Jack Callaghan Portfolio

ACADEMIC PORTFOLIO CREATIVE SYNERGIES STUDIO 2020/21 STAGE 3

JACK M CALLAGHAN 180208818

CONTENTS

ILLUSTRATIVE REFLECTIVE REPORT

002

FRAMING

005

CASE STUDY EXTRACT

047

TESTING

053

SYNTHESIS

080

ILLUSTRATED CULTURAL BIBLIOGRAPHY

121

BIBLIOGRAPHY AND LIST OF ILLUSTRATIONS

125

APPENDIX

127

NEW WORK (FULL PAGE) AMENDED/IMPROVED WORK (FULL PAGE) NEW WORK (SPECIFIC ILLUSTRATION ON PAGE) 1

(Fairs, 2009)

ILLUSTRATED REFLECTIVE REPORT

actual building structure, relying on natural resources and emitting large amounts of CO2, things did not add up. On completion of the module my intention was to experiment with alternative strategies that would reduce the amount of concrete the building was utilizing.

It wasn’t until this year that I came to the realisation that architecture does not sit as its own entity but is engaging with social, environmental, political, cultural and economic spheres. The design practice begins with the wider issues that need addressing not the architecture. Through rigorous research and using architecture as a catalyst to challenge, our studio Creative Synergies aimed at trying to reduce the inexcusable contribution our profession has on our current climate crisis. In the UK, 36% of all measured waste is generated by the construction industry and it is one of the only industries where there is more waste being produced now than at the start of the century. Due to the climate crisis there is an increased focus on the levels of waste produced on an individual and global scale and how we are dealing with this waste. My graduation project aimed to address these issues on construction waste by devising a scheme that repurposes demolition waste into sustainable ecologically sound hand-made construction bricks, combining industry and craft.

ILLUSTRATION ‘THE DEMOLITION ISSUE’ - FRAMING

(Abdallah, 2018)

(Abdallah, 2018)

The theoretical explorations carried out in the Theory Into Practice module helped me to critically reflect on the projects line of enquiry and how it was forming a relationship with social, architectural and theoretical realms. I was intrigued by the philosophies of Samuel Mockbee’s Rural Studio and his believes that architecture served an ethical purpose with a responsibility to serve a community. Students were designing for the poorest members of Rural Alabama often with salvaged, reused, repurposed materials. The essay explored the meaning and importance of craft in an architectural landscape and how the tacit knowledge that emerges from craft could potentially form a praxis that follows Mockbee's call to challenge the status quo of design practice. The module was essential in translating these theoretical perspectives to my design practice and greatly influenced the craft narrative in my line of enquiry.

The ARC3014 Professional Practise module integrated itself closely to the design module and provided an opportunity for me to look at my building through a practical perspective, giving me an insight into how a project of this scale would be implemented and procured in reality. The module also gave me an understanding of how the building was responding in a socio-environmental context. Initially I was proposing that the building was to be constructed by a series of massive concrete shell forms and then the bricks clad to it. From writing the section of the module which engaged with issues of climate change and an architects’ obligations to sustainability I began to realise that I was contradicting myself. My projects programme was concerned with trying to form solutions to environmental issues arising from how we handle waste, our reliance on natural resources and trying to mitigate much of the carbon emissions found in the conventional brick making process, however, I was then proposing to use a massive amount of concrete for the

PAVILION EXPLORATION ITERATION - COMPARISON TO SAMUEL MOCKBEE’S RURAL STUDIO - FRAMING

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PROGRESSION OF STRUCTURAL STRATEGY ARC3013 27 26

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ARCH FACADE AND INTERIOR STRUCTURE 1

REPURPOSED BRICK EXTERNAL CLADDING

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CONCRETE SHELL STRUCTURE 300mm

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BRICK SUPPORT BRACKET / SERVICES CAVITY 40mm

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REPURPOSED BRICK INTERNAL CLADDING

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CONCRETE LINTEL

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GLASS DOOR

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DOOR FRAME

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VAPOUR CONTROL LAYER

INTERMEDIATE FLOORING 9

CONCRETE FINISH SCREED WITH UNDERFLOOR HEATING

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RIGID INSULATION 100mm

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STEEL BEAMS W/ SPACE FOR SERVICES

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CONCRETE CEILING FINISH

INTERNAL WALL 13

REPURPOSED BRICK CLADDING

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RIGID INSULATION 100mm

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CONCRETE WALL

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REPURPOSED BRICK CLADDING

FLOORING 17

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My thinking through making piece helped me to reflect on how the structural strategy for my building and how I could translate the sustainable philosophies of my building programme into the very fabric of the building. I wanted my building to speak of bricks structural capabilities and aesthetic qualities. I became intrigued

by The Catalan Masonry technique also referred to as timbrel vaulting. These thin masonry spans of overlapping brick tiles woven together with fast-setting mortar are structures that no architects today would dare build without the correct steel reinforcements, but research from Michael Rampage shows how the marriage of modern materials with traditional craft techniques allows for both to capitalize on the strengths of each. The thinking through making experiment was fundamental in contributing to the final design outcome as this vaulting technique explored then became the dominant construction technique exhibited in the building and also expressed the ideas about implementing craft in a modern context successfully.

CONCRETE FINISH SCREED WITH UNDERFLOOD HEATING

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RIGID INSULATION 100mm

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JOISTS AND CAVITY FOR SERVICES

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IN-SITU CONCRETE FLOOR

LEFT: 1:20 ITERATION SHOWING CONCRETE SHELL STRUCTURE WITH BRICK CLADDING

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CONCRETE PILE FOUNDATION CONCRETE PILE CAP

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PERFORATED DRAIN 60mm

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HARDCORE GRAVEL LAYER 90mm

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BLINDING 80mm

RETAINING WALL 26

PRECAST CONCRETE PANEL

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BACKFILL 100mm

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RIGHT: 1:20 FINAL SECTION SHOWING TIMBREL VAULTING STRUCTURE 17

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The final design realisation is an accumulation of the ideas and theories explored throughout the three stages of the design module and other relevant modules.

Although the ideas explored during the Framing stage of participation and collaboration during the construction process did not fully translate themselves to the finalised design outcome, they were fundamental to the overall progression of the project’s narrative, and with each stage the narrative went through there was the same underlying intention which unified its progression, to challenge. My site, the Ouseburn Valley, a post-industrial area undergoing major development brings fears from the community over social displacement. My project aims to respect the valleys industrial history and integrate itself within the strong craft culture now present in the valley. The increase in developments has also caused an increase in demolitions. I believe that my project is important in addressing how we as a society handle waste our waste.

STEEL CABLE FORMWORK

LEFT: SNIPPET OF FINAL DESIGN REALISATION SHOWING TIMBREL VAULTING STRUCTURE RIGHT: ADAPTING TIMBREL VAULTING TECHNIQUE EXPLORED IN TTM TO BUILDING

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FOUNDATIONS 22

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In previous years it was commented that my ambition to address material and technical issues was lacking and that technology was the weakest element in my work. This year one of my main personal goals was to improve my technical understanding and the ARC3013 provided me an opportunity to do so. I feel that I engaged with the challenges that arose from implementing the vaulting construction technique explored previously on a larger scale and adapting it to the challenging nature of my site in an appropriate manner. I came to the conclusion that as a designer it is crucial to consider the construction strategy for the building at the beginning of the design process which ultimately results in the technology aspect to become much more intrinsically connected and apartment in the buildings final realisation, rather than it being considered at a later stage in the design process which I was guilty of doing in previous years. This module was challenging but rewarding and I feel that I have made great strides in my technical understanding, it was a great learning experience and greatly influenced the final design realisation.

LEFT: PETER RICH ARCHITECTS MAPUNGUBWE INTERPRETATION CENTRE - EXAMPLE OF TIMBREL VAULTING IN REAL LIFE RIGHT: THINKING THROUGH MAKING MODEL REPLICATING THE CONSTRUCTION PROCESS

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CREATIVE SYNERGIES STUDIO INTRODUCTION

KEY STUDIO THEMES

The central question which guided our studio was what role the institution of education, and the spaces in which it takes place, can play in consolidating and mediating between transient and established communities?

PROCESS

The studio Creative Synergies aims to create a synergy between academia and the community of Ouseburn by proposing an institute that hosts a particular research specialism. Through our research we explore the various functions, processes, skills and materiality involved in the art of hands-on making, architectural craft and a tactile appreciation of space and volume and gauge how compatible these are in a future of cutting edge architectural research, and wider sustainable strategies aimed at trying to reduce the professions inexcusable contribution to the ongoing climate crisis.

I aim to begin framing with trying to gain an understanding of the historical processes that the Ouseburn underwent from its industrial past and how it now sits at this interesting juncture of an ever changing social and architectural reclassification. Through the processes of mapping, sketching, research and talking to members of the community I aim to unpick the Ouseburns multitude of different layers that will begin to inform my initial line of enquiry for a synergy.

The studio places an emphasis on rigorous research and process.

SUSTAINABILITY / RESEARCH I am fully aware of the contribution our profession has on the current climate situation and throughout framing I aim to begin addressing some of these issues involved in this climate dilemma and as the year progresses I hope of forming solutions through the research that my institute will facilitate.

Rigorous research will allow me to gain a thorough understanding of the unsustainable processes our profession is guilty of in contributing to the climate crisis, and by having this understanding it will allow me to begin addressing them in an appropriate manner.

CRAFT Ouseburn was historically a site of significant industry and craft, in its present form it is bustling with a variety of small scale craft businesses and individuals. I intend to respect the Ouseburns craft culture in my explorations and throughout framing I aim to explore the role of craft in an architectural setting and how through a reduced engagement with craft in modernity its return could potentially form a catalyst in breaking up social complacency.

FRAMING

The framing stage began with an ambition to gain a thorough understanding of the Ouseburn and its postindustrial landscape. From interacting with members of the community it provided a greater insight into some of the social issues currently present in the valley and the fears over community displacement due to the rise in post-industrial regeneration and development. As the framing stage progresses the narrative for my line of enquiry shifts, this was when I came to realisation that I was not responding to the brief in accordance with the site and its context and that I needed to revolve my narrative around the current issues and challenges present within the local and wider context. I noticed the increase in demolitions due to the increase in developments and regeneration in the local context.

Ultimately, from this I aimed to address how we as a society handle our waste, focussing on the construction sector and from researching circular economic methods, I engaged with ideas on how to repurpose and utilize construction waste as a resource. A pavilion exploration was used as a method to translate these

initial ideas into a realised 3d form. It engages the three main themes explored during the framing stage: reintroducing craft in a modern context, reclamation and reuse and collaboration and participation during the construction phase.

OUSEBURN VALLEY, ENGLAND

The explorations for the project take place within the Ouseburn Valley. A small tributary of the River Tyne located in the North East of England.

As seen from the photography Ouseburns architectural landscape is characterised by a dynamic post-industrial landscape with many of these industrial fragments still remaining today.

Over the course of the last decade the valley has become increasingly more developed as it gains more attention from developers.

We began the framing stage by sub-dividing our studio into three groups to analyse and explore particular segments of the Ouseburn, the groups consisted of: 1. Past, Present and Future, 2. Communities, 3. Landscapes.

AERAL VIEW OF THE OUSEBURN VALLEY (Google Earth Pro) SERIES OF PHOTOGRAPHS FROM SITE VISIT DEPICTING CHARACTER AND LOCATION OF OUSEBURN

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PAST AND PRESENT

BUSINESS

RESIDENCE

The Ouseburn was once the cradle of the industrial revolution in Newcastle, with a cluster of heavy crafts and industries in the area.

However, by the mid-twentieth century these industrial buildings eventually fell into disuse and dereliction. Since the 1970’s they have been increasingly utilised as creative workspaces by artists, musicians, designers, printmakers and brewers. Ouseburn is a thriving community that attracts an eclectic crowd.

ATTRACTION

(Ouseburn Then and Now, 2020)

(AUTHORS PHOTOGRAPH)

(Ouseburn Then and Now, 2020)

(Ouseburn Then and Now, 2020)

(Ouseburn Then and Now, 2020)

(Ouseburn Then and Now, 2020)

INDUSTRIAL LATE 20th CENTURY

The diagram on the right depicts Ouseburns shifting landscape as it moves out of the industrial era into the 21st century. Due to its close proximity to Newcastle City Centre it has become an increasingly more desirable place to live with a surge in new developments.

BUSINESS

By gaining an understanding of Ouseburns past and its ever shifting landscape allowed me to start developing a scheme which can respect its rich industrial heritage to ensure that my institute will be relevant to the local and wider contexts.

RESIDENCE

ATTRACTION

PAST

PRESENT

INDUSTRIAL 21st CENTURY

DIAGRAMMING THE VALLEYS SHIFTING LANDSCAPE (GROUPWORK NOT PRODUCED BY AUTHORS GROUP)

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OUSEBURN VALLEYS HISTORICAL TIMELINE (GROUPWORK NOT PRODUCED BY AUTHORS GROUP)

COMPARING OUSEBURNS PAST AND PRESENT

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VOICES OF THE OUSEBURN

"It's magic! I have been coming here since the 1970s. Everyone comes to socialise and enjoy the beautiful nature"

“It’s soo lovely now..

Remember when we were groovin’ over there? We had nowhere else to go. [...] It was all abandoned.. So free. Now it’s all been torn down”

PORTRAITS OF COMMUNITY MEMBERS FROM SITE VISIT (GROUPWORK PRODUCED BY AUTHORS GROUP)

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To gain a more intimate understanding of the Valley our group approached members of the community whilst on site to ask them how they viewed the valley.

Some of the common themes that occurred where that the valley was almost like an escape from the bustling City Centre of Newcastle. Its vibrancy and tranquil character was what brought people to visit the valley, however, due to the ongoing developments and proposals there was a shared fear that the valley will inevitably become more gentrified and the effect that this will have on its current character could be detrimental.

“Yeah 40 odd years I’ve been here. [...] Everything is always in flux. [...] Yeah revived and bohemian.. That’s yous say nowadays”

“What I am more concerned about is this London Eye thing going up right down there by the Tyne. The Whey Aye I think it will be called.”

“Man the area has changed!

Now that these residential areas are coming up it’s simply not what it used to be! We used to have the best parties and events here but now.. too much noise!”

VOICES OF THE OUSEBURN (PRODUCED BY AUTHOR)

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(Newcastle Quayside ‘Whey Aye’ Ferris wheel plan approved, 2019)

(Holland, 2020)

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O I T A C

PROPOSED: WHEY AYE WHEEL - 440ft tall ‘Whey Aye’ wheel, a 39ft statue named ‘The Geordie Giant’

PROPOSED: ST ANN’S QUAY, EAST QUAYSIDE AREA - 14-storey development on Newcastle’s Quayside that would include 291 flats

PROPOSED: ST LAWRENCE ROAD, OUSEBURN - New block of high-end river view homes

(Ford, 2019)

(Holland, 2021)

(Holland, 2019)

PROPOSED: ST LAWRENCE ROAD - Plans for 50 flats overlooking the river Tyne

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PROPOSED: UPTIN HOUSE STUDENT SCHEME - Six storey, 219 bed student apartment scheme

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(Ford, 2016)

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(Holland, 2019)

PROPOSED: MALMO QUAY, QUAYSIDE - Major new “18-storey” housing scheme

IN DEVELOPMENT: QUAY TIMBER SITE, HUME STREET - 51 new luxury flats and two offices

(Dickinson, 2018)

(Planning Update 25th Jan 2017, 2017)

PROPOSED: APARTMENT HOTEL - Modern 18-bed apart-hotel

PROPOSED: EAST QUAYSIDE AREA - 130 new apartments and multi storey car park

LEFT: A RANGE OF PROPOSALS SET TO BE DEVELOPED WITHIN THE VALLEY RIGHT: COLLAGE EXPRESSING THE SHARED FEAR OF GENTRIFICATION WITHIN THE VALLEY (PRODUCED BY AUTHOR FOR AUTHORS GROUP)

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INITIAL RESPONSE TO THE OUSEBURN “COMMUNITY VS DEVELOPERS”

From visiting the Ouseburn, talking to the residents, and enjoying the valleys amenities I began to grow an attraction for the area. I began to share the same fear of those residents we initially talked to, I didn’t want the Ouseburn to become gentrified, although there are particular benefits to interest from developers I felt that perhaps developers intentions sway away from benefiting the overall community and are more about making profit even if they mask their ultimate intentions behind a desire to truly benefit the community.

The Ouseburn seems to be a community moulded off interest and skills rather than a community in the traditional sense where people live and work. The map on the left depicts the shear amount of creative businesses and individuals within the valley. For my project I aim to celebrate the creative variety within the Ouseburn and for it to ultimately tie itself into the valleys craft culture.

MAPPING CREATIVE BUSINESSES WITHIN THE VALLEY

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VISUALISING INITIAL RESPONSE TO THE OUSEBURN COMMUNITY; THE FEARS OVER DISPLACEMENT AND GENTRIFICATION IN THE AREA

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INITIAL RESPONSE TO THE ACADEMY

We began forming our initial interests in the academy by researching teaching methods utilized here at Newcastle University. Whilst researching collaborative teaching methods we where intrigued by the variety of both interdisciplinary live projects between different departments of the academy and live projects where there’s collaboration between the academy and wider communities.

(Ouseburn Culvert Bandstand — Raskl. Art+Architectural Production, 2017)

(Ouseburn Culvert Bandstand — Raskl. Art+Architectural Production, 2017)

These are usually a response to a real world need and contributing to a live project can be seen as a great learning opportunity to gain and develop new skills rewarding and valuing communication and participation.

THE OUSEBURN BANDSTAND In the context of Ouseburn, The Ouseburn Bandstand was a collaboration project between Northumbria and Newcastle architecture societies in association with Ouseburn Trust. The aim was to encourage the use of green spaces in the area. The visualisation on the right aims to depict the collaboration between students and the community during the construction of the stand.

I aim to harness the same collaborative spirit for my project and provide an opportunity for participation of both architecture students and members of the community.

(Ouseburn Culvert Bandstand — Raskl. Art+Architectural Production, 2017)

PHOTOS FROM CONSTRUCTION PHASE OF THE OUSEBURN BANDSTAND

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VISUALISING INITIAL RESPONSE TO THE ACADEMY; THE OUSEBURN BANDSTAND CONSTRUCTION PROCESS

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INITIAL RESPONSE TO A SYNERGY

(Ouseburn Trust, 2021)

My initial ideas for a synergy between the academy and Ouseburn was the participation in the process of wooden boat building. The reasoning was that it was the perfect opportunity for collaboration due to its inevitable co-operative process. The underlying intention is to divert architecture students away from a paper based education towards a more hands-on learning experience in the form of the intricate art of boat building and begin to form a relationship and understanding of the materials and processes involved.

The process of boat building also respects and pays tribute to the important history boating played during the industrial revolution in Ouseburn and Newcastle.

MOTOR CLUB MEMBERS IN THE 1950’S (Ouseburn Trust, 2021)

The River Tyne was world renowned for its industrial heritage of shipbuilding and the exporting of coal.

However, also the diversity of sporting and leisure activities that derived from the river. Fishing, swimming and sailing were essential skills for people who lived nearby and relied on the river and the sea for food and income. (Ouseburn Trust 2021)

ORNATE CABINS ON BOATS IN THE 1950’S

VISUALISING INITIAL RESPONSE TO A SYNERGY BETWEEN THE ACADEMY AND COMMUNITY; THE INTRICATE AND COLLABORATIVE ART OF BOATBUILDING

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FROM SHIELDFIELD

OFFICE FURNITURE SHOP

NEWCASTLE CITY CENTRE

BYKER SLIPWAY

THE PAVILION THE SITE

ABANDONED

FROM WEST OUSEBURN

The pavilion acts as a pilot study for the final institute and provides an opportunity to think through my line of enquiry and formulate some of my initial research and ideas in a 3 dimensional form.

SLIPWAY FROM SOUTH HEATON

OUSEBURN RIVER WALK

The site for this exploration sits at the heart of the Ouseburn alongside the river. The reasoning for choosing this site was its strong relationship to boating and provided an opportunity to explore my initial idea for a boat building synergy. It has direct access with an unused slipway originally used for coal exportation during the industrial revolution. The Newcastle Motorboat Club is also situated onsite and use the slipway for the maintaining of their boats.

FROM TYNE RIVER

NEWCASTLE-UPON-TYNE MOTOR CLUB - CLUBHOUSE

FROM QUAYSIDE FROM QUAYSIDE

ROUTES TOWARDS SITE

EXISTING STRUCTURES ON SITE

PRIVATE

NARROW SLOPING BANK

GATESHEAD

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SITE PHOTOGRAPHY (AUTHOR)

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all while the architectural superstars where rising up in a new global economy . . .

the simple but inventive structures where made of inexpensive, mostly salvaged or donated, often curious materials . . .

. . . American architecture had shifted from civic engagement and socially orientated design to a preoccupation with matters of style (Ouseburn Farm Charity Ltd, n.d.)

Hale County, Alabama, 1990s

(Dancing House Hotel Prague | Official Website | Welcome, n.d.)

Mockbee believed that architects and architecture served an ethical purpose, with a responsibility to serve a community . . .

ghost buildings, abandoned barns, delicate remnants of a more prosperous agarian past . . .

(Kirby, 2015)

using reclaimed and recycled materials is a great way to save costs, but also engage the community

(Huebner, 2010)

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(Cook House, Mockbee/Coker – The Official Website of Samuel Mockbee, n.d.)

we must challenge the status quo of our profession into making responsible environmental and social changes.

Samuel Mockbee begins Rural Studio with the intention of creating housing for the poorest members of the long-forgotten Hale County

(Our Story - Rural Studio, n.d.)

shaped and built by students Mockbee aimed to teach them the fundamentals of not only design and construction, but also of decency and fairness

Mockbee believed that architectural education should expand its curriculum from ‘paper-based architecture”’to the creation of real buildings generating ‘a moral sense of service to the community’

(Abdallah, 2018)

students create something wonderful - architecturally, socially, politically, environmentally, and aesthetically, that’s the mission of the Rural Studio

FAUNAGRAPHIC PIECE UNDER BYKER ROAD BRIDGE

(Dean, Hursley, Chua and Robinson, 2002)

(Dean, 2003)

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THE PAVILION

(Treggiden, 2017)

THE PAVILION

PROCESS - STEAM BENDING

PROCESS - RECLAIMED MATERIALS

From my initial research into the academy I wanted the pavilion to replicate a live project scenario by providing an opportunity for collaboration between architecture students and members of the Ouseburn community.

The self-build aspect would challenge the default way of architectural education from a paper-based education to a more collaborative hands on approach of actually constructing. This would teach students the fundamentals of not only design and construction but also decency and fairness.

A key inspiration for the pavilions narrative is the philosophy behind Samuel Mockbees Rural Studio.

The idea for a steam bent pavilion shifted towards the utilization of a wider range of salvaged and re-used materials as I intended to explore the philosophies of Samuel Mockbees work further.

(Abdallah, 2018)

I used the technique of steam-bending to allow me to translate my initial response of a synergy to the pavilion. As the technique is heavily involved in the crafting of wooden boats it would provide students and the community a hands-on experience with the tools and techniques involved in its process.

(Brady, 2011)

Craft contains the critical thinking that could unpack the current state of architecture - Catherine Rossi

(Rossi, 2017)

INITIAL PAVILION EXPLORATION

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The main purpose of the Rural Studio is to enable each student to step across the threshold of misconceived opinions and to design/build with a ’moral sense’ of service to a community.

- Samuel Mockbee PAVILION ITERATION - EXPLORING MATERIALITY AND FORMING LINKS WITH SAMUEL MOCKBEES RURAL STUDIO

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REGENERATION IN THE VALLEY THE DEMOLITION ISSUE

Due to issues of regeneration and commercialization in the area I noticed the high frequency of demolitions that have occurred from the late 20th century until present within the valley and its periphery, as fragments of Ouseburns industrial past come to the end of their lifespan to make way for these newer developments.

Whilst researching demolition more in depth I came across some shocking statistics that began to shift my line of enquiry.

LEARNT SO FAR Up until now I have been engaging with the idea of creating a pavilion utilizing salvaged materials and introducing craft techniques to architecture students and members of the community to provide an opportunity for collaboration and participation with the aim of reintroducing craft in a modern context as a methodology to break up social complacency.

However, I was not letting the architecture evolve out of the culture and the place. Some of the salvaged and repurposed material choices I was proposing to engage with where not appropriately related to the context of Ouseburn.

DEMOLISHED

PROPOSED TO BE DEMOLISHED

AREAS FOR POTENTIAL DEVELOPMENT

PAVILION SITE

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In the UK, the construction industry accounts for 60% of all materials used, while also generating 36% of all measured waste. While there are a significant amount of problems that arise from the overproduction of materials and increase in demolition waste. There is one considerable issue with sending the waste straight to landfill; we are running out of space to store it!

ILLUSTRATION BY AUTHOR (STATISTIC SOURCE: (Waste statistics - Statistics Explained, 2018))

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SPILLER’S TYNE MILL WAS COMPLETED IN 1938 AND WAS THEN THE TALLEST FLOUR MILLING BUILDING IN THE WORLD; DEMOLISHED 2011 (Imaging, 2011)

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While the composition of demolition wastes are highly variable depending on the project and the construction technique utilized. Much of building waste is made up of high carbon materials such as bricks and concrete with these two together contributing on average to 40-80% of the composition of construction and demolition waste.

(Gálvez-Martos and Istrate, 2020)

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The construction industry is now one of the only industries where there is more waste being produced in the present moment than at the start of the century.

(Waste statistics - Statistics Explained, 2018)

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OUSEBURNS BRICK-SCAPE

Brick was a significant material used throughout the industrial revolution as it made construction quicker and simpler for bricklayers. Due to the rich industrial history in the Ouseburn brick is the most common material present. New and proposed developments are aiming to respect this existing architectural landscape by utilizing brick as the main cladding material.

OUSEBURNS MATERIAL LANDSCAPE; AUTHORS OWN PHOTOGRAPHY

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POST INDUSTRIAL LANDSCAPE

NEW DEVELOPMENTS 36

CIRCULAR ECONOMY A SOLUTION TO THE WASTE PROBLEM

‘Our economic system is based on the principles of the exhaustion of natural resources for the purpose of production, entailing the fabrication of waste. This system functions at the expense of our social integrity and environmental sustainability.’

We cannot condone the devastating effects the current linear economy model has posed for the planet, we must challenge our misconceptions over waste, other than seeing it as something which must be banished or discarded, we must view it as an opportunity; from cities producing waste, to waste regenerating cities. This is how we move forward.

- (Hebel, Wisniewska, and Heisel, 2015) The concept of a circular economy seeks to change this failing economic model. Unlike linear economics where a product is produced, utilized and then ultimately becoming waste, in a circular system the waste returns to the production process and is used as the catalyst for the production of new products.

ECONOMIC MODELS IN CONSTRUCTION INDUSTRY

LINEAR ECONOMIC MODEL 37

CIRCULAR ECONOMIC MODEL 38

THE PAVILION FINAL ITERATION

OUSEBURN LOOKOUT SHELTER The final pavilion iteration is an accumulation of the ideas and themes explored throughout the framing stage. It manifests itself as a look out shelter along a tranquil riverside walk in the heart of the valley.

1.

REINTRODUCING CRAFT

The pavilion utilizes a traditional vaulting technique named timbrel vaulting. A 14th century building technique it relies on the adhesion of several layers of overlapping brick tiles which are woven together with fast setting mortar. This technique reintroduces this ancient craft in a modern context and provides participants with a tactile experience with the brick.

2.

RECLAMATION AND RE-USE

The pavilion is constructed using reclaimed bricks from local demolition sites. The pavilion acts in a circular economic model by utilizing waste and mitigating the amount of brick that ends up in landfill. Responding to the current climate crisis the pavilion acts as a model for reuse.

3.

COLLABORATION AND PARTICIPATION

The pavilion is a collaboration project between students of the academy and members of the Ouseburn community. Members will participate directly with the construction of the pavilion providing an opportunity for the sharing of skills and expertise. In terms of the studios academy theme the pavilion acts as a research project into sustainable construction techniques and how they can be adapted to the 21st century.

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SUSTAINABLE CRAFT TECHNIQUES EMPLOYED

PAVILION CONSTRUCTED

A temporary waffle structure is assembled on site and is used as the skeleton upon which the bricks will be laid over

Steel wire mesh then spans over the waffle structure to provide a guide for the laying of the bricks

Repurposed bricks are then cut into slips using a grinder on site. The slips are then applied directly over the mesh using fast setting mortar. Another layer is then applied directly over that in an alternating direction to provide the structure with compressive strength

Construction of waffle structure and steel wire mesh

Cutting the bricks into slips to be attached to wire mesh

Attaching bricks to the wire mesh to construct dome

Once the two layers of bricks have been layered the waffle structure is removed from beneath the brick dome structure.

A round wood frame structure is then constructed and acts as the looking shelter as it exerts itself out towards the river.

BUILDING DEMOLISHED

LOCALLY SOURCED DEMOLITION WASTE BRICKS REPURPOSED

PAVILION CONSTRUCTION PROCESS

A tactile experience with the brick

Construction of round wood frame

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THE PAVILION CREATING CONNECTIONS

As the site on which the pavilion is situated is currently private and inaccessible to the public. The pavilion creates a new walking path parallel to the path on the opposite side of the river creating a gradual approach.

The pavilion transcends beyond the boundaries of site over the river letting visitors immerse themselves in the tranquil and calming atmosphere this part of the Ouseburn radiates, with panoramic views up and down the river.

A GRADUAL APPROACH

PROPOSED PAVILION - 1:1000 PLAN

EXISTING WALKING PATH

FRAMING VIEWS

NEW WALKING PATH

SITE SECTION

PREVIOUS ITERATIONS OF PAVILION; TRANSCENDING SITE BOUNDARIES

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M 50

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50 M

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1:100 SECTION

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10

20 M

5

10

20

1:100 M PLAN 1 2

5

10

M

1

2

5

10

46

THEMATIC CASE STUDY BAUHAUS (AUTHORS EXTRACT - SEE FULL CASE STUDY IN APPENDIX) The next pages are designated to exploring the theoretical journey of the Bauhaus, which was produced as part of the thematic case study project.

The Bauhaus was a German arts and crafts school which operated from 1919 to 1933.

Its overall aim was to unify the individualistic vision of the artist with the principles of mass production. The Bauhaus design vocabulary later became one of the most influential currents in modern design, modernist architecture and art and design education.

I myself have been influenced by the Bauhaus principles, I find the teaching curriculum intriguing, how students had a hands-on approach to learning under supervision with the masters of the crafts in Germany at the time. It shares similar ideas with my line of enquiry, the hands-on learning approach and the sharing of skills and knowledge with various levels of expertise. I enjoy Gropius’ ideology and his human qualities and was very aware of his responsibility as an architect in society.

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49

50

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TESTING

During the testing phase of the project, I developed on the ideas and issues I was addressing during the framing stage and explored these further and more critically. Trying to come to conclusions and aiming to refine a narrative for the project that would unify and address all these different ambitions I had accordingly.

The issues previously discussed on construction waste and reintroducing craft in a modern context became the key drivers for the project. The testing phase integrated itself closely with the ARC3013 technology module. The progression of the structural strategy dictated much of how the design and form for the building progressed.

From analysing the site constraints further, it allowed me to refine the complexity and scale of the proposed programme so that it could be accommodated within the boundaries of the site. The testing stage then progressed with various explorations on how the building envelope and the way in which the building is constructed could translate the sustainable ambitions of the programme.

this then formed the basis for StoneCycling . . .

. . . a company that creates bricks from ceramic, glass and other demolition waste materials

the company approaches its work as a craft . . . in 2017 the UK consumed 2.4 billion bricks . . .

the brick generates less than a tenth of the carbon emissions of a regular brick . . .

. . . throughout the production process they implement old-fashioned craftmanship of handmade brick making

this is because the brick itself is unfired and no cement is used in its process. this is a game changer for the construction sector

the construction sector is one of the biggest contributors to the UK’s carbon emissions . . .

they aim to create the next generation of high-end, sustainable materials . . . all while decreasing the worlds waste streams

. . . kenoteq claim that with a wider distribution of their techology that the UK brick demand could be met if recycled waste materials were made better use of

the scottish company is also minimising the amount of transport required in its process by producing its bricks on-site at a waste and recycling centre in edinburgh debris from construction, demolition and industrial processes is one of the biggest waste streams in the world which is having a massive impact on our environment

Tom Van Soest developed a blender to crush waste materials such as sinks, tiles and glass sourced from demolition sites ALL IMAGERY SOURCED FROM (StoneCycling® | Sustainable and Circular Building Materials)

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we strive to combine the growing availability of waste with the declining availability of raw materials as our motivation to develop new building materials.

they believe that the craftsmanship provides their products with a unique character whilst respecting the evolution of brick making in the technological age their brick production is estimated to use 25% less energy than traditional kiln processes . . .

. . . and since 2011 they have upcycled 550kg of waste in their sustainable building materials

. . . in response to this, along with the shear amount of waste the sector also produces, kenoteq have produced a brick that is made from waste materials from demolition sites.

the eco-friendly k-briq is made from 90% reused materials of which include brick, stone and plasterboard

(Aouf, 2020)

I was concerned that modern construction techniques exploit raw materials without considering that they are amongst the largest contributors to carbon emissions

It is anticipated that construction and demolition volumes will double in the next 30 years, during which time the industry will be required to recycle more and more

(Cousins, 2021) (KENOTEQ - Makers of the K-Briq)

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(Manufacturing Process & Ethical Trading - Imperial Brick Tiles)

THE OUSEBURN BRICK MAKING INSTITUTE DECLARING PROJECT AIMS AND FUNCTION

CRAFTSMANSHIP

RESEARCH

The project aims to be an addition to the craft culture within the Ouseburn Valley by reintroducing the ancient art of hand-made brick making in a modern context. I was intrigued by the methodology that StoneCycling employs in the curation of their bricks. Engaging with traditional hand-made brick techniques to provide each brick its own character and uniqueness. The project aims to adopt the same brick making methodology and by employing these 15th century techniques we respect the craftsmanship and skill which goes into its process providing both staff and visitors with an intimate tactile experience with the material.

The institute will form a link with academic research by accommodation facilities that allow for research into new sustainable construction materials made from demolition aggregate with the aim of supporting a more circular construction sector. Research into sustainable brick making techniques became my way of forming a connection with the Ouseburn. Due to its postindustrial architectural landscape and the increase in developments the brick is the most common material found and in demand within the valley. Bricks made at the institute can eventually be used as the building blocks for future developments both within the valley and wider area.

SUSTAINABILITY AND ENVIRONMENTAL INTENTIONS The project engages with the issues involved with sending construction waste to landfill as discussed and aims to form solutions to this waste dilemma.

Aggregates produced from crushed demolition waste from demolition sites within the North East will act as the catalyst in the production of a clay-like material that is then used in the curation of hand-made bricks.

Reducing the amount of construction waste that ends up in landfill it employs principles of a circular economy by viewing waste as a resource and not something to be discarded. Responding to the studios themes of sustainability and architectural craft, we create a unison between the two inherently different manufacturing realms of industry and craft, reintroducing the ancient art of hands-on brick making in a modern context.

Despite the challenging nature of the site, its narrow character favours the linear process of hand-made brick making. Issues arise in the sites sloping character and proximity to the river. As water levels are on the rise the design will have to take into consideration the concerns over future flooding.

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REINTRODUCING CRAFT IN MODERN CONTEXT SUSTAINABLE CONSTRUCTION TECHNIQUES MITIGATING LOCAL WASTE STREAMS (Traditional brick making methods - Imperial Handmade Bricks)

RESEARCHING NEXT GENERATION OF SUSTAINABLE CONSTRUCTION MATERIALS IMPROVING LOCAL ECONOMY ADOPTING CIRCULAR ECONOMIC METHODOLOGY ENGAGING MEMBERS FROM LOCAL COMMUNITY

“We don't value craftsmanship anymore! All we value is ruthless efficiency, and I say we deny our own humanity that way! Without appreciation for grace and beauty, there's no pleasure in creating things and no pleasure in having them! Our lives are made drearier, rather than richer! How can a person take pride in his work when skill and care are considered luxuries! We're not machines! We have a human need for craftsmanship!”

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AND THE PROCESS REPEATS

THE FINAL PRODUCT IS A ECOLOGICALLY SENSITIVE BUILDING MATERIAL WHICH LOOKS AND ACTS YOUR TYPICAL BRICK

ONCE A BUILDING HAS COME TO THE END OF ITS LIFE IT IS DEMOLISHED.

AND LEFT TO AIR DRY FOR THREE TO FOUR DAYS TO ADEQUATELY SET THE WASTE IS COLLECTED BY LORRY AND SENT TO AN APPROPRIATE FACILITY TO BE CRUSHED

THE BRICK IS THEN DEMOULDED

OUSEBURN BRICK MAKING INSTITUTE THE PROCESS ONCE THE WASTE IS DELIVERED, EACH MATERIAL IS CRUSHED DOWN SEPARATELY INTO FINE AGGREGATE

THE MATERIAL IS THEN MOULDED USING A WOODEN BRICK MOULD WHICH SETS IT IN SHAPE

The diagram shows the circular methodology The Ouseburn Brickmaking Institute employs and the process that the material undergos; from demolition to crushing and finally being used to produce the hand-made bricks.

However, there is no firing involved in the process and the conventional key step of heating the clay to 1350 degrees is cut out of our process, and its all due to the binder used.

THE AGGREGATES ARE THEN TRANSPORTED TO OUR INSTITUTE AND STORED SEPARATELY IN SMALL SILOS BEFORE BEING UTILIZED IN THE PRODUCTION OF OUR BRICKS

ONCE THE INGREDIENTS HAVE BEEN MIXED THE MATERIAL IS WORKED BY HAND TO GAUGE THE CORRECT CONSISTENCY THE AGGREGATES ARE THEN MIXED TOGETHER ALONG WITH WATER AND OUR BINDER TO PRODUCE A CLAY LIKE MATERIAL

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WASTE PLASTERBOARD

A SUSTAINABLE METHODOLOGY

THE DEHYDRATED GYPSUM REABSORBS THE WATER AND RECRYSTALLISES FORMING A STRONG BINDER AROUND THE AGGREGATE

REDUCING CARBON EMISSIONS

THIS PROCESS CAN NOT BE REVERSED BY ADDING WATER WHICH MAKES IT EFFECTIVE

THE SUBSTANCE IS THEN MOULDED INTO BRICKS AND LEFT TO AIR DRY TO REMOVE THE REMAINING WATER

ONCE THE WASTE PLASTERBOARD IS CRUSHED AND SIEVED YOU MOSTLY HAVE GYPSUM

BRICK INGREDIENTS

PROCESS OF MAKING THE BRICK BINDER

The reasoning for altering this specific stage of the conventional brick making process is that annually the firing of bricks produces 6 million tonnes of CO2 and whilst the industry aims to reduce this figure by reducing fossil fuel consumption and using renewable energy sources, it is still inevitable that the firing process will produce a significant amount of C02.

CRUSHED GYPSUM

THE PLASTER IS THEN MIXED WITH VARIOUS AGGREGATES AND WATER IS ADDED

GYPSUM HAS A CRYSTAL STRUCTURE WITH TWO WATER MOLECULES BOUND TO EACH ONE OF CALCIUM SULPHATE

150 oC THE GYPSUM IS DEHYDRATED BY HEATING IT A LITTLE

THIS REDUCES THE WATER CONTENT BY 75%

CHANGING THE CRYSTAL STRUCTURE AND SUBSEQUENTLY CHANGING THE GYPSUM TO PLASTER AUTHOR ILLUSTRATION: 6 MILLION TONNES OF CO2 PRODUCED FROM BRICK FIRING EACH YEAR

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USER REQUIREMENTS BASED ON INHABITATION AND SPATIAL RELATIONSHIPS OF CHOSEN SPECIALISM

RECYCLING WITHIN THE LOCAL CONTEXT

URBAN CORE

LANDFILL SITE

NEIGHBOURHOOD AREA

POTENTIAL LANDFILL SITE

RURAL AND VILLAGE AREA

METAL RECYCLING FACILITY

TYNE RIVER

WASTE RECEPTION / RECYCLING CENTRE

A ROAD

TRANSFER STATION

COMPOSTING FACILITY

(Newcastle and Gateshead Council, 2015)

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THE SITE

EXISTING STRUCTURES

INITIAL SITE RESPONSES

EXISTING SLIPWAY

The chosen site for The Ouseburn Brickmaking Institute will be located within the same site boundaries as the pavilion exploration within the Framing stage.

EXCAVATION AND RETAINING WALL

RELATIONSHIP WITH RIVER AND STREET

The site sits at the heart of the Ouseburn Valley and has accessible road links to Newcastle City Centre and Byker with links towards the Tyne via its direct proximity with the Ouseburn river.

PROPOSAL FOR CULTURAL CENTRE IN SITES PROXIMITY

PROXIMITY TO RIVER

DELIVERIES MAIN ENTRANCE

NARROW SITE

22 o

SLOPING TOPOGRAPHY 2.5m

SITE CHALLENGES AND CONSTRAINTS

ROUTES 30m

PROPOSAL FOR CREATIVE HUB WITHIN THE SITES PROXIMITY

22 o

2.5m

WEAK SOIL

WEAK SOIL

WEAK SOIL SOIL WEAK

SITE

WEAK SOIL

0

5

10

20

50

M

30m

METAL RECYCLING YARD IN SITES PROXIMITY

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My initial building programme was aiming to facilitate the crushing process of the demolition waste. However the machinery and space involved in this process are far too large to be accommodated on my chosen site.

This ultimately led to the decision to outsource the aggregate from a crushing facility in the local area.

(George, 2016)

SITE

AREA REQUIRED TO FACILITATE CRUSHING PROCESS

(George, 2016)

C&DW RECYCLING PLANT; MACHINERY AND SPACE TO ACCOMMODATION CRUSHING PROCESS TOO LARGE FOR SITE BOUNDARIES

OUSEBURN BRICKMAKING HUB SITE AREA (m2)

AVERAGE AREA SIZE TO INSTALL C&DW RECYCLING CENTRE (m2)

2400m2

40000m2

INITIAL MASSING STUDIES

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(Studio Zhu-Pei, schranimage and Tian Fangfang, 2020)

Initially I engaged with narrowness of the site by dividing the building programme and spacing it generously throughout the length of the site. This created a series of ‘inbetween’ spaces with the aim of forming a dynamic relationship between interior and exterior.

However, I felt that there was a disconnection between the spaces and a lack of an overriding sense of unity.

I began experimenting with placing a ‘super structure’ form on-site through a series arched forms. I was initially inspired by the imperial kiln museum in China and its sweeping brick arched structures. My intention was to replicate and test this form within my site boundaries.

(Studio Zhu-Pei, schranimage and Tian Fangfang, 2020)

(Studio Zhu-Pei, schranimage and Tian Fangfang, 2020)

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1 2 3 4

5

6 7

28

29

9

8

10

11

12

27 26

30

DEVELOPMENT OF MAIN WORKSHOP AREA

ARCH FACADE AND INTERIOR STRUCTURE 1

REPURPOSED BRICK EXTERNAL CLADDING

2

CONCRETE SHELL STRUCTURE 300mm

3

BRICK SUPPORT BRACKET / SERVICES CAVITY 40mm

4

REPURPOSED BRICK INTERNAL CLADDING

5

CONCRETE LINTEL

6

GLASS DOOR

7

DOOR FRAME

8

VAPOUR CONTROL LAYER

13 14 15 16 34 33

INTERMEDIATE FLOORING 9

CONCRETE FINISH SCREED WITH UNDERFLOOR HEATING

10

RIGID INSULATION 100mm

11

STEEL BEAMS W/ SPACE FOR SERVICES

12

CONCRETE CEILING FINISH

INTERNAL WALL 13

17

18

19

20

REPURPOSED BRICK CLADDING

14

RIGID INSULATION 100mm

15

CONCRETE WALL

16

REPURPOSED BRICK CLADDING

FLOORING 17

CONCRETE FINISH SCREED WITH UNDERFLOOD HEATING

18

RIGID INSULATION 100mm

19

JOISTS AND CAVITY FOR SERVICES

20

IN-SITU CONCRETE FLOOR

23

24 25 31

22

32

FOUNDATIONS 21

CONCRETE PILE FOUNDATION

22

CONCRETE PILE CAP

23

PERFORATED DRAIN 60mm

24

HARDCORE GRAVEL LAYER 90mm

25

BLINDING 80mm

21

RETAINING WALL 26

PRECAST CONCRETE PANEL

27

BACKFILL 100mm

28

PRECAST CONCRETE PAVEMENT

29

PERFORATED DRAIN

WATERPROOFING AND RIVER WORKSHOP 30 31

DEVELOPMENT OF EXTERNAL WORKSHOP AREA

WATERPROOFING LAYER WATERPROOFING LAYER

32

PILE WALL

33

TRIPLE GLAZED WINDOW

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WOODEN WINDOW FRAME

INITIAL 1:20 STRUCTURAL SECTION

DEVELOPMENT OF GROUND FLOOR PLAN AND SHORT SECTION

CONCRETE SHELL STRUCTURE 1 2 3 4

BRICK CLADDING 5

6 7

28

29

9

8

10

11

12

27 26

30

DEVELOPMENT OF PUBLIC GARDEN AREA

EXPERIMENTING WITH OPENINGS IN FORM

ARCH FACADE AND INTERIOR STRUCTURE 1

REPURPOSED BRICK EXTERNAL CLADDING

2

CONCRETE SHELL STRUCTURE 300mm

3

BRICK SUPPORT BRACKET / SERVICES CAVITY 40mm

4

REPURPOSED BRICK INTERNAL CLADDING

5

CONCRETE LINTEL

6

GLASS DOOR

7

DOOR FRAME

8

VAPOUR CONTROL LAYER

13 14 15 16

Initially I was proposing for these arched structures to be constructed using concrete shells then the brick clad to them in order to give the impression that the brick was load bearing, however I realised I was contradicting myself. The projects programme was concerned with trying to form solutions to environmental issues arising from how we handle waste and trying to mitigate much of the carbon emissions found in the conventional brick making process, however, I was then proposing to use a massive amount of concrete for the actual building structure, relying on natural resources and emitting large amounts of c02. From this realisation I then intended to experiment with alternative strategies that would reduce the amount of concrete whilst still being able to realise these ambitious arched forms.

34 33

INTERMEDIATE FLOORING 9

CONCRETE FINISH SCREED WITH UNDERFLOOR HEATING

10

RIGID INSULATION 100mm

11

STEEL BEAMS W/ SPACE FOR SERVICES

12

CONCRETE CEILING FINISH

INTERNAL WALL

70

13

REPURPOSED BRICK CLADDING

14

RIGID INSULATION 100mm

15

CONCRETE WALL

16

REPURPOSED BRICK CLADDING

17

18

(ARC 3013 EXTRACT) 19

20

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FLOORING 17

CONCRETE FINISH SCREED WITH UNDERFLOOD HEATING

18

RIGID INSULATION 100mm

19

JOISTS AND CAVITY FOR SERVICES

20

IN-SITU CONCRETE FLOOR

23 22

24 25 31

THINKING THROUGH MAKING

LAYER 1

LAYER 2

CONSTRUCTION EXPLORATION TIMBREL VAULTING

I began exploring techniques that would allow the bricks to span independently without any additional supports which led to me experimenting with timbrel vaulting. Which is the same technique explored in the framing pavilion, I now intended to adapt it on a larger scale.

The idea behind designing with timbrel vaults was to translate the sustainable philosophies of the buildings programme into the building’s fabric, there is no steel or concrete supports within the vaults. It aims to be a constant reminder to the building inhabitants of the bricks structural abilities, celebrating its aesthetic qualities and an appreciation for the superior craftsmanship.

For my thinking through making piece, I recreated the construction process of timbrel vaulting through a 1:5 model. Showing how the layers of brick overlap to provide the form with amazing compressive strength which is compared to the likes of reinforced concrete.

CONCRETE PAD Cast in-situ FORMWORK Cardboard used for model but steel wire formwork will be used for the project

First layer being supported on framework, attached to concrete pads with tension ties which provide the structure with tensile strength.

DEMOLITION BRICKS Waste demolition bricks from local demolition sites transported to site LAYER 3

LAYER 4

BRICK SLIPS Demolition bricks cut into slips on site, offcuts turned to aggregate and used in making of repurposed bricks

Removing formwork once timbrel vault has been constructed

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(Fairs, 2009)

PETER RICH ARCHITECTS MAPUNGUBWE INTERPRETATION CENTRE; UTILIZING TIMBREL VAULT CONSTRUCTION

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THINKING THROUGH MAKING FINAL TIMBREL VAULT MODEL

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DEVELOPMENT OF MASSING - ADAPTING TIMBREL VAULT TO SITE

GABION WALL

FLOOD WALL

TEMPORARY SANDBAGS

DEVELOPMENT OF MAIN WORKSHOP AREA

EXPERIMENTING WITH FLOOD DEFENCES

75 YEA

100 YEA

200 YEA

1000 YE SITE

75 YEARS 100 YEARS 200 YEARS 1000 YEARS

DEVELOPMENT OF EXTERNAL WORKSHOP AREA

SITE

DEVELOPMENT OF GROUND FLOOR PLAN

EXPERIMENTING WITH FLOOD DEFENCES

ENGAGING WITH FLOODING CONCERNS

DEVELOPMENT OF PUBLIC GARDEN AREA

I then experimented with trying to adapt the timbrel vault technique on a larger scale and to the challenging nature of the site.

Being in close proximity to the rivers bank there is concerns over future fluvial flooding within the area. I experimented with placing a gabion wall to prevent the erosion of the bank and a flood wall which protects up to flooding levels of 3.65m.

FLUVIAL FLOODING RISK AT SITE (Newcastle City Council, 2011) 75 YEARS 100 YEARS 200 YEARS 1000 YEARS SITE

(ARC3013 EXTRACT) 77

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SYNTHESIS

The project was very much driven by the structural exploration done during the testing phase of the design.

The timbrel vaulting model done as part of thinking through making was fundamental in contributing to the form of the final design. Through the synthesis stage I adapt this strategy on a larger scale and to the challenging nature of the site. The series of impressive sweeping vaults become a manifestation of the craft and sustainability themes the building programme was aiming to address. I feel that the materiality of the structure integrates itself respectfully into the postindustrial landscape of the Ouseburn.

I have analysed how the building is interacting within a local and wider context, how it aims to mitigate local waste streams and how it employs circular mythologies.

With a focus on how the brick making specialism has been inhabited within the building and the experience of the user around these processes.

Overall, I feel the project is an appropriate and respectful addition to the craft culture within the

Ouseburn. It deals appropriately with the main studio theme of creating a synergy between the academy and community by facilitating research into future sustainable construction materials and engaging the public directly by providing opportunities to witness and interact with the brick making processes first-hand. The project began with an ambition to address the issues over our professions handling of waste and I realise now more than ever that we must challenge societies perception over waste as something which must be discarded but instead see it as a resource.

MATERIAL SOURCING

CIRCULAR ECONOMY

TIMBREL VAULTING

AGGREGATE STORAGE

The sustainable timbrel vaulting technique has been adapted on a larger scale to the site, translating the ideas of craft and sustainability throughout the buildings envelope

Aggregates are stored separately in small silos before being utilized in the curation of the bricks

BUILDING SITUATED WITHIN LOCAL CONTEXT Depending on the character and size of the demolition site, the waste is either crushed on site if there is enough space to host the machinery and then sent directly to our institute or sent to a crushing facility 10 miles north from the site if there is little space to host the machinery. While the maps depicts how the building would interact within a local context it is also capable of sourcing waste from a wider context.

The axonometric shows how the building is situated within its local context. Expanding itself down towards the river and revealing itself above street level to provide access to the public. The building aims to challenge the conventional linear economic system by utilizing waste as a resource and adhering the principles of a circular economy.

REPURPOSED BRICKS The brick vaults are constructed using repurposed brick from local and national demolition sites. Adhering to the principles of a circular economy

If the demolition site has adequate space to facilitate the crushing machinery, particularly those sites outside of the urban core, then the machinery will be transported to the site from the crushing facility.

The material is then crushed on site and the aggregate is sent directly to our institute

If the site does not have adequate space to facilitate the crushing machinery, particularly those sites within the urban core, then the construction waste will be transported to the crushing facility to be crushed and filtered.

Once crushed the aggregate is then transported to our institute 81

SITE - OUSEBURN CRUSHING FACILITY DEMOLITION SITE - OUTSIDE URBAN CORE DEMOLITION SITE - WITHIN URBAN CORE URBAN CORE

AGGREGATE RESEARCH LABORATORY To research, test and develop new sustainable brick recipes using aggregate from construction waste

BRICK MAKING WORKSHOP

DELIVERY AREA

Employing traditional hand-made brick making techniques to produce new sustainable bricks using aggregate from construction waste

Aggregate is delivered either straight from the demolition site or from the crushing facility

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CIRCULATION CORE MAIN ENTRANCE

SECOND FLOOR PROGRAMME PUBLIC PUBLIC LOBBY

STAFF RECEPTION AREA RECEPTION BACKROOM TOILET STAFF BREAKOUT AREA

SECOND FLOOR PLAN 0 84

2

4

6

8

10

20 M 85

CIRCULATION CORE STAFF ENTRANCE

FIRST FLOOR PROGRAMME PUBLIC

STAFF

INTERNAL WORKSHOP

STAFF ROOM

BRICK DRYING

MEETING AREA

CAFE

JANITOR CLOSET

CAFE GARDEN CONNECTOR HALLWAY TOILETS

FIRST FLOOR PLAN 0 86

2

4

6

8

10

20 M 87

CIRCULATION CORE PLANT ROOM BREAKOUT

GROUND FLOOR PROGRAMME BRICK-MAKING (STAFF)

GROUND FLOOR PLAN 0 88

2

4

6

8

10

20 M

PUBLIC

RESEARCH

STAFF

MAIN WORKSHOP

LOBBY EXTENSION

AGGREGATE LABORATORY

AGGREGATE STORAGE

GYPSUM HEATING

CHANGING

COMPUTER LABORATORY

DELIVERY AREA

BRICK DRYING

TOILETS

CONSULTATION AREA

FORKLIFT STORAGE

MOULD MAKING

RIVERSIDE WORKSHOP

CHANGING

GARDEN / FLOWER PICKING

TOILETS

SEATING / BREAKOUT AREA

COMMUNICATIONS ROOM DISABLED TOILET

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PERSPECTIVE LONG SECTION

E

RE

ST

4a

L

VE

E TL

PUBLIC ROUTE

1 11a

1 2 3a 3b 3c 3d 4a 4b 4c 5

2 2a 2

2ND FLOOR 2b 4

ENTRANCE RECEPTION GARDEN INTERNAL WORKSHOP CAFE TOILETS WORKSHOP LOBBY TOILETS AND CHANGING RIVERSIDE WORKSHOP PLANTING AREA

STAFF ROUTE

1b 1

3a 5

3b 6a3

3c

1ST FLOOR

3

2 6b4b 4b 4a

5

4c 6c

3

STREET ENTRANCE SLIPWAY ENTRANCE RECEPTION STAFF ENTRANCE STAFF CHANGING / TOILETS STAFF BREAKOUT ROOM STAFF BREAKOUT MEZZANINE COMMUNICATIONS / STORAGE MATERIAL DELIVERIES BRICK MAKING RESEARCH

MATERIAL ROUTE

4a

3d

3

SLIPWAY ENTRANCE

1a 1b 2a 2b 3 4 4a 5 6a 6b 6c

1 2 3 4a 4b 5

SLIPWAY ENTRANCE DELIVERY AREA SILO STORAGE GYPSUM HEATING BRICK MAKING LABORATORY

VISITORS / PROFESSIONALS ROUTE 1 2 3

ENTRANCE RECEPTION CONSULTATION AREA

PRIVATE

GROUND FLOOR

5

PUBLIC SHARED

USER ROUTES THROUGHOUT BUILDING

93

94

STRUCTURAL STRATEGY AND CONSTRUCTION SEQUENCING

1. DEMOLITION Existing buildings on the site will have to be demolished. Part of Lime st. will have to be closed while demolition takes place, however, road detours will be carried out to divert traffic.

2. PILE RETAINING WALL A pile retaining wall will then be put up to retain the earth before excavation takes place.

3. EXCAVATION The sites sloping bank will then be excavated to allow for a flat building surface, excavation machines will access the site from the slipway.

4. PILE FOUNDATIONS Due to the clayey soil prone to water logging, a series of pile foundation will be inserted up to 30m below the ground to transmit loads to a lower level of subsoil to stabilise the structure.

7. Timbrel Vault - Timbrel vault is constructed by alternating 5 layers of soil cement tiles, with a 20mm waterproof mortar bed between each layer.

8. Triple Glazing - After the implementation of insulation materials. Triple glazing windows are installed to make the building watertight.

9. Brick Cladding - The concrete shell is then clad with reused bricks both internally and externally. Internal walls are also clad with reused brick.

10. Brick Cladding - Final stage of the project is to landscape the projects surrounding area and public gardens within the building.

5. IN-SITU CONCRETE CASTING The primary structure consisting of a reinforced concrete floor, support pads, concrete shell structure and three circulation cores are then cast in-situ.

6. Steel-wire Framework - A steel-wire framework is used as the framework for which the timbrel vault will be constructed upon.

This is a temporary structure and removed once the vault has been constructed.

(ARC3013 EXTRACT) 95

96

1:20 TECHNICAL SECTION AND ANALYSIS OF TIMBREL VAULT

STEEL CABLE FORMWORK

TIMBREL VAULT DETAIL FOCUS - SHOWING ACCUMULATION OF OVERLAPPING LAYERS CONNECTED TO CONCRETE PAD

ACCUMULATION OF OVERLAPPING BRICK LAYERS MAKE UP THE TIMBREL VAULT

ADDRESSING FUTURE FLOODING CONCERNS BY IMPLEMENTING A FLOOR WALL WHICH SPANS THE LENGTH OF THE SITE

TECHNICAL 1:20 SHORT SECTION

(ARC3013 EXTRACT) 97

99

MAIN BRICK MAKING WORKSHOP

The visualisation shows how the timbrel vaulting explorations done during the framing and testing phases where fundamental in contributing to the final building form. These grand sweeping gestures are to be of a constant reminder to the inhabitants of the bricks structural capability and to form an appreciation of the craftsmanship and skill translated throughout the building envelope.

AGGREGATES FROM STORAGE AREA

The main workshop acts as the main brick making area for staff. The space engages with the public mezzanine on street level by creating visual connections allowing for the pubic to spectate and form a closer relationship to the processes happening in the workshop.

CRUSHED PLASTERBOARD AGGREGATES

HEATED 150OC

TURNS TO GYPSUM PLASTER

MIXING AGGREGATES PLASTER USED AS BRICK BINDER

BRICK MAKING STATIONS BRICK MAKING STATIONS

BRICK DRYING

MOULDS USED FOR BRICK MAKING

MIXING AGGREGATES

MOULD MAKING STATION CUT TO SIZE

RIVERSIDE WORKSHOP

FROM GARDEN AREA BRICKS DRY IN PUBLIC DRYING AREA

MATERIALS

CHANGING / TOILETS

VIEW FINDER STAFF PUBLIC

GROUND FLOOR

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102

APPROACH TO BUILDING SOUTH TO NORTH

Due to the building being situated on a curving site, as one progresses up the river or walkway the building gradually reveals itself to them. This external view shows the variety of scale of the vaults.

The public aspects of the design being hosted under small more intimate vaults whilst the main space extrudes above these in a more dramatic fashion.

RIVERSIDE WALKWAY

TOWARDS RIVERSIDE WORKSHOP

COMPUTER LAB AND OFFICE SPACE

RIVERSIDE BREAKOUT AREA

FROM LOBBY AGGREGATE FROM STORAGE AREA

DEVELOPING NEW BRICK RECIPES

RIVERSIDE SEATING

MIXER

GARDEN AREA / FLOWER PICKING

MEETING AREA TO CONSULT WITH STAFF

VIEW FINDER STAFF FROM CAFE

PUBLIC VISITOR / PROFESSIONAL

GROUND FLOOR

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LIME STREET ELEVATION

INTERNAL PUBLIC WORKSHOP

A visualisation from within the internal public workshop shows the visual connections this space is making with the café area. The spaces are housed beneath these smaller scale vaults creating a more intimate environment than the larger scale vaults of the main workshop.

BRICK DRYING

FROM PUBLIC LOBBY

BRICK MAKING STATIONS

TOWARDS INTERNAL WORKSHOP

TOWARDS CAFE

VIEW FINDER

INTERNAL SEATING

TOWARDS GARDEN AREA

STAFF PUBLIC

EXTERNAL SEATING

FIRST FLOOR

TOWARDS RIVERSIDE WORKSHOP

RIVERSIDE BREAKOUT AREA

RIVERSIDE SEATING

GARDEN AREA / FLOWER PICKING

STAFF RESEARCH AREA

FROM CAFE

GROUND FLOOR

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PERSPECTIVE SHORT SECTION

FROM STAFF ROOM

APPROACHING FROM NORTH TO SOUTH ADDITIONAL SEATING FOR STAFF

SECOND FLOOR

STAFF ENTRANCE FROM SLIPWAY

The perspective views the storage facility from the river. As this part of the building is only accessible to staff the intention was to provide the space with a more solid form compared to that of the curvaceous sculptural vaults to give the impression of being a private area.

STAFF MEETING AREA

TO BREAKOUT AREA STAFF SEATING AREA FROM STORAGE AREA

KITCHEN UNIT

FIRST FLOOR

FROM STREET LEVEL

PROVIDE DELIVERY LORRIES ACCESS

DELIVERY LORRY ACCESS ROUTE STAFF TOILETS

FROM STAFF ENTRANCE

LOCKERS

RIVERSIDE WALKWAY

CHANGING AREA

SPARE BULK BAGS STORED ON INDUSTRIAL SHELVING

BULK BAGS UNLOADED FROM LORRY WITH FORKLIFT

VIEW FINDER

AGGREGATES STORED SEPARATELY IN SMALL SILOS

STAFF PUBLIC

TRANSPORTING AGGREGATES TO MAIN WORKSHOP AREA

FROM LOBBY AREA

GROUND FLOOR

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TOWARDS MAIN WORKSHOP

PUBLIC RIVERSIDE WORKSHOP LEAVE BELONGINGS IN LOCKERS

The visualisation shows how the public workshop extrudes itself from the boundaries of the site out towards the river. Allowing the public to feel more connected to the river and landscape and to appreciate the tranquillity of the surrounding area whilst participating in the workshops.

PASSING RECEPTION

CHECK IN FOR WORKSHOP AT RECEPTION

FROM LIME STREET - MAIN BUILDING ENTRANCE

VIEW FINDER STAFF WAIT FOR OTHER PARTICIPANTS TO ARRIVE

PUBLIC

TOWARDS CAFE / WORKSHOPS

SECOND FLOOR

BRICK MAKING STATIONS

MIXING AGGREGATES

RIVERSIDE WORKSHOP

FROM GARDEN AREA BRICKS DRY IN PUBLIC DRYING AREA

CHANGING AREA

FROM PUBLIC LOBBY

GROUND FLOOR

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CULTURAL BIBLIOGRAPHY

LABOURING WORK EXPERIENCE During the Easter break I was fortunate enough to gain some valuable experience working as a labourer for a local contracting company. I assisted plasterers, electricians, bricklayers and from this experience I gained additional knowledge on how different services work and function throughout a building. It also made me realise the skill, labour, time and energy that goes into creating our built environment and I became much more appreciative of all the other trades, disciples and people that often go under appreciated when a building is realised.

(Assemble)

GRANBY FOUR STREETS BY ASSEMBLE

AXONOMETRIC VIEW OF TERRACED HOUSES

THEMATIC CASE STUDY REFLECTIONS

The philosophy of the collective Assemble, shared much of the same ideas in which I was trying to translate to my own narrative during the framing stage of design process. The ideas of a multi-disciplinary approach to design, with an intention to serve the community by addressing the disconnection between the public and the process in which places are made, to essentially ‘challenge the status quo of the architecture profession’. One of their most notable projects Granby Four Street, a community project based in Toxteth, Liverpool, was the result of a 20-year led battle by local residents to see a series of terrace housing be saved from demolition.

Their tireless dedication to the community resulted in a vision for the houses to be refurbished into affordable social house with a variety of public spaces.

(AGROCITÉ – GENNEVILLIERS | R-URBAN)

(EXTRACT FROM THEMATIC CASE STUDY)

AGROCITÉ BY THE ATELIER D’ARCHITECTURE AUTOGÉRÉE (AAA)

SPACIAL PRACTICE

(Nantes School of Architecture / Lacaton & Vassal, 2012)

(EXTRACT FROM THEMATIC CASE STUDY)

NANTES SCHOOL OF ARCHITECTURE BY LACATON & VASSAL ARCHITECTS

WORKSHOP DIAGRAM

The project, Agrocité, by the collective practice, The Atelier D’Architecture Autogérée (aaa). Their aim was to provide a community driven housing estate within the socially excluded and overlooked Colombes, Paris. The project combats unemployment in the area and I was intrigued by their ambition to stress the need for resident participation at every stage of the design process.

Nantes School of Architecture by architects Lacaton & Vassal. Their intention was to break apart the typical conventions of architectural education as an internal and insular activity, but instead allowing for the processes within the school to be integrated and to run beside one another. The transparency of the spaces create connections between the city and academy by engaging the public and allowing for them to see the activities happening within the workshops. My project was very much influenced by this methodology as the transparency and openness of the spaces encourages the public to witness and experience the processes of handmade brick making for themselves.

The Marshall Building by Grafton Architects. I enjoyed their approach to forming a connection to the city by focussing on the public realm and the experience for the passer-by. By integrating a public space on the ground floor it breaks conventional boundaries between the building and the public realm by allowing free flowing and unrestricted access through the building encouraging passers-bys to experience the events within the Grand Hall. The intention is to create a “sense of being” to the city for both students and the passer-by.

Think Corner, commissioned by the University of Helsinki. I was intrigued by the connection it created between the academy and community. Its intention is to bring research, researchers and design led projects within the University towards the street level and make them accessible for the public. My project was greatly influenced by this methodology by engaging the public directly in the research happening at the brick making institute.

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(Assemble Win Turner Prize 2015, 2015)

(EXTRACT FROM THEMATIC CASE STUDY)

(London School of Economics - Grafton Architects)

THE MARSHALL BUILDING BY GRAFTON ARCHITECTS PUBLIC ACCESS THROUGH PERSPECTIVE SECTION, SHOWING FUNCTION OF SPACES. (ArchDaily, 2020)

THINK CORNER HELSINKI UNIVERSITY BY JKMM ARCHITECTS

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GMIT Furniture College, Letterfrack, by O’Donnell + Tuomey architects.

I was intrigued by how the materials of the building relate to the textures and colours of the rural Irish landscape. The way in which the materials engage with the landscape and speak of the sites context was something that I was aiming to replicate within the post-industrial context of Ouseburn with the utilization of the brick.

Gerrit Rietveld Academy and Sandberg Institute by Paulien Bremmer + Hootsmans Architects. Due to the teams’ multi-disciplinary backgrounds, they work with no hierarchy and all participants contributions to the design process are valued equally. This participative approach to designing translates in the building as there is an emphasis on the consideration of the user, and in order to encourage social exchange and collaboration the ground floor level is open creating a link with the public realm. I enjoy the practices multi-disciplinary approach to designing which results in more socially orientated and driven design realisation as present in this project.

(O’Donnell + Tuomey – GMIT Furniture College Letterfrack)

GMIT FURNITURE COLLEGE LETTERFRACK BY O’DONNELL + TUOMEY ARCHITECTS (Gerrit Rietveld Academy and Sandberg Institute / Studio Paulien Bremmer + Hootsmans Architects, 2019)

(EXTRACT FROM THEMATIC CASE STUDY)

Carmody Groarke’s restoration cloak during the restoration period of Charles Rennie Mackintosh’s Hill House. I enjoyed its innovative approach to conventional restoration processes where a building is concealed and hidden from view. Rather the architects have undertaken a more radial approach to the conservation by concealing the house in a massive chainmail structure which shelters the house whilst also maintaining access for visitors.

GERRIT RIETVELD ACADEMY AND SANDBERG INSTITUTE BY PAULIEN BREMMER + HOOTSMANS ARCHITECTS (Dehlin, 2019)

THE HILL HOUSE - CARMODY GROARKE

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EVERY TEAM MEMBERS CONTRIBUTION IS VALUED EQUALLY

BIBLIOGRAPHY

LIST OF ILLUSTRATIONS ALL IMAGES AND WORKS ARE AUTHORS OWN WITH THE EXCEPTION OF MENTIONED IMAGES OR WORK BELONGING TO THE STUDIO GROUP AND;

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Dean, A., Hursley, T., Chua, L. and Robinson, C., 2002. Rural Studio. New York: Princeton Architectural Press, pp.16-17.

Ouseburn Trust, 2021. A brief history of the Newcastle-upon-Tyne Motor Club. [online] Newcastle-Upon-Tyne, pp.1-9. Available at: <https://www.ouseburntrust. org.uk/Handlers/Download.ashx?IDMF=652f0fe3-c2c5-4ae6-8f84-d569f99822a1>.

Ec.europa.eu. 2018. Waste statistics - Statistics Explained. [online] Available at: <https://ec.europa.eu/eurostat/statistics-explained/index.php?title=Waste_ statistics#Waste_generation_excluding_major_mineral_waste> [Accessed 4 June 2021].

Rossi, C., 2017. ‘Craft contains the critical thinking that could unpack the current state of architecture’ - Architectural Review. [online] Architectural Review. Available at: <https://www.architectural-review.com/essays/craft-contains-the-criticalthinking-that-could-unpack-the-current-state-of-architecture?tkn=1>.

Gálvez-Martos, J. and Istrate, I., 2020. Construction and demolition waste management. Advances in Construction and Demolition Waste Recycling, pp.5168.

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Hebel, D., Heisel, F. and Wisniewska, M., 2014. Building from waste: Recovered Materials in Architecture and Construction.

Hebel, D., Wisniewska,, M. and Heisel,, F., 2015. Constructing Waste Investigating an alternative resource for future cities. FCL Magazine, [online] (Special Issue. 56-67), pp.55 - 67. Available at: <https://www.researchgate.net/ publication/295912128_Constructing_Waste_-_Investigating_an_alternative_ resource_for_future_cities>.

Jones, P., Petrescu, D. and Till, J., 2005. Architecture and Participation. Taylor & Francis.

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for Gateshead and Newcastle upon Tyne, 2010-2030. Newcastle Upon Tyne: Newcastle and Gateshead Council.

Whiting, J., 2013. Lifestyle Aspects of a Core Creative Class when Home and Away: A Study with Reference to the Ouseburn Valley, Newcastle upon Tyne..

Doctoral thesis. University of Sunderland.

PAGE 2 Fairs, M., 2009. Mapungubwe Interpretation Centre by Peter Rich Architects | Dezeen. [online] Dezeen. Available at: <https://www.dezeen. com/2009/11/07/mapungubwe-interpretation-centre-by-peter-rich-architects/>.

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PAGE 18 Raskl.co.uk. 2017. Ouseburn Culvert Bandstand — Raskl. Art+Architectural Production. [online] Available at: <https://raskl.co.uk/Ouseburn-Culvert-Bandstand>.

PAGE 20 Ouseburn Trust, 2021. A brief history of the Newcastle-upon-Tyne Motor Club. [online] Newcastle-Upon-Tyne, pp.1-9. Available at: <https:// www.ouseburntrust.org.uk/Handlers/Download.ashx?IDMF=652f0fe3-c2c5-4ae6-8f84-d569f99822a1>.

Kara, H., Asensio Villoria, L. and Georgoulias, A., 2017. Architecture and waste.

Barcelona: Actar.

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Newcastle and Gateshead Council, 2015. Core Strategy and Urban Core Plan

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PAGE 26 Facebook. n.d. Ouseburn Farm Charity Ltd. [online] Available at: <https://www.facebook.com/ouseburnfarm/posts/the-ouseburn-is-full-ofsurprises-we-love-taking-the-goats-for-a-walk-and-spotti/4044046915621729/>.

PAGE 27 Brady, J., 2011. Ribbands and Frames. [online] Seaportmuseum.blogspot.com. Available at: <http://seaportmuseum.blogspot.com/2011/12/ ribbands-and-frames.html>.

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PAGE 28 Abdallah, C., 2018. These Alabama Architecture Students are Designing and Building Low-Cost Homes for Rural America. [online] ArchDaily. Available at: <https://www.archdaily.com/898105/these-alabama-architecture-students-are-designing-and-building-low-cost-homesfor-rural-america?ad_medium=gallery>.

PAGE 32 Imaging, W., 2011. Stock Photo - The demolition of Spiller's riverside flour mill on Tyneside, Newcastle, north east England, UK. [online] Alamy. Available at: <https://www.alamy.com/stock-photo-the-demolition-of-spillers-riverside-flour-mill-on-tyneside-newcastle-41316557.html?pv=1&stamp=2&imageid=B4039FBE-E674-4145-8A89-44B0EDBF7E5D&p=66472&n=0&orientation=0&pn=1&searchtype=0&IsFromSearch=1&srch=foo%3dbar%26st%3d0%26pn%3d1%26ps%3d100%26sortby%3d2%26resultview%3dsortbyPopular%26npgs%3d0%26qt%3dspillers%2520tyne%2520mill%26qt_raw%3dspillers%2520tyne%2520mill%26lic%3d3%26mr%3d0%26pr%3d0%26ot%3d0%26creative%3d%26ag%3d0%26hc%3d0%26pc%3d%26blackwhite%3d%26cutout%3d%26tbar%3d1%26et%3d0x000000000000000000000%26vp%3d0%26loc%3d0%26imgt%3d0 %26dtfr%3d%26dtto%3d%26size%3d0xFF%26archive%3d1%26groupid%3d%26pseudoid%3d%26a%3d%26cdid%3d%26cdsrt%3d%26name%3d%26qn%3d%26apalib%3d%26apalic%3d%26lightbox%3d%26gname%3d%26gtype%3d%26xstx%3d0%26simid%3d%26saveQry%3d%26editorial%3d1%26nu%3d%26t%3d%26edoptin%3d%26customgeoip%3d%26cap%3d1%26cbstore%3d1%26vd%3d0%26lb%3d%26fi%3d2%26edrf%3d%26ispremium%3d1%26flip%3d0%26pl%3d>.

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PAGE 55 Aouf, R., 2020. Kenoteq launches brick made almost entirely of construction waste. [online] Dezeen. Available at: <https://www.dezeen. com/2020/03/02/kenoteq-k-briq-brick-construction-waste/>.

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PAGE 66 George, M., 2016. Investment in a New Waste Recycling Plant Pays Off for Mick George Ltd. [image] Available at: <https://blog.kiverco. com/investing-in-excellence-pays-off-for-mick-george-ltd> [Accessed 7 June 2021].

PAGE 69 Studio Zhu-Pei, schranimage and Tian Fangfang, 2020. Cavernous brick vaults define Jingdezhen Imperial Kiln Museum in China. [image] Available at: <https://www.dezeen.com/2020/11/16/jingdezhen-imperial-kiln-museum-studio-zhu-pei-china/> [Accessed 7 June 2021].

PAGE 75 Fairs, M., 2009. Mapungubwe Interpretation Centre by Peter Rich Architects. [image] Available at: <https://www.dezeen.com/2009/11/07/ mapungubwe-interpretation-centre-by-peter-rich-architects/> [Accessed 7 June 2021].

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NEWCASTLE UNIVERSITY | SCHOOL OF ARCHITECTURE, PLANNING AND LANDSCAPE