5A Publication - Building on the edge

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5A Building on the Edge: The role of haptic cognition in architectural education and the societal benefits this can achieve in the Outer Hebrides.


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Table of Content

I. Abstract

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II. Manifesto

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III. Glossary

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One : Introduction 1.1 Research Question

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1.2 Live build theory

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1.3 Live build context

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Two : Research 2.1 References and Case Studies

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2.2 Outer Hebrides

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2.3 Building Culture

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2.4 Climate

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2.5 Social Issues in Outer Hebrides of Scotland

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Three : Design Intentions 3.1 Goals

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3.2 Moves / Programme

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Conclusions

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Bibliography

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Appendices

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Figure 1 Instigator of ‘Learning by Doing’ Josef Albers.


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Abstract

The theory of learning by doing is the subject that this thesis investigates. Considering the current culture of Live Build projects in the architectural academic world, this thesis questions how might the future incorporate these best in Scotland. This thesis proposes to establish a permanent facility that can harbour hands-on learning through a case study location of the Outer Hebrides of Scotland. These islands provide some of the most extreme conditions and logistical challenges to test the limits of the set up of such a proposal. This thesis will explore if the need for practical architectural education can overlap with some of the most important social issues of the islands, declining population, high cost of construction and deterioration of built environment quality, to provide benefits for all parties.


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Figure 2 Spirit of Self-Build


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Creating a refocus in architectural education in Scotland both geographically and in subject this investigation proposes that rural rooted architectural study will add to the diversity of the country as a whole, and provide research with worldwide value.


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Figure 3 Client in her Previous Home Figure 4 Client in her New Home


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Figure 5 Frame Work


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Manifesto

Theories of haptic cognition or learning-by-doing are intrinsic in the educational Live Build project. These educational experiences are becoming increasingly valued in architectural academia in Scotland. As such, it is important to consider the way these programmes are set up and used to their potential. By theorising the set up of a permanent ‘Live Build’ laboratory on the Outer Hebrides this thesis can explore the limitations of vital factors such as logistics and climate, resulting in a thoroughly developed manual illustrating the establishment of a case study facility. Fundamental to the success of Live Build projects is the level of community engagement. A prime example of this is the is the Rural Studio Design and Build programme in Hale County, Alabama. Here, the need for improved housing and community facilities is paired with the desire of hands on learning for architecture students. This well established programme has a portfolio of success projects for both students and residents.


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Figure 6 Construction & Theory


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To ensure this engagement, an understanding of the social issues and culture of the Outer Hebrides must be central to the mindset of the facility and its projects. Out migration, population fluctuation, fuel poverty, and quality of building culture are the relevant issues I have outlined. As construction is one of the fundamental components of Live Build projects, it is therefore important to consider the building culture of the Outer Hebrides and how this could inform the Live Build facility. The vernacular ‘black houses’ were built from materials found within 500m of their site, exemplifying a far more sustainable method of building than the current methods of importing materials to the islands. Experimentation with vernacular materials and construction techniques would be hugely valuable to the preservation of these historic building types and potentially a test bed to inspire the current building culture.


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Figure 7 Logs and Lumber. Ghost Lab Figure 8 Summer Build CAT


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Glossary

Design and Build Project This term is generally used in North America which has a similar meaning to Live Build projects, where the two differ is that Design and Build project strictly involve both design and build aspects of architecture by all participants whereas Live Build can purely focus on the construction of a project that has been designed by others. Nb this term is not to be confused with the type of building contract or procurement route used in the UK architectural profession.

Design and Build school Institutes often associated with a university that facilitate educational Design and Build projects. e.g. Rural Studio, linked to Auburn University.

Live Build project A term used in the UK for architectural education projects focused on providing practical experience of construction.


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Live Project A general term in education for projects involving practical experience, not necessarily related to the subject of architecture or involving construction.


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Figure 9 Community Night Figure 10 First Outing


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Figure 11 Testing Structure


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1.1 Research Question

How can theories of learning architecture through sensory engagement promote architectural education in Scotland and how can this benefit the surrounding communities which facilitate it?

1.2 Live Build theory

This thesis investigates the theory of Live Build projects. “It needs to be stressed that learning by example is not only the best and most effective way to learn architecture, it is arguably the only effective way to learn any complex body of knowledge.� (Abel, 1998;81)

This theory is based on the assumption that learning by doing is a highly effective approach to understanding concepts of design and construction. As such, there has been an upsurge of Live Build projects


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Figure 12 Studio in the Woods


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in the architectural academic world over the last 15 years (Carpenter, 2010;5). This trend has begun more recently in Scotland and its popularity looks to continue growing in the future. The theory of Live Build has its roots in the 1920s “learning-bydoing� workshops taught by Josef Albers and Johannes Itten the Bauhaus in Weimar Germany (Carpenter, 2010;5). The architect and educator at the Bauhaus, Walter Gropius explains that students learn to design better when encouraged to explore through a hands-on approach (Walter Gropius, ACSA National Meeting, 1959). This, he claims, is because construction and design are directly interdependent. This thesis sets the methodology of Live Build at the heart of an investigation that considers how it can be best facilitated in a defined region of Scotland.


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Figure 13 Tog Studio, Setting Up


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1.3 Live Build Context : What already exists and how will my thesis contribute to this.

The status quo for practical education delivery in Scottish architecture schools is through small scale temporary Live Build projects often irregular (less than once a year). Tog Studio is a Live Build summer school that has ran most years since 2012 completing temporary and permanent projects. Inspired by Ghost Lab in Nova Scotia, it is the only one of it’s kind operating in Scotland. It is independent from any university institution. This thesis will contribute to the Live Build field of study by considering and testing the best avenue to go forward with implicating such projects in the future. My thesis will consider a permanent set up that can deliver regular practical education for students. By considering the extreme environment of the Outer Hebrides of Scotland this thesis will challenge the boundaries of where and how Live Build projects can operate.


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Figure 14 Ghost Lab Bonfire Celebration


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2.1 References and Case Studies

Design Build Studio is a book written by William Carpenter that has informed my research, it includes a comparison between two of the prominent examples of Live Build in the US; Rural Studio and Yale Building Project.

Rural studio: “ …the ultimate goal of the program is to educate the students, while concurrently improving the quality of life in rural Alabama, one of the poorest regions in the United States.” (Carpenter. 2010:36)

This design and build studio based Hale County Alabama does various projects to improve the community. One project of note is the 20K house where people living in poor quality trailer homes are helped to build affordable housing of good quality by architecture students as part of their full-time course. Major praise for the Rural studio has come in


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regards to the interaction with the local community and its overall social agenda. Critics of the Rural Studio say that the projects are often too complex or too lengthy to conform to the Thesis project time-scale set by the university often causing students to complete building after term-time has finished, putting them at a disadvantage to their peers who do not take the rural studio as their thesis project. Yale Building Project, is one of the earliest examples of the Design and Build Studio in the US. It focuses on designing and building a house for a client, exposing the student to the full process of construction. It has been criticised for its competitive nature amongst students, its lack of student interaction with clients and the restrictions imposed on the students in terms of what they can build (Carpenter, 2010;35)


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In concluding his essay, Design, Construction and New Technology in Design Build Studios Carpenter makes the following suggestions for Live Build projects: “• Incorporate cutting-edge technology. • Align with DB firms. • Dedicate time to program evaluation. • Integrate the notion of the unit of production. • Slow the process down, move it forward. • Seek inter-disciplinary collaboration. • Create an urban DBS. • Integrate the DBS in the curriculum.” (Carpenter; 2010) The Design Build Studio book has also provided the following references that will be useful to this study.


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Neighbourhood Design and Build Studio: (university of Washington) run by Steve Badanes.

This course has two main goals for the students, the first is how their drawings translate into build form and what this entails and the second is to give them a social conscience. (Badanes, 2010;62). Badanes explains part of the motivation behind building in this sense is the physical and spiritual joy of the process which underlines the ethos of Live Build theory. His suggestions for Live Build are : “• Start small • Collaborative Design • Keep it simple • Think Globally, Act Locally. • Make it Fun”


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Coastal studio Cheticamp Cape Breton Island, Farmers Market. Involvement with a local community. Employing local professionals to aid with the construction of a market resource for the community there, also include a band stage for local young music players to play at the time of the market.

C.A.S.T. (Centre for Architectural Structures and Technology) Manitoba. A laboratory for the architecture department to experiment at full scale with construction. The University of Manitoba also ran a design build project which looked at derelict traditional buildings in Clearwater, MT. Students deconstructed one of these buildings salvaging all the materials and using them to produce useable architecture for the Harvest moon festival in the city.


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Figures 15- 21 Rural Studio


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Rural Studio. Hale County, Alabama


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Figures 22- 26 Yale Building Project


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Yale Building project. New Haven, Connecticut


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Figures 27- 32 Ghost Lab


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Ghost Lab. Upper Kingsburg, Nova Scotia


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Figures 33- 37 Tog Studio


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Tog Studio. Isle of Tiree, Scotland

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Figures 38 - 44 Freelab


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Freelab. Various, Nova Scotia


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Figures 45- 49 Coastal Studio


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Coastal Studio. Various, Nova Scotia


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Figure 50 Locating the Outer Hebrides


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2.2 Outer Hebrides

This thesis is interested in the North- Western frontier of Europe; here lies the Outer Hebrides. The extreme environment and their remote location provide challenges for the conventional Live Build project. Their beauty, heritage and culture provide interesting and valuable knowledge beds worthy of investigation and in some instances, stimulation. Figure X shows a settlement map of the Outer Hebrides, showing every distinguishable settlement of the islands. Intersetingly from this drawing it can be discerned that most modern day settlements are develpoments of those established by the first settlers arriving on boat and reliant on the sea for transport and food; these are almost all coastal or in areas with links to the outer seas. Highlighted more specifically in Figure X is the location in the Outer Hebrides that this thesis is considering as a site; the Ness Historical Society building in Ness on the Northern point of the Isle of Lewis.


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Figures 54- 57 Ness Historical Society


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Figure 58 Brickworks


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2.3 Building Culture. In my research I have found successful Live Build projects to be rooted in their environment. Materiality and construction methods are at the heart of Building and as such should be studied in depth to inform any given Live Build project. It is suggested, in successful examples such as Rural Studio, that materials in particularly should be locally sourced and sustainable. Ghost Lab is known for promoting vernacular craft and construction methods and the success of their projects lies in the focus of these elements in their Live Build projects. To consider how this might translate into my project I have carried out an in-depth study of the materials and construction methods traditional to the Outer Hebrides of Scotland.


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Figures 59-61 Brickworks, Garrabost, Isle of Lewis


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Brick

Use of Brick has a history in these isles. There was a Brickworks factory on the Isle of Lewis in a settlement known as Garrabost. This is situated near to Claypark, where the brickworks would have taken the clay for brick production. Folklore speculates that there was once a small sail powered rail network set up for the transportation of the material (Comunn Eachdraidh An Rubha). It is likely that the the source of material for the lighthouse build on the Isle of Harris further south on the isles. was the producer of bricks for this construction. It is likely to have been delivered there via boat as there were few roads over the boggy land of the middle of the island and a high mountain range separated the two areas. There was also an old whaling station set up by Norwegians that had two brick chimneys likely to have been lews brick form the brickworks at Garrabost. Only one chimnet remains today and most of the whaling station has since become ruin. FIGURE X


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Figure 62 Whaling Station Now Figure 63 Whaling Station Then


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Travelling by boat was the norm in the past. It is unknown why the brickworks closed down but it is assumed that it was the high cost of transportation that was the reason for it’s closure (Comunn Eachdraidh An Rubha). There still exists the brickwork building on it’s original site but the kilns for firing the bricks were destroyed. The option for brick to be further studied in this thesis exists, further research will have to be done into it’s feasibility in contemporary construction including clay pit location studies.


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Figure 64 Geology of Scotland


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Stone

Stone is the prevailing vernacular material found recurringly throughout the Outer Hebrides. In itself, the rock type is unique to the Outer Hebrides compared to the rest of Scotland. FIGUREX Known as Lewisian Gneiss, this rock type was seen habitations as early as the Bronze age.


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Figures 65 - 68 Stone Building Culture


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Figure 69 Black House with Stone Tower ‘Broch’ Behind


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Gathered loose stones eventually formed the distinctive house type that became known as the black house. These were the prominent housing type up until the 1900s that last one to be occupied was on the Isle of Lewis and was moved out in 1965 (Walker, 1996). Within 500m of the site of the house all the materials could be sourced. Including stone, earth, driftwood, rope, marram grass, clay and peat.


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Figure 70 Black House Drawings


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Their design parameters were defined by the nature of the climate. Primarily wind was the driving factor and as such the black houses were built at minimal height, low to the ground, often embedded into the ground with thick wall purposely kept damp to avoid drafts through the drystone wall and earth build up. The Thatch grass roofs would be tied down with a system of ropes and stones so they would not get blown away. These roofs had to be well maintained, replaced regularly. Details of the wall build up vary from island to island, some use single leaf stone walls with an overhanging roof, others use double leaf stone walls with earth packed between for insulation and the roof sitting on the inside leaf to avoid an overhanging roof exposed to the wind. (Walker, 1996) The black house typology involved a starkly different way of life to the modern day. It was built so that animals and humans would live under the same roof to share heat such was the harshness of the climate (Walker, 1996). The ground would slope down towards the animals end of the house to keep waste away from the human side. Original black houses had no chimney for their fireplace (only gaps left in the insulation to allow smoke out) and there were no windows to allow in light. Later versions of


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Figures 71- 73 Black House Details


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Figure 68 Development of Typology


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the black house included mortar between the stones and render on the outside of the walls, both developments in building technologies at the time allowed the improvement of building quality. In the early 1900s a law was passed for health regulations that the byre and house were to be distinct of one another and could not be linked (Virtual Hebrides, 2014). This brought the end to this type of building and saw the introduction of what became known as the white house typology, so named for it’s starkly brighter interior. It included chimneys and windows, meaning the quality of life was highly improved.


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Figures 75- 78 Analytical Drawings

Clay perculates water into earth cavity to create wind proof barrer Timber boards Earth

Extending ridge for attatching rope

Smoke Gap Driftwood A-frame Peat insulation Weighing stone

Hay, marram grass or heather Skirting stone Turf to soak up excess moisture

Pebbled friction course


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Figure 78 North Atlantic Drift Map

ti n a atl h t or

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2.4 Climate

The Outer Hebrides of Scotland are truly Islands on the edge in respect to the western frontier that they form between north western Europe the Atlantic Ocean. Spanning over 130 miles the archipelago is the western frontier of Scotland that faces up to all weather that the North Atlantic drift drags over the atlantic ocean. This ocean current defines the climate of the Outer Hebrides, making it far milder than it otherwise would be at 58° North of the equator. On the other hand the climate is definitively windy with the most northern point of the isles being the most windy place in all of the UK. The mountaineer and writer William Hutchison Murray once said when asking an islander about the weather: “he will not, like a mainlander answer dry, wet or sunny, but quote you a figure from the Beaufort Scale.â€?

The prevailing wind comes from the South west. The temperate climate also has a remarkably high rainfall. Sunshine hours are notably low


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at 1,100 - 1,200 hours per year. Each of these elements combine to make the Outer Hebrides climate one of the harshest in Europe. The vernacular buildings of the islands provide a variation of solutions to providing shelter for man and beast.


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Figures 80-81 Climate Details

South-West erly prevailing wind

Persistant year-round

105.9 mph

50%

Highest recorded wind speed

Higher average wind speed than national average


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1ยบC

Average annual min temperature

16ยบC

Average annual max temperature


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Figures 82-83 Climate Details

1150 hrs

58ยบ

Avg annual sunshine hours

North of the equator


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1200mm

Annual average rainfall


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Figure 84 Out Migration

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: Youth leave to get education or work

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Little affordable housing

Higher death to birth ratio


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2.5 Social Issues

One of the major concerns of the islands is the declining population that is currently happening. (Hall Aitken, 2007) This is down to a number of reasons: - Young people feel that they have to leave to get education, better job opportunities or independence. There is a predicted deficit of young people over the next 10 years. - The birth-death ratio is such that even with in-migration to islands the population is declining. Out-migration is found to be linked to community optimism. This is also connected to the general perception of the islands in the media. “Building implies and evokes optimism: we are able to build only to the degree that we have confidence in the future� (Pallasmaa, 2008:146).

This brings the consideration that through actively setting up community building projects through Live Build scenarios that there


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Figures 85 - 86 Modern Constructions


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Figure 87 Fitting into Surroundings


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could be an air of optimism brought to the islands; social empowerment. This could involve members of the community as participants working together with architecture students to enhance the build environment of the isles.

An issues that Mary Miers has with modern buildings is exemplified in her quote:

“but modern crofting townships do the landscape few aesthetic favours. The road north is a case in point: a kit house suburbia of drab-toned dry dash and cement-faced boxes plonked down with all the associated paraphernalia of road signs and lamp posts, wholly discordant with the landscapes and it’s materials.� (Mary Miers, 282:2008)

This links to the common negative press that is received by the Outer Hebrides associated with out migration but I believe where it stems from is the lack of consideration taken trying to provide much needed housing to the isles.


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The Outer Hebrides is consistently reported to have the highest level of fuel poverty in the UK. The high material costs of building on the islands are partly the reason for such poor quality getting built (Scottish Government. 2013). It is in some places 40% more expensive to build. Single storey affordable housing can cost anywhere over £1500 per square meter on the Outer Hebrides whereas £1100-1200 is the expected norm in Scotland mainland. The extreme climate and the low income of people on these islands means the Outer Hebrides has the highest levels of fuel poverty in the UK consuming 25% more energy per capita than mainland homes. Poor construction is a factor that contributes to fuel poverty (Scottish Government. 2013).Figure X attempts to highlight the main issues and their knock-on effects on the islands and their current building culture. Fuel poverty is defined as: “A household is in fuel poverty if, in order to maintain a satisfactory heating regime, it would be required to spend more than 10% of its income” (Scottish Government, 2001).


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Thus its is suggested that through improvement in the quality and appropriateness of housing, peoples hardships could be alleviated. Questions arise over the source of building material, how much could experimentations with the local materials at hand provide benefit for modern day construction? And if this would be valuable, would a hands on material laboratory be the best way to facilitate this?


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Figure 88 Construction Issues Infographic

Construction issues

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Highest level of fuel poverty in the UK

Fuel Poverty( n) 1. The state of being unable to afford to heat one's home adequately

Cost of fuel Income

40% More expensive cost of material than on mainland Scotland.


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66% Of housing failing to meet national housing quality standards.

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Of houses in the Outer Hebrides fail to meet building quality standards.

Climaticaly inappropriate kit-housing from mainland


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Figure 89 Material Experimentation


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Design Intentions Goals In order to provide a response to the outlined issues relevant to the thesis topic of hands-on learning that is appropriate to the chosen site location of the village of Ness in the Outer Hebrides the design brief should aspire to provide an environment where:

- Students can come to learn practical skills applicable to the general practice of architecture. - Vernacular construction methods and materials can be practiced, documented and experimented with to preserve them and learn from their cultural lessons. This would give this element of culture a place in society today rather that only being part of a museum. Ultimately the aim would be that this could improve the current building practice of the Outer Hebrides. - Experimentation with materials such as earth, stone and brick can take place (brick is not currently produced on the island any more


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Figure 90 Gabion Wall Scale Sample


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however the possibility of re instating a brick works could be considered). These materials may be initially too limiting so focus on these should be complemented with current prominent building materials such as timber and concrete as easy to work with and well understood materials (in the Outer Hebrides). However, to truly establish a social consciousness for this location in the long term it should look to promote and engrain sustainable and affordable materials in the current building culture. - I have carried out scale model material exploration with drys stone walling and rammed earth. Other forms of earth and stone are potential avenues such as brick, stone and mortar and gabion walling systems. FIGURE X - The community can use the facility all year round, and interact with students when they are present. The facility will give people access to machinery and space that they otherwise would have to pay for themselves; social empowerment through provision of a creative facility. - Positivity of the local built environment is conceived. - High quality design and construction is instigated throughout a wider environment.


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Figure 91 How to ‘Rammed Earth’

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How to: R amm e d e ar t h

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How to: R amm e d e ar t h 5

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How to: Ra mmed ea rth 4 4

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How to: Ra mmed ea rt 5


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Other design aspirations I have for this thesis project are to design a series of material experimentations that students would eventually go and do as part of a test of concept. I want to design a piece of architecture as a ‘Designing and Building Laboratory’ and the relevant supporting logistics. This will theorise a design solution for this thesis to the point that the next logical stage will to be to test the theory through practice. Factors those include subject, design, construction, materials, logistics, scale, number of participants, funding, client involvement, community benefit and technology integration.


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Figure 92 Workshop Facility, University of Manitoba


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Moves / Programme

To speculate on the design solutions for this body of research I have carried out drawing exercises that help to imagine scale, relationships, function and quality of spaces. Programme collages help to illustrate what kind of architectural moves I imagine my thesis to produce. Taking the spaces and activities that I have found in other Live Build facilities as well as those I deem necessary, according to the research I have carried in establishing such hands on learning environments, I have created two programme collages. The first depicts the ideal Live Build facility that includes everything such a place could ever require, but without context or site, i.e. it could be placed anywhere in the world and be adapted to suit the specific requirements of said environment. It includes suggested scales of spaces based upon already well established Design and Build school examples in North America (Yale’s Building Project and Rural Studio) and the number of students they cater for. Estimated floor areas are included to highlight priority of space and to closer define ones imagination of


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what building might be produced from this if it were a brief. This architectural programme collage includes all the spaces you would need in utopian world for provision of activity to establish a successful building laboratory for architecture students. The second programme collage is tailored to the Outer Hebrides and specifically the site know as the Ness Historical Society on the Isle of Lewis. It refines the initial programme collage by making the spaces specific to the locations needs in this version programme has been removed, added and adapted to make it not entirely focused on the education of architecture students but in fact all those interested in the creative industries. Overlapping studio spaces that might be required for architecture students during the summer, for instance, that could be used for artist residencies at other times of the year. Accommodation may not be a necessary part of the brief, students who come to attend this school could stay with welcoming locals as a way to integrate the students and the local community. This drawing is a speculation of the brief from which I could realistically design a facility specific to the needs of amongst others; visiting architecture students, the local community, visiting artists and


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researchers and the Historical Society itself. At the heart of the idea are social and gathering spaces, around which admin and creative workshops are based. Named Programme: Workshop/construction laboratory spaces Studio space Interaction spaces Office space Social/dining space Lecture space Meeting room


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Figure 95 Re-thatching Black House


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A subsection of the design moves would be the consideration of some of the future Live Build projects that might actually come out of this established facility. This would help to consider the specific requirements of spaces e.g. types of workshop and provided machinery. Considerations for this would be a case study of restoration/ reinterpretation of black houses as a typology. Students could work with local crafts people (who would be employed and trained) to restore and make ruins of black houses inhabitable to modern standards. This has been done in some limited examples that become holiday rentals but in this case it could be proposed that they are restored to become affordable housing. Improving building quality, providing education and maintaining traditional building techniques.


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Figure 96 Speculative Proposal


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Conclusions

From the research carried out in this 5A publication I have drawn the following conclusions that are vital to the development of this thesis project:

- The most successful live build project are those that involve and improve the communities or environments in which they are situated. - There are valuable ways of building that have been forgotten and should be preserved. - Social empowerment can be achieved through building (and general creativity). - Social issues of island conditions include out migration, fuel poverty and increased building costs. - The climate of the outer hebrides is extreme and harsh and the vernacular building culture directly reflects that. This has been lost and partly to blame for poor fuel poverty levels and quality of housing.


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Bibliography

Abel, Chris.1998. Globalism and the Regional Response. In: Pearce, Martin and Toy, Maggie. Eds. 1995. Educating Architects. London: WileyAcademy p80-87.

Badanes, Steve. 2010. The Architect as Builder: The Case for Design / Build. In: Carpenter, William ed. Design Build Studio. Georgia : Lightroom Studio.

Carpenter, William . 2010. Design Build Studio. Georgia : Lightroom Studio.

Comunn Eachdraidh An Rubha. Garrabost Brickworks [online] Available at: <http://www.cerudha.com/history/brickworks.html> [Accessed 12 October 2015]


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Freear, Andrew. Barthel, Elena. 2014. Rural Studio at Twenty: Designing and Building in Hale County, Alabama. New York: Princeton Architectural Press.

Hall Aitken. 2007. Outer Hebrides Migration Study Final Report. [pdf] Available at: <http://www.cne-siar.gov.uk/factfile/population/> [Accessed 3 November 2015]

Haswell-Smith, Hamish. 2015 The Scottish Islands. Canongate Books : Edinburgh.

Hejduk, John and Canon, Roger, 1999. Education of an Architect: A Point of View the Cooper Union School of Art and Architecture. 1964 – 1971. New York: Monacelli Press.

MacKay-Lyons, Brian. 2008. Ghost: Building an Architectural Vision. New York: Princeton Architectural Press.


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Macy, Christine. 2008. Freelab: Design-Build Projects from the School of Architecture, Dalhousie University, Canada, 1991-2006. Halifax: Tuns Press

Miers, Mary. 2008. The Western Seaboard: An Illustrated Architectural Guide. Edinburgh : RIAS Publishing.

Moos, David and Treschel, Gail. 2003. Samuel Mockbee and the Rural Studio: Community Architecture. Birmingham : Birmingham Museum of Art.

Pallasmaa, Juhani. 2008. The Dance of Construction. In: MacKayLyons, Brian ed. Ghost: Building an Architectural Vision. New York: Princeton Architectural Press. p143- 152

Scottish Government. 2001. The Scottish Fuel Poverty Statement [online] Available at: <http://www.gov.scot/ Publications/2002/08/15258/9955> [Accessed 26 October 2015]


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Scottish Government. 2013. Scottish House Conditions Survey 2011-12. [online] Available at: < http://www.gov.scot/ Publications/2014/12/6903/downloads> [Accessed 27 October 2015]

Virtual Hebrides. 2014 Blackhouse - Arnol. [online] Available at: <https://www.virtualheb.co.uk/blackhouses-isle-of-lewis-arnol/> [Accessed 12 October 2015] Walker, B. ; McGregor, C. 1996 The Hebridean Blackhouse : A guide to materials, construction and maintenance. Edinburgh : Historic Scotland


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List of Figures

Figure 1. Page 4. Wikipedia. Learning by Doing.[Image online] Available at: < https://bauhausmovement.files.wordpress.com/2015/07/img_7687. jpg?w=980&h=980&crop=1> [Accessed 27 September 2015]. Figure 2. Page 6. Segal Self Build, 198-. Spirit of Self-build. [Image online] Available at: <http://www. segalselfbuild.co.uk/about.html> [Accessed 18 December 2014] Figure 3. Page 8. Hursley, Timothy, 2014. Client in her Previous Home. [Photograph] (Freear and Barthel, 2014:82) Figure 4. Page 9. Hursley, Timothy, 2014. Client in her New Home. [Photograph] (Freear and Barthel, 2014:82) Figure 5. Page 10. Tog Studio, 2013. Working on the Frame. [Photograph] Private Collection. Figure 6. Page 12. Author unknown. Practical Construction Experience at the Cooper Union School of Architecture. [Photograph] (Original Edited in Adobe Photoshop) (Hejduk and Canon, 2999:76-83) Figure 7. Page 14. Ghost Lab, 2007. Raising from the Ground. [Image online]. Available at: http:// www.mlsarchitects.ca/mobile/ghost2.htm [Accessed 14 December 2014]


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Figure 8. Page 15. Lomas, Sebastian, 2013. Summer build at CAT. [Image online] Available at: http:// blog.cat.org.uk/2013/09/23/the-sanctuary-cat-professional-diplomasummer-building- project-2013/ [Accessed 9 January 2015] Figure 9. Page 18. Hursley Timothy, 2004. Opening Night. [Image online] Available at: <http://www.ruralstudio.org/projects/newbern-fire-station> [Accessed 19 February 2015] Figure 10. Page19. Hursley Timothy, 2004. First Outing. [Image online] Available at: <http://www.ruralstudio.org/projects/newbern-fire-station> [Accessed 19 February 2015] Figure 11. Page 20. Martines, Mark. 2010. Studio in the Woods Testing Structures [Image online] Available at: http://www.flickr.com/photos/markogiuseppe/4799434420/in/ pool-1440152@ N24 [Accessed 27 February 2015] Figure 12. Page 22. Martines, Mark. 2010. Studio in the Woods Structure Round Up [Image online] Available at: http://www.flickr.com/photos/markogiuseppe/4799434420/in/ pool-1440152@ N24 [Accessed 27 February 2015] Figure 13. Page 24. Tog Studio, 2012. Lighthouse Frame. [Photograph] Private Collection. Figure 14. Page 26. Ghost Lab, 2008. Celebratory Bonfire. [Image online]. Available at: http://www. mlsarchitects.ca/mobile/ghost7/4.jpg [Accessed 18 December 2014] Figure 15. Page 32, left. Hursley Timothy, 1998. Sam Mockbee. [Image online] Available at: < http://samuelmockbee.net/biography/> [Accessed 18 December 2014]


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Figure 16. Page 32, right top. Hursley, Timothy. 2014. Viewing Tower. [Photograph] (Freear and Barthel, 2014) Figure 17. Page 32, right middle. Hursley, Timothy. 2014. Skatepark Concrete Pour. [Photograph] (Freear and Barthel, 2014) Figure 18. Page 32, right bottom. Hursley, Timothy. 2014. Gridshell Frame. [Photograph] (Freear and Barthel, 2014) Figure 19. Page 32, top. Hursley Timothy, 2004. Opening Night 2. [Image online] Available at: <http://www.ruralstudio.org/projects/newbern-fire-station> [Accessed 19 February 2015] Figure 20. Page 33, left bottom. Hursley, Timothy. 2014. Gridshell Filling Out Frame. [Photograph] (Freear and Barthel, 2014) Figure 21. Page 33, right bottom. Hursley, Timothy. 2014. Teamwork [Image online] Available at: http://www. ruralstudio.org/projects/rose-lee-house [16 December 2014] Figure 22. Page 34. Xiao Wu. 2014. Completion. [Image online] Available at: <http://yalearchitecture.org/buildingproject/bp14/img/construction_13/11_b.jpg> [Accessed 11 December 2015] Figure 23. Page 35 top. Xiao Wu. 2014. Framework. [Image online] Available at: <http://yalearchitecture.org/buildingproject/bp14/img/construction_03/11_b.jpg> [Accessed 11 December 2015]


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Figure 24. Page 35 bottom, left. Xiao Wu. 2014. Framework. [Image online] Available at: <http://yalearchitecture.org/buildingproject/bp14/img/construction_03/11_b. jpg> [Accessed 11 December 2015] Figure 25. Page 35 bottom, middle. Xiao Wu. 2014. Nailing it. [Image online] Available at: <http://yalearchitecture.org/buildingproject/bp14/img/construction_03/14_b. jpg> [Accessed 11 December 2015] Figure 26. Page 35 bottom, right. Xiao Wu. 2014. Nailing it. [Image online] Available at: <http://yalearchitecture.org/buildingproject/bp14/img/construction_07/8_b. jpg> [Accessed 11 December 2015] Figure 27. Page 36 left. Ghost Lab. 1994. Going Up. [Image online]. Available at: <http://www.mlsarchitects.ca/mobile/ghost5/3.jpg> [Accessed 9 March 2015] Figure 28. Page 36 right top. Ghost Lab. 2004. Frame detailing. [Image online]. Available at: <http://www.mlsarchitects.ca/mobile/ghost2/7.jpg> [Accessed 9 March 2015] Figure 29. Page 36 right bottom. Ghost Lab. 2007. Stair Detailing. [Image online]. Available at: <http://www. mlsarchitects.ca/mobile/ghost2/9.jpg,> [Accessed 9 March 2015] Figure 30. Page 37 top. Ghost Lab. 1997. Ghost Lantern. [Image online]. Available at: <http://www.mlsarchitects.ca/mobile/ghost1/8.jpg> [Accessed 9 March 2015] Figure 31. Page 37 bottom, left. Ghost Lab. 2009. Discussions. [Image online]. Available at: <http://www.mlsarchitects.ca/mobile/ghost9/1.jpg> [Accessed 9 March 2015]


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Figure 32. Page 37 bottom, right. Ghost Lab. 2009. Passing Up. [Image online]. Available at: <http://www.mlsarchitects.ca/mobile/ghost12/14.jpg> [Accessed 9 March 2015] Figure 33. Page 38 top. Tog Stuidio, 2012. Tog Studio Lighthouse and Landscape. [Image online] Available at: http://www. togstudio.co.uk/ [Accessed 16 December 2014] Figure 34. Page 38 bottom. Hathaway, Sebb. 2014. Evening Activities. [Image online] Available at: <http:// www.togstudio.co.uk/teaser-for-tog-2014-film-released> [Accessed 17 December 2014] Figure 35. Page 39 left top. Tog Studio. 2013. Roofing. [Photograph] Private colection. Figure 36. Page 39 top bottom. Tog Studio. 2013. Full Steam Ahead.. [Photograph] Private colection. Figure 37. Page 39 right. Moir, Ruairidh. 2013. Frame and Rtyhm. [Photograph] Private colection. Figure 38. Page 40 top, left. Freelab. 2008. Cheticamp Theatre Petit Cerde. [Image online] Available at: < http://tunspress.architectureandplanning.dal.ca/books/freelabimages/ petitcercle.jpg> [Accessed 11 December 2015]


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Figure 39. Page 40 top, right . Freelab. 2008. Mikmaq Lodges. [Image online] Available at: <https://dl-web.dropbox.com/get/TOG%202013/DSC05706.JPG?_subject_ui d=59906405&w=AABXHVnREEbvqbM9bN-9eRptmY3mq8KPoekS-Lh34lnDdA,> [Accessed 11 December 2015] Figure 40. Page 40 bottom . Freelab. 2008. New Foundland Viewing Platform. [Image online] Available at: <http://www.eraarch.ca/wp/wp-content/uploads/2011/08/ NLFreelab.jpg> [Accessed 11 December 2015] Figure 41. Page 41 top, left. Freelab. 2008. Birch Bark Canoe. [Image online] Available at: <http://tunspress.architectureandplanning.dal.ca/books/freelabimages/ birchbarkcanoe.jpg> [Accessed 11 December 2015] Figure 42. Page 41 top, right. Freelab. 2008. Weaving Bench. [Image online] Available at: <http://tunspress.architectureandplanning.dal.ca/books/freelabimages/ urbangarden.jpg> [Accessed 11 December 2015] Figure 43. Page 41 bottom, left. Freelab. 2008. Beach Wall. [Image online] Available at: <http://tunspress.architectureandplanning.dal.ca/books/freelabimages/beachwall.jpg> [Accessed 11 December 2015] Figure 44. Page 41 bottom, right. Freelab. 2008. Breuer Frame. [Image online] Available at: <http://tunspress.architectureandplanning.dal.ca/books/freelabimages/ breuerframe.jpg> [Accessed 11 December 2015] Figure 45. Page 42 top. Grant, Lewis. 2015. Cheticamp Farmers Market Panorama. [Photograph] Private Collection.


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Figure 46. Page 42 bottom, left. Coastal Studio. 2011. Camera Obscura. [Image online] Available at: < http://dalcoastalstudio.com/#/cameraobscura/> [Accessed 11 December 2015] Figure 47. Page 42 bottom, right. Coastal Studio. 2011. Gridshell Detail. [Image online] Available at: <http://dalcoastalstudio.com/#/cheticamp/gridshell/> [Accessed 11 December 2015] Figure 48. Page 43 top. Coastal Studio. 2009. Construction Team. [Image online] Available at: <http://dalcoastalstudio.com/#/lamella/> [Accessed 11 December 2015] Figure 49. Page 43 bottom. Camera Obscura construction. 2009. Construction Team. [Image online] Available at: <http://dalcoastalstudio.com/#/cameraobscura/> [Accessed 11 December 2015] Figure 50. Page 44. Grant, Lewis. 2015. Location Drawings for the Outer Hebrides. [Drawing] Private Collection. Figure 51. Page 46. Grant, Lewis. 2015. Settlement Map. [Drawing] Private Collection. Figure 52. Page 47. Grant, Lewis. 2015. Location Plan [Drawing] Private Collection. Figure 53. Page 48. Grant, Lewis. 2015. Existing Floor Plan [Drawing] Private Collection.


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Figure 54. Page 50 top. CNES. n.d. Aerial View of Ness Historical Society [Photograph] Private Collection. Figure 55. Page 50 bottom. Moir, Ruairidh. 2012. External View of Ness Historical Society. [Photograph] Private Collection. Figure 56. Page 51 top. Moir, Ruairidh. 2012. External View of Ness Historical Society 2. [Photograph] Private Collection. Figure 57. Page 51 bottom. Moir, Ruairidh. 2012. External View of Ness Historical Society 3. [Photograph] Private Collection. Figure 58. Page 52. RCAHMS, n.d. Brickworks at Garrabost, Isle of Lewis. [Image online] Available at: < http://i.rcahms.gov.uk/canmore/l/SC00461285. jpg?download=1&u=461285&c=rcahms> [Accessed 14 October 2015] Figure 59. Page 54 top. RCAHMS, n.d. Brickworks at Garrabost, Isle of Lewis 2. [Image online] Available at: < http://i.rcahms.gov.uk/canmore/l/SC00461285. jpg?download=1&u=461285&c=rcahms> [Accessed 14 October 2015] Figure 60. Page 54 bottom, left. Author unknown, n.d. Lews Brick. [Image online] Available at: <http://www.penmorfa.com/bricks/scotlandb.html> [Accessed 14 October 2015] Figure 61. Page 54 bottom, right. Ordinance Survey, 2015. Dalhousie University: Sexton Campus, Google Maps Street View [online] Available through: <https://www. google.co.uk/maps> [Accessed 14 October 2015].


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Figure 62. Page 56 top. RCAHMS, n.d. Whaling Station Harris. [Image online] Available at: <http://canmore.org.uk/site/4075/harris-bunaveneadar-whaling-station> [Accessed 8 October 2015] Figure 63. Page 56 bottom. RCAHMS, n.d. Whaling Station Harris. [Image online] Available at: <http://canmore.org.uk/site/4075/harris-bunaveneadar-whaling-station> [Accessed 8 October 2015] Figure 64. Page 58. Scottish Geology, n.d. Geological Map of Scotland. [Image online] Available at: <http://www.scottishgeology.com/wp-content/uploads/2012/01/> [Accessed 28 October 2015] Figure 65. Page 58. Kegan Paul, Trench, Trubner & Co. Ltd. 1983, Bee-Hive Houses, Uig Isle of Lewis. [Image online] Available at: <http://levigilant.com/Bulfinch_Mythology/ bulfinch.englishatheist.org/arthur/picts/Picts.htm> [Accessed 16 October 2015] Figure 66. Page 60 bottom. Kegan Paul, Trench, Trubner & Co. Ltd. 1983, Ground Plan of Bothan Gearraidh Na H’airde Moire, Uig Isle of Lewis. [Image online] Available at: <http://levigilant.com/Bulfinch_Mythology/bulfinch.englishatheist.org/arthur/picts/Picts. htm> [Accessed 16 October 2015] Figure 67. Page 61 top. Cowe, Ian, 2009. Callanish Stone Circle at Dawn. [Image online] Available at: <https://www.flickr.com/photos/iancowe/3798088971> [Accessed 23 September 2015] Figure 68. Page 61. Grant, Lewis. 2015. Centre Stone Section Drawing. [Drawing] Private Collection.


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Figure 69. Page 62. National Museums Scotland, 1937. Black house at Dun Carloway. [Image online] Availabel at: http://www.scran.ac.uk/database/image.php?usi=000000-463-371-R&cusi=000-000-463-371-C&scache=17rn8mez2i&searchd> [Accessed 14 October 2015] Figure 70. Page 64. Historic Scotland. 1996. Drawings of Black House at 42 Arnol, Barvas, Isle of Lewis. [PDF Image] Available at: < http://issuu.com/hspubs/docs/tan-05---thehebridean-blackhouse-plu-7554/1?> [Accessed 26 December 2015] Figure 71. Page 66 top. splib1, 2010. Traditional Hebridean Blackhouse, Arnol, Isle of Lewis. [Image online] Availabel at: <https://www.flickr.com/photos/38200560@ N08/4659948149> [Accessed 17 October 2015] Figure 72. Page 66 bottom. Historic Scotland. n.d. Roof Details [Image online] Available at: <http://www.scran.ac.uk/database/image.php?usi=008-001-009-593R&cusi=008-001-009-593-> [Accessed 16 October 2015] Figure 73. Page 67. Historic Scotland. n.d. Back Door [Image online] Available at: <http://www.scran.ac.uk/database/image.php?usi=008-001-009-572-R&cusi=008-001-009572-C&scache=4bfcgmez27&searchd> [Accessed 16 October 2015] Figure 74. Page 68. National Museums Scotland. 1970. The croft and barn at Seannabhaile, Grimsay [Image online] Available at: <http://www.scran. ac.uk/database/image.php?usi=000-000-467-254-R&cusi=000-000-467-254C&scache=1875imez2b&searchd> [Accessed 14 October 2015]


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Figure 75. Page 70 top. Grant, Lewis. 2015. Annotated Cross-section. [Drawing] Private Collection. Figure 76. Page 70 bottom. Grant, Lewis. 2015. Rain Diagram. [Drawing] Private Collection. Figure 77. Page 71 top. Grant, Lewis. 2015. Wind Diagram. [Drawing] Private Collection. Figure 78. Page 71 bottom. Grant, Lewis. 2015. Heat Diagram. [Drawing] Private Collection. Figure 79. Page 72. Grant, Lewis. 2015. North Atlantic Drift Map. [Drawing] Private Collection. Figure 80. Page 76. Grant, Lewis. 2015. Wind Analysis. [Drawing] Private Collection. Figure 81. Page 77. Grant, Lewis. 2015. Temperature Analysis. [Drawing] Private Collection. Figure 82. Page 78. Grant, Lewis. 2015. Sun Analysis. [Drawing] Private Collection. Figure 83. Page 79. Grant, Lewis. 2015. Rain Analysis. [Drawing] Private Collection. Figure 84. Page 80. Grant, Lewis. 2015. Out Migration Drawing. [Drawing] Private Collection.


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Figure 85. Page 82. Ordinance Survey, 2015. Dalhousie University: Sexton Campus, Google Maps Street View [online] Available through: <https://www.google.co.uk/maps> [Accessed 28 October 2015]. Figure 86. Page 83. Ordinance Survey, 2015. Dalhousie University: Sexton Campus, Google Maps Street View [online] Available through: <https://www.google.co.uk/maps> [Accessed 28 October 2015]. Figure 87. Page 84. National Museums Scotland. 1950. House at Crola by Loch Resort, Uig, Isle of Lewis [Image online] Available at: <http://www.scran.ac.uk/database/ image.php?usi=000-000-464-217-R&cusi=000-000-464-217-C&scache=37rnqmez2p&sear chdb=scran> [Accessed 14 October 2015] Figure 88. Page 88. Grant, Lewis. 2015. Construction Issues Infographic. [Drawing] Private Collection. Figure 89. Page 90. Grant, Lewis. 2015. Material Experimentation Laboratory Collage. [Drawing] Private Collection. Figure 90. Page 92. Grant, Lewis. 2015. Gabion Wall Scale Sample Model Created by Amber Kilborn. [Photograph] Private Collection. Figure 91. Page 94. Grant, Lewis. 2015. How to Rammed Earth (models by author). [Photograph] Private Collection.


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Figure 92. Page 96. University of Manitoba, 2015. CAST workshop. [Image online] Available at: < http://precast.org/dev/wp-content/uploads/2013/05/Thin-Shell-Wall-Panel. jpg> [Accessed 2 November] Figure 93. Page 98. Grant, Lewis. 2015. Programme Collage One [Drawing] Private Collection. Figure 94. Page 102. Grant, Lewis. 2015. Programme Collage Two [Drawing] Private Collection. Figure 95. Page 104. Historic Scotland. n.d. Rethatching Black Hosue at Arnol. [Image online] Available at: < http://www.scran.ac.uk/database/image.php?usi=008-001009-552-R&cusi=008-001-009-552-> [Accessed 15 October 2015] Figure 96. Page 106. Grant, Lewis. 2015. Facility Speculation Collage. [Drawing] Private Collection.


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Appendices

A Background studies Information used to form this thesis project but not used part of the ‘active publication’. All drawings belong to the author

B Vernacular Additional information used to infrom this thesis was an in depth study of vernacular constructions in the Outer Hebrides and the variations by specific locations. This appendix compiles a collection of images involved in this study. They are organised in ancient construction and then in Island location. All images used in this study belong to the author or have been collected through the Licensor http://www.scran.ac.uk/ and are copyright of Historic Scotland or National Museums of Scotland.


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4 /5

“Fo ur o e ols ar ut of fai “ ling five emp re scho ractice. u t c e t i h c r a l o p e y v e rs belie to p rovide ded to students with the practical skills nee 015 arrs, 2 Colin M


Acredited schools of architecture in the UK and Ireland.


Practical education

Community

Thesis The theory of Live Build is based in the education system to provide practical elements of design and construction.

From researching I deem the successful cases of Live Build being when the projects are based in a community that has issues with its built environment.

Hands-on learning

Vernacular bu culture Education

What construction can students learn from the environment in which this thesis considers?

Fuel poverty and lo quality will be ta new student aided tions with close vernacular construc ods with a preserv pregressive fo


Thesis

Hands-on learning

Vernacular building culture

lar building ulture

y and low building ill be tackled by t aided construch close study of construction methpreservative and essive focus.

Housing

Housing

housing oved r p Im

What are the biggest issues of the Outer Hebrides that have scope for Live Build to alleviate?


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