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The Redcar Medicinal Seaweed Centre

EMMA BEALE ACADEMIC PORTFOLIO 2020/ 21

CONTENTS

REFLECTIVE DIARY 6 FRAMING TESTING

9 46

THINKING THROUGH MAKING SYNTHESIS

CULTURAL BIBLIOGRAPHY APPENDIX

123

Work added after the review

118

STUDIO 3 - GHOST IN THE MACHINE LINE OF ENQUIRY Have you ever been lonely? The proposal is a new manufacturing process in the coastal town of Redcar. It aims to tackle the prevention and treatment of loneliness Redcar is undergoing a great deal of change: the steelwork closed in 2015, Redcar’s tourist industry is in decline and COVID has left the coastal community of Redcar lonelier than ever. Figure 2, Loneliness in old people

I propose a solution to this crisis: the link between the loneliness system, the seaweed cultivation process and the user. My proposal will form part of the New Futuristic Sustainable Redcar. I will form part of the revival of Redcar tourist industry. A revival of employment in a sustainable coastal manufacturing process. And a beacon of pride on the landscape to replace the loss of identity linked to the Steelworks. This landmark will restore an identity to the people of Redcar and add to a healthier and happier Redcar.

Figure 3, Loneliness in young people

This proposal will benefit both the local residents and tourists as it offers a fun sensory family day out but also a unique medicinal gardening experience and a floating cafe that sells produce to tackle loneliness.

Figure 1, Anyone can be affected by loneliness

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Figure 4, Loneliness in Redcar

FRAMING TESTING SYNTHESIS

THE SYSTEMIC APPROACH

FIGURE 5, Seaweed

Figure 6, Seaweed In Redcar

Figure 7, Seaweed Farming in Scotland

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STUDIO 3 - GHOST IN THE MACHINE REFLECTIVE DIARY

he motivation for my final project came from my initial Systemic Approach conducted with the studio but started to take form once I had explored the concept of a system. I found exploring the idea of what a system is, very interesting, particularly the idea that ‘everything is connected’ as suggested by T Morton (2008). When I started trying to map a system, it became possible to see how systems interact with each other and how this would form an underlying theme in developing our proposals. The concept that anything we introduced into the landscape of Redcar would have to interact with the existing systems was a concept I had not thought about before. As a result I was able to change my perspective when approaching design, and my understanding of site analysis and location became far wider ranging and inclusive as each element wasn’t seen in isolation but part of an interconnected system. Critical analysis of the systems methodology enabled me to recognise the advantages of this new approach as well as some of the shortfalls as highlighted by Morton, who stated that ‘Our Perception is Full of Holes’, T Morton (2008). Although Redcar was researched thoroughly by myself and the other members it was important to remember there were gaps, a fact that was highlighted when the project was critiqued by guest tutors. The feedback highlighted a lack of clarity around the intangible aspects of Redcar and the wider context of Redcar itself. Mapping and understanding the intangible became a difficult aspect for our

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studio, but it was particularly important for me to develop a methodology in respect of one of the central themes of my project was loneliness. I used the Theory into Practice Essay to explore this further. I wanted to understand how a visitor would feel at the site and how I could draw the intangible. Despite the challenges of this year, particularly restrictions in visiting the site and working with others , I really enjoyed this year. I am proud of the way I adapted my research methods and found alternative ways to develop a project that reflects the systems approach as well as reflecting my own interest in horticulture and exploring a topical wider social issue of tackling Loneliness which is particularly relevant after coming out of the third national lockdown. I had the opportunity to flourish creatively, combining my own interests with practical and exciting solutions. I found that my ability to accept constructive criticism and implement feedback has been valuable on this project and helped me to improve my work. I have also used skills developed on previous projects, particularly planning and meeting deadlines. If I was to change my design approach slightly I would have reviewed my work more thoroughly at the start of the design process so that I included technical aspects and access for all parts of my proposal earlier in the process. I learnt in Professional Practice that this aspect would be particularly important in the Architectural Profession as this would be a public funded project and there would be little flexibility in the budget to allow for more time.

REFLECTIVE DIARY CULTURAL BIBLIOGRAPHY

During the early design process I struggled to find inspiration and felt the challenge of designing a building in the ocean with very little context. Some of my early design plans lack a logic which was very important for my studio. However I started to research more precedents and Pinterest images that could help me work out a design solution logically. I think this is best shown in my plans, the image below is one of my celebration pieces which I am really proud of.

Once I had undertaken the research stage I had to transfer that data/ knowledge into a portfolio - worthy page. In the beginning of the year I struggled with my representation however I watched some Youtube videos by @Surviving Architecture who talks through tips to improve architectural drawings. As a result I am really happy with how I have improved this skill this year.

Throughout this year I am really proud of my ability to research. My project focused heavily on the process of seaweed cultivation and in order to complete the design I thoroughly researched the proposal and read scientific journals to better my understanding. Because of this I was able to complete some very detailed process diagrams which reflect this research.

This year has been harder than ever to stay motivated and complete work to a high standard especially due to restricted Studio Access. I learned a key skill of time management and organisation. Every week I tried to complete the design tasks to the best of my ability and I am really happy with my design development as a result of this.

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STUDIO 3 - GHOST IN THE MACHINE

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FRAMING TESTING SYNTHESIS

FRAMING What is a system? This year offered the opportunity to learn new methods of working which is evident in the Framing Process. Within this process, site analysis and our group understanding of Redcar was achieved by individually exploring systems along different sections of Redcar and collating our knowledge together to achieve an overall understanding. I preferred this unique way of analysing a place compared with the methodology I have used in previous years. Our output was often selective and skewed by personal interests meaning that important aspects such as political and social factors were missing. I found that systems analysis was a weaker methodology to complete the social aspects such as History and Demographics and more traditional maps and diagrams explore this in a better way. After this initial site analysis we explored a system and process in detail and that would form the basis of out Graduation Project. I really enjoyed this way of framing a project as, although challenging, the end result was a project that I was really interested in. Before our systems analysis I might have struggled to understand the connection between a System: Loneliness,a Process: Seaweed Cultivation and the user experience.

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STUDIO 3 - GHOST IN THE MACHINE STUDIO THEMES This image shows the themes that our studio, Ghost in the Machine, will be exploring this year. The main ideas of our studio are systemic design and the importance of the ‘user’.

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FRAMING TESTING SYNTHESIS

GLOSSARY

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STUDIO 3 - GHOST IN THE MACHINE HISTORY OF REDCAR Redcar has a varied history beginning as a small fishing town in the 1300s. Redcar industrialises with the opening of the Redcar Steelworks in 1979. For many years the Steelworks was prominent in Redcar as it was a major source of employment for the people of Redcar. However in 2015, with the closure of the steelworks, Redcar’s industry has shifted to renewable and sustainable industry. It is important that my proposal is compatible with this shift. The impact of climate change is being felt in Redcar with the threat of flooding and increased erosion causing concern for the residents. My demographic analysis of Redcar shows the type of people that live there. Other trends of note include such issues as the Brexit vote and the shift to a Conservative seat which supports the view that residents feel left behind and want change. Many people are skilled but Redcar has lost a key employment sector, my proposal should aim to offer a restoration of employment.

History Timeline Collage for Redcar

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FRAMING TESTING SYNTHESIS

KEY DEMOGRAPHICS: UNDERSTANDING REDCAR AS A PLACE

Redcar has recently become a Conservative Seat.

Redcar average wage is higher than the UK

Fig 8 Redcar Wind Farm: A renewable industry

The people of Redcar voted overwhelmingly to Leave the EU.

An increasing sector is scientific and technical

Fig 9 Redcar Steelworks: A past industry

Redcar council has a mixture of representation from all parties.

The most common age bracket is 50 -75. This suggests people don’t retire in Redcar.

Most peoples health in Redcar is good

There is a lot of people with no qualifications

Fig 10 Redcar Pier: Built for a past industry

Fig 11. Redcar Beacon: A vertical pier

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STUDIO 3 - GHOST IN THE MACHINE STUDIO APPROACH TO REDCAR Redcar is located in the North East of England. Our approach to understanding Redcar differed from the traditional methods of site analysis and was a great collaborative process. We started by splitting Redcar into 15 sections where individually we all explored different interests and gathered information about our section. This was with the intention that after a few weeks we would combine all our knowledge and understand Redcar as a whole.

Location of Redcar on UK map

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Figure 12 - Aerial Photo of Redcar

FRAMING TESTING SYNTHESIS

THEORY INTO PRACTICE - THE ECOLOGICAL THOUGHT

The first chapter of this book tries to answer the question what is ecology? It seems that Morton argues that everything can be related back to ecology. This was an interesting reading and enabled me to see similarities between his definition of ecology and my determination of what a system was.

CONNECTED TO EVERYTHING

This altered how I approached the rest of the design tasks as I started to realise that it was not a straight forward task to identify just one system as every system could link to something else. In terms of design it was quite interesting to think about the possible effects of adding something into the already existing systems and how this would ultimately affect other systems.

‘OUR PERCEPTION IS FULL OF HOLES’ T Morton (2008)

In Chapter 2 he discusses the importance of the global in regards to ecology. When we approached Redcar, did we see the whole picture or did we see the information we wanted to see and neglect the information we didn’t? This year due to COVID we had to change the way we approached analysing the site and Morton discusses some interesting ideas about how you analyse a place. Figure 13 - Timothy Morton, ‘The Ecological Thought’

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STUDIO 3 - GHOST IN THE MACHINE 2D SYSTEMS MAPPING - WHAT IS A SYSTEM? This task centred on trying to map the systems that existed on our section. I first had to try and identify what a system was. I quickly found a lot of information that was present on my section however I realised there was a difference between the research and a system. It started to become clear that a system was something that could link aspects together.

Figure 14 - Kite surfing

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Figure 15 - Illegal Harvesting

Figure 16 - Litter

Figure 17 - Christmas Trees

FRAMING TESTING SYNTHESIS

Figure 18 - Litter

Figure 19 - TV Show Vera

Figure 20 - Ships

Figure 21

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The National Archives' reference INF 9/256/1

STUDIO 3 - GHOST IN THE MACHINE REVIVING THE HISTORIC TOURIST INDUSTRY IN REDCAR Redcar used to have a thriving tourist industry. I can explore how my proposal could add to the new future of Redcar. The National Archives' reference INF 9/256/17

The National Archives' reference INF 9/256/19

Figure 22 - Historic Tourist photo © Crown Copyright

The National Archives' reference INF 9/256/18

Figure 23 - Historic Site Photo

Figure 24 - Historic Tourist photo

Figure 25 - Historic Tourist photo © Crown Copyright

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FRAMING TESTING SYNTHESIS

SITE PHOTOS - AN OFFSHORE COASTAL LOCATION

Figure 27 - Seaweed and the Steelworks

Figure 28 -The offshore Wind Farm

Figure 29 -Seaweed and the Wind Farm Figure 26 - Approach to the Site

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STUDIO 3 - GHOST IN THE MACHINE MOVING ‘POP UP’ MODEL The pop up model was about trying to take our thinking about systems from 2d to 3d. One of the main ideas from our group discussion was the idea that a system was interconnected to other systems and that they are constantly changing. Trying to show time in a model is quite a difficult concept but my model was about a key process that occurred on my site. The model shows how the coastline around Redcar has changed over time due to increased erosion.

INTERACTION - DYNAMIC - INVOLVEMENT - MOVING

Sketch of the model

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FRAMING TESTING SYNTHESIS

DESIGN READINGS

Now Wakes the Sea This is a short fictional story written by Ballard. Despite reading 3 or 4 times, the plot remained confusing. As the scene changes between what is real and fictional and what is hallucinations, this style of writing deliberately confuses the reader. As a group, we started to interrogate why Ballard might have chosen to write in this way. As Mason, the protagonist moves between reality and fiction Ballard leads the reader to understand Masons point of view. I thought this was a really interesting way of thinking and in my own design work I think deliberately manipulating the way someone views something or drawing them to a certain point is a unique way of thinking about representation.

Figure 30 - JG Ballard

Modernity and Infrastructure This paper suggests that our everyday life is shaped by infrastructures both man made and natural. However there are some interesting points of discussion in terms of disruption. Norton argues that infrastructure is the foundation for everyday life and disruption is caused by a break down in infrastructure. A break down in infrastructure in most cases is due to either a natural disaster or a human error, in the case of natural disasters, there is an interesting cycle that occurs. The infrastructure is disrupted by natural disasters but could the natural disasters be first caused by the infrastructure.

How natural is nature?

In the example of Redcar, the town has always suffered from flood risk and increasing erosion, this would seem to be a completely natural process however if the erosion is actually made worse by erosion defences further up the coast is this still natural? Figure 31 - Disruption

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STUDIO 3 - GHOST IN THE MACHINE CAUSAL LOOP DIAGRAM The Causal loop task was about exploring a system in more detail and trying to research how these systems might be interconnected with other systems. This Causal loop focuses on the ‘erosion’ system but it also has connections to the wider issues of economy and climate change. In this task I also tried to visualise the systems relationship to both tangible and intangible aspects. The Causal loop is an interesting way of approaching analysis because it forces you to think about the connection between every aspect of the system and I found that once I started the diagram I found many more connections than when I first research the system.

Causal Loop - Exploring the Erosion System

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FRAMING TESTING SYNTHESIS

3D SYSTEMS MAPPING

Key: 1. Bar Chart showing different levels of carbon emissions 2. Arrows showing the difference in tide levels 3. The Christmas Tree system 4. Climate Change Anxiety bubbles

This task was about plotting a system in detail in 3D and exploring whether the systems could interconnect with other systems. My 3d section explored the system of erosion but I found other aspects of the system such as the prevention of erosion using Christmas trees and new species that have been introduced to stop erosion. I also started to explore the moment that someone interacts with the system.

The user meets the Systems Model

A system within a system: everything is interconnected

Axo View

Sectional View

Plan View

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STUDIO 3 - GHOST IN THE MACHINE ANIMATION - EXPLORING THE 3D SECTION The images show screen shots from an animation I made about how a system changes over time. My animation was specifically about the birds system. In Medieval times salt extraction occurred on the section and the mounds that it created provided an ideal location for birds to rest. Then due to the industrial steel work the slag was deposited on the section which again provided a habitat for birds. In present day due to instant messaging the birds can very easily be located. And then lastly, I tried to map the future but it is uncertain but things like climate change might vastly impact the migration pattern for birds.

Sketch of the frames

Animation of the Frames

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FRAMING TESTING SYNTHESIS

THE USER PERSPECTIVE PROJECTIVE Muriel Johnstone - 86 years old She lives in a bungalow in the centre of Redcar. Muriel is recently widowed and has struggled during lockdown and she gets very lonely. Her family tried to get her interested in a hobby so for Muriel’s birthday in March she received a pair of binoculars. She loves going wild flower spotting and her favourite area is the Coatham Marsh as there is lots of interesting species to observe. Muriel finds the coastline very relaxing and likes the challenge of finding new flowers everyday. On her daily walks to the marsh it upsets her to see the rubbish strangers have left.

Sketch of the Model

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STUDIO 3 - GHOST IN THE MACHINE THE CROSS STUDIO FORUM The Cross Studio Forum was the first opportunity to see the reaction of our approach to understanding Redcar. The way we presented our work was in the form of a animated video showing our individual animated sections. The other studio thought that our approach was unique and in some aspects they didn’t fully understand the process we went through. In preparation for the main show in December we all agreed that because this is a new way of approaching analysis that our presentation would have to be very clear and structured. This year was a different way of presenting which required different skills than an in person show. We had to learn skills such as navigating the Miro board and how to engage people on a screen

Figure 32 - Group Systems Model 26 - EMMA BEALE - PORTFOLIO

FRAMING TESTING SYNTHESIS

THE SYSTEM OF LONELINESS After completing the user perspective task I wanted to research into the possible link between loneliness and plants. This diagram illustrates how loneliness fits into the wider system of life and death.

Circular Economy: Loneliness

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STUDIO 3 - GHOST IN THE MACHINE WHAT IS LONELINESS?

‘One thing I’ve learned is the difference between feeling alone and feeling lonely - and how you can feel lonely in a crowd full of people, but quite peaceful and content when alone’ Cambridge Dictionary

‘...difficulties with establishing personal contacts, caused, for instance, by social anxiety, add to loneliness’ Cambridge Dictionary

‘Loneliness, distressing experience that occurs when a person’s social relationships are perceived by that person to be less in quantity, and especially in quality, than desired’ Britannica (2007) Figure 33, Someone who might be experiencing Loneliness

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FRAMING TESTING SYNTHESIS

MAPPING THE SYSTEM OF LONELINESS In these diagrams I explored the social activities that occurred in Redcar. If someone suffers from loneliness it is usually due to a decrease in their social contact. I found that whilst there was a varied amount of activities there lacked any cross generational social hubs. I also found that there was a large volunteering sector present in Redcar. This is an important factor in the treatment of Loneliness as many volunteers give up their time to help those suffering from loneliness.

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STUDIO 3 - GHOST IN THE MACHINE ANALYSING THE GLOBAL, REGIONAL AND FUTURISTIC NATURE OF THE PROCESS

The Global Players in the Seaweed Industry: China, Japan and Korea

Seaweed is a commodity that has a wide range of uses. The most important for my proposal is the medicinal quality.

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The countries with the highest Loneliness rates. The UK Ranks 2nd in the world

Seaweed is an increasing industry in the UK, there are already several seaweed cultivation farms in the UK.

There are many medicinal hubs in the UK but at the moment they are located in the South of England. This employment opportunity could be explored further in my proposal

FRAMING TESTING SYNTHESIS

DEFINING A SITE Geology

Flood Risk

Fresh Water

Industrial Waste

The area is made up of a mixture of blown sand and artificial material, this is mainly due to the threat of erosion.

As this is a coastal town, there is a high flood risk due to the continued rising water levels.

In the seaweed nursery its important that the seaweed doesn’t get contaminated with fresh water.

It is important that the seaweed doesn’t et contaminated with industrial waste.

LAND - MAIN PROCESS - PLANTS

Defining a site for medicinal plants growing in Redcar is shown in this map. There are medicinal plants growing all over Redcar so any site would be suitable

Temperature

The seaweed will only grow between 10’ and 15’ but the coastlines average temperature is 10.7’ so this is the ideal conditions.

High/ Low Tide

For the initial collection of seaweed there needs to be enough of a beach area for collection.

SEA - MAIN PROCESS - SEAWEED

The seaweed growing process is much more specific. The ideal location for the seaweed nursery is between the existing wind turbines because there is no leisure or transport activity between the turbines.

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STUDIO 3 - GHOST IN THE MACHINE HERBAL REMEDIES TIMELINE This timeline shows the history of herbal remedies. Specifically in the 1200s coastal towns in the UK used to forage for seaweed and medicinal plants, my proposal aims to restore this historic tradition. I have also highlighted how seaweed can fit into the new sustainable Redcar and help to tackle the climate crisis.

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FRAMING TESTING SYNTHESIS

EXPLORING WHERE THE MEDICINAL PLANTS ARE LOCATED IN REDCAR There are various species of medicinal plants and seaweed that can be found in Redcar. Many of these plants can be made into herbal teas or used in food to help relieve symptoms of Loneliness. For example the Astragalus Danius has properties that are used to treat insomnia which is a side effect sometimes suffered by people who suffer from loneliness.

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STUDIO 3 - GHOST IN THE MACHINE LINKING INTO THE FUTURE MASTERPLAN OF REDCAR Redcar is experiencing a shift from industrial employment to renewable. The seaweed process fits into this future as it is sustainable.

Figure 34, The Future of the Redcar Steelworks

Links to the existing infrastructure: Gas, Power and Water

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Non Sustainable Seaweed Farming Process

Sustainable Seaweed Farming Process

Figure 35, Teeside Wind Farm

Figure 36, Anaerobic Future Industry

FRAMING TESTING SYNTHESIS

IDENTIFYING A PROCESS My previous research and mapping highlighted that Redcar lacked a ‘social heart’, there were many community hubs but none of them had activities that would suit everyone. The concept behind my work is to find out how to solve loneliness in Redcar and this process map reflects that idea. The process of growing your own treatment is the main idea and this process can help in both the prevention of loneliness and treatment. This also highlights the sustainable process, it creates a circular economy so no seaweed gets wasted .

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STUDIO 3 - GHOST IN THE MACHINE WHAT DOES THE SEAWEED CULTIVATION PROCESS LOOK LIKE?

Initial Collection of Reproductive Sori

Reproducing the Samples in the Hatchery

Growing the Samples in the Indoor Cultivation Tanks

Harvesting the Seaweed Samples from the Nursery

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The Outdoor Cultivation Tanks

Eating the Seaweed Samples

FRAMING TESTING SYNTHESIS

EXPLORING THE PROCESS ON SITE

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STUDIO 3 - GHOST IN THE MACHINE EXPLORING THE PROCESS IN MORE DETAIL

The Social Heart - the medicinal garden and seaweed drying tower

The seaweed is reproduced and then taken to the cultivation tanks

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The Initial Collection - The tourists collect the seaweed and plant cuttings and take it to the Hatchery

The seaweed is grown in-between the wind turbines.

FRAMING TESTING SYNTHESIS

DESIGNING THE USER EXPERIENCE There are many interesting qualities of the process and I wanted to explore how the user might experience them. The concept image shows that I want the proposal to reflect the prevention or treatment of loneliness so the visitors can understand how the system links to the process. Loneliness is often a lack of social contact and sufferers suggest they feel an absence of emotion. An interesting avenue to explore further is how I might enhance the sensory aspects of the design.

Exploring the user experience

Exploring the visual connections a user might have

The social heart: the relationship between the individual and the group Loneliness and the proposal

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STUDIO 3 - GHOST IN THE MACHINE DEVELOPING THE PROGRAMME - WHAT DOES THE BUILDING LOOK LIKE? At the end of the Framing Process I started to develop how the research on the system and the process might come together in the building. Moving into the testing phase I have identified that there are a number of ways the proposal might sit on site. And how the building might respond to the site such as the steelworks.

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FRAMING TESTING SYNTHESIS

THE USERS

NELL PICKLEY

DOREEN JONES

THE ANDERSONS

Nell lives in Newcastle and is a student at Newcastle University studying aquatic medicine, she has heard of the centre and wants to learn more about the medicinal uses of seaweed. She also loves being by the sea, her reason for visiting the facility would be for research and leisure.

Doreen lives in Redcar and is recently widowed so suddenly feels very alone. She doesn’t have great physical health and her only hobby is knitting. Her family lives in London so she doesn’t get to see her family very often. Doreen is interested in learning a new hobby and meeting new people. She looks being by the sea and this is one of the main reasons she has stayed in Redcar.

The Anderson’s are a family living in Middlesbrough, David’s dad used to work in the Redcar steel industry and is suffering from a respiratory illness. The family have come for a day trip to be by the sea, check out the medical facility and the children love the medicinal garden.

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STUDIO 3 - GHOST IN THE MACHINE GHOST IN THE MACHINE MANIFESTO

Figure 37, Ghost in the Machine Group Work

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FRAMING TESTING SYNTHESIS

THE RELATIONSHIP BETWEEN INDIVIDUAL PROJECTS AND THE GROUP MODEL At the end of the framing stage everyone in the studio had developed unique briefs for their projects. Because of our initial systems analysis the projects focus on combining systems together.

Figure 39 Precedent Images

Figure 38, Group Work: The relationship between the group model and individual projects

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STUDIO 3 - GHOST IN THE MACHINE GROUP MIRO BOARD For the Framing Show we designed the miro board so that the audience could clearly see what the main themes of the studio were. The final model was accompanied by a group video.

Fig 41. Final Group Systems Model

CLICK To view the group video Fig 40 Screen shots from the final Ghost in The Machine Miro Board

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FRAMING TESTING SYNTHESIS

FRAMING PROCESS

Examples of my Sketchbook Process Work

Example of planning a drawing: I tried to think of the elements that would make the final drawing

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STUDIO 3 - GHOST IN THE MACHINE

TESTING Has the architectural profession put too much weight on the visual? After the framing stage I had developed a project declaration: The Redcar Medicinal Seaweed Centre, The Prevention and Treatment of Loneliness. The aspect of the testing phases that I struggled the most with was the design process of turning the process into an architectural form. A key studio methodology at this stage was to learn from the shapes and forms of the process (seaweed cultivation) and to translate this into a form. I also explored in more detail the other key studio theme: the user experience which linked to Theory. During the initial stages I experimented with two different approaches: qualitative and quantitative interrogation of the site and the process with the aim to maximise the users sensory experience. Terms such as ‘Alone’ ‘Nothing’ ‘Lack of Senses’ were often used when defining Loneliness so I felt an important avenue to explore was the link between lack of senses and an influx of senses. I researched the work of Raymond Lucas and his Notation system for the senses and I developed a form of site analysis that ranked the sensory aspects of the site and the process within the building. The overall aim was to arrange the aspects of the programme to maximise the user experience so they could have an overwhelming sensory experience.

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FRAMING

TESTING SYNTHESIS

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STUDIO 3 - GHOST IN THE MACHINE COMBINING THE SYSTEM AND THE PROCESS: LONELINESS AND SEAWEED CULTIVATION

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FRAMING

TESTING SYNTHESIS

EXPLORING HOW THE PROCESS SITS ON SITE I identified that the process could be situated in three possible configurations. Through testing and sensory analysis I will explore which option works the best for the system and the process.

FIXED PARTS OF THE PROCESS

OPTION 1 SOCIAL HEART ON LAND

OPTION 2 SOCIAL HEART AT SEA

OPTION 1 SOCIAL HEART IN THE MIDDLE

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STUDIO 3 - GHOST IN THE MACHINE ENHANCING THE USER EXPERIENCE

Seaweed is usually dried using the ‘shade’ technique. However a more interesting way is using the solar drying technique. This could mean that I could make more sensory connections through visual, smell and taste.

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The seaweed samples are usually grown in cultivation tanks and is usually a part of the process that is hidden. However there might be an opportunity to include the cultivation tanks on the walkway, in this way the visitors can feel connected to more stages of the process.

The cafe could have an interesting link with the nursery. But also there is an opportunity to enhance the visual connections to other parts of the process, for an example the seaweed nursery located in the wind farm.

FRAMING

Part of the process involves collecting seaweed and flowers and transporting them to the lab and seaweed nursery. As the process is on the sea the transportation could be reliant on the tide.

The growing area will need to have freshwater and sunlight and this could be harnessed using natural resources. And it can also connect to other stages of the process such as the fertiliser factory.

TESTING SYNTHESIS

The accommodation could have visual links to other parts of the process. There could be a more sensory experience for the visitors such as enhanced visual, smell and hearing.

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STUDIO 3 - GHOST IN THE MACHINE VISUAL BRIEF

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FRAMING

TESTING SYNTHESIS

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STUDIO 3 - GHOST IN THE MACHINE SENSORY MAPPING I identified 3 possible locations for the building and I wanted to explore the sensory aspects of the site to narrow these possibilities down. It became clear that whilst the shoreline had some interesting sensory moments, it also was the location of the most negative experience. Redcar has lots of rubbish and dog litter located on the shoreline. In contrast, the site located next to the wind turbines experiences high levels of noise. The ideal site is in between the shore and the turbines.

Smell Section Mapping

Sound Section Mapping

Key Aerial

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Sensory Mapping

FRAMING

TESTING SYNTHESIS

TESTING PHASE - SENSORY APPROACH COVID has meant that I haven’t been able to visit Redcar. To understand how a user might experience the sensory qualities of the site I explored viewpoints from TripAdvisor. However, I also tried to imagine what a possible visitor might experience when walking through the intangible. Can you feel yourself walking through a sound wave?

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STUDIO 3 - GHOST IN THE MACHINE SENSORY COLLAGES This collage is trying to map some of the intangible factors that might inform my proposal. When the steelworks closed it left an employment gap in Redcar however it also caused a loss of identity and pride (intangible). A sudden loss of employment is also a common cause of loneliness (intangible). This research made me explore how my proposal could restore this identity and to fill not only the employment but also the intangible.

‘TO DESIGN FOR THE SENSES: START WITH A BLINDFOLD’

Lipps, A and Lupton, E (2018)

This style of representation is a contrast to my other pieces. I initially found it difficult to map the intangible. What does pride look like? My theory into Practice explores this theme more and I went on to question whether the architectural profession has put too much importance on the value of the visual. If architects are unable to draw the intangible how can the architecture respond to it? I found the answer as collaging together different layers of information to reflect the complex nature of the intangible.

Intangible Collage

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TESTING SYNTHESIS

SENSORY COLLAGES - MAPPING THE INTANGIBLE

‘WHAT WOULD THIS SCREEN TASTE LIKE IF YOU LICKED IT?’ Lipps, A and Lupton, E (2018)

‘WHAT SOUND WOULD YOUR LAPTOP MAKE IF YOU DROPPED IT?’ Lipps, A and Lupton, E (2018)

The Wind Turbines are a visual reminder of the jobs they provide but they also spark an intangible reaction. Some visitors see them as a landmark others as an eyesore. Visual Collage

At the coasts there are lots of interesting sounds. From crashing waves, chattering tourists and barking dogs.

Sound Collage

The seaside has a varied experience for smell. In some areas you could smell fish and chips and seaweed. In other areas you might smell dog waste and sewage. Smell Collage

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STUDIO 3 - GHOST IN THE MACHINE NOTATION ON SITE: ENHANCING THE SENSORY EXPERIENCE This diagram shows that I still have 3 possible location for the proposal. As part of the Theory essay I explored some sensory analysis to locate which option would lead me to locate the building so that the user would get the best sensory experience. I experimented with Raymond Lucases Sensory Notation. The methodology involves rating the sites sensory experience with a few descriptive words. However, this methodology has a weakness, without experiencing the site first hand it was difficult to rate the experience. I overcame this challenge by piecing together peoples viewpoints from Trip Advisor and other reviews.

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TESTING SYNTHESIS

PROCESS ON SITE: ENHANCING THE SENSORY EXPERIENCE Another aspect I wanted to investigate was the sensory nature of the seaweed cultivation process. I used the same methodology of the Raymond Lucas Notation System to carry out this analysis. I found that within the process by combining different parts a more sensory experience could be achieved for the user. For example by linking the seaweed drying tower to the cafe, the visitors could smell the seaweed, see the view, taste the produce, hear the seaweed blowing in the wind and touch the seaweed drying, which overall would increase the experience.

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STUDIO 3 - GHOST IN THE MACHINE EXPLORING THE PROCESS: CAN THIS LEAD TO THE FORM?

Fig 41

Doreen’s interaction with the process.

Nell’s interaction with the process.

Fig 41, Expressing the Form: John Hejduk

Doreen’s reason for visiting the proposal is the medicinal garden and the cafe.

Nell’s reason is to learn about the medicinal uses of seaweed. The movement within the process of these users is very different, however the shapes created at the initial collection create a semi circular movement.

John Hejduk blurs the boundary between inside and outside. He cleverly expresses aspects of the outside within the building. I explored how I might use this in my own proposal.

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TESTING SYNTHESIS

WIDER PRECEDENT READING - NOTATIONS OF TSCHUMI AND PRICE My previous testing work focused on notation systems and how to design for the senses by using these systems. I explored the work of other Architects who also use notation to convey architectural meaning.

‘ A greater awareness in architects and planners of their real value to society could at present, result in that rare occurrence, namely, the improvement of the quality of life as a result of architecture endeavour’

Cedric Price

Figure 42, The Notation of Cedric Price

‘ The transcripts explicit purpose was to transcribe things normally removed from conventional representation, namely the complex relationship between spaces and their use.’ Bernard Tschumi

Figure 43, The Notation of Bernard Tschumi

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STUDIO 3 - GHOST IN THE MACHINE EXPLORING THE HATCHERY PROCESS IN DETAIL

STEP 1

STEP 2

STEP 3

STEP 4

STEP 5

The sori samples are rinsed

The mucus is scraped off and the samples are rinsed again

The samples are then put in a dark incubator for 12 hours

The sori samples are cut and then put into 800ml of sterile sea water

The samples are sieved through a mesh and then counted under a microscope

STEP 6

STEP 7

STEP 8

STEP 9

STEP 10

Sterilise sea water is added and then the samples are put in an Autoclave at o 121 c for 20 minutes

The samples are cooled at o 17 c and then the neck of the flask is flamed

Germanium dioxide and 1.25ml of Cell - Hi stock solution is added to the flask

The solution is then connected to the aeriation pump for 10 days

Add 800ml fresh seawater and let the gameophytes settle to the bottom of the flask

STEP 11

STEP 12

STEP 13

STEP 14

STEP 15

The gameophytes are added to the cultivation spool

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The samples are kept cool o at 10 c until 5mm in size

The samples are then moved to the indoor cultivation tanks

Once 10mm in size the samples are moved to the outdoor cultivation tanks

Once 400mm in size the samples can be moved to the seaweed nursery (in between the wind turbines)

FRAMING

TESTING SYNTHESIS

THE LEARNING PROCESS BETWEEN MASSING AND PROCESS I explored massing options to start to translate my research into architecture. I struggled with this transition, however these diagrams helped me to understand the dimensions of the process and how a user and worker might experience this. My first iteration focused on an architecture that was long and flat, however I found the process functioned better in a tall and thin massing.

Iteration 1 - Long and Flat

Iteration 2 - Tall and Thin Massing

Iteration 3 - Tall and Third (Process)

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STUDIO 3 - GHOST IN THE MACHINE EXPRESSING THE CONSTRAINTS OF THE PROCESS THROUGH THE FORM Part of the process in the building is growing plants in the medicinal garden. In order for plants to grow I explored how the idea of rain water harvesting could help to develop the form of the building. I looked at different examples of how to these two aspects linked together as I wanted to maximise the user experience have include a waterfall as a sensory feature. However after developing this idea further I realised this would cause some structural issues for the building, instead I explored how a smaller scale blue roof could be utilised.

Iterations of the form

Figure 45

Concept Sketch - Water Harvesting

Testing in Section - how does it link to existing buildings.

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TESTING SYNTHESIS

THINKING THROUGH MAKING: TESTING THE SMELL My thinking through making is about trying to explore the sensory qualities of seaweed and how this might inform my architecture. Part of my testing was about the possible link between the cafe and the seaweed drying so I wanted to explore how close a visitor would need to sit to smell the seaweed.

This diagram shows how the smell of seaweed spread through my bathroom

The making process of the seaweed teabag

Testing how far away the seaweed teabag could be before it lost its smell

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STUDIO 3 - GHOST IN THE MACHINE THINKING THROUGH MAKING: TOUCH AND HEARING My thinking through making experiment focused on learning about the sensory aspects of seaweed and how this might inform my programme. Seaweed has a very unique texture and changes very rapidly between being wet and dry. This highlights how I can explore where the tourist might experience this. I also experimented with how the seaweed was hung to dry. I found that different arrangements made different sounds which could be a unique sensory experience for tourists.

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Green - Flexible

Smelly - Slippery

Delicate - Tough

Brittle - Rigid

CLICK To hear my sound exploration

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TESTING SYNTHESIS

THINKING THROUGH MAKING: SEAWEED AS A CLADDING OPTION Seaweed has a very interesting texture and as part of my experiment I wanted to explore how this texture might create interesting light or shadows. The most interesting quality was when I shone light through the seaweed and it created a green light I thought this could have some interesting possibilities as cladding.

Cladding Testing

Physical Material Testing

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STUDIO 3 - GHOST IN THE MACHINE TESTING REVIEW MODEL

Model showing the movement of the process and tourists

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The movement of workers

The movement of seaweed

The movement of tourists

The movement of plants

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TESTING SYNTHESIS

TESTING REVIEW MODEL - THE USER MEETS THE PROCESS This testing review iteration was the beginning of turning the process into an architectural form. However there were several aspects of this design that I developed further: the tower and to further develop the form so that it reflects the process within.

The user approach to the building

The user and their interaction with the process

The user and their experience looking down at the process below them

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STUDIO 3 - GHOST IN THE MACHINE PROCESS ON SITE

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PROGRAMME DECLARATION - SPLIT SITE

The Interconnected nature of the proposal Explaining the Split Site

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STUDIO 3 - GHOST IN THE MACHINE INSPIRING A FORM: PRECEDENT STUDIES LOCATED IN REDCAR The Old Redcar Pier The Redcar pier is made out of a hybrid of wood and steel. This was a feature that I explored further in my own proposal. I thought it would be an interesting reflection of Redcar’s industrial past mixed with the shift to sustainable projects that my proposal fits into. The steelworks is synonymous with Redcar’s past and remains part of the landscape but also has emotional connections for the residents of Redcar.

North Sea Oil Rigs There are many technical aspects of oil rigs that I explored in my proposal, however their form is also something that I took forward. The spatial arrangement of an oil rig has a tall tower, working courtyard and workers accommodation surrounding this. This is similar to my building which has a tower, seaweed cultivation courtyard and floating cafe that surrounds it.

Redcar Steelworks The steelworks is an icon of Redcar it is both physically important on the landscape but also emotionally tide to the residents of Redcar through a sense of identity and pride. I like the idea of my proposal embodied Redcar’s new sense of identity and I can explore this by becoming a beacon on the landscape with the tower.

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PROCESS: DEVELOPING THE FORM The steelworks tower that remains a feature of Redcar’s coastal landscape stand around 20/30m high. I had to decide how tall to make the tower. I wanted the structure to stand tall and proud, as the steelworks had done years before and I wanted visitors to see the tower on the landscape from a great distance

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STUDIO 3 - GHOST IN THE MACHINE TESTING THE HEIGHT OF THE TOWER One of the qualities I experimented with was the height of the tower. I wanted tourists to experience the tower as a ‘beacon’ on the landscape.

A tourist view of the tower from the shoreline (initial collection)

A tourist view of the tower from the board walk

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PRECEDENT STUDIES: LOCATION OF TOWERS IN THE CONTEXT Towers are a feature of Redcar’s coastal landscape however I was unsure of how tall to make the tower. The two land based structures are the beacon and steelworks which are around 20/30m. However wind turbines are much larger at 140m, but this is mainly due to their function. The main consideration for the height was I wanted the visitors to experience the tower on the landscape from the car park.

Fig 46, Redcar Beacon

Fig 47, Redcar Steelworks

Fig 48, Tee-side Wind Farm

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STUDIO 3 - GHOST IN THE MACHINE EVOLUTION OF THE GROUND FLOOR PLAN: FUNCTION OVER FORM The shape of the plan follows the sun path to maximise the light for the medicinal garden.

First Iteration

Relationship of the Sunpath to the Growing Space

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Second Iteration

Third Iteration

FRAMING

Fourth Iteration

Fifth Iteration

TESTING SYNTHESIS

Sixth Iteration

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STUDIO 3 - GHOST IN THE MACHINE PASSIVE STRATEGIES: THE BUILDING FOLLOWS THE FUNCTION

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SKETCHING THE TOWER: EXPLORING IN SECTION

Process Sketch

Process Image: Expressing the Function of the Tower

Section Sketches: The Iterative Process

Process Image: Working out the Tower

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STUDIO 3 - GHOST IN THE MACHINE THE EVOLUTION OF THE SECTION: THE BEACON ON THE LANDSCAPE I explored the height and shape of the tower to develop the most dynamic proposal.

First Iteration

Parti showing the gaining height of the tower

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Second Iteration

Third Iteration

FRAMING

Fourth Iteration

Fifth Iteration

TESTING SYNTHESIS

Sixth Iteration

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STUDIO 3 - GHOST IN THE MACHINE INTEGRATION WITH TECHNOLOGY The design is located in an offshore location that is off grid. Therefore to generate its own electricity it has a helix wind turbine on the top of the structure. The building also has a blue roof that provides water to the plants. The waste creates a mini circular economy that can be turned into fertiliser. This integration with technology was about ensuring the process could achieve the conditions that it needed.

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Technology Report, Rain Water Harvesting: The Blue Roof

Technology Report, Waste Creating a Circular Economy Section

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THE IMPACT ON THE WIDER MARINE SYSTEMS Technology Report, Marine Ecosystem Enhancement

This Marine Systems Diagram shows the typical food web in the Redcar ocean. The yellow eats the red which eats the blue etc. By ensuring seaweed is sustainably cultivated in my proposal I am not impacting the wider systems in Redcar. My proposal ensures sustainability with the Hatchery. Ensuring the seaweed population stays healthy and plentiful can also help in tackling the climate crisis. Seaweed and other algae’s help to sequester carbon from the oceans as they use the carbon during photosynthesis. For Redcar this means that by maintaining this supply my proposal firstly works with the existing marine systems but also helps to de acidify the oceans.

Bar Tailed Good Wit

Purple Sandpiper

Curlew Grey Plover

Fig 54, Ocean Sequestration

Durlin Redshank

Mackerel

Knot Flounder

Coalfish

Cod

Rockling

Flatfish

Copepod

Bass

Marine Worm

Algea

Zooplankton

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STUDIO 3 - GHOST IN THE MACHINE PROCESS: SKETCHES OF THE FORM

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EMPHASISING THE VERTICAL: CLADDING SPACING

Through testing the vertical elements of the cladding I wanted to emphasise the vertical nature of the tower so decided that the cladding should be closer together and the vertical ‘fins’ should extrude from the facade slightly.

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STUDIO 3 - GHOST IN THE MACHINE DEVELOPING THE MASSING THROUGH ITERATIONS Once I had established the height of the tower I wanted to explore the final massing. I wanted to chose an iteration that reflected the dynamic approach which also expressed the process. Furthermore, I wanted the massing to restore some pride to the landscape.

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ELEVATION ITERATION - TAKING INSPIRATION FROM SOUTH GARE LIGHTHOUSE I explored how I could make connections to the wider context. The South Gare Lighthouse has a heavier base and at the top of the tower a lighter more open language. I explored this design language in my own proposal. Figure 49, South Gare Lighthouse

2100 Tide - 10.77m High Tide - 9.47m

Low Tide - 5m

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STUDIO 3 - GHOST IN THE MACHINE PRECEDENT: CHÂTEAU D’EAU BY AMANN-CANOVAS-MARURI + ADELINO MAGALHAES I liked the way this precedent explored different languages for different levels. This architecture is a water tank and observation platform. The water tank needs to be covered so the external cladding reflects this, compared to the observation area that needs to be open.

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FRAMING TESTING

SYNTHESIS

SYNTHESIS The Synthesis phase of the project relied on combining knowledge from the two previous stages: Framing and Testing and the other Stage 3 Modules to celebrate the Final Graduation Project. I think the way I managed to combine this knowledge to synthesise ideas together was a strength of my project. The site in Redcar presented some unique challenges which were not fully understood by the audience at all times. The site, for example, had no surrounding buildings, it was necessary to plan and present my drawings so that the viewer could understand them. My design was complex as it was offshore and the technical aspects presented a number of challenges which needed to be resolved including how the structure could be sustainable. As part of the Technology review the design was discussed fully covering such areas as access and stability. I was able to take a number of key points from the discussion including a helix wind turbine to maximise my sustainable strategy. I decided that it would be relevant to place the environment at the centre of my project. I carried out extensive research to find a unique selling point, something that would add value to the community, create interest and offer practical solutions to tackle loneliness. As a result I have used the sustainable methodology for seaweed cultivation. Particular care was needed to work with the existing marine systems and I overcome a tidal constraint of 9.87m.

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STUDIO 3 - GHOST IN THE MACHINE WIDER CONTEXT MASTERPLAN 1:20,000 My proposal will fit into the New Sustainable Redcar. The green icons show where other sustainable industries are located in Redcar which suggests my proposal will fit into the wider context. I also aim to fill the manufacturing gap left by the steelworks, this map shows the loss suffered by the residents of Redcar. In contrast my proposal will bring a sustainable coastal manufacturing process back, this should restore pride, employment and quality of life. I have also indicated how tourists might arrive at the proposal.

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FRAMING TESTING

SYNTHESIS

THE LINK BETWEEN SEAWEEDS PROPERTIES AND TREATING LONELINESS

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STUDIO 3 - GHOST IN THE MACHINE TOURISM ASPECT OF THE PROPOSAL An aspect of the proposal focuses on reviving the tourist industry in Redcar. This is a sample of the marketing. The aim is to make Redcar a thriving tourist destination once again and to restore pride back to the people of Redcar. Linking to the studio theme of systems design, the increasing seaweed industry is likely to have impacts on other systems. This highlights the relevance of Timothy Morton’s quote, ‘everything is interconnected’. By increasing the tourist industry in Redcar there is likely to be an increase in seaweed restaurants and further into the future an increase in hotels in Redcar.

Interconnected Systems: The Wider Impact after 1 year

Example of the Tourist Marketing for Redcar

Example of other Tourist Posters.

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Interconnected Systems: The Wider Impact after 5 years

FRAMING TESTING

SYNTHESIS

SITE DECLARATION: THE SPLIT SITE

Site Section: Showing the Split Site

Fig 50, Site Aerial Photo: Showing the Split Site

Fig 51, Site Photo: The approach to the site

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STUDIO 3 - GHOST IN THE MACHINE FUTURE PREDICTIONS: THE IMPACT ON THE WIDER CONTEXT OF REDCAR

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FRAMING TESTING

SYNTHESIS

PARTI PLANS: THE RELATIONSHIP BETWEEN THE SPACES AND THE SYSTEM

Prevention and Treatment

Prevention

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STUDIO 3 - GHOST IN THE MACHINE

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1.200 Split Site Section: A Beacon on the Landscape KEY SECTION

0 - The Steelworks and the closest surrounding building A - The Car Park B - The Initial Collection C - The Boat Station D - The Proposal E - The Seaweed Nursery

B C

This drawings aims to show how the proposal is trying to restore a Beacon on the landscape. By restoring a key landmark on the skyline in Redcar I am aiming to restore some of the pride and hope the residents lost when the Steelworks closed in 2015. This piece also shows the split nature of the proposal this is to reflect the different constraints of the process. The access for all is also shown in this drawing, I have introduced a board walk from the car park, this is because the terrain over the SSSI site is uneven and wouldn’t be suitable for wheelchairs or buggies. I have also tried to by sympathetic to the SSSI site by placing my Car Park on the boundary.

FRAMING TESTING

SYNTHESIS

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STUDIO 3 - GHOST IN THE MACHINE 1.1250 SITE PLAN - THE CAR PARK (A)

Figure 52, Loch Leven Nature Reserve, Raeburn Farquhar Bowen. The board walk provides ‘access for all’ so that al visitors can travel to the proposal. This boardwalk will go through the SSSI site so it will be a lightweight structure to cause the least disruption to the species that live there.

Figure 53, Google Images Satellite View of the Boundary. In order for visitors to get to the proposal split site A is where the car park is located. I specifically chose this site because it is on the boundary between the SSSI site and the Golf Course. This corner also has lots of rubbish and is wasted land.

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SYNTHESIS

1.1250 SITE PLAN - THE INITIAL COLLECTION (B) B

Figure 54, shows the atmosphere I am trying to create. This image is Christiansen and Anderson - wooden walkways in Copenhagen castle grounds

I completed this diagram during the testing phase to see what impact the movement of the process might have on the building. This suggested that the initial collection should have a link to the routes I am proposing. The 1.1250 site plan shows how I have linked the two.

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STUDIO 3 - GHOST IN THE MACHINE THE INITIAL COLLECTION AND THE LINK TO THE WIDER CONTEXT The initial collection links back to my earlier research into the location of the medicinal plants in Redcar. The initial collection follows where they are located.

The user interacting with the process of the initial collection. They have heard about the Medicinal Seaweed Centre from the marketing campaign that I designed in partnership with Redcar and Cleaveland Council. From my essay in Professional Practice, as this is a publicly funded project it is very important to include all the relevant players.

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An early framing diagram showing how the research into medicinal plants and seaweeds has synthesised into my final proposal.

FRAMING TESTING

SYNTHESIS

VISITOR APPROACH VIEW

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STUDIO 3 - GHOST IN THE MACHINE SITE PLAN AXO - EXPOSING THE FUNCTION

North West Axo Massing View

North East Axo Massing View

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South West Axo Massing View

FRAMING TESTING

SYNTHESIS

GROUND FLOOR

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STUDIO 3 - GHOST IN THE MACHINE COURTYARD ATMOSPHERE

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SYNTHESIS

FIRST FLOOR PLAN

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STUDIO 3 - GHOST IN THE MACHINE SENSORY DESIGN - SYNTHESISING THE THEORY INTO THE DESIGN

Fig, 55

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FRAMING TESTING

SYNTHESIS

THE HATCHERY PLANS: SECOND, THIRD, FIFTH

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STUDIO 3 - GHOST IN THE MACHINE ELEVATION: THE VERTICAL AXIS The language of the elevation reflects the process. The base of the building has heavier cladding compared to the top floors that have an open language as this is the medicinal garden.

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SYNTHESIS

THE HATCHERY ATMOSPHERE: THE LANGUAGE

The Hatchery - exterior cladding detail

The Hatchery Axo - the vertical nature provides a light atmosphere

The Hatchery - the user meets the seaweed system

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STUDIO 3 - GHOST IN THE MACHINE GROWING SPACE 1.200 PLANS: ELEVENTH, TWELFTH, THIRTEENTH, FOURTEENTH PLAN

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FRAMING TESTING

SYNTHESIS

INTERIOR ATMOSPHERE: THE GROWING SPACE The interior reflects the industrial heritage with exposed steel beams, exposed services and corrugated metal ceiling. However the exterior is lightweight wooden cladding.

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STUDIO 3 - GHOST IN THE MACHINE THE BUILDING WRAPS AROUND THE PROCESS Once I had explored the process on site I realised that the most logical solution was for the programme to follow the sunpath. Once I had located the programme on site the building then wraps around the processes seen in this axo.

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INHABITED MATERIALITY SECTION 1:200 (A2) This section shows the key parts of the proposal. The lower levels show the location of the hatchery (cultivation lab for reproducing seaweed, this is part of my sustainable programme). The upper floors show where the medicinal garden and seaweed drying wheel are located. The drawing highlights one of my priorities: designing for the future. Redcar is a coastal town so due to the climate crisis Redcar will experience rising sea levels. Part of this drawing shows three tide lines 1. Low tide 2021 (5m) 2. High tide 2021 (9.87m) 3. High Tide 2100 (11.37m). This aspect is highlighted by my integration with the technology module, oil rigs are also designed to last 80 years. They are designed to include a ‘topside’ structure so that the highest tide will never meet the start of the building. Another important part of this drawing highlights my ‘access for all’ scheme. From my earlier research I know that Loneliness can affect anyone and furthermore people with disabilities are more likely to suffer from loneliness as social inclusion is sometime more difficult. It is because of this that all parts of the proposal can be accessed by wheelchairs and buggies. I have overcome this challenge by including 2 access points to the building 1. at low tide a lift can take visitors to the ground floor, 2. at higher tide a promenade will rise with the tide to give access to the ground floor. Then all floors can be accessed by a lift.

5455 56 57 58 59 60 6162 63

52 51

EXTERIOR WALL 66. Steel I Beam (primary) 67. Sheathing Board 68. Vapour Membrane 69. Rigid Insulation (200mm) 70. Sheathing Board 71. Breather Membrane 72. Services Gap 73. Wooden Joists 74. Lighting 75. Seaweed Cladding

75 74 73 72 71 70 69 68 67 66

50 49 48 47

BLUE ROOF 54. Rainwater Collection Gutter 55. Vapour Sealant 56. Corrigated Metal flooring 57. Vapour Membrane 58. Gravel 59. Breather Membrane 60. Plastic Foot 61. Bauder Blue Roof 62. Bauder Blue Roof 63. Exterior Wooden Decking 64. Flashing 65. Vent

46 45

DOUBLE SKIN 39.Plant Pot Window Cill Feature 40. Window Cill 41.Double Glazing 42. Openable Window 43. Steel Brackets 44. Vents 45. Solar Shading 46. Cladding 47. Sheathing Board 48. Vapour Membrane 49. Rigid Insulation 50. Breather Membrane 51. Sheathing Board 52. Exterior Wooden Cladding 53. Glazing

44 43 42 41 40 39

INTERIOR FLOOR 29. Steel Truss (primary) 30. Exposed MHVR System (in elevation) 31. Water pipe 32. Mist sprinkler system 33. Corrigated Metal Flooring 34. Lighting 35. Screed 36. Underfloor Heating 37. Interior Wooden Flooring 38. Smart System

29 30 3132 33 34 35 36 37

EXTERIOR WALL 21. Steel Frame (primary) 22. Sheathing Board 23. Vapour Membrane 24. Rigid Insulation (200mm) 25. Sheathing Board 26. Breather Membrane 27. Wooden Joists 28. Exterior Wooden Cladding EXTERIOR FLOOR 14. Corrigated Metal Floor 15. Screed 16. Breather Membrane 17. Rigid Insulation (200mm) 18. Vapour Membrane 19. Sheathing Board and wooden joists 20. Wooden internal floor

28 27 26 25 24 23 22 21

10 9

TOPSIDE 6. Welded Steel 7. Corrosion Protection 8. Steel I Beams 9. Steel Handrail 10. Visitor pointing out the view 11. Corrigated Metal Floor 12. Screed 13. Wooden Decking

14 15161718 19 20 13 12 11 8 7

Tide Line - 2100 ( 11.5m) Tide Line - 2021 (High Tide - 9.87m) Tide Line - 2021 (Low Tide - 5m)

Emma Beale The Redcar Medicinal Seaweed Center Redcar Studio: Ghost In The Machine ID: 180018974 Page Size @ A0

1:20 Section/ Part Elevation 0

JACKET 4. Welded Steel 5.Anode Protection

FOUNDATIONS 1. Pile Foundations - 40km deep. 2. Steel Pile 3. Mud Mat

200 400 600 800 1000

FRAMING TESTING

SYNTHESIS

DOREEN’S DAY AT THE PROPOSAL

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STUDIO 3 - GHOST IN THE MACHINE NELL’S DAY AT THE PROPOSAL

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FRAMING TESTING

SYNTHESIS

DAVID’S DAY AT THE PROPOSAL

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STUDIO 3 - GHOST IN THE MACHINE CULTURAL BIBLIOGRAPHY - READINGS

Palassmaa, J. (2021) The Eyes of The Skin: Architecture and the Senses John Wiley and Sons [ebook] I read this book after the theory into practice essay as a development into sensory design. It questions the importance that architects put onto the visual and that architecture should be an experience. I saw many crossovers with my studio themes this year.

Pinterest Board During the COVID lockdown we could not access the studio and contact with people on the course was limited. In an effort to stay motivated I made an inspiration board on Pinterest and regularly look through Pins.

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Rolin, C., Inkster, R., Laing, J., Hedges, J. and McEvoy, L. (2014 -2016) Seaweed Cultivation Manual This manual had a step by step guide for sustainable seaweed cultivation. The pictures and diagrams were very useful during the Framing and Testing Phases

SAMS Scottish Association for Marine Science (2013) I watched these videos as Seaweed Farming is not a large industry in the UK. Sams is based in Scotland and outlines how seaweed farming can constantly modernise and it highlighted how diseases can spread through farms very easily.

Flavin, Katie., Flavin, Nick., and Falhive, Bill. (2013) Kelp Farming: A Guide to the Processes, Techniques and Equipment for Farming Kelp in New England Waters This book helped me to understand the process of seaweed cultivation.

Instagram In COVID times I’ve also started following architecture related content on Instagram. I particularly like act.of.mapping because they show a wide range of mapping from sketches to final images. Our studio Ghost in the Machine also has an instagram where we showcase our best work.

REFLECTIVE DIARY

CULTURAL BIBLIOGRAPHY

Tools for Designing: 1. Backwards Casting and Mould Making

I watched the non compulsory Tools for Designing Workshop. This was all about model making but it was useful to know how she had adapted to model making without the use of her studio. She described several ways that she substituted materials and used her reourcefulness to overcome this challenge.

RIBA - PREP FOR PRACTICE Demystifying the Recruitment Policy. I attended this RIBA talk which was a Question and Answer about what practices look for in cover letters, portfolios and CVs. I found it really informative to learn about what they look for in their Part 1s and I was able to improve my employability because of this.

SURVIVING ARCHITECTURE YOUTUBE TUTORIALS After the Framing Review Feedback I realised I had a weakness of representation. To try to overcome this challenge I watched a series of tutorials by ‘Surviving Architecture’ who is a Master Student. I learned lots of tips such as exporting different layers from Digi, following a consistent colour scheme and exporting from sketchup. Our studio did lots of work with sketchup so this advice on how to export nice clean models was rally helpful to me

Krier, Leon. (2009) The Architecture of Community

I originally took this book out of the library to assist with my dissertation however I found that it was more useful for my design work. For context, Leon Krier is an advocate of classical architecture and is the designer of Prince Charles Poundbury. In the architectural world he is not liked however after reading this book I realised how much admiration I had for what he did. This book inspired me to keep sketching and his simple black and white ink style is a technique I experimented with.

CJ LIM DRAWING NARRATIVES AND ARCHITECTURAL STORYTELLING After the Semester 1 Feedback one of the comments was that my portfolio lacked a narrative. I was inspired by the work completed by CJ Lims unit at the Bartlett as they manages to achieved really nice images that change perspectives and introduce a clear narrative. In this lecture he explains how to draw a 2.5 narrative drawing which is something that I tried to achieve in my own project. These types of drawings take many hours so it is a technique that I hope to explore further in my architectural life.

BARTLETT EXHIBITION BOOKS 2015 2019 After watching the CJ LIM lecture I wanted to learn more about the types of drawings that are completed at the Bartlett. Even though each unit explore different themes the level of detail and unique aspects of the drawings were things I really admire. All the projects I looked at embodied a political issue or a solution to the climate crisis and I admire how topical their projects were.

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STUDIO 3 - GHOST IN THE MACHINE MY INTERESTS - LOCKDOWN GARDENING CHALLENGE During the lockdowns I set myself a challenge of transforming a wasted piece of the garden into an allotment. I dug the allotments beds, grew the vegetables from seeds and managed to successfully grow everything I planted. This is an interest that I have pursued through the year and it is something that I really enjoy. There is a link between overall wellbeing and spending time outside and growing products naturally without pesticides. I explored this link through my own project as I reconsider the prevention and treatment of loneliness could be linked to gardening. I think it is important that architecture can improve the wellbeing of its users and small scale gardening through to large scale vertical farms are an interesting way to do this. From this project I learnt many valuable construction skills and I had to transport 5 bags 1m3 of soil and fertiliser across two fields into the allotment beds. I also learnt some valuable time management skills as it became a race against time to create the new beds for the plant seedlings.

I had to overcome the challenge of birds eating the seedlings. So half way through the growing season I made some temporary cages around the beds.

Gardening Success

The Allotment Beds

Me planting the seedlings into the first bed

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The beginning of the process

I have continued my interest despite not having a garden. In my university house my runner beans are looking healthy,

REFLECTIVE DIARY

CULTURAL BIBLIOGRAPHY

LOCKDOWN CHALLENGES - IMPROVING MY REPRESENTATION During the 3 lockdowns this year I set myself a challenge with the aim to improve my architectural representation. My parents recently moved into a new house which is Grade 2 listed barn conversion situated in a conservation area. The property has had multiple issues with the council as building work was completed without planning permission after several appeals through the courts the house gained the relevant permission. My challenge was to first update the as built drawings, this required me to survey the entire house to gain accurate measurements. Once I had these I started translating this into a CAD drawing, this was my first experience with using illustrator so it took me a while to learn this new software. My next step was to develop a hypothetical extension to the house, To begin this stage I had to research what the council would be likely to accept. I read through numerous planning documents and further researched what our neighbours had been given permission for. I learnt first hand how complicated the planning process is but also how to build a case with the relevant research, I think this was a really useful skill to learn and I think my ability to research has helped my through Stage 3.

Ground Floor Plan - as built

North East Elevation - As built

Original Builders Drawings

Hypothetical Extension

South West Elevation - As Built

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STUDIO 3 - GHOST IN THE MACHINE CULTURAL BIBLIOGRAPHY - CASE STUDIES

Walmer Yard - Peter Salter

Think Corner - JKMM Architects

Walmer Yard was one of my favourite case studies because it reflected one of our key studio themes: User experience. All the separate houses are slightly individual and there has been great thought into materiality. After I had watched this case study I explored the representational style of Peter Salter a bit further.

Nantes School of Architecture Lacaton and Vassal

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FRAC Dunkirk - Lacaton & Vassal

Granby Four Streets - Assemble This case study by assemble was about working with the community to redesign a set of terrace housing. I really liked how they engaged the community and I saw an opportunity within my own project. It was quite important for my project to be favoured by the people of Redcar and to restore some pride, I saw community engagement as a way of doing this

Terrassenhaus - Brandlhuber + Emde, Burlon & Muck Petzet Architekten

House In Vienna - Sergison Bates

Housing in Mulhouse - Lacation and Vassal

APPENDIX FRAMING GROUP WORK CASE STUDY BIBLIOGRAPHY ILLUSTRATIONS

GROUP WORK

MY CONTRIBUTION TO THE CASE STUDY - USER

STUDIO 3 - GHOST IN THE MACHINE

FRAMING TESTING SYNTHESIS

BIBLIOGRAPHY Anderson, J. and Priest, C. (2017) ‘Following John Hedjuks Fabrications: on imagination and reality in the architectural design process’ Arq Vol21 (2) p183 - 192

Rolin, C., Inkster, R., Laing, J., Hedges, J. and McEvoy, L. (2014 -2016) Seaweed Cultivation Manual Available at: file:///C:/Users/elbea/OneDrive/Documents/usb/USB%20Drive/Design/Week%205%20-%20Nov%2030/ seaweed%20cultivation%20explained.pdf (Accessed 20.11.2021)

Ballard, J,G. (1963) ‘Now Wakes the Sea’ in The Complete Short Stories Available at: https://biblioklept. org/2020/05/29/the-complete-short-stories-of-j-g-Ballard-sixth-riff-1963-1964-2/ (Accessed at 10.10.2020)

Morton, Timothy. (2010) The Ecological Thought Cambridge: Harvard University Press

Bell. Morgan, and Witkin. Taylor. (2020) Seaweed 101: Opportunities for Investment and Innovation Available at: https://sea-ahead.com/news/2020/7/22/seaweed-101-opportunities-for-investment-and-innovation (Accessed at 17.05.2021) Cambridge Dictionary (unknown) Cleaveland Naturalist Field Club (1994) The Cleaveland Coast Flora and History Available at: file:///C:/Users/ elbea/OneDrive/Documents/usb/USB%20Drive/Design/Week%205%20-%20Nov%2030/Flowers%20and%20 Plants%20study.pdf (Accessed at 24.05.2021) Cockroft, J. (1976) Redcar and Coatham Available: http://ctlhs.co.uk/golden-jubilee/fifty-interesting-places/ Redcar/ (Accessed at 22.05.2021)

Smit, Albertus. J. (2004) ‘Medicinal and Pharmaceutical uses of seaweed, natural products : a review’ Journal of Applied Phycology 16(4) http://dx.doi.org/10.1023/B:JAPH.0000047783.36600.ef (Accessed at 26.05.2021) Scottish Association for Marine Science (2013) Two experimental seaweed farms support our research Available at: https://www.sams.ac.uk/facilities/seaweed-farms/ (Accessed at 15.11.2020) South Tees Development Corporation (2019) ‘South Tees Regeneration Masterplan’ Available at: https://www. southteesdc.com/wp-content/uploads/2020/01/South-Tees-Master-Plan-Nov-19.2.pdf (Accessed at 31.05.2021) ThisisRedcar (unknown) History of Redcar Available at: http://www.thisisredcar.co.uk/history (Accessed at 01.06.2021)

Flavin, Katie., Flavin, Nick., and Falhive, Bill. (2013) Kelp Farming: A Guide to the Processes, Techniques and Equipment for Farming Kelp in New England Waters Available at: Flavin, Katie., Flavin, Nick., and Falhive, Bill. (2013) Kelp Farming: A Guide to the Processes, Techniques and Equipment for Farming Kelp in New England Waters (Accessed at 20.11.2020) Food and Agriculture Organisation of the United Nations (2018) The Global Status of Seaweed Production, Trade and Utilization Available at: http://www.fao.org/in-action/globefish/publications/details-publication/ en/c/1154074/ (Accessed at 17.05.2021) ILiveHere (unknown) SOCIO-ECONOMIC STATISTICS FOR REDCAR, REDCAR AND CLEVELAND Available at: https://www.ilivehere.co.uk/statistics-Redcar-Redcar-and-Cleveland-31947.html (Accessed at 01.06.2021) Lipps, A and Lupton, E (2018) Why Sensory Design? Available at https://www.cooperhewitt.org/2018/04/03/ why-sensory-design/ Accessed at 8 February 2021 Lucas, R. (2020) Anthropology for Architects: Social Relations and the Built Environment. London: Bloomsbury Publishing USA Lucas, R. (2009) ‘Designing a Notation for the Senses’ Architectural theory review Vol.14 (2), p.173-192 DOI: 10.1080/13264820903049240 Lucas, R. (2012) ‘The instrumentality of Gibsons Medium as an alternative to space’ CLCWeb Comparative Literature and Culture Vol 14(3) Redcar and Cleveland Borough Council (2010) Redcar and Cleveland Regeneration Masterplan Available at: https://www.redcar-cleveland.gov.uk/business/regeneration/Documents/Economic%20Futures%20Strategy.pdf (Accessed at 01.06.2021) Robson, Dave. (2010) A look at Redcar seafront’s troubled past Available at: https://www.gazettelive.co.uk/ news/local-news/look-Redcar-seafronts-troubled-past-3707268 (Accessed at 22.05.2021)

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FRAMING TESTING SYNTHESIS

ILLUSTRATIONS LIST FIGURE 1 - Buck, M. (no date) Granville Beach (Redcar Photos). Available at https://www.thebeachguide.co.uk/north-eastEngland/yorkshire/granville-photos.htm. Accessed at 31 January 2021) FIGURE 2 - LONELINESS AGE UK Available at https://www.ageuk.org.uk/information-advice/health-wellbeing/loneliness/ (Accessed at 1 February 2021) FIGURE 3 - Meguid, R. A (2019) Loneliness: A Blessing in Disguise Available at https://thriveglobal.com/stories/loneliness-a-blessingin-disguise/ (Accessed at 1 February 2021) FIGURE 4 - (August 2017) ‘Britain’s glorious seaside resorts in their heyday – and now’ The Telegraph Available at https://www. telegraph.co.uk/travel/destinations/europe/united-kingdom/galleries/uk-seaside-resorts-heyday-and-now/Redcar-now/ (Accessed at 1 February 2021) FIGURE 5 - Hasselmann, Wolfgang (unknown) Available at: https://www.oceanographicmagazine.com/news/seaweed-biofuelsstudy/ (Accessed at 10.05.2021) FIGURE 6 - Getty Images. (2015) ‘ Hunt: The 300 rounds of ammunition were discovered scattered among the rocks and seaweed on the beach Available at: https://www.dailymail.co.uk/news/article-3337925/Drama-quiet-English-seaside-resort-placedlockdown-police-300-rounds-ammunition-buried-beach.html (Accessed at 10.05.2021) FIGURE 7 - SAMS (unknown) ‘Scientists check on the SAMS seaweed farm, where a variety of seaweeds are grown to support research’ Available at: https://www.fishfarmingexpert.com/article/cultivation-is-key-to-seaweed-success/ (Accessed at 31.05.2021) FIGURE 8 - EDF (2014) ‘Teeside Wind Farm’ Available at: https://www.edf-re.uk/our-sites/teesside (Accessed at 31.05.2021) FIGURE 9 - Loughran, J. (2020) ‘Defunct Redcar Steelworks to receive £71m in redevelopment funding’ Available at: https:// eandt.theiet.org/content/articles/2020/01/defunct-Redcar-steelworks-to-receive-71m-in-redevelopment-funding/(Accessed at 31.05.2021) FIGURE 10 - Detroit Publishing Company (1905) ‘10388 Redcar The Pier’ Available at: https://en.wikipedia.org/wiki/Redcar_Pier#/ media/File:Redcar,_the_pier,_Yorkshire,_England-LCCN2002708316.jpg (Accessed at 31.05.2021) FIGURE 11 - Walker, M (2015) ‘Monthly networking meetings aim to Revitalize Redcar’ Available at: https://teesbusiness. co.uk/2015/07/01/monthly-networking-meetings-aim-to-revitalize-Redcar/(Accessed at 31.05.2021) FIGURE 12 - Google Maps Satellite View (2020) ‘Redcar and Cleaveland’ Available at: https://www.google.co.uk/maps (Accessed at 31.05.2021) FIGURE 13 - Harvard University Press (2012) ‘The Ecological Thought’ Available at: https://www.bookdepository.com/EcologicalThought-Timothy-Morton/9780674064225 (Accessed at 31.05.2021) FIGURE 14 - Robinson, P. (2010) ‘Kitesurfing at Bran Sands Teesmouth’ Available at: https://www.geograph.org.uk/ photo/1688872(Accessed at 31.05.2021) FIGURE 15 - BBC News (2020) ‘Illegal cockle, crab and lobster picking stopped on Teesside’ Available at: https://www.bbc.co.uk/ news/UK-England-tees-53341187 (Accessed at 31.05.2021) FIGURE 16 - O’ Hara, C. (2014) ‘Volunteers who collected ‘several tonnes’ of rubbish and rubble on Redcar beach’ Available at: https://www.gazettelive.co.uk/incoming/gallery/gallery-friends-Redcar---beach-6765958 (Accessed at 31.05.2021) FIGURE 17 - FRED. (2017) ‘Trees planted in the sand dunes’ Available at: https://www.gazettelive.co.uk/news/teesside-news/more200-Christmas-trees-being-12429768 (Accessed at 31.05.2021) FIGURE 18 - Robson, Dave. (2017) ‘The shocking litter left behind after day trippers descend on Redcar’ (Accessed at 31.05.2021) FIGURE 19 - Brown, Mike. (2015) ‘Pictures show Vera being filmed at Redcar - including star Brenda Blethyn’ Available at: https:// www.gazettelive.co.uk/news/teesside-news/pictures-show-Vera-being-filmed-10208345 (Accessed at 31.05.2021) FIGURE 20 - Price, Kelley. (2020) ‘Why are 14 big ships off the coast of Teesside?’ Available at: https://www.gazettelive.co.uk/ news/teesside-news/number-ships-coast-show-how-18161816 (Accessed at31.05.2021) FIGURE 21 - Caroline, T. (2020) Shhh Best Beach Around Trip Advisor Available at https://www.tripadvisor.co.uk/Attraction_Reviewg736833-d12498920-Reviews-or5-Redcar_Beach-Redcar_North_Yorkshire_England.html#REVIEWS (Accessed at 29 January 2021) FIGURE 22 - The National Archives INF 9/256/2 Available at: Catalogue Reference:INF/9/256/2 (Accessed at 31.05.2021) FIGURE 23 - The National Archives INF 9/256/11 Available at: Catalogue Reference:INF/9/256/11 (Accessed at 31.05.2021)

FIGURE 25 - The National Archives INF 9/256/1 Available at: Catalogue Reference:INF/9/256/1 (Accessed at 31.05.2021) FIGURE 26 - Matthew Margetts ‘IMG_1461’Available at Teams ‘Redcar_Photos-Mags’ (Accessed at 31.05.2021) FIGURE 27 - Sludge, G. (2014) ‘Redcar beach and steelworks’ Available at: https://www.flickr.com/photos/ sludgeulper/15539248848/(Accessed at 31.05.2021) FIGURE 28 - Quinn, M.(2016) ‘Off Height’ Available at: https://www.geograph.org.uk/photo/4986996 (Accessed at 31.05.2021) FIGURE 29 - Quinn, M. (2016) ‘Coatham Rocks’ Available at: https://www.geograph.org.uk/photo/4986966 (Accessed at 31.05.2021) FIGURE 30 - Paladin Books (1992) Available at: https://www.ebay.com/itm/Disaster-Area-J-G-Ballard-1992-Paladin-BooksPaperback-/193424940858 (Accessed at 31.05.2021) FIGURE 31 - the guardian (unknown) Available at: https://www.pinterest.co.uk/pin/818247826045510119/ (Accessed at 31.05.2021) FIGURE 32 - All members of Ghost in the Machine ‘Group Model’ FIGURE 33 - Weingus, L.(2015) Lonely People Are Actually Wired Differently Available at: https://www.huffingtonpost.co.uk/entry/ loneliness-how-our-brains-are-wired_n_55c2294de4b0f7f0bebb17d3 (Accessed at 31.05.2021) FIGURE 34 - South Tees Development Corporation (2019) ‘South Tees Regeneration Masterplan’ Available at: https://www. southteesdc.com/wp-content/uploads/2020/01/South-Tees-Master-Plan-Nov-19.2.pdf (Accessed at 31.05.2021) FIGURE 35 - Caroline, T. (2020) Shhh Best Beach Around Trip Advisor Available at https://www.tripadvisor.co.uk/Attraction_Reviewg736833-d12498920-Reviews-or5-Redcar_Beach-Redcar_North_Yorkshire_England.html#REVIEWS (Accessed at 29 January 2021) FIGURE 36 - Blackburn, Mike. (2016) Former SSI staff secure work on construction of £25m waste-to-energy plant Available at: https://www.gazettelive.co.uk/news/teesside-news/former-ssi-staff-secure-work-11653613 (Accessed at 31.05.2021) PAGE 36 IMAGES - Rolin, C., Inkster, R., Laing, J., Hedges, J. and McEvoy, L. (2014 -2016) Seaweed Cultivation Manual FIGURE 37 - All members of Ghost in the Machine ‘Studio Manifesto’ FIGURE 38 - All members of Ghost in the Machine ‘Individual Projects within the Group Model’ FIGURE 39 - All members of Ghost in the Machine ‘Group Precedent Studies’ FIGURE 40 - All members of Ghost in the Machine ‘Group Miro Board’ FIGURE 41 - All members of Ghost in the Machine ‘Group Model’ FIGURE 42 - Woods, L. (2007) ‘OUTSIDER ARCHITECTURE’ Available at: https://lebbeuswoods.wordpress.com/2007/10/01/outsiderarchitecture/ (Accessed at 31.05.2021) FIGURE 43 - Price, C. (2011) ‘Atom de Cedric Price _ Arquitectura en la memoria’ Available at: http://hacedordetrampas. blogspot.com/2011/11/atom-de-cedric-price-arquitectura-en-la.html (Access at 01.06.2021) FIGURE 44 - Tschumi, B. - 1976-1981’ The Manhattan Transcripts’ Available at: http://www.tschumi.com/projects/18/ (Accessed at 01.06.2021) FIGURE 45 - Pinterest inspiration images (2021) Available at: https://www.pinterest.co.uk/search/pins/?q=RAINWATER%20 HARVESTING%20ARCHITECTURE&rs=typed&term_meta[]=RAINWATER%7Ctyped&term_meta[]=HARVESTING%7Ctyped&term_ meta[]=ARCHITECTURE%7Ctyped (Accessed at 01.06.2021) PAGE 72 IMAGES Graham, A. F. (1911) ‘East Cleaveland Image Archive’ Available at: http://www.image-archive.org.uk/?cat=37&paged=6 (Accessed at 01.06.2021) Chris. (2007) ‘Redcar Pier Demolition 1981’ Available at: https://www.flickr.com/photos/11065676@N00/2103513238 (Accessed at at 01.06.2021) Brewer, R. G. (2019) ‘These 2 Oil Stocks Are Built to Survive Bear Markets’ Available at: https://www.fool.com/investing/2019/02/03/ these-2-oil-stocks-are-built-to-survive-bear-marke.aspx (Accessed at 01.06.2021) Bond, M. (2018) ‘View Of Redcar Steel Works At Night is a photograph by Martin Bond/science Photo Library which was uploaded on September 20th, 2018.’ Available at: https://fineartamerica.com/featured/view-of-Redcar-steel-works-at-nightmartin-bondscience-photo-library.html (Accessed at 01.06.2021) Proj. (2017) ‘TEESIDE STEELWORKS BLAST FURNACE, REDCAR – APRIL 2016’ Available at: https://www.proj3ctm4yh3m.com/ urbex/2017/01/07/teeside-steelworks-blast-furnace-Redcar-April-2016/ (Accessed at 01.06.2021)

FIGURE 24 - The National Archives INF 9/256/18 Available at: Catalogue Reference:INF/9/256/18 (Accessed at 31.05.2021)

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FIGURE 46 - Walker, M (2015) ‘Monthly networking meetings aim to Revitalize Redcar’ Available at: https://teesbusiness. co.uk/2015/07/01/monthly-networking-meetings-aim-to-revitalize-Redcar/(Accessed at 31.05.2021) FIGURE 47 - Westmore, S. (2015) ‘The Steelworks at Redcar’ Available at: http://skwestmore.com/2015/06/14/the-steelworks-atRedcar/(Accessed at 01.06.2021) FIGURE 48 - Quinn, M.(2016) ‘Off Height’ Available at: https://www.geograph.org.uk/photo/4986996 (Accessed at 31.05.2021) FIGURE 49 - Downing, P (2010) ‘South Gare lighthouse at sunrise’ Available at: https://500px.com/photo/915004/South-Garelighthouse-at-sunrise-by-Paul-Downing/ (Accessed at 01.05.2021) ILLUSTRATIONS ON PAGE 88 - Metalocus (2016) ‘WINNERS. CHÂTEAU D’EAU BY AMANN-CANOVAS-MARURI + ADELINO MAGALHAES’ Available at: https://www.metalocus.es/en/news/winners-chateau-deau-amann-canovas-maruri-adelinomagalhaes (Accessed at 01.06.2021) FIGURE 50 - Google Maps Satellite View (2020) ‘Redcar and Cleaveland’ Available at: https://www.google.co.uk/maps (Accessed at 31.05.2021) FIGURE 51 - Google Maps Street View (2020) ‘Redcar and Cleaveland’ Available at: https://www.google.co.uk/maps (Accessed at 31.05.2021) FIGURE 52 - Bowen, R, F. (unknown) ‘Loch Leven Trail Entry Points’ Available at: https://www.urbanrealm.com/practices/ portfolio/522/pictures/Loch_Leven_Trail_Entry_Points.html/?next=4 (Accessed at 01.06.2021) FIGURE 53 - Google Maps Satellite View (2020) ‘Redcar and Cleaveland’ Available at: https://www.google.co.uk/maps (Accessed at 31.05.2021) FIGURE 54 - Christiansen and Anderson. (unknown) ‘Around Pavilion’ Available at: https://www.pinterest.co.uk/ pin/126241595785024190/ (Accessed at 01.06.2021) FIGURE 55 - Ridley, B. (unknown) Available at: https://architectureforlondon.com/project/Sevenoaks-visitor-centre/ (Accessed at 01.06.2021)

Illustrations that have appeared in other Modules: Page 14 - ‘Location of Redcar on Uk Map’ - Theory, Professional Practice and Technology Page 48 - ‘Combining The System and Process’ - Theory, Professional Practice and Technology Page 50 - ‘Enhancing the User Experience’ - Theory Page 58 - ‘Notation on Site’ - Theory Page 59 - ‘Notation on Process’ - Theory Page 60 - ‘John Hejduk Model’ - Theory Page 82 - ‘Integration with Technology’ - Technology Page 115 - ‘Technology 1:20’

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