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UN DER PA S S ING UNLE A R NIN G : H OW TO PR AC T I CE A R CHIT EC T UR E 2020 -2021 DESIGN THESIS DAN HILL

D ED I C AT I O N Thank you to Prue Chiles, Claire Harper and Ed Wainwright. Your invaluable expertise has guided me towards forming not only a design thesis, but an entirely refreshed perspective on architecture’s role in society and its impact on the environment. I am certain that this formative year will influence the rest of my architectural career. Thank you to Dr. Usue Ruiz-Arana and Dr. Tim Shaw, whose supervision of my dissertation has also had a great impact on this thesis and on my practise as a whole. Thank you also to all of the guest reviewers, who have imparted knowledge in their constructive critique of this project. In a year characterised by isolation, it has been greatly beneficial to learn from the perspective of the outsider looking in. Finally, thank you to my family and friends for their consistent emotional and moral support. Without it, this project would certainly have not been possible, particularly in this time of global pandemic crisis.

TA B L E O F CO N T EN T S Abstract

Part One: Metrocentre Underpass

Field Trip

Site Reading

Underpass Exhibition Part Two: Underpass Guidebooks Urban Scale

10 15 16

Sandyford Road

City Centre North

Jesmond

Heaton/Byker

Swan House Roundabout

Eldon Square Shopping Centre

The Archive

Part Three: Ecoacoustic Identity (Dissertation) Acoustic Perception

33 34

Soundwalking

Volunteer Participation

Identity and Traffic

Part Four: Bedside Table

Thinking Through Making

Bedside Table (Film)

The Inevitable Decay of Matter (Film)

Part Five: Underpassing

Men of Renown

Dirty Old Town

Who Needs the Flowers to Grow?

Motorway Dough

Politicians, Planners, Madness, Machines

We’ll Tear You Down

TA B L E O F CO N T EN T S (CO N T INUED) Part Six: Unlearning: A Methodology Underpassing (Film)

59 60

Measured Survey

Drawing

Modelling

Film Photography

Alginate Impressions and Casting

Micro Photography

Acoustic Modelling and Simulation

Assemblage

Part Seven: Ontology Report

How to navigate this report

Key Section Drawings

Sectional Assembly Drawings

Macro Photographs

Alginate Casts

128

Micro Photographs

134

Conclusion

147

Bibliography

151

IMP O R TA N T: This Design Thesis is to be read in conjunction with its film counterpart

Underpassing, available by following the link below: https://youtu.be/w13t-n_7eg0 Please watch the film before or after reading this document. Thank you.

A B S T R AC T It is no secret that the Earth is rapidly approaching a critical point of no return, beyond which it will no longer be possible to sustain existence as we have come to know it. Architecture’s carbon footprint accounts for a great portion of the damage done to our planet throughout the anthropocene, and it is essential that we begin to unlearn the habits and systems that have been guiding this profession’s practise towards the end of the world. Of course, I do not expect that this project alone will, or ever could, save the planet. My aspiration for this thesis is to begin a discourse surrounding how architecture might use some of the tools and techniques it employs, as well as some it typically does not, to seek value in that which we have already extracted and placed upon the Earth’s surface. I have focussed attention on the practise of condition surveying, a process typically initiated to establish the tectonic condition of a structure, either as a means to modify it or condemn it for demolition. By unlearning the methodologies behind these practises, I have been able to determine a new approach that does not necessarily seek to change the fabric, but rather prioritises a far deeper understanding of urban space. The typology through which this process has emerged is the pedestrian underpass, an indiscreet relic of extractivist cultures and construction. Their very existence is a result of the influence and domination of the car over our cities to the greatest detriment of the pedestrian. Consequently, underpasses have become regarded as unsuccessful parts of the city; dark, dank, neglected and ultimately avoided by many in fear of their own safety. In other words, they too, face extinction. The methodology I propose is principally based around an appreciation of the built form as an assemblage of artefacts from a huge range of contextual scales, from the political and social, all the way down to the microscopic. Viewing space in this way allows an understanding of the complex stories, entangled in time and experience, that are held in the physical matter of all things. It is my hope that promoting a deepening of attentiveness towards our existing fabric will help slow the extractivist processes we are all unquestionably a part of, but at the very least, I am certain this thesis has and will continue to guide my own more ecologically responsible practise.

Abs tr ac t

M etrocentre U nderpass

PA R T O N E

Photographs showing sprayed graffiti within the Metrocentre Underpass . The tags tribute Polish and Albanian gangs and organisations, amongst others. The word “c**t” has been censored at every location sprayed inside the tunnel.

FIEL D T R IP During the first weeks of semester one, the studio was invited to

stream from the comfort of home. There

was

but

one

space

attend a socially-distanced field

amongst the sea of parking and

trip to the Gateshead Metrocentre.

featureless façades that truly felt

Unfortunately, due to a posi-

interesting to me; the underpass

tive Covid-19 test, I was unable to

on the outskirts of the sprawling

participate in person. However,

site.

thanks to Ed and the tutors, I was able to attend the trip via video live 4

U N D ER PA SS I N G

“Time to make the world safe again.” A potent slogan for a time and space such as this.

Even though the internet connec-

tunnel carved through the earth

tion was at times shaky and the

lay hundreds of messages imposed

audio unclear, I could appreciate

over one another, some politically

its darkness, hear the reverbera-

powerful and others apparently

tion of sound in my head, feel its

meaningless. More importantly though, the

presence. in

messages shared an ignored envi-

person, I was able to document

ronment, free of rule or regulation;

in more detail the nature of what

simply existing.

return

the

site

had taken my attention. In the

M e t r o c en t r e U nder pa s s

1:200 Topographical Model. The model shows the dimensional properties of the tunnel and its relationship to the motorway above, as well as the sharp accesses down through the earth either side.

S I T E R E A D IN G In order to examine the physical characteristics of the space, I produced a model using card for

the

human-made

elements

and sculpted clay for the natural topography, a new process for me. Working in this way helped me to appreciate the nature of shaping the earth to meet human demand. 6

U N D ER PA SS I N G

A Tunnel’s-eye View. The drawing shows the tunnel in floor plan, ceiling plan and both internal elevations, with overlaid inhabitation showing the tunnel’s far slower relationship with time.

The aspect of the underpass that

message-bearer

fascinated me the most was its

with a question for this thesis. This

relationship with time.

kind of environmentally expensive

Although dormant

the

and

mass

unchanging,

presented

lays

infrastructural intervention will

the

far outlive the human life that built

messages it bears are as everchanging as the lives of those

it, and in many cases already has. Thus, should it not be imper-

differ-

ative that we consider the use of

ence in the scale of time expe-

such spaces long after we and our

rienced by message-writer and

current technologies are gone?

who

write

them.

The

M e t r o c en t r e U nder pa s s

Metrocentre Underpass, northern aperture. Photography recording the mass and materiality of the underpass was an important part of appreciating its character, something I have developed much further as the thesis has progressed.

U N D ER PA SS I N G

I bear a heavy burden on my back, Seldom noticed by the burden itself. My belly is shelter for those below; A space defended from regulated control. A tapestry of messages, frozen in a moment, Yet a transient threshold for no permanent inhabitant. I permit a journey from A to B, as well as X to Y, But I am never a destination. My purpose is clear, but my motive is confused, interrupted. My place is nowhere in time, but somewhere at some time.

This short poem presents my inter-

This is a technique I have

pretation of the tunnel’s perspec-

continued to employ in my film

tive of its use and users.

making as part of this project, and

Its voice is intentionally melan-

is one I feel has become essential

choly, indicative of its neglect and

to the process of unlearning more

abuse. By using the underpass as

orthodox methods of architectural

a protagonist in my development

analysis and site reading.

of a brief, I was able to engage an empathy from the listener/reader that lay previously undiscovered.

M e t r o c en t r e U nder pa s s

External view of the exhibition within the underpass. The exhibition is set inside the Metrocentre underpass, the location from which the meat-free revolution began.

U N D ER PA SS I N G

Group collage . This image represents a non-human reading of the Metrocentre and its surrounds.

GR O UP CR ED I T S

UND ER PA S S E X HIB I T I O N

Natasha Rice Josh Knight Gosia Szarnecka Dan Hill

As part of a group work project,

looking

we simulated an exhibition within

decades,

the underpass, documenting the

abandonment of meat and animal

history of the Metrocentre and an

products towards the ‘present’.

imagined future for each of our

back

the

observing

the

global

Animal rights are far advanced carnivorous

still continues. The

underpass

serves

message-bearer, much as it does in its extant state, to attempt to

preserve

future

for

the

protagonists: the underpass, the

from

cow, the pigeon, and the relics of

history before the 2030’s, with

animals by educating their human

infrastructure.

many animals now given rights to

co-habitors.

The exhibition is set in 2060

humanity’s

fight for equality with humankind

democracy and education, but the M e t r o c en t r e U nder pa s s

Underpass Exhibition. The exhibition illustrates a time line from 1970 to 2050 with images and artefacts documenting the abandonment of animal products for human consumption.

eat meat in public in an effort to

emotive painting on the inside wall

cause civil unrest, but the meat-

of the underpass.

free movement eventually inflicted

The

revolution

began

with

The scene depicts a cow in her

enough pressure on governments

field adjacent to the Metrocentre,

to cease consumption of animals

overlooking a fast-food restaurant.

by humans.

The sad irony of the composition

Finally free of the oppres-

sparked huge online debate and

sive system, the cows and other

real-world protests. Controversial

animals were able to achieve social

resistance groups continued to

status comparable to humanity.

U N D ER PA SS I N G

A view showing the painting inside the underpass. As the start point for the revolution, the painting holds huge cultural value to animals and humans alike. Selected exhibits taken from the underpass exhibition. Ranging from newspaper cuttings to animal-killing weapons, artefacts are protected and used as educational tools for the current generation.

However, as meat was removed

for Treatment that is Ethical to

from the global menu, VR ‘meat-

People),

tasting’

became

produces zines and pamphlets to

commonplace, leaving humanity

help educate and reform human

trapped craving something they

society.

experiences

action

group

that

Though the project is satir-

could no longer have. In an attempt to raise the

ical in nature, its message rings

ongoing issues of the abandon-

true. We must begin to think about

ment of meat products, animal

our world as more than simply for

leaders

humankind to manipulate.

formed

ATEP

(Animals

M e t r o c en t r e U nder pa s s

U nderpass G uideboo k s PA R T T W O

Newcastle Underpass Map. The map shows the key infrastructural interventions within the city, each necessitating several underpasses for the pedestrian. The coloured overlays correspond to the covers of each walking guidebook.

U N D ER PA SS I N G

Collection of Underpass pedestrian guidebooks. There are four books documenting the underpasses around the city, and a fifth with a focus on Eldon Square, which has its own underpass spaces.

UR B A N S C A L E Intrigued by the spatial memories

Hill, D. (2021d). Underpass: A subterranean pedestrian guide to Newcastle Upon Tyne. Newcastle University: School of Architecture and Urban Planning.

Birmingham and Glasgow.

induced by the virtual tour of the

I collated the underpasses in a

Metrocentre Underpass, I began

collection of walking guidebooks,

mapping others in and around the

attempting to connect such spaces

city centre.

for the pedestrian to highlight the

The underpasses have become a necessity in a city severed by vast

compromises made to prioritise a steady flow of vehicular traffic.

motorways put in place during the post-war period, similar to that of U nder pa s s G uideb o o k s

Sandyford Road Underpass, northern aperture. The first underpass I photographed became the springboard into an exploration of the acoustic properties of underpass spaces.

U N D ER PA SS I N G

Sandyford Road Underpass, northern aperture and access.

S A NDY F O R D R OA D On photographing the first under-

in the underpasses are also felt with

pass for the collection, I noticed

the body as vibrations or ‘infra-

a specific quality to the acoustic

sound’ (sounds which are below

environment that many of the

the frequency threshold of human

underpasses share. The narrow

hearing, around 20Hz for an adult).

passages and vertical proximity

Infrasound is utilised in less-lethal

to the road generate a bass-heavy,

weapons such as the LRAD (Long

low-frequency rumble as a result of

Range Acoustic Device), which are

the tyres’ and engines’ vibrations

capable of propelling both low and

transmitting through the struc-

high-frequency sound at incred-

ture, and subsequently reflecting

ibly high pressure, usually used to

around

disperse large crowds (Carr, 2017).

the

underpasses’

hard

Moreover, the most dominant

internal surfaces.

Carr, D. (2017). Muff the Police. Self Published. Available at: https://www. daphnecarr.com/policesound/lrad/

This low frequency noise is

peaks of sound amplitude within

incredibly unsettling, a phenom-

this space (see Part Six of this

enon

thesis) tend to occur at around

horror films to unnerve the viewer

100Hz, around that of the male

before

human voice.

intentionally exposing

exploited them

the

terrors that lay immediately ahead. The low frequencies prevalent U nder pa s s G uideb o o k s

Windsor Place Underpass. This space is unusual in that it has a road both above and below the pedestrian passage.

U N D ER PA SS I N G

Brandling Park Underpass. The Georgian terrace, concrete infrastructure, and abundant parkland layered at this location summarise Newcastle’s built identity at its truest.

CI T Y CEN T R E N O R T H

Adhitya, S. (2017) Musical Cities . London: UCL Press.

The walks became soundwalks,

can hear the resonant rumbles and

each route dictated by the inter-

reverberation time of each space

connection of underpass spaces

to generate a unique sonic expe-

within a convenient radius.

rience for the body, appreciating

Each underpass space serves

the presence of both active sound

as a moment to practice ‘Ecological

sources and passive sound envi-

Listening’,

ronments, and the effects each

term

defined

Adhitya as hearing events rather

have on each other.

than sounds (2017). The listener U nder pa s s G uideb o o k s

Bandstand Underpass. This tunnel is broken by daylight in the centre to allow access to a solitary bus stop on the Great North Road.

JE S M O ND Each underpass has an inde-

post-war period to permit the vast

pendent mix of above use, below

expansion of the UK’s motorway

use, physical dimensions, mate-

network, with the exception of the

rials, construction, age, and many

underpass

other attributes which contribute

site. The underpass beneath West

towards its sonic and experiential

Jesmond Metro Station pre-dates

character.

the mid-century road network,

photographed

oppo-

Many of Newcastle’s under-

exemplified by its glazed brick

passes were created during the

construction in place of the more

U N D ER PA SS I N G

West Jesmond Metro Underpass. The glazed brick interior walls create a highly reflective surface that resonates higher-pitched frequencies more prominently than concrete or standard brick.

frequently used concrete in later interventions. As Calder identifies, for the councils and contracCalder, B. (2020) Form Follows Fuel: Architecture and Energy from Prehistory to Climate Crisis. University of Cambridge: Martin Centre Research Seminar Series. Available at: www. youtube.com/watch?v=J6LC6DzILl4&feature=youtu.be&ab_channel=MartinCentreResearchSeminarSeries

tors of the time, concrete was a cheap, exciting and usable material

for

infrastructure

projects

(Calder, 2020). The West Jesmond Underpass serves to remind us that ‘concrete’ and ‘infrastructure’ were not always synonymous.

U nder pa s s G uideb o o k s

Metro Overpass, Byker. Though not an underpass, the dramatic form of the Metro line and its inherent volume of concrete speak of Newcastle’s futuristic post-war urban dream.

HE ATO N / BY K ER exposure settings being much more

My photography seeks to capture

I have continued an interest in

the volume and weight of material

black and white film photography,

important

used to construct each underpass.

and have learned how to develop

retake-able digital equivalent. I

than

their

infinitely

white

my own film negatives, a skill I have

believe this helped me achieve

processing, I was able isolate the

advanced as the thesis progressed.

much richer photographs, whilst

shape and composition of the

The use of film over digital

also appreciating the photographic

Using

structures

black

without

and

such

visual

photography

encourages

distractions as brightly coloured

appreciation of each photograph’s

graffiti and litter.

composition

U N D ER PA SS I N G

and

associated

technology used at the time of the underpasses’ construction.

Byker Underpass. The steep inclined access ramps shown either side of the roadway highlight the accessibility issues many of the underpasses share.

U nder pa s s G uideb o o k s

Swan House (now 55 0 North). The huge elevated mass of the building perches on concrete stilts, suspending it high above the motorway.

U N D ER PA SS I N G

Dean Street Underpass. The longest of all the underpasses I have archived, Dean Street Underpass offers a delayed echo at its right-angled corner, due to the sound reflecting down each passage independently.

S WA N H O US E R O UNDA B O U T Newcastle’s Swan House Round-

stilts, and of course, a series of

issues including steep ramps and

about defines a focal point of the

underpasses.

in some cases, no access at all for

city’s futuristic vision set out in Carrol, R. Harper, C. Perry, J. (2014) Newcastle East Central Plan . Something Concrete and Modern. Available at: https://www.somethingconcreteandmodern.co.uk/building/newcastleeast-central-plan/

The accommodation of the

T. Dan Smith’s City Plan (Carroll,

part-underground,

Harper, Perry, 2014).

ground

Pedestrians, inhabitation

are

vehicles stacked

motorway

creates

and

unusual pedestrian route into the

verti-

city from the east. The complex

cally via underground motorways,

layering

elevated footpaths, buildings on

induces

programmes

several

wheelchairs.

part-over-

also

accessibility U nder pa s s G uideb o o k s

Blackett Street Underpass. On a major bus route in and out of the city, Eldon Square lies in blissful ignorance above an unpleasantly loud space.

EL D O N S Q UA R E S H O PPIN G CEN T R E Eldon Square Shopping Centre was

and foot traffic within these under-

acoustically shielded shopper as

also a focus of the East Central

passes

well, a different sort of neo-liberal

Plan (Carroll, Harper, Perry, 2014),

aurally pleasant experience for the

and came with its own pair of

pedestrian; the space filled with

underpasses, this time providing

the hissing and whining of passing

movement below for vehicles and

buses.

pedestrians while shopping could take place above. The combination of vehicles 28

U N D ER PA SS I N G

provides

even

less

In this case, the pedestrian’s enjoyment is not solely compromised by the vehicle, but by the

invention. Carrol, R. Harper, C. Perry, J. (2014) Newcastle East Central Plan . Something Concrete and Modern. Available at: https://www.somethingconcreteandmodern.co.uk/building/newcastleeast-central-plan/

Eldon Square car park. The helictical form of the car park proudly declares the triumph of the car over the pedestrian with a celebratory route up to the roof, while pedestrians are squeezed along narrow passages alongside bus traffic.

U nder pa s s G uideb o o k s

Newcastle’s Underpasses. The fifteen underpasses (and one internal space) I have documented across five issues of Underpass: A subterranean pedestrian guide to Newcastle Upon Tyne (Hill, 2021d) .

U N D ER PA SS I N G

T HE A R CHI V E The

photographic

archive

underpasses is fully detailed in the series of Underpass Guidebooks I have published as part of my thesis, entitled: Underpass: A

subterranean pedestrian guide to Newcastle Upon Tyne (Hill, 2020). All five issues have been attached to the end of this Design Thesis as appendices for further reference. I also published the archive online, hoping to reach people more frequently walking around Newcastle during the pandemic. It became apparent that the people I did reach were more interested in the individual photographic works than the urban research behind it, with some offering to buy framed prints. There are many artistic bodies dedicated to the study and preservation

brutalist

architec-

ture, however this project is about more than gazing at concrete forms through spectacles tinted with nostalgia. With the worldwide

increase

pressure

vastly reduce our carbon footprint, architecture must become more responsible for its past failings

towards

the

environment,

mainly in its reliance on fossilfuelled construction, and more importantly, what to do with that construction when it is no longer fit for purpose. We must learn from these failings in order to ensure a sustainable practise for the future. This thesis proposes a methodology which can help to extract a greater value and an appreciation of the bed we have made, with the ultimate aim of helping establish whether we should have to lie in it.

Underpass Collective Instagram Feed. I published the walking routes as well as the key photographs from each underpass location in order to guide the pedestrian around the city.

Hill, D. (2021d). Underpass: A subterranean pedestrian guide to Newcastle Upon Tyne. Newcastle University: School of Architecture and Urban Planning. U nder pa s s G uideb o o k s

D I S S E R TAT I O N

E coacoustic I dentity PA R T T H R E E

Shieldfield House located near City Stadium; and the bank of the River Ouseburn.

ACO US T I C PER CEP T I O N the

stream on the field trip entered the

identity of Newcastle’s soundscape

Metrocentre Underpass, it was this

through a soundwalk-based meth-

cognitive process which allowed

odology.

dissertation

Acoustic an

active,

examined

perception cognitive

process

appreciate

its

acoustic

presence. I

wanted

explore

this

requiring experiential memories

phenomenon in detail, and so I

and a myriad of complex stimuli

devised a methodology to investi-

(Oliveros, 2015). When the live

gate the city’s Ecoacoustic Identity.

U N D ER PA SS I N G

Oliveros, P. (2015) “The difference between hearing and listening.” TEDxIndianapolis. Available at: https://www. y o u t u b e . c o m/ w a t c h? v =_Q H f O u R rJB8&ab_channel=TEDxTalks [Accessed: 2 March 2021].

‘Skywalks’ from the east into the city.

S O UNDWA L K IN G I selected my routes carefully,

envelop the listener in high-fidelity

directing one through Ouseburn

spatial sound. I then asked volun-

towards the Tyne, encompassing

teers to listen to the recordings

many natural sounds, and one into

whilst mapping their perceived

the city centre via the network of

journey in real-time with a given

aerial pedestrian routes, towards

start point.

the university. I

recorded

the

soundwalks

using binaural microphones, which Ec o a c o u s t i c I den t i t y

Volunteer Combined Route Map (Hill, 2021e).

VO LUN T EER PA R T I CIPAT I O N The results were, as expected,

I scored each of the volunteers’

highly sporadic in nature, for a

routes by breaking them down into

species that has grown accus-

one-minute

tomed to navigating with its eyes

them as accurate, partially accu-

and little else.

rate or inaccurate.

The map above shows the results from the seven volunteers, as well as the correct route in the bolder line. 36

U N D ER PA SS I N G

segments,

marking

Hill, D. (2021e). Ecoacoustic Identity: A Soundwalk Methodology for Establishing the Recognisability of the Soundscape. Newcastle University: School of Architecture and Urban Planning.

Plotting Accuracy / Traffic Noise Map (Hill, 2021e).

ID EN T I T Y A ND T R A FFI C From the chaos of routes, there

traffic noise level was lower than

intrinsically linked to its unique

emerged

65dB (the approximate level of a

mixture of sonic stimuli; a balanced

normal

accuracy

diet for a healthy body. If one stim-

was much increased, with one

ulus in particular dominates the

average plotting accuracy of the

minute-long

scoring

soundscape, the resulting effect is

volunteers

100%. For areas above 65dB, accu-

a loss of acoustic identity. Such is

racy diminished considerably.

the expansiveness of Newcastle’s

one

very

significant

trend. The study showed that the Hill, D. (2021e). Ecoacoustic Identity: A Soundwalk Methodology for Establishing the Recognisability of the Soundscape. Newcastle University: School of Architecture and Urban Planning.

inversely

was

approximately

proportional

the

volume of traffic noise. In areas where the ambient

conversation), segment

I arrived at the conclusion that the acoustic identity of a place is

road network, much of the city’s Ecoacoustic Identity has faded. Ec o a c o u s t i c I den t i t y

B edside Table

PA R T F O U R

Scenes from Bedside Table. The bedside table finds itself outside beyond the confines of its usual home. I play guitar next to the table, realising its occupancy of the space is impacting my access to my musical equipment.

T HINK IN G T HR O U GH M A K IN G To test some of the techniques

it also takes up a great space in a

I planned to employ later in the

narrow part of the room, pushing

thesis, I spent two weeks working

my amplifier and other guitar gear

with

into the path of the doorway.

the

existing

manageable scale.

I began making a short film to

The bedside table became the

share my thoughts and feelings as

subject of my inquiry. Its pres-

I used and manoeuvred around the

ence in my room is welcome; it

table; attending to it.

serves a valid purpose. However, 40

U N D ER PA SS I N G

Scenes from Bedside Table. I cut the opening for the speaker cone in the front of one of the draw faces. I test the hole to see if the cone fits accordingly.

It was during the making of the

of the table as it was manipulated,

film itself, of attending to the table

and later used these samples to

in close detail through macro shots

supplement a guitar piece I had

and sound recording, that I decided

written for the earlier part of the

to combine the two space-hungry

film.

items of furniture, the bedside table and the amplifier cabinet.

The

soundtrack

evolves

throughout as a narrative in itself,

As I filmed the construction, I

with elements dropping in and out

recorded short samples of sound.

as different actions are performed

I wanted to hear the sonic agency

upon the table.

Bed s ide Ta b l e

Bedside Table (Film) (2021a). Please click the following link, or copy and paste it into your browser window: https://youtu.be/XFr_AovaFus

B ED S ID E TA B L E (FIL M) As well as providing me with some

of the filming and sound recording

grounding for an object-centred

techniques I learned in making

narrative,

this film were of huge value when

the table and making of the film

I set about making the thesis film,

offered other invaluable resources.

Underpassing.

the

modification

The little timber I removed

It has been hugely rewarding

from the table has been used

to make use of my musical practise

later in the thesis to build certain

during a design thesis, something I

surveying instruments, and many

plan to continue in the future.

U N D ER PA SS I N G

Hill, D. (2021a). Bedside Table . Newcastle University: School of Architecture and Urban Planning. Available at: https:// youtu.be/XFr_AovaFus

The Inevitable Decay of Matter (Film) (2021b). Please click the following link, or copy and paste it into your browser window: https://youtu.be/1xXwDoH65lw

T HE INE V I TA B L E D EC AY O F M AT T ER (FIL M) I made a second film to test yet

The film takes much inspira-

more techniques for film making

tion from Alvin Lucier’s I am Sitting

and sound recording.

in a Room (1969), where the artist

This film was recorded in a

re-records the human voice rever-

Lucier, A. (1969). I am sitting in a room. MA: Brandeis University.

single take using multiple camera

berating around a space. This film

Hill, D. (2021b). The Inevitable Decay of Matter. Newcastle University: School of Architecture and Urban Planning. Available at: https://youtu.be/1xXwDoH65lw

angles and diverse sound recording

takes that concept and applies it to

methods,

binaural,

the bedside table in order to high-

shotgun condenser and contact

light the agency it has over its own

microphones.

sonic output.

including

Bed s ide Ta b l e

U nderpassing PA R T F I V E

A mapping of the corruption scandal.

MEN O F R EN OWN Post-war Newcastle was consumed

connections in government, to its

by a corruption scandal, impli-

most generous donors.

cating

Council

Leader,

Dan

Smith

once

wrote

Smith, and Architect, John Poulson

“Thatcherism, in an odd sort of

at its core.

way, could reasonably be described

Smith ran a PR Firm which accepted

underhand

gifts

and

returned public work and building contracts, acquired through his 46

U N D ER PA SS I N G

legalised

Poulsonism...

the

handing over of public assets for private gain.” (Waterhouse, 1993).

Waterhouse, R. (1993). “T. Dan Smith (Obituary)”. The Guardian . 28 July.

Wilfred Burns (far left) with Lord George Jellicoe, looking at a model of part of the city. (Photograph: Smith, 1962) (Source: Amber, 2021). T. Dan Smith, Chairman, Northern Economic Planning Council. (Photograph: Smith, 1965) (Source: Amber, 2021).

For

Amber. (2021). T Dan Smith Archive I . Amber Online. Available at: https:// w w w.amber-online.com/collection/tdan-smith-archive-i/ City and County of Newcastle upon Tyne. (1963). Development Plan Review. Newcastle upon Tyne.

the

corruption,

Smith

in the city we know today. In his

undoubtedly to blame. However,

Development

Newcastle’s motorways and town

wrote, “the city centre must cater

planning in the sixties and seven-

to the maximum extent possible

ties were primarily the responsi-

for cars” (1963).

bility of Wilfred Burns, Newcastle’s Chief Planning Officer at the time. His

overtly

destructive

Plan

review,

Smith trusted Burns’ well-educated judgement, which I would argue was perhaps his greatest

approach to planning, heavily in

mistake

favour of road traffic, resulted

redevelopment.

regarding

Newcastle’s

U nder pa s s ing

The city centre with Civic Centre under construction. (Photograph: Newcastle City Council, 1960) (Source: Peacock, 2016)

D IR T Y O L D TOWN The city these men inherited was

The city, like much of the north

in industrial decline. They believed

east, relied on its mining infra-

a new motorway network would

structure to generate income. As

bring economic prosperity to the

that source of affluence began to

city, and establish a new finan-

shrink, it was thought that new

cial powerhouse for the north, a

industry needed to find a place in

sentiment more recently burdened

the city.

primarily unto Andy Burnham’s Greater Manchester, my home. 48

U N D ER PA SS I N G

Peacock, L. (2016). “Eight images of Newcastle as seen from the air between 1947 and 1991”. The Chronicle . 7 May.

Central motorway under construction. (Photograph: Newcastle City Council, 1974) (Source: Peacock, 2016)

The

central

motorway

carved

a great divide between the city centre and the east, decimating the southern corner of Jesmond. The

motorway

comprises

two or even three layers of traffic stacked vertically in parts. This decision was made to minimise Peacock, L. (2016). “Eight images of Newcastle as seen from the air between 1947 and 1991”. The Chronicle . 7 May.

land take, albeit at the cost of a huge visual and acoustic barrier.

U nder pa s s ing

Jesmond Railway Station with an award-winning flower garden. (Young, 1948)

WH O NEED S T HE FLOWER S TO GR OW ? There was a huge culture shock in

this ideology; the liberty to travel

Britain during the sixties, across

wherever

the entire spectrum of society,

desired.

and

whenever

one

from music, film and the arts, to

The motorway was put in place

the political agendas of those in

to serve this new generation of

power. Following the wars in the

car-consuming travellers, driving

first half of the century, it was time

between cities for business and

for freedom.

pleasure.

The private car encapsulated 50

U N D ER PA SS I N G

Young, A. (1948). “Jesmond.” Disused Stations. Available at: http://www. disused-stations.org.uk/j/jesmond/

Jesmond Railway Station (present) . The Station Building now serves as a pub, with the disused carriage adjacent housing part of an Indian restaurant. The opposite platform has (fittingly) been converted into car parking.

The cultural shift from rail to road plunged

Jesmond

Station

into

obsolescence, before the line was re-purposed for the Metro in the 1980s. Not only did the motorway create its own wealth of issues, it also drained the life out of other infrastructure.

U nder pa s s ing

(Above) Decommissioned entrance to A167M (Central Motorway) from Camden Street, Shieldfield. (Below) Mid-air termination of a pedestrian route into the city centre, with Swan House shown in the background.

M OTO RWAY D O U GH Although the motorway dominated

the motorway’s chasm. Professor

Newcastle’s redevelopment plans,

Stephen Graham speaks of them,

it brought with it other urban

“everything looks like everything

interventions as by-products.

else. There’s no legibility. There

As well as the numerous under-

are no maps. No landmarks. So it’s

passes beneath the infrastructure,

incredibly easy to get lost, and to

also introduced were a network

be disorientated.” (Whitney, 2017).

pedestrian

Since their introduction, the

routes into the city centre across

skywalks, underpasses, and even

‘skywalks’,

aerial

U N D ER PA SS I N G

Whitney, K. (2017) “ ‘A brave new world’: what happened to Newcastle’s dream for a vertical city?” The Guardian, 7 February. Available at: https://www. theg uardian.com/cities/2017/feb/07/ br ave-ne w-world-ne wc a s t le-d re a mfor-vertical-city

Filled in underpass from the centre of Swan House roundabout beneath its northern quarter.

parts of the actual motorway, have

or even worse, wasted. City plan-

been disassembled, filled in, or

ning must become more respon-

gated off.

sible for the city of the future.

It is this exact situation that this thesis calls in to question. Not only did the motorway infrastructure severely impact the accessibility to the city for the pedestrian, it continues to do so actively as these compromises are removed,

U nder pa s s ing

T. Dan Smith with his Jaguar and private registration plate. (Photograph: Smith, 1965) (Source: Amber, 2021). Bandstand Underpass. This narrow passage is the sole access to a bus stop on the Great North Road.

P O L I T I CI A N S , PL A NNER S , M A D NE S S , M ACHINE S The men who put this infrastruc-

divert their journey around the

ture in place were first and fore-

new city-scale toy of the high-

most exactly that, men; in positions

flying businessman.

of influence

with easily enough

wealth to afford a personal car.

This underpass for instance, below

the

great

north

road,

Those who could not afford

provides the only access to a bus

their own car; women, children

stop used by a local school, far

and people from low-income back-

from an ideal space for young chil-

grounds; would be expected to

dren to be directed.

U N D ER PA SS I N G

Amber. (2021). T Dan Smith Archive I . Amber Online. Available at: https:// w w w.amber-online.com/collection/tdan-smith-archive-i/

Bandstand Underpass. This tunnel is broken by daylight in the centre to allow access to a solitary bus stop on the Great North Road.

U nder pa s s ing

Lindisfarne (band). Much loved Alan Hull (second from left) is commemorated with a plaque on Newcastle City Hall. (Photograph: Lindisfarne, date unknown) (Source: Orr, 2008).

WE ’ L L T E A R YO U D OWN Of course, the motorway did not

Lindisfarne, released the song All

come into existence unchallenged.

Fall Down (Hull, 1972) in satirical

Environmentalist SOC’EM!

(Save

Environmental booklets

Our

opposition to the plans. I used the

from

lyrics from the song to construct

produced

the narrative for the thesis film to

City

Mess!)

arguing

group

against

the

proposals, as well as various public transport unions (Fenwick, 2012). The much loved local band, 56

U N D ER PA SS I N G

be watched alongside reading this document, Underpassing.

Fenwick, P. (2012). The Newcastle Central Motorway East and Other Plans. The Chartered Institution of Highways and Transportation. Hull, A. (1972). “All Fall Down.” Dingly Dell. UK: Charisma Records. Orr, C. (2008). “A history of Lindisfarne pt IV: what happened next?” Lindisfarne. ht t ps:// l i nd isfa r ne.co.u k/a-h ist or yof-lindisfarne-part-iv-what-happenednext

Councillors, magistrates, men of renown, Who needs to live in a dirty old town? Yes, go on, tear it down.

Who need the trees and the flowers to grow? We can have a motorway with motorway dough. I know I know I know, they’ve got to go.

Tear them down, mess them round, Make a mockery of all of the ground, And if you ever have a sleepless night, Just count out your money, it’ll be all right.

Politicians, planners go, look what you done, Your madness is making a machine of ev’ryone, But one day the machine might turn on. We’ll tear you down, mess you round, And bury you deep under the ground, And we’ll dance on your graves till the flowers return, And the trees tell us secrets that took ages to learn. We’ll tear you down, mess you round, Bury you deep under the ground, And we’ll dance on your graves till the flowers return, And the trees tell us secrets that took ages to learn. We’ll tear you down.

The lyrics to Lindisfarne’s “All Fall Down” (Hull, 1972). I used these lyrics as a structural tool in the composition of Underpassing , the film supplementing this design thesis.

U nder pa s s ing

U nlearning : A ME T H O D O LO GY

PA R T S I X

Underpassing (Film). Please click the following link, or copy and paste it into your browser window: https://youtu.be/w13t-n_7eg0

UND ER PA S S IN G (FIL M) I returned to the first underpass

history of this underpass from its

I archived in the guidebooks, the

conception right through to my

one in which I began to appreciate

proposition for an appended tool

the spatial and acoustic experi-

kit for the ecological surveyor.

ences also found in many of the

The film is narrated through the voice of The Underpass, a

others. To document my methodology,

melancholic character concerned

I created a film (also, in itself part

about the stability of their and the

of the method) which traces the

planet’s future.

U N D ER PA SS I N G

Hill, D. (2021c). Underpassing. Newcastle University: School of Architecture and Urban Planning. Available at: https:// youtu.be/w13t-n_7eg0

Sandyford Road Underpass, southern aperture.

This underpass in particular finds

at seeking value in the existing,

itself in a unique existential crisis.

through ever-deepening levels of

Since Jesmond Station was

attention.

ultimately

The aim of this work is not to

serves little purpose, connecting

decide whether existing struc-

one side of Sandyford Road to the

tures are to remain in place; it is to

other, as well as the back-of-house

propose a refined process to learn

area of an office and bar complex.

and experience as much about

decommissioned,

As such, it acts as the ideal test site for a methodology aimed

the existing before reaching that decision.

U n l ea r ning

On-site survey sketches. First I roughly (very roughly) sketch the space, before measuring and annotating the drawing. I then label the drawing with callouts to areas in a higher level of detail.

ME A SUR ED SUR V E Y Most surveys begin with measure-

surveys, when conducted in this

ments, and this one is no different.

level of detail, help the surveyor

I ensured I carefully meas-

understand

the

relationship

ured every part of the space, from

between

its tectonic form to the detail of

present. The pattern on a tile is

screws and graffiti on its walls.

very different to the size of an

the

scales

detail

Apart from the obvious objec-

opening, for instance. It is impor-

tive of determining the shape

tant to record all of this informa-

and size of the space, measured

tion equally.

U N D ER PA SS I N G

D R AWIN G Most architects appreciate the

and its relationship with the body,

power of drawing, and an impor-

more so than I believe two-dimen-

tant part of that lies in hand drawn

sional drawings would have.

representations of space. Before I began any refined drawings of the space, I first drew this perspectival section of the southern aperture. This helped me to initially visualise the space U n l ea r ning

SRUP-DR-00-01302 Key Section BB (originally drawn at 1:50). The drawing shows the difference in level between the layers of infrastructure as well as the dominant figure of Sandyford House in the background.

I then set about drawing the

intermittent, the road more ubiq-

underpass in context.

uitous and droning.

This section drawing and the

To prevent trespass on the

next help to show the underpass in

line and to shield some of the

relation to its closest infrastruc-

noise from the Metro, a 3.7m

ture; the Metro line to the east and

wall extrudes from the under-

the roadway above.

pass’ elevation. With the towering

Both of these are sources of a

Sandyford House seen in the back-

huge amount of noise within the

ground, the confinement of the

space, the Metro rhythmic and

space either side becomes clear.

U N D ER PA SS I N G

Key Section AA (on the following

along the southern edge of the site

page) shows the length of the

and Sandyford House’s minimal

space, and offers an appreciation

easement between its exterior wall

of the length of time it takes to

and the northern entrance to the

pass from end to end in the dark-

underpass. Shown in the background is

ness. The confinement of the space

the dual-deck motorway, which

is shown again in the perpen-

crosses Sandyford Road further

dicular plane, with the tall wall

west.

continuing

around

the

corner

U n l ea r ning

SRUP-DR-00-01301 Key Section AA (originally drawn at 1:50). The underpass is shown in relation the motorway infrastructure in the background. The grid overlay on the drawing is used later in the survey as a cross reference tool for other investigations conducted on-site. The graffiti was drawn using the measurements taken on site and a 2D photo-stitched mapping.

U N D ER PA SS I N G

U n l ea r ning

Site Model showing the underpass in context (modelled at 1:100). The layers of infrastructure can be seen, with the Metro line in the foreground and underpass beyond, with the road passing over both.

M O D EL L IN G Once I had accurate drawings, I

House,

was able to build a model of the

bedroom is only so big.

underpass

and

its

immediate

surrounds.

but

unfortunately

The modelling is detailed and meticulous in its approach; hand

In a year outside the confines

cutting and scoring the paving

of a pandemic, I would have liked

slabs on the ground and the bricks

to extend the model over a much

on the walls, as well as soldering all

greater area, so that it included the

of the guarding and the Metro line.

motorway and more of Sandyford 68

U N D ER PA SS I N G

Site Model showing the underpass in context (modelled at 1:100). The model pulls apart along Key Section AA, the longitudinal section through the centre of the underpass. The model shows clearly the close proximity between tyre above and head below.

U n l ea r ning

SRUP-MP-F22-01 Interior Light Fitting, east wall / soffit. A macro photograph (MP) showing the patina on one of the metal light casings within the underpass.

FIL M PH OTO GR A PH Y Modern

takes

Photos, again, are not unusual

photography for granted. It has

society

in the context of a survey. However,

become so easily accessible, it is

using a film camera influenced me

seldom considered a skill.

to approach the task with much

Using

more consideration for each frame.

appreciate the work that modern

Without the aid of digital tech-

cameras

have

nology, I was encouraged to rely

removed from the shoulders of the

on my own skill. This resulted in

photographer.

photographs which were already

film

often

and

allowed phones

U N D ER PA SS I N G

SRUP-MP-D71-01 Interior Light Ducting (to overcome sharp incline), east wall. A macro photograph (MP) showing this unusual intervention to connect the pre-assembled lighting panels across the most sharply inclined part of the underpass. Canon EOS 600 Film Camera (1989) and black and white film processing equipment and chemicals.

pre-curated and carefully thought-

sure has its advantages in certain

through, instead of my experience

situations, but I believe a close

with digital photography, which

tending to the medium and subject

usually involves sorting through

have proved far more rewarding in

reams of exposures to select the

the formation of this thesis.

best few. The latter method is one this

To further this, I learnt how to develop my own film from home,

thesis, and through forming it I

another

personally, have become opposed

again a removal of the agency of

fulfilling

process,

to. The ‘spray and pray’ method I’m

technology or an expert.

U n l ea r ning

and

Mixing Alginate within the Underpass. The dry powder is added to warm water, mixed thoroughly and then poured into a former. I built the former using off-cuts from the Bedside Table project. The former is constructed like a cake-tin, allowing the edges to be held against the subject’s surface whilst pressure is applied to the base to push the wet alginate into the subject.

A LGIN AT E IMPR E S S I O N S A ND C A S T IN G Thus far, the methods of this survey

is completely biodegradable in as

have remained largely within the

little as a year (Baker, 2019).

confines of the orthodox. Algi-

These

ecological

properties

nate impression taking is the first

make it suitable for environmental

method to depart from that.

use, and its usage by dentists

Alginate by

dentists

is to

used take

primarily impres-

sions of teeth for treatment. It is extracted from algae, and as such 72

U N D ER PA SS I N G

speaks

volumes

the

detail

achievable in replicating surface texture.

Baker, C. (2019). “Alginate - Biodegradable?” Accu-cast. Available at: https:// accu-cast.us/blog/alginate-biodegradable/

Pouring plaster into stronger form work. The former for the plaster was built slightly smaller than its alginate counterpart. This was to allow me to trim any untidy blobs from the alginate whilst maintaining a seal around its edge to minimise plaster leaking down the sides or beneath the impression.

Surveys do not usually go beyond

the surfaces, before applying a

representations for the eye, and

‘texture’, usually a flat image with

the same too could be said of

the computer-generated illusion of

architecture in general.

texture.

The study of a structure’s textures

reveals

details

Once the alginate has been

easily

formed, the plaster must be poured

missed in drawings and models,

quickly, as the alginate begins to

flattened for ease. The digital

shrink as its water content evapo-

modelling and rendering process

rates (ibid.).

requires the designer to flatten

U n l ea r ning

Removing the alginate from the cast. The flexible properties of the alginate during this part of its use make for incredibly easy removal from the surface of the piece.

Once the plaster cures, the form

organic composition can easily be

work can be dismantled and the

digested by micro-organisms.

alginate removed. The above image highlights its rubbery/gelatinous

composition

immediately after casting. Shortly afterwards it will harden, akin to the texture of natural luffa. It can then be disposed of safely

into

landfill,

where

U N D ER PA SS I N G

its

SRUP-AC-J49-01 Manhole Cover, approximate geometric centre of internal space. The finished alginate cast (AC) of the manhole in the centre of the underpass.

Once the cast is removed, I bevelled

individual

the edges gently, using a fine rasp.

on the surface of the concrete

This prevents chipping to vulner-

surrounding it.

able fine details along the edges of the piece.

aggregate

chunks

This is an invaluable tool for architects seeking to expand a

As shown in the photograph

survey beyond the ocular-centric,

above, this method has the ability

including more polysensory survey

to replicate the finest of details,

techniques for a far deeper under-

including the rust/flaking patina

standing of space.

on the manhole cover, and the

U n l ea r ning

SRUP-UP-I17-01 Reconstituted Concrete Brick, west wall. A micro photograph highlighting the tiny particles of rock within the brick. The small blue chip is measured at approximately 108um (micrometers).

MI CR O PH OTO GR A PH Y So far, the survey has addressed

this

the scales of: the social and polit-

photography (UP) being the next

ical through research; the tectonic

step.

through drawings and models at

taken using extension tubes to

1:100/1:50; the human experience

a 40mm lens. The gauge at the

through film photography; and the

bottom of the image shows 0.5mm

surface through casts at 1:1.

increments. Using this scale, 1 pixel

Moving closer and closer in levels of attentiveness is key to 76

U N D ER PA SS I N G

methodology, These

with

photographs

micro were

of information represents approximately two micrometers.

SRUP-UP-G78-01 Dark Accent Engineering Brick, west wall. A micro photograph showing the porous nature of what would be considered a smooth brick.

This level of detail is imperceptible

around the footing of the under-

to the naked eye, as it is physically

pass, shows the fine grain on the

impossible to focus on a surface at

surface of what would typically be

such close proximity.

referred to as a smooth brick.

The resulting images reveal

Architectural surveys do not

other-worldly landscapes of over-

investigate in this detail, yet doing

looked detail, colours and textures

so can reveal so much undiscov-

that lay invisible to the passer-by.

ered information about the mate-

The above image, showing one

rials and processes used in the

of the dark accent bricks found

construction of space.

U n l ea r ning

Applying an adhesive contact microphone to the eastern interior wall of the underpass. I used the contact microphones to listen to the material of the structure itself, rather than the sound transferred by the air within it. All sound requires a medium to travel through, be it solid, liquid or gas, and listening to the solid walls gave me an impression of the vibrations present within the physical construction.

ACO US T I C ME A SUR EMEN T A ND S IMUL AT I O N The acoustic presence of this space

well as video footage and piezo

was one of the parts of it that first

microphones.

drew my interest, and so I consid-

I wanted to understand why

ered it imperative that I investigate

this space in particular felt so

its phenomena.

sonically oppressive, so I set about

I used a variety of recording methods and hardware, including binaural, and 78

shotgun

contact

condenser

microphones,

U N D ER PA SS I N G

recording it in as many ways as I had means.

DIY recording studio setup. Using an absorbent blanket enclosed around the microphone on three sides helps to minimise acoustic reflection and reverberation. Albeit a crude and low-tech interpretation of techniques employed in actual recording studios to isolate sound, it was incredibly effective.

I wanted to be able to recreate the

tone with consistency every time.

underpass’ acoustic environment,

I recorded the same tone sequence

to allow me to understand how

all the way along the space from

and why it induces such poignant

aperture to aperture. I then recorded the same tone

acoustic memories. I recorded a tone sequence within

the

underpass

with

sequence in a DIY recording studio set up in my bedroom (pictured

Kalimba (or thumb piano), pictured

above)

above. I chose this instrument as

sound with minimised reverbera-

provide

reference

it is easy to reproduce the same

tion and ambient sound.

U n l ea r ning

Frequency/Amplitude Graphs from the aperture of the underpass (top) and its centre (bottom). The top profile, recorded at the opening of the underpass, shows a gentle peak in the low-frequency range, created by engine noise from traffic, and a tailing off of frequencies in the higher range. The bottom graph, taken from the centre of the internal space, shows a sharply inclined low-frequency peak at around 100Hz, indicating a dominant low-pitched sound profile.

I then compared the dry signal

representation of the sound being

tested it on some willing house

(recorded in the DIY booth) with

played.

mates, who were unable to differ-

the wet one (on-site) using spec-

tral analysis (shown above) within

sounds

Ableton, a music production soft-

applying digital filters and effects

ware I use often in my musical

to the dry signal, I was able to

practise.

match the two signals’ spectra.

graph of the recording along the

adding

ambient

recorded

the recording. I used the software to export peak-amplitude

frequency

length of the underpass at 800mm increments, which I then traced

on the y-axis, forming a real-time

to fine-tune the simulation and

two

U N D ER PA SS I N G

show

achieved

entiate between the simulation and

graphs

had

and

approximate match, I used my ears

dynamic

site,

frequency on the x-axis and volume

The

Once

traffic

dimensionally

and

layered

Spatio-acoustic Frequency Model . This model shows visually the sharp increase in low-to-mid-frequency dominance aurally perceived within the space.

proportionally along the under-

the approximate frequency range

pass’ length. This allowed me to

of the human voice.

form the three dimensional spatio-

Schafer, R. M. (1994) The Soundscape: Our Sonic Environment and the Tuning of the World . Rochester, VT: Destiny Books.

This reveals to a large extent why these spaces feel so oppres-

acoustic model shown above. This model is hugely useful in

sive. R. Murray Schafer regards the

interpreting the acoustic profile

human voice as the ideal module

of the space visually. The peak

for acoustic design (1994), and this

which

aper-

space (and I suspect many other

ture towards the centre occurs

underpasses) is in direct acoustic

between approximately 100-150Hz,

competition for that range.

rises

from

each

U n l ea r ning

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SRUP-DR-00-01311 Section AA-1 Reference Section (originally drawn at 1:25). The reference sections act as a tool to identify the other survey elements and where they are located in space, as well as key dimensions and details. SCALE IN MILLIMETRES

U N250 D ER PA500 SS I N G

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2258

495

UP -I 1 7-01 R ECONST ITUT E D CONCR E T E B R ICK, WE ST WAL L

1709

195

AC-J1 7-01 MA NHOL E COVER , GR OUND ADJACENT TO WEST WA LL

+6.195

PRODUCED BY AN AUTODESK STUDENT VERSION

195

UP-H24-01

195

UP-I17-01

500

150

95 95 95 95 95 5 5 5 5 5

AC-J17-01

UNDERPASS LEVEL (SOUTH) 10

+2.567

103:1

688 30

SCALE IN MILLIMETRES

S PAT IO -ACOUSTIC FR EQUEN CY PEAK G R ID L INES 15 - 25

250

500

1000

2500

SRUP -D R-00-01 31 1 1 :25 @A 2

SECTI ON A A - 1 R E FE R E NCE SECT ION

UP -H24-01 B LUE SPR AY PAINT ON WHIT E T IL E , WE ST WAL L

PRODUCED BY AN AUTODESK STUDENT VERSION

SRUP-DR-00-01401 Sectional Assembly 1, Ontology Report. The full assemblage of information is shown on a set of six sheets covering the length of the space, of which this is the first.

A S S EMB L AGE

Collaborative production of architectural, engineering and construction information - Code of practice. British Standards Institution.

BSi.

(2016).

The organisation and collation of

to its position set out by the grid

an appreciation of the connection

all of the data is equally as impor-

overlaid on the reference section,

between the scales of attentive-

tant as collecting it.

which is devised from the spacing

ness given to each constituent part

I devised a system based on

of acoustic measurements taken

of the survey.

the BS 1192 Naming Convention

to form the acoustic model. These

(explained in further detail in the

codes are mapped on to the section

next part of this document) (BSi,

accurately to their point of origin,

2016). Each drawing, photograph

to enable the viewer to easily

and cast is given a code relating

locate points of interest, and thus U n l ea r ning

O ntology R eport

PA R T S E V E N

HOW TO NAVIGATE THIS REPORT A R T EFAC T NUMB ER IN G The survey numbering and coding system is based on the BS 1192 numbering convention outlined by the British Standards Institution (2016), with my own amendments to make it suitable for use in this type of survey. Each part of the code is a short sequence of numbers, letters or both, separated by a single dash. The first part of the code is the project identification code, unique to the project the information belongs to. The second part of the code represents the information type shown. The third part of the code is locational information, directing the viewer towards a particular part of the structure (a level, a grid reference etc.) The fourth and final part of the code gives further information on the specific artefact (see below). Please see the below example:

S R U P -DR-00 -01301 Project Identification Code: SRUP: Sandyford Road Underpass

Information Type: DR: Drawing MP: Macro Photograph UP: Micro Photograph AC: Alginate Cast

Note: For artefacts that cross two or more grid reference boundaries, the first-most letter in the alphabet and lowest number are given.

BSi. (2016). Collaborative production of architectural, engineering and construction information - Code of practice. British Standards Institution.

Locational Information: 00: No level applicable GD: Ground Floor 01: First Floor J37: Grid Reference “J37”

Further Information: For a drawing, the number is broken down as follows:

01 3 01

Drawing Series: 01-09: Existing / Survey 10-19: Ground / Substructure 20-29: Primary Elements 30-39: Secondary Completions 40-49: (No classification) 50-51: Mechanical / Public Health 60-61: Electrical / Fire Safety 70-71: Furniture / Fittings 80-81: Accessibility 90-91: External Works

Drawing Type: 1: Plan 2: Elevation 3: Section 4: Assembly 5: Detail

Drawing Identifier: 01-99: (Sequential)

For any other type of information, the number is simply a two-digit sequential number from 01-99.

On to lo g y Rep o r t

U N D ER PA SS I N G

S RU P - D R - 00 - 01 3 01 1: 5 0 @A1

K EY SECT I ON A A ON TOLO GY R EP ORT

On to lo g y Rep o r t

S RU P - D R - 00 - 01 3 02 1: 5 0 @A1

K EY SECT I ON B B ON TOLO GY R EP ORT

S RU P - D R - 00 - 01 4 01 1: 2 5 @A 2

S PAT IO -ACO U STI C F REQU E NCY PE AK G R I D LI N ES 15 - 2 5

S ECT IO NA L AS S E MBLY ON TOLO GY R EP ORT

PRODUCED BY AN AUTODESK STUDENT VERSION

+2.567

250

500

UNDERPASS LEVEL (SOUTH)

SCALE IN MILLIMETRES

MP-A14-01

1211 146

1000

2258

MP-D16-01

688

AC-J17-01

UP-I17-01

MP-E18-02

2500

MP-E18-01

+6.195

103:1

S R U P -DR -0 0 -01 31 1 1 :25 @A 2

500

MP-F22-01

MP-E22-01

PAVEMENT LEVEL (SOUTH)

95 95 95 95 95 5 5 5 5 5

495

430

UP-H24-01

MP -F 2 2- 01 INT E R IO R LIGH T F IT TIN G , EAST WALL /S O F F IT

UP -H 24-01 BLU E SPRAY PA INT O N WHIT E T IL E , WEST WALL

UP -I17-01 RECO NST ITUT E D CO NC RE T E BRIC K, WEST WALL

MP -E2 2 -01 SE RVIC E COVE R, WE ST WA L L

S ECTI ON A A - 1 RE FE RE NC E S ECT IO N

MP -E 1 8 -02 WA L L- SO FFIT J O IN , CO BWE B DE TA IL , E A ST WA L L /SO FFIT

195

100

PRODUCED BY AN AUTODESK STUDENT VERSION

3715

M P -E 1 8 - 01 EXTE RIO R- IN T E RIO R WA L L- S O FFIT J O IN , WE ST WA L L /SO FFIT

AC-J 17-01 M ANH O LE COVE R , G R O U ND ADJACEN T TO WE ST WA LL

M P -D1 6 -01 K EY STO N E , SO UT H EXT ERIO R WA LL

25 610

M P -A14 -01 PL ANT G R OWT H , S O UT H EXT ER I OR WA LL

5 5 5 5 5

195 195 195 195 195 195

5 5 5

106 369 5 106

146 336 1709 150

U N D ER PA SS I N G PRODUCED BY AN AUTODESK STUDENT VERSION

90 PRODUCED BY AN AUTODESK STUDENT VERSION

On to lo g y Rep o r t

S RU P - D R - 00 - 01 4 02 1: 2 5 @A 2

S PAT IO -ACO U STI C F REQU E NCY PE AK G R I D LI N ES 23 - 37

AC-J 26- 01 CO N C R ET E PAVI E R T EXTU R E DE TAI L , G R OU N D

S ECT IO NA L AS S E MBLY ON TOLO GY R EP ORT

PRODUCED BY AN AUTODESK STUDENT VERSION 24

250

500

SCALE IN MILLIMETRES

AC-J26-01

1000

FLAT

UP-J28-01

MP-G28-01

MP-E30-01

MP-E31-01

500

95 95 95 95 95 5 5 5 5 5

2500

1628

S R U P -DR -0 0 -01 31 2 1 :25 @A 2

MP-F32-01

51:1

UP-I33-01

MP-G35-01

S ECTI ON A A - 2 RE FE RE NC E S ECT IO N

MP - G35- 01 BL AC K PERM ANEN T M ARK ER O N TILE , EAST WALL , “LOVE IS A J O K E TO LD BY O L D FO LK ”

UP -I33-01 MOVE ME NT J O INT (A PPROX 620 0 mm CENTRES ) BETWEEN TILE , CO BWEB D ETAIL , WEST WALL

UP -J 2 8-01 HA RDE NE D A ND E RO DE D C HEWING GU M , GRO U N D, ADJACENT TO EAST WALL

MP -F 32 -01 BL AC K PE RMA N E N T MA RK E R O N T IL E , WE ST WA L L , “O RGA NIC C HE MICA L FO RMU L A”

PRODUCED BY AN AUTODESK STUDENT VERSION

MP -E31 -01 L EG ACY E L ECT RICA L DU CT IN G , WE ST WA L L /S O FFIT

MP - E3 0-01 “ STO P S O CIA L ISM” ST IC KE R, L IG H T FIT T IN G , E A ST WA L L

195 195 195

5 5 5 5

146 336 1709 150

195 195 195 195

5 5 5

PRODUCED BY AN AUTODESK STUDENT VERSION

M P - G 2 8 -01 B L AC K PE R M ANE NT M AR KE R O N T I LE , E AST WALL , “ EXI ST E NC E ”

PRODUCED BY AN AUTODESK STUDENT VERSION

S RU P - D R - 00 - 01 4 03 1: 2 5 @A 2

S PAT IO -ACO U STI C F REQU E NCY PE AK G R I D LI N ES 35 - 49

AC- G 43 - 01 T EXTU R E D T I L E D ETA I L , EAST WAL L

S ECT IO NA L AS S E MBLY ON TOLO GY R EP ORT

PRODUCED BY AN AUTODESK STUDENT VERSION 36

MP-E38-01

250

500

SCALE IN MILLIMETRES

500

1000

95 95 95 95 95 5 5 5 5 5

MP -H 45 -01 T EXTU RE D T IL E DE TA IL , WE ST WA L L

FLAT

MP-J42-01

2500

UP-J43-01

MP-J45-01

S R U P -DR -0 0 -01 31 3 1 :25 @A 2

AC-G43-01

PRODUCED BY AN AUTODESK STUDENT VERSION

195

MP -J 42- 01 DAM AG E TO CO N CRE TE PAVIE RS , G RO UN D

5 5 5 5 5

195 195 195 195 195 195

5 5 5

336 1709

U N D ER PA SS I N G 150

92 PRODUCED BY AN AUTODESK STUDENT VERSION

MP - E3 8 -01 T EXTU R E D CO N C R ET E , SO F F I T

MP-G47-01

UP-H47-01

S ECTI ON A A - 3 RE FE RE NC E S ECT IO N

103:1

MP-H45-01

PRODUCED BY AN AUTODESK STUDENT VERSION

M P - G47- 01 BL ACK PERM ANEN T M ARK ER O N TILE , EAST WALL , “P ”

UP -H 47-01 S PRAY PA INT DRIP A ND S PAT T E R O N WHITE TILE , WEST WALL

UP -J 43-01 S HA DOW GA P BE TWE E N CO NC RE T E PAVIERS , GRO U ND, ADJACENT TO EAST WALL

MP -J 45-01 WHIT E PA INT S PL AT T E R, GRO U N D, ADJACENT TO EAST WALL

On to lo g y Rep o r t

S RU P - D R - 00 - 01 4 04 1: 2 5 @A 2

SPAT IO -ACO U STI C F REQU E N CY PE AK G R I D LI N ES 47 - 6 1

S ECT IO NA L AS S E MBLY ON TOLO GY R EP ORT

AC-J 49- 01 MA NH O LE COVE R , G R O U ND, APPR OXI MAT E G EO M ET R I C C EN T RE O F IN T ERN AL S PACE

PRODUCED BY AN AUTODESK STUDENT VERSION 48

MP-J49-01 AC-J49-01

MP-G49-01

250

500

SCALE IN MILLIMETRES

MP -E53-01 L EG ACY L IG H T FIXIN G S , WE ST WA L L /SO FFIT

MP-E51-01

1000

500

95 95 95 95 95 5 5 5 5 5

51:1

MP-E53-01

MP-J53-01

1628

UP-J54-01

2500

S R U P -DR -0 0 -01 31 4 1 :25 @A 2

MP-E55-01

PRODUCED BY AN AUTODESK STUDENT VERSION

MP -E5 1 -01 L EG ACY L IG H T FIXIN G BO LT, PA IN T E D, WE ST WA L L /SO FFIT

195

M P - G49- 01 M OVEM E N T JO IN T, WE ST WA LL

5 5 5 5 5

M P - E55 - 01 LEG ACY LIG HT PAN EL F IXING H O LES , WEST WALL /S O F F IT

UP -J 58-01 YE L LOW PA INT S PL AT T E R, HA RDE NED AND ERO D ED CHEWIN G G U M , G RO U N D, ADJACENT TO EAST WALL

UP -J 54-01 DRA INAGE COVE R, ME TA L OXIDIZATIO N, GRO U ND, ADJACENT TO WEST WALL

MP -J 53-01 DRA INAGE COVE R, GRO U ND, A DJAC E NT TO WEST WALL

S ECTI ON A A - 4 RE FE RE NC E S ECT IO N

UP-J58-01

336 1709 150

195 195 195 195 195 195

5 5 5

PRODUCED BY AN AUTODESK STUDENT VERSION

MP -J49 -01 MA NH O LE COVE R , G R O U ND, APPR OXI MAT E G EO M ET R I C C EN T RE O F I NT ER N AL S PAC E

PRODUCED BY AN AUTODESK STUDENT VERSION

S RU P - D R - 00 - 01 4 05 1: 2 5 @A 2

S PAT IO -ACO U STI C F REQU E NCY PE AK G R I D LI N ES 59 - 73

AC-E6 5 -01 T EXTU R E D CO N C R ET E D E TAI L , WE ST WA LL /S O F FI T

S ECT IO NA L AS S E MBLY ON TOLO GY R EP ORT

MP - E64 -01 MOVE ME N T J O IN T B E TWEE N TILE , CO BWE B DE TA IL , EA ST WA L L

PRODUCED BY AN AUTODESK STUDENT VERSION 60

250

500

SCALE IN MILLIMETRES

26:1

1000

UP-H64-01

MP-E63-01

AC-E65-01

500

95 95 95 95 95 5 5 5 5 5

MP-E64-01

2500

MP-E66-01

UP-G69-01

S R U P -DR -0 0 -01 31 5 1 :25 @A 2

15:1

MP-D72-01

S ECTI ON A A - 5 RE FE RE NC E S ECT IO N

MP-D71-01

MP - D 72- 01 L EGACY LIGH T F IT TIN G F IXING S , WEST WALL /S O F F IT

UP - G6 9 -01 L EGACY HA NDRA IL MO U NT, ME TA L OXID IZ ATIO N , WEST WALL

UP -H 6 4-01 MOVE ME NT J O INT (A PPROX 620 0 m m CENTRES ) BETWEEN TILE , CO BWEB D ETAIL , EAST WALL (A RT IFIC IA L LY L IT )

MP -D7 1 -01 IN T E RIO R L IG H T DU CT ING (TO OVE RCO ME SHA RP INC L INE ), E A ST WA L L

PRODUCED BY AN AUTODESK STUDENT VERSION

MP - E6 6 - 01 G REE N PAIN T SPL AT T E R, L IG H T FIT T IN G , E A ST WA L L /SO FFIT

M P -E6 3 -01 WALL /SO F FI T JO I N , CO BWEB DE TA I L , WEST WA LL /S O F FI T

195 195 195

5 5 5 5 5

195 195 195 195 195

5 5 5

336 1709 150

U N D ER PA SS I N G PRODUCED BY AN AUTODESK STUDENT VERSION

94 PRODUCED BY AN AUTODESK STUDENT VERSION

On to lo g y Rep o r t

S RU P - D R - 00 - 01 4 06 1: 2 5 @A 2

S PATI O -ACO U ST IC F R EQ U E N CY PE AK G R I D LI N ES 7 1 - 7 9

AC- H 79 -01 DA R K ACCEN T EN G I NE ER I N G B R I CK , WEST WAL L

S ECT IO NA L AS S E MBLY ON TOLO GY R EP ORT

PRODUCED BY AN AUTODESK STUDENT VERSION 72

MP - G75 - 01 LEG ACY H A N DRA IL MO U N T, WE ST WA L L

MP-D71-01

500

250

500

SCALE IN MILLIMETRES

95 95 95 95 95 5 5 5 5 5

1628

MP-D73-01

1000

UP-H76-01

MP-G75-01

UP-G78-01

2500

MP-G79-01

AC-H79-01

8:1

S R U P -DR -0 0 -01 31 6 1 :25 @A 2

MP-H80-01

S ECTI ON A A - 6 RE FE RE NC E S ECT IO N

MP-H82-01

M P - H 82- 01 CO N CRETE D RAINAG E CH ANNEL DAM AG E , EXPO S ED HARD CO RE , GRO U N D, ADJACENT TO WEST WALL

UP - G78-01 DA RK ACC E NT E NGINE E RING BRIC K , WEST WALL

UP -H 76 -01 C HIPPE D WHIT E PA INT O N WA L L T ILE , O RIGIN AL TILE EXPO S ED BEN EATH, EAST WALL

MP -H 8 0 -01 DA RK ACC E N T E NGINE E RING BRIC K , WE ST WA L L

PRODUCED BY AN AUTODESK STUDENT VERSION

MP - G7 9 -01 RECO N ST ITUT E D CO N C RE T E BRIC K , WE ST WA L L

195 195

5 5 5 5 5 5

195 195 195 195 195 195

5 5 5

336 1709 150

100 754 146 2266

PRODUCED BY AN AUTODESK STUDENT VERSION

M P - D73 - 01 L EG ACY E LECT R I CAL D U CT I N G , WE ST WA LL

PRODUCED BY AN AUTODESK STUDENT VERSION

U N D ER PA SS I N G

S RU P - M P -A1 4 -01 N TS

M AC RO PH OTOG RA PH ON TOLO GY R EP ORT

SR UP -MP -D16-01 N TS

MACRO PHOTOGRAPH ON TOLO GY R EP ORT

On to lo g y Rep o r t

U N D ER PA SS I N G

S RU P - M P - E 1 8 -01 N TS

M AC RO PH OTOG RA PH ON TOLO GY R EP ORT

SR UP -MP -E18-02 N TS

MACRO PHOTOGRAPH ON TOLO GY R EP ORT

On to lo g y Rep o r t

SR UP -MP -E22-01 N TS

100

U N D ER PA SS I N G

MAC RO PHOTOGRAPH ON TOLO GY R EP ORT

On to lo g y Rep o r t

101

S RU P - M P - F 22- 01 N TS

M AC RO PH OTOG RA PH ON TOLO GY R EP ORT

102

U N D ER PA SS I N G

S RU P - M P - G 28 - 01 N TS

M AC RO PH OTOG RA PH ON TOLO GY R EP ORT

On to lo g y Rep o r t

103

S RU P - M P - E3 0- 01 N TS

M AC RO PH OTOG RA PH ON TOLO GY R EP ORT

SR UP -MP -E31-01 N TS

104

U N D ER PA SS I N G

MAC RO PHOTOGRAPH ON TOLO GY R EP ORT

On to lo g y Rep o r t

105

S RU P - M P - F 31 - 01 N TS

M AC RO PH OTOG RA PH ON TOLO GY R EP ORT

106

U N D ER PA SS I N G

S RU P - M P - G 35 - 01 N TS

M AC RO PH OTOG RA PH ON TOLO GY R EP ORT

On to lo g y Rep o r t

107

S RU P - M P - E3 8 - 01 N TS

M AC RO PH OTOG RA PH ON TOLO GY R EP ORT

108

U N D ER PA SS I N G

S RU P - M P -J 42 - 01 N TS

M AC RO PH OTOG RA PH ON TOLO GY R EP ORT

On to lo g y Rep o r t

109

S RU P - M P - H 45 - 01 N TS

M AC RO PH OTOG RA PH ON TOLO GY R EP ORT

110

U N D ER PA SS I N G

S RU P - M P -J 45 - 01 N TS

M AC RO PH OTOG RA PH ON TOLO GY R EP ORT

SR UP -MP - G47-01 N TS

MACRO PHOTOGRAPH ON TOLO GY R EP ORT

On to lo g y Rep o r t

111

112

U N D ER PA SS I N G

S RU P - M P -J 49 - 01 N TS

M AC RO PH OTOG RA PH ON TOLO GY R EP ORT

SR UP -MP - G49-01 N TS

MACRO PHOTOGRAPH ON TOLO GY R EP ORT

On to lo g y Rep o r t

113

SR UP -MP -E51-01 N TS

114

U N D ER PA SS I N G

MAC RO PHOTOGRAPH ON TOLO GY R EP ORT

On to lo g y Rep o r t

115

S RU P - M P - E53 - 01 N TS

M AC RO PH OTOG RA PH ON TOLO GY R EP ORT

116

U N D ER PA SS I N G

S RU P - M P -J 53 - 01 N TS

M AC RO PH OTOG RA PH ON TOLO GY R EP ORT

SR UP -MP -E55-01 N TS

MACRO PHOTOGRAPH ON TOLO GY R EP ORT

On to lo g y Rep o r t

117

118

U N D ER PA SS I N G

S RU P - M P - E6 3 - 01 N TS

M AC RO PH OTOG RA PH ON TOLO GY R EP ORT

SR UP -MP -E64 -01 N TS

MACRO PHOTOGRAPH ON TOLO GY R EP ORT

On to lo g y Rep o r t

119

120

U N D ER PA SS I N G

S RU P - M P - E6 6 - 01 N TS

M AC RO PH OTOG RA PH ON TOLO GY R EP ORT

On to lo g y Rep o r t

121

S RU P - M P - D 7 1 - 01 N TS

M AC RO PH OTOG RA PH ON TOLO GY R EP ORT

122

U N D ER PA SS I N G

S RU P - M P - D 72 - 01 N TS

M AC RO PH OTOG RA PH ON TOLO GY R EP ORT

On to lo g y Rep o r t

12 3

S RU P - M P - D 73 - 01 N TS

M AC RO PH OTOG RA PH ON TOLO GY R EP ORT

SR UP -MP - G75-01 N TS

1 24

U N D ER PA SS I N G

MAC RO PHOTOGRAPH ON TOLO GY R EP ORT

On to lo g y Rep o r t

125

S RU P - M P - G 79 - 01 N TS

M AC RO PH OTOG RA PH ON TOLO GY R EP ORT

126

U N D ER PA SS I N G

S RU P - M P - H 8 0- 01 N TS

M AC RO PH OTOG RA PH ON TOLO GY R EP ORT

On to lo g y Rep o r t

127

S RU P - M P - H 8 2- 01 N TS

M AC RO PH OTOG RA PH ON TOLO GY R EP ORT

SR UP -AC-J 17-01 1: 1 @ N/A

128

U N D ER PA SS I N G

ALGINATE CAST ON TOLO GY R EP ORT

SR UP -AC-J 26-01 1: 1 @N/A

ALGINATE CAST ON TOLO GY R EP ORT

On to lo g y Rep o r t

129

SR UP -AC- G43-01 1: 1 @ N/A

130

U N D ER PA SS I N G

ALGINATE CAST ON TOLO GY R EP ORT

SR UP -AC-J 49-01 1: 1 @N/A

ALGINATE CAST ON TOLO GY R EP ORT

On to lo g y Rep o r t

131

SR UP -AC-E65-01 1: 1 @ N/A

132

U N D ER PA SS I N G

ALGINATE CAST ON TOLO GY R EP ORT

SR UP -AC-H79-01 1: 1 @N/A

ALGINATE CAST ON TOLO GY R EP ORT

On to lo g y Rep o r t

133

134

U N D ER PA SS I N G

S RU P - U P - I1 7- 01 N TS

M I CRO PHOTOG RA PH ON TOLO GY R EP ORT

On to lo g y Rep o r t

135

S RU P - U P - H24- 01 N TS

M I CRO PHOTOG RA PH ON TOLO GY R EP ORT

136

U N D ER PA SS I N G

S RU P - U P -J 28 - 01 N TS

M I CRO PHOTOG RA PH ON TOLO GY R EP ORT

On to lo g y Rep o r t

137

S RU P - U P - I33- 01 N TS

M I CRO PHOTOG RA PH ON TOLO GY R EP ORT

138

U N D ER PA SS I N G

S RU P - U P -J 43 - 01 N TS

M I CRO PHOTOG RA PH ON TOLO GY R EP ORT

On to lo g y Rep o r t

139

S RU P - U P - H47- 01 N TS

M I CRO PHOTOG RA PH ON TOLO GY R EP ORT

14 0

U N D ER PA SS I N G

S RU P - U P -J 5 4- 01 N TS

M I CRO PHOTOG RA PH ON TOLO GY R EP ORT

On to lo g y Rep o r t

1 41

S RU P - U P -J 5 8 - 01 N TS

M I CRO PHOTOG RA PH ON TOLO GY R EP ORT

142

U N D ER PA SS I N G

S RU P - U P - H6 4 - 01 N TS

M I CRO PHOTOG RA PH ON TOLO GY R EP ORT

On to lo g y Rep o r t

14 3

S RU P - U P - G 6 9 - 01 N TS

M I CRO PHOTOG RA PH ON TOLO GY R EP ORT

14 4

U N D ER PA SS I N G

S RU P - U P - H76 -01 N TS

M I CRO PHOTOG RA PH ON TOLO GY R EP ORT

On to lo g y Rep o r t

145

S RU P - U P - G 78 - 01 N TS

M I CRO PHOTOG RA PH ON TOLO GY R EP ORT

C onclusion

CO N CLUS I O N The survey methodology outlined in this Design Thesis show a far clearer concern and understanding of the existing, something wider architectural practise too must begin to appreciate. By acting to reveal the hidden beauty in what we have already imparted onto the earth, we may also find intrinsic value and evidence to support the protection of those objects, slow extractivism, and hence slow the degradation of the environment. This methodology and survey alone cannot save the planet, but they could influence architects, clients and planners towards making more ecologically sustainable decisions; the reason for which this thesis exists. Through appreciating the built form as an assemblage of information, from city-wide to well within the confines of a millimetre, we can begin to understand more about the world we have already built, in order to preserve a better one for the future.

C o n c lu s i o n

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