Core Westside And Ladywood

Digbeth

Southside And Hiigate

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Locating The Site

Site

11

Section 3.0

(De)construct Throughout the first phase of the exploration, I recognise issues surrounding a linear economy and began to (De) construct Digbeth to understand how the site has been made and remade over time. Mapping processes have been used to understand the site and context. Discovering the historical and contemporary state of production in the area, connections with material (flows, delivery, processing, transformation), resources and waste. Drawing particular attention to facade detailing, material mapping that has formed a foundation for this exploration.

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3.1 Patterns............................................................ 14

- Industry

- Brick - Graffiti - Window Detail - Main Entrances - Reflection

3.2 Roof Types...................................................... 20 3.3 Skyline Of Digbeth........................................... 21 3.4 Facade (De)construction................................. 22

- Frontier MOT Centre - Sandhar Kang Ltd - New Fleet Services Ltd - Latiffs / Blundell Trading - Good With Wood Ltd - Banana Warehouse - Great Western Railway Viaduct Into Moore Street - Reflection

3.5 Material (De)construction................................ 30 - Sandhar Kang Ltd - Car park - Good With Wood Ltd - Frontier MOT Centre

3.6 Assessing Deterioration Of Facade Detailing. 34 3.7 Material Board ................................................ 36 3.8 Reflection ....................................................... 37

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Section 3.1

Patterns (Brick) Continuing with the observational exploration, I began to capture facades in Digbeth that has a product entering and leaving the Site.

With this exploration, it appears that the architecture and aesthetics are second to function. Function over form is most defiantly essential in this industrial area.

14

Patterns and Bonds (Brick) Continuing with the observational exploration, brick appears to be the most common material throughout Digbeth. When focusing on a frame, suddenly the variety of patterns, brick colours as well as various stages of weathering, make each frame an individual. When noticing the multiple effects that the brick can achieve, this sparked an interest in developing the exploration with brick as the driving material.

15

GrafďŹ ti Continuing with the observational exploration, graffiti is a common theme across Digbeth. Authorised and unauthorised graffiti is present, both adding colour to the dull, weathered facades of industrial buildings. Meaningful graffiti in the area is becoming a trend as Digbeth is becoming an arts district.

16

Window Details As part of the Exploration, I considered looking at window detailing within Digbeth. Each window was photographed had various ways of detailing. What is clear is that no two buildings were the same.

However, they all had masonry detailing weather that be a factory or a public house they were all built to an aesthetically pleasing standard..

17

Main Entrances Continuing with the observational exploration, the entrances are differing extremely throughout Digbeth. There isn’t a key theme other than none of them are that welcoming with graffiti, weathering damaging their aesthetics.

18

Reflection Reflecting on the patterns exercise as part of a group task in the first week, it has made me realize that I have an interest in exploring facade detailing throughout the module. I have found it interesting how the permeance of the same materials differs between facades. The next exploration will focus on how weathering, criminal damage and natural wear has effected the facades in Digbeth. The next steps will be to deconstruct facardes within digbeth to gain an understanding what materials will be wasted when digbeth has a regeneration. This then paves the way for understanding the materials that are avalible .

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Section 3.2

Roof Types On Site: I began to look at the topography of Digbeth to get an understanding of the roof types and understand any correlations that they had. However, this study also mapped solids and voids across Digbeth. The most prominent roof styles were flat or steel pitched; this can be linked to requirements of the industrial past. With this in mind, the form of my addition to Digbeth should consider these rules.

Saw Tooth Roof

Steel Pitched Roof

Tiled Pitched Roof

Flat Roof

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Curved Roof

Section 3.3

Skyline Of Digbeth Below is mapping the topography of Digbeth to understand the varying roof heights.

Using a Rhino file, I was able to collect data from Digi-maps to input building heights.

It appears that all buildings in Digbeth are low-rise.

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Section 3.4

Facade (De)construction The following pages focus on Deconstructing facades in Digbeth.

The exploration will dismantle the Foreground, vegetation & dirt, Removable Fabrication, load-bearing and non-load bearing material as well as the background. Understanding the fabrication of the facades will allow me to know what types of materials and their condition and level of detail will be sent to aggregate recycling centres.

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Frontier MOT Centre Heath Mill lane

A Car repair and MOT centre

ork w k p c Bri de u

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Sandhar & Kang (Birmingham) Limited Bradford Street

Last Purpose: Wholesale of wine, beer, spirits and other alcoholic beverages Non-specialised wholesale of food, beverages and tobacco

Stone Detailing

The stone detailing provides anaesthetic to the facade as well as forming the Primary Structure of the building.

Flemish Brick Bond

The brick bond used here is a Flemish bond, suggesting a solid wall, pre-1919 structure

GrafďŹ ti

Graffiti on the facade can be removed by sandblasting. Graffiti on the building is damaging to its aesthetic if it has not been put there to enhance the facade. In this case, the graffiti is vandalism that is concealing the historical details.

Vegetation and Dirt Deposits

Vegetation growing on the building is damaging to both the aesthetic and the structure itself. Vegetation grows in cracks and holes in buildings because as water is collected, keeping the moisture for the roots and the soil in cracks. More extensive roots will expand the joints; also freeze-thaw effect could be taking place. Vegetation growing on the building is damaging to the aesthetic. This is easily removed with a cleaning process.

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New fleet Services Ltd Unit 4, Oxford Court

A Car repair and MOT centre

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25

Latifs / Blundell Trading Bordesley Street

Warehousing and ofďŹ ces

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26

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Good with wood (UK) Ltd Bradford Street

Abandoned warehouse

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27

Banana Warehouse 1850 Fazeley Street

Abandoned warehouse

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Great Western Railway viaduct in to Birmingham Moore Street.

Framed at Bordesley Street.

Currently Still active

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Section 3.5

Parapet Detailing

Detailing

The stone appears to hold the primary structure of the design. Assuming steel framework is on the interior of the design. Brickwork is then used to inďŹ ll the rest of the facade. The junctions between the Façade is very rigid and in a grid pattern. However, the actual structure appears to be concealed.

This is a Facade constructed with Brick (Flemish bond) and Stone bricks. With a large amount of detailing consideration; more significant stone corners, Detailing above windows and doors, and a detailed parapet.

Access

Regular Windows

Access into this structure from the elevation is limited (1 Door and 1 Roller shutter), Although the door is made a distinct point of entry because of its detailing. The shutter door has been made discrete as it has been pained the same colour of the brickwork.

Light into this structure is a crucial part of its design with the majority of the elevation taken up with regular windows (same pattern and shape). There has been no consideration of the effects of light (no louvers or shading).

Later uses of this building suggest that there was not a need for the ground floor windows. Apparent as there are detailed openings, mirroring the shape and size of those above. However, these reveals have now been rendered and pained irregular.

Sandhar & Kang Limited Bradford Street, Digbeth Original / Current Use: Abandoned, Awaiting new construction.

Description: A masonry building with the original purpose of a factory / warehouse. The building now sits unoccupied whilst planning applications have been submitted to turn the building in to apartments driven by the HS2 development.

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Car park

Steel Frame

Bordesly Street, Digbeth

Flemish Brick Bond

PRODUCED BY AN AUTODESK STUDENT VERSION

Current Use : Car park

The steel framework doesn’t appear to be structural to this build however it may have been for the building demolished on the car park. The steel has been disguised using black paint.

This is a Facade constructed with Brick (Flemish bond) and Stone bricks. With a large amount of detailing consideration; more significant stone corners, Detailing above windows and doors, and a detailed parapet.

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Description:

The saw tooth roof suggests this is a building built for industrial purposes, by maximizing daylight. There would have been competition for light before the building on the car park was demolished.

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Building / Structure

Frontier

Window Openings

Damaged Masonry Primary Structure

Steel Structure Roof

Vegetation Effecting Brick Appearance

Heath Mill Lane Original / Current Use Car Servicing.

Type of construction:

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Fiber Corrugated Cement Board

Primary Structure Columns:

Primary Structure Timber Frame

Banana Storage Fazeley Street , Digbeth Original / Current Use Abandoned Type of construction: English bond load baring brickwork, Cast iron load bearing frame, Corrugated Steel roof.

Description: This building was designed for storage purposes, so internally it is open plan over one floor. An English brick bond wall has half of C the responsibility of being load-bearing, whereas the cast iron frame overhangs the canal to complete the other half of the structure. The roof is a corrugated steel roof.

CHS

mooring bank

CHS

CHS

CHS

canopy beam

Canal

canopy beam

line of canopy roof

canopy beam

canopy beam

line of canopy roof

canopy beam

Canal

S

th

be

Dig

loading platform

g

win

not in use

loading platform

To

th

Pa

mooring bank canal

and

sliding door

960 mm upstand

960 mm upstand Works

10

6

D

Elevation B - scale 1:100

to

11

0

103.9m

step up 350

FO

RD

ST

RE ET

Warehouse ridge 8.400 u/b 6.300

PIC K

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28

0

English Common Bond

Location p not in use

not in use secure door

timber panel to window

timber panel to window

timber panel to window

timber panels with double doors not in use

not in use

not in use

loading platform canal

armco barrier

A

mooring bank

canal

Elevation D - scale 1:100 ridge 8.400

u/b 6.300

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Section 3.6

Render has been damaged, possible filling with waste aggregate could be an option

Assessing Deterioration Of Facade Detailing UB40 Digbeth The UB40 building in Digbeth is a crucial example of a building deteriorating within Digbeth. The Razzle Dazzle graffiti conceals structural damage. This approach of permitted graffiti art is fluent throughout Digbeth to make the area more inviting as it is ageing. Inevitably this building will need to be repaired or demolished. Repairs are evident as the pattern will be difficult to replicate, so there is a possibility that local waste aggregates could be used and not concealed but allowed to express itself. So, I am assessing the work necessary and the best course of action. This is part of my investigation into the circular economy of buildings. As well as understanding the types of material that will become waste within Digbeth

Flacking render

Damaged Window Cill

The door has been gratified this can be sand blasted to remove unwanted art.

Render

34

Render has b

Flacking Paint

Flacking render

Structural Crack

Flacking Paint

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Section 3.7

Material board of digbeth

36

Reflection The previous investigation recognises the layers of buildings. It understands the effects of weathering and longevity of the materials. As well as suggesting possible solutions to express the value of them. The material board is an indicator of the materials that were discovered on the buildings that I had surveyed.

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Investigating Digbeth Facades Through Modeling The following pages focus on the solids and voids within the fades of Digbeth and explain why it is essential to recognise the existing masonry detailing and inevitable waste within site.

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3.10 Investigating Digbeths Faรงades ooo iiiiiiiiiiiThrough Modelling.................................... 41 - Bordesley Street Facade Study - Bradford street Facade Study - Bradford street Facade Study Plaster Cast

3.11 Reflection................................................... 50 3.12 Recognising Masonry Within Digbeth....... 51 3.13 Brick Bonds In Digbeth..............................52 3.14 History Of Brick Bonds ............................. 53 3.15 Buildings To Be Demolished In iiiiiiiiiiDigbeth...................................................... 54 3.16 Wasting Masonry Material......................... 56 3.17 Facade Pixelating Colour Pallet................. 57 3.18 A Bricks Lifecyle ....................................... 58 3.19 Reflection................................................... 51 3.20 Aggregate Recycling ............................... 62 - Location Of Aggregate Recycling Centres - Talbots - (De)construction Of Demolition Waste

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Precedents I have been looking at precedents that celebrate brick it in its natural form. Allowing the tactility, detailing, natural defects and natural textures to be elaborated. The permanence of these projects it extremely strong, and I want to carry these findings throughout the (Re) construction phase of my exploration. Can buildings be entirely constructed from brick?

Rachel Whiteread’s House

Amin taha’s Upper Street

Grove Road, East London 25 October 1993 - 11 January 1994

Architect Amin Taha with Group work Completion September 2017 Construction cost £1.8 million

Fig.2

Description:

Fig.1

The contemporary art piece was a follow on from Rachel’s turner prizewinning sculpture, ghost. This was a cast, inhabitable house for art purposes only. A form that only stood for 80 days. The interior of a London Terrance house was stripped of all its fixtures and fitting. Mesh and plaster were applied to all of the external walls before the interior was filled with concrete. It was creating negative spaces. Following this, the exterior façade was de-constructed brick by brick to leave behind a solid cast. This cast expressed details of the façade as there was no sense of materiality when they are all the same material. “we were pretty much making it up as we went along” (warde.d 2013)

Why is it relevant to the studio?

This can relate to the studies that I am exploring within Digbeth as I will be similarly casting façades. What I find depressing about this art is that it has such a short lifespan. This art is valued with some attentions to window details. This could be (De)constructed efficiently and celebrated as a new product.

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Description:

Fig.3

Here a building damaged in world war two has been restored. However, the ‘restoration’ was not an attempt to seemingly remember correctly and mimic the past, nor to become part of an unconscious incremental development of the neoclassical language. Instead, the structure, and the visible marks of its making, stand as an analysis or critique of the nature of memory. Here the architects have recognised the value of older materials and character that they bring, something that I recognise in Digbeth. “The form of its outer and inner walls and roof are conceived and built as a 1:1 hollow cast of the former building. An in-situ cast ‘terracotta’ concrete mix 0.5m thick performs as load-bearing structure, external and internal finishes and thermal envelope”. A computer model of the ‘existing’ building was built through the study of historical site photographs. I will do a similar analysis by visiting the façades around the site to collect my data. .

Why is it relevant to studio?

This is entirely relevant to the studio as using technology, the value of masonry of the past and aesthetic detailing is not lost.

Section 3.10

Investigating Digbeth’s Facades:

MAP

Façade:

-The front of a building, especially a large or attractive building:

As part of the (De)construct exploration, I began to investigate selected facades within Digbeth. After selecting the facades, I then went on to model them at 1:20 on rhino, this then led to 3d prints.

Producing a scaled object allows tactility, allowing engagement with the details. Using these models, I was able to understand the use of materials as well as distinguishing solid and voids within the facade.

This allowed many investigations with some that have been annotated on the right. Through this exploration some key words Weight, mass and permanence were reoccurring phrases. From this these key words then influenced the next stages of exploration.

Secondary to that It was to force people who looked at the models to understand that although the buildings are weathered they are still extremely valuable when embodied energy and aesthetics are concerned. So how is it possible not avoid these valuable details being lost in deconstruction.

A

B

C

D

E

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Render

A

Ornamental Parapet

B

Investigating Digbeth’s Facades: These are the 3d models, 1.20 scale of the corresponding pictures on the page previous. The reason for this investigation was to explore the patterns and details that are within the buildings of Digbeth. Recognised these details is essential to highlight awareness of the potential loss of aesthetic and embodied energy when these buildings are (De)constructed.

As a Presentation having models Work well for tactility

Broken Glass

42

Stone

Stone

Ornamental Stone

Ornamental Parapet For Discreet Guttering

Ornamental Parapet

C

D

Ornamental Stone Detailing

Ornamental Stone Detailing

E

Stone

Flemish Brick Bond

Flemish Brick Bond Discreet Down pipe

Ornamental Stone Detailing

Flemish Brick Bond

Ornamental Stone Cill Ornamental Stone Cill

Stone Steps

43

Bordesley Street Facade Study As part of my façade investigation, I modelled this particular façade on Bordesley Street, Digbeth at 1:20.

With the intentions to visualize the materiality and solids/ voids within. This façade was selected as it is a recent build within Digbeth. To explore what details / aesthetic ornaments have been used and how they differ from the industrial buildings that neighbour.

As a visual aid, this model served its purpose well: -It allowed a clear visual aid to focus on particular details.

-It allowed me to recognize the vast amount of embodied energy within the façade.

-There are pleasing aesthetics what will otherwise be sent as waste.

-Knowing the value of details.

As a visual aid, this model didn’t serve its purpose well: -Being of consistent colour, it was not very easy to separate materials.

- It was challenging to Work at such a small scale with small details

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Detailed Stone Cills

Stone ornamental lintels used Although a new build, Flemish bond is used to be in keeping with Digbeth

Brick overhanging detailing to make guttering discrete

45

Bradford Street Facade Study As part of my façade investigation, I modelled this particular façade on Bradford Street, Digbeth at 1:20.

With the intentions to visualize the materiality and solids/ voids within.

As a visual aid, this model served its purpose well: -When focusing on the details, they add a dominant aesthetic.

-Recognizing the vast amount of embodied energy within the façade.

-Here are pleasing aesthetics what will otherwise be sent as waste.

-Knowing the value of details.

As a visual aid, this model didn’t serve its purpose well: -The model was too clean, slightly unrealistic when weathering is concerned -Being a consistent colour, it was difficult to separate materials.

46

Brick and stone masonry Detailed reveal for water down pipe Ornamental detail within the pillar

Detail - ornamental Lintel Stone cill runs horizontal along the facade

Brick ornamental detailing

47

Plaster cast At facades around Digbeth especially when investigating those primarily constructed using masonry. Weathering is an unavoidable factor; the effects of ‘weathering’ can include; surface erosion (via salts, freeze-thaw effect, wind-driven rain, vandalism, and longevity implications).

When completing computer-aided design files and producing models, they are perfectly shaped with few imperfections. To have a realistic vision of the effects of weathering, I created a plaster cast of a façade in Digbeth at 1:20 scale. The intentions of this were first; trapped air bubbles/plaster not being a perfect blanket on the mould would lead to some imperfections. As well as with the gypsum being soft, I was able to manipulate the model by damaging it at some corners and details.

Also, some soil was rubbed into the plaster to add a weathered effect to eliminate the clean white cast that was produced.

As a visual aid, this model served its purpose well: -Even the buildings aesthetic is damaged; the details are just as powerful.

-Recognising the vast amount of embodied energy within the façade.

-There is still some pleasing aesthetics what will otherwise be sent as waste.

-Knowing the value of details.

Preparing a Barrier

Silicon Mould

Preparations

Adding Plaster To Water

Mixing

Levelling The Plaster

Masonry chipped to be realistic Details are lost through weathering and age Dirt rubbed on the model to look older

Although aged and damaged there is still character and value within the stone.

Brick ornamental detailing

49

Section 3.11

Reflection By focusing on facades at 1:20 scale, it has been a fantastic tool to make myself aware of the vast amount of detailing within the masonry of these buildings in Digbeth. Having more time would allow for a more in-depth investigation into more buildings as well as investigating the types of detail and some history around them. Moving forward, I will be exploring brick as a material to understand its value within Digbeth.

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Section 3.12

Faรงade Materials: As part of a group task below, we have mapped the facades in Digbeth, the color blocks and represents the visible material of which is most common on the faรงade of that building.

We then took a look at the materials used as well as clues from historical data to distinguish between imported and local materials.

Masonry Construction

Local Material Use

Metal Construction

Regional Material Use Distant Material Use

Group Members: Ryan Cooksey Dan Ward Sophie Ropert-Hall

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Section 3.13

External facade Brick Pattern.

After recognising the vast about on brick / masonry in Digbeth, this is a mapping exercise that identifies various bonding patterns that were visible on the external facades within my Digbeth site line. This Will later inform various studies such as, Possible ages of buildings as well as its original purpose.

Stretcher Bond Courses of stretchers

Flemish Bond

Courses with alternate Headers and Stretchers.

Following course centers Header with Stretchers

English Bond

Alternating courses of Headers and Stretchers.

Common Bond

A course of headers inserted every 4th to 6th course

Flemish Common Bond

A Flemish course inserted every 4th to 6th course

Flemish Garden Wall Bond

A course of Headers followed by Three Stretchers

52

Group Members: Ryan Cooksey Dan Ward Sophie Ropert-Hall

n Cooksey hie Roper-Hall

Section 3.14

Brick bond history The following is a time line of the brick bonds found on site. This allows investigation to estimate a commission date for the buildings on site.

History Of Brickwork

Introduction Of Cavity Walls

Strecher Bond

Common Bond

Flemish Bond

Becomes Ornimental

English Bond

Flemish Garden Wall Bond

1900

1800

1700

Common Flemish Bond

1600

Original Established Brick Pattern

Contemporary Patterns

1400

Irregular Brick Patterns

Ornimental Patterns

Hand made 7000BC - 1885 Production brick 1855- present Fired Brick 3500 BC 1850 Brick Ties Lime Cement 4000BC

1880 Cement Cavity’s 1920

Ryan Cooksey Sophie Roper-Hall

53

. Leading on to an understanding of Section 3.15 erials were being disposed of as a ult of (De)construction in Digbeth.

dings that are being demolished Buildings To Be nder rewiew at plaannig to be

Demolished In The Immediate Area:

As part of the exploration looking at wasted materials, it is fundamental to understand the local demolition waste. The graphic indicated buildings immediate to the site that is being demolished. I will then analysis these buildings and to conclude if masonry and aggregates are going to be the most substantial proportion of (De)construction waste in Digbeth.

002

201 003

Site Deconstructed Passed planning to be deconstructed In planning to be de-constructed

54

301

001

001 All of the façade was painted masonry. Little detail however the paint and graffiti would have character. Roof – unknown 001

(De)constructed

Once identified, these figures show each building that is planned/has been demol ished. Showing percentages of materials within the facade that’s elevation is visibl from the nearest road. Breaking down material waste will then inform my researc 002 focus All of the façade was painted masonry. Little detail however the paint and graffiti would have character. Roof – unknown 002

001

Personal opinion to be (De)constructed 301

001

55

Section 3.16

Wasteful Masonry Material “Half the houses will be demolished within 20 years” As a broad case study, I was interested in how some city planning has led to a much shorter life span of buildings than intended. The title of this article drew my attention. As an analysis, it appears that users, designers and governments overseas are master planning in such a wasteful way. Proving there is a market for masonry products to be recycled in a way that celebrates their high embodied carbon as they haven’t been able to justify it in their first use.

"I don't know this place anymore," an elderly doctor who spent his life in the small city of Taizhou, 240km up river from Shanghai, once told me. In the space of a decade, his 2,000 year old city of winding gray brick, street-level houses and tight-knit neighborhoods gave way to wide, straight boulevards, luxury high-rises, and florescent-lighted shopping malls. The change prompted him to declare that he feels as if he’s living in foreign territory.

In the past three decades China has almost completely demolished and rebuilt itself. Research firm GK Dragonomics estimated that, between 2005 and 2010 alone, China dismantled more than 16 per cent of its housing stock. That's more than 1,850km2 of floorspace – enough to blanket Greater London.

And China isn’t stopping there. According to the Ministry of Housing & Urban-Rural Development, almost every structure built before 1999, roughly half of the current housing supply, is set to meet the sledgehammer at some point over the next 20 years.

New houses are built almost as quickly as the old ones are cleared away: upwards of 129m new homes have been built in China over the past 30 years. Each year that passes sees roughly 2,000km2 of floor space – enough to cover New York City one and a half times – built across the country.

But it would be a mistake to think that China is simply upgrading its housing stock to meet modern standards, and will stop and be satisfied once this is done. No, even the buildings that are being built today will hardly last out this generation. Qiu Baoxing, the former vice-minister of China’s Housing & Urban-Rural Development ministry, estimated that new buildings going up in China today will only stand for 25 to 30 years before being demolished. Li Dexiang of Tsinghua University told the China Daily that "what we see nowadays is the blind demolition of relatively new buildings, some of which have only been standing for less than 10 years".

Fig.4

56

Fig.5

Section 3.17

Façade pixelating colour pallet: In order to have a idea what colours will be within the crushed aggregate as a product of demolition in Digbeth, I took photos of the street facing facades. Using Photoshop I then pixelated the image in to one solid colour block. The mode colour resulted in the colour of the block. This block was then mapped in place. Below are all of the colours that was collected within Digbeth. Consisting mainly of natural colours with a few lighter / brighter tiles where graffiti was present. With this exploration it suggests that any products made using the aggregate within Digbeth will have a sense of authenticity. All of the products will showcase ‘it is what its is’…. brick.

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Section 3.18

Stockpile

Clay Milled

Mixer Soft Mud Pallet Added Mold Coated with Facing Sand

A Bricks Life cycle I have recognized that aggregate and masonry contributes to a large proportion of construction waste. When regarding the vast majority of deconstruction within Digbeth. It is essential to visualize the Linear and potential circular economy that these materials achieve throughout their lifetime. Firstly I have Looked at how the brick has been made to understand the amount of embodied energy within.

Followed by understanding the end of life process.

58

Extrusion

Kiln

Storage

Transport

59

Construction

Use

Demolition

25% Material sent to landďŹ ll

Direct Re-use

75% Material is Recycled Aggregate Recycling plant

60

Section 3.19

Reflection Exploring the full life of a brick, ‘cradle to grave’, it appears that the majority of the process is part of the linear economy. It is only at the end of the USE stage that there are some possibilities for ‘Circular economy’. It is the Demolition and Aggregate Recycling Plant stages that I’m interested in. Highlighting the vast amount of material within Digbeth that has the possibility to be recycled and reused, I want to explore possible future uses of these materials. As demonstrated in previous pages, the embodied energy, aesthetics and details of some of the waste materials should be recognised and celebrated. With this in mind I want to explore if it is possible to avoid this valued material from being mixed with less valuable material when recycled. For example; avoiding a detailed piece of masonry being mixed with worn road surfacing both being produced in to type 1 hardcore. Which as a product isn’t highly valued nor does it provide any sense of celebration to design or embodied energy.

My next steps are to explore the locations of aggregate recycling plants within the surrounding areas of Digbeth. This is to gain an understanding how far the material would need to travel to be recycled as well as how far it needs to travel to be transported back on to site for re-use. With that complete I will then focus on the materials and sizes that are a result of recycling in order to begin to investigate various products that can be produced with otherwise waste material.

Areas of the bricks life cycle that the next chapter will focus on

61

Location Of Aggregate Recycling Centres

Section 3.20

To gather an understanding of the locations where waste aggregate within Birmingham is taken to be recycled/disposed of, here are all of the aggregate recycling centers in the immediate surrounding area.

I then went on to contact Talbots Transport & Recycling to generate a case study on the process.

Aggregate Recycling Company Cannock

RMC Raw Material Company

Bordesley Street, Digbeth

Aggregate Recycling + Processing Wolverhampton

KDS Recycling Concretes + Aggregates Recycled Aggregate Services

West Bromwich Coleshill Birmingham

Pegagus Grab Hire Facilitys Stourbridge

Solihull

Kidderminster

Talbots Transport & Recycling Stourport-on-severn

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Complete Recycling

Talbots

Transport and recycling

“Our aim is to reduce inert aggregates and soils from ending up in landfill sites”

When I began to focus on the end of life processes of masonry and aggregates, this led me to explore the process at aggregate recycling centres. I was able to arrange a meeting with the owners of Talbots Transport and Recycling; this allowed myself to see the process of material from arriving into the yard, processing and dispatching.

This was to gain an understanding of the dimensions, colours, and quantiles of waste material that they produce. Below are some figures and essential photos that were part of the primary research I acquired upon speaking to Sophie at Talbots.

The company would be a sustainable source for the aggregates and waste required for the commission and operational life. “90% of our business is based in Worcestershire making us a local company” making the commission extremely sustainable as local waste has been used as the primary construction material. Sophie explained that Only 6% of demolished bricks are reclaimed.” Meaning most masonry waste undergoes additional embodied energy when recycled. “85% of embodied carbon within a wall it from the brick itself” so exploring the use of waste/masonry and aggregates is new construction is an extremely sustainable approach.

“Indeed, some research suggests that 13% of products delivered to construction sites are sent to landfill without being used.” So, taking advantage of these materials is also avoiding a carless linear economy and waste of embodied energy.

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De(construction) Of Demolition Waste Excavation and demolition is estimated to produce 120 million tonnes of waste each year. This is nearly 60% of all UK waste.

(The construction index, 2019 p.51).

By visiting Talbots, I discovered that there are 5 primary materials that are a product of the aggregate crushing and recycling process, listed below. This then Lead me on to further product exploration, after understanding that these are the materials that will be Widely available.

I will now begin to explore the possibilities that these products have.

Grades of aggregate produced by crushing plant

6F2

Type 1

Road Planings

Sand

Soil

A recycled aggregate byproduct of demolition projects and consists of brick, concrete and asphalt that is crushed and graded. The grading size is between 75mm and fines. This is certificated to a BS Standard (BS 1377-2).Used for: Hard standings, building sub bases and base fill.

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A recycled product produced from concrete, asphalt and tarmac specified by the Highways Agency as the vital load bearing foundation in road construction.

Crushed and graded from 37mm down to fines.

Used for: Final construction subbase prior to bituminous paving and hardstandings.

A recycled aggregate produced from the removal of the top layer of a tarmacked surface such as a road or footpath. This material is graded from 40mm to fines.

Used for: This material is used for temporary roads, farm tracks and car parks.

A recycled sand graded to 15mm down to fines. Used for: Noted for its compatibility and excellent for filling large voids.

Talbots screen large amounts of topsoil which are tested for contaminants and graded from 15mm to fines. These are produced to British standards Used for: The topsoils we produce are sandy loams and are well suited to amenity and sports pitches.

Only 6% of demolished bricks are reclaimed.

(The constrcution index, 2019. p. 51)

“85% of embodied carbon

within a wall it from the brick itself” (Pelsmakers, S., 2015. p229)

“It’s been estimated that

70% of a product’s

recyclability comes at the design stage, which is often down to the attitude of clients or architects.

(The constrcution index, 2019. p. 51.)

“Indeed some research suggests

that 13% of products delivered to construction sites are sent to landfill without being used.”

(The constrcution index, 2019. p. 51)

Fig.6

65

Section 4.0

(Re)construct The next phase of the exploration focuses on (Re)construct. With increasing awareness of the global impact of our actions as consumers and designers, understanding what we make, where we make it, and how it is vital in shifting to a sustainable society. The provenance of the use of materials is increasingly under scrutiny. As designers, we need to understand the use (and reuse) of resources and the impact of our decisions on the environment, locally and globally. At this stage of the exploration, I will explore a particular process of reducing, reusing, recycling or reconstructing of masonry materials, mapping the steps and stages and creating test pieces.

As a natural advancement from the previous acknowledgement of masonry and aggregate waste, I will now explore the product possibility’s when using processed aggregates.

66

4.1 Circular Economy Opportunities Within iiiiiiiiDigbeth......................................................68 4.2 Exploring The grades Of Recycled iiiiii iiiiiiiAggregate.................................................. 69 iiiiiii 4.3 Tactility...................................................... 76 4.4 Clear Illuminating Brick.............................78 4.5 Recycled Aggregate Products.................. 80 - Flemish Bond Placement Brick Slip Cladding - Random Placement Brick Slip Cladding - Random Placement Of Bricks As A Block - Living Wall

4.7 Visualizing Solids And Voids In Brick iiiiiii iiiiiiiPatterns ..................................................... 90 4.6 Precedents ............................................... 89 4.8 Reflection...................................................92

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Section 4.1

Circular economy opportunities within Digbeth.

Birmingham has been replaced as the workshop of the world through economies of scale in the last decade, with goods being produced with better economic value overseas. Birmingham especially Digbeth has been left with vacant industrial buildings and sites. Some of the highly skilled craftsmanship has remained in the city all be it, producing on a smaller scale. The production that is in Digbeth today tends to differ from the ‘profit focus production’ of the past and is now beginning to follow the circular economy. There are many examples of reducing, reusing and recycling, within Digbeth. So, the following map highlights them and their functions. I want to explore if the Digbeth area is the right location for a Circular economy business opportunity. By investigating existing business, and co-operatives that are successful in the area as well as discover what their functions and outputs are.

Digbeth’s creative quarter

Minerva Works

The Bond Company

68

Section 4.2

Permeance The following (Re)construction is a direct link to the previous exploration.

After highlighting the value in waste masonry, both aesthetically and it’s high embodied energy, as well as understanding the process of aggregate recycling.

I concluded that waste materials do not receive value it should do once crushed.

In a bid to make challenge the inevitable end of life process, I will avoid using the aggregates for low-value purposes but express aesthetically pleasing masonry in new products. In the next chapter, I will focus on reusing waste aggregates and creating products that can express their shape, details, colours and defects by producing new masonry products. The initial task is to discover recognised buildings and art that allows the brick to be the critical influence driving the project.

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BEARTH & DEPLAZES ARCHITEKTEN

Precedents I have been looking at precedents that celebrate brick it in its natural form. Allowing the tactility, detailing, natural defects and natural textures to be elaborated. The permanence of these projects it extremely strong, and I want to carry these findings throughout the (Re)construction phase of my exploration. Can buildings be entirely constructed from brick?

Germany: KÜNSTLERHAUS MARKTOBERDORF Designer/team: Date: 2001

‘’Even A Brick Wants To Be Something’’ - Louis Kahn

Fig.7

Description: “Two cube-like volumes and a walled forecourt constitute this gallery of contemporary art. They mediate between the public space in front of the town hall and the private sculpture garden behind the gallery, where the building housing the Dr Geiger foundation is also located”—situated in an urban environment. The sense of weight and permanence is most definitely present in these sturdy looking blocks.

Why is it relevant to the studio?

This is relevant as in the most simplistic form of cubes bricks are celebrated and differentiated from other materials.

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Fig.10

lewerentz church, St Marks in Bjorkhagen

Per Kirkeby Sculpture

Designer/team: Sigurd Lewerentz Date: 1960 Stockholm, Sweden

Brick Sculptures

Fig.8

Fig.9

Description:

Description:

The bricks have been laid in multiple patterns to ensure that the bricks did not need to be cut. All of the surfaces have been designed to be made out of brick, even the ceilings. They are, therefore reducing the amount of embodied energy within the commission as finishing materials id not needed.

Kirkeby’s large brick sculptures have been attracting attention. Constructing such large sculpture’s entirely using brick allows the brick to be celebrated for more than it is. Producing sculptures using this material gives them longevity, and they naturally gain character over time due to weathering.

What I find incredibly relatable to this studio is that this project was constructed without cutting any bricks. Each opening was positioned to minimise waste; this is something that can be considered in my form to prevent the waste of materials. Also, it opens an opportunity to use the raw material without processing them, allowing defects and natural weathering to be present.

Why is it relevant to the studio?

Why is it relevant to studio?

This is relevant as some of the shapes expressed in his sculptures can be replicated in the form of a building. These can also take full advantage as a landscaping technique to draw people in to the hub.

Relevant to this studio as I wish to elaborate the value within waste materials and prove any waste masonry is valuable.

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Perforated Brick House

LSE Saw Swee Hock Student Centre

Designer/team: Tropical Space Date: 2015

London UK Designer/team: O’Donnell +Tuomey Competition/Commissioned 2009 - Completed 2015

Description:

Fig.11.

This building is called ‘a perforated brick house’. It is designed to create an evening aesthetic. The extension wall has been positioned where there are no private rooms as some privacy is lost in this design. The design has been successful as it also uses reclaimed bricks to join the circular economy.

The Saw Swee Hock Student Centre at the London School of Economics is a multifunctional building with a large music venue, pub, learning cafe, union offices, prayer centre, dance studio, careers library and gym. it is positioned on axis with St Clement’s Lane, to pull pedestrian street life into and up the building. The surface of the brick skin is cut out along fold lines to form large areas of transparent glazing framing views in and out from street to room.

Why is it relevant to the studio?

Why is it relevant to studio?

This building is relevant to the studio because I have mapped the illumination of buildings throughout the day and discovered that Digbeth is a dark place at night. Dark areas are considered threatening, unsafe and unwelcoming. So, in order to attract evening visitors to promote the use of the building in the evening this type of design would allow comfort for the user if the building has a purpose in the evening/night-time.

The architects have recognised that London is a city of bricks. The existing buildings on and adjacent to the site are built in bricks of varied and lively hue, similar to the site allocated in Digbeth. Corresponding to the characteristics of the city’s architecture with familiar materials made strange. The exterior walls are clad with bricks, used in a new way, with each brick offset from the next in an openwork pattern, wrapping the walls in a permeable blanket that will create dappled daylight in particular spaces and, at night, when all the lights are on inside, the building will be seen from the streets like a glowing lattice lantern. This could allow symmetry to Digbeth’s surroundings.

The perforated planes are constructed from a single leaf of brickwork with spaces in the Flemish bond pattern (similar to the buildings in Digbeth) The openwork brickwork is constructed in front of glazed screens that seal the building and incorporate opening sections to ventilate the building, a strong environmental bonus.

The layout of the brick pattern in order to achieve this is interesting and could be a key aesthetic/viewing point of the building. Not only does it allow light and looks pleasing, but it also relates to my pattern mapping

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Description:

Fig.12.

Liverpool University School Of Architecture

Shigeru Ban’s Nepalese Emergency Shelters

Designer/team: Date: 2019

Designer/team: Shigeru Ban Architects Competition 2019...... Ongoing

O’Donnell +Tuomey

Description:

Fig.13.

The brief recognised the “lack of cohesion among the parts, a missing public core and social spaces” and was looking for a “meaningful reorganisation” but stressed the need to retain all the existing fabric, important in representing the history of the School. The contemporary extension, a “flagship project”, needs to represent the School of Architecture of the future. The current school currently comprises two buildings: the Georgian terrace and the 1930s Leverhulme building designed by Charles Reilly with subsequent works carried out in 1980s by King and McAllister. The building is designed to be ready for work, to be adaptable to change and to last a long time.

Why is it relevant to the studio?

This building is relevant as the architects have had to consider their surroundings. In the same way as Digbeth, the surrounding structures are early 1900’s. Being sensitive to this they have used a brick facade, with windows that mirror the elevation of the neighbours. The master plan has been designed in a way that the rooms don’t have a specific function; this allows for interchangeable uses to prolong the life of the structure. The use of patterns and brick colours chosen provide a aesthetic that attracts the visitor to the door. http://odonnell-tuomey.ie/london-school-of-economics-student-centre

Description:

Fig.14.

The simple shelter is designed to be easily assembled by almost anyone.

Using connecting modular wooden frames (3ft x 7ft or 90cm x 210cm), salvaged rubble bricks are used to infill the wall’s cavities while paper tube trussing supports the roof. This, as Shigeru Ban says, will allow for “quick erection and nearly immediate inhabitation.” structurally it is comprised of a series of modular structural frames with windows and doors and walls made of rubble brick. The basic design allows for erecting by a low skilled workforce, creating a circular economy.

Why is it relevant to studio?

This project is suitable to the studio as it is a precedent of a circular economy, by building a structural frame, which means that there are no load-bearing walls. A light structure allows recycled bricks to be used in large cut panels to create a partition. The use of various blocks and patterns also presents an attractive aesthetic as it generates interest when looking at multiple textures. The idea that a low skilled workforce can erect it means that it promotes self builds that are sustainable. And as a vast population are slums, this is a justifiable way to build homes. work/demolition work, they are straightforward to collect otherwise used as crushed rubble. The light frame can be sustainable if constructed in timer. This also allows the rooms to have many user’s as the partitions can be removed to suit the current purpose of the building. The thatched roof system is also a sustainable approach.

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https://www.archdaily.com/771059/shigeru-bans-nepalese-emergency-shelters-to-be-built-from-rubble [Accsessed 19/09/19]

35mm

Exploring The Grades Of Recycled Aggregate

After my visit to Talbots, I then went on to (De)construct bricks into various grades. This exercise is to understand how the grades of aggregates cast into a brick product perform. By completing this exercise, I will be looking at the durability of the products; their aesthetics, textures also the colour variations. For this first line of exploration I have used the waste material to construct a typical brick form.

As the aggregate size decreases the properties of the brick do as well, cavity’s and voids begin to become smaller whilst the what appears to be solid gets greater.

74

25mm

1

12mm

5mm

Sand

Soil

As the aggregate size decreases they begin to look more like their original form, however character is lost when the aggregate gets to this size.

75

Section 4.3

Tactility

After (Re)constructing various sizes of waste material based upon the sizes that the aggregate recycling centres produce. I then constructed these bricks. This study is to understand how general people interact with the tactility of them. In order for a fair test this stand was made explaining how I had arrived at this outcome, also a sign saying please do touch. this was then positioned in busy communal space in Digbeth, Birmingham Coach Station. I then recorded the first brick that the individual touched or removed from the stand. The results follow.

Standard House Brick

25mm

12mm

5mm

Grains

Soil

77

Section 4.4

Clear Illuminating Brick

As part of the (De)construction of Digbeth there was a study into the illumination. With this in mind I explored the possibilities of the aggregate being laid and bonded using a clear adhesive.

My expectations were achieved as when light was shone on to the model, the colour range within the brick illuminated. This investigation could inform the design as in the day light will infiltrate into the building and in an area such as the workshop where large windows may look poorly designed, consistent natural light may be a better option. However, on the evenings when the function of the building adapts to evening projects the artificial lighting will illuminate the bricks and cast a range of colours from the outside of the building. Possibly this will be an inviting space where pedestrians in Digbeth currently are cautious.

Illuminated Buildings Daytime Illumination 7Am-9PM

78

Evening Illumination 9PM-3AM

24/7 Illumination

79

Section 4.5

Recycled Aggregate Products This is graphically representing the viaduct elevation of the site. As the building in front will be demolished, leaving masonry and aggregate waste that will be sent to an aggregate recycling Centre. This waste is then reused to create products that should build my proposed building and landscape. Therefore, creating a circular economy.

After researching that there will inevitably be a vast amount of masonry (De)constructed throughout Digbeth, the next pages look at how can this material can be reused without the process of crushing and sending it to an aggregate recycling centre. With this slightly more delicate (De)construction, any details within the masonry can be retained and expressed. Such as graffiti and ornamental detailing will also be celebrated as the bricks are not crushed.

In order to produce realistic models, I sourced reclaimed bricks and then stacked them in the Flemish pattern as like the building to be (De) constructed on-site (storyboarded above). I then went on to graffiti the wall before demolishing it and randomly stacking the waste. The (De) constructed wall is the basis for all of the following models.

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Reclaimed Bricks

Dry Building The Wall

Flemish Bond Wall (Reclaimed Bricks)

Adding GrafďŹ ti

Wall Model To Represent Site

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Flemish Bond Placement Brick Slip Cladding Using the graffiti wall, I have created a brick slip panel, using the Flemish bond as It was discovered in earlier research that this was the most common bond within Digbeth. This method is inspired by the adaptability of using paneling to cover a framed faรงade. With the ability for easy change and constant update to suit the purpose at the time of the building. When looking at uses of brick slips De Cammeleur was a structure that engaged me. Seeing a precedent that worked brick slips in a unconventional manor. Exploring the process and detailing that would be needed to make panels using reclaimed bricks and then understand the detailing needed to fix them to the frame of the building is something that this page covers.

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Scoring

Cutting

Scoring the bricks to be cut at the correct size.

The bricks were then cut using a disk cutter

Cleaning

Adhesive

The dust was then removed.

Using outdoor masonry glue the brick slips were glued to the marine plywood

Bond Pattern

Pointing

Flemish bond brick pattern was used as it was most used in the (De)construction of Digbeth

Cleaned prior to pointing

Proposed Cladding System

Fixings (Rails To Primary Structure) Horizontal Rails Mortar Joint

Ledge to support the weight of brick slips Fixings (Rails To Brackets) Vertical Rails Drip

GrafďŹ ti Brick Slip

Ash & Lacy Cladding System https://www.ashandlacy.com/construction/news/introducing-mechslip-a-newbrick-slip-cladding-system-designed-to-save-installers-time-and-money/

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Random Placement Brick Slip Cladding

Scoring

Cutting

Scoring the bricks to be cut at the correct size.

The bricks were then cut using a disk cutter

Cleaning

Randomly Fracture

The dust was then removed.

The brick slips were randomly fractured as it would be expected in mass production

Placement / Gluing

Pointing

The bricks were then places on to the marine ply randomly

The bricks were then pointed up when in position

Using the graffiti wall, I have created a brick slip panel, using any broken brick slips during the cutting process. This is to avoid waste and reuse and materials otherwise dismissed when making the brick slip panels. A panel like this would be an efficient way to adapt and change the external faรงade of potential future commissions.

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Proposed Cladding System

Fixings (Rails To Primary Structure) Horizontal Rails Mortar Joint

Ledge to support the weight of brick slips Drip Fixings (Rails To Brackets) Vertical Rails Marine Ply Backing

GrafďŹ ti Brick Slip

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Random Placement Of Bricks As a Block Looking away from paneling, I have created a concrete block sized brick using the crushed aggregate. It is successful as this method does have an aesthetically pleasing face and could be load bearing.

However, the reverse of the model is that of a poor quality. More models would have to be considered in order to find the balance between aggregate and concrete as found if the brick is either too large or too small they fail to bond correctly.

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Measuring

Cutting / Forming

The frame to house the Brick is measured to that of a standard concrete block

The Frame is Fabricated

Randomly Fracture

Randomly Placed

The bricks were randomly fractured as it would be expected in mass (De)construction

Positioning the bricks

Pointing

Rear Of The Block

The bricks were then pointed up when in position

The rear of the block id unsightly

Proposed Cladding System

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Getting People interacting with the brick model

Sourcing Bricks

Cleaning

Demolishing the graffiti wall

The dust and mortar was then removed.

Placement

Bedding The Bricks

Placing the bricks in to the Flemish brick bond

The bricks were then laid on to a cement base

Pointing

Planting

The bricks were then pointed up when in position, using a Gagger

Plants were then added into the holes of the bricks with soild added down the backs of them

Living Wall As I want the permanence of brick to be focus on the site, I have looked into ways that bricks can be used within the landscaping of the site. The living wall that I have created has been laid on the stretcher face so that the holes within the bricks are horizontal. This will then be planted to provided life to an otherwise ‘boring’ masonry wall. To create a wall like this the bricks will not need to reach an aggregate recycling center so any detailing within the bricks will be retained. This retained character can be celebrated throughout the site.

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Section 4.6

Landscaping precedents

De Cammeleur / KdV architectuur, Eindhoven

Here are some examples how waste brick has been used as a path.

This landscaping technique would work well within the hub and its surroundings as the path will be interesting aesthetically with details and colour from graffiti mixed within the bricks. Whilst keeping some of Digbeth’s heritage.

Look at how the permanence and mass of the brick above is being questioned by the fragile glass below, all made possible by a cladding system.

Fig.16.

Fig.15.

De Cammeleur / KdV architectuur, Eindhoven is a structure that takes advantage of paneling to allow the façade of the building to be fluid.

Otherwise not achievable using the conventional brick form. Although this is a light clad the structures presence still carry’s the permanence of brick being heavy. With Solids and voids leading to windows and doorways are carved in the structure.

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De Cammeleur / KdV architectuur, Eindhoven

Windows punched through faรงade

Fig.15.

Great amount of mass appearing to be resting on glass

Weightless

Brick slip paneling allows for fluidity within the faรงade

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Reflection Looking over the models and the outputs throughout the (Re)construction phase of this exploration it is clear that brick can provide some interesting details, especially when tactility is concerned as no brick produced will be the identical. Following on from this exercise I have noticed that there is a reoccurring pattern between each of the models. They all produce solids and voids within their imperfections. I will now draw on this idea and begin to explore a form that is based upon a solid mass that has been cut, to shape a contextual form. Whilst considering using these products produced in order to create a circular economy when it comes to the end of life of a brick as due to the vast amount of deconstruction thought Digbeth that is planned this will be a Widely available material.

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Reflecting on the previous section I feel that the brick slips is a method of cladding that could be incorporated into the building, this would also encourage tactility throughout the design. these panels could be interchanged based on new panels made in the workshop perhaps. The living wall is a very good concept but putting it in to practice on the building ma not allow the outcome intended. Finally, the Random bricks as a bock again this would work well for external landscaping walls, however for the building itself I feel that it would be too labour intensive.

So, moving forward the tactility is a key aspect of the design, and the ability to interchange external panels that have possible been made by creatives using the hub is a stable reason to use this model making exercise on a larger scale.

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(Re)make The final phase of the exploration applies the research from (De)construct and (Re)construct to begin to draw a brief that will influence the design resolution module. I will explore the design of a high-density creative production hub bringing together creative re-making within the community. It will be a beacon for reducing, reuse, recycling and remaking with Birmingham’s creative heart.

It will provide spaces to educate, explore, prototype and make products using waste masonry materials informed by the earlier exploration. A key concern at this design stage is to recognise form.

94

5.1 Proposed Creative Hub.............102 5.2 Visualising The Site....................104 5.3 Photo Montge Elevations...........106 5.4 (De)construction On The Site.....110 5.5 1:500 Massing Model.................112 5.6. Functional Brief.........................114 5.7. Story Boarding..........................116 5.8. Massing.................................... 118 5.9. Arriving To The Form Of The Building 5.10. (De)constructing the site 5.11. Diagramming Thoughts 5.12. Plans 5.13. Community / Creative Hub Zoning Inward / Outward Materials And Goods 5.14. Elevations 5.15. Sections 5.16. 1.200 Model 5.17. Form Visuals 5.18. The Workshop - Key Space

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Section 5.1

Proposed Creative Hub The target group will be creative minded people, who want to explore the circular economy.

Focusing on the reuse of materials, celebrating the details and embodied energy within.

The hubs function: • Production facilities for selected re-making process(es) plus storage for materials, products and prototypes A indoor and outdoor exhibition space will allow models to be displayed with pride at various scales.

• A co-working space for entrepreneurs and social enterprises, enabling sharing of ideas and creative projects • A lecture space and seminar rooms to rethink, resource, reuse and redistribute ideas and objects, hosting talks, discussion and workshops • Education spaces for training, volunteering and upskilling to enhance employability a resilience of the community The hub will be a place for creative minded people to gather and make and a resource for the wider surroundings. It will be a visible, distinctive building with a sense of civic presence and contribution to city life without overwhelming its context. It will contain some spaces that can be used for many functions at different times of the day (and night): Lectures, exhibitions, meetings or education. It will also be a place of discovery, gatherings and exchanges for its users.

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97

Section 5.2

D

Visualising the site: On the first encounter with the site it’s clear that regeneration is necessary. The immediate area to the site shows industrial character, with tired aesthetics through age. The permeance of the viaduct sparked the solid and void exploration exercise. While the viaducts mass of suspended material under compression was sparked a focus on weight.

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Photo montage elevation

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Site

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View D

View B

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Section 5.3

Elevation A:

C

Photo montage elevation views from within the site: It is important to visualise the surrounding environment of the site to understand its characteristics. These are photo montages from a site visit looking out to the 3 Elevations of the site.

Elevation C:

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Elevation B:

History of Digbeth

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Site Visuals A

B

C

7AM

View E

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Here are the key visuals when entering on to the site. It is crucial that the form is aesthetically appealing and true to its meaning from each of these approaches. These visuals have been a result on the user’s circulation towards the site. Each point has been selected at the first time the site fills the frame and replicated at various times of day to gain an understanding how the site and its surrounds illuminate at night.

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Section 5.4

(De)construction On The Site When looking at the (De)construction of Digbeth it is relevant to take a look what was demolished on the site prior to the land being used for a car park. Looking through the planning portal it become apparent that this warehouse was demolished in 2014 to make way for new developments when HS2 is completed.

Looking at the materiality of this building, the façade is mainly low detail masonry. This will be taken and be recycled into a low value material with no aesthetic or sense of history such as hardcore. With this I will now look at Digbeth’s façade detail and masonry buildings that are planned to be demolished. To gain an understanding of the value of some of these facades, which later leads to the exploration in to waste aggregates.

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Google Archive 2009 C

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Fig.17

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Section 5.5

1:500 Massing Model This is a massing model that I developed in Rhino and 3D printed. The darker grey building is the one that is currently sat parallel to the viaduct on site. With this model it allowed for analysis, quick referencing when investigating and exploring the immediate are around the site.

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107

Functional Brief Community Hub For Digbeth

Section 5.6

Waiting Room

20 m2

20 m2

Offices

Private Offices

15 m2

Public

Storage

15 m2

10 m2

25 m2

10 m2

Building Services

Biomass Boiler Plant Room

Delivery + Post Room

Refuse

50 m2

20 m2

Additional Storage

Kitchenette + Social Area

Activity Room

Reading Room

Events Space

Hall

Secondary Hall

10 m2

30 m2

45 m2

65m2

45m2

320m2

130m2

Administrative Space

Meeting rooms

Kitchenette + Staff Area

Multi-Use Space

Foyer

Reception

Private

30m2

Circulation

Stairs / Lifts / Corridors / Emergancy Exits

108

Approx 80% efficiency of main space

Utility Space

Facility Storage

Services

WC

40 m2

20 m2

70 m2

Creative Production Hub Bike Shelters

Turning Area

Raw Material

Exhibition

Raw Material

Training Classrooms

Exhibition Area

Seminar Rooms

Cleaning Area

Completed Models

Tutorial area Stores

Workshop

Inwards / Outward Products

Arival

Parking

External Landscaping

Stores

In Progress

Waste materials 30 m2

109

110 The material will then be stored in containers ready to make products with

Material be be deconstructed weather that is on sit eor at a aggregate sorting deport.

Here is an idercation that hte material will be delivered in fututre to the site, and placed in tohe Reaw-material zone.

Locating the site

The waste aggraget material will be deconstructed

The Building that currently occipies the site will be deconstructed to open the site to make way for my propoal

Exitisting buildins on site will be concidered to be Deconstructed with the furture Big city plant to revamp Birmingham, Starting with HS2

Story Board

On-site (De)-construction flowing on to (Re)-construction within the community hubs creative workshop

111

Here the materials are then brought in to tohe workshop to then make products and sculptures

Section 5.8

Structuring a Form Through Massing

Dropped at hight from a bucket

Card bricks fall and begin to twist/rotate when the hit the back board

This method of form finding is entirely random. This method is most suited to the focus on demolishing buildings in earlier pages buildings/structures are demolished, their materials fall to a uniformed pile. To achieve the same effect as bricks falling, card blocks will be dropped at height.

To ensure that there isn’t too many blocks in each test a solid and void has been drawn on to the landing base, inspired by the solids and voids in the earlier research.

Any blocks that land within the void will be photographed as form. All of the others will be removed and dropped again. Repeated and photographed multiple times to then access and analyses what I felt was most successful Bricks have been substituted for card blocks to achieve slightly more geometric shapes.

Solid and Void landing base Void Solid

All surrounding blocked are removed from the solid. Photographed and recored with a reference number

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B01

B02

B03

B04

B05

B06

B07

B08

B09

B10

B11

B12

B13

B14

B15

B16

B17

B18

B19

113

B20

114

Key Photographs

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Finding Form Using The Process Of Brick Crushing This study looks at the atmosphere that is created by arranging bricks at various stages of the crushing process. What I discovered was that these forms create casting shadows, and with the bricks presence over the figures it creates a sense of weight above. As the sizes of the brick decrease the figure seems to have more control overlooking the model. This is something I want to follow through to the form of the building. Using some of these shapes will determine some transitions between buildings on the site. Another key point regarding this model is that every surface offers a unique texture that provides various amounts of tactility. This is sue to the permanance of the brick being allowed to be its un-polished self.

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117

118

Perspective

Top View

Perspective

Top View

119

Arriving To The Form Of The Building

Here is a storyboard of the site currently that concludes with how the site will look once the form is situated within it. Starting With views on to the site.

120

The building within the site is marked as red, to indicate that this will be demolished in order to position my proposed form

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De-constructing The Site The rubble is then either left on site as the material will be recycled within the construction and also used within the workshop.

Lifting the contents of the site currently as well as the building, exposes the solids and voids within the railway bridge.

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The perimeter of the building is 173503mm

N

Assuming an average height of 4000mm and a double skin of brickwork.

That would be equal to rebuilding:

69.4m2 brick wall OR

157 M3 of material.

Approx 296730 Kg of material (based on a fire brick)

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Re-using The Waste Products

157 M3 of material.

The waste material from the building on site will form part of the proposed hub. As Explored in the earlier pages.

What isn’t used in the construction of the Community hub, will be stockpiled on site as recourses for user of the creative hub.

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Reaching the form Firstly, the basic floor plan was marked on to the site using the same geometrics as a brick found in Digbeth.

Reveals were punched into the faรงade to create a sense of solids and voids, plus in some cases creating overhands.

The permanence of the bricks have present a weight on the glass.

The recycled aggregate Void has been added as well as the void in the faรงade to allow delivery vehicles to enter on to site opposite to the public entrance.

The entrance block was added as well as a been in the perimeter to allow for a clear direction to persuade pedestrians to enter the building.

The entrance block was added as well as a been in the perimeter to allow for a clear direction to persuade pedestrians to enter the building.

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Foyer

Funtional Layout

1. Reception 2. Waiting Room

This graphic is mapping the functional areas of the form. This is to give the reader an understanding that circulation thought has been carried out.

Administrative Space 1. Private offices 2. Offices

3. Meeting Rooms 5. Storage 4. Kitchenette + Staff Area

Building Services

1. Biomass Boiler Plant Room

2. Delivery + Post Room

First Floor

3. Refuse

Exhibition 1. Raw Material 3. In-Progress 2. Completed Work 4. Waste Materials

1

Circulation

2

Stairs / Lifts / Corridors / Emergancy Exits

Utility Space 1. Facility Storage 2. Services

1. Parking 2. Bike Shelters

3. WC

Inwards / Outward Products 1. Turning Area 2. Raw Material

Workshop 2. Seminar Rooms 3. Cleaning Area

4. Tutorial Area 5. Workshop

Exhibition 1. Exhibition Area 2. External Landscaping

3.Stores

Multi-Use Space

126

1. Additional Storage 4. Reading Room

2. Kitchenette + Staff Area 5. Events Space

3

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4

Arival

1. Training Classrooms

5

3. Activity Room 6. Hall 7. Secondary Hall

Ground Floor Plan

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First Floor

Community / Creative Hub Zoning There is a clear divide between the community hub and the creative zone (workshop and exhibition.

This is designed to avoid the groups mixing unnecessarily, (I.e. Clean and dirty areas). Also, this is in mind as the community hub will be in use of an evening, the workshop would most likely be a timetabled or set hours area. by having a divide allows for either of the sections to be completely closed without effecting circulation.

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External Roof Space is Centeral So It Has The Oppertunity To Be Open Or Closed

Inward / Outward Materials And Goods.

The workshop and educational side of the community hub depends on the inward and outward delivery of raw material. These will be materials that are delivered on 16/ 20 tonne lorries. The circulation of this delivery of goods is crucial to the design. An area in the external landscape would be designed with a graded slope which would allow a ‘pit’ for these raw materials to be tipped within. The thinking behind this layout is; Entering from the opposite side to the public to prevent and injury and inconvenience a lorry would enter through a void within the building.

Reversing into the external space this would then be deposited into the pits. The pits have been positioned so that it is visual from the facade of the workshop, Exhibition and teaching zones, this is intended so that all zones can be influenced and understand the process, properties as well as triggering the senses through tactility and visualising. The large opening also allows waste products to be removed with ease as well as some possibly large sculptures that are made by the creatives in the workshop.

Public Entrance Delivery Entrance (Private) Private Delivery Entrance Complete Cirulation around The Pits Pits Visual From Key Spaces (Workshop / Exhibition Area)

129

Elevations These elevations indicate the solids and voids within the form.

Blocks have been pushed and pulled in order to allow an effect of Weight as the ‘heavy’ material brick appears to either be floating or sat on glass. Along the facades and external walls, methods of cladding and brick reuse will be applied to show permeance and tactility throughout the design

Elevation B :

Elevation A:

130

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

131 PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

These elevations indicate the solids and voids within the form.

Blocks have been pushed and pulled in order to allow an effect of Weight as the ‘heavy’ material brick appears to either be floating or sat on glass. Along the facades and external walls, methods of cladding and brick reuse will be applied to show permeance and tactility throughout the design

Elevation B:

132

Elevation A:

Elevations

133

Elevation C:

134

Elevation

These elevations indicate the solids and voids within the form.

Blocks have been pushed and pulled in order to allow an effect of Weight as the ‘heavy’ material brick appears to either be floating or sat on glass. Along the facades and external walls, methods of cladding and brick reuse will be applied to show permeance and tactility throughout the design

C:

Elevations

135

136

137

1:200 Model The 1:200 model has been approached with tactility in mind. Using some of the waste aggregates from the earlier study to firm the faรงade base and surrounding forms. Emphasizing that this is a form with circular economy in mind, being driven by aggregate material.

138

139

Form Visuals

140

141

Here is a storyboard of the site currently that concludes with how the site will look once the form is situated within it.

142

Visualising The Fom Scan this QR code using the camera of any phone or tablet.

The following is a short clip that pans the existing site, aswell as the site after the form has been positioned on to it.

143

Façade Tactility Circular Economy

he facade and other aspects of the site would be onstructed using waste aggregate materials ideally om the local area, therefore keeping some of Digbeth’s dustrial history alive. Materials that are dropped off at is hub will have vary indefinitely and the multiple colours nd details within the waste will form the facades. The ctility of this building will draw people in encouraging uch throughout. Each Panel will be positioned randomly allow for window reveals and to create a pattern within Opportunity ility Facade Tact the façade

Interchangeable facades

he facades would be designed as explored in the Re)construction phases of the book. This would allow onsistent variation between each facade panel. This is n aspect of the concept that would encourage people to e part of the circular economy to see a panel that they have been part of making within the workshop.

144

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Facade Tactility

Opportunity

Weight Weight has been a driving factor within this exploration.

Focusing on the downward force, gravity, it is uncomfortable to be standing under a mass that appears to not be supported. When completing the exploration, I photographed bricks with figures below them. this was to investigate shadows from the uneven material as well as to demonstrate cavities (voids) that can be used as a circulation or usable space. Pressing forward these voids within the form that create weight above is something that has been made extremely clear and present throughout.

Other examples are where I’ve marked possible glass facades, not only is this for a visual interaction between the zones of the hub, but it allows this uncertainty when entering a glass box with, mass above. The structural layout will be a key factor to ensuring that this carries on throughout the design process and isn’t lost within the concept.

145

The Workshop ‘Key Space’ A Hub for Creatives wanting to investigate the Linear economy of waste building products, and produce work that is driven by creating a circular economy with aggregate materials, celebrating its value and details that would otherwise be labelled as low economic valued waste / product.

It is almost too obvious that the workshop will be the driving space in a building designed for creatives in Digbeth. Developing this space, I visualise a long space that takes advantage of the railway bridge. The form has been developed with this space in mind, allowing the full width of the site to be used for workshop/ seminar/ open material storage. In visualise this space having a prominently glass façade, as the glass will be facing positioned north, natural daylight can beam into the space, whilst avoiding direct sunlight leading to overheating and glare. This large glass façade will also allow visitors to see the workshop possibly encouraging some in to join the circular economy of waste aggregate.

Wanting to celebrate the bricks permeance and keeping to the theme of voids, and weight above.

The arches within the bridge are ideal spaces for material storage, model storage, photographing booths, ‘messy’ corners etc. to take advantage of the height and avoid losing character, the ceilings will be formed by the arches with glass completing the missing façade. Again, the glass will act as daylight source reaching into the deeper areas of the building.

Likewise, with the arches being left to promote permeance, other materials used within the workshop will be extremely raw and recycled aggregate based.

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1m

2m

4m

Glass inďŹ lling the Railway bridge arches

Looking down in to the Voids of the arches

Large Glass Workshop Window

147

Process of raw waste materials entering the site

1. Materials are delivered via the Private entrance.

3. The pit is 360 degree visual to all areas to promote an aggregate iiiiiwaste circular economy.

148

2. The aggregates are then tipped into the pit.

Visual Into The Workshop (key Space)

149

Visual Inside The Workshop (key Space)

150

Appendix Throughout the design exploration exercise, some work that doesn’t fit the sequence of the book has been produced. Of that work the next few pages are some of the more creditable pieces that are relevant or have developed the final outcome.

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152

6.1. Recognising The Amount Of Waste iiiiiiiiiAt Home..............................................

131

6.2 Voids on site .......................................

143

6.3. Memory Mapping / Interviews.............

144

Section 6.1

Recognising The Use Of Waste At Home Cooksey Household Waste Data log 4 Occupants - 4 Weeks

59% Products Recycled

41% Waste Products

Glass Bottles

Plastic Bottles Cardboard

2.6

80%

What’s In The Bin % ?

Waxed Cartons

What’s is In The Bin % ?

Plastic Metal Containers Cans

1 Skip

? This Could Reduced ?

Foils

Food Waste

General Waste Carrier Bags

1.8

Bins Recycled

Bins Waste

59% Recycled

41% Waste Opportunity To Be Sorted

45.6%

UK Waste Sent to Recycled

21.6%

UK Waste Recovery

24.4%

UK Waste Sent to Landfill 2016

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Cooksey Monthly Household Fuels Data log 4 Occupants

Monthly Electricity Usage KW/h

Monthly Gas Usage KW/h

720 KW

Average Monthly UK kW/h

NON-RENEWABLE

Average Monthly UK kW/h Average Cooksey Household Usage kW/h

All A++ Rating Appliances

All Lights are LED bulbs

Average Monthly UK kW/h

RENEWABLE

Average Cooksey Household Usage kW/h Condensing New Boiler

NO Wall Insulation

Loft Insulation

Total Fuel Usage

3 Tonne / Year

450 KW

RENEWABLE

Average Cooksey Household Usage kW/h

Monthly Wood Usage

Smart Meter

Raditators With Thermostats

Wood Burner

Single Glazzed

Miles Covered Per Vehicle

Timers on Lights and Heating

Ltrs Used Per Vehicle

307 Ltrs =£375

200

400

600

800

1000

1200

1400

20

40

60

80

100

120

Total Miles Covered

3332 Miles

154

128 Miles

Cooksey Household Water Usage Data log 4 Occupants

Monthly Water Use 15L 7586 L

180L 994 Mins Drinking Water

Drinking Water

Shower Ltr

480 Ltrs

6 Fills

Baths Ltr

3750L 300 Ltrs

350 Ltrs

4800 48 Fills

30 Fills

Kitchen use Water Washing Machine

Dishwasher

Sink

750

Toilet use

7 Cars

Car Washing

750 Ltrs

150 Ltrs 3 uses

Watering Garden

1 Fill .3 months.

Hot Tub

Proportion Of Extra Water Used By Homes With / Without A Meter

Water Priority ?

Less water used with meter

12 %

High Quality (1)

With A Meter

We Use

more water than the average UK household

0.9% (1)

72M2 Roof

Low Quality (2)

16%

Recycled (Grey) (3)

(possible Collection

REduce By Considering Water Recovery

Amount Of Water Consumed By Each Priority 75.4% (2)

Without A Meter

23.7% (3)

155

Section 6.2

Centre of the perimiter brick buildings around site.

Viaduct voids crossing site

Materials of Facardes surrounding site

156

Centre of carparks crossing the centre of site

Section 6.3

Digbeth Road / Bradfod Street

Bradford Street

“I am a from Stirchley, I use the coach station weekly for my shopping at the open market, as well as to get me to work within the bullring on a weekday. It would be nice to see the development of such a run-down area to be thriving again”

“As a young business professional I have bought one of these apartments with the Digbeth city plan in mind. A thriving area will fully support my profession and job opportunities”

Morning Circulation

Midday Circulation

Morning Circulation

Workmen (Construction Industry)

Shoppers

General Public

General Public

Professionals

Professionals

Students

Students

Homelessness

Homelessness

Evening Circulation Workmen (Construction Industry)

Midday Circulation

Morning Circulation

Evening Circulation

Afternoon Circulation

Workmen (Construction Industry)

Shoppers

Afternoon Circulation

“Considering this is one of t feel that the shops have be this is no longer a Highstree like a

Afternoon Circulation Workmen (Construction Industry)

Shoppers

Shoppers

General Public

General Public

Professionals

Professionals

Students

Students

Homelessness

Homelessness

157

4100

Coventry Street

n access roads into the city centre. I ected since the build of the bull ring, ing with life and social spaces. More ned buildings” Midday Circulation

“I own this garage; crime rates are currently high so looking forward to the development in Digbeth to help / allow the expansion my business in the industry hub of Birmingham. Allowing me to input money to be able to regenerate my garage, without the worry of it being defaced again or a target of crime” Morning Circulation

kmen ion Industry)

ppers

al Public

ssionals

udents

elessness

Evening Circulation

rkmen ion Industry)

ppers

al Public

ssionals

udents

elessness

158

Bordesley Street

Midday Circulation

“I currently park on this carpark, once a factory, and walk into the city centre. There isn’t currently much social life in this area or inviting shops. It is overhauled with car garages at the current moment. A regeneration is much needed in this tired part of town”

Morning Circulation

Midday Circulation

Workmen (Construction Industry)

Workmen (Construction Industry)

Shoppers

Shoppers

General Public

General Public

Professionals

Professionals

Students

Students

Homelessness

Homelessness

Afternoon Circulation

Evening Circulation Workmen (Construction Industry)

Afternoon Circulation

Evening Circulation Workmen (Construction Industry)

Shoppers

Shoppers

General Public

General Public

Professionals

Professionals

Students

Students

Homelessness

Homelessness

Looking InTo The Depths Of Buildings How Do Thier Facards Differ?

159

Section 7.0

Refrances ALL FIGURES NOT REFERENCED EITHER PHOTOGRAPHS / MODELS OR ILLUSTRAIONS WERE PRODUCED BY THE AUTHOR FIG.1: Rachel Whitereads house. Avalible at: HTPS://D7HFTXDIVXXVM.CLOUDFRONT.NET/?RESIZE_TO=WIDTH&SRC=HTTPS%3A%2F%2FARTSY-MEDIA-UPLOADS. S3.AMAZONAWS.COM%2FQZX9M1A3OOUMZCBPE-VYDG%252FWHITEREAD%2B1993%2BHOUSE%2BVIEW%2B1_PHOTO%2BBY%2BSUE%2BOMEROD-1200.

JPG&WIDTH=1200&QUALITY=80 [Acsessed on 20th December 2019].

Fig.2 Architects Jourmal (2019) Detail Section Through Cast in SituTwin Wall And CTL Floor. Avalible at: https://www.architectsjournal.co.uk/pictures/1180xany/4/8/2/3077482_ detail.png [acsessed on 20th December 2019].

Fig 3. dezeen (online) Amin Taha distorted replica Avalible at: https://www.dezeen.com/2019/04/01/amin-taha-groupwork-168-upper-street-london/ [Acsessed on 30th December 2019].

Fig.4. 123RF Pile of rubble of a demolished building https://www.123rf.com/photo_41314956_pile-of-rubble-of-a-demolished-building.html [Accessed on 01/12/19].

Fig.5. Wade Shepard, City Metric. avalible at: https://www.citymetric.com/skylines/half-houses-will-be-demolished-within-20-years-disposable-cities-china-1470. [Accessed on 01/12/19].

Fig.6 Powerscreen crushing and screening. POWERSCREEN PREMIERTRAK 400X / R400X. Avalible at: https://www.powerscreensales.com/used//crushers/premiertrak_400X_ R400X [Acsessed on 5th December 2019].

Fig.7. Pintrest BEARTH & DEPLAZES ARCHITEKTEN. Avalible at: https-//www.pinterest.co.uk/abmp/pin/298011700327134773/ [Acsessed on: 1st December 2019].

Fig.8. Archdaily (online) lewerentz church. Avalible at: https-//www.archdaily.com/157478/ad-classics-st-marks-church-in-bjorkhagen-sigurd-lewerentz/503816a928ba0d599b0 00da6-ad-classics-st-marks-church-in-bjorkhagen-sigurd-lewerentz-photo-by-jmtp-http-wwlickom-photos-jmtp?next_project=no [Acsessed on 27th December 2019].

Fig.9. Per Kirkeby. Brick Sculptures Avalible at: https-//cfileonline.org/spotted-armory-highlights-nail-polish-pearls-golden-craters-and-more/3-per-kirkeby-the-armorycontemporary-brick-cfile/ [Acsessed on 15th December 2019].

Fig.10. Yatzer (online) Louis Kahn. Avalible at: http://www.yatzer.com/assets/Article/3182/images/Louis-Kahn-The-Power-of-Architecture-yatzer-2.jpg [Acsessed on 29th December 2019].

Fig.11.

Fig.12. Odonnell +Tuomey (online) LSE Saw Swee Hock Student Centre. Avalible at: http-//odonnell-tuomey.ie/london-school-of-economics-student-centre [Acsesed on 11th November 2019].

Fig.13. Odonnell +Tuomey (online) Liverpool University School Of Architecture. Avalible at: http-//odonnell-tuomey.ie/london-school-of-economics-student-centre [Acsessed on 20th November 2019].

Fig 14: Shigeru Ban’s Nepalese Emergency Shelters. Avalible at: ahttps-//www.archdaily.com/771059/shigeru-bans-nepalese-emergency-shelters-to-be-built-fromrubble/55bbb5f6e58ece6be3000152-shigeru-bans-nepalese-emergency-shelters-to-be-built-from-rubble-photo?next_project=no [Acsessed on 20th November 2019].

Fig.15. Brick Architecture (online) De Cammeleur / KdV architectuur, Eindhoven. Avalible at: https://brickarchitecture.com/projects/de-cammeleur-kdv-architectuur-eindhoven [Acsessed on 28th December 2019].

Fig.16.

Fig.17. Google Maps (online). Avalible at: https://www.google.com/maps [Acsessed on 5th December 2019].

160

Solid & Void

By Ryan Cooksey

Throughout this exploration I have recognised that the construction industry is accountable for a large proportion of emissions contributing to the problem of global warming, a phrase that is currently extremely topical. When exploring Digbeth it’s clear that the ‘workshop of the world’, ‘a city home to a thousand trades’, has been producing goods that have simply been built competitively… throw away products is a example of the linear economy, causing the global crisis. Long after the products produced have become waste, the building will also follow suit. I have explored that brick is a material used in masses within Digbeth, which in recent years has become part of an unadventurous circular economy. With the waste material being used as aggregate on sits such as hardcore and temporary roads. What I find depressing is that something that was once ‘beautiful’, serving details and presence to a facade is now mixed with less inventive materials such as a fence post as part of a compacted base. I explore the significance of masonry, through recognising its value of aesthetics and embodied energy. I focus on the permanence that masonry materials hold.

In an aim to celebrate the aggregate and find a form that allows authenticity true to the material.

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Solid / Void Ryan John Cooksey S17123027 Portfolio 1 - Design Exploration BA(Hons) Birmingham City University DATE: 9th January 2020 161