Producing Geological Identity by Jack Neale

PRODUCING GEOLOGICAL IDENTITY.

JACK NEALE

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Jack Neale 18106026 Birmingham City University ARC6117 Design Resolution Producing Geological Identity 2021-2022

INCORPOREAL Not composed of matter; having no material existence.

This studio aims to address the fundamental questions of ownership and sovereignty and to challenge these assumptions through the form of the public house. The public house has long been at the centre of a community as a place to socialise and relax. In many ways, the pub has become part of the social culture in England and can be seen as the identity of the local area. By perceiving ‘resources’, a term commonly used to refer to the exploitation of natural materials from ecosystems - that seem far beyond an architect’s concern, more as ‘relatives’, equal and interconnected players within larger ecological, cultural, and energetic systems, should have a profound impact on material selection, construction methods and the practice of architecture as a whole. Our creations should never stand on land that ‘belongs’ to us as architects or landowners, but that our buildings, and those who inhabit them, instead always belong to the land itself. I believe the most important aspect of architecture is the incorporeal, a dimension which has been omitted from conversations but should recursively change how we see, think and form buildings. We should begin to see architecture as a process, not a product. We must begin to make the externalities of architecture intrinsic to design and look to design with the incorporeal in mind through a range of spatial and temporal scales to embody the dynamics of our profession.

“ In the process of building, materials and energy converge in one place for a finite duration...

It is important to grasp that the ‘thing’ we call a “building” is the outcome of a ‘process’ we call “building”. ” (Moe, 2014)

Contents

Discovering Geological Identity

01 Uncovering and celebrating geological identity

Extraction of Ideas

11 Making the incorporeal visible to the people of

through material harmony in architecture

(recap)

Moxley through a deliberate design move

Processing Concepts

25 The development of ideas into material and

Production of Design

35 Following the manufacturing process from

geological strata to an architectural element

Composition of the (W)hole

45 Understanding community through the public house and its relationship with nature

Construction of Form

79 The technical requirements of design together with function to create holistic architecture

architectural form

Discovering Geological Identity (recap) 01

The Grinshill

(GH)

In architecture today, foreign and cheaper materials have become the norm and locally sourced materials are being over looked. Grinshill sandstone can be seen throughout Shropshire due to its significance in the county’s history. The stone has been used within architecture over the last 1000 years; it has become a staple in many of the region’s towns and villages and can often be found in large quantities at a settlement’s core. 10 75

5mm²

m 50

20mm

m 0m

200mm

A Shard (Sd)

A Chip (Cp)

A Cut (Ct)

A Grinshill (GH)

A Block (BL)

mm 1000mm

1000mm

The Grinshill Quarry can be found near the peak of Grinshill and has supplied the treasured sandstone as a connection to geology through architecture. The Grinshill (GH) is an imperial unit which can be used to measure volume and distance. Imperial units have links back to their purpose and surroundings and embody the land they are measuring, GH embodies the average sized quarried stone extracted from the earth.

Grinshill Quarry 1000GH

2,500GH Bridgewater Arms

Shrewsbury Castle

5,000GH

7,500GH

Shrewsbury Abbey

10,000GH

Shrewsbury Square

Shrewsbury Castle 15,000GH

The Grinshill (GH) Mapping Grinshill Stone Architecture 0

1km 02

Geological Identity The prominent sandstone materiality in Shrewsbury’s architecture can be seen as honest; there is a seamless link to its geology. It is celebrated. The town’s layout has evolved over time but the core of the settlement was based within the land’s geological features. Conversely, the 3m+ thick layer of made ground under Moxley was used to stop potential toxic gases leaking out from the disused coal mines below and formed a level surface acts as an impermeable physical boundary; the ground and buildings act as a veneer. The artificial layer does not allow the area’s heritage to be seen from the inhabited surface and suppresses the local geology. There is a trapped world underneath the feet of Moxley’s public which has been isolated from contemporary society. This barrier must be broken to create opportunities for local architecture to develop a new geological relationship.

Shrewsbury’s Geology Salop Formation (Sandstone)

Moxley’s Geology 3m+ of Made Ground Mine Entrance Underground Workings

A Miner’s Life Cycle For Victorian miners in the Black Country life was both short and one of hardship. They would be born into a life of poverty and would be hopeful to attend school, children were often sent to work at a colliery by their parents as pay was poor and infrequent. Miners were paid based on the amount of coal their group produced in a month. They could spend up to twelve hours a day underground. Despite this, there was a real sense of pride within the Black Country and the local public house was the epicentre of the community. What is now a long forgotten village, was once the epicentre of the mining boom in Moxley. The only evidence of the Fiery Holes’ history is through the name of the local pub. The miners worked hard within a vicious cycle of poverty but collectively paved the way for the next generation to follow in their footsteps.

ita l

Sc h

y ier

ur ch

The Incorporeal

The energy and processes which have been carried out to gather the materials, transport them to site and construct allow architecture to be constantly moving and living. Hence a physical building could be seen to be the process, not just a product. It is not an autonomous object that just exists. We must look to design buildings with the incorporeal dimension in mind to define and embody the identity of a place.

Processing

Transporting

Architecture

Architects often see architecture as a solitary static object and neglect the incorporeal dimension of architecture. Kiel Moe’s “Empire, State and Building”, talks about the movement of building by stating that architecture is not just what we see physically but it embodies everything which has been affected by the processes to bring the materials together in its current composition. Architecture is not just aesthetics or function, it is an “agglomeration of multiple processes”.

Material Resourcing

Constructing

Maintaining

Demolishing

Life Cycle of Architecture

Movement

Relationships Man-hours History

Surroundings

Quantifying Processing Resourcing Construction Energy

Time

Pollution

Ecology

Transport

The Incorporeal Elements

Boundary Materials Services

Drawings Static object

Structure

Traditional Architectural Elements 08

Extraction of Ideas 10

Modern Moxley Compared to the mining community of Victorian Moxley, modern Moxley has lost its identity. This loss has coincided with the transformation of the area’s tradition British pubs into ‘Desi pubs’. Although part of the community, a Desi pub is not seen as a place for the public to go at the end of a working day to socialise and relax. Moxley has lost its ‘local’. The public of Moxley are split between those that work in nearby industry and those that travel out of the area to work in commercial and public sectors. The divide in lifestyles is a manifestation of the broken and disjointed community and emphasises a lack of sociability. The lack of a local identity is reflected in the architecture. There is a need for reflective and honest architecture to make the identity and heritage of Moxley visible to the public, to make the incorporeal material. Moxley needs a new ‘local’ public house and an accompanying public trust to fuel and maintain the public’s identity. 12

The Site Moxley was a small mining village which inevitably grew as people flocked to work in the coal mines. The local coal fuelled trade and, as business grew, the village was surrounded by hundreds of active and abandoned mine shafts, pits and slag heaps. Over time, the surface became unrecognisable as open land due to the heavy industrial works; the seams were abandoned once all minerals were exhausted and the mines were in-filled with made ground to make a level, artificial strata layer for large scale housing schemes to be build upon, covering the Black Country’s geological identity. The site is a disused green space that is located at the heart of one of these large scale housing estates - and sits around the corner from the what was the last surviving public house in the area, the Fiery Holes.

Scale 1:2000 0

20m

Moxley

The Fiery Holes

Moorcroft Wood

Silty Clay Coal Fireclay Topsoil

0.2m 3m

Mudstone Made Ground 4m

1.2m 2m

9.5m

Sun Path Scale 1:2500

1.5m 1.8m

Industrial Works Residential

Heavy Traffic Flow Daily Commute

Green Space Waterways

Building Typology

Although Moxley is now largely residential, there are still pockets of heavy industry presence in the area. The housing estates’ strong physical link to industry, which could be seen as reminiscent of the miner’s work/ life balance, begins to split the site into public and private sectors which any piece of architecture would have to respond to.

Access

The tramline to the west connects Moxley to larger cities such as Wolverhampton and Birmingham making the area more accessible for the public and is used by locals to commute to and from work. The Black Country Spine Road allows for a heavy flow of traffic throughout the day passing by the site. This would act as the main route of access.

Green Space

The made ground layer is needed due to the magnitude of unstable earth left from underground workings, this has led to a large quantity of greens pace in the area. The site is located on one of the few green spaces that is suitable for construction, but is currently a public park which shouldn’t be lost. Site Analysis 0

Scale 1:10000 500m 16

Extrusion Extrusion embodies a very physical method to expose the geological heritage of Moxley, thus taking the first step to make the incorporeal dimension visible to the public. The purpose of the tower is to highlight the relationship Moxley as a community has with it’s geological heritage while exposing the made ground boundary that covers the stories of the past. A simple form with a slight slant on the north facade allows for spatial relationships between floors while drawings the user’s attention to the facade and the community that lies beyond, exaggerating their connection to their surroundings. The lower floors are made to feel cramped and enclosed to emulate the feeling of being down a traditional coal mine, with the feeling of ascension as user’s travel up the floors. A single elegant slit in the tower’s roof allows for moments of cascading light to flood the stairwell and fall through the offset steps to the lower floors.

Site Plan Scale 1:1500 0

15m

East Section

Scale 1:150 0 2m

East Elevation 18

The five floor tower stands at 20m tall on a 6m x 6m base. Extrusion mirrors the strata below that supports the Black Country, beginning with a 3m base of made ground. That external facades are designed to be smooth to exaggerate the textured geology within which allow the user’s to interact with what sits beneath their feet.

Floor Plans Scale 1:200

South Section

Scale 1:150 0 2m

South Elevation 20

The north facade to the tower symbolises the theoretical principles of thermodynamic energy systems within architecture - a systems is enclosed by a boundary of variable permeability which dictates what elements, such as energy, information and matter, can pass between the system and it’s surroundings. In this case, the elements entering the tower system, and passing through the boundary of the external envelope, are the people of Moxley and the energy they possess. The openings within the north facade allow the surrounding community to interact with the internal system in moments through social interaction while expressing honesty and history through material form.

Processing Concepts 24

Programming Based on surrounding site analysis for building typology, land use and access, the site was split into sectors. A more community based section, towards the north, a public section, west, and a more private, east and south. It is important to remember the site will be used for a public house, the new ‘local’, and is located at the heart of a housing estate so no part of the site is or will be truly private. The sectors act as a guide to locating the various programmes that are involved within a public house. Within each iteration, services, storage, and utilities are positioned towards the east. While the public house, public trust, admin and foyer share visual and/or physical connections and are located more towards the west. The public trust becomes integral to the design and layout. Utilising the site boundary as a means of interacting with the surrounding community.

Massing In response to the massing of Moxley and surrounding settlements, the modelling process was kept to couple of storeys above ground. This meant the resulting architectural form would need to interact and be integrated within the site without blending in to the residential context. The site location allows the resulting public house to act as a landmark and focal point within the community, drawing locals in. The general positioning on site was decided based on daylighting analysis and relationships to surroundings. This process of over twenty models led to four key components that were carried through to the final design: layering, growth, inter-site relationships and responding to the surrounding vernacular.

Precedent Studies OTOProjects Assemble, 2013

The workshop occupies a disused site and is built using the materials found on-site. The construction method of OTOProjects was based on utilising resources that were readily available locally. The earth, rubble and gravel was processed and bagged to created the building blocks that act as load bearing walls. This project served as a construction precedent and inspired further research into material processing.

Auxiliary Building Renovation

Craftwerk & Xband, 2020

This project by Craftwerk & Xband Architects was commissioned due to the ever growing demand for community function and development in the local area. The project consists of five sets of pavilions, each designed to create a unique mini-environment. The developments took design inspiration from the old buildings on the site and the surroundings. This method of design, responding to context, follows the same design principles I am looking to employ within my public house. This precedent helped to develop the scale, proportion and facade composition of my design.

Compiling Concepts In this development concept, the process to transform the raw materials sourced on site, clay and earth, into building materials and finishing materials informs the layout and functions. Materials are sourced from a pit in the centre of a courtyard and are converted on site to enable the construction of the design in stages, starting with a temporary workshop and ending in a permanent public house. The new ‘local’ is formed by local efforts, local materials to produce a new local identity that embodies the incorporeal dimension of architecture. The principles of this iteration were taken forwards and refined further in the next chapter.

Production of Design 34

Workshop Section Scale 1:200 0 2m

The Workshop In order to make the incorporeal dimensions visible to the people of Moxley, the processes within architecture, from material extraction to construction, must be made apparent. By sourcing the majority of the materials needed to construct Moxley’s new public house from within the site boundary the architecture takes on the term ’building’ defined by the process rather than the product.

Workshop Floor Plan Scale 1:200 0 2m

Manufacturing

Storage

Processing

Site Over Time This process can be shown through the production of earth tiles in the temporary workshop that are to be used in the north facade and roof of the public house. As more materials are needed to construct the new local, the site develops over time thus exposing the process. Once the public house has been built, the temporary oak plank facade to the workshop pavilion is removed and used to help make the furniture that will be used in the new local, leaving behind the timber frame and roof to create a community market along an inviting promenade.

Process Precedents Yardhouse

Assemble, 2012-14

Yardhouse, and the production process, was a key precedent, both in terms of aesthetics and function, in the development of my public house. The structure itself was a temporary timber frame and allowed for a open layout to encourage social interactions. Yardhouse stood as a functioning workshop that produced its own facade tiles using clay, pigment, water and cement. The scale and intricacy of this facade formed an backdrop for the active public yard onto which it faced. This precedent inspired the workshops within my design, helped me understand the process of working with clay and helped to give my design an element of temporality as the site develops over time.

1 2 3 4 5 6 7 8 9 7 10 2 1 11 12

1. Site-sourced earth tile 2. 40x40mm battens & counter-battens 3. 18mm OSB sheathing layer 4. 150x500mm Posi rafters c.400mm with 250mm recycled insulation 5. 50mm rigid insulation with plasterboard finish 6. 600x300mm Timber ring beam 7. 250mm Site-sourced rammed earth 8. 150mm Recycled insulation 9. Vapour control layer 10. Damp Proof Membrane (DPM) 11. 50mm Oak window framing 12. Triple glazing 13. Recycled made ground 14. 20mm Sand backfill 15. 100mm Rigid insulation

1 13 14 15

Wall Build Up 0

Scale 1:50 1m

North Elevation Scale 1:50 0

1m 40

1 2 11 3 4 5 7

1. Site-sourced earth tile 2. 40x40mm battens & counter-battens 3. 18mm OSB sheathing layer 4. 250mm recycled insulation 5. 150x500mm Posi rafters c.400mm 6. 50mm rigid insulation 7. 600x300mm Timber ring beam 8. 250mm Site-sourced rammed earth 9. 150mm Recycled insulation 10. Vapour control layer 11. 40x40mm battens & counterbattens with DPM 12. 50mm Oak window framing 13. Triple glazing 14. Plasterboard

6 14 8 9 8

10 11

12 13

Evolution The decision to add the earth tiles to the north facade was based on the concept of community. The public house has been orientated to face the community, while achieving optimal daylighting, in order to attract the public and display the product of the processes carried out by members of the community. The tiles themselves embody the incorporeal dimension as a symbol of what has been before and act as a physical connection to the Black Country’s geology.

Composition of the (W)hole 44

Site Plan 0

Scale 1:400 10m 46

Site Strategy Daylighting

The positioning on site and the orientation of the architecture in relation to the pit was guided by analysing the annual shading on site between the hours of 09:00 and 19:00. The areas of the site that receive less daylight have been used for landscaping.

Geological Growth

Digging up the earth on site to source the materials for the public house meant large retaining walls would be needed to hold back the remaining earth. The edge lines were designed in response to the curvature of the site and echo a more natural and encompassing approach to architecture. The retaining walls were used to shape, cut and split the architecture both externally and internally.

Site Division

Inspired by the initial site analysis into access to site and building typology, there seemed to be a natural public and private divide running through the site. These sectors were used throughout the initial programming of spaces to uncover relationships required by the public house and the public trust and was later used to form the edge of the architecture, completing the community pit.

Design Precedents Nk’Mip Desert Cultural Centre DIALOG, 2006

I chose to look into this precedent as I was interested in how the architects utilised rammed earth within their design. The centre is designed to be a specific and sustainable response to the building’s unique context - the Canadian desert in British Columbia. The 5.5m high, 600mm thick insulated retaining wall swoops around the west facade of the building and acts as a sustainable method to stabilize internal temperatures, while holding back the desert landscape. This one design move defines the architecture and expresses the region's geology through the layering on natural material. The growth of geology to form the architecture is a design concept that has been taken forward into my pub.

Koshino House

Tadao Ando, 1984

Throughout all of Ando's work, lighting is the main design tool. He uses light to display the delicate relationships between architecture and nature, and manipulates his design to allow daylighting to animate the interior spaces. In Koshino House, Ando offsets the floor plate from the wall to enable light to penetrate deep into the building. The light defines the space through shadows and negative space which work harmoniously with the limited colour and material palette. The space patiently waits for a moment of crescendo. The atmospheric quality of light within Ando's work, and how he uses it within the design, influenced the upper and lower lounge within my design to achieve a desired ambience.

Foyer

LEVEL 0 As the retaining walls rise from the pit, they continue through the architecture shaping the internal arrangements . This allows the users of the public house to interact with the geology of the site through the architecture.

Foyer

Studio 1 Studio 2

The retaining walls also help to maintain the public and private divide. In order to achieve this, the rammed earth walls were designed to reach four metres above ground level, matching the height of the east facade. This design move offered an opportunity to create a private entrance towards the south leading to the public trust studios and a public entrance which guides the users along suspended catwalks with specific views out to both the community and the pit.

Scale 1:150 0

2m 52

LEVEL -1 Scale 1:200 0

Based on the tradition British pub, the vertical circulation spaces have been broken into an upper and lower lounge . This decision lowered the floor to ceiling heights in this area of the pub, improving the cosiness of the space , while creating an opportunity to play with the atmospheric qualities of daylighting on the lower floors. The lounge spaces are tucked away behind a one metre thick rammed earth thermal wall, which acts are the main source of heating in the winter through solar gain and thermal mass. This limits the intensity of light penetrating into the space and allowed for viewing pockets out through the pub and into the pit.

Upper Lounge

LEVEL -2 Scale 1:200 0

Level -2 sits at the base of the pit, seven metres below ground level, and is the heart of the public house. The bar is located at the centre of the plan as to serve all spaces within the pub while opening up the floor plan to create a stronger feeling of community . The retaining rammed earth wall has had notches removed from its mass in order to create bench seating within the pub, not only does this follow the typical layout of a pub but it also enables the users of the space to become engulfed by the architecture, interacting with the materiality of their local. These seats will be passively heated via a radiant wall system.

Kitchen

Lower Lounge

Pub Bar Pub

Perpendicular Section

Scale 1:100 0 2m

The new community hub combines the once separate public house and public trust. The public trust now consists of studios that sit above the public house and share visual connections. The public can use these studios to learn about the processes involved in the construction of their new local. Longitudinal Section 0

Scale 1:100 2m 62

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Replicating techniques used in the work of Tadao Ando, the lounge area within Moxleys public house is designed to take on the atmosphere within the traditional British pub. Natural light cascades down the rammed earth wall, cut by structural supports, animating the space. 64

North Elevation

Scale 1:200 0 2m

Face of Community Through the incorporeal, the north facade stands to act as a symbol for both Moxley and the architecture’s journey. The materials gathered, processed, transported and constructed are part of the process that allows these elements to be on site for a finite duration of time, but the materials themselves do not make the architecture what it is. As the materials are processed, the site, and the architecture, are constantly moving, transitioning over time. It is this journey that the pub follows the creates a connection between nature, the building and the public. Once the story of the workshop is complete, the system boundary changes, becoming more permeable as the structure opens up to form a community market. The aim is that this market will persist, alongside the public house facade, at the heart of the community.

East Elevation

Scale 1:200 0 2m

South Elevation

Scale 1:200 0 2m

Balance For both the east and south facades, there is a balance between proportion, mass and depth. With the retaining wall of the pit visible, the facades themselves were designed to express and showcase the materiality of the site, while acting as a volumetric mass on the roadside, anchoring the public house to the pit. The decision was made to recess the both entrances by 100mm to break up what could have been a lifeless facade. These recesses juxtapose the extruding retaining wall, which acts to split the private and public sections of the pub, producing a rhythm in the elevation and creating simple visual relationships. The overall form of the public house was designed to respond to the surround building heights, resulting in a gable-end roof. The elevations are lined by trees, softening the boundary between the edge of the site and surrounding infrastructure.

Boundaries In order for a large rammed earth facade like this to be constructed, moulds made from plywood are used to create the footprint in which a cement/ earth mixture is pressed into, creating rammed earth. This process can leave imprints in the facade, adding to the design of an elevation. The decision was made to utilise the dimensions of the imperial unity the Grinshill (GH) to define this facade. Imperial units are based on the land to which they serve, and as we do not, or will not, possess the materials in which we build from, the use of an imperial unit to set design restrictions seemed obvious. The use of the Grinshill continues into a glazed curtain wall, a design move developed to achieve optimal daylighting internally and to slighting disrupt the imprinted grid that is caused from the rammed earth construction process.

West Elevation

Scale 1:150 0 2m

Landscape Precedents Promenade des Artistes Daoust Lestage, 2010

Located at the cultural heart of Montreal, Promenade des Artistes acts as manifestation of the city's identity. A series of steel framed pavilions are spaced along the edge of a public pavilion with the intention of adding purpose and rhythm to the landscape. Each pavilion is designed to be completely flexible in its function which has meant the promenade has been host to a variety of events such as art exhibitions, performance space and an annual swing instalment, all of which enable the public of Montreal to interact with the space while creating a social hub in the city. The flexibility and simplicity within this precedent, as well as the concept of producing an external community space, were key elements to the proposed market in my design once the temporary workshops are no longer needed and removed.

The Scoop

Townshend Landscape Architects, 2007

The Scoop is a sunken outdoor amphitheatre that provides seating for over 800 people. It was designed to have the flexibility to adapt to an ever changing city. The space acts as a pivot point in the landscape with multiple walkways stemming from the pit. The design was based on the movement within architecture, while reflecting the flow of the River Thames. This design principle aligns itself to the architecture theories I have based my project on - the incorporeal elements that enable architecture to be seen as a ongoing process. The amphitheatre was proportioned based on a modular block that is cut away to enable the grid to bend, creating a flow in circulation. This precedent helped give my pit a purpose beyond material extraction.

Solar shading provided by extended eave on west facade to block 60° sun angle, eliminating overheating in summer. Natural stack ventilation escapes through vents Summer Environmental Section in the curtain wall and skylights. Scale 1:100

Greywater collection from surface run off in pit used in radiant wall and landscape treatment. Rainwater collection via hidden guttering runs down within the rammed earth walls, used in kitchen and bathrooms.

Summer Environmental Section Scale 1:350 0 5m

Passive solar heating provided by 1m thick rammed earth radiant wall absorbing 14° winter sun, thermal mass releases heat in evenings. Ground source heat pump supplements passive heating. Natural stack ventilation escapes through vents in the curtain wall and skylights. Greywater collection from surface run off in pit used in radiant wall and landscape treatment. Rainwater collection via hidden guttering runs down within the rammed earth walls, used in kitchen and bathrooms.

Winter Environmental Section

Scale 1:150 0 2m

Construction of Form 78

0 FP

Load Bearing walls

450 - 1000mm Rammed earth

Floor Joist

6500x300x150mm PS-12 Posi joists c.600mm

Support Beam

350x150mm Glulam beam

Timber Batten

50x150mm Timber batten c.400mm

CSEB Foundation

1200sqmm Stabilised rammed earth

Structural Floor Plans Scale 1:250 0

-1 FP

-2 FP Scale 1:300 0

5m 80

Detail 02

Detail 01

West Strip Elevation

Pit Wall Build Up 0

1. Triple glazing 2. 100mm Glulam window framing 3. Reused/sanded plywood floor finish 4. 50x150mm Oak battens c.600mm 5. Plasterboard 6. 350x150mm Glulam beam 7. 250mm Reinforced site-sourced rammed earth 8. 150mm Recycled insulation 9. Vapour control layer 10. 150mm Site-sourced rammed earth exterior finish

1 2 3 4 5 6 7 8 9 Detail 01

Scale 1:20 0 200mm 82

1 . 50mm rigid insulation with plasterboard finish 2. Vapour control layer 3. 150x500mm Posi rafters c.400mm with 250mm recycled insulation 4. 18mm OSB sheathing layer 5. 600x300mm Timber ring beam 6. Site-sourced earth tile 7. 40x40mm battens & counter-battens 8. Damp Proof Membrane (DPM) 9. Stainless steel joist hanger 10. 50x250mm Oak overhang 11. Rough sawn oak plank finish 12. GRP hidden gutter 13. Triple glazing 14. 100mm Glulam window framing

1 2 3 4 5 6 7 8

9 10 11 4 12 6 13 14

Detail 02

Scale 1:20 0 200mm

1. 100mm Rigid insulation 2. 20mm Sand backfill 3. 250mm Site-sourced rammed earth 4. Vapour control layer 5. 150mm Recycled insulation 6. Site-sourced earth tile 7. 25mm Mortar screed 8. Underfloor heating system in 100mm fine sand 9. 100mm Rigid insulation 10. Damp Proof Course (DPC) 11. 50mm Sand 12. 150mm Recycled made ground used for hardcore layer 13. 200mm Rammed earth ring beam 14. 1200x1200mm Compressed Stabilised Earth Block (CSEB) strip foundation

Detail 03 Scale 1:20 0 200mm

1 2 3 4 5 3 6 7 8 9 10 11 12 13 14

Detail 03

Retaining Wall Build Up 0

1m 84

The Public’s House The aim of this studio project was to bring a new, revived identity back to the town of Moxley through the manifestation of the incorporeal dimension, an architectural theory by Kiel Moe. By sitting at the heart of a residential community, The Public's House embodies the geological heritage of the Black Country and gives the residents of Moxley a social hub where they can discover more about the processes in architecture which go unspoken. By creating a new local vernacular of locally sourced materials, The Public's House forms a new local identity, one of community, geology and inclusivity. This holistic design becomes the first project to make the incorporeal dimension of architecture visible and acts as a test pilot project for what I believe all architecture should aim to embody.

References ArchDaily. 2011. AD Classics: Koshino House / Tadao Ando Architect &amp; Associates. [online] Available at: <https://www. archdaily.com/161522/ad-classics-koshino-house-tadao-ando> [Accessed 23 May 2022]. ArchDaily. 2014. Nk’Mip Desert Cultural Centre / DIALOG. [online] Available at: <https://www.archdaily.com/508294/nkmip-desert-cultural-centre-dialog> [Accessed 23 May 2022]. ArchDaily. 2020. Auxiliary Building Renovation along Zhu River / Xband + Craftwerk Architects. [online] Available at: <https://www.archdaily.com/973225/auxiliary-building-renovation-along-zhu-river-xband-plus-craftwerk-architects> [Accessed 23 May 2022]. Assemble. 2013. OTOProjects. [online] Available at: <https://assemblestudio.co.uk/projects/oto-projects> [Accessed 23 May 2022]. Assemble. 2014. Yardhouse. [online] Available at: <https://assemblestudio.co.uk/projects/yardhouse> [Accessed 23 May 2022]. Moe, K., 2014. Empire, State and Building. Actar, pp.1-40. Quartier des spectacles Montreal. 2015. Promenade des Artistes. [online] Available at: <https://www.quartierdesspectacles. com/en/location/107/promenade-des-artistes/> [Accessed 23 May 2022]. Townshendla.com. 2007. Townshend LA - Morelondon. [online] Available at: <http://townshendla.com/projects/ morelondon-11/> [Accessed 23 May 2022].

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