Lani Campbell - Contract

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contents 1.0 brief 2.0 key readings 3.0 case study 3.1 case study 3.2 case study 4.0 building history 5.0 site and building models 6.0 plans 7.0 programme

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BRIEF 1.0

For my final year concept, I would like to delve into the wide arching subject of sustainability, focusing on plant waste and the circular economy. I intend to create a multigenerational platform from which to stimulate the mind about our place as human beings within the context of the natural world, a place to consider our position and ultimately, our responsibility globally. Within this sphere I will investigate our role as designers and how we influence lifestyles, with a primary focus on plant waste and sustainability. My concept offers a space to come and learn about the alternative uses of plant waste and how we can benefit from these products in our day-today life; how the impact of using them, rather than wasting them can affect the future of the planet.

I would like to consider my building as contextual history when developing my concept and connecting the two via its redevelopment. The Bellgrove Cattle Market site was originally a space for trading, sorting, and packaging meat. Initially, the cattle trade was quite a sustainable practice; the animal was killed, butchered for meat from nose to tail and then placed in minimal paper packaging. The initial waste created was then recycled into other objects such as leather and broth. When this abattoir was no longer needed it was abandoned as the new linear farming and butchering processes came into practice which moved away from the original less wasteful model.

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The circular economy is a living model that opposes traditional linear living through regenerative design, resulting in minimal waste. It involves giving materials products and energy, the most extended lease of life possible through recycling, reusing, and composting. Creating a constant new lease of life at the end of another product’s life, the materials and products keep flowing through the economy. Most of the world still fits within the linear economy model that follows the steps 'make, use and dispose’. This linear way is often enabled by inexpensive materials and energy harmful to the planet in more ways than one, which as designers we need to address.

My concept will promote the circular economy through educating about plant-based waste. The space will be multifunctional, intertwining four areas of learning: gardens, workshops, research ateliers and visual learning spaces. The gardens will depict different information about plant-based waste, such as reducing it through using seasonal calendars. I aim to make one of the spaces for young children to promote sensorial discovery of different plants and materials through play. The research ateliers will comprise of professional spaces dedicated to selected research students in the field of biomaterials, bioplastics, and sustainable design.

My goal is to promote the use of wastebased design beyond the building. The workshop will host various activities, from making your own plant waste-based materials to using waste in food. There will be classes for all ages in different areas of study. There will be visual learning points in the form of alternative libraries, posters, and presentation space throughout the building.

Aims -to create a space that contributes to the local community -to enable children to start understanding this topic and it’s relevance to their future -to promote the circular economy.

Considerations Who is the space made for?

How to involve the community in the build of the project?

How to approach making my own materials and how to record the process?

Can my building be powered by waste with Biogas?

Where does all the waste come from?

Keywords: anthropecene, circular economy/design, waste, planthropocene, carbon negatize, recycle, biodegradable, inductrial, ecology, bioplastic, material narratives, preservation, repurpose, sustainable, biomaterials, maker culture.

“phyto waste?”

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KEY READINGS 2.0

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BOOKS Material Designer : Boosting Talent Toward Circular Economies by Ma-De Why Materials Matter : Responsible Design For A Better World By Seetal Solanki Radical Matter : rethinking materials for a sustainable future by Kate Franklin Wasted by Katie Treggiden Material Matters: New Materials In Design by Philip Holmes & Zoe Laughlin Stuff Matters by Mark Midownik Designing For The Circular Economy by Martin Charter Materials and Meaning in Architecture: Essays on the Bodily Experience of Buildingsby Nathaniel Coleman EXHIBTION Eart Exhibtion, Summer 2021, by Rashid Rana for Manchester International Festival ZINE Taste The Waste ( https://www.behance.net/gallery/74715233/taste-the-waste-zine ) PEOPLE Max Le Manna - Plant based zero waste chef Jess Oag Cooper - Graduate Aaron Fletcher ( https://www.youtube.com/ watch?v=U54HRmglYEA&t=1061s ) PLACE Noma, Copenhagen by Big Architecture ( https://noma. dk ) Omved Gardens ( https://www.omvedgardens.com/theglasshouse/ ) The Hidden Gardens ( https://thehiddengardens.org.uk/ ) WEBSITE GoodWaste ( https://goodwaste.net/products ) Eye On Design ( https://eyeondesign.aiga.org ) Material District ( https://materialdistrict.com ) Ma.tt.er ( https://ma-tt-er.org/work/why-materials-matter/ ) Materiom ( https://materiom.org ) FILM Beats directed by Brian Welsh

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CASE STUDY 3.0 06

Material Designer : Boosting Talent Toward Circular Economies by Ma-De “MaDe (Material Designers) is a competition, event series and platform devoted to realising the positive impact material designers can have across all creative sectors.

MaDe is a project, co-funded by Creative Europe Programme of The European Union, which aims at boosting talents towards circular economies across Europe.

Material Designers are agents of change.

They can design, redesign, reform, reuse and redefine materials giving them an entirely new purpose. Increasing the potential of materials they can go on to research, advise, educate and communicate what materials are and can be in the immediate, near and far future, implementing positive social, economical, political and environmental change across all sectors towards a responsibly designed future.”

Link to MaDe book: http://materialdesigners.org/wp-content/uploads /2021/03/MaDe Book-1.pdf

Their book contains lots of information including material recipes and research artciles written by circular material designers. I would love to experiment with creating materials out of waste and by products in both the construction of my space and as research for what happens in my space.

One of the designers that stood out to me was Paula Nerlich. Nerlich is an award-winning designer and director of Circular Home Lab. She specializes in the fields of circular design, earth-centred design, and future thinking within Material Design. She recently developed a bioplastic called Aqua Faba Foam. Its main constitute is Aquafaba, the liquid found in a tin of chickpeas. Often drained during cooking when the chickpeas are used, aquafaba ends up as a byproduct with hidden emulsifying, foaming, binding, and thickening properties. Combine this liquid with Nerlich’s secret vegan and compostable ingredients, and the result is a pinky material called Aqua Faba Foam which can be molded into various shapes and sizes. Learning about her research makes me reflect on other waste we unconsciously create when cooking and how it can be used more impactfully.

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CASE STUDY 3.1 08

Omved Gardens designed by HASAA “ As Fritjof Capra said, “It is only by connecting to nature that we can know who we are.” Maybe it is also true to say that it is only by connecting to ourselves that we can know what nature is. Knowing more about ourselves and knowing more about nature is one and the same thing.

At OmVed Gardens we feel this is where the search for happiness and wellbeing begins.”

An inspiration of mine, both architecturally and concept-wise, is the Omved Gardens. The OmVed space is an urban “greenscape” hidden behind a high street in North London. Until 2016 the plot was a “tarmacked wasteland”18, now it is an area to be enjoyed for its diverse ecology as well as an educational platform for discussion, creativity, and entertainment.

The discovery takes form in exhibitions, worshops, concerts, and more, collaborating with artists, architects, chefs, and musicians... I appreciate how the designers have used a greenhouse shell untouched and added modular interventions inside. Their aim to create a space for community reflects my own, bringing people together to connect and be educated and empowered, whilst touching on the UN sustainability goals.

“The project aims to explore the possibilities of this forgotten piece of the city, and how it could be rediscovered and re-appropriated by introducing a series of small scale interventions. The language of the existing horticultural glasshouse mainly the frame and panel construction informed the approach for the interior.

Translated from an industrial modulation into a more refined plywood skin, it forms a series of furniture pieces or rooms which are intended for the display of exhibits but also to line and structure the visitors’ experience. The team consisting of architects, structural engineers, landscape architects, artists, artisans and craftsmen have combined to make this project. This interdisciplinary approach was pivotal for creation of the pavilion and gardens.” link to website: https://www.omvedgardens.com/theglass-

I am heavily inspired by this space both architecturally and concept wise. The subtlety in which the new interior space is inserted into the old green house frame shows a respect for the existing environment and surroundings. This type of design consciousness makes the space work even better for me. The direction and intent of this project touches on the same as my own, bringing likeminded people into a inspirational place to reflect and learn from each other.

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CASE STUDY 3.2 10

Max LaManna.

“Max La Manna is a zero waste New York chef, sustainability advocate, environmentalist and author. Max’s awareness and education around food waste and plastic pollution has been featured in numerous publications, from BuzzFeed Food, NowThis News and EcoAge to Vogue. Through sharing his low-impact, conscious lifestyle, Max has inspired thousands of people across the world to wake up to the devastation caused by plastic and in his first cookbook he invites readers to join him on his journey to consuming food more mindfully and creating less waste, for the health of our planet.”

I have learned about LeManna through 4 different platforms. “What have you got left today” is a five web series where LeManna shows how to turn leftovers (waste) into new meals. This varies from using banana peels as meat to broccoli stem fried rice. “Regeneration: Food” is a BBC Earth series that shows Max LaManna exploring ways to minimize waste while reducing carbon footprint through interviews of businesses, organizations, and leaders. Each episode is structured in 4 sections: ‘what’s the problem?’, ‘what the experts say’, ‘the game changers’ and ‘tips, tricks and recipes’. After watching this series, I considered how these 4 points could be best reflected in a physical space. The third space I view Max LeManna’s work through is the social media platform Instagram, where he creates short, eye-catching zero-waste food videos from his kitchen counter. These mainly consist of easy-to-do minimal waste recipes to recreate at home. I also have LaMannas book, which is similar, filled with various recipes and stories on sustainability and waste.

I plan to further research into zero waste recipes to help me create a workshop program for my space, which will partially consist of cooking from waste. link to website: https://www.maxlamanna.com

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BUILDING HISTORY 4.0

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The site on which Bellgrove Market is situated was one of many plots of land being sold by James Graham. Originally purchased from James Graham by William Lawrie in 1816, the construction of the market only began in 1911, with the it opening in October of that year. John Carrick principally designed the building, while there were elements by other designers both before and after Carrick, such as AB MacDonald's work traced back to 1910. Upon the original opening, the site was already vast, encasing most of Graham Square, Moore Street, and Armour Street, with pens, lairages, and execution spaces as far as Duke Street.

There were also tubs and a gymnasium, and the North British Railway line running directly beneath the buildings.

Following the Glasgow Markets and Slaughterhouses Act of 1865, the City Architect erected a roof over the cattle market, which was built over ten years

to cover the meat market, resulting in a cattle market, a meat market, an abattoir, and several other facilities in the large complex. The market was then closed in the late 1960s, and the property was utilised for auto auctions for a few years.

Much of the site has been demolished since its closure in 2001, leaving only the listed structures standing.

I am fond of my chosen site for many reasons. There is just a shell left of the building, which leaves me with a lot of creative freedom. The tall open space also inspires me to create a connection between the inside and outside. I am also interested in exploring the original materials of the building and how I can form a connection with them in my designs.

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archival photos of bellgrove cattle market (source https://canmore.org.uk/site/260022 )

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bellgrove cattle market in 2021

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SITE MODEL 5.0 18

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PLANS 6.0

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FIGURE 1. PLAN DRAWING WITH MEASUREMENTS

FIGURE 2. PLAN DRAWING SHOWING BEAMS AND TRUSSES OF BUILDING SEE JOURNAL VOL 1 FOR FURTHER DETAILS

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PROGRAM 7.0 22

Studio Programme Topic Of Study

Area Of Study

Dates

Site Model Making/Prototype 1

DESIGN DIRECTION

@October 11, 2021

Primary Research

RESEARCH

@October 13, 2021 → November 19, 2021

Acquiring drawings/site info

RESEARCH

@October 13, 2021

Sketch models

RESEARCH

@October 15, 2021 → October 17, 2021

Initial Concept Ideas

RESEARCH

@October 17, 2021 → October 20, 2021

Create Brief

DESIGN DIRECTION

@October 17, 2021 → October 19, 2021

Site Survey

RESEARCH

@October 18, 2021 → October 22, 2021

Creating A Contract

DESIGN DIRECTION

@October 18, 2021

Concept Development

PRODUCTION

@November 1, 2021 → December 10, 2021

Concept Story Boarding 1 (pre dht)

DESIGN DIRECTION

@October 19, 2021 → October 22, 2021

Feasibility Planning

DESIGN DIRECTION

@October 20, 2021 → November 24, 2021

Case Studies Research

DESIGN DIRECTION

@October 21, 2021 → October 26, 2021

Demographic Research

RESEARCH

@October 25, 2021 → October 28, 2021

Concept Story Boarding 2

DESIGN DIRECTION

@October 26, 2021 → October 28, 2021

Zonning

DESIGN DIRECTION

@November 22, 2021 → December 6, 2021

Folio Storyboarding

PRESENTATION

@November 30, 2021 → December 7, 2021

WIP 1

DESIGN DIRECTION

@December 3, 2021 → December 8, 2021

Journals Documenting Process (Ongoing)

PRODUCTION

@December 29, 2021 → January 8, 2022

Secondary/Ongoing Research

PRODUCTION

@January 10, 2022 → February 14, 2022

Moodboard

PRODUCTION

@January 11, 2022

Materiality Exploration

PRODUCTION

@January 24, 2022 → February 18, 2022

WIP 2

PRODUCTION

@March 8, 2022 → March 11, 2022

Design Detail Development

PRESENTATION

@March 20, 2022 → March 27, 2022

Plan/Section/Elevation finalisation

PRESENTATION

@April 1, 2022 → April 13, 2022

Furniture Spec

PRESENTATION

@April 10, 2022 → April 14, 2022

Lighting Plans (RPC) And Specification

PRESENTATION

@April 14, 2022 → April 19, 2022

Final Visuals/Idea Communication

PRESENTATION

@April 19, 2022 → May 4, 2022

Folio/Journal Finalisation

PRESENTATION

@May 1, 2022 → May 11, 2022

Contingency

PRESENTATION

@May 5, 2022 → May 13, 2022

Market Community Feedback (Ongoing)

PRODUCTION

@February 28, 2022 → March 4, 2022

Status

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