Academic Portfolio - MArch ESALA by Stuart Gomes

ACADEMIC PORTFOLIO Masters of Architecture // [2020 - 2022]

STUART GOMES [MArch 2, 2022]

[2022] ACADEMIC PORTFOLIO 2 Academic Portfolio

ARJA11001

MArch 2, [semester 2]

[ARJA11001]

Academic Portfolio 2: 2020 - 2022

ACADEMIC PORFOLIO Masters of Architecture [MArch] [2022]

[course synopsis] The Academic Portfolio 2 is a mainly self-directed course that invites you to gather, format and curate all the work that you have undertaken during the course of the 2-year Master of Architecture Programme into the form of a digital portfolio. It will therefore include both the design work of the studio courses of years one and two, and the non-studio courses of ATR, SCAT and AMPL. It will culminate with the inclusion of a synopsis of the other 10 credit course of this semester, the Design Report. The Academic Portfolio 2 is therefore a digital archiving and a representation of the complete body of the academic work that you have undertaken. As well as being a carefully curated record of this work, ready for you to access in a digital portfolio form as a celebration of the breadth of enquiry that you have undertaken, it is also a point of critical reflection that allows you to test your work against the expectations of a professional degree in architecture at Part 2 level and to revisit any work that falls short of these expectations.

[learning outcomes] LO1 The ability to produce a coherent, well designed and integrated architectural design portfolio that documents and communicates architectural knowledge, skills and abilities through coherent projects; and that synthesizes and presents work produced in diverse media (sketch books, written work, drawings and models, etc). GC 2.1, 2.3, 3.3 // GA 2.1, 2.4, 2.6 LO2 An understanding of the relation of the ARB Part 2 criteria and Graduate Attributes to the student's own work, as demonstrated through a referencing system, covering the totality of the criteria, in the portfolio. ALL GC’s // GA 2.6, 2.7 LO3 The acquisition and development of transferable skills to present work for scrutiny by peers, potential employers, and other public groups through structuring and communicating ideas effectively using diverse media. GC 1.1 // GA 2.2, 2.4, 2.6

GC GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GENERAL CRITERIA GC 1 Ability to create architectural designs that satisfy both aesthetic and technical requirements.

The graduate will have the ability to: GC 1.1 prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief; GC 1.2 understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project; GC 1.3 develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user. GC 2 Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences.

The graduate will have knowledge of: GC 2.1 the cultural, social and intellectual histories, theories and technologies that influence the design of buildings; GC 2.2 the influence of history and theory on the spatial, social, and technological aspects of architecture; GC 2.3 the application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach.

GC 3 Knowledge of the fine arts as an influence on the quality of architectural design.

The graduate will have the ability to: GC 3.1 how the theories, practices and technologies of the arts influence architectural design; GC 3.2 the creative application of the fine arts and their relevance and impact on architecture; GC 3.3 the creative application of such work to studio design projects, interms of their conceptualisation and representation.

GC 4 Adequate knowledge of urban design, planning and the skills involved in the planning process.

The graduate will have the ability to: GC 4.1 theories of urban design and the planning of communities; GC 4.2 the influence of the design and development of cities, past and present on the contemporary built environment; GC 4.3 current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development. 3

GC 5 Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale.

The graduate will have an understanding of: GC 5.1 the needs and aspirations of building users; GC 5.2 the impact of buildings on the environment, and the precepts of sustainable design; GC 5.3 the way in which buildings fit in to their local context.

GC 6 Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors.

The graduate will have an understanding of: GC 6.1 the nature of professionalism and the duties and responsibilities of architects to clients, building users,constructors, co-professionals and the wider society; GC 6.2 the role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment; GC 6.3 the potential impact of building projects on existing and proposed communities.

GC 7 Understanding of the methods of investigation and preparation of the brief for a design project.

The graduate will have an understanding of: GC 7.1 the need to critically review precedents relevant to the function, organisation and technological strategy of design proposals; GC 7.2 the need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context; GC 7.3 the contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation.

GC 8 Understanding of the structural design, constructional and engineering problems associated with building design.

The graduate will have an understanding of: GC 8.1 the investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design; GC 8.2 strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques; GC 8.3 the physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices.

GC 9 Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate.

The graduate will have knowledge of: GC 9.1 principles associated with designing optimum visual, thermal and acoustic environments; GC 9.2 systems for environmental comfort realised within relevant precepts of sustainable design; GC 9.3 strategies for building services, and ability to integrate these in a design project.

GC 10 The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations.

The graduate will have the skills to: GC 10.1 critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; constructors, co-professionals and the wider society; GC 10.2 understand the cost control mechanisms which operate during the development of a project; GC 10.3 prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements. GC 11 Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning.

The graduate will have knowledge of: GC 11.1 the fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation; GC 11.2 the professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures; GC 11.3 the basic management theories and business principles related to running both an architect’s practice and architectural projects, recognising current and emerging trends in the construction industry.

GA GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

GENERAL ATTRIBUTES GA2 With regard to meeting the eleven General Criteria at Parts 1 and 2 above, the Part 2 will be awarded to students who have:

GA 2.1 ability to generate complex design proposals showing understanding of current architectural issues, originality in the application of subject knowledge and, where appropriate, to test new hypotheses and speculations;

GA 2.2 ability to evaluate and apply a comprehensive range of visual, oral and written media to test, analyse, critically appraise and explain design proposals;

GA 2.3 ability to evaluate materials, processes and techniques that apply to complex architectural designs and building construction, and to integrate these into practicable design proposals;

GA 2.4 critical understanding of how knowledge is advanced through research to produce clear, logically argued and original written work relating to architectural culture, theory and design;

GA 2.5 understanding of the context of the architect and the construction industry, including the architect’s role in the processes of procurement and building production, and under legislation;

GA 2.6 problem solving skills, professional judgment, and ability to take the initiative and make appropriate decisions in complex and unpredictable circumstances; and

GA 2.7 ability to identify individual learning needs and understand the personal responsibility required to prepare for qualification as an architect.

Module //

MODULE / PROJECT Title

[year] [module code]

[contributions]

[course organiser(s) / studio tutor(s)]

[course aims]

[course synopsis]

[learning outcomes]

MOD

[year] MODULE Module / Project module code academic study year, [semester of study]

[GP] [AD] [JP] [TC] [KL] [TG] [PX]

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

[MArch 1] ATR DSC DSD SCAT

collaborators

Brief/Task // Title

PROJECT TITLE

[MArch 2] AMPL DSA DSH DR

Task

Visual markers of General Criteria shadow developed for Island Temporalities Mont Saint Michel during design studio H.

module brief breakdown

Visual markers of General Attributes renders developed for Island Temporalities Mont Saint Michel + Venice Arsenale during design studio A + H.

Graduate Criteria at Part 2 (GC)

Graduate Attributes at Part 2 (GA)

Graduate Sub-Criteria at Part 2, for instance: GC 11

GC 11.1

GC 11.2

GC 11.3

academic year of study and modules

Response

reflective paragraph Link to video (click on icon)

GA 2.6

GA 2.7

Semester 1

[60 credits]

MArch 1

[120 credits]

Semester 2

[60 credits]

Semester 1 [60 credits]

[120 credits]

MArch 2 Semester 2 [60 credits]

DESIGN REPORT

[2022] [ARCH11069]

[10 credits]

ARCHITECTURE DESIGN: STUDIO H

[2022] [ARCH11174]

[40 credits]

ARCHITECTURE DESIGN: STUDIO A

[2021] [ARCH11093]

[40 credits]

ARCHITECTURAL MANAGEMENT, PRACTICE AND LAW

[2021] [ARCH11002]

[20 credits]

STUDIES IN CONTEMPORARY ARCHITECTURAL THEORY

[2021] [ARCH11070]

[20 credits]

ARCHITECTURE DESIGN: STUDIO D

[2021] [RCH11092]

[40 credits]

ARCHITECTURE DESIGN: STUDIO C

[2020] [ARCH11091]

[40 credits]

ARCHITECTURAL TECHNOLOGY RESEARCH

[2020] [ARCH11075]

[20 credits]

MOD

MODULES // Masters of Architecture

Architectural Technology Research //

TECHNOLOGY RESEARCH Generic + Contextual Study [2020] [ARCH11075]

[contributions] Amy Drabble [AD]

[course aims] The aims of this course are: 1. To develop approaches for research in technology and environment, and reflect on its role in the design process. 2. To help create an ongoing interest in the acquisition and synthesis of knowledge regarding the design, construction and performance of built form. 3. To create a wide-ranging and current technology resource available to the students through MArch1 and into MArch2.

[course synopsis] Architectural Technology Research emulates the role of researcher-practitioner, recognising that architectural projects in the context of a Climate Emergency need a level of technological investigation as a prerequisite to successful low carbon design. Students will work collaboratively to conduct research into architectural environments, materials and processes with a focus on reducing the global impact of the buildings and places we design. The course runs throughout Semester 1 with students undertaking research projects in contemporary architectural technology and environmental issues in small groups. Students develop and research an architectural theme in response to the Climate Emergency. The course focuses on the research process and the discovery of new knowledge in the context of architecture, technology and environment. Students will work in small groups to develop research projects leading to two separate research outputs; one representing a general response to the climate emergency, the other a contextual response to a specific area of study.

[kate carter]

[learning outcomes] LO1 An ability to appraise the technological and environmental conditions specific to issues in contemporary architecture, eg. sustainable design. GC 5.2, 7.1, 7.2, 8.1, 9.1, 9.2 // GA 2.3 LO2 An ability to organise, assimilate and present technological and environmental information in the broad context of architectural design to peer groups. GC 8.2, 9.1, 9.2 // GA 2.2, 2.3 LO3 An ability to analyse and synthesise technological and environmental information pertinent to particular context (eg. users, environment). GC 5.1, 5.3, 7.1, 8.1, 8.2, 8.3, 9.1, 9.2 // GA 2.3 LO4 An understanding of the potential impact of technological and environmental decisions of architectural design on a broader context. GC 5.1, 5.2, 5.3, 8.3 // GA 2.3

CONCLUSION

APPENDIX

ENDNOTES

FIGURE REFERENCES

Carbon Emissions in Manufacturing Carbon Emissions in Transportation

Positives

Negatives

Natural, bio based material

Limited supply line

Versatile

Specific growing conditions

Sustainable and renewable

In its infancy in architecture

Light

High costs

Flexible

Large energy consumption and CO2 emissions during manufacturing processes

Impervious to gas and liquids Thermal and sound insulator

3% France 34% Portugal 27% Spain 3% Italy

Fire retardant

Fig.8. Exported value of cork (million euros), Diagram: author’s own

3% Other

26% Building Materials

42% Natural Cork Stoppers

29% Other Cork Stoppers

Harvesting and Manufacture The cork oak tree is first harvested after 25 years through the sustainable process of stripping: the removal of the tree’s bark.8 Using axes, skilled workers carefully remove the bark without damaging the tree (see Fig.7).9 The cork oak’s bark naturally regenerates.10 Allowing the cork to be harvested every nine years, however, it isn’t until its third harvest that the cork’s regularity is good enough for wine stops to be produced.11 This results in only 30% of harvested cork being used for cork stop manufacturing12 - architecture can take advantage of the remaining 70%. Cork from the first two harvests is ground into granules.13 These granules are agglomerated using heat and pressure to bind them together.14 Black agglomerate is formed when only cork is used 15 and white agglomerate, or cork composite, is formed when other recycled materials are mixed in too.16 Cork composites produce a more versatile material and help to reduce waste, compared to black agglomerate. However, they could be harder, or impossible, to recycle after life. According to the Portuguese Cork Association (APCOR), around 200,000 tonnes of cork is produced every year, with 68% of that being used for building materials (see Fig.9), however, cork stoppers are a more valuable product (see Fig.8).17 Compared with the world production of steel, which in 2019 was 1,869.9 Mt (mega-tonnes)18, cork conveys a more limited supply line. Fig.9. Export volume of cork by sector (tonnes),

Carbon Emissions in Manufacturing: A carbon neutral solution Fossil and biomass fuels are used within the cork manufacturing process to generate the large amounts of heat needed during this stage, resulting in high energy use and carbon emissions.19 At Amorim, 63% of their energy usage is covered by using cork dust as a biomass fuel with the remaining 37% being covered by fossil fuels (see Fig.10).20 Within the Portuguese cork industry, approximately thirty-thousand tonnes of cork dust (waste cork from manufacturing that is too small to be reused) is produced every year.21 By using this as a fuel source, Amorim are able to create a circular economy throughout its processes with 90% of all waste being used (see Fig.11).22 Amorim is only one cork company and many others may not follow the same practices, thus manufacturing of cork still harbours high carbon emissions. However, this example does display a method of good practice to make the manufacturing of cork more sustainable; a method that other cork manufacturing companies could use.

Energy Source

Circular economy

Biomass

Hydrothermal

Natural Gas

Sequestered Carbon 18% Marocco

Antimicrobial

4% Tunisia

Propane 11% Algeria

Fig.5 Positives and negatives of cork

Energy Consumption (GJ)

Carbon Emissions in Transportation: Can cork be grown elsewhere?

Growing Conditions 1 Soil

Rainfall Temperature Altitude

988,375 45,082 27,929 355

South of England Conditions2

sandy, chalk-free with low nitrogen and phosphorus, high potassium and a pH from 4.8 to 7.0

sandy and clayey soil that is generally acidic3

400-800 mm per year

up to 1000mm per year

-5 ºC to 40 ºC

0 ºC to 25 ºC

100-300 m

up to 300m

Fig. 14 Global Cork Exports

Fig. 12 Perfect growing conditions for the cork oak tree against south of England weather conditions

5,632

Diesel Gasoline

Fig. 13 Estimated transport carbon emissions

The biggest world exporter of cork is Portugal (see Fig. 14)23 and the USA is one of the top importers of cork (see Fig. 15).24 This leads to a high amount of carbon emissions due to transportation (see Fig. 13). Could growing cork in other parts of the world help to combat cork’s transportation carbon emissions?

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

What is Cork? Harvesting and Manufacturing

What is cork? Cork is a completely natural raw material that comes from the outer bark of the cork oak tree.4 Grown within large indigenous cork oak forests, that are most commonly found in Portugal as well as the Western Mediterranean Basin (see Fig.6).5 Cork oak forests retain large volumes of carbon dioxide from the air as well as being rich biodiverse areas for wildlife and plant life.6 They serve as important cultural and economical landscapes for the countries they are found within.7

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

Different bio-based materials offer alternative options to different problems. Cork is already in use within the construction industry, most commonly for flooring and sound and thermal insulation.3

01 | CORK

GA 2 2

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

Bio-based materials offer a great opportunity to build sustainably. These materials, including cork, are 100% natural and are often recyclable, reusable or bio-degradable; have low carbon emissions and help towards a circular economy.2

01 | CORK

GA 2 1

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

- current materials used in healthcare - antimicrobial additives and agents - cork and healthcare - specification and appropriateness

We are now becoming more aware of the ongoing climate emergency. The world construction industry, according to the International Energy Agency (IEA), accounts for 39% of carbon emissions.1

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

HEALTHCARE

00 | INTRODUCTION

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

CORK

02 | HEALTHCARE

Current Materials Used in Healthcare Antimicrobial Additives and Agents Cork and Healthcare Specification and Appropriateness

2. Separation

3. Dividing

4. Extracting

5. Removing

6. Marking

7. Stacking

Fig.7 The cork harvesting process: 1. Opening: First cut into cork into existing crack, 2. Separation: cork initially separated from tree, 3. Dividing: horizontal cut to create plank size, 4. Extracting: careful removal of cork from tree, 5.Removing: removal of any unwanted parasites, 6. Marking: harvested year marked onto tree, 7. Stacking: stacked outside to stabilise the cork.

Although the same strand of cork oak trees are able to be grown in other parts of the world, Blaine Bownell, FIAI, states that cork, produced in the USA, is a lower quality than that produced in Portugal.25 This means other parts of the world face large costs and higher embodied C0₂ due to needing to import cork.26 The higher cost also reduces the likelihood of cork being used in projects outside of the Western Mediterranean Basin.

Fig. 11 Amorim’s circular economy manufacturing process

GA 2 5

GA 2 6

GA 2 7

Current Materials Used in Healthcare By way of introduction, the healthcare sector specialises in products, services and infrastructure related to health and medical care. Research and case studies display that a large proportion of healthcare currently focuses on formulating a sector that is reactive to individual episodes of illness and disease as opposed to being proactive towards the goal of anticipating and preventing future illness.27

F in is h Typ e

Prior to assessing the suitability of cork as an antimicrobial surface material, it is vital to identify what materials are currently being used within the healthcare sector. Therefore, this is the prime focus of the following case study; the Manchester Royal Infirmary.

Wa l l F i n i s h e s

Finish Used

Altro WhiteRock: Chameleon Dulux Sterishield Antimicrobial paint

Dulux paint Floor Finishes Case Study | Manchester Royal Infirmary (MRI) The Manchester Royal Infirmary (MRI) (see Fig.16) is a large teaching hospital located in Manchester. The existing MRI is currently in the process of being refurbished and redeveloped.

Ceiling Finishes

F u r n i s h i n gs

Forbo Sphera Homogeneous Vinyl

Antimicrobial?

Use

D es i r ed P r o p e r t i e s

Yes, antimicrobial

Wall protection throughout Waterproof, hospital Can be easily cleaned Wall finish to clinical areas

Wall finish to admin and nonclinical areas

Main floor finish throughout hospital

No, but is hygienic

Hygienic BioGuard Acoustic tiles

Yes, antimicrobial

Altro WhiteRock: Chameleon

No, but is hygienic

Central Manchester Foundation Trust Approved Fabric

Unknown

Stainless Steel Satin Finish with a BioCote Antibacterial Coating Door No, but is Handle antibacterial

Each of these finishes are alike in their manufacturing process, as they all rely on the addition or coating of an antimicrobial additive or agent to achieve the desired antimicrobial properties required. For example, antimicrobial paints are products of a manufactured process in which antimicrobial additives, such as biocides and silver-based biocides, are introduced into non-hygienic paint.30 31

Fig. 16 Manchester Royal Infirmary Fig. 15 Global Cork Imports

GA 2 4

02 | HEALTHCARE

Following an interview with Alex Macbeth, an architect working on the MRI, the material finishes currently used within the MRI have been identified (see Fig.17). From this qualitative data, it can be understood that Dulux Sterishield Antimicrobial paint and Hygienic BioGuard Acoustic ceiling tiles are the only antimicrobial surfaces used for wall and ceiling finishes within the hospital. It is unknown if the Central Manchester Foundation Trust Approved Fabric is antimicrobial, however, there is research that states that antibacterial textiles are currently used within hospitals.28 In addition to the antimicrobial materials identified, it can be seen that the door handles used are antibacterial.29

Fig. 10 Fuel source and energy use during manufacturing (Gigajoule)

1. Opening Fig.4 Cork

GA 2 3

Can be easily cleaned

Lay-in-grid ceiling finish in most rooms Feature signage Curtains and seating finish

Wipeable, Non-porous finish

Door Handles

Fig. 17 Material finishes used within the Manchester Royal Infirmary Table: author’s own

Fig.3 Cork

Material

Cork Insulation

As previously outlined, cork is a natural, sustainable material. However, how does it compare sustainably to the materials currently being used in the healthcare sector? By way of comparison (see Fig.19), Embodied Carbon, a measurement of the level of carbon dioxide (CO2) emitted during the creation of a building fabric, is used as a baseline comparison of the sustainable attributes of each material. It can be deduced that cork has a considerably lower level of embodied carbon than the alternative surface materials listed. This means less CO2 emissions are associated with cork and so, theoretically, is an indication of it being more sustainable.37

02 | Healthcare

Embodied Carbon Factor (kg CO2e / kg)

Mass (kg)

Em b o d i e d C a r b o n C a l c u l a t i o n (kg(kg CO2e / kg) = kg CO2e)

10 x 0.19

1.9

2.91

10 x 2.91

29.1

6.15

10 x 6.15

61.5

2.29

10 x 2.29

Cork

Additionally, whilst cork has been named as a material with antifungal properties, there is little quantitative research to prove or disprove this theory.41 In terms of analysis, Suberra conducted a ASTM G21 test to analyse the antifungal properties of their own cork products.42 The results displayed that, when exposed to a variety of fungi, there was no observed fungal growth on the surface of the cork after a 28 day incubation period. However, there are issues with the validity and reliability of this source because it could be biased to their products and there is no academic quantitative data to support their claims.

Fig. 20 Graph displaying the bacterial reduction of Staphylococcus aureus when incubated with each substance.

Key EVA ACA Cork

Fig. 21 Graph displaying the bacterial reduction of Escherichia coli when incubated with each substance.

Cork and Healthcare |02

Therefore, how could cork be used as an alternative to current antimicrobial surfaces used within healthcare settings? The specification of healthcare finishes is devised by a set of guidelines called the Health Building Notes.43 Figure 22 and Appendix Item 1 indicate the best practice on how to select each finish and the finish requirements for each room type within healthcare settings.44

Title Page |01

Specification and Appropriateness Cork as an Antibacterial Alternative Stated within the MRI case study, stainless steel door handles with an antibacterial coating are currently used within the hospital. The specification for door handles and handrails within the healthcare sector states that handrails are required to be visible, free of abrasions and neither too hot or cold to touch. Whereas door handles are required to be circular in section and allow a firm grip.46 There is potential for cork door handles and handrails to be used as an alternative. Eduardo Souto Moura’s door handles (see Fig.23) are designed using stainless steel and cork. These door handles represent a more sustainable alternative because they use less stainless steel whilst the antibacterial properties of the cork remove the requirement of an additional antibacterial additive being applied to the product. They would help reduce the spread bacteria whilst being warm to the touch.47

Cork as an Antimicrobial Alternative The antimicrobial products currently used in the healthcare sector, stated in the MRI case study, are antimicrobial paint and ceiling tiles coated with a antimicrobial coating. The wall / partition finishes in each room type are required to be either a type of emulsion or paint (see appendix item 1). Therefore, eradicating the potential of cork being used as an antimicrobial alternative to antimicrobial paint. However, cork could be a potential alternative to the ceiling tiles currently used (see appendix item 1). For each room, the ceiling finish is dictated by whether it is jointless, within a concealed grid, imperforated or perforated, is resistant to humidity and / or textured. It appears that, if cork is confirmed to be antimicrobial, there is potential for cork ceiling tiles to be used in a lay-in-grid system as an antimicrobial alternative within the Clinical - dry (moderate and light clinical) rooms. In addition to this, if cork was proved to not be antifungal, and so not antimicrobial, it appears cork ceiling tiles could still be used as an alternative in the Non-clinical- dry and high traffic spaces. This is because there is no requirement listed for these ceiling tiles to be hygienic, antimicrobial or clinical.45

22.9

Fig. 19 Table of comparison of the Embodied Carbon within cork insulation compared to other material finishes used within the healthcare sector. Table: author’s own Note: Embodied carbon of general paint and stainless steel does not take the embodied carbon of the antimicrobial additive added into account, therefore value of antimicrobial materials would be higher than recorded.

Incubation Time (min)

Specification and Appropriateness

Incubation Time (min)

01 | Cork

What is cork? |01

03 | CONCLUSION As previously established, cork is a multifaceted material that presents immense potential as a natural, renewable and sustainable resource. The bio-based nature of cork is, however, its downfall. Cork can largely only be grown, to a high standard, in the Western Mediterranean Basin and strict (but essential) harvesting guidelines have led to a limited supply line. Additionally, high transport costs, and embodied C02 in manufacturing, have reduced its sustainable usability outside of the Mediterranean Basin. It also may not be an appropriate antimicrobial alternative to wall finishes currently used within the healthcare sector. However, it appears that cork could be a suitable replacement of the current materials used for ceiling tiles and door handles in certain departments within the healthcare sector due to its proven antibacterial properties. As an antibacterial material, cork shows potential to be a sustainable alternative to current materials used within the healthcare sector. If it was shown to be antimicrobial, it would have further potential as a sustainable alternative within the healthcare sector.

01 | Cork

04 | APPENDIX

Fig. 23 Eduardo Souto Moura’s Cork Door Handle

Cork and Healthcare |02

02 | Healthcare

Specification and Appropriateness |02

02 | Healthcare

Reference: Department of Health. 2013. Types of finish by room space. [Online]. [Accessed 18 October 2020]. Available from: https://assets.publishing.service. gov.uk/government/uploads/system/uploads/attachment_data/file/148496/ HBN_00-10_Part_B_Final.pdf

Word Count: 2176

Specification and Appropriateness |02

03 | Conclusion

Conclusion |03

Carbon Emissions |01

Appendix Item 2: Transcript of Interview with Alex Macbeth. An architect with specialist experience in the healthcare and education sectors. Employed at ADP Architecture. AD: In Terms of, more specifically, handrails and doorknobs, what antimicrobial finishes did you use within the Manchester Royal Infirmary? AM: It was all stainless steel that was used. For door handles specifically, in the Manchester Royal Infirmary, were stainless steel satin finish with a BioCote antibacterial coating, so they are treated. Therefore, I don’t think the steel is itself antibacterial, it has an antibacterial coating on.

Amy Drabble (AD): In Terms of wall finishes, what antimicrobial finishes did you use within the Manchester Royal Infirmary? Alex Macbeth (AM): Wall finishes vary quite a lot within each department of the hospital. A protective PVC hygienic sheet wall protection called ‘WhiteRock: Chameleon’ is used heavily across the hospital. This is basically a sheet of really thick, plastic material. It is waterproof and you can scrub it clean. The wall protection occurs in half height, full height and splash back. So, we used it as splash back to sinks and full and half height sheets of it to some of the rooms, specifically high traffic spaces or clinical areas that need extra protection. Hygienic Paint, specifically Dulux Sterishield Antimicrobial paint, is used for any area that is a clinical space. Whereas, standard Dulux paint is just used for the admin and non-clinical spaces.

AD: What regulations do you need to abide by to design Healthcare sector buildings, specifically hospitals? AM: To my knowledge, it is the HDM’s and HBN’s. These are what were written into our appointment that we had to list any derogations against. They are the main design guidance and guidelines. For us, these were then written into the contract, I imagine that is the standard just to give a benchmark because we have to list derogations against it, which say where we are not adhering to that so that becomes part of what we are delivering. Whereas if it wasn’t then that is just guidelines.

AD: How did the use of these antimicrobial materials, mentioned, change between each department? AM: Well, the theatres will be the highest specific area highlighted as needing to be preserved to a certain level of hygiene. Surgical theatres will be right at the top of this hierarchy, following this will be theatres for treatments that do not open an individual up essentially. You have also got your clean line, which is a line drawn in the plan somewhere that once past, everything must be sterile. When we were looking at Salford Royal, doing the changing area to feed into the theatres, there was a boundary line where you go into the changing area one way, get changed, and then you go through another way to a one-way system which leads round into the theatres so that you are not cross-contaminating in the hallways with anyone that has not been sterilized. All finishes beyond this point will be sterile.

AD: Do you know whether, these guidelines mentioned are the same for other healthcare facilities such as care homes and cancer hospices? AM: I don’t know, I have not worked on any. AD: Can you think of any viable applications for cork within the healthcare sector? AM: I think, if you are looking for spaces where it’s a large square meterage of material in a hospital setting where it might be viable, I’d say the WhiteRock is the first material that has come to my head, just because it is basically everywhere within the scheme and it is large sheets of it that are used. However, I imagine any substitute for this needing to be easily cleaned. Possibly ceiling tiles, we used a lay-in-grid ceiling in most of the rooms with hygienic BioGuard Acoustic tiles. I imagine they don’t clean the ceiling, because ceiling tiles as they are tend to be fairly porous, especially ones with acoustic properties like we have got the spec reference as the HDM guidance on acoustic ratings so if these tiles have acoustic properties, the chances are they are quite a porous material. I feel like cork could potentially be a substitute for this.

AD: In Terms of floor finishes, what antimicrobial finishes did you use within the Manchester Royal Infirmary? AM: I’m not sure if the floor finish was antimicrobial, I think it was all just focused on how easy it is to clean. From memory, I remember something about the materials used not being the super anti-slip vinyl because the treatment on it is harder to clean. It’s got a more abrasive surface and is, therefore, not as easy to clean. Forbo Sphera Homogeneous Vinyl was used in the Manchester Royal Infirmary, which is not listed as having any specific antibacterial or antimicrobial properties.

AD: In your opinion, do you think cork could be used as a material finish in hospitals? AM: Yes, if it does have the antimicrobial properties that you are investigating. AD: Are there any antimicrobial surfaces used in schools? If so, do you think cork could be a substitute in this sector? AM: A big thing for a lot of schools is acoustic properties due to the requirements, especially in SEN, where you need to keep sound levels and reverberation to a certain standard so that the children do not get distracted or irritated by noises. Whether there is a requirement or not for antimicrobial surfaces in this sector, cork probably would be a good thing to put in schools if it does have antimicrobial properties just for the sake of trying to stop massive spreads of germs. Cork could be substituted for ceilings, acoustic rafts or acoustic wall panels which could double up because all around classrooms you have noticeboards, if you did use cork then you have got an acoustic panel and pin board. If you clad it in cork, then its acoustic and they can pin things wherever they want.

Appendix Item 1: Table of Types of Finish by Room Space within the Healthcare Sector. Fig. 22 Diagram to show the selection process for finishes within the Healthcare Sector

01 | Cork

AD: In Terms of furnishings, what antimicrobial finishes did you use within the Manchester Royal Infirmary? AM: The feature signage was made out of the protective WhiteRock PVC material previously spoken about. I know the Central Manchester Foundation Trust had their own approved materials for soft furnishings like seating. These fabrics would be wipeable, none porous finishes. We had some armchair seating that we were putting in, that and the curtains had to be produced with this specific fabric material. Which was waterproof, allowing them to scrub it down at the end of the day. I can’t remember from memory if it was antimicrobial as well but it was specific to furniture used in this scenario.

Cork is currently in its infancy within architecture. Through more research, continued innovation and more awareness of the product and its capabilities, cork’s price could reduce and become _more widely available. This would prove beneficial to reducing the ongoing effects of the climate emergency.

Fig.24 Harvested cork

02 | Healthcare

Harvesting and Manufacture|01

AD: Currently, do you know what the material used for corner protection is? AM: It’s just a really tough material that can take the impact without chipping because otherwise it’s just plasterboard that will crumble on impact. I think it is more of a cap, something rigid.

01 | Cork

05 | ENDNOTES

Can cork be grown elsewhere? |01

14 Portuguese Cork Association. 2015. Pure Expanded Agglomerate. [online]. [Accessed 18 October 2020]. Available at: https://www.apcor.pt/en/cork/processing/industrial-path/composite-agglomerates/ 15 Portuguese Cork Association. 2015. Pure Expanded Agglomerate. [online]. [Accessed 18 October 2020]. Available at: https://www.apcor.pt/en/cork/processing/industrial-path/composite-agglomerates/

1 Global Alliance for Buildings and Construction, International Energy Agency and the United Nations Environment Programme, 2019. 2019 Global Status Report For Buildings And Construction: Towards A ZeroEmissions, Efficient And Resilient Buildings And Construction Sector. [online] p.3. [Accessed 18 October 2020]. Available from: https://webstore.iea.org/download/direct/2930?filename=2019_global_status_report_for_ buildings_and_construction.pdf

16 Portuguese Cork Association. 2015. Composite Agglomerates. [online]. [Accessed 18 October 2020]. Available at: https://www.apcor.pt/en/cork/processing/industrial-path/composite-agglomerates/

2 Portuguese Cork Association. 2015. Cork Harvesting. [online]. [Accessed 18 October 2020]. Available at:https://www.apcor.pt/en/products/construction-and-decoration/construction/

18 World Steel Association. 2020. Global crude steel output increases by 3.4% in 2019. [online]. [Accessed 18 October 2020]. Available from: https://www.worldsteel.org/media-centre/press-releases/2020/Global-crude-steel-output-increases-by3.4--in-2019.html#:~:text=Global%20crude%20steel%20production%20reached,Asia%20and%20the%20Middle%20East.&text=Asia%20produced%201%2C341.6%20Mt%20of,of%205.7%25%20compared%20to%202018.

17 Portuguese Cork Association, 2019. The Cork Yearbook 2019/2020. [online] pp.27-36. [Accessed 18 October 2020]. Available from: https://www.apcor.pt/wp-content/uploads/2019/12/boletim_estatistico_apcor_2019.pdf

3 Portuguese Cork Association. 2015. Cork Harvesting. [online]. [Accessed 18 October 2020]. Available at:https://www.apcor.pt/en/products/construction-and-decoration/construction/

19 Goncalves, A. C., Malico, I., Mesquita, P., Pereira, R. N., Sousa, A. M. O. 2017. Energy use of cork residues in the Portuguese cork industry [online] p. 2. [Accessed 18 October 2020]. Available at https://www.researchgate.net/publication/320455861_Energy_use_of_cork_residues_in_the_Portuguese_cork_industry

4 Amorim Cork Composites. 2020. What Is Cork. [online]. [Accessed 18 October 2020]. Available at:https:// amorimcorkcomposites.com/en-us/why-cork/what-is-cork/ 5 Amorim Cork Composites. 2020. Cork Oak Forest. [online]. [Accessed 18 October 2020]. Available at: https://amorimcorkcomposites.com/en-us/why-cork/what-is-cork/

20 Amorim. 2019. Sustainability Report 2019. [online] p.155. [Accessed 18 October 2020]. Available from: https://www. amorim.com/xms/files/2019_Amorim_RC_EN_Sustentabilidade_Website_7Mai.pdf

6 Amorim Cork Composites. 2020. Facts and Curiosities: Cork Oak Forest. [online]. [Accessed 18 October 2020]. Available at:https://amorimcorkcomposites.com/en-us/why-cork/facts-and-curiosities/about-oak-forest/

21 Goncalves, A. C., Malico, I., Mesquita, P., Pereira, R. N., Sousa, A. M. O. 2017. Energy use of cork residues in the Portuguese cork industry [online] p. 2. [Accessed 18 October 2020]. Available at https://www.researchgate.net/publication/320455861_Energy_use_of_cork_residues_in_the_Portuguese_cork_industry

7 Amorim Cork Composites. 2020. Facts and Curiosities: Cork Oak Forest. [online]. [Accessed 18 October 2020]. Available at:https://amorimcorkcomposites.com/en-us/why-cork/facts-and-curiosities/about-oak-forest/

22 Amorim. 2019. Sustainability Report 2019. [online] p.163. [Accessed 18 October 2020]. Available from: https://www. amorim.com/xms/files/2019_Amorim_RC_EN_Sustentabilidade_Website_7Mai.pdf

8 Amorim Cork Composites. 2020. Facts and Curiosities: About Cork Oak Tree. [online]. [Accessed 18 October 2020]. Available at:https://amorimcorkcomposites.com/en-us/why-cork/facts-and-curiosities/about-oaktree/

23 Portuguese Cork Association, 2019. The Cork Yearbook 2019/2020. [online] p.23. [Accessed 18 October 2020]. Available from: https://www.apcor.pt/wp-content/uploads/2019/12/boletim_estatistico_apcor_2019.pdf

9 Portuguese Cork Association. 2015. Cork Harvesting. [online]. [Accessed 18 October 2020]. Available at: https://www.apcor.pt/en/cork/processing/cork-harvesting/

10 Amorim Cork Composites. 2020. Facts and Curiosities: About Cork Oak Tree. [online]. [Accessed 18 October 2020]. Available at:https://amorimcorkcomposites.com/en-us/why-cork/facts-and-curiosities/about-oak-tree/

25 Bromwell, B. 2018. Wine Be Damned, Cork Is For Building. [online]. [Accessed 18 October 2020]. Available from: https://www.architectmagazine.com/practice/wine-be-damned-cork-is-for-building_o

11 Portuguese Cork Association. 2015. Cork Harvesting. [online]. [Accessed 18 October 2020]. Available at:https://www.apcor.pt/en/cork/processing/cork-harvesting/

26 Bromwell, B. 2018. Wine Be Damned, Cork Is For Building. [online]. [Accessed 18 October 2020]. Available from: https://www.architectmagazine.com/practice/wine-be-damned-cork-is-for-building_o

12 Amorim Cork. 2020. Recycling: A New Beginning. [online]. [Accessed 18 October 2020]. Available at: https://www.amorimcork.com/en/sustainability/recycling/

Buxton, P. 2018. Metric Handbook Planning and Design Data. 6th ed. London and New York: Routledge.

28 Jorgensen, P, E., Mogensen, J, E., and Thomsen, T, R. 2015. A microbiological evaluation of SiO2-coated textiles in hospital interiors: The effect of passive coatings on the cleaning potential of interior textiles. Journal of Industrial Textiles. 46(2), pp.361-371

13 Portuguese Cork Association. 2015. Composite Agglomerates. [online]. [Accessed 18 October 2020]. Available at: https://www.apcor.pt/en/cork/processing/industrial-path/composite-agglomerates/

02 | Healthcare

Macbeth, A. 2020. Interview with A. Drabble. 12 October, Edinburgh.

46 Department of Health. 2013b. Health Building Note 00-04: Circulation and communication spaces. [Online]. London: Department of Health and Social Care. [Accessed 18 October 2020]. Available from: https://assets.publishing.service.gov.uk/ government/uploads/system/uploads/attachment_data/file/187026/Health_Building_Note_00-04_-_Circulation_and_communication_spaces_-_updated_April_2013.pdf

Sun, G. 2016. Antimicrobial Textiles. United States: Woodhead Publishing.

32 Abuzaid, A, A. 2013. Susceptibility and bactericidal activity of five biocides on Klebsiella pneumoniae and its association with efflux pump genes and antibiotic resistance. Edinburgh Medical School thesis and dissertation collection.

47 Amorim Cork Composites. 2020. Metamorphosis. [Online]. [Accessed 18 October 2020]. Available from: https://amorimcorkcomposites.com/en/innovation/case-studies/metamorphosis/

33 NHS. 2017. Healthcare associated infections. [Online]. [Accessed 16 October 2020]. Available from: https://improvement.nhs.uk/resources/healthcare-associated-infections/ 34 Jorgensen, P, E., Mogensen, J, E., and Thomsen, T, R. 2015. A microbiological evaluation of SiO2-coated textiles in hospital interiors: The effect of passive coatings on the cleaning potential of interior textiles. Journal of Industrial Textiles. 46(2), pp.361-371 35 Abuzaid, A, A. 2013. Susceptibility and bactericidal activity of five biocides on Klebsiella pneumoniae and its association with efflux pump genes and antibiotic resistance. Edinburgh Medical School thesis and dissertation collection. 36 Neves, A, R., Almeida, J, R., Carvalhal, F., Camara, A., Pereira, S., Antunes, J., Vasconcelos, V., Pinto, M., Silva, E, R., Sousa, E. and Correia-da-Silva, M. 2020. Overcoming environmental problems of biocides: Synthetic bile acid derivatives as a sustainable alternative. Ecotoxicology and Environmental Safety. 187. 37 Institution of Structural Engineers. 2011. Short Guide to Embodied Carbon in Building Structures. London: The Institution of Structural Engineers. 38 Almeida-Aguiar, C., Correia, P., Goncalves, F. and Silva, S, P. 2015. Evaluation of antimicrobial properties of cork. FEMS Microbiology Letters. 363(3). 39 NHS. 2018. Staph infection. [Online]. [Accessed 16 October 2020]. Available from: https://www.nhs.uk/ conditions/staphylococcal-infections/

06 | FIGURE REFERENCES

Current Materials Used in Healthcare |02

Fig. 13 Amorim. 2019. Sustainability Report 2019. [online] p.155. [Accessed 18 October 2020]. Available from: https://www. amorim.com/xms/files/2019_Amorim

Cover Image Amorim Cork. 2020. Facts and Curiosities: About Cork. [online]. [Accessed 18 October 2020]. Available from: https://amorimcorkcomposites.com/en-us/why-cork/facts-and-curiosities/about-cork/ Fig.2 Amorim Cork.2020. Why Cork: Naturally mind-blowing. [online]. [Accessed 18 October 2020]. Available from: https://www.amorimcork.com/en/cork/why-cork/ Fig. 3 Amorim. 2020. Four Generations, One Destination: Excellence. [online]. [Accessed 18 October 2020]. Available from: https://www.amorim.com/en/who-are-we/amorim-group/presentation/ Fig.4 Amorim Cork. 2020. Facts and Curiosities: About Cork. [online]. [Accessed 18 October 2020]. Available from: https://amorimcorkcomposites.com/en-us/why-cork/facts-and-curiosities/about-cork/ Fig.5 Amorim Cork Composites. 2020. Natural, Versatile and Sustainable. [online]. [Accessed 18 October 2020]. Available at: https://www.amorim.com/en/why-cork/key-characteristics/ Fig. 6 Original image reference: Amorim Cork Composites. 2020. A Forest With A Future. [online]. [Accessed 18 October 2020]. Available at: https://www.amorim.com/en/why-cork/cork-oak-forest-area/ Information reference: Portuguese Cork Association, 2019. The Cork Yearbook 2019/2020. [online] p.18. [Accessed 18 October 2020]. Available from: https://www.apcor.pt/wp-content/uploads/2019/12/boletim_ estatistico_apcor_2019.pdf Fig. 7 Portuguese Cork Association. 2015. Cork Harvesting. [online]. [Accessed 18 October 2020]. Available at:https://www.apcor.pt/en/cork/processing/cork-harvesting/ Fig. 8 Portuguese Cork Association, 2019. The Cork Yearbook 2019/2020. [online] p.27. [Accessed 18 October 2020]. Available from: https://www.apcor.pt/wp-content/uploads/2019/12/boletim_estatistico_apcor_2019.pdf

Fig. 10 Amorim. 2019. Sustainability Report 2019. [online] p.155. [Accessed 18 October 2020]. Available from: https://www.amorim.com/xms/files/2019_Amorim_RC_EN_Sustentabilidade_Website_7Mai.pdf

41 Jeronimo, A., Soares, C., Aguiar, B. and Lima, N. 2020. Hydraulic lime mortars incorporating micro cork granules with antifungal properties. Construction and Building Materials. 255

Fig. 11 Amorim. 2019. Sustainability Report 2019 . [online] p.163. [Accessed 18 October 2020]. Available from: https://www.amorim.com/xms/files/2019_Amorim_RC_EN_Sustentabilidade_Website_7Mai.pdf

42 SuBerra. 2020. Antibacterial Properties. [Online]. [Accessed 18 October 2020]. Available from: https:// suberra.co/about/anitbacterial/

Fig. 12 (1)Amorim Cork Composites. 2020. Facts and Curiosities: About Cork Oak Tree. [online]. [Accessed 18 October 2020]. Available at: https://amorimcorkcomposites.com/en-us/why-cork/facts-and-curiosities/about-oaktree/ (2) MetOffice. 2016. Southern England: climate. [online]. [Accessed 18 October 2020]. Available at: https://www. metoffice.gov.uk/binaries/content/assets/metofficegovuk/pdf/weather/learn-about/uk-past-events/regionalclimates/southern-england_-climate---met-office.pdf (3) Cranfield Soil and Agrifood Institute. 2020. Soilscapes.[online]. [Accessed 18 October 2020]. Available at: http://www.landis.org.uk/soilscapes/index.cfm

Macbeth, A. 2020. Interview with A. Drabble. 12 October, Edinburgh.

44 Department of Health. 2013a. Health Building Note 00-10 Part B: Walls and ceilings. [Online]. London: Department of Health and Social Care. [Accessed 18 October 2020]. Available from: https://assets.publishing. service.gov.uk/government/uploads/system/uploads/attachment_data/file/148496/HBN_00-10_Part_B_Final.pdf

Fig. 9 Portuguese Cork Association, 2019. The Cork Yearbook 2019/2020. [online] p.36. [Accessed 18 October 2020]. Available from: https://www.apcor.pt/wp-content/uploads/2019/12/boletim_estatistico_apcor_2019.pdf

40 NHS. 2009. Facts about E. coli. [Online]. [Accessed 16 October 2020]. Available from: https://www.nhs. uk/news/food-and-diet/facts-about-e-coli/

02 | Healthcare

Title Page |02

45 Department of Health. 2013a. Health Building Note 00-10 Part B: Walls and ceilings. [Online]. London: Department of Health and Social Care. [Accessed 18 October 2020]. Available from: https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/148496/HBN_00-10_Part_B_Final.pdf

30 Barrett, L., Sianawati, E. and Snyder, D. 2007. Antimicrobial Coatings. Paint & Coatings Industry. [Online] [Accessed 10 October 2020] Available from: https://www.pcimag.com/articles/87237-antimicrobial-coatings 31

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

ACA

01 | Cork

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

EVA

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

Key

Overall, the research conducted by Almeida-Aguiar et al demonstrates that cork has natural antibacterial properties which theoretically could be utilised to reduce the need for chemical, synthetic alternatives such as EVA and ACA. However, the antifungal properties of cork may be a possible limitation of the material, as there is little research into the assessment of this. Therefore, cork displays the potential of having antimicrobial properties, however, more research needs to be conducted into its antifungal properties to confirm this claim.

Em b o d i e d C a r b o n (kg CO2e)

0.19

General Paint Stainless Steel Vinyl Flooring

Antimicrobial Properties of Cork

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

Fig. 18 How antimicrobial agents work

Cork and Healthcare

Cork and Healthcare Research has been conducted by Almeida-Aguiar et al38 that demonstrates cork to have antibacterial properties. When tested in direct comparison with two antimicrobial materials (ACA and EVA), cork displayed a high level of antibacterial activity. Using a quantitative procedure, cork displayed a bacterial reduction of 96.93% when incubated for 90 minutes with Staphylococcus aureus (a bacteria that causes skin infections) (see Fig.20).39 In a second experiment, cork was assessed against Escherichia coli (a bacteria that can cause food poisoning and infection).40 In this experiment, cork displayed a reduced, but more constant, antibacterial activity in which there was a 36% reduction of the initial number of bacterial colonies (see Fig.21). When compared with the results of ACA and EVA, cork proved to be most effective against Gram-positive bacteria (Staphylococcus aureus), displaying a higher bacterial reduction than EVA and a similar bacterial reduction to ACA. However, a potential limitation of cork is that it was less effective against Gram-negative bacteria (Escherichia coli). Cork displayed a considerably lower bacterial reduction than both EVA and ACA for this bacteria.

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

The requirement for strategies to reduce the risk of nosocomial infections in healthcare settings is clear. However, is the use of non-natural, chemical agents and additives the most appropriate solution available?

00 | Introduction

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

What is cork?

Antimicrobial Additives and Agents (Biocides)

In terms of effectiveness, antimicrobial surfaces have been proven to be efficient at reducing and eliminating bacteria growth (see Fig.18).34 However, there is growing scepticism that exposing hospital pathogens, on an increasing basis, to biocides could actually increase bacterial resistance against nosocomial infections.35 In addition to this, there are also growing concerns that the use of these chemicals presents potential environmental issues as some biocide compounds have been proven to be toxic to marine ecosystems.36

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

Cork is a completely natural raw material that comes from the outer bark of the cork oak tree.4 Grown within large indigenous cork oak forests, that are most commonly found in Portugal as well as the Western Mediterranean Basin (see Fig.6).5 Cork oak forests retain large volumes of carbon dioxide from the air as well as being rich biodiverse Key Graphs areas for wildlife and plant life.6 They serve as important cultural and economical landscapes for the countries they are found within.7

Positives

Negatives

Natural, bio based material

Limited supply line

Versatile

Specific growing conditions

Sustainable and renewable

In its infancy in architecture

Light

High costs

Flexible

Large energy consumption and CO2 emissions during manufacturing processes

3% France

01 | CORK What is cork? Cork is a completely natural raw material that comes from the outer bark of the cork oak tree.4 Grown within large indigenous cork oak forests, that are most commonly found in Portugal as well as the Western Mediterranean Basin (see Fig.6).5 Cork oak forests retain large volumes of carbon dioxide from the air as well as being rich biodiverse areas for wildlife and plant life.6 They serve as important cultural and economical landscapes for the countries they are found within.7

Positives

Negatives

Natural, bio based material

Limited supply line

Versatile

Specific growing conditions

Sustainable and renewable

In its infancy in architecture

Light

High costs

Flexible

Large energy consumption and CO2 emissions during manufacturing processes

Impervious to gas and liquids Thermal and sound insulator

3% France 34% Portugal 27% Spain 3% Italy

Fire retardant Circular economy Hydrothermal Sequestered Carbon 18% Marocco

Antimicrobial

Impervious to gas and liquids Thermal and sound insulator

34% Portugal

27% Spain 3% Italy

Hydrothermal Sequestered Carbon

South of England Conditions

sandy and clayey soil that is generally acidic3

42% Natural Cork Stoppers

up to 300m

Fig. 14 Global Cork Exports

What is cork? |01

Fig.8. Exported value of cork (million euros), Diagram: author’s own

3% Other

26% Building Materials

42% Natural Cork Stoppers

29% Other Cork Stoppers

carbon emissions

1. Opening

2. Separation

3. Dividing

4. Extracting

5. Removing

6. Marking

7. Stacking

01 | Cork

Harvesting and Manufacture|01

Energy Source

Energy Consumption (GJ)

What is cork? |01 Biomass

988,375

Natural Gas

45,082

Propane

5,632

Diesel

27,929

Gasoline

355

Fig. 10 Fuel source and energy use during manufacturing (Gigajoule)

Fig. 11 Amorim’s circular economy manufacturing process

Fig. 14 Global Cork Exports

Corks use by sector

01 | Cork

Fig.6 Cork oak forest areas percentages; original diagram edited by author

29% Other Cork Stoppers

up to 1000mm per year 0 ºC to 25 ºC

Fig. 13 Estimated transport carbon emissions

4% 11% Tunisia Estimated transport Algeria

3% Other

26% Building Materials

01 | Cork

18% Marocco

Fig. 13 Estimated transport carbon emissions

Fig.5 Positives and negatives of cork

11% Algeria

Fig.6 Cork oak forest areas percentages; original diagram edited by author

Circular economy

Antimicrobial

4% Tunisia

Fig.5 Positives and negatives of cork

Fire retardant

Can cork be grown elsewhere?

4. the Canremoval it be grown to reduce stainable process of stripping: ofelsewhere the -5 ºC to 40 ºC Temperature 9 embodied transport carbon. without damaging the tree (see Fig.7). Themm cork 400-800 per year up to 1000mm per year 10 Rainfall ested every nine years, however, it isn’t until its 100-300 m Altitude tops to be produced.11 This results in only 30% of

INTRODUCTION

- what is cork? - harvesting and manufacturing - carbon emissions in manufacturing - carbon emissions in transportation

GC 11

Fig.6 Cork oak forest areas percentages; original diagram edited by author

Fig. 15).24 This leads to a high amount of carbon emissions due to transportation Fig. 13). Could growing cork Fig.8. Exported value of cork(see (million euros), n other parts of the world help to combat cork’s transportation carbon emissions? in other parts of the world help to combat cork’s transportation carbon emissions? Bio-based materials offer a great opportunity Diagram: author’s own

GC 10

Fig.1 Cork Reference: Amorim Cork.2020. Why Cork: Naturally mind-blowing. [online]. [Accessed 18 October 2020]. Available from: https://www.amorimcork.com/en/cork/why-cork/

Question // CAN CORK, A BIO-BASED MATERIAL, BE A SUSTAINABLE ALTERNATIVE 23 TO he biggest world exporter of cork is Portugal (see Fig. 14) CURRENT ANTIMICROBIAL SURFACES USED INand the USA is one of the top importers of cork (see 24 biggest world exporter of(see cork isFig. Portugal Fig.growing 14)23 and the USA is one of the top importers of cork (see SETTINGS? a high amount of carbon emissionsThe due to transportation 13). (see Could cork ig. 15). This leads to HEALTHCARE

Soil

By Amy Drabble and Stuart Gomes

Carbon Emissions in Transportation: Carbon Emissions in Transportation: Can cork be grown elsewhere? Response to build sustainably. These materials, including cork, are 100% natural and are often recyclable, reusable or bio-degradable; have low carbon emissions and help towards a circular economy. Different bio-based materials offer Growing Conditions 1 alternative options to different problems. Cork 1 is already inGrowing use within theConditions construction industry, South of England Conditions2 sandy, chalk-free with low most commonly for flooring and sound and Soil nitrogen and phosphorus, thermal insulation. high potassium andisa pH sandy, chalk-free with low sandy and clayey soil that Part 1: CORK 4.83 to 7.0 nitrogen generallyfrom acidic 1. What is Cork?and phosphorus, high potassium and a pH 2. Harvesting and Manufacturing 400-800 mm per year Rainfall 4.8Solution? to 7.0 3.A Carbonfrom Neutral

CAN CORK, A BIO-BASED MATERIAL, BE A SUSTAINABLE ALTERNATIVE TO CURRENT ANTIMICROBIAL SURFACES USED IN HEALTHCARE SETTINGS?

CONTENTS

GC 9

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

An illustrated summary document appraising and presenting the key issues of the topic with a clear conclusion (approximately 2000 words).

01 | CORK

19.10.2020

GENERIC STUDY

GC 8

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

"Cork can largely only be grown, to a high standard, in the Western Mediterranean Basin and strict (but essential) harvesting guidelines have led to a limited supply line. Additionally, high transport costs, and embodied C02 in manufacturing, have reduced its sustainable usability outside of the Mediterranean Basin."

GC 7

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

Findings

GC 6

01 | Cork

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

[MArch 2] AMPL DSA DSH DR

Task The Generic Study is a research project on an aspect of contemporary technology, in response to a well-defined research question. The research should be linked to the ‘Climate Emergency’ declared by RIBA, the Scottish Government, ESALA and many governments and organisations around the world. The research question must be agreed with your tutor.

GC 5

Bacterial Reduction (%)

CORK

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

[MArch 1] ATR DSC DSD SCAT

Brief 01 // Generic Study

GC 4

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

GC 3

Bacterial Reduction (%)

GC 2

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

GC 1

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

MArch 1, [semester 1]

Architectural Technology Research - Assignment 1 - Generic Study

ARCH11075

[GP] [AD] [JP] [TC] [KL] [TG] [PX]

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

Materials

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

ATR

[2021] ATR

Carbon Emissions |01

Carbon Emissions in Transportation: Can cork be grown elsewhere?

Fig. 13 Estimated transport carbon emissions

Growing Conditions 1 Soil

Rainfall Temperature Altitude

South of England Conditions2

sandy, chalk-free with low nitrogen and phosphorus, high potassium and a pH from 4.8 to 7.0

sandy and clayey soil that is generally acidic3

400-800 mm per year

up to 1000mm per year

-5 ºC to 40 ºC

0 ºC to 25 ºC

100-300 m

up to 300m

Fig. 14 Global Cork Exports

Fig. 12 Perfect growing conditions for the cork oak tree against south of England weather conditions

Global Cork Exports 4

01 | Cork

Fig. 15 Global Cork Imports

Can cork be grown elsewhere? |01

Architectural Technology Research - Assignment 1 - Generic Study

CORK

CAN CORK, A BIO-BASED MATERIAL, BE A SUSTAINABLE ALTERNATIVE TO CURRENT ANTIMICROBIAL SURFACES USED IN HEALTHCARE SETTINGS?

INTRODUCTION CORK - what is cork? - harvesting and manufacturing - carbon emissions in manufacturing - carbon emissions in transportation

HEALTHCARE - current materials used in healthcare - antimicrobial additives and agents - cork and healthcare - specification and appropriateness

CONCLUSION

APPENDIX

ENDNOTES

FIGURE REFERENCES

00 | INTRODUCTION We are now becoming more aware of the ongoing climate emergency. The world construction industry, according to the International Energy Agency (IEA), accounts for 39% of carbon emissions.1 Bio-based materials offer a great opportunity to build sustainably. These materials, including cork, are 100% natural and are often recyclable, reusable or bio-degradable; have low carbon emissions and help towards a circular economy.2 Different bio-based materials offer alternative options to different problems. Cork is already in use within the construction industry, most commonly for flooring and sound and thermal insulation.3

01 | CORK

What is Cork? Harvesting and Manufacturing Carbon Emissions in Manufacturing Carbon Emissions in Transportation

GC 11

Positives

Negatives

Natural, bio based material

Limited supply line

Versatile

Specific growing conditions

Sustainable and renewable

In its infancy in architecture

Light

High costs

Flexible

Large energy consumption and CO2 emissions during manufacturing processes

Impervious to gas and liquids Thermal and sound insulator

3% France 34% Portugal 27% Spain 3% Italy

Fire retardant

GA 2 1

Fig.8. Exported value of cork (million euros), Diagram: author’s own

3% Other

26% Building Materials

42% Natural Cork Stoppers

29% Other Cork Stoppers

Energy Source

Circular economy

Energy Consumption (GJ)

Biomass

Hydrothermal 18% Marocco

Antimicrobial

4% Tunisia

Growing Conditions 1 Soil

Rainfall Temperature Altitude

45,082

Propane 11% Algeria

Carbon Emissions in Transportation: Can cork be grown elsewhere?

27,929 355

South of England Conditions2

sandy, chalk-free with low nitrogen and phosphorus, high potassium and a pH from 4.8 to 7.0

sandy and clayey soil that is generally acidic3

400-800 mm per year

up to 1000mm per year

-5 ºC to 40 ºC

0 ºC to 25 ºC

100-300 m

up to 300m

Fig. 14 Global Cork Exports

Fig. 12 Perfect growing conditions for the cork oak tree against south of England weather conditions

5,632

Diesel Gasoline

Fig. 13 Estimated transport carbon emissions

988,375

Natural Gas

Sequestered Carbon

Fig.5 Positives and negatives of cork Fig.6 Cork oak forest areas percentages; original diagram edited by author

By Amy Drabble and Stuart Gomes

GA 2 2

02 | HEALTHCARE

Current Materials Used in Healthcare Antimicrobial Additives and Agents Cork and Healthcare Specification and Appropriateness

2. Separation

3. Dividing

4. Extracting

5. Removing

6. Marking

7. Stacking

Fig. 11 Amorim’s circular economy manufacturing process

GA 2 5

GA 2 6

GA 2 7

F in is h Typ e

Wa l l F i n i s h e s

Finish Used

Altro WhiteRock: Chameleon Dulux Sterishield Antimicrobial paint

Ceiling Finishes

F u r n i s h i n gs

Forbo Sphera Homogeneous Vinyl

Antimicrobial?

Use

D es i r ed P r o p e r t i e s

Yes, antimicrobial

Wall protection throughout Waterproof, hospital Can be easily cleaned Wall finish to clinical areas

Wall finish to admin and nonclinical areas

Main floor finish throughout hospital

No, but is hygienic

Hygienic BioGuard Acoustic tiles

Yes, antimicrobial

Altro WhiteRock: Chameleon

No, but is hygienic

Central Manchester Foundation Trust Approved Fabric

Unknown

Stainless Steel Satin Finish with a BioCote Antibacterial Coating Door No, but is Handle antibacterial

Fig. 16 Manchester Royal Infirmary Fig. 15 Global Cork Imports

GA 2 4

02 | HEALTHCARE

Fig. 10 Fuel source and energy use during manufacturing (Gigajoule)

1. Opening Fig.4 Cork

GA 2 3

Can be easily cleaned

Lay-in-grid ceiling finish in most rooms Feature signage Curtains and seating finish

Wipeable, Non-porous finish

Door Handles

Fig. 17 Material finishes used within the Manchester Royal Infirmary Table: author’s own

Fig.3 Cork Fig.1 Cork Reference: Amorim Cork.2020. Why Cork: Naturally mind-blowing. [online]. [Accessed 18 October 2020]. Available from: https://www.amorimcork.com/en/cork/why-cork/

Material

Cork Insulation

[MArch 2] AMPL DSA DSH DR

Mass (kg)

Em b o d i e d C a r b o n C a l c u l a t i o n (kg(kg CO2e / kg) = kg CO2e)

Em b o d i e d C a r b o n (kg CO2e)

0.19

10 x 0.19

1.9

2.91

10 x 2.91

29.1

6.15

10 x 6.15

61.5

Vinyl Flooring

2.29

10 x 2.29

EVA ACA Cork

Fig. 20 Graph displaying the bacterial reduction of Staphylococcus aureus when incubated with each substance.

Key EVA ACA Cork

Fig. 21 Graph displaying the bacterial reduction of Escherichia coli when incubated with each substance.

Cork and Healthcare |02

Specification and Appropriateness Therefore, how could cork be used as an alternative to current antimicrobial surfaces used within healthcare settings? The specification of healthcare finishes is devised by a set of guidelines called the Health Building Notes.43 Figure 22 and Appendix Item 1 indicate the best practice on how to select each finish and the finish requirements for each room type within healthcare settings.44

Title Page |01

Cork as an Antimicrobial Alternative

22.9

Incubation Time (min)

01 | Cork

Incubation Time (min)

The antimicrobial products currently used in the healthcare sector, stated in the MRI case study, are antimicrobial paint and ceiling tiles coated with a antimicrobial coating. The wall / partition finishes in each room type are required to be either a type of emulsion or paint (see appendix item 1). Therefore, eradicating the potential of cork being used as an antimicrobial alternative to antimicrobial paint. However, cork could be a potential alternative to the ceiling tiles currently used (see appendix item 1). For each room, the ceiling finish is dictated by whether it is jointless, within a concealed grid, imperforated or perforated, is resistant to humidity and / or textured. It appears that, if cork is confirmed to be antimicrobial, there is potential for cork ceiling tiles to be used in a lay-in-grid system as an antimicrobial alternative within the Clinical - dry (moderate and light clinical) rooms. In addition to this, if cork was proved to not be antifungal, and so not antimicrobial, it appears cork ceiling tiles could still be used as an alternative in the Non-clinical- dry and high traffic spaces. This is because there is no requirement listed for these ceiling tiles to be hygienic, antimicrobial or clinical.45

01 | Cork

What is cork? |01

01 | Cork

04 | APPENDIX

Appendix Item 1: Table of Types of Finish by Room Space within the Healthcare Sector. Fig. 22 Diagram to show the selection process for finishes within the Healthcare Sector

Fig. 23 Eduardo Souto Moura’s Cork Door Handle

Cork and Healthcare |02

02 | Healthcare

Specification and Appropriateness |02

02 | Healthcare

Word Count: 2176

Specification and Appropriateness |02

03 | Conclusion

01 | Cork

Conclusion |03

Carbon Emissions |01

AD: Are there any antimicrobial surfaces used in schools? If so, do you think cork could be a substitute in this sector? AM: A big thing for a lot of schools is acoustic properties due to the requirements, especially in SEN, where you need to keep sound levels and reverberation to a certain standard so that the children do not get distracted or irritated by noises. Whether there is a requirement or not for antimicrobial surfaces in this sector, cork probably would be a good thing to put in schools if it does have antimicrobial properties just for the sake of trying to stop massive spreads of germs. Cork could be substituted for ceilings, acoustic rafts or acoustic wall panels which could double up because all around classrooms you have noticeboards, if you did use cork then you have got an acoustic panel and pin board. If you clad it in cork, then its acoustic and they can pin things wherever they want.

AD: In your opinion, do you think cork would be a suitable sustainable alternative material to use for corner protection? AM: If you are thinking about it in terms of corridors with trolleys coming through and colliding into it, I’m not sure how much of an impact cork would take before it crumbles. Unless it was some sort of padding behind a sturdier material. Possibly to cushion the impact rather than take the blow itself. AD: Currently, do you know what the material used for corner protection is? AM: It’s just a really tough material that can take the impact without chipping because otherwise it’s just plasterboard that will crumble on impact. I think it is more of a cap, something rigid.

01 | Cork

AD: In your opinion, do you think cork could be used as a material finish in hospitals? AM: Yes, if it does have the antimicrobial properties that you are investigating.

Fig.24 Harvested cork

02 | Healthcare

Harvesting and Manufacture|01

05 | ENDNOTES

16 Portuguese Cork Association. 2015. Composite Agglomerates. [online]. [Accessed 18 October 2020]. Available at: https://www.apcor.pt/en/cork/processing/industrial-path/composite-agglomerates/

2 Portuguese Cork Association. 2015. Cork Harvesting. [online]. [Accessed 18 October 2020]. Available at:https://www.apcor.pt/en/products/construction-and-decoration/construction/

3 Portuguese Cork Association. 2015. Cork Harvesting. [online]. [Accessed 18 October 2020]. Available at:https://www.apcor.pt/en/products/construction-and-decoration/construction/

20 Amorim. 2019. Sustainability Report 2019. [online] p.155. [Accessed 18 October 2020]. Available from: https://www. amorim.com/xms/files/2019_Amorim_RC_EN_Sustentabilidade_Website_7Mai.pdf

22 Amorim. 2019. Sustainability Report 2019. [online] p.163. [Accessed 18 October 2020]. Available from: https://www. amorim.com/xms/files/2019_Amorim_RC_EN_Sustentabilidade_Website_7Mai.pdf

24 Portuguese Cork Association, 2019. The Cork Yearbook 2019/2020. [online] p.24. [Accessed 18 October 2020]. Available from: https://www.apcor.pt/wp-content/uploads/2019/12/boletim_estatistico_apcor_2019.pdf 25 Bromwell, B. 2018. Wine Be Damned, Cork Is For Building. [online]. [Accessed 18 October 2020]. Available from: https://www.architectmagazine.com/practice/wine-be-damned-cork-is-for-building_o 26 Bromwell, B. 2018. Wine Be Damned, Cork Is For Building. [online]. [Accessed 18 October 2020]. Available from: https://www.architectmagazine.com/practice/wine-be-damned-cork-is-for-building_o

12 Amorim Cork. 2020. Recycling: A New Beginning. [online]. [Accessed 18 October 2020]. Available at: https://www.amorimcork.com/en/sustainability/recycling/

Buxton, P. 2018. Metric Handbook Planning and Design Data. 6th ed. London and New York: Routledge.

02 | Healthcare

9 Portuguese Cork Association. 2015. Cork Harvesting. [online]. [Accessed 18 October 2020]. Available at: https://www.apcor.pt/en/cork/processing/cork-harvesting/ 10 Amorim Cork Composites. 2020. Facts and Curiosities: About Cork Oak Tree. [online]. [Accessed 18 October 2020]. Available at:https://amorimcorkcomposites.com/en-us/why-cork/facts-and-curiosities/about-oak-tree/ 11 Portuguese Cork Association. 2015. Cork Harvesting. [online]. [Accessed 18 October 2020]. Available at:https://www.apcor.pt/en/cork/processing/cork-harvesting/

13 Portuguese Cork Association. 2015. Composite Agglomerates. [online]. [Accessed 18 October 2020]. Available at: https://www.apcor.pt/en/cork/processing/industrial-path/composite-agglomerates/

Can cork be grown elsewhere? |01

Macbeth, A. 2020. Interview with A. Drabble. 12 October, Edinburgh.

Sun, G. 2016. Antimicrobial Textiles. United States: Woodhead Publishing.

47 Amorim Cork Composites. 2020. Metamorphosis. [Online]. [Accessed 18 October 2020]. Available from: https://amorimcorkcomposites.com/en/innovation/case-studies/metamorphosis/

Current Materials Used in Healthcare |02

Fig. 13 Amorim. 2019. Sustainability Report 2019. [online] p.155. [Accessed 18 October 2020]. Available from: https://www. amorim.com/xms/files/2019_Amorim_RC_EN_Sustentabilidade_Website_7Mai.pdf Fig. 14 Portuguese Cork Association, 2019. The Cork Yearbook 2019/2020. [online] p.23. [Acces

Fig. 10 Amorim. 2019. Sustainability Report 2019. [online] p.155. [Accessed 18 October 2020]. Available from: https://www.amorim.com/xms/files/2019_Amorim_RC_EN_Sustentabilidade_Website_7Mai.pdf

41 Jeronimo, A., Soares, C., Aguiar, B. and Lima, N. 2020. Hydraulic lime mortars incorporating micro cork granules with antifungal properties. Construction and Building Materials. 255

Fig. 11 Amorim. 2019. Sustainability Report 2019 . [online] p.163. [Accessed 18 October 2020]. Available from: https://www.amorim.com/xms/files/2019_Amorim_RC_EN_Sustentabilidade_Website_7Mai.pdf

42 SuBerra. 2020. Antibacterial Properties. [Online]. [Accessed 18 October 2020]. Available from: https:// suberra.co/about/anitbacterial/

Macbeth, A. 2020. Interview with A. Drabble. 12 October, Edinburgh.

06 | FIGURE REFERENCES

40 NHS. 2009. Facts about E. coli. [Online]. [Accessed 16 October 2020]. Available from: https://www.nhs. uk/news/food-and-diet/facts-about-e-coli/

02 | Healthcare

Title Page |02

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

Key

Findings

02 | Healthcare

Embodied Carbon Factor (kg CO2e / kg)

General Paint Stainless Steel

Antimicrobial Properties of Cork

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

Fig. 18 How antimicrobial agents work

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

00 | Introduction

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

Antimicrobial Additives and Agents (Biocides)

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

Cork and Healthcare

Spec fication and Appropr ateness

"cork could be a suitable replacement of the current materials used for ceiling tiles and door handles in certain departments within the healthcare sector due to its proven antibacterial properties. As an antibacterial material, cork shows potential to be a sustainable alternative to current materials used within the healthcare sector. If it was shown to be antimicrobial, it would have further potential as a sustainable alternative within the healthcare sector. " b

w M

m m

w W

w m

w w

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

02 | HEALTHCARE

Part 2 HEALTHCARE 1. Current Materials Used in Healthcare

2. Antimicrobial Additives and Agents (Biocides) Current Materials Used in Healthcare 3. Cork and Healthcare By 4. waySpecification of introduction, the healthcare sector specialises in products, services and infrastructure related to health and Appropriateness

Door handle - possible use for cork in an healthcare setting

and medical care. Research and case studies display that a large proportion of healthcare currently focuses on formulating a sector that is reactive to individual episodes of illness and disease as opposed to being proactive towards the goal of anticipating and preventing future illness.27

F in is h Typ e

Wall Finishes

Floor Finishes

The Manchester Royal Infirmary (MRI) (see Fig.16) is a large teaching hospital located in Manchester. The existing MRI is currently in the process of being refurbished and redeveloped.

Fabric is antimicrobial, however, there is research that states that antibacterial textiles are currently used within hospitals.28 In addition to the antimicrobial materials identified, it can be seen that the door handles used are antibacterial.29 Each of these finishes are alike in their manufacturing process, as they all rely on the addition or coating of an antimicrobial additive or agent to achieve the desired antimicrobial properties required. For example, antimicrobial paints are products of a manufactured process in which antimicrobial additives, such as biocides and silver-based biocides, are introduced into non-hygienic paint.30 31

Current products used in healthcare

Ceiling Finishes

F u r n i s h i n gs

Spe fi a on and App op a ene

Antimicrobial?

U se

Yes, antimicrobial

Wall finish to admin and nonclinical areas

Main floor finish throughout hospital

Hygienic BioGuard Acoustic tiles

Yes, antimicrobial

Lay-in-grid ceiling finish in most rooms

Altro WhiteRock: Chameleon

No, but is hygienic

Feature signage

Unknown

Curtains and seating finish

Forbo Sphera Homogeneous Vinyl

Central Manchester Foundation Trust Approved Fabric

F in is h Typ e

Wall Finishes

No, but is hygienic

Stainless Steel Satin Finish with a BioCote Antibacterial Coating Door No, but is Handle antibacterial Fig. 17 Material finishes used within the Manchester Royal Infirmary Table: author’s own

Door Handles

Floor Finishes Case Study | Manchester Royal Infirmary (MRI) The Manchester Royal Infirmary (MRI) (see Fig.16) is a large teaching hospital located in Manchester. The existing MRI is currently in the process of being refurbished and redeveloped.

Ceiling Finishes

F u r n i s h i n gs

Antimicrobial?

U se

D es i r ed P r o p e r t i e s

Yes, antimicrobial

Wall protection throughout Waterproof, hospital Can be easily cleaned Wall finish to clinical areas

Wall finish to admin and nonclinical areas

Forbo Sphera Homogeneous Vinyl

Main floor finish throughout hospital

Hygienic BioGuard Acoustic tiles

Yes, antimicrobial

Lay-in-grid ceiling finish in most rooms

Altro WhiteRock: Chameleon

No, but is hygienic

Feature signage

Central Manchester Foundation Trust Approved Fabric

Unknown

Curtains and seating finish

Altro WhiteRock: Chameleon Dulux Sterishield Antimicrobial paint

Dulux paint

02 | Healthcare

Finish Used

No, but is hygienic

Stainless Steel Satin Finish with a BioCote Antibacterial Coating Door No, but is Handle antibacterial

Can be easily cleaned

Research has shown that biocides have been used extensively within healthcare settings to combat healthcareassociated infections (HCAIs).32 A key priority of the NHS is to reduce and prevent the number of HCAIs as possible because these infections can affect patients, staff and visitors - resulting in additional illness, complications and cost.33 In terms of effectiveness, antimicrobial surfaces have been proven to be efficient at reducing and eliminating bacteria growth (see Fig.18).34 However, there is growing scepticism that exposing hospital pathogens, on an increasing basis, to biocides could actually increase bacterial resistance against nosocomial infections.35 In addition to this, there are also growing concerns that the use of these chemicals presents potential environmental issues as some biocide compounds have been proven to be toxic to marine ecosystems.36 The requirement for strategies to reduce the risk of nosocomial infections in healthcare settings is clear. However, is the use of non-natural, chemical agents and additives the most appropriate solution available?

Fig. 18 How antimicrobial agents work

Material

Wipeable, Non-porous finish

Cork and Healthcare

Cork Insulation

Door Handles

02 | Healthcare

Current Materials Used in Healthcare |02

Spec fication and App op a eness

Can be easily cleaned

Wipeable, Non-porous finish

Embodied Carbon Factor (kg CO2e / kg)

Mass (kg)

Em b o d i e d C a r b o n C a l c u l a t i o n (kg(kg CO2e / kg) = kg CO2e)

Em b o d i e d C a r b o n (kg CO2e)

0.19

10 x 0.19

1.9

2.91

10 x 2.91

29.1

Stainless Steel

6.15

10 x 6.15

61.5

Vinyl Flooring

2.29

10 x 2.29

22.9

General Paint

It can be deduced that cork has a considerably lower level of embodied carbon than the alternative surface materials listed. This means less CO2 emissions are associated with cork and so, theoretically, is an indication of it being more sustainable.37

Fig. 17 Material finishes used within the Manchester Royal Infirmary Table: author’s own

Antimicrobial Additives and Agents (Biocides)

D es i r ed P r o p e r t i e s

Wall protection throughout Waterproof, hospital Can be easily cleaned Wall finish to clinical areas

Altro WhiteRock: Chameleon Dulux Sterishield Antimicrobial paint

By way of introduction, the healthcare sector specialises in products, services and infrastructure related to health and medical care. Research and case studies display that a large proportion of healthcare currently focuses on formulating a sector that is reactive to individual episodes of illness and disease as opposed to being proactive towards the goal of anticipating and preventing future illness.27

Finish Used

Dulux paint

Cork is a very unique material. It was fascinating learning about its possibilities but also its Case Study | Manchester Royal Infirmary (MRI) shortcomings.

Current Materials Used in Healthcare

02 Hea h a e

02 | HEALTHCARE

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

A ti

It will be really interesting to see how cork can continue to grown withinwith theAlex construction Following an interview Macbeth, anindustry architect working on the MRI, the material finishes currently used within the MRI have been as identified (see the Fig.17). From this qualitative data, it can be understood that Dulux as a low carbon alternative we tackle climate Sterishield Antimicrobial paint and Hygienic BioGuard Acoustic ceiling tiles are the only antimicrobial surfaces used emergency. for wall and ceiling finishes within the hospital. It is unknown if the Central Manchester Foundation Trust Approved

GC 10

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

Brief 01 // Generic Study

CONTENTS

GC 9

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

[MArch 1] ATR DSC DSD SCAT

19.10.2020

GENERIC STUDY

GC 8

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

GC 7

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

GC 6

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

GC 5

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

GC 4

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

GC 3

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

GC 2

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

GC 1

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

MArch 1, [semester 1]

Bacterial Reduction (%)

ARCH11075

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Bacterial Reduction (%)

Materials

Can cork, a bio-based material, be a sustainable alternative to current antimicrobial surfaces used in healthcare settings?

ATR

[2021] ATR

Cork and Healthcare |02

FIGURE REFERENCES

K-BRIQ SAMPLE

Recyclability / Reusability

Large energy consumption manufacturing process Currently not fully utilised

Long life span

after life

Yes

Water Demand

and CO2 emissions during Large amount of water used

Case Study 1: WasteBasedBrick by StoneCycling Advantages

Improving on the Brick: 1. Reducing amount of natural material used; 2. Reducing CO2 emissions in manufacturing; 3.Utilising construction waste.

Disadvantages

Reduces amount of clay used (40% to 0%)

Fig.7a: WasteBasedBrick Improvements on the Brick

Expensive

Large amount of construction waste used WasteBasedBrick, by StoneCycling, is a fired brick using 60-100% material waste from the construction industry to upcycle and produce a high quality, sustainable product.6 Focusing on reducing CO2 emissions, waste materials used in this brick are carefully sourced no further than a 100 km radius from the factory via strict supply chains (see fig.).7 The focus of producing a low embodied carbon product, using waste materials, addresses the current issues regarding the amount of primary resources used when making traditional clay bricks.

Fired*

in each brick (60-100%) (see Fig. 10)

fired to form solid bricks.8 Built to industry standards, these bricks can compete with similar products in the industry when comparing their compressive strength, water absorption and freeze-thaw capabilities.9 However, the WasteBasedBrick has only been commercially used as a façade finish, interior brick and floor finish to date.10 It is a relatively new product that requires further development, scaling and marketing to establish the brick as a common construction unit used and trusted within the construction industry.

Uses leftover, rejected clay from the

Locally sourced to Amsterdam (Not the

manufacturing process that would have

UK, or Scotland)

gone to landfill Variety of colours based on waste material ratios

Fig. 8: Advantages and Disadvantages of WasteBasedBrick *Although the development of using alternative fuels and efficient firing curves within the kiln, means there is a 25% reduction in production energy use compared to other kiln fired bricks.

To form the WasteBasedBrick, waste material is ground into a coarse powder, combined with clay and then kiln

02 | BRICK Case Study 1: WasteBasedBrick by StoneCycling Improving on the Brick: 1. Reducing amount of natural material used; 2. Reducing CO2 emissions in manufacturing; 3.Utilising construction waste. Fig.9a: WasteBasedBrick Improvements on the Brick

Properties

glass, bricks, concrete, sanitaryware 50+ years

Embodied Carbon / Energy Use

25% less than traditional brick

Construction Waste Percentage

60-100% (91kg waste upcycled per m2)

Heat Requirements

Yes, fired in kiln

Recyclability / Reusability

Yes, can be crushed down and made into more WasteBasedBrick

Water Demand

Unknown

Cost

£0.20 - £1.20

Locally Sourced To

clay, rejected clay and upcycled waste: ceramics,

Lifespan

Yes

Cost

WasteBasedBrick

Material(s)

Structural?

The Lendager Group specialise in cost neutral sustainable design, specifically focusing on new construction methodologies that aim to achieve a circular economy within their process.11 Their project, The Resource Rows, focuses on reusing brick façades reclaimed from abandoned buildings within new construction projects. To do this, they have developed a method that addresses the current issues regarding efficiency when reusing traditional clay bricks. Due to improvements in mortar strength in the 1960s, recycling and reusing individual bricks has since been unachievable. This project recycles brick façades by cutting them into pre-constructed modules (complete

Disadvantages

Removes need to break down / separate with mortar). These are then fitted onto either steel or timber frames (see Fig. 11a, 11b and Appendix Item 3). This means they can be used as façade modules on new buildings and removes the need to separate the individual bricks – consuming time and energy.12

Non-structural, requires steel frame or

bricks to reuse them – reducing energy inputs

concrete backing

Reduces need to use virgin materials

within basement car-park and double skin

Lots of concrete still used in project – structure Concrete in project was not made from recycled aggregate – due to volume

This methodology could be replicated in the UK and has the potential to ignite a cultural shift in terms of common construction processes. However, the realisation of this relies on architects, developers and builders to be willing to take a risk and learn new methodologies; a prospect that may be challenging as the construction industry can be conservative when presented with new ideas (see Appendix Item 2).

required Sustainable and economic aspects of upcycled system are not resolved at scale

Fig. 12b: Advantages and Disadvantages of the Lendager Group Process

2 billion (UK) 2.24kg

Production / year

Unknown

Weight

Unknown

Case Study 2: Lendager Group Improving on the Brick: 1. Solely using construction waste; 2. Improvement on current method for reusing bricks Fig.13a: Lendager Group Improvements on the Brick

Properties

Lendager Group

Material(s)

Reused Brick

Lifespan

Unknown

Embodied Carbon / Energy Use

Unknown

Construction Waste Percentage

100%

Heat Requirements

N/A

Recyclability / Reusability

Unknown

Water Demand Cost

None Per square metre, scheme cheaper to build than a non-upcycled equivalent

Locally Sourced To

02 | BRICK Case Study 3: K-Briq by Kenoteq Advantages

Disadvantages

Can be produced in any colour using

Currently only manufactured on a small

Improving on the Brick: 1. Reducing amount of natural material used; 2. Not fired 3. Large reduction in CO2 emissions in manufacturing; 4.Utilising construction waste Fig.16a: K-Briq Improvements on the Brick

The K-briq, by Kenoteq, is an unfired brick, 90% of which is formed from recycled content sourced from demolition and construction waste.13 This brick offers a solution to a key issue with the manufacturing process of traditional clay bricks; the large amount of energy required to fire them, increasing the embodied carbon within the final brick.14 Formed from a mixture of broken-down construction waste,15 the materials are combined with a secret binding agent and water to form each brick.16 According to the patent, in addition to the secret binding agent, the bricks are bound using gypsum like cement. The gypsum is heated to drive out its water content, mixed with waste aggregate and then water

is added. The dehydrated gypsum absorbs the water and recrystallises to form a binding agent, like Plaster of Paris17 (see Appendix Item 2). The bricks are then compressed to size and air dried to produce the final K-Briq.18

recycled pigment

scale

Weighs the same, if not less than, regular

Cannot be manufactured on-site

clay bricks Higher U-value (better insulation properties) than regular clay bricks

85% of bricks used in Scotland are unsustainably imported from either England or Europe, making the development of the K-Briq vitally important to Scotland.19 Once commercially available, the K-Briq could decrease the number of bricks that are required to be imported; simultaneously reducing transportation emissions and construction waste for the country.

Uses 90% construction waste Do not need to be kiln fired

Fig. 16b: Advantages and Disadvantages of K-Briq (see Appendix Item 2)

02 | BRICK Case Study 3: K-Briq by Kenoteq Improving on the Brick: 1. Reducing amount of natural material used; 2. Not fired 3. Large reduction in CO2 emissions in manufacturing; 4.Utilising construction waste Fig.17a: K-Briq Improvements on the Brick

Properties Material(s)

K-Briq Gypsum Plasterboard, clay, sand, gravel and reclaimed brick

Lifespan Embodied Carbon / Energy Use

Minimum 30 years 1/10th of regular clay brick

Construction Waste Percentage

90%

Heat Requirements

Yes, gypsum needs to by dried but no

Recyclability / Reusability

Yes, can be crushed down and remade

kiln required into k-briqs

Copenhagen, method can be applied

Water Demand

anywhere Production / year Weight

Cost

Yes £0.80 – £2.00 a unit – comparable to

No, façade modules Locally Sourced to Structural?

Fig. 13b: The Lendager Group Process Characteristics

Case Study Comparison Deduced Definition of a Brick: A construction unit that can be stacked to form a wall which has an aesthetic appeal, is recyclable and durable with long-term performance. Fig.19a: Deduced Definition of a Brick

All three case studies reduce embodied carbon / energy use when compared to traditional clay brick. However, common limitations between the three are having: a higher initial cost, small areas in which they are locally sourced and a lower level of production each year.

Properties Material(s)

WasteBasedBrick

Lendager Group

clay, rejected clay and upcycled waste: ceramics,

Reused Brick

Embodied Carbon / Energy Use Construction Waste Percentage Heat Requirements

Unknown Unknown

60-100%

100%

90%

N/A

Yes, gypsum needs to by dried but no kiln

Yes, fired in kiln

Production / year

30+ years 1/10th of regular clay brick

required Recyclability / Reusability

Yes, can be crushed down and made into more

Unknown

Yes, can be crushed down and remade into

WasteBasedBrick Water Demand Cost Locally Sourced to

None

Yes

per square metre, scheme cheaper to

£0.80 – £2.00 a unit – comparable to

build than a non-upcycled equivalent

general brick

Copenhagen, method can be applied

Scotland

Amsterdam Yes, viable for load-bearing applications both

03 | EXPERIMENTATION

Introduction to Own Experiments Experiment 1: WasteBasedBrick Inspired Brick Experiment 2: K-Briq Inspired Brick Experiment Conclusions

03 | EXPERIMENTATION Introduction to Own Experiments Aims 1. 2. 3.

How are the waste construction bricks made? How achievable / accessible are the waste construction bricks to make? How do they perform under compression compared to general clay bricks?

Fig.21a: Experiment Aims

Due to product secrecy, information about how the bricks in case studies 1 and 3 are made is extremely vague. Hence, it is challenging to conclude how these bricks compare both environmentally and structurally to traditional clay bricks and each other. Based on our research and knowledge of traditional methods of brick making, we aim to produce our own version of the WasteBasedBrick and K-Briq. On which

we will carry out a series of tests to compare these bricks to a traditional clay brick and an official K-Briq sample. To be truly effective as a circular, sustainable alternative, the process of making bricks from construction waste needs to be adopted by multiple local companies; globally. Our experiments will distinguish the bricks’ potential to achieve this goal.

03 | EXPERIMENTATION Experiment 1: WasteBasedBrick Inspired Brick | Deducing the Method The method of making a WasteBasedBrick is largely based on the traditional techniques of brick making.20 The methodology for the following experiment was, therefore, heavily influenced by both the BDA’s “The UK Clay Brickmaking Process” document and our WasteBasedBrick research, aiming to deduce a method that would replicate a possible method of making WasteBasedBricks.

Materials

Structural?

1.98kg

Fig. 19b: Case Study Comparison Table

Weight

Yes, viable for load-bearing applications both

N/A

3 million (as of next year)

Unknown

Deduced Method Used in Experiment 1 Clay

Clay

glass, bricks, concrete, sanitaryware

Reused brick

60-100% waste material used (remaining

Porcelain (sink)

quantity made up by clay)

Reused concrete 100% clay

Unknown

Clay - 40%

(includes small 1-2 mm clay particles)

Reused brick – 20% Porcelain (sink) – 10% Reused concrete – 10%

Water content

Water 12-25%

Water - 20%

24-48hrs starting at 30°C to 120°C in

48 hrs in closed room at 30°C

Unknown

Drying before Kiln Fired

large humidity controlled chambers

03 | EXPERIMENTATION Experiment 1: WasteBasedBrick Inspired Brick | Ingredients

Experiment 1: WasteBasedBrick Inspired Brick | Method

Fig. 24: Method 1. Source: the required construction waste was sourced from local skips and behind Minto House. 2. Clean 3&4. Grind: hammer the raw construction materials into fine particles. 5. Weigh: measure out ingredients 6. Combine: combine ingredients in an industrial mixer 7. Pour into mould 8. Dry: Leave to dry for 48 hrs in room at 30°C before further drying for 8hrs at 80°C in an oven, then for 5hrs at 100°C to 120°C 9. Fire: Place in Kiln at: 100°C for 1 hour; 100-200°C for 8 hrs; 200-750°C for 3 hrs; 750-1000°C for 8hrs; 1000°C for 5hrs; 1000-600°C for 2hrs; 600°C for 8hrs; 600°C to room temperature for 5hrs; END (see Appendix Item 5 for firing curve)

8 hrs in oven at 80°C

Up to 1250°C

Yes, at 25% energy reduction

Fig. 20: (Left to Right) Traditional Reclaimed Clay Brick, WasteBasedBrick Inspired Brick, K-Briq Inspired Brick, K-Briq Sample

1.98kg

Up to 1000°C

80+ hours

40 hrs

In large batches and kilns (see Appendix

(see Appendix Item 5 for Deduced Firing

Item 4 for Firing Curve)

Curve)

Unknown

internally and externally.

Fig. 23: Ingredients for Experiment 1 Clay - 1000g (40%) Reclaimed Brick - 500g (20%) Reclaimed Concrete - 250g (10%) Porcelain - 250g (10%) Water - 500ml (20%)

6 Fig. 22: Deducing the method for Experiment 1

Fig. 21b: General Method, 1. Sourcing; 2. Cleaning; 3. Grinding; 4. Combining; 5. Drying/Firing; 6. Testing

GA 2 7

03 | EXPERIMENTATION

5hr in oven from 100-120°C Firing Temperature Timings

No, façade modules

Unknown

internally and externally. Production / year

Fig. 18: K-Briqs

Traditional Brick Making Process

clay, rejected clay and upcycled waste: ceramics,

Ratios

anywhere

3 million (as of next year)

Fig. 15: K-Briqs

WasteBasedBrick Process Deduced from Research

Properties

k-briqs

Unknown From £0.75 a unit

Scotland

Weight

gravel and reclaimed brick

50+ years 25% less than traditional brick (91kg waste upcycled per m2)

Yes, viable for load-bearing applications

Fig. 17b: K-Briq Characteristics Fig. 11b: Lendager Group Process

K-Briq Gypsum Plasterboard, clay, sand,

glass, bricks, concrete, sanitaryware Lifespan

To truly utilise their innovative methodology each product needs to be scaled up to increase availability and lower price. The Lendager Group methodology does not satisfy our definition of brick as the panels cannot be stacked, without a frame, to form a wall. Whereas both, the WasteBasedBrick and K-Briq satisfy this definition. The following section of the report will investigate how these bricks are made and the qualities they may offer.

both internally and externally.

Fig. 14: The Lendager Group Project, The Resource Rows

6 Fig. 11a: Lendager Group Process

02 | BRICK

general brick

N/A Unknown

Fig. 10: Residential Project by Architectuur Maken in Rotterdam which used 15 tonnes of waste through the use of WasteBasedBricks.

Fig. 9b: WasteBasedBrick Characteristics Fig 6: Traditional Clay Brick

02 | BRICK

Structural?

Yes, viable for load-bearing applications both internally and externally.

Yes

Production / year Weight

Advantages

Improving on the Brick: 1. Solely using construction waste; 2. Improvement on current method for reusing bricks Fig.12a: Lendager Group Improvements on the Brick

Amsterdam

Structural?

Responsible Sourcing

Fig. 5: Traditional Clay Brick Characteristics

Case Study 2: Lendager Group

From £0.75 a unit

Locally Sourced To

UK, due to BES 6001

02 | BRICK

GA 2 6

Accessibility Relatively easy to source once contacts within the construction industry are established Difficult to thoroughly clean without industrial equipment such as a pressure washer. Making the process very time intensive and not very efficient or effective. Can be grinded using sledgehammers, however, without industrial crushing equipment the process is lengthy, tiring and time consuming for a small return in crushed material. Professional equipment is required to improve the efficiency of this process.

Yes*

Relatively easy to combine with the use of an industrial mixer.

03 | EXPERIMENTATION Experiment 2: K-Briq Inspired Brick | Deducing the Methods The methodology for the following experiment was heavily influenced by the K-Briq patent.22 The patent is written in a vague manner, indicating various methods of making the K-Briq in which the quantities, particle sizes and timings vary. This document was scrutinised to deduce a method that would replicate one of the possible methods the K-Briq is formed.

Drying

Yes*

Firing

Disputable*

Deduced Method Used in Experiment 2

Method

K-Briq Method

Materials

Sand (Coarse, Medium and Fine)

Gypsum Plasterboard

Process of drying is possible but is not done to the same accuracy as

Material Ratios (in order of material list above)

Gypsum Plasterboard

Clay

Clay Medium Sand

Medium Gravel (size 6-20mm)

Fine Gravel (size 2-6mm)

Fine Gravel (Reclaimed brick) (size 2-6mm)

15%

10%

20 – 65%

Whilst we had access to a kiln to fire the brick this is not widely and

03 | EXPERIMENTATION Experiment 2: K-Briq Inspired Brick | Deducing the Methods Method 01: Prepare the Gypsum

6% 26%

Deduced Method Used in Experiment 2 Grind gypsum into coarse grade, powder,

coarse grade material (0.063-2mm)

150°C; or 100-150°C for 1-2 days. The gypsum could be heated at 200°C for

material

Method

K-Briq Method

06: Additive Addition

Additive, such as a pigment, added at this

Fig. 26: Axo, Plan and Section photographs of final Experiment 1 WasteBasedBrick inspired Brick

Fig. 27: Achievability and Accessibility of Brick Production * Achievable on a small scale without a large range of industrial equipment. **Achievable, but not a process that could be maintained on a small scale to produce bricks, make a business or profit from the outcome.

05: Combine

Best practice is to dry clay and aggregate

08: Pour into Mould

N/A

materials in oven at 105°C for 6-24 hours Materials dry to touch, did not heat in oven Test materials for moisture content to ensure they are prepared for next stage

Experiment 1: WasteBasedBrick Inspired Brick | 03

03 | Experimentation

Experiment 1: WasteBasedBrick Inspired Brick | 03

8 – 40% or 12 – 26% of total mixture

03 | Experimentation

09: Compaction

stage

Combine gypsum, aggregate materials and

Gypsum, aggregate materials and clay

clay to form a homogeneous mixture

mixed together in industrial mixer

10: Leave in Mould

26% of total mixture

Fig. 29: Table of Research: K-Briq Method Alongside Deduced Method Used in Experiment 2 (Part 2 of 3)

Experiment 2: K-Briq Inspired Brick | 03

Add water and mix for 1 minute

Deduced Method Used in Experiment 2

N/A

Add water and mix for 1 minute

Pour mixture into mould in increments to Pour mixture into mould in increments to

N/A Did not have the facilities to complete this

11: Air Dry

Fig. 28: Table of Research: K-Briq Method Alongside Deduced Method Used in Experiment 2 (Part 1 of 3)

stage to introduce colour

07: Add Water

Heat at 200°C for 7 hours

<24 hours

04: Moisture Content

43%

6% 26%

K-Briq Method Shred, crush or grind the gypsum into a

Heat between 80-250°C; 80-200°C; 80-

02: Heat the Gypsum 03: Dry Ingredient Preparation

03 | Experimentation

avoid the development of air gaps

Compact the mixture; subject to a

Compact the mixture using a load of 101kg

minimum load of 10kN

for 48 hours

Leave in mould for at least 4 hours

Left in mould for 24 hours

Remove mould and air dry at 4-35°C from

Remove mould and air dry at 30°C for 7

between 24 hours to 28 days

days

03 | EXPERIMENTATION Experiment 2: K-Briq Inspired Brick | Ingredients

MEDIUM GRAVEL 6% - 162g

CLAY 10% - 270g

WATER 26% - 702ml

Experiment 2: K-Briq Inspired Brick | 03

03 | EXPERIMENTATION Experiment 2: K-Briq Inspired Brick | Method

02 | Brick

Case Study 1: WasteBasedBrick by StoneCycling | 02

03 | EXPERIMENTATION Experiment 2: K-Briq Inspired Brick | Progress Photographs

02 | Brick

Case Study 2: Lendager Group | 02

03 | EXPERIMENTATION Experiment 2: K-Briq Inspired Brick | Reflections Due to not needing to be fired, the K-Briq is potentially easier to make on a small scale. However, when produced at an industrial scale – due to the change of practice / process required – it may be harder to introduce to the industry (see Appendix Item 2) than other options such as the WasteBasedBrick. This is because the WasteBasedBrick is an adaptation and improvement on traditional brick making whereas K-Briq is a new process of making bricks.

Process Material Sourcing

Achievability Yes*

Accessibility Relatively easy to source once contacts within the construction industry are established

However, visually, the experiment produced a ‘bricklike’ object that could be representative of the K-Briq as the ratios and process were followed closely; only missing the secret binding agent.

Cleaning

Disputable**

Grinding

Disputable**

Difficult to thoroughly clean without industrial equipment such as a pressure washer. Making the process very time intensive and not very efficient or effective. Can be grinded using sledgehammers, however, without industrial crushing equipment the process is lengthy, tiring and time consuming for a small return in crushed material. Professional equipment is required to improve the efficiency of this process.

Combining

Yes*

Relatively easy to combine with the use of an industrial mixer.

GYPSUM PLASTERBOARD 15% - 405g

RE-CLAIMED BRICK 26% - 702g

SAND 43% - 1161g

03 | Experimentation

Fig. 31. Ingredients for Experiment 2 Clay - 270g (10%) Re-claimed Brick - 702g (26%) Medium Gravel - 162g (6%) Sand - 1161g (43%) Gypsum Plasterboard - 405g (15%) Water - 702ml (26%)

Experiment 2: K-Briq Inspired Brick | 03

03 | Experimentation

Fig. 32: Method 0. Source: The required construction waste was sourced from local skips and behind Minto House. 1. Prepare the Gypsum: Hammer the raw construction materials into fine particles. 2. Heat the Gypsum: Place grinded gypsum plasterboard on baking tray and heat in industrial oven at 200 degrees for 7 hours. 5. Combine: Mix the gypsum, aggregate materials and clay together. 7. Add Water: Once mixed, add water (26% of the total dry mass). 8. Pour into mould 9. Compaction: Compress with 101kg for 48hours. 11. Air Dry: Remove from mould and leave to air dry.

Experiment 2: K-Briq Inspired Brick | 03

Drying

Yes*

Firing

N/A

Very accessible process as the brick is left to air dry. However, to avoid cracking the area, ideally, needs to be monitored and maintained at a constant low temperature.

03 | Experimentation

Experiment 2: K-Briq Inspired Brick | 03

03 | Experimentation

Case Study 2: Lendager Group | 02

Experiment Conclusions A key issue highlighted in the production of both bricks was that, whilst drying, a crack formed. The formation of which raises a question regarding the methodologies used. In the K-Briq inspired brick, the crack may have developed due to there being a large differential between the ambient humidity within the room in which the brick was air dried and internal moisture within the brick. Whereas, for the WasteBasedBrick inspired brick, the crack may have developed due to an attempt to dry the brick out too quickly whilst overestimating the amount of water required. Cracking is often caused when water vapour escapes too quickly from the brick in the drying process (see Appendix Item 1). Therefore, in a future iteration of the experiment, lower temperature should be closely monitored whilst the brick is air drying. Additionally, making a frog or holes in the brick would allow more air to circulate through the centre of the brick, reducing the probability of cracking.

Achievability Process

K-Briq Inspired Brick

Material Sourcing

Based on our process of making the K-Briq and WasteBasedBrick, it is achievable to produce these bricks, however, the outcome is not to the same standard as a traditional clay brick or those produced using large industrial equipment, official processes, and controlled environments.

N/A

Experiment 2: K-Briq Inspired Brick | 03

03 | EXPERIMENTATION

Fig. 35: Achievability and Accessibility of Brick Production * Achievable on a small scale without a large range of industrial equipment. **Achievable, but not a process that could be maintained on a small scale to produce bricks, make a business or profit from the outcome.

Fig. 34: Axo, Plan and Section photographs of final Experiment 2 K-Briq inspired brick

Fig. 33: Brick Progress, 1. After Compressing; 2. After being left to air dry for 24hrs at 30°C; 3. After being left to air dry for 7 days at 30°C; 4. After lid of mould removed; 5. Final brick

02 | Brick

Without this the elements could be combined with minimal effort.

Fig. 30: Table of Research: K-Briq Method Alongside Deduced Method Used in Experiment 2 (Part 3 of 3)

Case Study 1: WasteBasedBrick by StoneCycling | 02

Fig. 36: Final Brick Images for Both Experiments. (Top) WasteBasedBrick Inspired Brick (Below) K-Briq Inspired Brick

03 | Experimentation

WasteBasedBrick Inspired Brick

Yes*

Cleaning

Disputable**

Grinding

Disputable**

Combining

Yes*

Drying

Yes*

Firing

N/A

Disputable*

Case Study 3: K-Briq by Kenoteq | 02

04 | K-BRIQ SAMPLE

Analysis and Speculation

02 | Brick

Case Study Comparison | 02

03 | K-BRIQ SAMPLE Analysis and Speculation

Whilst brick is of grey colour, flecks of white aggregate / gypsum are visible on bricks surface

Chunks of aggregate visibly used (1-2mm)

02 | Brick

Experiment Conclusions | 03

04 | K-Briq Sample

Title Page | 04

04 | K-Briq Sample

Fig. 44: K-Briq Sample

Three core holes evenly spaced across the centre of the brick

Black substance visible on the surface of the brick and a slight aroma of rubber. Speculatively, this could be the secret binding agent. Potentially being a substance such as recycled tyres or asphalt pellets. Before analysing the K-Briq, we speculated that cork could be an appropriate binder due to the natural binding property that its sap offers (see previous study: Generic Study). However, if tyres are the secret binding agent, then they could potentially be more beneficial to use. The use of tyres helps to reduce waste, whilst simultaneously reducing transportation emissions due to being a commonly found waste material. Whereas, the use of cork, regardless of its sustainable properties, still uses a natural resource that would require transportation to areas outside of where it is grown (the Mediterranean Basin); cork could still be a viable binding material if used in countries in which it grows. However, research reveals that tyres are flammable and asphalt is poisonous and so, it is unlikely that these materials would be incorporated into a construction unit due to the tests needed to pass to reach the commercial market. Fig. 41: K-Briq Sample Analysis and Speculation Plan View (see Appendix Item 2)

Analysis and Speculation | 04

Case Study Comparison | 02

Analysis and Speculation

Fig. 38: K-Briq Sample Fig. 43: K-Briq Sample Analysis and Speculation Cross-Section View

03 | K-BRIQ SAMPLE

Relatively light when compared to traditional clay bricks

Fig. 37: Achievability and Accessibility of Brick Production Comparison * Achievable on a small scale without a large range of industrial equipment. **Achievable, but not a process that could be maintained on a small scale to produce bricks, make a business or profit from the outcome.

02 | Brick

04 | K-Briq Sample

Title Page | 03

03 | K-BRIQ SAMPLE Analysis and Speculation Following the conduction of Experiment 2, a sample of K-Briq was sourced, allowing an analysis of the brick in terms of texture, aesthetic appearance, and smell to be conducted.

Consistent colour

Edges and corners, 90 degrees in most places however some areas are slightly crumbled.

03 | Experimentation

Introduction to Own Experiments | 03

03 | K-BRIQ SAMPLE Analysis and Speculation

Natural colour pigments could be added to Experiment 2: K-Briq inspired brick to improve aesthetic appearance

Core holes could be added to Experiment 2: K-Briq inspired brick to reduce the chance of cracking when drying

03 | Experimentation

Experiment 1: WasteBasedBrick Inspired Brick | 03

05 | TESTING

Aesthetics Weight and Density Compression: Shear Load Test Compression: Point Load Test Test Related Conclusions

03 | Experimentation

Experiment 1: WasteBasedBrick Inspired Brick | 03

05 | TESTING Aesthetics Once the bricks in Experiment 1 and 2 had been created, they were then analysed and tested in comparison to a traditional clay brick and an official K-Briq sample, comparing how effective the two experiment bricks were against official industry bricks.

TRADITIONAL CLAY BRICK

EXPERIMENT 1: WASTEBASEDBRICK

EXPERIMENT 2: K-BRIQ

KENOTEQ K-BRIQ SAMPLE

HEIGHT / WIDTH / DEPTH (cm) 6.5 / 10.2 / 21.5

HEIGHT / WIDTH / DEPTH (cm) 5.5 / 8.5 / 20

HEIGHT / WIDTH / DEPTH (cm) 5.5 / 9.7 / 21.5

HEIGHT / WIDTH / DEPTH (cm) 6.5 / 10.2 / 21.5

Larger particles of aggregate and gypsum could be added to Experiment 2: K-Briq inspired brick to improve binding qualities and durability

COLOUR Red / Orange

COLOUR Pink / Chalk

COLOUR Off-White / Grey

COLOUR Grey

KENOTEQ K-BRIQ SAMPLE

Fig. 39: K-Briq Sample Analysis and Speculation Axonometric View

Analysis and Speculation | 04

04 | K-Briq Sample

Fig. 40: K-Briq Sample

EXPERIMENT 2: K-BRIQ

Fig. 46: K-Briq Sample Shear Load Compression Test

Fig. 45: K-Briq Sample Compared to Experiment 2: K-Briq Inspired Brick

TEXTURE Smooth

TEXTURE Uneven, but Smooth

TEXTURE Grainy, Large Sandy Deposit to Touch

TEXTURE Smooth, Minor Sandy Deposit to Touch

Analysis and Speculation | 04

04 | K-Briq Sample

Analysis and Speculation | 04

05 | Testing

Title Page | 05

05 | Testing

05 | TESTING Weight and Density Brick Type

Volume (cm3)

Weight (g)

Density (g/cm3)

(height x width x depth)

(mass)

(mass / volume)

2240

1.57

Traditional Clay Brick

1425.45 (6.5 x 10.2 x 21.5)

Experiment 1:

935

WasteBasedBrick Inspired Brick

1540

1.65

(5.5 x 8.5 x 20)

Experiment 2:

1147.03

K-Briq Inspired Brick

(5.5 x 9.7 x 21.5)

K-Briq Sample

1425.45

1760

1.53

1980

1.39

Fig. 48: Table of Brick Sample and Brick Experiment Weight and Density Properties

Aesthetics | 05

Experiment 1: WasteBasedBrick Inspired Brick | 03

(6.5 x 10.2 x 21.5)

Fig. 47: Comparison of Brick Sample and Brick Experiment Aesthetic Properties.

03 | Experimentation

Smooth to touch, texture of the finest sand paper. When rubbed from end to end, a small amount of sandy particles come off to touch.

Relatively smooth texture lends itself to a pleasing aesthetic appearance

Fig. 42: K-Briq Sample

03 | Experimentation

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Yes*

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Achievability

02 | Brick

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Disputable**

Combining

Defining the Brick | 02

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Disputable**

Grinding

Material Sourcing

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Cleaning

02 | Brick

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Process

The experiment produced a ‘brick-like’ object that could be compared to a WasteBasedBrick. Through a few alterations to the materials, ratios and methods an even closer match to their brick could be achieved.

Title Page | 02

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Not knowing the exact ratios of waste materials used made it challenging to produce a brick which accurately represents a WasteBasedBrick.

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

StoneCycling have a strict waste selection process that ensures quality of waste material21 which could not be guaranteed in our material sourcing.

02 | Brick

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Experiment 1: WasteBasedBrick Inspired Brick | Reflections

Introduction | 01

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

03 | EXPERIMENTATION

01 | Introduction

05 | Testing

Fig. 49: The K-Briq Sample being Weighed

Weight and Density | 05

Redesigning the Brick: Can bric Fig. 51: Step Two: Apply pressure by pumping ram until brick fails. Record psi gauge to document the pressure applied at the point of fail.

Fig. 52: Step Three: Apply pressure until brick fails and a crack forms.

Fig. 53: Step Four: From video recording, mark psi reached on psi gauge and then apply equal pressure to mechanical pressure gauge to receive a reading that can then be converted to find the weight applied at the point of fail in kN.

Compression: Shear Load Test | 05

Traditional clay bricks are manufactured by firing a mix of clay and water that has previously taken the shape of a mould.4 In the UK, all bricks need to be built to building standard BS EN 771-1 which sets out rigorous tests that provide the specifications of the product in terms of compressive strength, density and tolerances.5

Deduced Definition of a Brick: A construction unit that can be stacked to form a wall which has an aesthetic appeal, is recyclable and durable with long-term performance.

Properties

Fig.4a: Deduced Definition of a Brick

Clay Brick

Material(s)

Clay

Lifespan

Advantages Natural

Use of limited supply source

Cheap

Alternative, more sustainable

Recyclable

methods come at higher cost

Versatile

Construction Waste

manufacturing process Large amount of water used

Fire retardant

Currently not fully utilised

Long life span

after life

Percentage Heat Requirements

Yes, fired in kiln

Recyclability / Reusability

Improving on the Brick: 1. Reducing amount of natural material used; 2. Reducing CO2 emissions in manufacturing; 3.Utilising construction waste. Fig.7a: WasteBasedBrick Improvements on the Brick

WasteBasedBrick, by StoneCycling, is a fired brick using 60-100% material waste from the construction industry to upcycle and produce a high quality, sustainable product.6 Focusing on reducing CO2 emissions, waste materials used in this brick are carefully sourced no further than a 100 km radius from the factory via strict supply chains (see fig.).7 The focus of producing a low embodied carbon product, using waste materials, addresses the current issues regarding the amount of primary resources used when making traditional clay bricks.

Advantages

Disadvantages

Reduces amount of clay used (40% to 0%)

Expensive

Large amount of construction waste used

Fired*

in each brick (60-100%) (see Fig. 10)

Uses leftover, rejected clay from the

Locally sourced to Amsterdam (Not the

manufacturing process that would have

UK, or Scotland)

gone to landfill Variety of colours based on waste material ratios

To form the WasteBasedBrick, waste material is ground into a coarse powder, combined with clay and then kiln

Yes

Cost Locally Sourced To

Case Study 1: WasteBasedBrick by StoneCycling

Yes

Water Demand

and CO2 emissions during

Impervious Good thermal properties

0.06kg of CO2

Use

Large energy consumption

Good compressive strength

Up to 150 years

Embodied Carbon / Energy

Disadvantages

02 | BRICK

£0.20 - £1.20 UK, due to BES 6001 Responsible Sourcing

Structural? Production / year

Aesthetic

Weight

Yes 2 billion (UK) 2.24kg

Fig. 5: Traditional Clay Brick Characteristics

Fig.4b: Advantages and Disadvantages of Brick

Fig 6: Traditional Clay Brick

Fig. 7b: StoneCycling production process: 1&2. Sourcing; 3. Grinding; 4. Making; 5. Firing; 6. Final Brick

Defining the Brick | 02

02 | BRICK Case Study 2: Lendager Group Improving on the Brick: 1. Solely using construction waste; 2. Improvement on current method for reusing bricks Fig.13a: Lendager Group Improvements on the Brick

Properties

Lendager Group

Material(s)

Reused Brick

Lifespan

Unknown

Embodied Carbon / Energy Use

Unknown

Construction Waste Percentage

100%

Heat Requirements

N/A

Recyclability / Reusability

Unknown

Water Demand Cost

None Per square metre, scheme cheaper to build than a non-upcycled equivalent

Locally Sourced To

Weight

Improving on the Brick: 1. Reducing amount of natural material used; 2. Not fired 3. Large reduction in CO2 emissions in manufacturing; 4.Utilising construction waste Fig.17a: K-Briq Improvements on the Brick

Properties Material(s)

K-Briq Gypsum Plasterboard, clay, sand, gravel and reclaimed brick

Lifespan Embodied Carbon / Energy Use Construction Waste Percentage Heat Requirements

Minimum 30 years 1/10th of regular clay brick 90% Yes, gypsum needs to by dried but no kiln required

Recyclability / Reusability

Yes, can be crushed down and remade into k-briqs Yes £0.80 – £2.00 a unit – comparable to general brick

No, façade modules Locally Sourced to

N/A

Structural?

Unknown

Fig. 13b: The Lendager Group Process Characteristics

Scotland Yes, viable for load-bearing applications both internally and externally.

Fig. 14: The Lendager Group Project, The Resource Rows

Production / year Weight

3 million (as of next year) 1.98kg Fig. 18: K-Briqs

Fig. 17b: K-Briq Characteristics

02 | Brick

Case Study 1: WasteBasedBrick by StoneCycling | 02

Case Study 3: K-Briq by Kenoteq

Cost

anywhere Production / year

02 | BRICK

Water Demand

Copenhagen, method can be applied

Structural?

02 | Brick

Case Study 2: Lendager Group | 02

02 | Brick

Case Study Comparison | 02

02 | BRICK

Case Study 1: WasteBasedBrick by StoneCycling Improving on the Brick: 1. Reducing amount of natural material used; 2. Reducing CO2 emissions in manufacturing; 3.Utilising construction waste. Fig.9a: WasteBasedBrick Improvements on the Brick

Properties

WasteBasedBrick

Material(s)

clay, rejected clay and upcycled waste: ceramics, glass, bricks, concrete, sanitaryware

Lifespan

50+ years

Embodied Carbon / Energy Use

25% less than traditional brick

Construction Waste Percentage

60-100%

Case Study Comparison (91kg waste upcycled per m2)

Heat Requirements

Yes, fired in kiln

Recyclability / Reusability

Yes, can be crushed down and made into more WasteBasedBrick

Water Demand Cost Locally Sourced To

Unknown

FINDINGS After defining the break we then compared several different case studies all of which have unique solutions to brick waste.

02 | BRICK Case Study 2: Lendager Group Advantages

Disadvantages

Removes need to break down / separate

Non-structural, requires steel frame or

Improving on the Brick: 1. Solely using construction waste; 2. Improvement on current method for reusing bricks Fig.12a: Lendager Group Improvements on the Brick

with mortar). These are then fitted onto either steel or timber frames (see Fig. 11a, 11b and Appendix Item 3). This means they can be used as façade modules on new buildings and removes the need to separate the individual bricks – consuming time and energy.12

bricks to reuse them – reducing energy inputs

concrete backing

Reduces need to use virgin materials

within basement car-park and double skin

Lots of concrete still used in project – structure Concrete in project was not made from recycled aggregate – due to volume

required Sustainable and economic aspects of upcycled system are not resolved at scale

Fig. 12b: Advantages and Disadvantages of the Lendager Group Process

From £0.75 a unit Amsterdam

Structural?

Yes, viable for load-bearing applications both internally and externally.

Production / year

Unknown

Weight

Unknown

Fig. 9b: WasteBasedBrick Characteristics

Deduced Definition of a Brick: A construction unit that can be stacked to form a wall which has an aesthetic appeal, is recyclable and durable with long-term performance. Fig. 10: Residential Project by Architectuur Maken in Rotterdam which used 15 tonnes of waste through the use of WasteBasedBricks.

Fig. 11a: Lendager Group Process

02 | Brick

Case Study 1: WasteBasedBrick by StoneCycling | 02

02 | Brick

Fig. 11b: Lendager Group Process

"All three case studies reduce embodied carbon / energy use when compared to traditional clay brick. However, common limitations between the three are having: a higher initial cost, small areas in which they are locally sourced and a lower level of production each year."

Case Study 2: Lendager Group | 02

Fig.19a: Deduced Definition of a Brick

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

02 | Brick

02 | BRICK

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Defining the Brick

2. Case Study 1:WasteBasedBrick by StoneCycling 3. Case Study 2: Lendager Group 4. Case Study 3: K-Briq by Kenoteq 5. Case Study Comparision

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

02 | BRICK

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Part 2 BRICK 1. Defining the Brick

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

[MArch 2] AMPL DSA DSH DR

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

02 | BRICK

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

methods come at higher cost

Fire retardant

0% Yes, fired in kiln

GA 2 5

Compression: Shear Load Test | General Method

Fig. 50: Step One: Place brick sample or brick experiment in the ram measuring psi with metal cylindrical point load placed across its width.

Construction waste presents a large resource that, if exploited correctly, could reduce the need to use natural resources whilst reducing waste itself.

Recyclable

Impervious Good thermal properties

0.06kg of CO2

Construction Waste Heat Requirements

GA 2 4

05 | TESTING

05 | Testing

Amy and I decided on a new research route into wasted based bricks. Jointly, we explored the plausibility of bricks made from reused construction waste through research, experimentation and testing.

Clay Up to 150 years

Embodied Carbon / Energy Use Percentage

Fig. 7b: StoneCycling production process: 1&2. Sourcing; 3. Grinding; 4. Making; 5. Firing; 6. Final Brick

Contents | 00

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Experiment 1: WasteBasedBrick Inspired Brick | Progress Photographs

03 | Experimentation

CAN BRICK UPCYCLING IN ARCHITECTURE BE HARNESSED TO REDUCE CONSTRUCTION WASTE?

Alternative, more sustainable

Fig.4b: Advantages and Disadvantages of Brick

Fig.3: Traditional Clay Brick

Water Content

BRICK:

Use of limited supply source

Cheap

GA 2 3

Fig.2: Construction Waste

03 | EXPERIMENTATION

THE

Clay Brick

Lifespan

Disadvantages

Natural

- Analysis and Speculation

00 | Contents

Fig.25: Brick Progress, 1. After Combining; 2. After being left for 48hrs at 30°C; 3. After 8hrs at 80°C in an oven; 4. After 5hrs at 100°C to 120°C; 5. Final brick after being fired in a Kiln for 40 hours at up to 1000°C

QUESTION//REDESIGNING

Properties Material(s)

Advantages

Aesthetic

04 By Amy Drabble and Stuart Gomes

and humidity).

Response

Deduced Definition of a Brick: A construction unit that can be stacked to form a wall which has an aesthetic appeal, is recyclable and durable with long-term performance. Fig.4a: Deduced Definition of a Brick

Versatile

readily available. Without this the brick would be unusable.

The submission should be an illustrated document (approximately 2000 words) with relevant data and case studies (within the report and/or as appendices).

Defining the Brick Traditional clay bricks are manufactured by firing a mix of clay and water that has previously taken the shape of a mould.4 In the UK, all bricks need to be built to building standard BS EN 771-1 which sets out rigorous tests that provide the specifications of the product in terms of compressive strength, density and tolerances.5

Good compressive strength

in the industry (having large chambers that can control temperature

Task The Contextual Study addresses a research question relevant to the context of the design studio. This may be framed by emergent issues around the specific environment of the studio context or broader issues affecting it. The research study should be conducted jointly with a work partner.

02 | BRICK

GA 2 2

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Case Study 2: Lendager Group Case Study 3: K-Briq by Kenoteq Case Study Comparison

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

ENDNOTES

02 | BRICK

Defining the Brick Case Study 1: WasteBasedBrick by StoneCycling

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Therefore, this project will explore how the traditional clay brick could be redesigned by upcycling construction waste to form a new construction unit. Simultaneously, improving brick’s sustainable qualities whilst reducing construction waste.

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

EXPERIMENTATIONS - Introduction to Own Experiments - Experiment 1: WasteBasedBrick Inspired Brick - Experiment 2: K-Briq Inspired Brick - Experiment Conclusions

01 | INTRODUCTION 39% of the worlds carbon emissions are produced by the building and construction industry; 11% of which are due to the initial emissions associated with materials and construction processes.1 The UK has accepted the target of bringing all greenhouse gas emissions to net zero by 2050, therefore, it is imperative that waste from the construction industry is effectively managed and reduced in accordance with this goal.2 The construction industry is responsible for one hundred-tonnes of material waste every year.3 This presents a large resource that, if exploited correctly, could reduce the need to use natural resources whilst reducing waste itself. Included in this waste is brick, a common building material that could provide the foundations for the development of a construction unit made of waste.

GA 2 1

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

CONCLUSION APPENDIX

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

TESTING - Aesthetics - Weight and Density - Compression: Shear Load Test - Compression: Point Load Test - Test Related Conclusions

06 07

GC 11

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

BRICK - Defining the Brick - Case Study 1: WasteBasedBrick by StoneCycling - Case Study 2: Lendager Group - Case Study 3: K-Briq by Kenoteq - Case Study Comparison

GC 10

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

INTRODUCTION

GC 9

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Without this the elements could be combined with minimal effort.

An illustrated analysis and synthesis critically evaluating a technological and/or environmental issue or intervention and considering the impact of it on a context.

00 | CONTENTS

GC 8

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

REDESIGNING THE BRICK

REDESIGNING THE BRICK: CAN BRICK UPCYCLING IN ARCHITECTURE BE HARNESSED TO REDUCE CONSTRUCTION WASTE?

GC 7

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Architectural Technology Research - Assignment 2 - Contextual Study

Brief 02 // Contextual Study

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

[MArch 1] ATR DSC DSD SCAT

14.12.2020

CONTEXTUAL STUDY

GC 6

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

GC 5

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

GC 4

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

GC 3

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

GC 2

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

GC 1

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

MArch 1, [semester 1]

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

ARCH11075

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

[GP] [AD] [JP] [TC] [KL] [TG] [PX]

Materials

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

ATR

[2021] ATR

All three case studies reduce embodied carbon / energy 02 | BRICKuse when compared to traditional clay brick. However, common limitations between the three are having: a Case Study 3: K-Briq by Kenoteq higher initial cost, small areas in which they are locally sourced and a lower level of production each year. Improving on the Brick: 1. Reducing amount of natural material used; 2. Not fired 3. Large reduction in CO2 emissions in manufacturing; 4.Utilising construction waste

Advantages

Disadvantages

Can be produced in any colour using

Currently only manufactured on a small

recycled pigment

scale

Weighs the same, if not less than, regular

Cannot be manufactured on-site

Properties Material(s)

WasteBasedBrick

Lendager Group

K-Briq

clay, rejected clay and upcycled waste: ceramics,

Reused Brick

Gypsum Plasterboard, clay, sand,

glass, bricks, concrete, sanitaryware

gravel and reclaimed brick

Fig.16a: K-Briq Improvements on the Brick

To truly utilise their innovative methodology each product needs to be scaled up to increase availability and lower price.

Formed from a mixture of broken-down construction waste,15 the materials are combined with a secret binding agent and water to form each brick.16 According to the patent, in addition to the secret binding agent, the bricks are bound using gypsum like cement. The gypsum is heated to drive out its water content, mixed with waste aggregate and then water

Fig. 15: K-Briqs

02 | Brick

clay bricks

Higher U-value (better insulation

properties) than regular clay bricks

Uses 90% construction waste Do not need to be kiln fired

Lifespan

50+ years

Unknown

30+ years

Embodied Carbon / Energy Use

25% less than traditional brick

Unknown

1/10th of regular clay brick

Construction Waste Percentage

60-100%

100%

90%

N/A

Yes, gypsum needs to by dried but no kiln

Fig. 16b: Advantages and Disadvantages of K-Briq (see Appendix Item 2)

(91kg waste upcycled per m2)

The Lendager Group methodology does not satisfy our definition of brick as the panels cannot be stacked, without a frame, to form a wall. Whereas both, the WasteBasedBrick and K-Briq satisfy this definition. The following section of the report will investigate how these bricks are made and the qualities they may offer. 16

Yes, fired in kiln

Heat Requirements

required Recyclability / Reusability

Yes, can be crushed down and made into more

Case Study 3: K-Briq by Kenoteq | 02

Unknown

WasteBasedBrick Water Demand Cost

k-briqs

Unknown

None

Yes

From £0.75 a unit

per square metre, scheme cheaper to

£0.80 – £2.00 a unit – comparable to

build than a non-upcycled equivalent

general brick

Copenhagen, method can be applied

Scotland

Amsterdam

Locally Sourced to

Yes, can be crushed down and remade into

anywhere

This project will explore how the traditional clay brick could be redesigned by upcycling construction waste to form a new construction unit. Simultaneously, improving brick’s sustainable qualities whilst reducing construction waste.

Structural?

Yes, viable for load-bearing applications both

No, façade modules

internally and externally.

Table showing comparision of brick Fig. 19b: Case Study Comparison Table reuse strategies

02 | Brick

Yes, viable for load-bearing applications both internally and externally.

Production / year

Unknown

N/A

3 million (as of next year)

Weight

Unknown

1.98kg

Case Study Comparison | 02

Materials ARCH11075

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

GC 8

GC 9

GC 10

GC 11

GA 2 1

GA 2 2

GA 2 3

GA 2 4

GA 2 5

GA 2 6

GA 2 7

u on du

Deduced Definition of a Brick: A construction unit that can be stacked to form a wall which has an aesthetic appeal, is recyclable and durable with long-term performance.

Properties

Fig.4a: Deduced Definition of a Brick

Use of limited supply source

Cheap

Alternative, more sustainable

Recyclable

methods come at higher cost

Versatile

FIGURE REFERENCES

manufacturing process Large amount of water used

Fire retardant

Currently not fully utilised

Long life span

after life

Recyclability / Reusability

Yes

Water Demand

02 | BRICK Case Study 1: WasteBasedBrick by StoneCycling

Experiment 1: WasteBasedBrick Inspired Brick | 03

Compression: Shear Load Test | General Method

Fig. 51: Step Two: Apply pressure by pumping ram until brick fails. Record psi gauge to document the pressure applied at the point of fail.

60-100% (91kg waste upcycled per m2) Yes, fired in kiln WasteBasedBrick

Water Demand

Yes

Unknown

Cost

Structural?

Advantages

Improving on the Brick: 1. Solely using construction waste; 2. Improvement on current method for reusing bricks Fig.12a: Lendager Group Improvements on the Brick

Disadvantages

Non-structural, requires steel frame or

bricks to reuse them – reducing energy inputs

concrete backing

Reduces need to use virgin materials

within basement car-park and double skin

Lots of concrete still used in project – structure Concrete in project was not made from recycled aggregate – due to volume

required Sustainable and economic aspects of upcycled system are not resolved at scale

Fig. 12b: Advantages and Disadvantages of the Lendager Group Process

Properties

2.24kg

Production / year

Unknown

Weight

Unknown

Embodied Carbon / Energy Use

Unknown

Construction Waste Percentage

100%

Heat Requirements

N/A

Recyclability / Reusability

Unknown

Water Demand Cost

None Per square metre, scheme cheaper to build than a non-upcycled equivalent

Locally Sourced To

Advantages

Disadvantages

Can be produced in any colour using

Currently only manufactured on a small

Fig.16a: K-Briq Improvements on the Brick

recycled pigment

scale

Weighs the same, if not less than, regular

Cannot be manufactured on-site

clay bricks Higher U-value (better insulation properties) than regular clay bricks

Uses 90% construction waste Do not need to be kiln fired

Fig. 16b: Advantages and Disadvantages of K-Briq (see Appendix Item 2)

Properties Material(s)

gravel and reclaimed brick Embodied Carbon / Energy Use

Minimum 30 years 1/10th of regular clay brick 90%

Heat Requirements

Yes, gypsum needs to by dried but no

Recyclability / Reusability

Yes, can be crushed down and remade

kiln required into k-briqs Water Demand

anywhere Production / year Weight

K-Briq Gypsum Plasterboard, clay, sand,

Lifespan Construction Waste Percentage

Copenhagen, method can be applied

Structural?

Yes, viable for load-bearing applications both

Cost

Yes £0.80 – £2.00 a unit – comparable to

No, façade modules Locally Sourced to Structural?

Fig. 13b: The Lendager Group Process Characteristics

Properties Material(s)

WasteBasedBrick

Lendager Group

clay, rejected clay and upcycled waste: ceramics,

Reused Brick

Embodied Carbon / Energy Use Construction Waste Percentage Heat Requirements

Unknown Unknown

60-100%

100%

90%

N/A

Yes, gypsum needs to by dried but no kiln

Yes, fired in kiln

Production / year

30+ years 1/10th of regular clay brick

required Recyclability / Reusability

Yes, can be crushed down and made into more

Unknown

Yes, can be crushed down and remade into

WasteBasedBrick Water Demand Cost Locally Sourced to

None

Yes

per square metre, scheme cheaper to

£0.80 – £2.00 a unit – comparable to

build than a non-upcycled equivalent

general brick

Copenhagen, method can be applied

Scotland

Amsterdam Yes, viable for load-bearing applications both

03 | EXPERIMENTATION

Introduction to Own Experiments Experiment 1: WasteBasedBrick Inspired Brick Experiment 2: K-Briq Inspired Brick Experiment Conclusions

03 | EXPERIMENTATION Introduction to Own Experiments Aims 1. 2. 3.

How are the waste construction bricks made? How achievable / accessible are the waste construction bricks to make? How do they perform under compression compared to general clay bricks?

Fig.21a: Experiment Aims

Due to product secrecy, information about how the bricks in case studies 1 and 3 are made is extremely vague. Hence, it is challenging to conclude how these bricks compare both environmentally and structurally to traditional clay bricks and each other. Based on our research and knowledge of traditional methods of brick making, we aim to produce our own version of the WasteBasedBrick and K-Briq. On which

Materials

Structural?

1.98kg

Fig. 19b: Case Study Comparison Table

Weight

Yes, viable for load-bearing applications both

N/A

3 million (as of next year)

Unknown

Deduced Method Used in Experiment 1 Clay

Clay

glass, bricks, concrete, sanitaryware

Reused brick

60-100% waste material used (remaining

Porcelain (sink)

quantity made up by clay)

Reused concrete 100% clay

Unknown

(includes small 1-2 mm clay particles)

Clay - 40% Reused brick – 20% Porcelain (sink) – 10% Reused concrete – 10%

Water content

Water 12-25%

Water - 20%

24-48hrs starting at 30°C to 120°C in

48 hrs in closed room at 30°C

Unknown

Drying before Kiln Fired

large humidity controlled chambers

03 | EXPERIMENTATION Experiment 1: WasteBasedBrick Inspired Brick | Ingredients

03 | EXPERIMENTATION Experiment 1: WasteBasedBrick Inspired Brick | Method

8 hrs in oven at 80°C 5hr in oven from 100-120°C

Firing Temperature Timings

No, façade modules

Unknown

internally and externally. Production / year

Fig. 18: K-Briqs

Traditional Brick Making Process

clay, rejected clay and upcycled waste: ceramics,

Ratios

anywhere

3 million (as of next year)

Fig. 15: K-Briqs

WasteBasedBrick Process Deduced from Research

Properties

k-briqs

Unknown From £0.75 a unit

Scotland

Weight

gravel and reclaimed brick

50+ years 25% less than traditional brick (91kg waste upcycled per m2)

Yes, viable for load-bearing applications

Fig. 17b: K-Briq Characteristics Fig. 11b: Lendager Group Process

K-Briq Gypsum Plasterboard, clay, sand,

glass, bricks, concrete, sanitaryware Lifespan

both internally and externally.

Fig. 14: The Lendager Group Project, The Resource Rows

6 Fig. 11a: Lendager Group Process

02 | BRICK

general brick

N/A Unknown

Fig. 10: Residential Project by Architectuur Maken in Rotterdam which used 15 tonnes of waste through the use of WasteBasedBricks.

Fig. 9b: WasteBasedBrick Characteristics Fig 6: Traditional Clay Brick

Reused Brick

Lifespan

internally and externally.

2 billion (UK)

Lendager Group

Material(s)

Amsterdam

Structural?

Yes

Production / year Weight

Case Study 2: Lendager Group

From £0.75 a unit

Locally Sourced To

Fig. 5: Traditional Clay Brick Characteristics

02 | BRICK

Fig. 20: (Left to Right) Traditional Reclaimed Clay Brick, WasteBasedBrick Inspired Brick, K-Briq Inspired Brick, K-Briq Sample

Up to 1000°C

80+ hours

40 hrs

In large batches and kilns (see Appendix

(see Appendix Item 5 for Deduced Firing

Item 4 for Firing Curve)

Curve)

Unknown

internally and externally. 1.98kg

Up to 1250°C

Yes, at 25% energy reduction

Relatively easy to combine with the use of an industrial mixer.

Method

K-Briq Method

Materials

Sand (Coarse, Medium and Fine)

Drying

Yes*

Firing

Disputable*

Deduced Method Used in Experiment 2

Gypsum Plasterboard

Process of drying is possible but is not done to the same accuracy as

Gypsum Plasterboard

Clay

Clay Medium Sand

Medium Gravel (size 6-20mm)

Fine Gravel (size 2-6mm)

Fine Gravel (Reclaimed brick) (size 2-6mm)

15%

10%

Material Ratios

Experiment 2: K-Briq Inspired Brick | Deducing the Methods Method 01: Prepare the Gypsum

05: Combine

6% 26%

Grind gypsum into coarse grade, powder,

coarse grade material (0.063-2mm)

150°C; or 100-150°C for 1-2 days. The gypsum could be heated at 200°C for

material

Fig. 26: Axo, Plan and Section photographs of final Experiment 1 WasteBasedBrick inspired Brick

Best practice is to dry clay and aggregate

K-Briq Method Additive, such as a pigment, added at this

08: Pour into Mould

N/A

materials in oven at 105°C for 6-24 hours Materials dry to touch, did not heat in oven Test materials for moisture content to ensure they are prepared for next stage

N/A

09: Compaction

Did not have the facilities to complete this stage

Combine gypsum, aggregate materials and

Gypsum, aggregate materials and clay

clay to form a homogeneous mixture

mixed together in industrial mixer

10: Leave in Mould

Fig. 52: Step Three: Apply pressure until brick fails and a crack forms.

03 | Experimentation

Experiment 1: WasteBasedBrick Inspired Brick | 03

05 | TESTING Compression: Shear Load Test | Point of Fail

Fig. 54: Traditional Clay Brick: Extremely durable, it took an extremely large amount of pressure to crack.

Fig. 55: Kenoteq K-Briq Sample: Durable, requiring a large amount of pressure to be applied before reaching its point of fail.

Fig. 56: Experiment 2: K-Briq: Not durable, it needed little pressure to be applied before the brick failed.

Fig. 57: Experiment 1: WasteBasedBrick: Slightly durable, it took a small amount of pressure to be applied before the brick failed.

8 – 40% or 12 – 26% of total mixture

11: Air Dry

26% of total mixture

Fig. 28: Table of Research: K-Briq Method Alongside Deduced Method Used in Experiment 2 (Part 1 of 3)

03 | Experimentation

Fig. 29: Table of Research: K-Briq Method Alongside Deduced Method Used in Experiment 2 (Part 2 of 3)

Experiment 2: K-Briq Inspired Brick | 03

05 | TESTING Compression: Shear Load Test | Results

METAL CYLINDRICAL POINT LOAD

TRADITIONAL CLAY BRICK

KENOTEQ K-BRIQ SAMPLE

PRESSURE AT POINT OF FAIL (psi) 1600

PRESSURE AT POINT OF FAIL (psi) 2200

EXPERIMENT 1: WASTEBASEDBRICK

PRESSURE AT POINT OF FAIL (psi) 800

EXPERIMENT 2: K-BRIQ

PRESSURE AT POINT OF FAIL (psi) 200

READING ON PRESSURE GAUGE AT POINT OF FAIL 5.22

READING ON PRESSURE GAUGE AT POINT OF FAIL 3.72

READING ON PRESSURE GAUGE AT POINT OF FAIL 1.54

READING ON PRESSURE GAUGE AT POINT OF FAIL 0.50

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 8.77

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 6.20

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 2.57

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 0.83

N/A

stage to introduce colour

Add water and mix for 1 minute

Pour mixture into mould in increments to Pour mixture into mould in increments to avoid the development of air gaps

avoid the development of air gaps

Compact the mixture; subject to a

Compact the mixture using a load of 101kg

minimum load of 10kN

for 48 hours

Leave in mould for at least 4 hours

Left in mould for 24 hours

Remove mould and air dry at 4-35°C from

Remove mould and air dry at 30°C for 7

between 24 hours to 28 days

days

03 | EXPERIMENTATION Experiment 2: K-Briq Inspired Brick | Ingredients

MEDIUM GRAVEL 6% - 162g

CLAY 10% - 270g

WATER 26% - 702ml

Experiment 2: K-Briq Inspired Brick | 03

05 | TESTING Compression: Point Load Test | General Method

Fig. 60: Step Two: Apply pressure by pumping ram until brick fails. Record psi gauge to document the pressure applied at the point of fail.

Fig. 61: Step Three: Apply pressure until brick fails and a crack forms.

Fig. 62: Step Four: From video recording, mark psi reached on psi gauge and then apply equal pressure to mechanical pressure gauge to receive a reading that can then be converted to find the weight applied at the point of fail in kN.

03 | EXPERIMENTATION Experiment 2: K-Briq Inspired Brick | Method

02 | Brick

Case Study 1: WasteBasedBrick by StoneCycling | 02

02 | Brick

03 | EXPERIMENTATION Experiment 2: K-Briq Inspired Brick | Progress Photographs

Case Study 2: Lendager Group | 02

Process Material Sourcing

Achievability

Accessibility

Yes*

Relatively easy to source once contacts within the construction industry are established

However, visually, the experiment produced a ‘bricklike’ object that could be representative of the K-Briq as the ratios and process were followed closely; only missing the secret binding agent.

Cleaning

Disputable**

Grinding

Disputable**

Combining

Yes*

Relatively easy to combine with the use of an industrial mixer.

GYPSUM PLASTERBOARD 15% - 405g

RE-CLAIMED BRICK 26% - 702g

SAND 43% - 1161g

03 | Experimentation

Fig. 31. Ingredients for Experiment 2 Clay - 270g (10%) Re-claimed Brick - 702g (26%) Medium Gravel - 162g (6%) Sand - 1161g (43%) Gypsum Plasterboard - 405g (15%) Water - 702ml (26%)

Experiment 2: K-Briq Inspired Brick | 03

05 | TESTING Compression: Point Load Test | Point of Fail

Fig. 63: Traditional Clay Brick: Extremely durable, it took an extremely large amount of pressure to crack.

Fig. 64: Kenoteq K-Briq Sample: Durable, requiring a large amount of pressure to be applied before reaching its point of fail. Before failing, the brick compressed underneath the metal circular point load. This indicates that the brick could potentially be further compressed in manufacture, which could increase the bricks overall durability.

Fig. 65: Experiment 2: K-Briq: Not durable, it needed little pressure to be applied before the brick failed. The brick did act with the same characteristics as the K-Briq sample did under compression. The brick continued to compress before failing. Indicating that a larger weight of compression should have been applied in its production. However, this similarity validates the similarity in method between the creation of these two bricks.

Fig. 66: Experiment 1: WasteBasedBrick: Slightly durable, it took a small amount of pressure to be applied before the brick failed. The brick failed in a similar way to the traditional clay brick; via a hair-line crack. This can be presumed to be due to the similarities in production regarding the amount of clay required and being kiln fired between the two bricks.

03 | Experimentation

TRADITIONAL CLAY BRICK

KENOTEQ K-BRIQ SAMPLE

PRESSURE AT POINT OF FAIL (psi) 1400

Experiment 2: K-Briq Inspired Brick | 03

EXPERIMENT 1: WASTEBASEDBRICK

PRESSURE AT POINT OF FAIL (psi) 400

N/A

Very accessible process as the brick is left to air dry. However,

EXPERIMENT 2: K-BRIQ

PRESSURE AT POINT OF FAIL (psi) <200

READING ON PRESSURE GAUGE AT POINT OF FAIL 8.50

READING ON PRESSURE GAUGE AT POINT OF FAIL 3.00

READING ON PRESSURE GAUGE AT POINT OF FAIL 1.00

READING ON PRESSURE GAUGE AT POINT OF FAIL 0.50

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 14.17

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 5.00

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 1.67

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 0.83

03 | Experimentation

Experiment 2: K-Briq Inspired Brick | 03

05 | TESTING Test Related Conclusions When put under compression, our bricks did not perform as well as their industry counterparts. The WasteBasedBrick inspired brick shattered under compression, revealing it to be brittle; potentially due to the level of porcelain initially incorporated. Whereas the K-Briq inspired brick was soft, underperforming drastically compared to the K-Briq sample. The disparity in results we believe to be due to the secret binding agent. Compared to a traditional clay brick the K-Briq sample is lighter. A lighter brick requires less structure to support it if used as a façade and emits less carbon dioxide in transportation; both factors indicating towards a more sustainable product.

Overall, both bricks in experiment 1 and 2 satisfy part of our definition of a brick as they have an aesthetic appeal and are recyclable. Our research shows that these bricks can be defined as durable with long life spans, however, our experiments dispute this. Lacking proper testing, equipment, and information we classify our brick experiments to be indications of the bricks in question, but not direct examples. Due to this, the results from our experiments are only indications and not representations of the bricks researched; providing a starting point on which developed methods could be formulated.

The WasteBasedBrick brick is, potentially, more durable, and long-lasting than K-Briq due to the fact it is fired. However, it uses less recycled waste and more clay (a natural resource). Therefore, a balance needs to be reached between levels of required durability and the number of sustainable attributes each brick offers.

Fig. 68: Cross-Section of Brick Samples and Brick Experiments (left to right: traditional clay brick, experiment 1: WasteBasedBrick, Experiment 2: K-Briq, K-Briq Sample

Fig. 67: Brick Sample and Brick Experiment Point Load Test Results

03 | Experimentation

Experiment 2: K-Briq Inspired Brick | 03

06 | CONCLUSION Due to our research into the methodology, material build up and manufacturing processes of the K-Briq and WasteBasedBrick being largely vague or unknown, it would be unrealistic to have presumed our bricks would be of industry standard. However, we do feel that these bricks are accessible and achievable to make. From our attempts of replication, we discovered that, whilst K-Briq may seem more achievable, the methodology behind WasteBasedBricks feels more transferable to the construction industry. Not one brick offers the perfect solution, however, these brick alternatives do offer solutions to issues of the traditional clay brick whilst making it evident that bricks can be upcycled in architecture to reduce construction waste; a goal that appears to be still in development with improvements still needed to make it a viable option on a large scale, globally.

The current availability is also a limitation to the waste construction bricks in the industry; provided by relatively small companies spanning small areas. Therefore, to have a notable impact on reducing the carbon emissions and waste of the construction industry, the processes need to be replicated globally. Which would allow the bricks to be sourced locally, reducing transportation costs and increasing the usage of the bricks worldwide. Kenoteq appear to have a business model that, both, makes their process replicable and globally applicable, whilst being commercially viable. They plan to use the business set up and process they have developed as a model that is then licensed to waste-handlers worldwide (see Appendix Item 2). This is a business model that, if adapted by other small sustainable brick manufacturers, could allow waste construction bricks to be globally, locally available, mass produced and affordable, reducing construction waste and eventually even making the requirement of traditional clay bricks, other than in listed settings, redundant.

To be truly effective as a circular, sustainable alternative, the process needs to be commercially viable to encourage individuals to invest in the idea and manufacture the products. To do this, the process needs to be transparent, easy to achieve with the right equipment and the information to do so needs to be widely available. Currently, the processes used by the waste construction brick market are closely guarded; with recipes and ingredients being both vague and confidential; meaning they are challenging to be duplicated by others. However, this project could form the starting point for such transparency; a ‘to-do’ manual that could be developed to form a duplicatable formula.

Case Study 2: Lendager Group | 02

Achievability Process Material Sourcing

N/A

03 | EXPERIMENTATION

Fig. 34: Axo, Plan and Section photographs of final Experiment 2 K-Briq inspired brick

Fig. 33: Brick Progress, 1. After Compressing; 2. After being left to air dry for 24hrs at 30°C; 3. After being left to air dry for 7 days at 30°C; 4. After lid of mould removed; 5. Final brick

Compression: Point Load Test

PRESSURE AT POINT OF FAIL (psi) 3500

Yes*

Firing

maintained at a constant low temperature.

05 | TESTING

METAL CIRCULAR POINT LOAD

Drying

to avoid cracking the area, ideally, needs to be monitored and

02 | Brick

Without this the elements could be combined with minimal effort.

Fig. 30: Table of Research: K-Briq Method Alongside Deduced Method Used in Experiment 2 (Part 3 of 3)

03 | Experimentation

Fig. 59: Step One: Place brick sample or brick experiment in the ram measuring psi with metal circular point load placed at the bricks corner.

Fig. 58: Brick Sample and Brick Experiment Shear Load Test Results

Deduced Method Used in Experiment 2

Method 06: Additive Addition 07: Add Water

Heat at 200°C for 7 hours

<24 hours

04: Moisture Content

43%

6% 26%

Deduced Method Used in Experiment 2

K-Briq Method Shred, crush or grind the gypsum into a

Heat between 80-250°C; 80-200°C; 80-

02: Heat the Gypsum 03: Dry Ingredient Preparation

10%

20 – 65%

(in order of material list above)

Whilst we had access to a kiln to fire the brick this is not widely and

03 | EXPERIMENTATION

Case Study 1: WasteBasedBrick by StoneCycling | 02

Fig. 36: Final Brick Images for Both Experiments. (Top) WasteBasedBrick Inspired Brick (Below) K-Briq Inspired Brick

03 | Experimentation

K-Briq Inspired Brick

WasteBasedBrick Inspired Brick

Yes*

Cleaning

Disputable**

Grinding

Disputable**

Combining

Yes*

Drying

Yes*

Firing

N/A

Disputable*

Experiment Conclusions | 03

02 | Brick

Case Study 3: K-Briq by Kenoteq | 02

04 | K-BRIQ SAMPLE

Analysis and Speculation

02 | Brick

Case Study Comparison | 02

03 | K-BRIQ SAMPLE Analysis and Speculation

Whilst brick is of grey colour, flecks of white aggregate / gypsum are visible on bricks surface

Chunks of aggregate visibly used (1-2mm)

02 | Brick

Analysis and Speculation

Three core holes evenly spaced across the centre of the brick

Fig. 38: K-Briq Sample

04 | K-Briq Sample

Title Page | 04

04 | K-Briq Sample

Fig. 44: K-Briq Sample

Fig. 41: K-Briq Sample Analysis and Speculation Plan View (see Appendix Item 2)

Analysis and Speculation | 04

Case Study Comparison | 02

03 | K-BRIQ SAMPLE

Relatively light when compared to traditional clay bricks

Fig. 43: K-Briq Sample Analysis and Speculation Cross-Section View

Fig. 23: Ingredients for Experiment 1 Clay - 1000g (40%) Reclaimed Brick - 500g (20%) Reclaimed Concrete - 250g (10%) Porcelain - 250g (10%) Water - 500ml (20%)

6 Fig. 22: Deducing the method for Experiment 1

Fig. 21b: General Method, 1. Sourcing; 2. Cleaning; 3. Grinding; 4. Combining; 5. Drying/Firing; 6. Testing

04 | K-Briq Sample

Title Page | 03

Consistent colour

Edges and corners, 90 degrees in most places however some areas are slightly crumbled.

03 | Experimentation

Introduction to Own Experiments | 03

03 | K-BRIQ SAMPLE Analysis and Speculation

Natural colour pigments could be added to Experiment 2: K-Briq inspired brick to improve aesthetic appearance

Core holes could be added to Experiment 2: K-Briq inspired brick to reduce the chance of cracking when drying

03 | Experimentation

Experiment 1: WasteBasedBrick Inspired Brick | 03

05 | TESTING

Aesthetics Weight and Density Compression: Shear Load Test Compression: Point Load Test Test Related Conclusions

03 | Experimentation

Experiment 1: WasteBasedBrick Inspired Brick | 03

TRADITIONAL CLAY BRICK

EXPERIMENT 1: WASTEBASEDBRICK

EXPERIMENT 2: K-BRIQ

KENOTEQ K-BRIQ SAMPLE

HEIGHT / WIDTH / DEPTH (cm) 6.5 / 10.2 / 21.5

HEIGHT / WIDTH / DEPTH (cm) 5.5 / 8.5 / 20

HEIGHT / WIDTH / DEPTH (cm) 5.5 / 9.7 / 21.5

HEIGHT / WIDTH / DEPTH (cm) 6.5 / 10.2 / 21.5

Larger particles of aggregate and gypsum could be added to Experiment 2: K-Briq inspired brick to improve binding qualities and durability

COLOUR Red / Orange

COLOUR Pink / Chalk

COLOUR Off-White / Grey

COLOUR Grey

KENOTEQ K-BRIQ SAMPLE Fig. 39: K-Briq Sample Analysis and Speculation Axonometric View

Analysis and Speculation | 04

04 | K-Briq Sample

Fig. 40: K-Briq Sample

EXPERIMENT 2: K-BRIQ

Fig. 46: K-Briq Sample Shear Load Compression Test

Fig. 45: K-Briq Sample Compared to Experiment 2: K-Briq Inspired Brick

TEXTURE Smooth

TEXTURE Uneven, but Smooth

TEXTURE Grainy, Large Sandy Deposit to Touch

TEXTURE Smooth, Minor Sandy Deposit to Touch

Analysis and Speculation | 04

04 | K-Briq Sample

Fig. 47: Comparison of Brick Sample and Brick Experiment Aesthetic Properties.

Analysis and Speculation | 04

05 | Testing

Title Page | 05

05 | Testing

03 | Experimentation

Weight and Density Brick Type

Traditional Clay Brick

Volume (cm3)

Weight (g)

Density (g/cm3)

(height x width x depth)

(mass)

(mass / volume)

2240

1.57

1425.45 (6.5 x 10.2 x 21.5)

Experiment 1: WasteBasedBrick Inspired Brick

935

1540

1.65

(5.5 x 8.5 x 20)

Experiment 2:

1147.03

K-Briq Inspired Brick

(5.5 x 9.7 x 21.5)

K-Briq Sample

1425.45

1760

1.53

1980

1.39

(6.5 x 10.2 x 21.5)

Fig. 48: Table of Brick Sample and Brick Experiment Weight and Density Properties

Aesthetics | 05

Experiment 1: WasteBasedBrick Inspired Brick | 03

05 | TESTING

Smooth to touch, texture of the finest sand paper. When rubbed from end to end, a small amount of sandy particles come off to touch.

Relatively smooth texture lends itself to a pleasing aesthetic appearance

Fig. 42: K-Briq Sample

03 | Experimentation

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

crushing equipment the process is lengthy, tiring and time consuming for a small return in crushed material. Professional equipment is required to improve the efficiency of this process.

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

industry are established

very efficient or effective. Can be grinded using sledgehammers, however, without industrial

02 | Brick

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Accessibility Relatively easy to source once contacts within the construction Difficult to thoroughly clean without industrial equipment such as a pressure washer. Making the process very time intensive and not

Yes*

Defining the Brick | 02

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Yes*

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Achievability

02 | Brick

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Disputable**

Combining

Title Page | 02

05 | Testing

Fig. 49: The K-Briq Sample being Weighed

07 | APPENDIX A

Fig. 69: Construction Waste Alongside New Development

05 | Testing

m W

m m

m w

Compression: Shear Load Test | 05

05 | Testing

Compression: Shear Load Test | 05

05 | Testing

Compression: Shear Load Test | 05

05 | Testing

Compression: Point Load Test | 05

05 | Testing

Compression: Point Load Test | 05

05 | Testing

Compression: Point Load Test | 05

05 | Testing

Test Related Conclusions | 05

06 | Conclusion

Conclusion | 06

w m

Rede gn ng he B ck Can b ck upcyc ng n a ch ec u e be ha ne ed o educe con

gn ng h B

m w m

O w

m n

03 EXPER MENTAT ON n oduction o Own E pe men

EXPERIMENT 1: WasteBasedBricks

Due to product secrecy, information about how the bricks in case studies 1 and 3 are made is extremely vague. Hence, it is challenging to conclude how these bricks compare both environmentally and structurally to traditional clay bricks and each other. Aims 1. How are the waste construction bricks made? 2. How achievable / accessible are the waste construction bricks to make? 3. How do they perform under compression compared to general clay bricks? FINDINGS "The experiment produced a ‘brick-like’ object that could be compared to a WasteBasedBrick. Through a few alterations to the materials, ratios and methods an even closer match to their brick could be achieved."

03 EXPER MENTAT ON

E pe men 1 Wa eBa edB ck n p ed B ck | Me hod

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Methodology n odu

on o Own

m n

03 | EXPERIMENTATION

03 EXPER MENTAT ON

03 | EXPERIMENTATION Experiment 1: WasteBasedBrick Inspired Brick | Deducing the Method

E pe men 1 Wa eBa edB ck n p ed B ck | ng ed en

The method of making a WasteBasedBrick is largely based on the traditional techniques of brick making.20 The methodology for the following experiment was, therefore, heavily influenced by both the BDA’s “The UK Clay Brickmaking Process” document and our WasteBasedBrick research, aiming to deduce a method that would replicate a possible method of making WasteBasedBricks.

WasteBasedBrick Process Deduced from Research

Properties Materials

Traditional Brick Making Process

Deduced Method Used in Experiment 1

Clay

Reused brick

clay, rejected clay and upcycled waste: ceramics, 60-100% waste material used (remaining

Experiment 1: WasteBasedBrick Inspired Brick | Reflections oneC n h e w e e e tion p o e h en u e qu o w em e wh h ou d no be u n eed n ou m e ou n No now n he e tio o w m de h en n o p odu e b ep e en W eB edB

em e wh h

u ed e

Process

The e pe men p odu ed b e ob e h ou d be omp ed o W eB edB Th ou h ew e tion o he m e tio nd me hod n e en o e m h o he b ou d be h e ed

M e Ce nn

G nd n

Comb n n

Porcelain (sink)

quantity made up by clay)

Reused concrete

Unknown

Ratios

03 | EXPERIMENTATION

Clay

glass, bricks, concrete, sanitaryware

100% clay

Clay - 40%

(includes small 1-2 mm clay particles)

Reused brick – 20%

Experiment 1: WasteBasedBrick Inspired Brick | Reflections Reused concrete – 10%

Water content

Unknown

Drying before Kiln Fired

Water 12-25%

Water - 20%

24-48hrs starting at 30°C to 120°C in

48 hrs in closed room at 30°C

large humidity controlled chambers

8 hrs in oven at 80°C

5hr in oven from 100-120°C

Firing Temperature

Yes, at 25% energy reduction

Timings

Up to 1000°C

Up to 1250°C

Unknown

StoneCyc ng have a str ct waste se ection process that ensures qua ty of waste mater a 21 wh ch cou d not be guaranteed n our mater a sourc ng

80+ hours

40 hrs

In large batches and kilns (see Appendix

(see Appendix Item 5 for Deduced Firing

Item 4 for Firing Curve)

Curve)

Fig. 22: Deducing the method for Experiment 1

A 26

03 | Experimentation

Experiment 1: WasteBasedBrick Inspired Brick | 03

Not know ng the exact ratios of waste mater a s used made t cha eng ng to produce a br ck wh ch accurate y represents a WasteBasedBr ck

Process

03 |ke EXPERIMENTATION The exper ment produced a br ckob ect that cou d be compared to a WasteBasedBr ck 1:Through a Inspired Brick | Progress Photographs Experiment WasteBasedBrick few a terations to the mater a s ratios and methods an even c oser match to the r br ck cou d be ach eved

Mater a Sourc ng

Achievability Yes*

03 Expe men a on

Accessibility

Re ative y easy to source once contacts w th n the construction ndustry are estab shed

C ean ng

D sputab e**

D fficu t to thorough y c ean w thout ndustr a equ pment such as a pressure washer Mak ng the process very time ntens ve and not very effic ent or effective

Gr nd ng

D sputab e**

Can be gr nded us ng s edgehammers however w thout ndustr a consum ng for a sma return n crushed mater a Profess ona

equ pment s requ red to mprove the effic ency of th s process

03 | Experimentation

Experiment 1: WasteBasedBrick Inspired Brick | 03

Comb n ng

Yes*

Re ative y easy to comb ne w th the use of an ndustr a m xer W thout th s the e ements cou d be comb ned w th m n ma effort

Dry ng

Yes*

Process of dry ng s poss b e but s not done to the same accuracy as n the ndustry (hav ng arge chambers that can contro temperature

Table showing conclusion of making bricks from waste using WasteBasedBrick methods

and hum d ty) F r ng

D sputab e*

A A

WasteBasedBrick inspired brick

crush ng equ pment the process s engthy tir ng and time

Porcelain (sink) – 10%

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

2. Experiment 1:WasteBasedBrick Inspired Brick 4. Experiment 2: K-Briq Inspired Bricks 5. Experiment Conclusions

Redesigning the Brick Can brick upcycling in architecture be harnessed to reduce construction waste?

Part 3 EXPERIMENTATION 1. Introduction to Own Experiments

Weight and Density | 05

uc on wa e?

05 | TESTING

Fig. 50: Step One: Place brick sample or brick experiment in the ram measuring psi with metal cylindrical point load placed across its width.

50+ years 25% less than traditional brick

Yes, can be crushed down and made into more

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Disputable**

Grinding

Material Sourcing

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

glass, bricks, concrete, sanitaryware Embodied Carbon / Energy Use Construction Waste Percentage Heat Requirements Recyclability / Reusability

[MArch 2] AMPL DSA DSH DR

m ffi

clay, rejected clay and upcycled waste: ceramics,

Lifespan

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Cleaning

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

m m

w w

WasteBasedBrick

Material(s)

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Process

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

w m

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Properties

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Not knowing the exact ratios of waste materials used made it challenging to produce a brick which accurately represents a WasteBasedBrick.

03 | Experimentation

Improving on the Brick: 1. Reducing amount of natural material used; 2. Reducing CO2 emissions in manufacturing; 3.Utilising construction waste. Fig.9a: WasteBasedBrick Improvements on the Brick

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

StoneCycling have a strict waste selection process that ensures quality of waste material21 which could not be guaranteed in our material sourcing.

Water Content 3

Case Study 1: WasteBasedBrick by StoneCycling

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Experiment 1: WasteBasedBrick Inspired Brick | Reflections

and humidity).

02 | BRICK

UK, due to BES 6001

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

03 | EXPERIMENTATION

02 | Brick

readily available. Without this the brick would be unusable.

UK, or Scotland)

material ratios

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Experiment 1: WasteBasedBrick Inspired Brick | Progress Photographs

in the industry (having large chambers that can control temperature

Locally sourced to Amsterdam (Not the

gone to landfill Variety of colours based on waste

Responsible Sourcing

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

03 | EXPERIMENTATION

Without this the elements could be combined with minimal effort.

Fired*

Uses leftover, rejected clay from the manufacturing process that would have

£0.20 - £1.20

Locally Sourced To

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Introduction | 01

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

01 | Introduction

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Expensive

in each brick (60-100%) (see Fig. 10)

To form the WasteBasedBrick, waste material is ground into a coarse powder, combined with clay and then kiln

Fig. 7b: StoneCycling production process: 1&2. Sourcing; 3. Grinding; 4. Making; 5. Firing; 6. Final Brick

Contents | 00

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Disadvantages

Reduces amount of clay used (40% to 0%) Large amount of construction waste used

Fig.2: Construction Waste

00 | Contents

H w H w H w

Advantages

Improving on the Brick: 1. Reducing amount of natural material used; 2. Reducing CO2 emissions in manufacturing; 3.Utilising construction waste. Fig.7a: WasteBasedBrick Improvements on the Brick

- Analysis and Speculation

C nb

0% Yes, fired in kiln

Cost

Fig.4b: Advantages and Disadvantages of Brick

Fig.3: Traditional Clay Brick

0.06kg of CO2

Construction Waste Heat Requirements

and CO2 emissions during

Impervious Good thermal properties

Up to 150 years

Embodied Carbon / Energy Use Percentage

Large energy consumption

Good compressive strength

K-BRIQ SAMPLE

Clay

Lifespan

Disadvantages

Natural

Aesthetic

Clay Brick

Material(s)

Advantages

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

02 | BRICK

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Case Study 2: Lendager Group Case Study 3: K-Briq by Kenoteq Case Study Comparison

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

02 | BRICK

Defining the Brick Case Study 1: WasteBasedBrick by StoneCycling

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

ENDNOTES

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

EXPERIMENTATIONS - Introduction to Own Experiments - Experiment 1: WasteBasedBrick Inspired Brick - Experiment 2: K-Briq Inspired Brick - Experiment Conclusions

CONCLUSION APPENDIX

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

TESTING - Aesthetics - Weight and Density - Compression: Shear Load Test - Compression: Point Load Test - Test Related Conclusions

06 07

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

BRICK - Defining the Brick - Case Study 1: WasteBasedBrick by StoneCycling - Case Study 2: Lendager Group - Case Study 3: K-Briq by Kenoteq - Case Study Comparison

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

INTRODUCTION

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

00 | CONTENTS

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Architectural Technology Research - Assignment 2 - Contextual Study

REDESIGNING THE BRICK: CAN BRICK UPCYCLING IN ARCHITECTURE BE HARNESSED TO REDUCE CONSTRUCTION WASTE?

By Amy Drabble and Stuart Gomes

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

REDESIGNING THE BRICK

14.12.2020

CONTEXTUAL STUDY

ntroduction to Own Exper ments

Brief 02 // Contextual Study

b h n

d o

03 | EXPERIMENTATION

[MArch 1] ATR DSC DSD SCAT

on w

MArch 1, [semester 1]

[GP] [AD] [JP] [TC] [KL] [TG] [PX]

ng n

ATR

[2021] ATR

Wh st we had access to a k n to fire the br ck th s s not w de y and read y ava ab e W thout th s the br ck wou d be unusab e

This exploration into using bricks as a way of reducing waste was an incredible project to work on. Being able to work as a team to test, make and develop our own bricks based on our research was overwhelmingly beneficial to my understanding of building materials. I am fascinated to see if bricks made from reused building materials will be a common material practice in the future.

Materials

Material Ratios (in order of material list above)

Water Content

03 | Experimentation

03 | EXPERIMENTATION

03 | Experimentation

K-Briq Method

Gypsum Plasterboard

Clay

manufacturing process Currently not fully utilised

Long life span

after life

Improving on the Brick: 1. Reducing amount of natural material used; 2. Reducing CO2 emissions in manufacturing; 3.Utilising construction waste. Fig.9a: WasteBasedBrick Improvements on the Brick

Properties

WasteBasedBrick

Material(s)

clay, rejected clay and upcycled waste: ceramics, glass, bricks, concrete, sanitaryware

Lifespan

50+ years

Embodied Carbon / Energy Use

25% less than traditional brick

Construction Waste Percentage

60-100% (91kg waste upcycled per m2)

Heat Requirements

Yes, fired in kiln

Recyclability / Reusability

Yes, can be crushed down and made into more WasteBasedBrick

Water Demand

Unknown

Cost

Structural? Production / year Weight

Advantages

Improving on the Brick: 1. Solely using construction waste; 2. Improvement on current method for reusing bricks Fig.12a: Lendager Group Improvements on the Brick

Disadvantages

Non-structural, requires steel frame or

bricks to reuse them – reducing energy inputs

concrete backing

Reduces need to use virgin materials

within basement car-park and double skin

Lots of concrete still used in project – structure Concrete in project was not made from recycled aggregate – due to volume

required Sustainable and economic aspects of upcycled system are not resolved at scale

Fig. 12b: Advantages and Disadvantages of the Lendager Group Process

Properties

Yes 2.24kg

Production / year

Unknown

Weight

Unknown

Embodied Carbon / Energy Use

Unknown

Construction Waste Percentage

100%

Heat Requirements

N/A

Recyclability / Reusability

Unknown

Water Demand Cost

None Per square metre, scheme cheaper to build than a non-upcycled equivalent

Locally Sourced To

Medium Gravel (size 6-20mm)

Fine Gravel (size 2-6mm)

Fine Gravel (Reclaimed brick) (size 2-6mm)

15%

Disadvantages

Currently only manufactured on a small

recycled pigment

scale

Weighs the same, if not less than, regular

Cannot be manufactured on-site

clay bricks Higher U-value (better insulation properties) than regular clay bricks

Uses 90% construction waste Do not need to be kiln fired

Fig. 16b: Advantages and Disadvantages of K-Briq (see Appendix Item 2)

Properties Material(s)

gravel and reclaimed brick Embodied Carbon / Energy Use

Minimum 30 years 1/10th of regular clay brick 90% Yes, gypsum needs to by dried but no Yes, can be crushed down and remade

kiln required into k-briqs Water Demand

anywhere Production / year Weight

K-Briq Gypsum Plasterboard, clay, sand,

Lifespan Construction Waste Percentage Heat Requirements Recyclability / Reusability

Cost

Yes £0.80 – £2.00 a unit – comparable to

No, façade modules

Deduced Definition of a Brick: A construction unit that can be stacked to form a wall which has an aesthetic appeal, is recyclable and durable with long-term performance. Fig.19a: Deduced Definition of a Brick

Locally Sourced to Structural?

Fig. 13b: The Lendager Group Process Characteristics

Properties Material(s)

WasteBasedBrick

Lendager Group

clay, rejected clay and upcycled waste: ceramics,

Reused Brick

Embodied Carbon / Energy Use Construction Waste Percentage

Unknown Unknown

60-100%

100%

90%

N/A

Yes, gypsum needs to by dried but no kiln

Yes, fired in kiln

Production / year

Recyclability / Reusability

Yes, can be crushed down and made into more

Unknown

Yes, can be crushed down and remade into

WasteBasedBrick Water Demand Cost Locally Sourced to

03 | EXPERIMENTATION Introduction to Own Experiments Aims 1. 2. 3.

How are the waste construction bricks made? How achievable / accessible are the waste construction bricks to make? How do they perform under compression compared to general clay bricks?

Fig.21a: Experiment Aims

Due to product secrecy, information about how the bricks in case studies 1 and 3 are made is extremely vague. Hence, it is challenging to conclude how these bricks compare both environmentally and structurally to traditional clay bricks and each other. Based on our research and knowledge of traditional methods of brick making, we aim to produce our own version of the WasteBasedBrick and K-Briq. On which

Structural?

1.98kg

Materials

general brick

Copenhagen, method can be applied

Scotland

Fig. 19b: Case Study Comparison Table

Weight

Traditional Brick Making Process

Deduced Method Used in Experiment 1

clay, rejected clay and upcycled waste: ceramics,

Clay Clay

glass, bricks, concrete, sanitaryware

Reused brick

60-100% waste material used (remaining

Porcelain (sink)

quantity made up by clay) Ratios

Reused concrete 100% clay

Unknown

(includes small 1-2 mm clay particles)

Clay - 40% Reused brick – 20% Porcelain (sink) – 10% Reused concrete – 10%

Water content

Yes £0.80 – £2.00 a unit – comparable to

build than a non-upcycled equivalent

Water 12-25%

Water - 20%

24-48hrs starting at 30°C to 120°C in

48 hrs in closed room at 30°C

Unknown

large humidity controlled chambers

03 | EXPERIMENTATION Experiment 1: WasteBasedBrick Inspired Brick | Ingredients

Timings

No, façade modules

Yes, viable for load-bearing applications both

N/A

3 million (as of next year)

Unknown

Fig. 20: (Left to Right) Traditional Reclaimed Clay Brick, WasteBasedBrick Inspired Brick, K-Briq Inspired Brick, K-Briq Sample

1.98kg

80+ hours

40 hrs

In large batches and kilns (see Appendix

(see Appendix Item 5 for Deduced Firing

Item 4 for Firing Curve)

Curve)

Unknown

internally and externally.

Up to 1000°C

Yes*

Accessibility

Relatively easy to source once contacts within the construction industry are established

Difficult to thoroughly clean without industrial equipment such as

a pressure washer. Making the process very time intensive and not very efficient or effective. Can be grinded using sledgehammers, however, without industrial crushing equipment the process is lengthy, tiring and time consuming for a small return in crushed material. Professional equipment is required to improve the efficiency of this process.

Yes*

Relatively easy to combine with the use of an industrial mixer.

03 | EXPERIMENTATION

Experiment 2: K-Briq Inspired Brick | Deducing the Methods The methodology for the following experiment was heavily influenced by the K-Briq patent.22 The patent is written in a vague manner, indicating various methods of making the K-Briq in which the quantities, particle sizes and timings vary. This document was scrutinised to deduce a method that would replicate one of the possible methods the K-Briq is formed.

Method

K-Briq Method

Materials

Sand (Coarse, Medium and Fine)

Drying

Yes*

Firing

Disputable*

Deduced Method Used in Experiment 2

Gypsum Plasterboard

Process of drying is possible but is not done to the same accuracy as

Gypsum Plasterboard

Clay

Clay Medium Sand

Medium Gravel (size 6-20mm)

Fine Gravel (size 2-6mm)

Fine Gravel (Reclaimed brick) (size 2-6mm)

15%

10%

Material Ratios

Experiment 2: K-Briq Inspired Brick | Deducing the Methods Method

coarse grade material (0.063-2mm)

150°C; or 100-150°C for 1-2 days.

The gypsum could be heated at 200°C for

Grind gypsum into coarse grade, powder, material

Fig. 26: Axo, Plan and Section photographs of final Experiment 1 WasteBasedBrick inspired Brick

Best practice is to dry clay and aggregate

K-Briq Method

Additive, such as a pigment, added at this

08: Pour into Mould

N/A

materials in oven at 105°C for 6-24 hours Materials dry to touch, did not heat in oven Test materials for moisture content to ensure they are prepared for next stage

N/A

09: Compaction

Did not have the facilities to complete this stage

Combine gypsum, aggregate materials and

Gypsum, aggregate materials and clay

clay to form a homogeneous mixture

mixed together in industrial mixer

10: Leave in Mould

Experiment 1: WasteBasedBrick Inspired Brick | 03

Fig. 52: Step Three: Apply pressure until brick fails and a crack forms.

Compression: Shear Load Test | 05

03 | Experimentation

Experiment 1: WasteBasedBrick Inspired Brick | 03

05 | TESTING Compression: Shear Load Test | Point of Fail

Fig. 54: Traditional Clay Brick: Extremely durable, it took an extremely large amount of pressure to crack.

Fig. 55: Kenoteq K-Briq Sample: Durable, requiring a large amount of pressure to be applied before reaching its point of fail.

05 | Testing

Fig. 56: Experiment 2: K-Briq: Not durable, it needed little pressure to be applied before the brick failed.

Fig. 57: Experiment 1: WasteBasedBrick: Slightly durable, it took a small amount of pressure to be applied before the brick failed.

Compression: Shear Load Test | 05

8 – 40% or 12 – 26% of total mixture

11: Air Dry

26% of total mixture

Fig. 28: Table of Research: K-Briq Method Alongside Deduced Method Used in Experiment 2 (Part 1 of 3)

03 | Experimentation

Fig. 29: Table of Research: K-Briq Method Alongside Deduced Method Used in Experiment 2 (Part 2 of 3)

Experiment 2: K-Briq Inspired Brick | 03

05 | TESTING Compression: Shear Load Test | Results

METAL CYLINDRICAL POINT LOAD

TRADITIONAL CLAY BRICK

KENOTEQ K-BRIQ SAMPLE

PRESSURE AT POINT OF FAIL (psi) 1600

PRESSURE AT POINT OF FAIL (psi) 2200

EXPERIMENT 1: WASTEBASEDBRICK

PRESSURE AT POINT OF FAIL (psi) 800

EXPERIMENT 2: K-BRIQ

PRESSURE AT POINT OF FAIL (psi) 200

READING ON PRESSURE GAUGE AT POINT OF FAIL 5.22

READING ON PRESSURE GAUGE AT POINT OF FAIL 3.72

READING ON PRESSURE GAUGE AT POINT OF FAIL 1.54

READING ON PRESSURE GAUGE AT POINT OF FAIL 0.50

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 8.77

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 6.20

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 2.57

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 0.83

Compression: Shear Load Test | 05

stage to introduce colour

Add water and mix for 1 minute

N/A

Add water and mix for 1 minute

Pour mixture into mould in increments to Pour mixture into mould in increments to avoid the development of air gaps

avoid the development of air gaps

Compact the mixture; subject to a

Compact the mixture using a load of 101kg

minimum load of 10kN

for 48 hours

Leave in mould for at least 4 hours

Left in mould for 24 hours

Remove mould and air dry at 4-35°C from

Remove mould and air dry at 30°C for 7

between 24 hours to 28 days

days

Experiment 2: K-Briq Inspired Brick | 03

05 | TESTING Compression: Point Load Test | General Method

Fig. 60: Step Two: Apply pressure by pumping ram until brick fails. Record psi gauge to document the pressure applied at the point of fail.

05 | Testing

03 | EXPERIMENTATION Experiment 2: K-Briq Inspired Brick | Ingredients

MEDIUM GRAVEL 6% - 162g

CLAY 10% - 270g

Fig. 61: Step Three: Apply pressure until brick fails and a crack forms.

Compression: Point Load Test | 05

02 | Brick

Case Study 1: WasteBasedBrick by StoneCycling | 02

03 | EXPERIMENTATION Experiment 2: K-Briq Inspired Brick | Method

02 | Brick

Case Study 1: WasteBasedBrick by StoneCycling | 02

03 | EXPERIMENTATION Experiment 2: K-Briq Inspired Brick | Progress Photographs

02 | Brick

Case Study 2: Lendager Group | 02

Process

Achievability

Material Sourcing

Yes*

Accessibility Relatively easy to source once contacts within the construction industry are established

However, visually, the experiment produced a ‘bricklike’ object that could be representative of the K-Briq as the ratios and process were followed closely; only missing the secret binding agent.

Cleaning

Disputable**

Grinding

Disputable**

Combining

Yes*

Relatively easy to combine with the use of an industrial mixer. Without this the elements could be combined with minimal effort.

GYPSUM PLASTERBOARD 15% - 405g

RE-CLAIMED BRICK 26% - 702g

SAND 43% - 1161g

03 | Experimentation

Fig. 31. Ingredients for Experiment 2 Clay - 270g (10%) Re-claimed Brick - 702g (26%) Medium Gravel - 162g (6%) Sand - 1161g (43%) Gypsum Plasterboard - 405g (15%) Water - 702ml (26%)

Experiment 2: K-Briq Inspired Brick | 03

03 | Experimentation

Drying

Yes*

Firing

N/A

Very accessible process as the brick is left to air dry. However, to avoid cracking the area, ideally, needs to be monitored and

maintained at a constant low temperature.

Experiment 2: K-Briq Inspired Brick | 03

03 | Experimentation

Experiment 2: K-Briq Inspired Brick | 03

03 | Experimentation

Case Study 2: Lendager Group | 02

Achievability Process Material Sourcing

N/A

Experiment 2: K-Briq Inspired Brick | 03

03 | EXPERIMENTATION

Fig. 34: Axo, Plan and Section photographs of final Experiment 2 K-Briq inspired brick

Fig. 33: Brick Progress, 1. After Compressing; 2. After being left to air dry for 24hrs at 30°C; 3. After being left to air dry for 7 days at 30°C; 4. After lid of mould removed; 5. Final brick

02 | Brick

Fig. 36: Final Brick Images for Both Experiments. (Top) WasteBasedBrick Inspired Brick (Below) K-Briq Inspired Brick

WasteBasedBrick Inspired Brick

Yes*

Disputable**

Grinding

Disputable**

Combining

Yes*

Drying

Yes*

Firing

N/A

Disputable*

Experiment Conclusions | 03

Case Study 3: K-Briq by Kenoteq | 02

02 | Brick

04 | K-BRIQ SAMPLE

Analysis and Speculation

Case Study Comparison | 02

03 | K-BRIQ SAMPLE Analysis and Speculation

Whilst brick is of grey colour, flecks of white aggregate / gypsum are visible on bricks surface

Chunks of aggregate visibly used (1-2mm)

02 | Brick

Fig. 23: Ingredients for Experiment 1 Clay - 1000g (40%) Reclaimed Brick - 500g (20%) Reclaimed Concrete - 250g (10%) Porcelain - 250g (10%) Water - 500ml (20%)

6 Fig. 22: Deducing the method for Experiment 1

Fig. 21b: General Method, 1. Sourcing; 2. Cleaning; 3. Grinding; 4. Combining; 5. Drying/Firing; 6. Testing

04 | K-Briq Sample

Title Page | 04

04 | K-Briq Sample

Fig. 44: K-Briq Sample

Three core holes evenly spaced across the centre of the brick

Analysis and Speculation | 04

Case Study Comparison | 02

Analysis and Speculation

Fig. 38: K-Briq Sample Fig. 43: K-Briq Sample Analysis and Speculation Cross-Section View

03 | K-BRIQ SAMPLE

Relatively light when compared to traditional clay bricks

03 | Experimentation

K-Briq Inspired Brick

Cleaning

02 | Brick

04 | K-Briq Sample

Title Page | 03

Consistent colour

Edges and corners, 90 degrees in most places however some areas are slightly crumbled.

03 | Experimentation

Introduction to Own Experiments | 03

03 | K-BRIQ SAMPLE Analysis and Speculation

Natural colour pigments could be added to Experiment 2: K-Briq inspired brick to improve aesthetic appearance

Core holes could be added to Experiment 2: K-Briq inspired brick to reduce the chance of cracking when drying

03 | Experimentation

Experiment 1: WasteBasedBrick Inspired Brick | 03

05 | TESTING

Aesthetics Weight and Density Compression: Shear Load Test Compression: Point Load Test Test Related Conclusions

03 | Experimentation

Experiment 1: WasteBasedBrick Inspired Brick | 03

TRADITIONAL CLAY BRICK

EXPERIMENT 1: WASTEBASEDBRICK

EXPERIMENT 2: K-BRIQ

KENOTEQ K-BRIQ SAMPLE

HEIGHT / WIDTH / DEPTH (cm) 6.5 / 10.2 / 21.5

HEIGHT / WIDTH / DEPTH (cm) 5.5 / 8.5 / 20

HEIGHT / WIDTH / DEPTH (cm) 5.5 / 9.7 / 21.5

HEIGHT / WIDTH / DEPTH (cm) 6.5 / 10.2 / 21.5

Larger particles of aggregate and gypsum could be added to Experiment 2: K-Briq inspired brick to improve binding qualities and durability

COLOUR Red / Orange

COLOUR Pink / Chalk

COLOUR Off-White / Grey

COLOUR Grey

KENOTEQ K-BRIQ SAMPLE Fig. 39: K-Briq Sample Analysis and Speculation Axonometric View

Analysis and Speculation | 04

Fig. 40: K-Briq Sample

04 | K-Briq Sample

EXPERIMENT 2: K-BRIQ

Fig. 46: K-Briq Sample Shear Load Compression Test

Fig. 45: K-Briq Sample Compared to Experiment 2: K-Briq Inspired Brick

TEXTURE Smooth

TEXTURE Uneven, but Smooth

TEXTURE Grainy, Large Sandy Deposit to Touch

TEXTURE Smooth, Minor Sandy Deposit to Touch

Analysis and Speculation | 04

04 | K-Briq Sample

Fig. 47: Comparison of Brick Sample and Brick Experiment Aesthetic Properties.

Analysis and Speculation | 04

05 | Testing

Title Page | 05

05 | Testing

03 | Experimentation

Weight and Density Brick Type

Traditional Clay Brick

Volume (cm3)

Weight (g)

Density (g/cm3)

(height x width x depth)

(mass)

(mass / volume)

2240

1.57

1425.45 (6.5 x 10.2 x 21.5)

Experiment 1: WasteBasedBrick Inspired Brick

935

1540

1.65

(5.5 x 8.5 x 20)

Experiment 2:

1147.03

K-Briq Inspired Brick

(5.5 x 9.7 x 21.5)

K-Briq Sample

1425.45

1760

1.53

1980

1.39

(6.5 x 10.2 x 21.5)

Fig. 48: Table of Brick Sample and Brick Experiment Weight and Density Properties

Aesthetics | 05

05 | Testing

Fig. 49: The K-Briq Sample being Weighed

Compression: Point Load Test | Point of Fail

Fig. 63: Traditional Clay Brick: Extremely durable, it took an extremely large amount of pressure to crack.

05 | Testing

Compression: Point Load Test | 05

Methodology

Experiment 2: K-Briq Inspired Brick | 03

03 | EXPERIMENTATION Experiment 2: K-Briq Inspired Brick | Deducing the Methods

The methodology for the following experiment was heavily influenced by the K-Briq patent.22 The patent is written in a vague manner, indicating various methods of making the K-Briq in which the quantities, particle sizes and timings vary. This document was scrutinised to deduce a method that would replicate one of the possible methods the K-Briq is formed.

Method

Experiment 2: K-Briq Inspired Brick | 03

Materials

K-Briq Method

Deduced Method Used in Experiment 2

Gypsum Plasterboard

Clay

Sand (Coarse, Medium and Fine)

Medium Sand

Medium Gravel (size 6-20mm)

03 | EXPERIMENTATION Experiment 2: K-Briq Inspired Brick | Ingredients

MEDIUM GRAVEL 6% - 162g

CLAY 10% - 270g

GA 2 7

Experiment 1: WasteBasedBrick Inspired Brick | 03

05 | TESTING

Smooth to touch, texture of the finest sand paper. When rubbed from end to end, a small amount of sandy particles come off to touch.

Relatively smooth texture lends itself to a pleasing aesthetic appearance

Fig. 42: K-Briq Sample

03 | Experimentation

05 | TESTING

WATER 26% - 702ml

Fig. 30: Table of Research: K-Briq Method Alongside Deduced Method Used in Experiment 2 (Part 3 of 3)

03 | Experimentation

Fig. 59: Step One: Place brick sample or brick experiment in the ram measuring psi with metal circular point load placed at the bricks corner.

Fig. 58: Brick Sample and Brick Experiment Shear Load Test Results

05 | Testing

Deduced Method Used in Experiment 2

Method

06: Additive Addition

07: Add Water

Heat at 200°C for 7 hours

<24 hours

05: Combine

6% 26%

Shred, crush or grind the gypsum into a

Heat between 80-250°C; 80-200°C; 80-

02: Heat the Gypsum

04: Moisture Content

43%

6% 26%

Deduced Method Used in Experiment 2

K-Briq Method

01: Prepare the Gypsum

03: Dry Ingredient Preparation

10%

20 – 65%

(in order of material list above)

Whilst we had access to a kiln to fire the brick this is not widely and

03 | EXPERIMENTATION

Defining the Brick | 02

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Achievability

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Disputable**

Combining

02 | Brick

GA 2 6

Experiment 1: WasteBasedBrick Inspired Brick | Method

8 hrs in oven at 80°C

Up to 1250°C

Yes, at 25% energy reduction

GA 2 5

03 | EXPERIMENTATION

5hr in oven from 100-120°C Firing Temperature

Unknown

internally and externally. Production / year

Fig. 18: K-Briqs

Fig. 15: K-Briqs

WasteBasedBrick Process Deduced from Research

Properties

Drying before Kiln Fired

None per square metre, scheme cheaper to

Yes, viable for load-bearing applications both

Experiment 2: K-Briq Inspired Brick Experiment Conclusions

k-briqs

Unknown From £0.75 a unit Amsterdam

03 | EXPERIMENTATION

Introduction to Own Experiments Experiment 1: WasteBasedBrick Inspired Brick

anywhere

3 million (as of next year)

Weight

30+ years 1/10th of regular clay brick

required

Scotland Yes, viable for load-bearing applications

Fig. 17b: K-Briq Characteristics Fig. 11b: Lendager Group Process

gravel and reclaimed brick

50+ years 25% less than traditional brick (91kg waste upcycled per m2)

Heat Requirements

both internally and externally.

Fig. 14: The Lendager Group Project, The Resource Rows

Fig. 10: Residential Project by Architectuur Maken in Rotterdam which used 15 tonnes of waste through the use of WasteBasedBricks.

K-Briq Gypsum Plasterboard, clay, sand,

glass, bricks, concrete, sanitaryware Lifespan

GA 2 4

Weight and Density | 05

Process

Material So

However, visually, the experiment produced a ‘bricklike’ object that could be representative of the K-Briq as the ratios and process were followed closely; only missing the secret binding agent.

Cleaning

Grinding

Combining

WATER 26% - 702ml

Drying

Experiment 2: K-Briq Inspired Brick | Reflections

10%

20 – 65%

Material Ratios

43%

(in order of material list above)

26%

8 – 40% or 12 – 26% of total mixture

26% of total mixture

Due to not needing to be fired, the K-Briq is potentially easier to make on a small scale. However, when produced at an industrial scale – due to the change of practice / process required – it may be harder to introduce to the industry (see Appendix Item 2) than other options such as the WasteBasedBrick. This is because the WasteBasedBrick is an adaptation and improvement on traditional brick making whereas 03 | EXPERIMENTATION K-Briq is a new process of making bricks.

Water Content

Fine Gravel (size 2-6mm)

Fine Gravel (Reclaimed brick) (size 2-6mm)

15%

10%

20 – 65%

43%

26%

8 – 40% or 12 – 26% of total mixture

26% of total mixture

Firing

GYPSUM PLASTERBOARD 15% - 405g

Experiment 2: K-Briq Inspired Brick | 03

SAND 43% - 1161g

03 | Experimentation

Experiment 2: K-Briq Inspired Brick | 03

Fig. 31. Ingredients for Experiment 2 Clay - 270g (10%) Re-claimed Brick - 702g (26%) Medium Gravel - 162g (6%) Sand - 1161g (43%) Gypsum Plasterboard - 405g (15%) Water - 702ml (26%)

Experiment 2: K-Briq Inspired Brick | 03

03 | Experimentation

Experiment 2: K-Briq Inspired Brick | 03

K-Brick inspired brick 46

03 | Experimentation

Process Material Sourcing

Achievability

Accessibility

Yes*

Relatively easy to source once contacts within the construction

Experiment 2: K-Briq Inspired Brick | Reflections Due to not needing to be fired, the K-Briq is potentially easier to make on a small scale. However, when produced at an industrial scale – due to the change of practice / process required – it may be harder to introduce to the industry (see Appendix Item 2) than other options such as the WasteBasedBrick. This is because the WasteBasedBrick is an adaptation and improvement on traditional brick making whereas K-Briq is a new process of making bricks.

industry are established Process Material Sourcing

Achievability

Accessibility

Yes*

Relatively easy to source once contacts within the construction

Cleaning

Disputable**

Cleaning

Disputable**

Difficult to thoroughly clean without industrial equipment such as a pressure washer. Making the process very time intensive and not

very efficient or effective.

very efficient or effective. Grinding

Disputable**

Can be grinded using sledgehammers, however, without industrial crushing equipment the process is lengthy, tiring and time consuming for a small return in crushed material. Professional equipment is required to improve the efficiency of this process.

Combining

Yes*

Drying

Yes*

Relatively easy to combine with the use of an industrial mixer.

Grinding

Disputable**

Very accessible process as the brick is left to air dry. However, maintained at a constant low temperature.

N/A

Can be grinded using sledgehammers, however, without industrial crushing equipment the process is lengthy, tiring and time

to avoid cracking the area, ideally, needs to be monitored and Firing

Difficult to thoroughly clean without industrial equipment such as a pressure washer. Making the process very time intensive and not

industry are established

However, visually, the experiment produced a ‘bricklike’ object that could be representative of the K-Briq as the ratios and process were followed closely; only missing the secret binding agent.

N/A

consuming for a small return in crushed material. Professional Fig. 35: Achievability and Accessibility of Brick Production * Achievable on a small scale without a large range of industrial equipment. **Achievable, but not a process that could be maintained on a small scale to produce bricks, make a business or profit from the outcome.

Fig. 34: Axo, Plan and Section photographs of final Experiment 2 K-Briq inspired brick

03 | Experimentation

Fig. 35: Achie * Achievable **Achievable

Fig. 34: Axo, Plan and Section photographs of final Experiment 2 K-Briq inspired brick

Without this the elements could be combined with minimal effort.

RE-CLAIMED BRICK 26% - 702g

Fig. 28: Table of Research: K-Briq Method Alongside Deduced Method Used in Experiment 2 (Part 1 of 3)

However, visually, the experiment produced a ‘bricklike’ object that could be representative of the K-Briq as the ratios and process were followed closely; only missing the secret binding agent.

Case Study Comparison

general brick

N/A Unknown

6 Fig. 11a: Lendager Group Process

02 | BRICK

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Disputable**

Grinding

Material Sourcing

Medium Sand

Medium Gravel (size 6-20mm)

Advantages

Can be produced in any colour using

Fig.16a: K-Briq Improvements on the Brick

Copenhagen, method can be applied

Structural?

Yes, viable for load-bearing applications both

Fig. 9b: WasteBasedBrick Characteristics Fig 6: Traditional Clay Brick

Reused Brick

Lifespan

internally and externally.

2 billion (UK)

Lendager Group

Material(s)

Amsterdam

Structural?

Responsible Sourcing

Fig. 5: Traditional Clay Brick Characteristics

Case Study 2: Lendager Group

From £0.75 a unit

Locally Sourced To

UK, due to BES 6001

02 | BRICK

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Cleaning

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Case Study 1: WasteBasedBrick by StoneCycling

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Title Page | 02

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Compression: Shear Load Test | General Method

02 | BRICK

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Process

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

05 | TESTING

05 | Testing

UK, or Scotland)

material ratios

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Not knowing the exact ratios of waste materials used made it challenging to produce a brick which accurately represents a WasteBasedBrick.

Water Content

Fig. 51: Step Two: Apply pressure by pumping ram until brick fails. Record psi gauge to document the pressure applied at the point of fail.

Locally sourced to Amsterdam (Not the

gone to landfill Variety of colours based on waste

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

StoneCycling have a strict waste selection process that ensures quality of waste material21 which could not be guaranteed in our material sourcing.

Fig. 50: Step One: Place brick sample or brick experiment in the ram measuring psi with metal cylindrical point load placed across its width.

Uses leftover, rejected clay from the

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Experiment 1: WasteBasedBrick Inspired Brick | Reflections

and humidity).

Fired*

in each brick (60-100%) (see Fig. 10) manufacturing process that would have

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

readily available. Without this the brick would be unusable.

03 | Experimentation

Expensive

Large amount of construction waste used fired to form solid bricks.8 Built to industry standards, these bricks can compete with similar products in the industry when comparing their compressive strength, water absorption and freeze-thaw capabilities.9 However, the WasteBasedBrick has only been commercially used as a façade finish, interior brick and floor finish to date.10 It is a relatively new product that requires further development, scaling and marketing to establish the brick as a common construction unit used and trusted within the construction industry.

To form the WasteBasedBrick, waste material is ground into a coarse powder, combined with clay and then kiln

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

03 | EXPERIMENTATION

in the industry (having large chambers that can control temperature

Disadvantages

Reduces amount of clay used (40% to 0%)

£0.20 - £1.20

Locally Sourced To

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

02 | Brick

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Introduction | 01

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

01 | Introduction

Without this the elements could be combined with minimal effort.

Advantages

Improving on the Brick: 1. Reducing amount of natural material used; 2. Reducing CO2 emissions in manufacturing; 3.Utilising construction waste. Fig.7a: WasteBasedBrick Improvements on the Brick

Fig. 7b: StoneCycling production process: 1&2. Sourcing; 3. Grinding; 4. Making; 5. Firing; 6. Final Brick

Contents | 00

Experiment 2: K-Briq Inspired Brick | Method

Experiment 1: WasteBasedBrick Inspired Brick | Progress Photographs

Case Study 1: WasteBasedBrick by StoneCycling

Fig.2: Construction Waste

00 | Contents

03 | EXPERIMENTATION

02 | BRICK

Yes

Cost

Fig.4b: Advantages and Disadvantages of Brick

Fig.3: Traditional Clay Brick

Yes

Water Demand

and CO2 emissions during

- Analysis and Speculation By Amy Drabble and Stuart Gomes

Sand (Coarse, Medium and Fine)

Recyclability / Reusability

Large energy consumption

Large amount of water used

Fire retardant

0% Yes, fired in kiln

GA 2 3

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

methods come at higher cost

Versatile Impervious Good thermal properties

0.06kg of CO2

Construction Waste Heat Requirements

GA 2 2

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Recyclable Good compressive strength

FIGURE REFERENCES

K-BRIQ SAMPLE

Clay Up to 150 years

Embodied Carbon / Energy Use Percentage

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Alternative, more sustainable

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Use of limited supply source

Cheap

Aesthetic

Clay Brick

Lifespan

Disadvantages

Natural

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Properties Material(s)

Advantages

GA 2 1

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

GC 11

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

02 | BRICK

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

ENDNOTES

Case Study 2: Lendager Group Case Study 3: K-Briq by Kenoteq Case Study Comparison

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

02 | BRICK

Defining the Brick Case Study 1: WasteBasedBrick by StoneCycling

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

The construction industry is responsible for one hundred-tonnes of material waste every year.3 This presents a large resource that, if exploited correctly, could reduce the need to use natural resources whilst reducing waste itself. Included in this waste is brick, a common building material that could provide the foundations for the development of a construction unit made of waste.

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

CONCLUSION APPENDIX

Experiment 2: K-Briq Inspired Brick | Method

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

EXPERIMENTATIONS

- Introduction to Own Experiments - Experiment 1: WasteBasedBrick Inspired Brick - Experiment 2: K-Briq Inspired Brick - Experiment Conclusions

Deduced Method Used in Experiment 2

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

TESTING

- Aesthetics - Weight and Density - Compression: Shear Load Test - Compression: Point Load Test - Test Related Conclusions

06 07

GC 10

03 | EXPERIMENTATION

Fig. 28: Table of Research: K-Briq Method Alongside Deduced Method Used in Experiment 2 (Part 1 of 3)

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

FINDINGS "Due to not needing to be fired, the K-Briq is potentially easier to make on a small scale. However, when produced at an industrial scale – due to the change of practice / process required – it may be harder to introduce to the industry than other options such as the WasteBasedBrick."

BRICK

- Defining the Brick - Case Study 1: WasteBasedBrick by StoneCycling - Case Study 2: Lendager Group - Case Study 3: K-Briq by Kenoteq - Case Study Comparison

03 | Experimentation

Experiment7 2: K-Briq Inspired Brick |8Deducing the Methods

Method

INTRODUCTION

03 | Experimentation

GC 9

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

03 | EXPERIMENTATION

GC 8

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

00 | CONTENTS

GC 7

03 | EXPERIMENTATION REDESIGNING THE BRICK:

CAN BRICK UPCYCLING IN ARCHITECTURE BE HARNESSED TO REDUCE CONSTRUCTION WASTE?

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

14.12.2020

CONTEXTUAL STUDY

GC 6

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Experiment 2: K-Briq Inspired Brick | Method

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

[MArch 2] AMPL DSA DSH DR EXPERIMENT 2: K-Briq

03 | EXPERIMENTATION

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

[MArch 1] ATR DSC DSD SCAT

Brief 02 // Contextual Study

REDESIGNING THE BRICK

GC 5

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

GC 4

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

GC 3

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

GC 2

Architectural Technology Research - Assignment 2 - Contextual Study

GC 1

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

MArch 1, [semester 1]

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

ARCH11075

[GP] [AD] [JP] [TC] [KL] [TG] [PX]

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Materials

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

ATR

[2021] ATR

Experiment 2: K-Briq Inspired Brick | 03

equipment is required to improve the efficiency of this process. Combining

Yes*

Relatively easy to combine with the use of an industrial mixer. Without this the elements could be combined with minimal effort.

Drying

Yes*

Very accessible process as the brick is left to air dry. However, to avoid cracking the area, ideally, needs to be monitored and maintained at a constant low temperature.

Table showing conclusion of making bricks from waste using K-Briq methods

Firing

N/A

14 Fig. 35: Achievability and Accessibility of Brick Production

N/A

GC 3

GC 4

GC 10

GC 11

GA 2 1

GA 2 2

GA 2 3

Alternative, more sustainable

Clay

Recyclable

methods come at higher cost

Versatile

FIGURE REFERENCES

manufacturing process Currently not fully utilised

Recyclability / Reusability

Long life span

after life

Yes

Locally Sourced To

GA 2 4

GA 2 5

GA 2 6

GA 2 7

Locally sourced to Amsterdam (Not the UK, or Scotland)

gone to landfill Variety of colours based on waste material ratios

Properties

WasteBasedBrick

Material(s)

clay, rejected clay and upcycled waste: ceramics, glass, bricks, concrete, sanitaryware

Lifespan

50+ years

Embodied Carbon / Energy Use

25% less than traditional brick

Construction Waste Percentage

60-100% (91kg waste upcycled per m2)

Heat Requirements

Yes, fired in kiln

Recyclability / Reusability

Yes, can be crushed down and made into more WasteBasedBrick

Water Demand

Unknown

Cost

Structural? Production / year Weight

Case Study 2: Lendager Group Advantages

Improving on the Brick: 1. Solely using construction waste; 2. Improvement on current method for reusing bricks Fig.12a: Lendager Group Improvements on the Brick

Disadvantages

Non-structural, requires steel frame or

bricks to reuse them – reducing energy inputs

concrete backing

Reduces need to use virgin materials

within basement car-park and double skin

Lots of concrete still used in project – structure Concrete in project was not made from recycled aggregate – due to volume

required Sustainable and economic aspects of upcycled system are not resolved at scale

Fig. 12b: Advantages and Disadvantages of the Lendager Group Process

Yes 2.24kg

Production / year

Unknown

Weight

Unknown

Case Study 2: Lendager Group Improving on the Brick: 1. Solely using construction waste; 2. Improvement on current method for reusing bricks Fig.13a: Lendager Group Improvements on the Brick

Properties

Lendager Group

Material(s)

Reused Brick

Lifespan

Unknown

Embodied Carbon / Energy Use

Unknown

Construction Waste Percentage

100%

Heat Requirements

N/A

Recyclability / Reusability

Unknown

Water Demand Cost

None Per square metre, scheme cheaper to build than a non-upcycled equivalent

Advantages

Disadvantages

Can be produced in any colour using

Currently only manufactured on a small

Fig.16a: K-Briq Improvements on the Brick

recycled pigment

scale

Weighs the same, if not less than, regular

Cannot be manufactured on-site

clay bricks Higher U-value (better insulation properties) than regular clay bricks

Uses 90% construction waste Do not need to be kiln fired

Fig. 16b: Advantages and Disadvantages of K-Briq (see Appendix Item 2)

Properties Material(s)

gravel and reclaimed brick Embodied Carbon / Energy Use

Minimum 30 years 1/10th of regular clay brick 90%

Heat Requirements

Yes, gypsum needs to by dried but no

Recyclability / Reusability

Yes, can be crushed down and remade

kiln required into k-briqs Water Demand

anywhere Production / year

K-Briq Gypsum Plasterboard, clay, sand,

Lifespan Construction Waste Percentage

Copenhagen, method can be applied

Structural? Weight

Cost

Yes £0.80 – £2.00 a unit – comparable to

No, façade modules Locally Sourced to Structural?

Fig. 13b: The Lendager Group Process Characteristics

Properties Material(s)

WasteBasedBrick

Lendager Group

clay, rejected clay and upcycled waste: ceramics,

Reused Brick

Embodied Carbon / Energy Use Construction Waste Percentage Heat Requirements

Unknown Unknown

60-100%

100%

90%

N/A

Yes, gypsum needs to by dried but no kiln

Yes, fired in kiln

Production / year

30+ years 1/10th of regular clay brick

required Recyclability / Reusability

Yes, can be crushed down and made into more

Unknown

Yes, can be crushed down and remade into

WasteBasedBrick Water Demand Cost Locally Sourced to

None

Yes

per square metre, scheme cheaper to

£0.80 – £2.00 a unit – comparable to

build than a non-upcycled equivalent

general brick

Copenhagen, method can be applied

Scotland

Amsterdam Yes, viable for load-bearing applications both

03 | EXPERIMENTATION

Introduction to Own Experiments Experiment 1: WasteBasedBrick Inspired Brick Experiment 2: K-Briq Inspired Brick Experiment Conclusions

03 | EXPERIMENTATION Introduction to Own Experiments Aims 1. 2. 3.

How are the waste construction bricks made? How achievable / accessible are the waste construction bricks to make? How do they perform under compression compared to general clay bricks?

Fig.21a: Experiment Aims

Due to product secrecy, information about how the bricks in case studies 1 and 3 are made is extremely vague. Hence, it is challenging to conclude how these bricks compare both environmentally and structurally to traditional clay bricks and each other. Based on our research and knowledge of traditional methods of brick making, we aim to produce our own version of the WasteBasedBrick and K-Briq. On which

Materials

Structural?

1.98kg

Fig. 19b: Case Study Comparison Table

Weight

Yes, viable for load-bearing applications both

N/A

3 million (as of next year)

Unknown

Deduced Method Used in Experiment 1 Clay

Clay

glass, bricks, concrete, sanitaryware

Reused brick

60-100% waste material used (remaining

Porcelain (sink)

quantity made up by clay)

Reused concrete 100% clay

Unknown

(includes small 1-2 mm clay particles)

Clay - 40% Reused brick – 20% Porcelain (sink) – 10% Reused concrete – 10%

Water 12-25%

Water - 20%

24-48hrs starting at 30°C to 120°C in

48 hrs in closed room at 30°C

Unknown

large humidity controlled chambers

03 | EXPERIMENTATION Experiment 1: WasteBasedBrick Inspired Brick | Ingredients

03 | EXPERIMENTATION Experiment 1: WasteBasedBrick Inspired Brick | Method

8 hrs in oven at 80°C 5hr in oven from 100-120°C

Fig. 20: (Left to Right) Traditional Reclaimed Clay Brick, WasteBasedBrick Inspired Brick, K-Briq Inspired Brick, K-Briq Sample

Up to 1000°C

80+ hours

40 hrs

In large batches and kilns (see Appendix

(see Appendix Item 5 for Deduced Firing

Item 4 for Firing Curve)

Curve)

Unknown

internally and externally. 1.98kg

Up to 1250°C

Yes, at 25% energy reduction

Timings

No, façade modules

Unknown

internally and externally. Production / year

Fig. 18: K-Briqs

Traditional Brick Making Process

clay, rejected clay and upcycled waste: ceramics,

Ratios

anywhere

3 million (as of next year)

Fig. 15: K-Briqs

WasteBasedBrick Process Deduced from Research

Properties

Water content

K-Briq Method

Sand (Coarse, Medium and Fine)

Drying

Yes*

Firing

Disputable*

Deduced Method Used in Experiment 2

Gypsum Plasterboard

Process of drying is possible but is not done to the same accuracy as

Material Ratios (in order of material list above)

Gypsum Plasterboard

Clay

Clay Medium Sand

Medium Gravel (size 6-20mm)

Fine Gravel (size 2-6mm)

Fine Gravel (Reclaimed brick) (size 2-6mm)

15%

10%

Experiment 2: K-Briq Inspired Brick | Deducing the Methods Method 01: Prepare the Gypsum

05: Combine

6% 26%

coarse grade material (0.063-2mm)

150°C; or 100-150°C for 1-2 days. The gypsum could be heated at 200°C for

Grind gypsum into coarse grade, powder, material

Best practice is to dry clay and aggregate

K-Briq Method Additive, such as a pigment, added at this

Fig. 26: Axo, Plan and Section photographs of final Experiment 1 WasteBasedBrick inspired Brick

Test materials for moisture content to ensure they are prepared for next stage

Experiment 1: WasteBasedBrick Inspired Brick | 03

Compression: Shear Load Test | General Method

Fig. 52: Step Three: Apply pressure until brick fails and a crack forms.

03 | Experimentation

Experiment 1: WasteBasedBrick Inspired Brick | 03

05 | TESTING Compression: Shear Load Test | Point of Fail

Fig. 54: Traditional Clay Brick: Extremely durable, it took an extremely large amount of pressure to crack.

Fig. 55: Kenoteq K-Briq Sample: Durable, requiring a large amount of pressure to be applied before reaching its point of fail.

Fig. 56: Experiment 2: K-Briq: Not durable, it needed little pressure to be applied before the brick failed.

Fig. 57: Experiment 1: WasteBasedBrick: Slightly durable, it took a small amount of pressure to be applied before the brick failed.

8 – 40% or 12 – 26% of total mixture

03 | Experimentation

09: Compaction

stage

Combine gypsum, aggregate materials and

Gypsum, aggregate materials and clay

clay to form a homogeneous mixture

mixed together in industrial mixer

10: Leave in Mould

26% of total mixture

Fig. 29: Table of Research: K-Briq Method Alongside Deduced Method Used in Experiment 2 (Part 2 of 3)

Experiment 2: K-Briq Inspired Brick | 03

05 | TESTING Compression: Shear Load Test | Results

METAL CYLINDRICAL POINT LOAD

TRADITIONAL CLAY BRICK

KENOTEQ K-BRIQ SAMPLE

PRESSURE AT POINT OF FAIL (psi) 1600

PRESSURE AT POINT OF FAIL (psi) 2200

EXPERIMENT 1: WASTEBASEDBRICK

PRESSURE AT POINT OF FAIL (psi) 800

EXPERIMENT 2: K-BRIQ

PRESSURE AT POINT OF FAIL (psi) 200

READING ON PRESSURE GAUGE AT POINT OF FAIL 5.22

READING ON PRESSURE GAUGE AT POINT OF FAIL 3.72

READING ON PRESSURE GAUGE AT POINT OF FAIL 1.54

READING ON PRESSURE GAUGE AT POINT OF FAIL 0.50

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 8.77

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 6.20

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 2.57

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 0.83

03 | Experimentation

avoid the development of air gaps

Compact the mixture; subject to a

Compact the mixture using a load of 101kg

minimum load of 10kN

for 48 hours

Leave in mould for at least 4 hours

Left in mould for 24 hours

Remove mould and air dry at 4-35°C from

Remove mould and air dry at 30°C for 7

between 24 hours to 28 days

days

03 | EXPERIMENTATION Experiment 2: K-Briq Inspired Brick | Ingredients

MEDIUM GRAVEL 6% - 162g

CLAY 10% - 270g

WATER 26% - 702ml

Experiment 2: K-Briq Inspired Brick | 03

Compression: Point Load Test | General Method

Fig. 60: Step Two: Apply pressure by pumping ram until brick fails. Record psi gauge to document the pressure applied at the point of fail.

Fig. 61: Step Three: Apply pressure until brick fails and a crack forms.

03 | EXPERIMENTATION Experiment 2: K-Briq Inspired Brick | Method

03 | EXPERIMENTATION Experiment 2: K-Briq Inspired Brick | Progress Photographs

Case Study 2: Lendager Group | 02

Process Material Sourcing

Achievability Yes*

Accessibility Relatively easy to source once contacts within the construction industry are established

However, visually, the experiment produced a ‘bricklike’ object that could be representative of the K-Briq as the ratios and process were followed closely; only missing the secret binding agent.

Cleaning

Disputable**

Grinding

Disputable**

Combining

Yes*

Relatively easy to combine with the use of an industrial mixer. Without this the elements could be combined with minimal effort.

GYPSUM PLASTERBOARD 15% - 405g

RE-CLAIMED BRICK 26% - 702g

SAND 43% - 1161g

Fig. 30: Table of Research: K-Briq Method Alongside Deduced Method Used in Experiment 2 (Part 3 of 3)

05 | TESTING

Fig. 59: Step One: Place brick sample or brick experiment in the ram measuring psi with metal circular point load placed at the bricks corner.

Fig. 58: Brick Sample and Brick Experiment Shear Load Test Results

Add water and mix for 1 minute

Pour mixture into mould in increments to Pour mixture into mould in increments to

N/A Did not have the facilities to complete this

11: Air Dry

Fig. 28: Table of Research: K-Briq Method Alongside Deduced Method Used in Experiment 2 (Part 1 of 3)

N/A

stage to introduce colour

Add water and mix for 1 minute

08: Pour into Mould

N/A

materials in oven at 105°C for 6-24 hours Materials dry to touch, did not heat in oven

03 | Experimentation

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Deduced Method Used in Experiment 2

Method 06: Additive Addition 07: Add Water

Heat at 200°C for 7 hours

<24 hours

04: Moisture Content

43%

6% 26%

Deduced Method Used in Experiment 2

K-Briq Method Shred, crush or grind the gypsum into a

Heat between 80-250°C; 80-200°C; 80-

02: Heat the Gypsum 03: Dry Ingredient Preparation

10%

20 – 65%

Whilst we had access to a kiln to fire the brick this is not widely and

03 | EXPERIMENTATION

02 | Brick

Experiment 2: K-Briq Inspired Brick | 03

05 | TESTING Compression: Point Load Test | Point of Fail

Fig. 63: Traditional Clay Brick: Extremely durable, it took an extremely large amount of pressure to crack.

Fig. 31. Ingredients for Experiment 2 Clay - 270g (10%) Re-claimed Brick - 702g (26%) Medium Gravel - 162g (6%) Sand - 1161g (43%) Gypsum Plasterboard - 405g (15%) Water - 702ml (26%)

03 | Experimentation

Experiment 2: K-Briq Inspired Brick | 03

05 | TESTING Compression: Point Load Test

METAL CIRCULAR POINT LOAD

TRADITIONAL CLAY BRICK

KENOTEQ K-BRIQ SAMPLE

PRESSURE AT POINT OF FAIL (psi) 1400

PRESSURE AT POINT OF FAIL (psi) 3500

EXPERIMENT 1: WASTEBASEDBRICK

PRESSURE AT POINT OF FAIL (psi) 400

EXPERIMENT 2: K-BRIQ

PRESSURE AT POINT OF FAIL (psi) <200

READING ON PRESSURE GAUGE AT POINT OF FAIL 8.50

READING ON PRESSURE GAUGE AT POINT OF FAIL 3.00

READING ON PRESSURE GAUGE AT POINT OF FAIL 1.00

READING ON PRESSURE GAUGE AT POINT OF FAIL 0.50

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 14.17

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 5.00

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 1.67

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 0.83

Drying

Yes*

Firing

N/A

Very accessible process as the brick is left to air dry. However, to avoid cracking the area, ideally, needs to be monitored and

maintained at a constant low temperature.

03 | Experimentation

Experiment 2: K-Briq Inspired Brick | 03

03 | Experimentation

06 | CONCLUSION

A key issue highlighted in the production of both bricks was that, whilst drying, a crack formed. The formation of which raises a question regarding the methodologies used. In the K-Briq inspired brick, the crack may have developed due to there being a large differential between the ambient humidity within the room in which the brick was air dried and internal moisture within the brick. Whereas, for the WasteBasedBrick inspired brick, the crack may have developed due to an attempt to dry the brick out too quickly whilst overestimating the amount of water required. Cracking is often caused when water vapour escapes too quickly from the brick in the drying process (see Appendix Item 1). Therefore, in a future iteration of the experiment, lower temperature should be closely monitored whilst the brick is air drying. Additionally, making a frog or holes in the brick would allow more air to circulate through the centre of the brick, reducing the probability of cracking.

Achievability Process Material Sourcing

Fig. 36: Final Brick Images for Both Experiments. (Top) WasteBasedBrick Inspired Brick (Below) K-Briq Inspired Brick

03 | Experimentation

K-Briq Inspired Brick

WasteBasedBrick Inspired Brick

Yes*

Cleaning

Disputable**

Grinding

Disputable**

Combining

Yes*

Drying

Yes*

Firing

N/A

Disputable*

Experiment Conclusions | 03

02 | Brick

Case Study 3: K-Briq by Kenoteq | 02

04 | K-BRIQ SAMPLE

Analysis and Speculation

02 | Brick

Case Study Comparison | 02

03 | K-BRIQ SAMPLE Analysis and Speculation

Whilst brick is of grey colour, flecks of white aggregate / gypsum are visible on bricks surface

Chunks of aggregate visibly used (1-2mm)

02 | Brick

Analysis and Speculation

Three core holes evenly spaced across the centre of the brick

Fig. 38: K-Briq Sample

04 | K-Briq Sample

Title Page | 04

04 | K-Briq Sample

Fig. 44: K-Briq Sample

Fig. 41: K-Briq Sample Analysis and Speculation Plan View (see Appendix Item 2)

Analysis and Speculation | 04

Case Study Comparison | 02

03 | K-BRIQ SAMPLE

Relatively light when compared to traditional clay bricks

Fig. 43: K-Briq Sample Analysis and Speculation Cross-Section View

Fig. 23: Ingredients for Experiment 1 Clay - 1000g (40%) Reclaimed Brick - 500g (20%) Reclaimed Concrete - 250g (10%) Porcelain - 250g (10%) Water - 500ml (20%)

Fig. 22: Deducing the method for Experiment 1

Fig. 21b: General Method, 1. Sourcing; 2. Cleaning; 3. Grinding; 4. Combining; 5. Drying/Firing; 6. Testing

04 | K-Briq Sample

Title Page | 03

Consistent colour

Edges and corners, 90 degrees in most places however some areas are slightly crumbled.

From our attempts of replication, we discovered that, whilst K-Briq may seem more achievable, the methodology behind WasteBasedBri

03 | Experimentation

Introduction to Own Experiments | 03

03 | K-BRIQ SAMPLE Analysis and Speculation

Natural colour pigments could be added to Experiment 2: K-Briq inspired brick to improve aesthetic appearance

Core holes could be added to Experiment 2: K-Briq inspired brick to reduce the chance of cracking when drying

03 | Experimentation

Experiment 1: WasteBasedBrick Inspired Brick | 03

05 | TESTING

Aesthetics Weight and Density Compression: Shear Load Test Compression: Point Load Test Test Related Conclusions

03 | Experimentation

Experiment 1: WasteBasedBrick Inspired Brick | 03

TRADITIONAL CLAY BRICK

EXPERIMENT 1: WASTEBASEDBRICK

EXPERIMENT 2: K-BRIQ

KENOTEQ K-BRIQ SAMPLE

HEIGHT / WIDTH / DEPTH (cm) 6.5 / 10.2 / 21.5

HEIGHT / WIDTH / DEPTH (cm) 5.5 / 8.5 / 20

HEIGHT / WIDTH / DEPTH (cm) 5.5 / 9.7 / 21.5

HEIGHT / WIDTH / DEPTH (cm) 6.5 / 10.2 / 21.5

COLOUR Red / Orange

COLOUR Pink / Chalk

COLOUR Off-White / Grey

COLOUR Grey

TEXTURE Smooth

TEXTURE Uneven, but Smooth

TEXTURE Grainy, Large Sandy Deposit to Touch

TEXTURE Smooth, Minor Sandy Deposit to Touch

Smooth to touch, texture of the finest sand paper. When rubbed from end to end, a small amount of sandy particles come off to touch. Larger particles of aggregate and gypsum could be added to Experiment 2: K-Briq inspired brick to improve binding qualities and durability

Relatively smooth texture lends itself to a pleasing aesthetic appearance

KENOTEQ K-BRIQ SAMPLE Fig. 42: K-Briq Sample

03 | Experimentation

Fig. 39: K-Briq Sample Analysis and Speculation Axonometric View

Analysis and Speculation | 04

Fig. 40: K-Briq Sample

04 | K-Briq Sample

EXPERIMENT 2: K-BRIQ

Fig. 46: K-Briq Sample Shear Load Compression Test

Fig. 45: K-Briq Sample Compared to Experiment 2: K-Briq Inspired Brick

Analysis and Speculation | 04

Process

Due to our research into the methodology, material build up and manufacturing processes of the K-Briq and WasteBasedBrick being largely vague or unknown, it would be unrealistic to have presumed our bricks would be of industry standard. However, we do feel that these bricks are accessible and achievable to make.

Fig. 68: Cross-Section of Brick Samples and Brick Experiments (left to right: traditional clay brick, experiment 1: WasteBasedBrick, Experiment 2: K-Briq, K-Briq Sample

Fig. 67: Brick Sample and Brick Experiment Point Load Test Results

Case Study 2: Lendager Group | 02

Experiment Conclusions

N/A

Experiment 2: K-Briq Inspired Brick | 03

03 | EXPERIMENTATION

Fig. 34: Axo, Plan and Section photographs of final Experiment 2 K-Briq inspired brick

Fig. 33: Brick Progress, 1. After Compressing; 2. After being left to air dry for 24hrs at 30°C; 3. After being left to air dry for 7 days at 30°C; 4. After lid of mould removed; 5. Final brick

02 | Brick

04 | K-Briq Sample

Fig. 47: Comparison of Brick Sample and Brick Experiment Aesthetic Properties.

Analysis and Speculation | 04

05 | Testing

Title Page | 05

05 | Testing

03 | Experimentation

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Method

Materials

Case Study 1: WasteBasedBrick by StoneCycling | 02

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Experiment 2: K-Briq Inspired Brick | Deducing the Methods

02 | Brick

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

03 | EXPERIMENTATION

Case Study 1: WasteBasedBrick by StoneCycling | 02

Experiment 1: WasteBasedBrick Inspired Brick | 03

Achievability 05 | TESTING

Weight and Density Brick Type

Traditional Clay Brick

Volume (cm3)

Weight (g)

Density (g/cm3)

(height x width x depth)

(mass)

(mass / volume)

2240

1.57

1425.45

(6.5 x 10.2 x 21.5)

Experiment 1:

WasteBasedBrick Inspired Brick

935

1540

1.65

(5.5 x 8.5 x 20)

Experiment 2:

1147.03

K-Briq Inspired Brick

(5.5 x 9.7 x 21.5)

K-Briq Sample

1425.45

1760

1.53

1980

1.39

(6.5 x 10.2 x 21.5)

Fig. 48: Table of Brick Sample and Brick Experiment Weight and Density Properties

Aesthetics | 05

05 | Testing

Fig. 49: The K-Briq Sample being Weighed

Weight and Density | 05

K-Briq Inspired Brick

WasteBasedBrick Inspired Brick

Fig. 69: Construction Waste Alongside New Development

Compression: Shear Load Test | 05

05 | Testing

Compression: Shear Load Test | 05

05 | Testing

Compression: Shear Load Test | 05

05 | Testing

Compression: Point Load Test | 05

05 | Testing

Compression: Point Load Test | 05

05 | Testing

Compression: Point Load Test | 05

05 | Testing

Test Related Conclusions | 05

06 | Conclusion

Conclusion | 06

Material Sourcing Cleaning

K-Brick inspired brick

Part 3. K-Brick inspired brick

Grinding

Cleaning

Disputable**

03 | K-BRIQ SAMPLE

Whilst brick is of grey colour, flecks of white aggregate / gypsum are visible on bricks surface

Disputable**

Firing

Relatively light when compared to traditional clay bricks

04 | K-Briq Sample

Achievability

Fig. 36: Final Brick Images for Both Experiments. (Top) WasteBasedBrick Inspired Brick Brick(Below) K-BriqWasteBasedBrick Inspired Inspired Brick

Yes* Disputable**

Brick

Yes* Combining

Disputable**

Yes* Consistent colour

Yes*

Edges and corners, 90 degrees in most places however some areas are slightly crumbled.

Smooth to touch, texture of the finest sand paper. When rubbed from end to end, a small amount of sandy particles come off to touch.

N/A

Relatively smooth texture lends itself to a pleasing aesthetic appearance

Yes*

Drying

Yes*

Firing

N/A

Fig. 37: Achievability and Accessibility of Brick Production Comparison

Yes* Yes*

Analysis and Speculation | 04

Analysis and Speculation

Natural colour pigments could be added to Experiment 2: K-Briq inspired brick to improve aesthetic appearance

Experiment Conclusions | 03 Core holes could be added to Experiment 2: K-Briq inspired brick to reduce the chance of cracking when drying

Disputable*

Larger particles of aggregate and gypsum could be added to Experiment 2: K-Briq inspired brick to improve binding qualities and durability

04 | K-Briq Sample

Fig. 40: K-Briq Sample

EXPERIMENT 2: K-BRIQ

Fig. 45: K-Briq Sample Compared to Experiment 2: K-Briq Inspired Brick

Analysis and Speculation | 04

04 | K-Briq Sample

03 | K-BRIQ SAMPLE

KENOTEQ K-BRIQ SAMPLE Fig. 39: K-Briq Sample Analysis and Speculation Axonometric View

Combining

04 | K-Briq Sample

Analysis and Speculation | 04

Following the conduction of Experiment 2, a sample of K-Briq was sourced, allowing an analysis of the brick in terms of texture, aesthetic appearance, and smell to be conducted.

Yes*

Drying

Firing

Disputable*

Three core holes evenly spaced across the centre of the brick

Fig. 41: K-Briq Sample Analysis and Speculation Plan View (see Appendix Item 2)

03 | K-BRIQ SAMPLE

Yes*Analysis and Speculation

Disputable**

Yes*

N/A

Fig. 44: K-Briq Sample

Yes*

Analysis and Speculation

48 Disputable**

Yes* Yes*

Chunks of aggregate visibly used (1-2mm)

Disputable**

03 | K-BRIQ SAMPLE

Yes* WasteBasedBrick Inspired Brick

Analysis and Speculation

Drying Yes*

Material Sourcing

Yes*

Achievability

Combining K-Briq Inspired Brick

Process

Yes*

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Grinding

Fig. 36: Final Brick Images for Both Experiments. (Top) WasteBasedBrick Inspired Brick (Below) K-Briq Inspired Brick

Drying before Kiln Fired

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Relatively easy to combine with the use of an industrial mixer.

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

crushing equipment the process is lengthy, tiring and time consuming for a small return in crushed material. Professional equipment is required to improve the efficiency of this process.

02 | Brick

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

industry are established

very efficient or effective. Can be grinded using sledgehammers, however, without industrial

Defining the Brick | 02

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Yes*

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Yes*

02 | Brick

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Achievability

Title Page | 02

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Disputable**

Combining

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Disputable**

Grinding

Material Sourcing

Water Content 4

05 | TESTING

K-Briq Inspired

Experiment 1: WasteBasedBrick Inspired Brick | Deducing the Method

Firing Temperature

Fig. 43: K-Briq Sample Analysis and Speculation Cross-Section View

Process

03 | EXPERIMENTATION

k-briqs

Unknown From £0.75 a unit

Scotland

Weight

gravel and reclaimed brick

50+ years 25% less than traditional brick (91kg waste upcycled per m2)

Yes, viable for load-bearing applications

Fig. 17b: K-Briq Characteristics Fig. 11b: Lendager Group Process

K-Briq Gypsum Plasterboard, clay, sand,

glass, bricks, concrete, sanitaryware Lifespan

both internally and externally.

Fig. 14: The Lendager Group Project, The Resource Rows

6 Fig. 11a: Lendager Group Process

02 | BRICK

general brick

N/A Unknown

Fig. 10: Residential Project by Architectuur Maken in Rotterdam which used 15 tonnes of waste through the use of WasteBasedBricks.

Fig. 9b: WasteBasedBrick Characteristics Fig 6: Traditional Clay Brick

02 | BRICK

Locally Sourced To

Amsterdam Yes, viable for load-bearing applications both internally and externally.

2 billion (UK)

Fig. 5: Traditional Clay Brick Characteristics

02 | BRICK

From £0.75 a unit

Locally Sourced To Structural?

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Cleaning

05 | Testing

Fired*

Uses leftover, rejected clay from the manufacturing process that would have

£0.20 - £1.20

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Process

and humidity).

Fig. 51: Step Two: Apply pressure by pumping ram until brick fails. Record psi gauge to document the pressure applied at the point of fail.

Expensive

in each brick (60-100%) (see Fig. 10)

To form the WasteBasedBrick, waste material is ground into a coarse powder, combined with clay and then kiln

UK, due to BES 6001

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Not knowing the exact ratios of waste materials used made it challenging to produce a brick which accurately represents a WasteBasedBrick.

02 | Brick

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

StoneCycling have a strict waste selection process that ensures quality of waste material21 which could not be guaranteed in our material sourcing.

Introduction | 01

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Experiment 1: WasteBasedBrick Inspired Brick | Reflections

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

03 | EXPERIMENTATION

01 | Introduction

readily available. Without this the brick would be unusable.

Disadvantages

Reduces amount of clay used (40% to 0%) Large amount of construction waste used

Fig. 7b: StoneCycling production process: 1&2. Sourcing; 3. Grinding; 4. Making; 5. Firing; 6. Final Brick

Contents | 00

in the industry (having large chambers that can control temperature

03 | Experimentation

Advantages

Improving on the Brick: 1. Reducing amount of natural material used; 2. Reducing CO2 emissions in manufacturing; 3.Utilising construction waste. Fig.7a: WasteBasedBrick Improvements on the Brick

Fig.2: Construction Waste

Without this the elements could be combined with minimal effort.

Case Study 1: WasteBasedBrick by StoneCycling

Responsible Sourcing

- Analysis and Speculation

02 | BRICK

Yes

Cost

Fig.4b: Advantages and Disadvantages of Brick

Fig.3: Traditional Clay Brick

0% Yes, fired in kiln

Water Demand

and CO2 emissions during Large amount of water used

Fire retardant

0.06kg of CO2

Construction Waste Heat Requirements

Large energy consumption

Impervious Good thermal properties

Up to 150 years

Embodied Carbon / Energy Use Percentage

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Use of limited supply source

Cheap

Good compressive strength

K-BRIQ SAMPLE

Clay Brick

Lifespan

Disadvantages

Natural

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Properties Material(s)

Advantages

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

02 | BRICK

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Case Study 2: Lendager Group Case Study 3: K-Briq by Kenoteq Case Study Comparison

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

02 | BRICK

Defining the Brick Case Study 1: WasteBasedBrick by StoneCycling

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

ENDNOTES

Aesthetic

00 | Contents

Experiment 1: WasteBasedBrick Inspired Brick | Progress Photographs

Fig. 50: Step One: Place brick sample or brick experiment in the ram measuring psi with metal cylindrical point load placed across its width.

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

EXPERIMENTATIONS

CONCLUSION APPENDIX

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

TESTING - Aesthetics - Weight and Density - Compression: Shear Load Test - Compression: Point Load Test - Test Related Conclusions

06 07

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

BRICK - Defining the Brick - Case Study 1: WasteBasedBrick by StoneCycling - Case Study 2: Lendager Group - Case Study 3: K-Briq by Kenoteq - Case Study Comparison

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

INTRODUCTION

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

By Amy Drabble and Stuart Gomes

15 Fig. 36: Final Brick Images for Both Experiments.

00 | CONTENTS

- Introduction to Own Experiments - Experiment 1: WasteBasedBrick Inspired Brick - Experiment 2: K-Briq Inspired Brick - Experiment Conclusions

03 | EXPERIMENTATION

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

REDESIGNING THE BRICK: CAN BRICK UPCYCLING IN ARCHITECTURE BE HARNESSED TO REDUCE CONSTRUCTION WASTE?

within the brick. Whereas, for the WasteBasedBrick inspired brick, the crack may have developed due Based on our process of making the K-Briq and Material Sourcing to an attempt to dry the brick out too quickly whilst "Natural colour pigments could be added WasteBasedBrick, it isto achievable to produce these overestimating the amount of water required. Cracking Experiment 2: K-Briq inspired brick to improve Cleaning is often caused when water vapour escapes too quickly bricks, however, the outcome is not to the same aesthetic appearance" from the brick in the drying process (see Appendix Item standard as a traditional clay brick or those produced 1). Therefore, in a future iteration of the experiment, using large industrial equipment, official processes, 03 | Experimentation lower temperature should be closely monitored whilst "Core holes could be added to Experiment 2: and controlled environments. Grinding the brick is air drying. Additionally, making a frog or K-Briq brick to reduce the chance of holes in the brick would allow more inspired air to circulate through the centre of the brick, reducingwhen the probability cracking drying" of cracking.

particles Based on our process of "Larger making the K-Briq of andaggregate and gypsum could WasteBasedBrick, it is achievable to produce these 2: K-Briq inspired brick be added to Experiment bricks, however, the outcome is not to the same to improve binding qualities and durability" standard as a traditional clay brick or those produced using large industrial equipment, official processes, and controlled environments.

GC 9

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

When compared against K-Briq Experiment.

GC 8

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Experiment Conclusions

GC 7

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

03 | EXPERIMENTATION

14.12.2020

CONTEXTUAL STUDY

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

A key issue highlighted in the production of both bricks was that, whilst drying, a crack formed. The formation of which raises a question regarding the methodologies used. In the K-Briq inspired brick, the crack may have developed due to there being a large differential between the ambient humidity within the room in which the brick was air dried and internal moisture within the brick. Whereas, for the WasteBasedBrick inspired brick, the crack may have developed due to an attempt to dry the brick out too quickly whilst overestimating the amount of water required. Cracking is often caused when water vapour escapes too quickly WasteBasedBrick brickprocess (see Appendix Item from the brick ininspired the drying 1). Therefore, in a future iteration of the experiment, lower temperature should be closely monitored whilst the brick is air drying. Additionally, making a frog or holes in the brick would allow more air to circulate through the centre of the brick, reducing the probability of cracking.

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

[MArch 2] AMPL DSA DSH DR

EXPERIMENT CONCLUSIONS Based on our process ofAmaking thehighlighted K-Briq andin the production of both bricks key issue WasteBasedBrick, it is was achievable to produce that, whilst drying, a crack formed. The formation of which raises a question these bricks, however, the outcome is not to the regarding the methodologies used. In K-Briq inspired brick, the crack may have same standard as a traditional claythe brick or those to there being a large differential produced using large developed industrial due equipment, between environments. the ambient humidity within the room in official processes, and controlled which the brick was air dried and internal moisture within the brick. Whereas, for the WasteBasedBrick inspired brick, the crack may have developed due to -an attempt to dry the brick out too quickly whilst Part 4 K-BRIQ SAMPLE overestimating the amount of water required. Cracking 1. Analysis and Speculation is often caused when water vapour escapes too quickly from of the Experiment brick in the drying Following the conduction 2, process (see Appendix Item 1). Therefore, in a future iteration of the experiment, sample ofofboth K-Briq A key issue highlighted in the aproduction bricks was sourced, allowing an loweroftemperature should be closely monitored whilst was that, whilst drying, a crack formed.ofThe analysis theformation brick in terms texture, aesthetic of which raises a question regarding the methodologies the brick is air drying. Additionally, making a frog or appearance, and smell to be conducted. used. In the K-Briq inspired brick, the crack may have holes in the brick would allow more air to circulate developed due to there being a large differential through the centre of the brick, reducing the probability between the ambient humidity within the room in FINDINGS which the brick was air dried and internal moisture of cracking.

GC 6

Experiment Conclusions

03 | EXPERIMENTATION Experiment Conclusions

GC 5

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

REDESIGNING THE BRICK

GC 2

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Brief 02 // Contextual Study

GC 1

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

MArch 1, [semester 1]

03 | EXPERIMENTATION

Architectural Technology Research - Assignment 2 - Contextual Study

[MArch 1] ATR DSC DSD SCAT

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

ARCH11075

[GP] [AD] [JP] [TC] [KL] [TG] [PX]

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Materials

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

ATR

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construc

[2021] ATR

Analysis and Speculation | 04

Long life span

after life

StoneCycling have a strict waste selection process that ensures quality of waste material21 which could not be guaranteed in our material sourcing. Not knowing the exact ratios of waste materials used made it challenging to produce a brick which accurately represents a WasteBasedBrick.

Process

Cleaning

Disputable**

Grinding

Disputable**

Achievability

Material Sourcing

Yes*

Combining

Yes*

Relatively easy to combine with the use of an industrial mixer.

Drying

Yes*

Firing

Disputable*

Introduction | 01

Deduced Method Used in Experiment 2

Method

K-Briq Method

Materials

Sand (Coarse, Medium and Fine)

Gypsum Plasterboard

Process of drying is possible but is not done to the same accuracy as

Material Ratios (in order of material list above)

Gypsum Plasterboard

Clay

Clay Medium Sand

Medium Gravel (size 6-20mm)

Fine Gravel (size 2-6mm)

Fine Gravel (Reclaimed brick) (size 2-6mm)

15%

10%

02 | Brick

Method 01: Prepare the Gypsum

Deduced Method Used in Experiment 2

K-Briq Method Shred, crush or grind the gypsum into a coarse grade material (0.063-2mm)

Grind gypsum into coarse grade, powder, material

150°C; or 100-150°C for 1-2 days. The gypsum could be heated at 200°C for

K-Briq Method Additive, such as a pigment, added at this

07: Add Water

Heat at 200°C for 7 hours

Fig. 26: Axo, Plan and Section photographs of final Experiment 1 WasteBasedBrick inspired Brick

Compression: Shear Load Test | General Method

Fig. 51: Step Two: Apply pressure by pumping ram until brick fails. Record psi gauge to document the pressure applied at the point of fail.

05 | Testing

Fig. 52: Step Three: Apply pressure until brick fails and a crack forms.

Compression: Shear Load Test | 05

03 | Experimentation

Experiment 1: WasteBasedBrick Inspired Brick | 03

05 | TESTING Compression: Shear Load Test | Point of Fail

Fig. 54: Traditional Clay Brick: Extremely durable, it took an extremely large amount of pressure to crack.

05 | Testing

Fig. 55: Kenoteq K-Briq Sample: Durable, requiring a large amount of pressure to be applied before reaching its point of fail.

Fig. 56: Experiment 2: K-Briq: Not durable, it needed little pressure to be applied before the brick failed.

8 – 40% or 12 – 26% of total mixture

Best practice is to dry clay and aggregate

08: Pour into Mould

N/A

materials in oven at 105°C for 6-24 hours Materials dry to touch, did not heat in oven Test materials for moisture content to ensure they are prepared for next stage

N/A

09: Compaction

Did not have the facilities to complete this

Fig. 57: Experiment 1: WasteBasedBrick: Slightly durable, it took a small amount of pressure to be applied before the brick failed.

Compression: Shear Load Test | 05

03 | Experimentation

Combine gypsum, aggregate materials and

Gypsum, aggregate materials and clay

clay to form a homogeneous mixture

mixed together in industrial mixer

10: Leave in Mould

Fig. 29: Table of Research: K-Briq Method Alongside Deduced Method Used in Experiment 2 (Part 2 of 3)

Experiment 2: K-Briq Inspired Brick | 03

05 | TESTING Compression: Shear Load Test | Results

METAL CYLINDRICAL POINT LOAD

TRADITIONAL CLAY BRICK

KENOTEQ K-BRIQ SAMPLE

PRESSURE AT POINT OF FAIL (psi) 1600

PRESSURE AT POINT OF FAIL (psi) 2200

EXPERIMENT 1: WASTEBASEDBRICK

PRESSURE AT POINT OF FAIL (psi) 800

EXPERIMENT 2: K-BRIQ

PRESSURE AT POINT OF FAIL (psi) 200

READING ON PRESSURE GAUGE AT POINT OF FAIL 5.22

READING ON PRESSURE GAUGE AT POINT OF FAIL 3.72

READING ON PRESSURE GAUGE AT POINT OF FAIL 1.54

READING ON PRESSURE GAUGE AT POINT OF FAIL 0.50

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 8.77

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 6.20

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 2.57

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 0.83

03 | Experimentation

Compression: Shear Load Test | 05

avoid the development of air gaps

Compact the mixture; subject to a

Compact the mixture using a load of 101kg

minimum load of 10kN

for 48 hours

Leave in mould for at least 4 hours

Left in mould for 24 hours

Remove mould and air dry at 4-35°C from

Remove mould and air dry at 30°C for 7

Structural? Production / year Weight

WasteBasedBrick

Material(s)

clay, rejected clay and upcycled waste: ceramics, glass, bricks, concrete, sanitaryware

Lifespan

50+ years

Embodied Carbon / Energy Use Construction Waste Percentage

25% less than traditional brick 60-100% (91kg waste upcycled per m2)

Heat Requirements

Yes, fired in kiln

Recyclability / Reusability

Yes, can be crushed down and made into more WasteBasedBrick

Water Demand

Unknown

Cost

02 | BRICK Case Study 2: Lendager Group Advantages

Improving on the Brick: 1. Solely using construction waste; 2. Improvement on current method for reusing bricks Fig.12a: Lendager Group Improvements on the Brick

Disadvantages

Non-structural, requires steel frame or

bricks to reuse them – reducing energy inputs

concrete backing

Reduces need to use virgin materials

within basement car-park and double skin

Lots of concrete still used in project – structure Concrete in project was not made from recycled aggregate – due to volume

required Sustainable and economic aspects of upcycled system are not resolved at scale

Fig. 12b: Advantages and Disadvantages of the Lendager Group Process

Properties

Yes 2.24kg

Production / year

Unknown

Weight

Unknown

Unknown 100% N/A Unknown None Per square metre, scheme cheaper to build than a non-upcycled equivalent

Locally Sourced To

Advantages

Disadvantages

Can be produced in any colour using

Currently only manufactured on a small

Fig.16a: K-Briq Improvements on the Brick

recycled pigment

scale

Weighs the same, if not less than, regular

Cannot be manufactured on-site

clay bricks Higher U-value (better insulation properties) than regular clay bricks

Uses 90% construction waste Do not need to be kiln fired

Fig. 16b: Advantages and Disadvantages of K-Briq (see Appendix Item 2)

Copenhagen, method can be applied anywhere

Amsterdam

Structural?

Yes, viable for load-bearing applications both

No, façade modules

Production / year

N/A

Weight

Unknown

Fig. 13b: The Lendager Group Process Characteristics

Fig. 14: The Lendager Group Project, The Resource Rows

Fig. 10: Residential Project by Architectuur Maken in Rotterdam which used 15 tonnes of waste through the use of WasteBasedBricks.

Fig. 9b: WasteBasedBrick Characteristics Fig 6: Traditional Clay Brick

Unknown

Embodied Carbon / Energy Use Construction Waste Percentage Heat Requirements Recyclability / Reusability Water Demand Cost

internally and externally.

2 billion (UK)

Reused Brick

Lifespan

From £0.75 a unit

Locally Sourced To

Lendager Group

Material(s)

between 24 hours to 28 days

days

Experiment 2: K-Briq Inspired Brick | 03

Compression: Point Load Test | General Method

05 | Testing

Fig. 60: Step Two: Apply pressure by pumping ram until brick fails. Record psi gauge to document the pressure applied at the point of fail.

Fig. 61: Step Three: Apply pressure until brick fails and a crack forms.

Compression: Point Load Test | 05

Defining the Brick | 02

6 Fig. 11a: Lendager Group Process

Experiment 2: K-Briq Inspired Brick | Ingredients

MEDIUM GRAVEL 6% - 162g

CLAY 10% - 270g

WATER 26% - 702ml

02 | Brick

Case Study 1: WasteBasedBrick by StoneCycling | 02

03 | EXPERIMENTATION Experiment 2: K-Briq Inspired Brick | Method

02 | Brick

Case Study 1: WasteBasedBrick by StoneCycling | 02

Fig. 11b: Lendager Group Process

03 | EXPERIMENTATION Experiment 2: K-Briq Inspired Brick | Progress Photographs

02 | Brick

Fig. 15: K-Briqs

Case Study 2: Lendager Group | 02

Process Material Sourcing

Achievability Yes*

Accessibility Relatively easy to source once contacts within the construction industry are established

However, visually, the experiment produced a ‘bricklike’ object that could be representative of the K-Briq as the ratios and process were followed closely; only missing the secret binding agent.

Cleaning

Disputable**

Grinding

Disputable**

Combining

Yes*

Relatively easy to combine with the use of an industrial mixer.

RE-CLAIMED BRICK 26% - 702g

SAND 43% - 1161g

03 | Experimentation

Fig. 31. Ingredients for Experiment 2 Clay - 270g (10%) Re-claimed Brick - 702g (26%) Medium Gravel - 162g (6%) Sand - 1161g (43%) Gypsum Plasterboard - 405g (15%) Water - 702ml (26%)

Experiment 2: K-Briq Inspired Brick | 03

03 | Experimentation

Experiment 2: K-Briq Inspired Brick | 03

Drying

Yes*

Firing

N/A

Very accessible process as the brick is left to air dry. However,

03 | Experimentation

Experiment 2: K-Briq Inspired Brick | 03

03 | Experimentation

N/A

Fig. 34: Axo, Plan and Section photographs of final Experiment 2 K-Briq inspired brick

Achievability Process Material Sourcing

maintained at a constant low temperature.

Experiment 2: K-Briq Inspired Brick | 03

Case Study 2: Lendager Group | 02

Experiment Conclusions

to avoid cracking the area, ideally, needs to be monitored and

Fig. 33: Brick Progress, 1. After Compressing; 2. After being left to air dry for 24hrs at 30°C; 3. After being left to air dry for 7 days at 30°C; 4. After lid of mould removed; 5. Final brick

03 | EXPERIMENTATION

Without this the elements could be combined with minimal effort.

GYPSUM PLASTERBOARD 15% - 405g

02 | Brick

Fig. 36: Final Brick Images for Both Experiments. (Top) WasteBasedBrick Inspired Brick (Below) K-Briq Inspired Brick

WasteBasedBrick Inspired Brick

Yes*

Disputable**

Grinding

Disputable**

Combining

Yes*

Drying

Yes*

Firing

N/A

Disputable*

03 | Experimentation

K-Briq Inspired Brick

Cleaning

Experiment Conclusions | 03

02 | Brick

Case Study 3: K-Briq by Kenoteq | 02

04 | K-BRIQ SAMPLE

Analysis and Speculation

Fig. 38: K-Briq Sample

04 | K-Briq Sample

Compression: Point Load Test | Point of Fail

Fig. 63: Traditional Clay Brick: Extremely durable, it took an extremely large amount of pressure to crack.

Compression: Point Load Test | 05

TRADITIONAL CLAY BRICK

EXPERIMENT 1: WASTEBASEDBRICK

EXPERIMENT 2: K-BRIQ

KENOTEQ K-BRIQ SAMPLE

HEIGHT / WIDTH / DEPTH (cm) 6.5 / 10.2 / 21.5

HEIGHT / WIDTH / DEPTH (cm) 5.5 / 8.5 / 20

HEIGHT / WIDTH / DEPTH (cm) 5.5 / 9.7 / 21.5

HEIGHT / WIDTH / DEPTH (cm) 6.5 / 10.2 / 21.5

COLOUR Red / Orange

COLOUR Pink / Chalk

COLOUR Off-White / Grey

COLOUR Grey

TEXTURE Smooth

TEXTURE Uneven, but Smooth

TEXTURE Grainy, Large Sandy Deposit to Touch

TEXTURE Smooth, Minor Sandy Deposit to Touch

Aesthetic Test Results

TRADITIONAL CLAY BRICK

EXPERIMENT 1: WASTEBASEDBRICK

HEIGHT / WIDTH / DEPTH (cm) 6.5 / 10.2 / 21.5

HEIGHT / WIDTH / DEPTH (cm) 5.5 / 8.5 / 20

EXPERIMENT 2: K-BRIQ

HEIGHT / WIDTH / DEPTH (cm) 5.5 / 9.7 / 21.5

KENOTEQ K-BRIQ SAMPLE

HEIGHT / WIDTH / DEPTH (cm) 6.5 / 10.2 / 21.5

COLOUR Red / Orange

COLOUR Pink / Chalk

COLOUR Off-White / Grey

COLOUR Grey

TEXTURE Smooth

TEXTURE Uneven, but Smooth

TEXTURE Grainy, Large Sandy Deposit to Touch

TEXTURE Smooth, Minor Sandy Deposit to Touch

05 | Testing

Aesthetics | 05

05 | TESTING Weight and Density Brick Type

Traditional Clay Brick

Volume (cm3)

Weight (g)

Density (g/cm3)

(height x width x depth)

(mass)

(mass / volume)

1425.45

2240

1.57

1540

1.65

(6.5 x 10.2 x 21.5)

Experiment 1:

935

WasteBasedBrick Inspired Brick

(5.5 x 8.5 x 20)

Experiment 2:

1147.03

K-Briq Inspired Brick

(5.5 x 9.7 x 21.5)

1760

05 | TESTING Compression: Shear Load Test | General Method

Improving on the Brick: 1. Reducing amount of natural material used; 2. Not fired 3. Large reduction in CO2 emissions in manufacturing; 4.Utilising construction waste

Fig.17a: K-Briq Improvements on the Brick

Properties Material(s)

K-Briq Gypsum Plasterboard, clay, sand, gravel and reclaimed brick

Lifespan Embodied Carbon / Energy Use

Minimum 30 years 1/10th of regular clay brick

Construction Waste Percentage

90%

Heat Requirements

Yes, gypsum needs to by dried but no

Recyclability / Reusability

Yes, can be crushed down and remade

kiln required into k-briqs Water Demand Cost

Yes £0.80 – £2.00 a unit – comparable to

05 | TESTING

Title Page | 04

02 | BRICK Case Study Comparison Deduced Definition of a Brick: A construction unit that can be stacked to form a wall which has an aesthetic appeal, is recyclable and durable with long-term performance. Fig.19a: Deduced Definition of a Brick

Material(s)

WasteBasedBrick

Lendager Group

clay, rejected clay and upcycled waste: ceramics,

Reused Brick

Heat Requirements

Unknown Unknown

60-100%

100%

90%

N/A

Yes, gypsum needs to by dried but no kiln

Yes, fired in kiln

Recyclability / Reusability

Yes, can be crushed down and made into more

Unknown

Yes, can be crushed down and remade into

WasteBasedBrick Water Demand Cost Locally Sourced to

03 | EXPERIMENTATION

Introduction to Own Experiments Experiment 1: WasteBasedBrick Inspired Brick Experiment 2: K-Briq Inspired Brick Experiment Conclusions

03 | EXPERIMENTATION Introduction to Own Experiments Aims 1. 2. 3.

How are the waste construction bricks made? How achievable / accessible are the waste construction bricks to make? How do they perform under compression compared to general clay bricks?

Fig.21a: Experiment Aims

Due to product secrecy, information about how the bricks in case studies 1 and 3 are made is extremely vague. Hence, it is challenging to conclude how these bricks compare both environmentally and structurally to traditional clay bricks and each other. Based on our research and knowledge of traditional methods of brick making, we aim to produce our own version of the WasteBasedBrick and K-Briq. On which

Materials

None

Yes

per square metre, scheme cheaper to

£0.80 – £2.00 a unit – comparable to

build than a non-upcycled equivalent

general brick

Copenhagen, method can be applied

Scotland

Amsterdam

Structural?

Yes, viable for load-bearing applications both

1.98kg

Fig. 19b: Case Study Comparison Table

Case Study Comparison | 02

03 | K-BRIQ SAMPLE Analysis and Speculation

Whilst brick is of grey colour, flecks of white aggregate / gypsum are visible on bricks surface

Chunks of aggregate visibly used (1-2mm)

Weight

02 | Brick

Yes, viable for load-bearing applications both

N/A

3 million (as of next year)

Unknown

03 | K-BRIQ SAMPLE Analysis and Speculation

Three core holes evenly spaced across the centre of the brick

Relatively light when compared to traditional clay bricks

Fig. 44: K-Briq Sample

Fig. 41: K-Briq Sample Analysis and Speculation Plan View (see Appendix Item 2)

Analysis and Speculation | 04

04 | K-Briq Sample

Clay - 40%

(includes small 1-2 mm clay particles)

Reused concrete – 10% Water content

Water 12-25%

Water - 20%

24-48hrs starting at 30°C to 120°C in

48 hrs in closed room at 30°C

Unknown

large humidity controlled chambers

1425.45

1980

03 | EXPERIMENTATION Experiment 1: WasteBasedBrick Inspired Brick | Ingredients

Fig. 20: (Left to Right) Traditional Reclaimed Clay Brick, WasteBasedBrick Inspired Brick, K-Briq Inspired Brick, K-Briq Sample

Title Page | 03

Consistent colour

Edges and corners, 90 degrees in most places however some areas are slightly crumbled.

Introduction to Own Experiments | 03

80+ hours

40 hrs

In large batches and kilns (see Appendix

(see Appendix Item 5 for Deduced Firing

Item 4 for Firing Curve)

Curve)

Unknown

03 | Experimentation

03 | K-BRIQ SAMPLE Analysis and Speculation

Natural colour pigments could be added to Experiment 2: K-Briq inspired brick to improve aesthetic appearance

Core holes could be added to Experiment 2: K-Briq inspired brick to reduce the chance of cracking when drying

Fig. 23: Ingredients for Experiment 1 Clay - 1000g (40%) Reclaimed Brick - 500g (20%) Reclaimed Concrete - 250g (10%) Porcelain - 250g (10%) Water - 500ml (20%)

Experiment 1: WasteBasedBrick Inspired Brick | 03

05 | TESTING

Aesthetics Weight and Density Compression: Shear Load Test Compression: Point Load Test Test Related Conclusions

03 | Experimentation

Experiment 1: WasteBasedBrick Inspired Brick | 03

TRADITIONAL CLAY BRICK

EXPERIMENT 1: WASTEBASEDBRICK

EXPERIMENT 2: K-BRIQ

KENOTEQ K-BRIQ SAMPLE

HEIGHT / WIDTH / DEPTH (cm) 6.5 / 10.2 / 21.5

HEIGHT / WIDTH / DEPTH (cm) 5.5 / 8.5 / 20

HEIGHT / WIDTH / DEPTH (cm) 5.5 / 9.7 / 21.5

HEIGHT / WIDTH / DEPTH (cm) 6.5 / 10.2 / 21.5

COLOUR Red / Orange

COLOUR Pink / Chalk

COLOUR Off-White / Grey

COLOUR Grey

TEXTURE Smooth

TEXTURE Uneven, but Smooth

TEXTURE Grainy, Large Sandy Deposit to Touch

TEXTURE Smooth, Minor Sandy Deposit to Touch

Larger particles of aggregate and gypsum could be added to Experiment 2: K-Briq inspired brick to improve binding qualities and durability

KENOTEQ K-BRIQ SAMPLE Fig. 39: K-Briq Sample Analysis and Speculation Axonometric View

04 | K-Briq Sample

Fig. 40: K-Briq Sample

EXPERIMENT 2: K-BRIQ

Fig. 46: K-Briq Sample Shear Load Compression Test

Fig. 45: K-Briq Sample Compared to Experiment 2: K-Briq Inspired Brick

Analysis and Speculation | 04

05 | Testing

Title Page | 05

05 | Testing

GA 2 7

Experiment 1: WasteBasedBrick Inspired Brick | 03

05 | TESTING Weight and Density Brick Type

Volume (cm3)

Weight (g)

Density (g/cm3)

(height x width x depth)

(mass)

(mass / volume)

2240

1.57

Traditional Clay Brick

1425.45 (6.5 x 10.2 x 21.5)

Experiment 1:

935

WasteBasedBrick Inspired Brick

1540

1.65

(5.5 x 8.5 x 20)

Experiment 2:

1147.03

K-Briq Inspired Brick

(5.5 x 9.7 x 21.5)

K-Briq Sample

1425.45

1760

1.53

1980

1.39

Fig. 48: Table of Brick Sample and Brick Experiment Weight and Density Properties

GA 2 6

(6.5 x 10.2 x 21.5)

Fig. 47: Comparison of Brick Sample and Brick Experiment Aesthetic Properties.

04 | K-Briq Sample

03 | Experimentation

Smooth to touch, texture of the finest sand paper. When rubbed from end to end, a small amount of sandy particles come off to touch.

Analysis and Speculation | 04

Up to 1000°C

Fig. 22: Deducing the method for Experiment 1

03 | Experimentation

GA 2 5

Experiment 1: WasteBasedBrick Inspired Brick | Method

8 hrs in oven at 80°C

Fig. 21b: General Method, 1. Sourcing; 2. Cleaning; 3. Grinding; 4. Combining; 5. Drying/Firing; 6. Testing

03 | Experimentation

GA 2 4

03 | EXPERIMENTATION

5hr in oven from 100-120°C Up to 1250°C

Yes, at 25% energy reduction

Aesthetics | 05

Fig. 49: The K-Briq Sample being Weighed

05 | Testing

Weight and Density | 05

05 | TESTING Compression: Shear Load Test | Results Shear Load Test Results METAL CYLINDRICAL POINT LOAD

Compression: Shear Load Test | Point of Fail

TRADITIONAL CLAY BRICK

KENOTEQ K-BRIQ SAMPLE

EXPERIMENT 1: WASTEBASEDBRICK

PRESSURE AT POINT OF FAIL (psi) 2200

PRESSURE AT POINT OF FAIL (psi) 1600

PRESSURE AT POINT OF FAIL (psi) 800

PRESSURE AT POINT OF F 200

READING ON PRESSURE GAUGE AT POINT OF FAIL 5.22

READING ON PRESSURE GAUGE AT POINT OF FAIL 3.72

READING ON PRESSURE GAUGE AT POINT OF FAIL 1.54

READING ON PRESSURE G POINT OF FAIL 0.50

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 8.77

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 6.20

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 2.57

WEIGHT AT POINT OF FA (Reading on Pressure Gaug 0.83

05 | TESTING Compression: Shear Load Test | Results

METAL CYLINDRICAL POINT LOAD

TRADITIONAL CLAY BRICK

KENOTEQ K-BRIQ SAMPLE

EXPERIMENT 1: WASTEBASEDBRICK

READING ON PRESSURE GAUGE AT POINT OF FAIL 5.22

EXPERIMENT 2: K-BRIQ

PRESSURE AT POINT OF FAIL (psi) 200

PRESSURE AT POINT OF FAIL (psi) 800

PRESSURE AT POINT OF FAIL (psi) 1600

PRESSURE AT POINT OF FAIL (psi) 2200

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 8.77

K-Briq Sample

Reused brick – 20% Porcelain (sink) – 10%

Drying before Kiln Fired

Relatively smooth texture lends itself to a pleasing aesthetic appearance

Fig. 42: K-Briq Sample

Reused concrete 100% clay

Unknown

Firing Temperature

1.98kg

Case Study Comparison | 02

Clay Reused brick Porcelain (sink)

quantity made up by clay)

internally and externally.

Deduced Method Used in Experiment 1

Clay

glass, bricks, concrete, sanitaryware 60-100% waste material used (remaining

Timings

No, façade modules

Unknown

internally and externally. Production / year

Fig. 18: K-Briqs

Traditional Brick Making Process

clay, rejected clay and upcycled waste: ceramics,

Ratios

k-briqs

Unknown From £0.75 a unit

WasteBasedBrick Process Deduced from Research

Properties

anywhere

3 million (as of next year)

Fig. 17b: K-Briq Characteristics

04 | K-Briq Sample

30+ years 1/10th of regular clay brick

required

both internally and externally. Production / year Weight

gravel and reclaimed brick

50+ years 25% less than traditional brick

Scotland Yes, viable for load-bearing applications

02 | Brick

K-Briq Gypsum Plasterboard, clay, sand,

glass, bricks, concrete, sanitaryware Embodied Carbon / Energy Use Construction Waste Percentage

(91kg waste upcycled per m2)

general brick Locally Sourced to Structural?

Properties

Lifespan To truly utilise their innovative methodology each product needs to be scaled up to increase availability and lower price. The Lendager Group methodology does not satisfy our definition of brick as the panels cannot be stacked, without a frame, to form a wall. Whereas both, the WasteBasedBrick and K-Briq satisfy this definition. The following section of the report will investigate how these bricks are made and the qualities they may offer.

1.53

READING ON PRESSURE GAUGE AT POINT OF FAIL 3.72

READING ON PRESSURE GAUGE AT POINT OF FAIL 1.54

READING ON PRESSURE GAUGE AT POINT OF FAIL 0.50

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 6.20

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 2.57

WEIGHT AT POINT OF FAIL (kN) (Reading on Pressure Gauge x 1.667) 0.83

EXPERIMENT 2: K-B

1.39

(6.5 x 10.2 x 21.5)

Fig. 48: Table of Brick Sample and Brick Experiment Weight and Density Properties

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Fig. 47: Comparison of Brick Sample and Brick Experiment Aesthetic Properties.

05 | Testing

Case Study 3: K-Briq by Kenoteq

Fig. 43: K-Briq Sample Analysis and Speculation Cross-Section View

05 | TESTING

05 | Testing

02 | BRICK

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Properties

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Improving on the Brick: 1. Reducing amount of natural material used; 2. Reducing CO2 emissions in manufacturing; 3.Utilising construction waste. Fig.9a: WasteBasedBrick Improvements on the Brick

Structural?

03 | EXPERIMENTATION

Fig. 30: Table of Research: K-Briq Method Alongside Deduced Method Used in Experiment 2 (Part 3 of 3)

05 | TESTING

Fig. 59: Step One: Place brick sample or brick experiment in the ram measuring psi with metal circular point load placed at the bricks corner.

Fig. 58: Brick Sample and Brick Experiment Shear Load Test Results

05 | Testing

Add water and mix for 1 minute

Pour mixture into mould in increments to Pour mixture into mould in increments to

stage

26% of total mixture

Fig. 28: Table of Research: K-Briq Method Alongside Deduced Method Used in Experiment 2 (Part 1 of 3)

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Experiment 1: WasteBasedBrick Inspired Brick | 03

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

05 | TESTING

Fig. 50: Step One: Place brick sample or brick experiment in the ram measuring psi with metal cylindrical point load placed across its width.

Case Study 1: WasteBasedBrick by StoneCycling

£0.20 - £1.20

Fig. 5: Traditional Clay Brick Characteristics

02 | Brick

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

N/A

stage to introduce colour

Add water and mix for 1 minute

<24 hours

04: Moisture Content

11: Air Dry

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Deduced Method Used in Experiment 2

Method 06: Additive Addition

Heat between 80-250°C; 80-200°C; 80-

02: Heat the Gypsum 03: Dry Ingredient Preparation

05: Combine

6% 26%

Title Page | 02

Experiment 2: K-Briq Inspired Brick | Deducing the Methods

43%

6% 26%

03 | EXPERIMENTATION

10%

20 – 65%

Whilst we had access to a kiln to fire the brick this is not widely and

Water Content

02 | BRICK

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Experiment 1: WasteBasedBrick Inspired Brick | Reflections

03 | Experimentation

UK, or Scotland)

material ratios

UK, due to BES 6001

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

03 | EXPERIMENTATION

01 | Introduction

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Contents | 00

and humidity).

Locally sourced to Amsterdam (Not the

gone to landfill Variety of colours based on waste

Fig. 7b: StoneCycling production process: 1&2. Sourcing; 3. Grinding; 4. Making; 5. Firing; 6. Final Brick

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Experiment 1: WasteBasedBrick Inspired Brick | Progress Photographs

Fired*

Uses leftover, rejected clay from the manufacturing process that would have

Fig.2: Construction Waste

03 | EXPERIMENTATION

Expensive

in each brick (60-100%) (see Fig. 10)

To form the WasteBasedBrick, waste material is ground into a coarse powder, combined with clay and then kiln

Responsible Sourcing

Fig.4b: Advantages and Disadvantages of Brick

Fig.3: Traditional Clay Brick

Disadvantages

Reduces amount of clay used (40% to 0%) Large amount of construction waste used

Yes

Cost Locally Sourced To

Advantages

Improving on the Brick: 1. Reducing amount of natural material used; 2. Reducing CO2 emissions in manufacturing; 3.Utilising construction waste. Fig.7a: WasteBasedBrick Improvements on the Brick

GA 2 3

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

manufacturing process Currently not fully utilised

Yes

Water Demand

and CO2 emissions during

Case Study 1: WasteBasedBrick by StoneCycling

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Recyclability / Reusability

Large energy consumption

Large amount of water used

Fire retardant

02 | BRICK

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

methods come at higher cost

Impervious Good thermal properties

0% Yes, fired in kiln

GA 2 2

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Recyclable

Construction Waste Heat Requirements

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Clay 0.06kg of CO2

Use Percentage

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Alternative, more sustainable

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Use of limited supply source

Cheap

Up to 150 years

Embodied Carbon / Energy

Disadvantages

Natural

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Clay Brick

Lifespan

FIGURE REFERENCES

K-BRIQ SAMPLE

readily available. Without this the brick would be unusable.

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

05 | Testing

Aesthetics | 05

Fig. 50: Step One: Place brick sample or brick experiment in the ram measuring psi with metal cylindrical point load placed across its width.

Fig. 49: The K-Briq Sample being Weighed

Weight and Density | 05

Fig. 51: Step Two: Apply pressure by pumping ram until brick fails. Record psi gauge to document the pressure applied at the point of fail.

05 | Testing

Fig. 52: Step Three: Apply pressure until brick fails and a crack forms.

Compression: Shear Load Test | 05

Fig. 54: Traditional Clay Brick: Extremely durable, it took an extremely large amount of pressure to crack.

05 | Testing

Fig. 55: Kenoteq K-Briq Sample: Durable, requiring a large amount of pressure to be applied before reaching its point of fail.

Fig. 56: Experiment 2: K-Briq: Not durable, it needed little pressure to be applied before the brick failed.

Fig. 57: Experiment 1: WasteBasedBrick: Slightly durable, it took a small amount of pressure to be applied before the brick failed.

Compression: Shear Load Test | 05

Fig. 58: Brick Sample and Brick Experiment Shear Load Test Results

05 | Testing

Compression: Shear Load Test | 05

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

05 | TESTING Compression: Point Load Test | General Method

05 TEST NG

05 | TESTING

05 TEST NG

Compression: Point Load Test | Point of Fail

05 | Testing

Compression: Shear Loa

06 | CONCLUSION Fig. 59: Step One: Place brick sample or brick experiment in the ram measuring psi with metal circular point load placed at the bricks corner.

Fig. 60: Step Two: Apply pressure by pumping ram until brick fails. Record psi gauge to document the pressure applied at the point of fail.

05 | TESTING 05 | Testing

Fig. 61: Step Three: Apply pressure until brick fails and a crack forms.

Fig. 63: Traditional Clay Brick: Extremely durable, it took an extremely large amount of pressure to crack.

05 | Testing

Compression: Point Load Test | 05

Fig. 66: Experiment 1: WasteBasedBrick: Slightly durable, it took a small amo

Compression: Point Load Test | 05

m W

Compression: Point Load Test | General Method

m m

w W

m w m

m w

w m

m m W

m w

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Fig. 58: Brick Sample and Brick Experiment Shear Load Test Results

[MArch 2] AMPL DSA DSH DR

Currently, the processes used by the waste construction brick market are closely guarded; with recipes and ingredients being both vague and confidential; meaning they are challenging to be duplicated by others. However, this project could form the starting point for such transparency; a ‘to-do’ manual that could be developed to form a duplicatable formula.

Properties Material(s)

Advantages

- Analysis and Speculation

00 | Contents

FINDINGS

Part 6 CONCLUSION -

Aesthetic

04 By Amy Drabble and Stuart Gomes

Fig. 47: Comparison of Brick Sample and Brick Experiment Aesthetic Properties.

"When put under compression, our bricks did not perform as well as their industry counterparts. The WasteBasedBrick inspired brick shattered under compression, revealing it to be brittle; potentially due to the level of porcelain initially incorporated. Whereas the K-Briq inspired brick was soft, underperforming drastically compared to the K-Briq sample. The disparity in results we believe to be due to the secret binding agent."

Versatile

in the industry (having large chambers that can control temperature

Once the bricks in Experiment 1 and 2 had been created, they were then analysed and tested in comparison to a traditional clay brick and an official K-Briq sample, comparing how effective the two experiment bricks were against official industry bricks.

02 | BRICK

Good compressive strength

Without this the elements could be combined with minimal effort.

Part 5 TESTING 1. Aesthetics

Case Study 2: Lendager Group Case Study 3: K-Briq by Kenoteq Case Study Comparison

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

02 | BRICK

Defining the Brick Case Study 1: WasteBasedBrick by StoneCycling

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

ENDNOTES

GA 2 1

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

EXPERIMENTATIONS - Introduction to Own Experiments - Experiment 1: WasteBasedBrick Inspired Brick - Experiment 2: K-Briq Inspired Brick - Experiment Conclusions

CONCLUSION APPENDIX

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

TESTING - Aesthetics - Weight and Density - Compression: Shear Load Test - Compression: Point Load Test - Test Related Conclusions

06 07

GC 11

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

BRICK - Defining the Brick - Case Study 1: WasteBasedBrick by StoneCycling - Case Study 2: Lendager Group - Case Study 3: K-Briq by Kenoteq - Case Study Comparison

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

INTRODUCTION

GC 10

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

GC 9

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

GC 8

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

REDESIGNING THE BRICK

00 | CONTENTS

GC 7

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Architectural Technology Research - Assignment 2 - Contextual Study

Brief 02 // Contextual Study

REDESIGNING THE BRICK: CAN BRICK UPCYCLING IN ARCHITECTURE BE HARNESSED TO REDUCE CONSTRUCTION WASTE?

GC 6

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

CONTEXTUAL STUDY

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

[MArch 1] ATR DSC DSD SCAT

14.12.2020

2. Weight and Densityu 3. Compression: Shear Load Test 4. Compression: Point Load Test 5. Test Related Conclusions

GC 5

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

GC 4

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

GC 3

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

GC 2

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

GC 1

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

MArch 1, [semester 1]

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

ARCH11075

[GP] [AD] [JP] [TC] [KL] [TG] [PX]

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

Materials

Redesigning the Brick: Can brick upcycling in architecture be harnessed to reduce construction waste?

ATR

[2021] ATR

w w w w

w m m

m w

w m m ww m w

m m

m tti

mm m w m

w w

m w m w

m m

m m W

Point Load Test Fig. 59: Step One: Place brick sample or brick experiment in the ram measuring psi with metal circular point load placed at the bricks corner.

05 | Testing

Fig. 60: Step Two: Apply pressure by pumping ram until brick fails. Record psi gauge to document the pressure applied at the point of fail.

Fig. 61: Step Three: Apply pressure until brick fails and a crack forms.

Compression: Point Load Test | 05

Architecture Design Studio C //

Island Temporalities (vii): Mont Saint Michel Island Territories (i)

[UN]GROUNDING TERRAFIRMA VENICE (part i) // Querini Stampalia [2020]

[contributions] George Pop [GP] Kelly Lai [KL] Peffy Xu [PX]

[course synopsis] The opening semester of the programme seeks to initiate concepts, themes and concerns in relation to island territories, the primary object of our design enquiry throughout the MArch programme of study. This period of made investigation is intended to inform a process of exploration and analysis that will allow us to test and articulate speculations with regard to the nature of islands and their temporalities. The first semester of Island Temporalities: island making vii is broken down into four moves: move 01 REGISTER, move 02 SURVEY, move 03 INHABIT, and move 04 CURATE. The studio is concerned with the nature of uncertainty, with change as it plays out over time in architecture and its landscapes. Building on six past iterations of the island territories programme, the studio seeks to address the nature of insularity in extreme environments where climate, economy, culture, politics and art - the stories that we tell about ourselves - inform the architectural language of a place creating agile, responsive, highly inventive, strange and beautiful buildings.

[adrian hawker] [victoria bernie]

The following thesis investigates and designs for the city of Venice. A liquified landscape, it is tethered down by the Chimera - Querini Stampalia - a building which encompasses the concept of shifting identity and exemplifies the architectural uncertainty sought within the studio.

[learning outcomes] LO1 The ability to develop and act upon a productive conceptual framework both individually and in teams for an architectural project or proposition, based on a critical analysis of relevant issues. GC 1.3, 2.3, 3.3 // GA 2.1 LO2 The ability to develop an architectural spatial and material language that is carefully considered at an experiential level and that is in clear dialogue with conceptual and contextual concerns. GC 1.1, 1.3, 2.3, 5.1, 5.3 // GA 2.1 LO3 A critical understanding of the effects of, and the development of skills in using, differing forms of representation (e.g. verbal, drawing, modelling, photography, film, computer and workshop techniques), especially in relation to individual and group work. GC 1.1, 3.3 // GA 2.2

DS - C

[2020] ISLAND TEMPORALITIES Mont Saint Michel (part i) Venice (i) // design studio c MArch 1, [semester 1]

[GP] [AD] [JP] [TC] [TG] [KL] [PX]

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

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GA 2.1

GA 2.3

[MArch 1] ATR DSC DSD SCAT

Move 01 // Register: things we draw from strom

THE VEILING HAAR

[MArch 2] AMPL DSA DSH DR

HAAR [har]

Task Before engaging with the archive of island cities and beginning our process of surveying, of mapping on the ground, we need to build a machine of sorts, a tool for calibrating our position in relation a terrain of layered histories and narratives; of possible ideas and proposed futures. A device for drawing out an attitude. To frame this first move towards the island territories we propose that the particular purpose of this device is the registration of a storm. The storm may be real, it may be anticipated, it may be remembered, it may be fictional. Rather than thinking of the storm operating at the scale of continental meteorology, imagine it localised within the physical grain of a city or landscape in which you are familiar.

"Supported by shore and port, now we had neither. There was only here. The ship was here in the fog. The ship roared and the fog blotted us into itself and whirled into its rifts, and the sealess skyless fear—and there was fear— had nothing to do with sinking—at least, not into water."

Noun 1. a thick, cold, wet sea fog along the East seacoast of Scotland and North England.

Josephine Jacobsen, "The Sea Fog"

You are to devise and craft a device that, through drawing, REGISTERS the nature, occurrences and consequences of a storm.

THE VEILING HAAR

Response

My exploration into storm comes from the familiar: the East coast of Scotland. I have memories of waking up and looking out the window to see haar veiling the surrounding area. An extract from a poem called, “The Sea Fog” by Josephine Jacobsen accurately depicts the scene of a haar storm that is heavy, thick and disorientating. 19

GA 2.2

2. 1. synoptic charts from, “The Haar of North East Scotland”, registering 1984 haar storm 2. satellite image of haar in 1984 storm (UK map overlayed) 3. visibility: photograph of haar in August 2020 in Edinburgh HAAR: REGISTERING AND REPRESENTATION ways of registering, recording and representing haar

GA 2.4

GA 2.5

GA 2.6

GA 2.7

DS - C

[2020] ISLAND TEMPORALITIES Mont Saint Michel (part i) Venice (i) // design studio c MArch 1, [semester 1]

[GP] [AD] [JP] [TC] [TG] [KL] [PX]

GC 1

GC 2

GC 3

GC 4

GC 5

GC 6

GC 7

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GC 11

GA 2.1

GA 2.2

GA 2.3

GA 2.4

[MArch 1] ATR DSC DSD SCAT [MArch 2] AMPL DSA DSH DR

device (noun) 1. a thing made or adapted for a particular purpose, especially a piece of mechanical or electronic equipment: a measuring device 2. a bomb or other explosive weapon: an incendiary device 3. a plan, method, or trick with a particular aim: writing a letter to a newspaper is a traditional device for signaling dissent 4. a form of words intended to produce a particular effect in speech or a literary work: a rhetorical device 5. a drawing or design: the decorative device on the invitations 6. an emblematic or heraldic design: their shields bear the device of the Blazing Sun 7. [mass noun] archaic the design or look of something: works of strange device

Through found devices from my flat I was able to register the haar, measured through the lens of my camera and captured in time within a photograph.

a. Main photos at 0 seconds; 15 seconds; 30 seconds b. Photos in sequence

Found objects from flat a step ladder [1] elevates the torch [2] which represents a single source of light like a lighthouse; a kettle [3] to produce ‘haar’ (raised on a stool [4]) and a camera [5] to record the storm

REGISTERED HAAR haar registered through photographs

REGISTERING THE HAAR process of registering and found registering devices

GA 2.5

GA 2.6

GA 2.7

DS - C

[2020] ISLAND TEMPORALITIES Mont Saint Michel (part i) Venice (i) // design studio c MArch 1, [semester 1]

[GP] [AD] [JP] [TC] [TG] [KL] [PX]

GC 1

GC 2

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GA 2.1

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[MArch 1] ATR DSC DSD SCAT [MArch 2] AMPL DSA DSH DR Drawing the haar is a form of device as it is grows and encompasses my room. The storm is measured, recorded and registered.

histogram

visibility

histogram

photograph

REPRESENTING THE HAAR 1. After 0 seconds; 2. after 15 seconds; 3. after 30 seconds scale 1:40

visibility

histogram

photograph

visibility

photograph

GA 2.5

GA 2.6

GA 2.7

[2020] ISLAND TEMPORALITIES Mont Saint Michel (part i)

DS - C

Venice (i) // design studio c MArch 1, [semester 1]

[GP] [AD] [JP] [TC] [TG] [KL] [PX]

GC 1

GC 2

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[MArch 1] ATR DSC DSD SCAT [MArch 2] AMPL DSA DSH DR a

The video is the registering of a storm based on the poem by Josephine Jacobsen; the sound recordings of Alec Finlay’s ‘siren’, by Chris Watson; my own experiences of haar and images of my ‘haar’ storm.

THE VEILING HAAR stills from register video

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DS - C

[2020] ISLAND TEMPORALITIES Mont Saint Michel (part i) Venice (i) // design studio c MArch 1, [semester 1]

[GP] [AD] [JP] [TC] [TG] [KL] [PX]

GC 1

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[MArch 1] ATR DSC DSD SCAT

Move 02 // Survey: Chimera and the Plane Table

[UN]GROUNDING TERRAFIRMA

[MArch 2] AMPL DSA DSH DR

Task Studio C continues through three further ‘moves’. The individual drawing device (REGISTER – what we draw from the storm) will guide us to the atelier formation and a project of island making which will take place within the CHIMERA building allocated to your atelier - Querini Stampalia, Venice. As an atelier, you are invited, in groups of three or four, to conceive and detail a complex device that draws together and encourages the interplay of references drawn from the archive of representations that depict a version of the island territory in which your CHIMERA is located - The Querini Stampalia, Venice. “Of course, there is Venice. We first glimpse Venice across the lagoon, from a boat. The buildings seem suspended in a field of sea and sky, each reflecting the other and finally dissolving into hues of blue and gray. Where is the earth now? A thin, barely perceptible line upon which the buildings cannot possibly depend.”

This device should be considered at the scale of a piece of furniture – an abstracted, conceptualised version of a PLANE TABLE. One whose form and actions would engage with a meaningful survey of the associated island territory and its archive of representations.

Michael Cadwell, “Strange Details”

[G]

[UNGROUNDING TERRAFIRMA]

Response

As an atelier we arrived in Venice, carrying terms of GIFT [G], LANTERN [L], SCRIPT [S] and VALVE [V] from our register devices. 23

caigo (noun) 1. Venetian term for sea fog which often occurs during the winter months

ARRIVING IN VENICE video stills extracted from “Venice 1966”, recorded at the time of the Aqua Alta of 1966

[L]

[S]

[V]

GA 2.7

[2020] ISLAND TEMPORALITIES Mont Saint Michel (part i)

DS - C

Venice (i) // design studio c MArch 1, [semester 1]

[GP] [AD] [JP] [TC] [KL] [TG] [PX]

GC 1

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[MArch 1] ATR DSC DSD SCAT [MArch 2] AMPL DSA DSH DR 1. 2. 3. 4. 5. 6. 7.

[...] there is a channel, some three miles wide, between the city and the mainland, and some mile and a half wide between it and the sandy breakwater called the Lido, which divides the lagoon from the Adriatic, but which is so low as hardly to disturb the impression of the city’s having been built in the midst of the ocean, although the secret of its true position is partly, yet not painfully, betrayed by the clusters of piles set to mark the deep-water channels, which undulate far away in spotty chains like the studded backs of huge sea-snakes, and by the quick glittering of the crisped and crowded waves that flicker and dance before the strong winds upon the unlifted level of the shallow sea.

Lazarette Nuovo Murano San Michele Castello Sacca Sessola Pellestrina Lido Chiogga

3km

12km

THE VENICE LAGOON map scale 1:300 000

John Ruskin, “Stones of Venice”, Vol. X

24km

GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

[2020] ISLAND TEMPORALITIES Mont Saint Michel (part i)

DS - C

Venice (i) // design studio c MArch 1, [semester 1]

[GP] [AD] [JP] [TC] [TG] [KL] [PX]

GC 1

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[MArch 1] ATR DSC DSD SCAT [MArch 2] AMPL DSA DSH DR

Had the tide been only a foot or eighteen inches higher in its rise, the water-access to the doors of the palaces would have been impossible: even as it is, there is sometimes a little difficulty, at the ebb, in landing without setting foot upon the lower and slippery steps: and the highest tides sometimes enter the courtyards, and overflow the entrance halls. John Ruskin, “Stones of Venice”, Vol X

The Querini Stampalia was explored through the text "Strange Details" by Mike Cadwell which emphasises Carlo Scarpa's datum levels from the Campiello to the garden. The datum lines, marked through specific moments in te architecture giving the impression of "swimming in the Querini Stampalia". The video and architectures explore this sectionally aquatic world.

1.5m

Horizontal Datum Lines: 1. Canal Water 2. Gallery Floor 3. Concrete Revetment 4. Picture Rail and Bridge Crest 5. Gallery Ceiling and Bridge Rail

CHIMERA // QUERINI STAMPALIA section AA scale 1:75

Travertine is petrified water and looks like it. Michael Cadwell," Strange Details”

GA 2.7

[2020] ISLAND TEMPORALITIES Mont Saint Michel (part i)

DS - C

Venice (i) // design studio c MArch 1, [semester 1]

[GP] [AD] [JP] [TC] [TG] [KL] [PX]

GC 1

[MArch 1] ATR DSC DSD SCAT

LAGOON

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location: Venice centering in lagoon > church within campo (in the following calibration) orientation: Grand Canal parallel to entrance of the church

[MArch 2] AMPL DSA DSH DR

INSULA

As a chimera, the Querini Stampalia is a reflection of Venice itself. Through careful, concisely mapping, scaling and calibration a new cloud of architecture emerges.

Lido Pellestrina natural barrier between the sea and lagoon placed > boundary of the chimera San Michel island of cemetery > sacrificial space of the North East room Castello arsenal and gardens > garden of chimera

Chiogga central canal > main circulation space on first floor

Murano glass factory > glass chandelier in Green drawing room on first floor

PIAZZA

‘Throughout the centuries of turmoil it remained the place of meeting and assignation.'

3 4

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18.

entrance bridge foyer watergate grilled gate porch northeast room radiator column main exhibition room staircase to library travertine door southwest room garden terrace lawn water source water tray dry well potting yard garden door former entrance

'Campos are not simply public squares in Venice; they are cisterns as well, floating cisterns.' orientation: aligning axis between two wells in Campo Santa Maria Formosa to the that of the water features in the Querini Stampalia garden

CAMPO

orientation: pier of the Molo (arrival point of Venice) > bridge of the chimera

20m

CALIBRATION Querini Stampalia // ground floor plan 1:250

40m

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DS - C

[2020] ISLAND TEMPORALITIES Mont Saint Michel (part i) Venice (i) // design studio c MArch 1, [semester 1]

[GP] [AD] [JP] [TC] [TG] [KL] [PX]

GC 1

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[MArch 1] ATR DSC DSD SCAT I. THE BELL AND THE WHITE CLOUD

II. THE VORTEX WELL

[MArch 2] AMPL DSA DSH DR

[S]

[V]

III. THE FICTION OF SOLIDITY

IV. JOSTLING FOR POSITION

[L]

[G]

VI. DRIFTING LABYRINTH

VII. UNPACKING THE CAIGO

The cloud, home to the various artifacts of the scales of Venice, liquifies the Querini Stampalia parterre. The video creates a way of navigating this landscape and swimming within the fog.

[L]

A NEW TERRITORY parterre plan

V. THE CABINET OF CURIOSITIES

GA 2.7

DS - C

[2020] ISLAND TEMPORALITIES Mont Saint Michel (part i) Venice (i) // design studio c MArch 1, [semester 1]

[GP] [AD] [JP] [TC] [TG] [KL] [PX]

GC 1

GC 2

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[MArch 1] ATR DSC DSD SCAT [MArch 2] AMPL DSA DSH DR 28

The section relates back to the datum lines of the Querini Stampalia as the parterre becomes a bathymetric section through the garden. A heirachy is given to the artifacts of 'flotsam', 'jetsam', 'lagan', and 'derelict'.

DRIFTING LABYRINTH section

Horizontal Datum Lines: 1. Canal Water 2. Gallery Floor 3. Concrete Revetment 4. Picture Rail and Bridge Crest 5. Gallery Ceiling and Bridge Rail

lagan derelict jetsam flotsam

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DS - C

[2020] ISLAND TEMPORALITIES Mont Saint Michel (part i) Venice (i) // design studio c MArch 1, [semester 1]

[GP] [AD] [JP] [TC] [KL] [TG] [PX]

[MArch 1] ATR DSC DSD SCAT [MArch 2] AMPL DSA DSH DR THE PLANE TABLE map 29 bringing together the map callibrations and the chimera storm

DS - C

[2020] ISLAND TEMPORALITIES Mont Saint Michel (part i) Venice (i) // design studio c MArch 1, [semester 1]

[GP] [AD] [JP] [TC] [KL] [TG] [PX]

GC 1

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[MArch 1] ATR DSC DSD SCAT

Move 03 // Inhabit: Chamber Lock (i)

THE MASK AND THE MECHANISM

[MArch 2] AMPL DSA DSH DR

Task The individual development of a prototypical architectural moment as a response to the analytical enquiry of the PLANE TABLE in considered dialogue with the fabric of the Chimera. As a CHAMBER, its architecture should provide sufficient accommodation (and no more) for the private repose and obsessive activity of an occupant whose concerns are informed by a particular aspect of the research and analysis embedded within, and revealed through, the design of the PLANE TABLE.

[G]

[L]

[S]

[V]

As a LOCK, its architecture should engage with the spatial grain and fabric of the Chimera – it should lock in place, engage. The four CHAMBER LOCKS of the atelier should be in clear dialogue with one another across the terrain of the Chimera and in relation to the PLANE TABLE. As an individual, you are asked to design and present an architectural form of inhabitation at the intimate scale of the CHAMBER and the sophisticated precision of the LOCK. THE MASK AND THE MECHANISM

Response

Drawn from the Plane Table, this chamber lock looks out onto the storm. Set into the garden wall of the Querini Stampalia, it is one of four reponses of the atelier.

Inside the mechanism uses shutters to articulate the light in the space whilst various walkways and stairs enable the viewe to move up the inside of the mask to look out onto the storm.

GA 2.6

GA 2.7

DS - C

[2020] ISLAND TEMPORALITIES Mont Saint Michel (part i) Venice (i) // design studio c MArch 1, [semester 1]

[GP] [AD] [JP] [TC] [KL] [TG] [PX]

GC 1

GC 2

GC 3

GC 4

GC 5

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GC 8

[MArch 1] ATR DSC DSD SCAT [MArch 2] AMPL DSA DSH DR The Querini Stampalia’s parterre, artifacts, the storm, and shadows have become something to draw from. Shadows of the artifacts caught in the storm were explored as ways of dredging, manipulating, the parterre of the Querini Stampalia, providing a footing to build from.

1. series recording the shadow movements from the storm to my shadow 2. shadows overlayed DREDGING SHADOWS

shadows dredged to create new territory [see 06video: dredging shadows]

GC 9

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GA 2.1

GA 2.2

GA 2.3

GA 2.4

GA 2.5

GA 2.6

GA 2.7

[2020] ISLAND TEMPORALITIES Mont Saint Michel (part i)

DS - C

Venice (i) // design studio c MArch 1, [semester 1]

[GP] [AD] [JP] [TC] [KL] [TG] [PX]

GC 1

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[MArch 1] ATR DSC DSD SCAT [MArch 2] AMPL DSA DSH DR C

B 3

The mask provides an openess and new path to the garden. A

Existing Querini Stamplia Chamber Lock Querini Stamplia Chamber Lock External dredged walkway Querini Stamplia garden

1. 2. 3. 4.

10m

CHAMBER LOCK IN THE QUERINI STAMPALIA site plan

CHAMBER LOCK IN STORM elevation and plan scale 1:200

GA 2.3

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DS - C

[2020] ISLAND TEMPORALITIES Mont Saint Michel (part i) Venice (i) // design studio c MArch 1, [semester 1]

[MArch 1] ATR DSC DSD SCAT [MArch 2] AMPL DSA DSH DR

Architecture is drawn from the tectonics of the storm and Venice. Inbedded into the Querini Stampalia, it is also vulnerable to the changing water datums.

Horizontal Datum Lines: 1. Canal Water 2. Gallery Floor 3. Concrete Revetment 4. Picture Rail and Bridge Crest 5. Gallery Ceiling and Bridge Rail

[GP] [AD] [JP] [TC] [KL] [TG] [PX]

CHAMBER LOCK IN THE STORM section CC scale 1:50

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DS - C

[2020] ISLAND TEMPORALITIES Mont Saint Michel (part i) Venice (i) // design studio c MArch 1, [semester 1]

[MArch 1] ATR DSC DSD SCAT [MArch 2] AMPL DSA DSH DR 34

CHAMBER LOCK IN THE STORM chamber axonometric

[GP] [AD] [JP] [TC] [KL] [TG] [PX]

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DS - C

[2020] ISLAND TEMPORALITIES Mont Saint Michel (part i) Venice (i) // design studio c MArch 1, [semester 1]

[MArch 1] ATR DSC DSD SCAT [MArch 2] AMPL DSA DSH DR 35

INHABITATION (ii) // MECHANISM Axonometric scale 1:50

[GP] [AD] [JP] [TC] [KL] [TG] [PX]

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Architecture Design Studio D //

Island Temporalities (vii): Mont Saint Michel Island Territories (ii)

A GUILD OF THE ARSENALE NOUVO VENICE (part ii) // Venice Arsenale [2021]

[course synopsis]

[learning outcomes]

Arriving in the second semester of the programme, we move from the world of detail, the habitable, of looking in and seeing out in the CHIMERA and the PARTERRE, to the cultural landscape of the FIELD, the meaningful and complex architectural assemblage of the GATE and the material and structural specificity of the LOCK.

LO1 The ability to develop and act upon a productive conceptual framework both individually and in teams for an architectural project or oposition, based on a critical analysis of relevant issues. GC 1.3, 2.3, 3.3, 7.2, 7.3 // GA 2.1 LO2 The ability to develop an architectural spatial and material language that is carefully considered at an experiential level and that is in clear dialogue with conceptual and contextual concerns. GC 1.1, 1.3, 2.3, 5.1, 5.3 // GA2.1 LO3 The ability to investigate, appraise and develop clear strategies for technological and environmental decisions in an architectural design project. GC 1.2, 8.1, 8.2, 8.3, 9.1, 9.2, 9.3 // GA 2.3 LO4 A critical understanding of the effects of, and the development of skills in using, differing forms of representation (e.g. verbal, drawing, modelling, photography, film, computer and workshop techniques), especially in relation to individual and group work. GC 1.1, 3.3 // GA 2.2

In the second semester you are invited to discover and represent the FIELD of your thesis – the greater material, cultural, environmental, historical and conceptual terrain of your work – to offer a GATE to that FIELD as an architecture of the median scale that operates as both a discrete proposition in and of itself and as an example of the language of the larger thesis. Within this GATE you are asked to situate a LOCK as a micro architecture, an expression of your architectural thesis at the scale of the detail.

[adrian hawker] [victoria bernie]

The FIELD, GATE and LOCK provide three key scalar registrations within the narratives of your thesis. The manner in which you move between the various concerns of each brief is a matter of critical reflection and intelligent planning. It is indicative of the nature of your architectural practice as it is evolving over the course of your studies with us. One line of architectural enquiry will feed, and indeed feed off, the other and it is through this complex interplay that a rigorous architectural thesis will be defined.

DS - D

[2021] ISLAND [GP] [AD] [JP] [TC] TEMPORALITIES [KL] [TG] Mont Saint Michel (part ii) Venice (ii) // design studio d MArch 1, [semester 2]

[PX]

GC 2

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[MArch 1] ATR DSC DSD SCAT

Move 05 // Fields + Gates + Locks: stories within stories

[MArch 2] AMPL DSA DSH DR

A GUILD OF THE ARSENALE NOUVO

Task Your FIELD drawing should be thought of as a tool that allows you to begin to articulate a possible new urban/landscape condition for the CHIMERA, its parterre and the extended island territory. You are asked to produce an ambitious form of FIELD representation that clearly and creatively engages with the following concerns of territory, culture and environment. You are asked to design and present an architecture and landscape in the form of a GATE. This GATE should be thought of as an enclosed transitional space and programme. It should be carefully conceived and articulated through crafted drawings and models and thoughtfully presented alongside the evolution of both FIELD and LOCK. You are asked to devise, design, draw and detail an architectural LOCK that engages with a critically selected moment within the territory of your FIELD drawing or GATE at the detailed scale of human occupation. The programme for the individual LOCK is not prescribed, it will be strange, derived as it is from the work of the studio and the architectures of Register, Survey and Chamber.

GC 1

RIO DELL’ARSENALE WITH QUERINI PARTERRE field drawing axonometric scale 1:500

Response A GUILD OF THE ARSENALE NOUVO: A FOLDED LANDSCAPE FOR REFABRICATION SYNOPSIS

The Guild of the Arsenale Nuovo: a landscape of re-fabrication is an architectural proposal for a folded architectural topography informed by a cartography of shadows and meteorology. It is located in the canal of Rio dell’Arsenale and the historic gate of the Venice Arsenale. Over its lifetime, this territory has known two programmes that critically mirror the international import of the island city. Historically, it was the home of shipbuilding and the heart of the city’s maritime strength and, more recently, it has become the epicentre of renowned cultural event of the Venice Biennale. This proposal, like Venice itself, operates through the water that surrounds it. It is a constructed landscape of gates and locks that choreograph, house and work materials and objects drawn up the Rio dell’Arsenale to engage with the programmatic narratives of yard and workshop. This series of architectural moments enables the restoration and re-fabrication of remnants - flotsam, jetsam lagan and derelict - from past Biennales to be resituated, as vessels, within the Arsenale itself. Held within the folds of the landscape and overlooking, scripting and negotiating this process through the historic urban fabric, the relatively refined space of the Aula, the meeting room of this new guild takes its place within the ritual memory of this extraordinary city. The landscape of the guild is knowingly calibrated to predicted sea level rises and, consequentially, seeks to protect its surroundings whilst collecting, storing and distributing the comparatively diminishing resource of fresh water.

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A FOLDED LANDSCAPE FOR REFABRICATION gate axonometric scale 1:100

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[MArch 1] ATR DSC DSD SCAT [MArch 2] AMPL DSA DSH DR Recasting my eye over the shadows proved for an interesting and unique design outcome for my project. This understanding of folding and unfolding was later brought into my fina thesis semester when 'sculpting the landscape'

A FOLDED LANDSCAPE model images and process 40

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location: Venice Arsenale Gate orientation: chamber lock rotated 35° so parallel with gate towers

ACTIVATION 2

location: Campo dell' Arsenale orientation: chamber lock rotated 51° so parallel with canal

Calibration was again used significantly. Through the positioning and repositioning of the Chamber Lock down the Rio dell'Arsenale, a second landscape, drawn from the Querini Stampalia storm was created.

ACTIVATION 3

location: Fondamenta Arsenale orientation: chamber lock rotated 140° so parallel with canal

CALIBRATION activating the Rio dell'Arsenale through the Chamber Lock and calibrating

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FIELD DRAWING scale 1:500 42

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Gate A Guild of the Arsenale Nouvo: A Landscape of Re-Fabrication Lock and yard two: small steel workshop and yard Lock and yard one: small timber workshop and yard

A NEW TERRITORY field drawing axonometric scale 1:500

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MASK

GATE (noun + verb) 1. 2. 3. 4. 5.

a threshold that allows a transition to introduce to something much larger or concealed within tranforms us, prepares us manipulate perception whilst assuring functionality an extension of the interior; to open up

HUSK + RAFT

Bringing in terms from the architectural tectonics of the other atelier members produced an architecture that further sat within the grain of Venice

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GP - bridge KL - bridge

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glass copper folded landscape secondary structure: steel purlins & wire cables primary structure: steel ribs timber husks steel grating flooring & steel scalo ground secondary structure: steel purlins ground primary structure: steel ribs Venetian timber pile foundations

GATE: MATERIAL & STRUCTURAL LANGUAGE exploded axonometric scale 1:1000

BRIDGE

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updated chamber lock: an entrance for the folded landscape copper folded landscape Aula entrance 2: changing room Aula filing room (environmentally protected space) Aula meeting room (environmentally protected space) Aula outlook workshop and yard one: large steel workshop timber husk outer copper false facade fold workshop double door with folding out work bench workshop revolving door steel grating: material storage area workshop and yard two: large timber workshop scalo steel ribs Aula primary entrance outdoor timber work yard

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GATE PLAN (i) // A FOLDED LANDSCAPE FOR RE-FABRICATION plan scale 1:250 A

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The tides of Venice cause it to be a liquified city. At times of aqua alta, it can be hard to see its edges. 15

This project uses husks and bridging to bring itself over most seasonal tides however also is sacrificial in nature, surrending to the tide at aqua alta like most of Venice.

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Aula outlook Timber husk: Aula meeting room roof with rooflight (environmentally protected space) copper roof light small study space to view files with roof light above (reading stand to fold down from wall) Timber husk: Aula filing room roof (environmentally controlled space to protect files) Timber husk: Aula changing room secondary structure steel ribs copper folded outer skin timber pile foundations timber raft floor & steel basket secondary floor structure steel grating flooring copper folded landscape chamber lock: entrance workshop and yard two workshop and yard one

AULA SECTION section bb scale 1:150 (drawn at 1:100)

high tide average tide low tide extreme low tide

aqua alta

basin depth

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Venice (ii) // design studio d MArch 1, [semester 2]

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[MArch 1] ATR DSC DSD SCAT [MArch 2] AMPL DSA DSH DR It was important to that the project correctly sat within its context. Island making in Venice involves the process of piling wooden stilts into the ground which can be built upon. The Arsenale project had the same approach for anchoring to the ground.

AULA AXONOMETRIC SECTION section scale 1:50

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1 b

LOCK (noun + verb) 1. 2. 3. 4. 5.

involves working to lock complex and codified, it does not give away its secrets readily specific, unique and new small, micro 2

The husk (lock) of the Aula protects the Aula from its surroundings whilst unlocking the surrounding landscape by casting views out and down the Rio dell'Arsenale to look over the other gates.

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timber husks (environmentally sealed) a. dark timber cladding b. husk timber structure internal light cladding c. sliding glazed door d. cabinet timber raft: timber flooring and structure e. black steel banister

LIVING UNDER FOLDS // HUSK & RAFT exploded axonometric / planometric scale 1:100

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LOCK & YARD 2 AXO axonometric drawing scale 1:50

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copper ground plate timber work yard workshop door with folding out work bench timber husk: workshop equipment steel steps to changing room outer skin, copper mask steel ribs: primary structure steel purlins: secondary structure folded copper dock changing room rooflight gate

LOCK & YARD 2 SECTION section dd scale 1:100

canal depth

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[MArch 1] ATR DSC DSD SCAT [MArch 2] AMPL DSA DSH DR LOCK & YARD 1 ISOLATED perspectival visualisation 51

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copper ground plate timber work yard workshop door with folding out work bench timber husk roof: workshop equipment steel steps to changing room outer skin, copper mask steel ribs: primary structure steel footing changing room for worker with rooflight unloading various flotsam, jetsam etc dock basin

aqua alta

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copper ground plate timber husk: workshop equipment steel steps to changing room outer skin, copper mask steel ribs: primary structure secondary structure: steel purlins & wire cables steel footing dock basin

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[MArch 1] ATR DSC DSD SCAT [MArch 2] AMPL DSA DSH DR Architectures of a Landscape of Re-fabrication and their shadows; objects for [re]casting

GATE ISOLATED axonometric drawing scale 1:200

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Studies in Contemporary Architectural Theory //

CLOSE-UPS: on surfaces, gestures, and borders of the photograph [2021] [ARCH11070]

[course aims] The aims of this course are: 1. Develop and expand your understanding of what theory is, and how it relates to architecture, design and the city. 2. Enhance your skills in critical reading and analysing the ideas presented in texts. 3. Refine your ability to write and communicate a focused critique of, and response to, texts.

[course synopsis] Contemporary architectural theory scrutinises the interaction between design and the cultural, intellectual, political, social and economic contexts in which it emerges. It takes various modes, ranging from reflection on the consequences of architectural practice, to enabling, guiding and facilitating – as well as critiquing – design processes. Crucially, it interacts in dynamic and complex ways with broader areas of cultural interpretation, criticism, and speculation (philosophy, political theory, cultural studies, anthropology, science and technology studies, media studies, semiotics, visual theory, literary theory, etc.), and this is reflected in the organisation of the SCAT course. CLOSE UPS: on surfaces, gestures and borders of the photograph weekly examines a single photograph and read texts set up in conversation with it. Few of these photographs will be well-known or attributed to known photographers, some will be constructed with no camera or without direct human action. The readings may be speaking to the image directly or may be opening up spaces for extending our investigation into ways of seeing and thinking, and forms of writing about architecture and photography, forms of writing with photographs, and ways of understanding through images.

[ella chmielewska] [felix green] [paula szturc]

We will consider a range of sites of display of and encounter with photographic images, such as pages of books or newspapers, walls and spaces of galleries, screens, archives and everyday work surfaces. We will examine material surfaces and margins of photographs and the ways they engage with writing and reading in photo-books and photographic essays. In our explorations we will be informed and challenged by close reading of texts by Eduardo Cadava, Laszlo Moholy-Nagy, Georges Didi-Huberman, Walter Benjamin, Susan Sontag, and Vilém Flusser.

[learning outcomes] LO1 A capacity to research a given theme, comprehend the key texts that constitute the significant positions and debates within it, and contextualise it within a wider historical, cultural, social, urban, intellectual and/or theoretical frame. GC 2.1, 3.1, 4.1 // GA 2.4 LO2 An understanding of the way theoretical ideas and theories, practices and technologies of architecture and the arts are mobilized through different textual, visual and other media, and to explore their consequences for architecture. GC 2.2, 3.1, 3.2 LO3 An ability to coherently and creatively communicate the research, comprehension and contextualisation of a given theoretical theme in relation to architecture using textual and visual media. GC 2.2

[2021] SCAT

SCAT

CLOSE-UPS: on surfaces, gestures, and borders of the photograph

ARCH11070

MArch 1, [semester 2]

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Brief 00 // Format

LOOKING, THINKING & WRITING

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Brief The formats of the essay and journal are open, but their design must be thought out as a deliberate part of the submission. Think about the relation between text and image, and consider how you can use the structure and design of the documents to work in concert with the arguments that you are making. Contents The structure of the LOOKING, THINKING & WRITING document is as follows:

JOURNAL ENTRIES: ENTRIES: Part I

JOURNAL

CLOSE UP 01 words of light

The death, the disappearance of the moment that has just been photographed is instantaneous when caught in the snapshot light of the camera when photographing. The image, the specific moment, captured forever in the photograph will never be again, it cannot “come to light” again. We can understand and relate to a photograph through the knowledge of it “having-been-there”, through its death.

The Death of the Photographed

KEY TEXTS Eduardo Cadava. “Preface: Photagogós”, HISTORY, HELIOTROPISM, ORIGINS, MORTIFICATION, GHOSTS in Words of Light: Theses on the Photography of History. (Princeton, New Jersey: Princeton University Press), 1997, pp. xvi-xxx, 1-15 In his book, “Words of Light: Theses on the Photography of History”, Eduardo Cadava looks to analyse Walter Benjamin’s various discussions on photography and its relationship to history, politics and aesthetic.1 Cadava’s writing should be read as texts whose themes have a “syntactical relationship” to each other, inscribed within the motion of a “series of theses”.2 This enables the text to be read as a photographic text, as a series of fragments, snapshots derived from the material of Benjamin’s work on photography with various theses’ titles: “HISTORY”, “HELIOTROPISM”, “ORIGINS”, “MORTIFICATION” and “GHOSTS”.

FURTHER READINGS

Walter Benjamin, “Theses on the Philosophy of History’” (1940/1955) in Walter Benjamin, Illuminations, edited and with introduction by Hannah Arendt, translated by Harry Zohn (1968), (New York: Schocken Books), 1969, pp. 253-264. Walter Benjamin, ´A Small History of Photography´ (1931 ) first English translation appeared in the collection One-Way Street and Other Writings (1978) introduced by Susan Sontag. See: Walter Benjamin, One-Ways Street and Other Writings, Transl. Edmund Jephcott and Kingsley Shorter, (London: NLB), 1978, pp. 240-257.

Through the understanding of the photograph “having-been-there”, I am able to create a referential structure when viewing Maier’s old photographs of the streets of New York. In her photo, “New York, February, 1955”, the gaze of her camera has forever fixed this moment. Here, Maier is taking a self-portrait of herself in a moving mirror on a cold winter’s day in New York. She is standing, almost ghost like within the scene. Maier is seen to be slightly out of focus whilst the mirror, the man and its surroundings are perfectly sharp, adding to the ghost like existence of the artist and the death of the photographed. Caught on film, it is likely Maier would have never developed it or fully realised the photograph. This photograph could have be reproduced after her death, it may not have been produced as she would have intended providing a different narrative or focal point in the image; this is a true death to the image.

Through viewing the texts, a moment of illumination appeared to me. In his thesis, “GHOSTS”, Cadava discusses the death of the photographed, he states, “Like an angel of history whose wings register the traces of this disappearance, the image bears witness to an experience that cannot come to light. The experience is the experience of the shock experience, of experience as bereavement. The bereavement acknowledges what takes place in any photograph – the return of the departed. Although what the photograph photographs is no longer present or living, its having-been-there now forms part of the referential structure of our relationship to the photograph.”3

Eduardo Cadava, Lapsus Imaginis: The Image in Ruins, October, Spring 2001, Vol. 96, pp.35-60 Susan Sontag, Introduction, One-Way Street and Other Writings, pp.7-42

JOURNAL ENTRY 1: The Death of the Photographed

Vivian Maier photographed New York during a time when photography was beginning to be used as a form of technology that had the potential to register individual perceptions of the world. Maier’s work captured the everyday; her photographs convey how she saw herself in the city and viewed the city around her. Here, photography was not done for publication, but for one’s own project. Maier’s work, as a body of work, forms an incredible portrait of the city. Maier becoming famous after her death only adds to the death of the photographs and their “haunting” through the afterlife. She, and her experiences of the city, live on past her life through her photographs.

The sudden death of the photographed, in the instantaneous moment of capturing the photograph, leads me to street photography. The essence of this form of photography is the capturing of a specific, every changing, moment within the urban fabric of the city. A moment that can never be remade, a story that can never be retold. Street photography is therefore, to me, the most instantaneous “flash of death” of a photographed moment.

fig.1 David Octavius Hill and Robert Adamson, Dennistoun Monument, Greyfriars Churchyard

fig.4 Vivian Maier’s photograph, “New York, February, 1955” fig.2 moment of illumination in the text fig.3 photograph of the “ghost” of photographer Atget

1 Eduardo Cadava. “Preface: Photagogós”, Words of Light: Theses on the Photography of History, (Princeton, New Jersey: Princeton University Press), 1997, pp. xix. Emphasis mine. 2 Cadava. “Preface: Photagogós”. pp. xx. Emphasis mine. 3 Eduardo Cadava. “GHOSTS”, Words of Light: Theses on the Photography of History, (Princeton, New Jersey: Princeton University Press), 1997, p.11. Emphasis mine.

JOURNAL ENTRIES: PART 1

01 02

VIEWING THE DOCUMENT

Death of the Photographed [Re] Experiencing Hélène Binet’s Carrara Quarry Experience

JOURNAL

CLOSE UP 02 COMPOSING SPACE

[Re] Experiencing Hélène Binet’s Carrara Quarry Experience

Anchoring Points Edinburgh's Ghosted Sign Photobook + Typophoto How to Read

“Never in any other space have I had such emotion than when I was inside one of

In his essay, Pallasmaa discusses the phenomenological nature of architectural

these caves […] you have a ground, walls and a ceiling which is completely marble

images, explaining how,

[…] it is absolutely amazing!”4

March 20, 2012, https://www.youtube.com/watch?v=YkpeFr87wOo

Rob Wilson, Hélène Binet: ‘An image for me should never be completely

and scale in the scene. I can feel the sharp, hard edges through the photograph. The hut, dwarfed by the quarry, emphasises its fragile nature as it precariously sits

Pallasmaa describes the uniqueness of Binet’s architectural photographs. He states,

under a large marble overhang. The image also conveys the large affect humans

“Most architectural photographers photograph the building as an architectural

have on the landscape even through such small measures, leaving the landscape

object […] Hélène photographs the building as her experience of it.”2 This can be seen

Through viewing Binet’s work I find myself coming to similar conclusions about the human impact on the world as Binet discussed, in her lecture, “The Making of a

photographs of Carrara Quarry, Italy, 2013 which evoked strong architectural

Photograph”, whilst visiting Carrara Quarry.

and experiential narratives. In her lecture, “The Making of Photography”, Binet describes a very architectural space when discussing her experiences in the quarry, fig.6 Hélène Binet’s photographs of Peter Zumthor’s Thermal Baths in Val.

37: 2, 2013, 182-203.

Conversation with Fenella Collingridge and Helene Binet, Walmer Yard, 26 November 2019, https://walmeryard.co.uk/journal/the-personal-encounter-turns-architecture-intoexperience/, [accessed 20th February 2021]. Emphasis mine. 3 Mark Pimlott, “Hélène Binet: Photographs as Space,” in Composing Space, (London: Phaidon), 2012, p.209.

fig.8 Hélène Binet’s photographs of the Carrara Marble Quarry

6 Pallasmaa. “An Architecture of the Seven Senses”, p.35. Emphasis mine. 7 Binet, ‘The Making of a Photograph’, January 20, 2021. Emphasis mine.

4 Hélène Binet, 2021 Geddes Fellow at ESALA, Public Lecture, ‘The Making of a Photograph’, January 20, 2021. Emphasis mine. 5 Rob Wilson, Hélène Binet: ‘An image for me should never be completely defined’. Architects´ Journal, 15 February 2019. https://www.architectsjournal.co.uk/news/helene-binet-animage-for-me-should-neverbe-completely-defined, [accessed 29 March 2021]. Emphasis mine.

ESSAY

THE GESTURES OF MAKING A PHOTOGRAPH

Architectural photography has become more about the object, the façade, the window, the noun rather than how a building is experienced through viewing, touching, entering. Architectural experiences take the form of a verb not a noun. It is important for this experience to be captured in photographs of architecture.

I place this photograph of Hélène Binet in the act, the performance, of making a photograph to begin exploring the movements and gestures involved in creating a photographic image. Here, Binet is photographing the Chaoyang Park Plaza in Beijing, China for MAD Architects in 2018. This photograph shares a lot about the way Binet photographs; how she positions herself and her tripod in the large open space; the light and shadows around her; the camera bag laid open on its back; the scale of her equipment in relation to her; her peering down into the camera whilst balancing on her toes; her photographic performance. This performance is not for the viewer, Binet is unaware of her own specific gestures when photographing, her movements and gestures are in response to her surroundings as she captures her experience of the architecture. These gestures, movements and her experiences bleed into her photographs.

This essay will explore, read, view the surface of Binet’s lecture for the University of Edinburgh, “The Making of a Photograph” and, more specifically, Binet’s “Quarries of Marble” images from Carrara in 2013. The images will first be read through the eye of a student of architecture with an interest in the experiential aspect of space, with reference to Juhani Pallasmaa. The surfaces will then be put through a series of closer readings, with reference to Vilém Flusser’s essay, “The Gesture of Photographing” and the aspects of the gestures of photographing: search for place, manipulation and reflection. This is in an attempt to get a true envisaged experience of the Carrara Quarry through Binet’s photographs, her movements and her gestures.

In the article, by Rob Wilson, “Hélène Binet: ‘An image for me should never be completely defined’”, Binet discusses this performance and its importance to her making of photographs, she states, “I think, by looking looking, you enter the images; you become part of it […] With all my heavy equipment, the set-up and making is a bit like a performance and this moment of making is very precious. I don’t want to lose that.”1

fig. 1 Hélène Binet making a photograph

THE GESTURES OF MAKING A PHOTOGRAPH

As well as drawing on the composition of the images, I will also be using her dialogue in her lecture; the opening image showing how Binet photographs; and

7 Pimlott, “Hélène Binet: Photographs as Space”, p. 214 8 It is important for me to state my position from where I am viewing Binet’s work from. I am currently in Aberdeen, away from Edinburgh, living in a world of screens and flat surfaces because of the ongoing COVID pandemic. I can therefore not access physical copies of Binet’s books. 9 Hélène Binet, 2021 Geddes Fellow at ESALA, Public Lecture, “The Making of a Photograph”, January 20, 2021. Emphasis mine.

The gesture of making, as discussed by Vilém Flusser, in his essay, “The Gestures of Making”, are slightly different to the movements and gestures of Forsythe. Flusser states, “We have two hands. We comprehend the world from two opposing sides, sides which is how the world can be taken in, grasped, intended, and manipulated […] the world has two sides: sides a good and a bad, a beautiful and an ugly, left And when we a bright and a dark, a right and a left. conceive of a whole, we conceive of it as the congruence of two opposites. opposites Such a whole is the goal of the gesture of making.” making 4

In his essay, “The Gestures of Photography”, Flusser, explains the personal gesture that the photographer places on to the surface of the photographed. He notes, “A photograph is a kind of “fingerprint fingerprint” that the subject leaves on a surface [...] The subject is the cause of the photograph [...] The photographic revolution reverses the traditional relationship between a concrete phenomenon and our idea of the phenomenon […] In photography, the phenomenon itself generates its own idea for us on the surface.” surface 5 A photograph is a personal, unique, printing of oneself onto the surface of the photographed. It is in the making that the phenomenon is generate onto the surface. This is something Binet is aware of when, in the article, “Hélène Binet: ‘An image for me should never be completely defined’”, she says, “I think, by looking looking, you enter the images; you become part of it.” it 6 Binet’s printing of her fingerprint on a surface is seen as she touches, imprints her experience, her unique gestures and movements onto the surface of her photographs. A key way to experience Binet’s photographs, and these surfaces, is through her photobooks. In his essay, “Hélène Binet: Photographs as Space”, Pimlott discusses the dialogue between the reader and one of Binet’s books, he states, fig. 2 William Forsythe’s dance “Avoidance 1: Introduction”

2 William Forsythe, Forsythe-Lines-Avoidance-1-Introduction, Youtube, https://www.youtube.com/watch?v=cqGyFiEXXIQ, [accessed May 13th, 2021]. 3 Mark Pimlott, “Hélène Binet: Photographs as Space”, in Composing Space, Binet, Hélène, and Mark Pimlott (London: Phaidon), 2012, p. 203. Emphasis mine. 4 Vilém Flusser, “The Gesture of Making”, in Gestures, trans. Nancy Ann Roth, (Minneapolis, Minnesota: University of Minnesota Press), p. 33. Emphasis mine.

Every year somebody is dying to create beautiful pieces of marble. The impact on nature is very violent. Marble refers to beautiful artwork, to incredible interiors we have seen in architecture but it is paid with a very hard price. The machining used is suddenly not very gentle so it raises why do we still need this marble? What is this about? Maybe, somehow, all of these questions are imbedded in this funny little dwelling that starts to appear in the quarry .

The surface I see is the series of photographs of the “Quarries of Marble” images from Carrara in 2013. In her lecture, Binet describes this unique landscape - a landscape that is the result of very aggressive human activity. She states,

fig. 7 “Quarry of Marble” surface 1

In his essay, “An Architecture of the Seven Senses”, Pallasmaa discusses the personal exchange, the gesture, between a work of art and the viewer, he writes,

You are seduced because marble is beautiful, marble reflects light, marble somehow comes to be alive with the landscape.

her discussions of the performance, dance-like nature of her photographing to imagine, understand and envisage what it was like for her to photograph these spaces. There is an exchange happening here between Binet and myself as she flicks through her photographs. This is my first surface of looking.

“The encounter of any work of art implies a bodily interaction. A work of art functions as another person, interaction with whom we converse […] an architect internalizes a building in his body; body movement, balance, distance and scale are felt unconsciously through the body. As the work interacts with the body of the observer the experience mirrors these bodily sensations. sensations Consequently, architecture is communication from the body of the architect directly to the body of the inhabitant.”13 inhabitant

where human beings have been creating this funny little place where they maybe measure, cut, put tools that have nothing to do with the size and power of nature and still, nature is at the risk through their will.”

My encounter with the surface of Binet’s photographs is a personal one. It is a dialogue, an exchange, a gesture that only I am experiencing in my own exact way. Binet’s art, her photographs, are an internalisation of her movements in a space. Like the exchange of the architect’s body through his architecture to the viewer, Binet’s bodily interactions of the space, are communicated through her photograph to me, the viewer. This enables me to experience and imagine Binet photographing the space of the Carrara Quarry.

The beauty of the marble, and its surroundings, can be seen in Binet’s photographs. I will be reading these images from the angle of an architect student with an interest in the experience of space. At this point in my writing I will introduce Juhani Pallasmaa as a way of viewing the images from an architectural and experiential position. In a conversation with Fenella Collingridge and Binet for Walmer Yard, Pallasmaa describes the

fig. 8 “Quarry of Marble” surface 2

fig. 9 “Quarry of Marble” surface 3

fig. 10 “Quarry of Marble” surface 4

With the image of Binet photographing Chaoyang Park Plaza in my peripheral vision, I begin to view the surfaces of the “Quarries of Marble”:

“I carry on, this is the last image of the series, where I must say I have never in any other space have I had such emotion than when I was inside one of these caves.

10 Binet, “The Making of a Photograph”, January 20, 2021. Emphasis mine.

fig. 6 My viewing of “The Making of a Photograph” lecture and Binet’s presentation of the surfaces of the “Quarry of Marble” and Binet photographing

It’s about 30 metres high and you have a ground, walls and a ceiling which is completely marble. It’s one thing. It is built in one go by the breaking of the earth and then it has been created into a cave. It is absolutely amazing! But of course, like I said, it is a very risky luxury

to have marble.”

THE GESTURES OF MAKING A PHOTOGRAPH

Flusser’s second aspect of the gestures of photographing is manipulation of situation. He states,

11 Juhani Pallasmaa, “The Personal Encounter Turns Architecture into Experience”, Conversation with Fenella Collingridge and Helene Binet, Walmer Yard, 26 November 2019, https://walmeryard.co.uk/journal/the-personal-encounter-turns-architecture-into-experience/, [accessed 14th May 2021] 12 Ibid. 13 Juhani Pallasmaa. ‘An Architecture of the Seven Senses’, in Questions of Perception: Phenomenology of Architecture, Tokyo: E ando Yu, 1994, p.36. Emphasis mine.

I can imagine the contrast of textures on the wall as I move my hand across the surface of the image: the sharp surface of the marble wall where it is cut; the smooth surface of the marble itself; the hot parts that have been exposed

fig. 13 “Quarry of Marble” surface 2, large

The first image appears. The large marble blocks appear to the right of the frame. The objects stand far above the horizon of the mountains in the background which slowly fade away into the distance. I can see the immense destruction that has occurred to create these geometric marble blocks in front of me. These gestures of destruction have transformed the landscape. I hear Binet say, “You are seduced because marble is beautiful, beautiful marble reflects light, light marble somehow comes to be alive with the landscape.” landscape 14 The marble is in a dance with its surroundings and Binet. The harsh, sharp shadows emphasises the light and dark, flattening the image. Binet, through the use of her hands and body has positioned herself and her equipment on the edge. Just like the large rock, poised on the edge, dwarfing its surroundings, Binet balances herself, precisely controls her movements to capture this moment. I imagine the large block to be four to five times my height with the smaller, I cannot move any closer to it, the surroundings will not allow it. Binet clicks to the next image. I am no longer looking out of the quarry but looking in. I am faced with a heavy, vertical façade of marble with a walkway guiding my eye along its surface. The marble appears to be cracking, less orthogonal and natural compared to the harsh line of gestured destruction. I am again drawn to the scale and its vastness. I imagine that each layer must be fifteen metres high. The next image appears, I had barely had a moment to expose myself to the space. The shadow draws me in. A small hut starts to appear, caught within the shadow’s grasp. The hut is dwarfed by the vast slab above it; it is precariously positioned. I wonder how precariously the camera is positioned as it is moved to capture this moment. I hear Binet, she says, “this funny little place where they maybe measure, cut, put tools that has nothing to do with the size and power of nature and still, nature is at the risk through their will.” will 15 Her gestures of making, and narration, have captured my understanding of this moment in the photograph. The next image briefly flashes onto the screen, as if the shutter has been clicked. I only got a brief view, I appeared to be looking out again, maybe this was all the time that was allowed for photographing this moment. It was a quick gesture

“Marble refers to beautiful artwork, artwork to incredible interiors. Every year somebody is dying to create interiors beautiful pieces of marble. The impact on nature is very violent…why do we still need this marble? What is this about?”23

By viewing the “Quarry of Marble” photographs, through the gestures of making and of photograph an in-depth understanding of the quarry can be seen, imagined and experienced. Thus a strong insight is given into the various gestures and movements taken by Binet in the moments of making of a photograph.

22 Flusser, “The Gesture of Photographing”, p. 82-3

20 Flusser, “The Gesture of Photographing”, p. 82-3 Emphasis mine.

In his essay, “The Gestures of Photography”, Flusser, describes the three aspects of the gestures of photographing, “A first aspect is the search for a place, place a position from which to observe the situation. situation A second aspect is the manipulating of the situation, adapting it to the chosen position. The third aspect concerns critical distance that makes it possible to see the success or failure of this adaptation.”18

“I have never in any other space have I had such emotion than when I was inside one of these caves. It’s about thirty metres high and you have a ground, walls and a ceiling which is completely marble. It’s one thing. It is built in one go by the breaking of the earth and then it has been created into a cave. It is absolutely amazing amazing!”16

Flusser, describes how these three aspects of the gestures of photographing act sequentially to create an image, a photograph, a surface. He later goes on to describe the first aspect of the gestures of photographing, “the search for a place”. He states,

I cannot comprehend the scale of the space. The scale is beyond the frame, it moves past it. Binet, her camera, no matter how she moves, what her gestures may be, cannot fully capture the space - it is too vast.

“the situation is therefore a movement of methodical doubt, and that its structure is determined as much by the observed situation as by the apparatus as by the photographer, photographer so that any separation of the named factors must be ruled out. We can add that it is about a movement of a freedom, freedom for the gesture is a series of decisions that occur not despite but because of the determining forces that are in play.”19

When viewing the “Quarries of Marble” series for the first time, it was the scale of the quarry that appeared most consistantly to me. In his essay, “An Architecture of the Seven Senses”, Pallasmaa discusses scale and how we experience a space through it, he writes, “Understanding architectural scale implies the unconscious measuring of an object or a building with one’s body, body and projecting one’s bodily scheme on the space in question. We feel pleasure and protection when the body discovers it resonance in space.” space 17

I look again at the surfaces. The first photograph captures my attention. I look closer. I now understand the plane that Binet was shooting from, the camera is perched on the edge. There are a series of decisions, gestures at play here between, myself, the surface, the equipment and Binet. There is a pin in the ground – could this have been used as an anchoring point, a place to tether whilst searching, whilst photographing? I notice how the series of decisions taken up by Binet, these gesture, caused by the quarries surroundings have created the image in front of me. There is a gestural dance going on here between me, Binet’s camera equipment, herself, and the surface of the photographed.

As a student of architecture, I used scale as a way of understanding space. Here, I positioned myself in the surfaces of the quarry through scaling. This movement, this exchange, is a gesture I use to see, to understand, to be in a space. fig. 12 “Quarry of Marble” surface 1, large

18 Flusser, “The Gesture of Photographing”. p. 77. Emphasis mine. 19 Ibid. p. 81. Emphasis mine.

LIST OF FIGURES fig. 1

BIBLIOGRAPHY

mad architects, Hélène Binet x Chaoyang Park Plaza, Twitter, https://twitter.com/madarchitects_/ status/1013783741842354177/photo/4, [accessed May 15th, 2021]

Flusser, Vilém. “The Gesture of Making”, in Gestures, trans. Nancy Ann Roth (Minneapolis, Minnesota: University of Minnesota Press), 2014, pp. 32 – 47. Flusser, Vilém. “The Gesture of Photographing”, in Gestures, trans. Nancy Ann Roth (Minneapolis, Minnesota: University of Minnesota Press), 2014, pp. 72 – 85.

fig. 2

screenshots from: Forsythe, William. Forsythe-Lines-Avoidance-1-Introduction, Youtube, https://www.youtube. com/watch?v=cqGyFiEXXIQ, [accessed May 15th, 2021].

fig. 3

screenshots from: Forsythe, William. Forsythe-Lines-Avoidance-2-Volumes, Youtube, https://www.youtube. com/watch?v=sjqI9IfMqCo&list=PLAEBD630ACCB6AD45&index=18, [accessed May 15th, 2021].

fig. 4

screenshots from: Binet, Hélène. 2021 Geddes Fellow at ESALA, Public Lecture, “The Making of a Photograph”, January 20, 2021.

fig. 5

screenshot from: Hélène. “The Making of a Photograph”. January 20, 2021.

fig. 6

screenshot from: Hélène. “The Making of a Photograph”. January 20, 2021. image from: mad architects, Hélène Binet x Chaoyang Park Plaza, [accessed May 15th, 2021] composition: Stuart Gomes, 2021

fig. 7

screenshot from: Hélène. “The Making of a Photograph”. January 20, 2021.

fig. 8

screenshot from: Hélène. “The Making of a Photograph”. January 20, 2021.

fig. 9

screenshot from: Hélène. “The Making of a Photograph”. January 20, 2021.

Forsythe, William. Forsythe-Lines-Avoidance-1-Introduction, Youtube, https://www.youtube.com/ watch?v=cqGyFiEXXIQ, [accessed May 13th, 2021]. Pallasmaa, Juhani. “An Architecture of the Seven Senses”, in Questions of Perception: Phenomenology of Architecture, (Tokyo: E ando Yu), 1994, pp.31-3. Pallasmaa, Juhani. “The Personal Encounter Turns Architecture into Experience”, Conversation with Fenella Collingridge and Helene Binet, Walmer Yard, 26 November 2019, https://walmeryard.co.uk/journal/the-personal-encounter-turnsarchitecture-into-experience/, [accessed 14th May 2021]. Pimlott, Mark. "Hélène Binet: Photographs as Space," in Composing Space, Binet, Hélène, and Mark Pimlott (London: Phaidon), 2012, pp. 200-21. Wilson, Rob. Hélène Binet:“An image for me should never be completely defined”. Architects´ Journal, 15 February 2019. https://www.architectsjournal.co.uk/news/helene-binet-an-image-for-me-should-neverbe-completely-defined, [accessed 14th May 2021].

fig. 10 screenshot from: Hélène. “The Making of a Photograph”. January 20, 2021. fig. 11 screenshot from: Hélène. “The Making of a Photograph”. January 20, 2021.

Lecture

fig. 12 screenshot from: Hélène. “The Making of a Photograph”. January 20, 2021.

Binet, Hélène. 2021 Geddes Fellow at ESALA, Public Lecture, “The Making of a Photograph”, January 20, 2021.

fig. 14 screenshot from: Binet, Hélène. 2021 Geddes Fellow at ESALA, Public Lecture, “The Making of a Photograph”, January 20, 2021. edits: Stuart Gomes, 2021

23 Binet, “The Making of a Photograph”. January 20, 2021. Emphasis mine.

fig. 15 Cracks. “Quarry of Marble” surface 2, large

JOURNAL ENTRIES: ENTRIES: Part II

JOURNAL

CLOSE UP 05 PHOTOGRAPH IN TEXT: A CAMERA ON FOOT

JOURNAL

Anchoring Points

KEY TEXTS W.G. Sebald, ‘Chapter 1’, The Rings of Saturn, (London: The Harville Press), 1998, pp.1-26. Daub, Adrian, ‘Donner à voir – The Logics of the Caption in W.G. Sebald’s Rings of Saturn and Alexander Kluge’s The Devil’s Blind Spot’ in Searching for Sebald: Photography After W.G Sebald (Los Angeles, Calif.: Institute of Cultural Inquiry, 2007).

In his book, “The Rings of Saturn”, W.G. Sebald leads the reader, at the hand of a narrator, through a part memoir, part fiction walk through the English countryside of Suffolk. The narrator also guides us through and between moments of external

W. G. Sebald and William Firebrace, Restless Writing. AA Files , Winter 2001, No. 45/46 (Winter 2001), pp. 163-173.

references that pop up into their mind during the walk. These textual thoughts and moments along the walk are placed in relation and alongside various illustrations of overworked photographs or documentary fragments.

Patience: After Sebald, Film. Dir. Grant Gee, 2012. The images in the text, as William Firebrace describes in his essay, “Restless

FURTHER READINGS

Writing: The Work of W. G. Sebald” - where he also attempts, in moments, to write

Christina Kraenzle, Picturing Place: Travel. Potography, and Imaginative Geography in W.G. Sebald’s Rings of Saturn. in Searching for Sebald: Photography After W.G Sebald (Los Angeles, Calif.: Institute of Cultural Inquiry), 2007, pp. 126- 145.

in Sebald’s style and with text in relation to images - help to “give the works the records rather than descriptions of imaginary people and places.” places 1 air of factual records, The relationship between image and text plays an important role in “The Rings of Saturn” as supporting evidence of the themes and places discussed in

W.G. Sebald, Chapter 2 and 3 from The Rings of Saturn (London: The Harville Press), 1998, pp.27-50.

JOURNAL ENTRY 3:

W.G. Sebald, Section from ‘Chapter IV: Il ritorno in patria’ from Vertigo, translated by Michael Hulse (London: Vintage Books), 2002, pp. 171- 210.

Anchoring Points fig.9 “The Rings of Saturn” book scan

Eric L. Satner, On Creaturely Life: Rilke, Benjamin, Sebald. (Chicago and London: University of Chicago Press), 2006, pp. 261-290. 1 William Firebrace, “Restless Writing: The Work of W. G. Sebald”, AA Files , Winter 2001, No. 45/46 (Winter 2001), pp. 164-5. Emphasis mine.

fig. 11 “Quarry of Marble” surface 5

of making. I am again brought back into the quarry. There is something strange, discomforting about this space, I am transfixed by Binet’s describes of it,

fig. 13 screenshot from: Hélène. “The Making of a Photograph”. January 20, 2021. fig. 14 “Quarry of Marble” surface 4 [surface of exploration highlighted]

THE GESTURES OF MAKING A PHOTOGRAPH

16 Binet, “The Making of a Photograph”. January 20, 2021. Emphasis mine. 17 Pallasmaa. ‘An Architecture of the Seven Senses’. p.36. Emphasis mine.

In the quarry everything is so finely balanced, and the sacrifice seems so large on both humans and the earth for one material. This frailty can be seen in the crack. It is a truly precarious place. Precise, careful movements are needed to navigate and photograph it.

The gesture of reflection is the moment when the photographer stops looking. It is the point where they have found themselves, their manipulation of the surroundings and the surroundings manipulation of them ends. The search is done, the photograph has been taken. For another photograph to be taken would require a new performance of gestures: a reposition, a re-manipulating and a rereflecting. These are the gestures both making and of photographing.

20 Flusser, “The Gesture of Photographing”, p. 82-3 21 Pallasmaa. “An Architecture of the Seven Senses”, p. 34. Emphasis mine.

Throughout the document a careful consideration has been made between image and text, and the images’ relationship to one another.

14 Binet, “The Making of a Photograph”, January 20, 2021. Emphasis mine. 15 Ibid.

As I now reflect on the surfaces of the “Quarry of Marble” and the gestures of photographing and making, I find myself looking in even closer for one final time. I am drawn to the large crack in the penultimate image. An image I am almost seeing for the first time. As I look closer more cracks appear around it, however it is this dark, contrasting crack which takes my attention. I can feel its sharp edge. I wonder how deep it goes, how close it is to breaking. This perilous state is found throughout the quarry. The surface of this crack appears to embody all the other surfaces: their depth, scale, shadow and precariousness. In the first surface, the rock balances on the edge; the next, the walkway balances off the wall of marble; the hut dwarfed by the far more powerful rock above. I can finally see, experience, understand exactly the movements and gestures of photographing in such a space. I can see, understand when Binet herself reflects on the space and her experience of. She states,

“our problem is not continuous reflection; it is about deciding when to stop reflecting so as to be able to switch over to action […] reflection is a strategy and not surrender of self. self The moment the photographer stops looking into the reflecting mirror (whether real or imaginary) is the moment that will define his image [...] It will be penetrating and revealing if the photographer has chosen a good moment to stop reflecting. Reflection therefore forms part of the photographer’s search and his manipulation. It is a search for himself and a manipulation of himself. himself In fact, the search for a position belongs to the search for himself and the manipulation of the situation to the manipulation of self, and vice versa.” versa 22

fig. 4 The surface of Binet’s lecture, “The Making of a Photograph” 35

THE GESTURES OF MAKING A PHOTOGRAPH

The final aspects of Flusser’s gestures of photographing is reflection. He states,

touches the gaze implies an “But the eye also touches; unconscious bodily interaction mimesis, identification. identification Perhaps we should think of touch as the unconscious of vision. vision Our gaze strokes distant surfaces, contours and edges, and the unconscious tactile sensation determines the agreeableness or unpleasantness of the experience.”21 experience

5 Vilém Flusser, “The Gesture of Photographing”, in Gestures, trans. Nancy Ann Roth, (Minneapolis, Minnesota: University of Minnesota Press), p. 72. Emphasis mine. 6 Wilson, Hélène Binet: ‘An image for me should never be completely defined’. Architects´ Journal. Emphasis mine.

THE GESTURES OF MAKING A PHOTOGRAPH

to the sun throughout the day; and the cold parts that have been hidden by the shadows. My body, my eyes have interacted, manipulated and touched the wall of the quarry and it too has touched and manipulated me and my understanding of the space. This moment, this exchange was involuntary, my very presence alone caused it. The surface I am viewing has changed from a visual surface to a tactile one.

fig. 3 William Forsythe’s dance “Avoidance 2: Volumes”

THE GESTURES OF MAKING A PHOTOGRAPH

uniqueness of Binet’s architectural photographs. He states, “Most architectural photographers photograph the building as an architectural object […] Hélène photographs the building as her experience of it.” it 11 Binet later goes on to state, “I come from having to deal with translating the multi-sensory experience of a experience 12 Architecture is experienced and Binet has building into a visual experience.” an unique ability to capture her experience of the spaces she encounters in her photographs. “It is an incredible landscape, where you go there, you are completely seduced.

“create the best story, by combining the photographs doubt you start to to have moments where you start to doubt, question, what you project from one part of the image question into the next one and where you create this imaginary moment which is very strong.”9

The gesture of making is the harmony of two opposites. It is how these two opposites come together, the movement between left and right, that defines the whole and the gesture of making. Binet moves the equipment between her hands. Each hand, and their gestures, are responsible for the making of a photograph. It is this harmonic opposition, when the left hand holds the tripod and the right hand presses the shutter that the gestures of making photography occurs.

THE GESTURES OF MAKING A PHOTOGRAPH

fig. 5 The surfaces surrounding the surfaces of “Quarries of Marble” (highlighted), surfaces of “Bodmin Moor - A Granite Moorland” (before), surfaces of “Sergio Musmeci Ponte Sul Basento” (after)

“The book promotes an intimacy between the viewer and the object, object and promotes involvement in seeing and reading. It is only in these conditions that one is able to appreciate the picture as something more than a view: a complex construction that is bound in an intimate relation to its subject.” subject 7 Binet’s books offer a true insight into the subjects she is photographing. Due to the current situation I am writing this from, I am unable to view physical copies of Binet’s work.8 I shall instead be viewing, reading, her images through the surface of her lecture for the University of Edinburgh, “The Making of a Photograph”. This lecture, just like her books, was also carefully choreographed assemblage of her photographs in order to, in the words of Binet in her lecture “The Making of a Photography”,

Similarly, moments of key writings, like that of the essay, a serif font will be used in order to emphasise these as more grounded thoughts. The paper weight will also continue this theme with a heavy paper weight being used in this moment of the document as well.

CLOSE-UPS: on surface, gestures, and the borders of the photograph Studies in Contemporary Architectural Theory Masters of Architecture, ESALA dissertation reference: Stuart Gomes, “Sense Shifters: An Architectural Exploration into Experiencing of Multi-Sensorial Space”, MA Architecture diss., The University of Edinburgh, 2019.

END OF Part I

scarred by our interventions.

in her photographs of Peter Zumthor’s Thermal Baths in Val. In his essay, ‘Helene Binet: Photographs as Space’, Mark Pimlott describes Binet’s Val photographs as, “a series of images whose subtle variation draws the viewer into the act of looking, imagining and being.”3 A similar narrative and experience can be seen in Binet’s

Robin Schuldenfrei, ‘Images in Exile: Lucia Moholy’s Bauhaus Negatives and the Construction of the Bauhaus Legacy’. History of Photography,

[accessed 17th

nature is very violent […] what is this about?”7 The highlighted image shows a small, sheltered dwelling. The dwelling gives human scale to the image causing me to be transported into the vast space and understand its true scale, unconsciously placing myself in the Quarry. The sharp light and portrait orientation creates large verticality

In a conversation with Fenella Collingridge and Binet for Walmer Yard, Juhani

FURTHER READINGS

fig.5 Hélène Binet’s photo-books

Screenshot from: Hélène Binet, Quarry, 2013, http://helenebinet.com/photography/quarry/,

Images from: Hélène Binet, Quarry, 2013, [accessed 17th May 2021].

She states, “every year somebody is dying to produce […] marble. The impact on

as she slowly, but decisively captures key moments of it. This makes the moments

Juhani Pallasmaa 1

The Architectural Review, Hélène Binet’s angels: W Awards trophies 2020. https://www.architectural-review.com/awards/w-awards/helene-binetsangels-w-awardstrophies-2020

JOURNAL ENTRY 2: [Re]Experiencing Hélène Binet’s Carrara Quarry Experience

Images from: Hélène Binet, Peter Zumthor, http://helenebinet.com/photography/peter-zumthor/, [accessed 17th May 2021].

In her lecture, “The Making of Photography”, Binet describes how the experience of the quarry caused her to reflect on the price of marble both to nature and humans.

she captures in her photographs even more intimate and personal.

as a condition of other things.”

pletely-defined, [accessed 14th May 2021].

fig. 8

May 2021].

encountered, related to one’s body, moved about, utilised

defined’. Architects´ Journal, 15 February 2019. https://www.architectsjournal.co.uk/news/helene-binet-an-image-for-me-should-neverbe-com-

fig. 7

photographs.

with digital. With all my heavy equipment, the set-up and

a consequence of this implied action. A real architectural experience is not simply a series of retinal images; a building is encountered – it is approached, confronted,

Paula Szturc, Hélène Binet’s photo-books

consequence of this implied action.”6 Architectural images, like architecture and space itself, are encountered; we react and are moved by them. This can be seen in my viewing of Binet’s Quarry

“I think you lose the connection with the point of making

a promise of use and purpose. A bodily reaction is an inseparable aspect of the experience of architecture as

Binet, Hélène, and Mark Pimlott (London: Phaidon, 2012): 200-215 and Photographic index, 216-221

fig. 6

inseparable aspect of the experience of architecture as a

discusses why she continues to work with film, stating,

“There is an inherent suggestion of action in images of architecture, the moment of active encounter or

Mark Pimlott, “Hélène Binet: Photographs as Space,” in Composing Space,

fig. 5

a promise of use and purpose. A bodily reaction is an

There is a very personal dialogue between space and the viewer captured at a specific moment in time which can be seen in Binet’s photographs. In the article,

Hélène Binet, ‘Composing Space’, public lecture, Harvard University GSD

LIST OF FIGURES

“There is an inherent suggestion of action in images of architecture, architecture the moment of active encounter or

Hélène Binet, 2021 Geddes Fellow at ESALA, Public Lecture, ‘The Making of a Photograph’, January 20, 2021.

Vivian Maier, Self-Portraits.http://www.vivianmaier.com/gallery/ self-portraits/#slide-13 [accessed 17th May 2021]

STUART GOMES s1541557 Design Studio D, Island Territories vii: Island Temporalities

“Hélène Binet: ‘An image for me should never be completely defined’”, Binet

In the dissertation, san serif font and a light paper weight were used to communicate thoughts as writings. This document, in reference to the journal entries, that are also seen as thoughts as writing, will be communicated in the same manner too.

LOOKING, THINKING & WRITING

KEY TEXTS

Screenshot from: Cadava, Words of Light: Theses on the History of Photography. pp. 10-11. Screenshot from: Cadava, Words of Light: Theses on the History of Photography. pp. 12.

fig. 4

Caused by Binet’s act of looking and the shifting of her heavy film equipment, her movements, when making a photograph, are a performance, like a dance between her, her camera equipment and her surroundings as she attempts to capture the space around her. These gestures and movements are an essential part of her photographing process.

JOURNAL ENTRIES: PART 2

The document should be read as if a physical object. The image shows my dissertation as a handstitched object that, through its reading, enhances the experience and understanding of the subjects discussed in the document. This document is presented as the printed document, the crosses represent markings for handstitching.

Eduardo Cadava, Words of Light: Theses on the History of Photography. (Princeton, New Jersey: Princeton University Press), 1997, p. 9.

fig. 2

fig. 3

ABSTRACT

The Gestures of Making a Photograph

1. The document should be read as if a physical object. The images shows my dissertation as a handstitched object that, through its reading, enhances the experience and understanding of the subjects discussed in the document. This document is presented as the printed document, the crosses represent markings for handstitching. 2. In the dissertation, san serif font and a light paper weight were used to communicate thoughts as writings. This document, in reference to the journal entries, that are also seen as thoughts as writing, will be communicated in the same manner too. 3. Moments of key writings, like that of the essay, a serif font will be used in order to emphasise these as more grounded thoughts. The paper weight will also continue this theme with a heavy paper weight being used in this moment of the document as well. 4. Throughout the document a careful consideration has been made between image and text, and the images’ relationship to one another.

JOURNAL

LIST OF FIGURES fig. 1

ESSAY

03 04 05

fig. 15 screenshot from: Binet, Hélène. 2021 Geddes Fellow at ESALA, Public Lecture, “The Making of a Photograph”, January 20, 2021.

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CLOSE-UPS: on surfaces, gestures, and borders of the photograph

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CLOSE-UP 01 // WORDS OF LIGHT

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CLOSE UP 01 words of light KEY TEXTS

JOURNAL

CLOSE UP 01 words of light

The Death of the Photographed

KEY TEXTS

[MArch 2] AMPL DSA DSH DR

Eduardo Cadava. “Preface: Photagogós”, HISTORY, HELIOTROPISM, ORIGINS, MORTIFICATION, GHOSTS in Words of Light: Theses on the Photography of History. (Princeton, New Jersey: Princeton University Press), 1997, pp. xvi-xxx, 1-15 In his book, “Words of Light: Theses on the Photography of History”, Eduardo Cadava looks to analyse Walter Benjamin’s various discussions on photography and its relationship to history, politics and aesthetic.1 Cadava’s writing should be read as texts whose themes have a “syntactical relationship” to each other, inscribed within the motion of a “series of theses”.2 This enables the text to be read as a photographic text, as a series of fragments, snapshots derived from the material of Benjamin’s work on photography with various theses’ titles: “HISTORY”, “HELIOTROPISM”, “ORIGINS”, “MORTIFICATION” and “GHOSTS”.

FURTHER READINGS

Through viewing the texts, a moment of illumination appeared to me. In his thesis, “GHOSTS”, Cadava discusses the death of the photographed, he states,

JOURNAL

Susan Sontag, Introduction, One-Way Street and Other Writings, pp.7-42

fig.1 David Octavius Hill and Robert Adamson, Dennistoun Monument, Greyfriars Churchyard

fig.4 Vivian Maier’s photograph, “New York, February, 1955” fig.2 moment of illumination in the text

JOURNAL

LIST OF FIGURES fig. 1

fig. 2

JOURNAL

CLOSE UP 02 COMPOSING SPACE

Eduardo Cadava, Words of Light: Theses on the History of Photography. (Princeton, New Jersey: Princeton University Press), 1997, p. 9.

[Re] Experiencing Hélène Binet’s Carrara Quarry Experience

“Never in any other space have I had such emotion than when I was inside one of

In his essay, Pallasmaa discusses the phenomenological nature of architectural images, explaining how,

[…] it is absolutely amazing!”4

Vivian Maier, Self-Portraits.http://www.vivianmaier.com/gallery/ self-portraits/#slide-13 [accessed 17th May 2021]

Images from: Hélène Binet, Peter Zumthor, http://helenebinet.com/photography/peter-zumthor/, [accessed 17th May 2021].

Screenshot from: Hélène Binet, Quarry, 2013, http://helenebinet.com/photography/quarry/,

Images from: Hélène Binet, Quarry, 2013, [accessed 17th May 2021].

[accessed 17th

May 2021].

sheltered dwelling. The dwelling gives human scale to the image causing me to be transported into the vast space and understand its true scale, unconsciously placing myself in the Quarry. The sharp light and portrait orientation creates large verticality and scale in the scene. I can feel the sharp, hard edges through the photograph. The hut, dwarfed by the quarry, emphasises its fragile nature as it precariously sits under a large marble overhang. The image also conveys the large affect humans have on the landscape even through such small measures, leaving the landscape scarred by our interventions.

END OF Part I

Through viewing Binet’s work I find myself coming to similar conclusions about the human impact on the world as Binet discussed, in her lecture, “The Making of a

photographs of Carrara Quarry, Italy, 2013 which evoked strong architectural

FURTHER READINGS

fig.5 Hélène Binet’s photo-books

fig. 8 In her lecture, “The Making of Photography”, Binet describes how the experience of She states, “every year somebody is dying to produce […] marble. The impact on nature is very violent […] what is this about?”7 The highlighted image shows a small,

“Most architectural photographers photograph the building as an architectural object […] Hélène photographs the building as her experience of it.”2 This can be seen

imagining and being.”3 A similar narrative and experience can be seen in Binet’s

[Re]Experiencing Hélène Binet’s Carrara Quarry Experience

Paula Szturc, Hélène Binet’s photo-books

fig. 7

photographs.

the quarry caused her to reflect on the price of marble both to nature and humans.

Her making of a photograph causes Binet to carefully navigate and explore the space as she slowly, but decisively captures key moments of it. This makes the moments she captures in her photographs even more intimate and personal.

Juhani Pallasmaa 1

In a conversation with Fenella Collingridge and Binet for Walmer Yard, Juhani Pallasmaa describes the uniqueness of Binet’s architectural photographs. He states,

The Architectural Review, Hélène Binet’s angels: W Awards trophies 2020. https://www.architectural-review.com/awards/w-awards/helene-binetsangels-w-awardstrophies-2020

JOURNAL ENTRY 2:

Architectural images, like architecture and space itself, are encountered; we

with digital. With all my heavy equipment, the set-up and making is a bit like a performance and this moment of making is very precious. precious I don’t want to lose that.”5

a consequence of this implied action. A real architectural experience is not simply a series of retinal images; a building is encountered – it is approached, confronted, encountered, related to one’s body, moved about, utilised as a condition of other things.”

pletely-defined, [accessed 14th May 2021].

react and are moved by them. This can be seen in my viewing of Binet’s Quarry

“I think you lose the connection with the point of making

a promise of use and purpose. A bodily reaction is an inseparable aspect of the experience of architecture as

Binet, Hélène, and Mark Pimlott (London: Phaidon, 2012): 200-215 and Photographic index, 216-221 Rob Wilson, Hélène Binet: ‘An image for me should never be completely

defined’. Architects´ Journal, 15 February 2019. https://www.architectsjournal.co.uk/news/helene-binet-an-image-for-me-should-neverbe-com-

fig. 6

consequence of this implied action.”6

discusses why she continues to work with film, stating,

“There is an inherent suggestion of action in images of architecture, the moment of active encounter or

Mark Pimlott, “Hélène Binet: Photographs as Space,” in Composing Space,

fig. 5

a promise of use and purpose. A bodily reaction is an inseparable aspect of the experience of architecture as a

specific moment in time which can be seen in Binet’s photographs. In the article,

Hélène Binet, ‘Composing Space’, public lecture, Harvard University GSD March 20, 2012, https://www.youtube.com/watch?v=YkpeFr87wOo

LIST OF FIGURES

“There is an inherent suggestion of action in images of architecture, architecture the moment of active encounter or

There is a very personal dialogue between space and the viewer captured at a

Hélène Binet, 2021 Geddes Fellow at ESALA, Public Lecture, ‘The Making of a Photograph’, January 20, 2021.

“Hélène Binet: ‘An image for me should never be completely defined’”, Binet

Screenshot from: Cadava, Words of Light: Theses on the History of Photography. pp. 12.

fig. 4

these caves […] you have a ground, walls and a ceiling which is completely marble

KEY TEXTS

Screenshot from: Cadava, Words of Light: Theses on the History of Photography. pp. 10-11.

fig. 3

Photograph”, whilst visiting Carrara Quarry.

and experiential narratives. In her lecture, “The Making of Photography”, Binet

Robin Schuldenfrei, ‘Images in Exile: Lucia Moholy’s Bauhaus Negatives and the Construction of the Bauhaus Legacy’. History of Photography,

describes a very architectural space when discussing her experiences in the quarry, fig.6 Hélène Binet’s photographs of Peter Zumthor’s Thermal Baths in Val.

37: 2, 2013, 182-203.

fig.7 Hélène Binet’s photographs of the Carrara Marble Quarry as viewed on her website 1 Juhani Pallasmaa. “An Architecture of the Seven Senses”, in Questions of Perception: Phenomenology of Architecture, Tokyo: E ando Yu, 1994, p.35. 2 Juhani Pallasmaa, “The Personal Encounter Turns Architecture into Experience”, Conversation with Fenella Collingridge and Helene Binet, Walmer Yard, 26 November 2019, https://walmeryard.co.uk/journal/the-personal-encounter-turns-architecture-intoexperience/, [accessed 20th February 2021]. Emphasis mine. 3 Mark Pimlott, “Hélène Binet: Photographs as Space,” in Composing Space, (London: Phaidon), 2012, p.209.

fig.8 Hélène Binet’s photographs of the Carrara Marble Quarry

6 Pallasmaa. “An Architecture of the Seven Senses”, p.35. Emphasis mine. 7 Binet, ‘The Making of a Photograph’, January 20, 2021. Emphasis mine.

ESSAY

Task The reading journal (course diary) records your ongoing critical reflections and responses to the weekly readings and seminar discussions. You should report on these and elaborate upon the significance of some aspects of the readings for contemporary architecture and/or urbanism. Each weekly entry should be at least 500 words and it should be illustrated as appropriate.

fig.3 photograph of the “ghost” of photographer Atget

The Death of the Photographed

“Like an angel of history whose wings register the traces of this disappearance, the image bears witness to an experience that cannot come to light. The experience is the experience of the shock experience, of experience as bereavement. The bereavement acknowledges what takes place in any photograph – the return of the departed. Although what the photograph photographs is no longer present or living, its having-been-there now forms part of the referential structure of our relationship to the photograph.”3

Eduardo Cadava, Lapsus Imaginis: The Image in Ruins, October, Spring 2001, Vol. 96, pp.35-60

JOURNAL ENTRY 1: The Death of the Photographed

KEY QUOTE

FURTHER READINGS

THE GESTURES OF MAKING

A PHOTOGRAPH

THE GESTURES OF MAKING A PHOTOGRAPH

ABSTRACT

Hélène Binet is one such architectural photographer who, through the act of looking, captures her experience of an architectural space. Binet achieves as she moves and reacts in response to her surroundings in order to capture her personal experience on the surface of the photographed. This essay will explore, read, view the surface of Binet’s lecture for the University of Edinburgh, “The Making of a Photograph” and, more specifically, Binet’s “Quarries of Marble” images from Carrara in 2013. The images will first be read through the eye of a student of architecture with an interest in the experiential aspect of space, with reference to Juhani Pallasmaa. The surfaces will then be put through a series of closer readings, with reference to Vilém Flusser’s essay, “The Gesture of Photographing” and the aspects of the gestures of photographing: search for place, manipulation and reflection. This is in an attempt to get a true envisaged experience of the Carrara Quarry through Binet’s photographs, her movements and her gestures.

fig. 1 Hélène Binet making a photograph

THE GESTURES OF MAKING A PHOTOGRAPH

Binet’s books offer a true insight into the subjects she is photographing. Due to the current situation I am writing this from, I am unable to view physical copies of Binet’s work.8 I shall instead be viewing, reading, her images through the surface of her lecture for the University of Edinburgh, “The Making of a Photograph”. This lecture, just like her books, was also carefully choreographed assemblage of her photographs in order to, in the words of Binet in her lecture “The Making of a Photography”, “create the best story, by combining the photographs to have moments where you start to doubt, doubt you start to question, what you project from one part of the image question into the next one and where you create this imaginary moment which is very strong.”9 As well as drawing on the composition of the images, I will also be using her dialogue in her lecture; the opening image showing how Binet photographs; and

A photograph is a personal, unique, printing of oneself onto the surface of the photographed. It is in the making that the phenomenon is generate onto the surface. This is something Binet is aware of when, in the article, “Hélène Binet: ‘An image for me should never be completely defined’”, she says, “I think, by looking looking, you enter the images; you become part of it.” it 6 Binet’s printing of her fingerprint on a surface is seen as she touches, imprints her experience, her unique gestures and movements onto the surface of her photographs. A key way to experience Binet’s photographs, and these surfaces, is through her photobooks. In his essay, “Hélène Binet: Photographs as Space”, Pimlott discusses the dialogue between the reader and one of Binet’s books, he states, fig. 2 William Forsythe’s dance “Avoidance 1: Introduction”

fig. 8 “Quarry of Marble” surface 2

fig. 9 “Quarry of Marble” surface 3

fig. 10 “Quarry of Marble” surface 4

With the image of Binet photographing Chaoyang Park Plaza in my peripheral vision, I begin to view the surfaces of the “Quarries of Marble”:

“I carry on, this is the last image of the series, where I must say I have never in any other space have I had such emotion than when I was inside one of these caves.

10 Binet, “The Making of a Photograph”, January 20, 2021. Emphasis mine.

fig. 6 My viewing of “The Making of a Photograph” lecture and Binet’s presentation of the surfaces of the “Quarry of Marble” and Binet photographing

to have marble.”

THE GESTURES OF MAKING A PHOTOGRAPH

fig. 4 The surface of Binet’s lecture, “The Making of a Photograph” 35

THE GESTURES OF MAKING A PHOTOGRAPH

Binet clicks to the next image. I am no longer looking out of the quarry but looking in. I am faced with a heavy, vertical façade of marble with a walkway guiding my eye along its surface. The marble appears to be cracking, less orthogonal and natural compared to the harsh line of gestured destruction. I am again drawn to the scale and its vastness. I imagine that each layer must be fifteen metres high. The next image appears, I had barely had a moment to expose myself to the space. The shadow draws me in. A small hut starts to appear, caught within the shadow’s grasp. The hut is dwarfed by the vast slab above it; it is precariously positioned. I wonder how precariously the camera is positioned as it is moved to capture this moment. I hear Binet, she says, “this funny little place where they maybe measure, cut, put tools that has nothing to do with the size and power of nature and still, nature is at the risk through their will.” will 15 Her gestures of making, and narration, have captured my understanding of this moment in the photograph. The next image briefly flashes onto the screen, as if the shutter has been clicked. I only got a brief view, I appeared to be looking out again, maybe this was all the time that was allowed for photographing this moment. It was a quick gesture

fig. 11 “Quarry of Marble” surface 5

of making. I am again brought back into the quarry. There is something strange, discomforting about this space, I am transfixed by Binet’s describes of it,

When viewing the “Quarries of Marble” series for the first time, it was the scale of the quarry that appeared most consistantly to me. In his essay, “An Architecture of the Seven Senses”, Pallasmaa discusses scale and how we experience a space through it, he writes, “Understanding architectural scale implies the unconscious measuring of an object or a building with one’s body, body and projecting one’s bodily scheme on the space in question. We feel pleasure and protection space 17 when the body discovers it resonance in space.”

16 Binet, “The Making of a Photograph”. January 20, 2021. Emphasis mine. 17 Pallasmaa. ‘An Architecture of the Seven Senses’. p.36. Emphasis mine.

14 Binet, “The Making of a Photograph”, January 20, 2021. Emphasis mine. 15 Ibid.

In his essay, “The Gestures of Photography”, Flusser, describes the three aspects of the gestures of photographing, “A first aspect is the search for a place, place a position from situation A second aspect is the which to observe the situation. manipulating of the situation, adapting it to the chosen position. The third aspect concerns critical distance that makes it possible to see the success or failure of this adaptation.”18

18 Flusser, “The Gesture of Photographing”. p. 77. Emphasis mine. 19 Ibid. p. 81. Emphasis mine.

As I now reflect on the surfaces of the “Quarry of Marble” and the gestures of photographing and making, I find

Walter Benjamin, ´A Small History of Photography´ (1931 ) first English translation appeared in the collection One-Way Street and Other Writings (1978) introduced by Susan Sontag. See: Walter Benjamin, One-Ways Street and Other Writings, Transl. Edmund Jephcott and Kingsley Shorter, (London: NLB), 1978, pp. 240-257.

The final aspects of Flusser’s gestures of photographing is reflection. He states, “our problem is not continuous reflection; it is about deciding when to stop reflecting so as to be able to switch over to action […] reflection is a strategy and not surrender of self. self The moment the photographer stops looking into the reflecting mirror (whether real or imaginary) is the moment that will define his image [...] It will be penetrating and revealing if the photographer has chosen a good moment to stop reflecting. Reflection therefore forms part of the photographer’s search and his manipulation. It is a search for himself and a manipulation of himself. himself In fact, the search for a position belongs to the search for himself and the manipulation of the situation to the manipulation of self, and vice versa.” versa 22

Manipulation of the situation is a given, as is the effect of the situation on the photographer. I, as the observer of the photographing, effect the surroundings but I am also effected by them. I can see how Binet has had to adapt to her surroundings and how her surroundings have adapted to her, in a gestural performance. I view the surface of the second image: Upon understanding the manipulation, I notice that I no longer view the surface in the same light. I can feel it, it touches me. In his essay, Pallasmaa discusses the interconnection between the eye and touch, he writes, “But the eye also touches; touches the gaze implies an unconscious bodily interaction mimesis, identification. identification Perhaps we should think of touch as the unconscious of vision. vision Our gaze strokes distant surfaces, contours and edges, and the unconscious tactile sensation determines the agreeableness or unpleasantness of the experience.”21 experience fig. 13 “Quarry of Marble” surface 2, large

fig. 14 “Quarry of Marble” surface 4 [surface of exploration highlighted] 20 Flusser, “The Gesture of Photographing”, p. 82-3 21 Pallasmaa. “An Architecture of the Seven Senses”, p. 34. Emphasis mine.

22 Flusser, “The Gesture of Photographing”, p. 82-3

In his book, “Words of Light: Theses on the Photography of History”, Eduardo Cadava looks to analyse Walter Benjamin’s various discussions on photography and its relationship to history, politics and aesthetic.1 Cadava’s writing should be read as texts whose themes have a “syntactical relationship” to each other, inscribed within the motion of a “series of theses”.2 This enables the text to be read as a photographic text, as a series of fragments, snapshots derived from the material of Benjamin’s work on photography with various theses’ titles: “HISTORY”, “HELIOTROPISM”, “ORIGINS”, “MORTIFICATION” and “GHOSTS”.

THE GESTURES OF MAKING A PHOTOGRAPH

fig. 3 William Forsythe’s dance “Avoidance 2: Volumes” 5 Vilém Flusser, “The Gesture of Photographing”, in Gestures, trans. Nancy Ann Roth, (Minneapolis, Minnesota: University of Minnesota Press), p. 72. Emphasis mine. 6 Wilson, Hélène Binet: ‘An image for me should never be completely defined’. Architects´ Journal. Emphasis mine.

THE GESTURES OF MAKING A PHOTOGRAPH

fig. 7 “Quarry of Marble” surface 1

In his essay, “An Architecture of the Seven Senses”, Pallasmaa discusses the personal exchange, the gesture, between a work of art and the viewer, he writes,

You are seduced because marble is beautiful, marble reflects light, marble somehow comes to be alive with the landscape.

Flusser’s second aspect of the gestures of photographing is manipulation of situation. He states,

The gesture of making, as discussed by Vilém Flusser, in his essay, “The Gestures of Making”, are slightly different to the movements and gestures of Forsythe. Flusser states, “We have two hands. We comprehend the world from two opposing sides, sides which is how the world can be taken in, grasped, intended, and manipulated […] the world has two sides: sides a good and a bad, a beautiful and an ugly, a bright and a dark, a right and a left. left And when we conceive of a whole, we conceive of it as the congruence of two opposites. opposites Such a whole is the goal of the gesture of making.” making 4

In his essay, “The Gestures of Photography”, Flusser, explains the personal gesture that the photographer places on to the surface of the photographed. He notes,

THE GESTURES OF MAKING A PHOTOGRAPH

20 Flusser, “The Gesture of Photographing”, p. 82-3 Emphasis mine.

Eduardo Cadava, Lapsus Imaginis: The Image in Ruins, October, Spring 2001, Vol. 96, pp.35-60

fig.2 moment of illumination in the text 1 Eduardo Cadava. “Preface: Photagogós”, Words of Light: Theses on the Photography of History, (Princeton, New Jersey: Princeton University Press), 1997, pp. xix. Emphasis mine. 2 Cadava. “Preface: Photagogós”. pp. xx. Emphasis mine. 3 Eduardo Cadava. “GHOSTS”, Words of Light: Theses on the Photography of History, (Princeton, New Jersey: Princeton University Press), 1997, p.11. Emphasis mine.

Susan Sontag, Introduction, One-Way Street and Other Writings, pp.7-42

Response 01

JOURNAL 01 // THE DEATH OF THE fig.1 David Octavius Hill and Robert Adamson, Dennistoun Monument, PHOTOGRAPHED Greyfriars Churchyard

Extract from text: Vivian Maier photographed New York during a time when photography was

as a formto of technology that had the potential to register KEY IMAGES // beginning shownto beinusedscale one another

"The death, the disappearance of the moment that has just been photographed is instantaneous when caught in the snapshot light of the camera when photographing. The image, the specific moment, captured forever in the photograph will never be again, it cannot “come to light” again. We can understand and relate to a photograph through the knowledge of it “having-beenthere”, through its death."

individual perceptions of the world. Maier’s work captured the everyday; her Vivian Maier photographed New York during time when wasthe city around photographs convey how she sawaherself in the photography city and viewed beginning to be used as photography a form of technology that had the potentialbut to for register her. Here, was not done for publication, one’s own project. individual perceptions of theasworld. work captured the everyday; Maier’s work, a bodyMaier’s of work, forms an incredible portrait her of the city. Maier photographs convey howfamous she sawafter herself in the only city and the city becoming her death addsviewed to the death ofaround the photographs and her. Here, photography was notthrough done for butand forher one’s own project. their “haunting” thepublication, afterlife. She, experiences of the city, live on Maier’s work, past as a her body work, forms an incredible portrait of the city. Maier lifeofthrough her photographs. becoming famous after her death only adds to the death of the photographs and their “haunting” through the afterlife. She, and her experiences of the city, live on past her life through herthe photographs. Through understanding of the photograph “having-been-there”, I am able to create a referential structure when viewing Maier’s old photographs of the streets of New York. In her photo, “New York, February, 1955”, the gaze of her camera has Through the understanding of the photograph “having-been-there”, I am able to in a moving forever fixed this moment. Here, Maier is taking a self-portrait of herself create a referential structure when viewing old photographs of the streets mirror on a cold winter’s day Maier’s in New York. She is standing, almost ghost like within of New York. Inthe herscene. photo,Maier “NewisYork, 1955”, the her camera has the man and seenFebruary, to be slightly out ofgaze focusofwhilst the mirror, forever fixed this Here,are Maier is taking a self-portrait a moving itsmoment. surroundings perfectly sharp, adding to of theherself ghost in like existence of the artist mirror on a cold winter’s day in York. She is standing, ghost within and the death ofNew the photographed. Caughtalmost on film, it islike likely Maier would have the scene. Maier is seen to be slightly out realised of focus the whilst the mirror,This the man and could have never developed it or fully photograph. photograph its surroundings perfectly sharp, adding to itthe ghost existence of the artist beare reproduced after her death, may notlike have been produced as she would have and the death intended of the photographed. Caught on film, it or is likely Maierinwould have this is a true providing a different narrative focal point the image; never developed it or fully realised the photograph. This photograph could have death to the image. be reproduced after her death, it may not have been produced as she would have intended providing a different narrative or focal point in the image; this is a true death to the image.

JOURNAL

CLOSE UP 01 words of light KEY TEXTS

FURTHER READINGS Walter Benjamin, “Theses on the Philosophy of History’” (1940/1955) in Walter Benjamin, Illuminations, edited and with introduction by Hannah Arendt, translated by Harry Zohn (1968), (New York: Schocken Books), 1969, pp. 253-264. Walter Benjamin, ´A Small History of Photography´ (1931 ) first English translation appeared in the collection One-Way Street and Other Writings (1978) introduced by Susan Sontag. See: Walter Benjamin, One-Ways Street and Other Writings, Transl. Edmund Jephcott and Kingsley Shorter, (London: NLB), 1978, pp. 240-257. Eduardo Cadava, Lapsus Imaginis: The Image in Ruins, October, Spring 2001, Vol. 96, pp.35-60

fig.4 Vivian Maier’s photograph, “New York, February, 1955”

Susan Sontag, Introduction, One-Way Street and Other Writings, pp.7-42 fig.3 photograph of the “ghost” of photographer Atget

fig.4 Vivian Maier’s photograph, “New York, February, 1955”

fig.1 David Octavius Hill and Robert Adamson, Dennistoun Monument, Greyfriars Churchyard

Dav d Octav us H and Robert Adamson, Denn stoun Monument, Greyfr ars Churchyard

fig.3 photograph of the “ghost” of photographer Atget

photograph of the “ghost” of photographer Atget

fig.3 photograph of the “ghost” of photographer Atget

fig.4 Vivian Maier’s photograph, “New York, February, 1955”

V v an Ma er s photograph, “New York, February, 1955”

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JOURNAL ENTRIES: ENTRIES: Part I

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CLOSE-UP 02 COMPOSING SPACES CLOSE-UP 05 PHOTOGRAPHS IN TEXT: A CAMERA ON FOOT

LIST OF FIGURES fig. 1

Eduardo Cadava, Words of Light: Theses on the History of Photography. (Princeton, New Jersey: Princeton University Press), 1997, p. 9.

fig. 2

Screenshot from: Cadava, Words of Light: Theses on the History of Photography. pp. 10-11.

fig. 3

Screenshot from: Cadava, Words of Light: Theses on the History of Photography. pp. 12.

fig. 4

Vivian Maier, Self-Portraits.http://www.vivianmaier.com/gallery/ self-portraits/#slide-13 [accessed 17th May 2021]

JOURNAL

CLOSE UP 01 words of light

The Death of the Photographed

KEY TEXTS

[MArch 2] AMPL DSA DSH DR

JOURNAL ENTRIES: ENTRIES: Part I

JOURNAL

FURTHER READINGS

Susan Sontag, Introduction, One-Way Street and Other Writings, pp.7-42

fig.1 David Octavius Hill and Robert Adamson, Dennistoun Monument, Greyfriars Churchyard

JOURNAL

CLOSE UP 01 words of light

The Death of the Photographed

FURTHER READINGS

Susan Sontag, Introduction, One-Way Street and Other Writings, pp.7-42

JOURNAL ENTRY 1: The Death of the Photographed

fig.1 David Octavius Hill and Robert Adamson, Dennistoun Monument, Greyfriars Churchyard

fig.4 Vivian Maier’s photograph, “New York, February, 1955”

fig.4 Vivian Maier’s photograph, “New York, February, 1955” fig.2 moment of illumination in the text

fig.3 photograph of the “ghost” of photographer Atget

JOURNAL

CLOSE UP 02 COMPOSING SPACE

[Re] Experiencing Hélène Binet’s Carrara Quarry Experience

In his essay, Pallasmaa discusses the phenomenological nature of architectural images, explaining how,

Screenshot from: Cadava, Words of Light: Theses on the History of Photography. pp. 10-11.

Hélène Binet, 2021 Geddes Fellow at ESALA, Public Lecture, ‘The Making of a Photograph’, January 20, 2021.

Screenshot from: Cadava, Words of Light: Theses on the History of Photography. pp. 12.

Hélène Binet, ‘Composing Space’, public lecture, Harvard University GSD March 20, 2012, https://www.youtube.com/watch?v=YkpeFr87wOo

[…] it is absolutely amazing!”

“There is an inherent suggestion of action in images of architecture, architecture the moment of active encounter or a promise of use and purpose. A bodily reaction is an

There is a very personal dialogue between space and the viewer captured at a

inseparable aspect of the experience of architecture as a

specific moment in time which can be seen in Binet’s photographs. In the article,

Vivian Maier, Self-Portraits.http://www.vivianmaier.com/gallery/ self-portraits/#slide-13 [accessed 17th May 2021]

“There is an inherent suggestion of action in images a promise of use and purpose. A bodily reaction is an

Mark Pimlott, “Hélène Binet: Photographs as Space,” in Composing Space,

inseparable aspect of the experience of architecture as

Binet, Hélène, and Mark Pimlott (London: Phaidon, 2012): 200-215 and

a consequence of this implied action. A real architectural

Photographic index, 216-221

experience is not simply a series of retinal images; a building is encountered – it is approached, confronted,

Rob Wilson, Hélène Binet: ‘An image for me should never be completely

encountered, related to one’s body, moved about, utilised

defined’. Architects´ Journal, 15 February 2019. https://www.architectsjournal.co.uk/news/helene-binet-an-image-for-me-should-neverbe-com-

as a condition of other things.”

pletely-defined, [accessed 14th May 2021].

discusses why she continues to work with film, stating,

JOURNAL

CLOSE UP 02 COMPOSING SPACE

Screenshot from: Cadava, Words of Light: Theses on the History of Photography. pp. 10-11.

Hélène Binet, 2021 Geddes Fellow at ESALA, Public Lecture, ‘The Making of a Photograph’, January 20, 2021.

Screenshot from: Cadava, Words of Light: Theses on the History of Photography. pp. 12.

Hélène Binet, ‘Composing Space’, public lecture, Harvard University GSD March 20, 2012, https://www.youtube.com/watch?v=YkpeFr87wOo

There is a very personal dialogue between space and the viewer captured at a specific moment in time which can be seen in Binet’s photographs. In the article,

with digital. With all my heavy equipment, the set-up and

fig. 4

making is a bit like a performance and this moment of making is very precious. precious I don’t want to lose that.”5

JOURNAL ENTRY 2:

In a conversation with Fenella Collingridge and Binet for Walmer Yard, Juhani Pallasmaa describes the uniqueness of Binet’s architectural photographs. He states,

Vivian Maier, Self-Portraits.http://www.vivianmaier.com/gallery/ self-portraits/#slide-13 [accessed 17th May 2021]

“There is an inherent suggestion of action in images of architecture, the moment of active encounter or a promise of use and purpose. A bodily reaction is an

Mark Pimlott, “Hélène Binet: Photographs as Space,” in Composing Space,

inseparable aspect of the experience of architecture as

Binet, Hélène, and Mark Pimlott (London: Phaidon, 2012): 200-215 and

a consequence of this implied action. A real architectural

Photographic index, 216-221

experience is not simply a series of retinal images; a building is encountered – it is approached, confronted,

Rob Wilson, Hélène Binet: ‘An image for me should never be completely defined’. Architects´ Journal, 15 February 2019. https://www.architectsjournal.co.uk/news/helene-binet-an-image-for-me-should-neverbe-com-

encountered, related to one’s body, moved about, utilised as a condition of other things.”

pletely-defined, [accessed 14th May 2021].

with digital. With all my heavy equipment, the set-up and making is a bit like a performance and this moment of making is very precious. precious I don’t want to lose that.”5 Her making of a photograph causes Binet to carefully navigate and explore the space as she slowly, but decisively captures key moments of it. This makes the moments

JOURNAL ENTRY 3:

[Re]Experiencing Hélène Binet’s Carrara Quarry Experience

fig.5 Hélène Binet’s photo-books

photographs of Carrara Quarry, Italy, 2013 which evoked strong architectural

FURTHER READINGS

and experiential narratives. In her lecture, “The Making of Photography”, Binet

Robin Schuldenfrei, ‘Images in Exile: Lucia Moholy’s Bauhaus Negatives and the Construction of the Bauhaus Legacy’. History of Photography,

fig.7 Hélène Binet’s photographs of the Carrara Marble Quarry as viewed on her website

describes a very architectural space when discussing her experiences in the quarry, fig.6 Hélène Binet’s photographs of Peter Zumthor’s Thermal Baths in Val.

37: 2, 2013, 182-203. 1 Juhani Pallasmaa. “An Architecture of the Seven Senses”, in Questions of Perception: Phenomenology of Architecture, Tokyo: E ando Yu, 1994, p.35. 2 Juhani Pallasmaa, “The Personal Encounter Turns Architecture into Experience”, Conversation with Fenella Collingridge and Helene Binet, Walmer Yard, 26 November 2019, https://walmeryard.co.uk/journal/the-personal-encounter-turns-architecture-intoexperience/, [accessed 20th February 2021]. Emphasis mine. 3 Mark Pimlott, “Hélène Binet: Photographs as Space,” in Composing Space, (London: Phaidon), 2012, p.209.

she captures in her photographs even more intimate and personal.

The Architectural Review, Hélène Binet’s angels: W Awards trophies 2020. https://www.architectural-review.com/awards/w-awards/helene-binetsangels-w-awardstrophies-2020

JOURNAL ENTRY 2:

“a series of images whose subtle variation draws the viewer into the act of looking,

“I think you lose the connection with the point of making

object […] Hélène photographs the building as her experience of it.”2 This can be seen

in her photographs of Peter Zumthor’s Thermal Baths in Val. In his essay, ‘Helene Binet: Photographs as Space’, Mark Pimlott describes Binet’s Val photographs as,

photographs of Carrara Quarry, Italy, 2013 which evoked strong architectural

FURTHER READINGS Robin Schuldenfrei, ‘Images in Exile: Lucia Moholy’s Bauhaus Negatives and the Construction of the Bauhaus Legacy’. History of Photography, 37: 2, 2013, 182-203.

discusses why she continues to work with film, stating,

Juhani Pallasmaa 1

“Most architectural photographers photograph the building as an architectural

imagining and being.”3 A similar narrative and experience can be seen in Binet’s fig.5 Hélène Binet’s photo-books

[…] it is absolutely amazing!”

KEY TEXTS

fig. 2

object […] Hélène photographs the building as her experience of it.”2 This can be seen

The Architectural Review, Hélène Binet’s angels: W Awards trophies 2020. https://www.architectural-review.com/awards/w-awards/helene-binetsangels-w-awardstrophies-2020

JOURNAL ENTRY 2: [Re]Experiencing Hélène Binet’s Carrara Quarry Experience

“Never in any other space have I had such emotion than when I was inside one of these caves […] you have a ground, walls and a ceiling which is completely marble

[Re] Experiencing Hélène Binet’s Carrara Quarry Experience

“Hélène Binet: ‘An image for me should never be completely defined’”, Binet

Architectural images, like architecture an

“I think you lose the connection with the point of making

Juhani Pallasmaa 1

JOURNAL

Eduardo Cadava, Words of Light: Theses on the History of Photography. (Princeton, New Jersey: Princeton University Press), 1997, p. 9.

fig. 3

consequence of this implied action.”6

“Hélène Binet: ‘An image for me should never be completely defined’”, Binet

fig. 4

LIST OF FIGURES fig. 1

of architecture, the moment of active encounter or

fig.3 photograph of the “ghost” of photographer Atget

“Never in any other space have I had such emotion than when I was inside one of these caves […] you have a ground, walls and a ceiling which is completely marble

KEY TEXTS

fig. 2

fig. 3

fig.2 moment of illumination in the text

JOURNAL

Eduardo Cadava, Words of Light: Theses on the History of Photography. (Princeton, New Jersey: Princeton University Press), 1997, p. 9.

Through viewing the texts, a moment of illumination appeared to me. In his thesis, “GHOSTS”, Cadava discusses the death of the photographed, he states,

Eduardo Cadava, Lapsus Imaginis: The Image in Ruins, October, Spring 2001, Vol. 96, pp.35-60

LIST OF FIGURES fig. 1

JOURNAL ENTRIES: ENTRIES: Part I

JOURNAL ENTRY 1: The Death of the Photographed

Through viewing the texts, a moment of illumination appeared to me. In his thesis, “GHOSTS”, Cadava discusses the death of the photographed, he states,

Eduardo Cadava, Lapsus Imaginis: The Image in Ruins, October, Spring 2001, Vol. 96, pp.35-60

[Re]Experiencing Hélène Binet’s Carrara Quarry Experience

6 Pallasmaa. “An Architecture of the Seven Senses”, p.35. Emphasis mine. 7 Binet, ‘The Making of a Photograph’, January 20, 2021. Emphasis mine.

4 Hélène Binet, 2021 Geddes Fellow at ESALA, Public Lecture,

Anchoring Points

‘The Making of a Photograph’, January 20, 2021. Emphasis mine. 5 Rob Wilson, Hélène Binet: ‘An image for me should never be completely defined’. Architects´ Journal, 15 February 2019. https://www.architectsjournal.co.uk/news/helene-binet-animage-for-me-should-neverbe-completely-defined, [accessed 29 March 2021]. Emphasis mine.

Response 02

JOURNAL 02 // [Re] Experiencing Hélène Binet’s Carrara Quarry Experience

JOURNAL

CLOSE UP 02 COMPOSING SPACE KEY TEXTS

Extract from text:

Hélène Binet, 2021 Geddes Fellow at ESALA, Public Lecture, ‘The Making of a Photograph’, January 20, 2021.

KEY IMAGES //

Hélène Binet, ‘Composing Space’, public lecture, Harvard University GSD March 20, 2012, https://www.youtube.com/watch?v=YkpeFr87wOo

shown in scale to one another “Most architectural photographers photograph the building as an architectural object […] Hélène photographs the building as her experience of it.”2 This can be seen in her photographs of Peter Zumthor’s Thermal Baths in Val. In his essay, ‘Helene Binet: Photographs as Space’, Mark Pimlott describes Binet’s Val photographs JOURNAL as,02“a series of images whose subtle variation draws the viewer into the act of looking, imagining and being.” A similar narrative and experience can be seen in Binet’s photographs of Carrara Quarry, Italy, 2013 which evoked strong architectural and experiential narratives.

JOURNAL

The Architectural Review, Hélène Binet’s angels: W Awards trophies 2020. https://www.architectural-review.com/awards/w-awards/helene-binets“Never in any other space have I hadangels-w-awardstrophies-2020 such emotion than when I was inside one of

these caves […] you have a ground, walls and a ceiling which is completely marble

[Re] Experiencing Hélène Binet’s fig.5 Hélène Binet’s photo-books Carrara Quarry Experience

[…] it is absolutely amazing!”4 fig.5 Hélène Binet’s photo-books

Hé ène B net s photo-books

Extract from text:

FURTHER READINGS

KEY TEXTS W.G. Sebald, ‘Chapter 1’, The Rings of Saturn, (London: The Harville Press), 1998, pp.1-26.

Hélène Binet, ‘Composing Space’, public lecture, Harvard University GSD March 20, 2012, https://www.youtube.com/watch?v=YkpeFr87wOo

Daub, Adrian, ‘Donner à voir – The Logics of the Caption in W.G. Sebald’s Rings of Saturn and Alexander Kluge’s The Devil’s Blind Spot’ in Searching for Sebald: Photography After W.G Sebald (Los Angeles, Calif.: Institute of

Mark Pimlott, “Hélène Binet: Photographs as Space,” in Composing Space, Binet, Hélène, and Mark Pimlott (London: Phaidon, 2012): 200-215 and Photographic index, 216-221

Cultural Inquiry, 2007).

Patience: After Sebald, Film. Dir. Grant Gee, 2012.

journal.co.uk/news/helene-binet-an-image-for-me-should-neverbe-completely-defined, [accessed 14th May 2021].

FURTHER READINGS

KEY IMAGES //

The Architectural Review, Hélène Binet’s angels: W Awards trophies 2020. https://www.architectural-review.com/awards/w-awards/helene-binetsangels-w-awardstrophies-2020

Inquiry), 2007, pp. 126- 145. W.G. Sebald, Chapter 2 and 3 from The Rings of Saturn (London: The Harville Press), 1998, pp.27-50.

shown in scale to one another

Robin Schuldenfrei, ‘Images in Exile: Lucia Moholy’s Bauhaus Negatives and the Construction of the Bauhaus Legacy’. History of Photography, 37: 2, 2013, 182-203.

JOURNAL

CLOSE UP 02 COMPOSING SPACE

“Hélène Binet: ‘An image for me should never be completely defined’”, Binet “There is an inherent suggestion of action in images

W.G. Sebald, Section from ‘Chapter IV: Il ritorno in patria’ from Vertigo, translated by Michael Hulse (London: Vintage Books), 2002, pp. 171- 210. fig.9 “The Rings of Saturn” book scan

Eric L. Satner, On Creaturely Life: Rilke, Benjamin, Sebald. (Chicago and London: University of Chicago Press), 2006, pp. 261-290.

CLOSE UP 05 PHOTOGRAPH IN TEXT: A CAMERA ON FOOT

KEY TEXTS KEY TEXTS

KEY TEXTS

discusses why she continues to work with film, stating, 20

of architecture, the moment of active encounter or

“I think you lose the connection with the point of making

a promise of use and purpose. A bodily reaction is an

with digital. With all my heavy equipment, the set-up and

inseparable aspect of the experience of architecture as

making is a bit like a performance and this moment of

a consequence of this implied action. A real architectural

making is very precious. precious I don’t want to lose that.”5

experience is not simply a series of retinal images; a

JOURNAL

Patience: After Sebald, Film. Dir. Grant Gee, 2012.

KEY TEXTS KEY TEXTS

Juhani Pallasmaa 1

JOURNAL

“Never in any other space have I had such emotion than when I was inside one of […] it is absolutely amazing!”4

object […] Hélène photographs the building as her experience of it.”2 This can be seen

“Hélène Binet: ‘An image for me should never be completely defined’”, Binet “There is an inherent suggestion of action in images

fig.6 Hélène Binet’s photographs of Peter Zumthor’s Thermal Baths in Val.

Binet, Hélène, and Mark Pimlott (London: Phaidon, 2012): 200-215 and Photographic index, 216-221

Rob Wilson, Hélène Binet: ‘An image for me should never be completely

as a condition of other things.”

making is a bit like a performance and this moment of making is very precious. precious I don’t want to lose that.”5

Daub Ad an Donne à vo – The Log cs o he Caption n W G Seba d s R ngs o Sa u n and A exande K uge s The Dev s B nd Spo n Sea ch ng o Seba d Pho og aphy Afte W G Seba d Los Ange es Ca nsti u e o

together with fragments of drawings and calligraphy, world seem sometimes to be images of some other world, or perhaps already vanished. [The] photographs have

In his book, “The Rings of Saturn”, W.G. Sebald leads the reader, at the hand of a

The images provided a different tone to the text. It is through them that, I feel,

narrator, through a part memoir, part fiction walk through the English countryside

one can best understand and make sense of Sebald’s sometimes abrupt changes

of Suffolk. The narrator also guides us through and between moments of external

in narrative in his 58 text. The images and text work hand in hand in depicting the

references that pop up into their mind during the walk. These textual thoughts and

narrator’s experience and thoughts along their walk.

a different quality from the written word that merely

Eric L. Satner, On Creaturely Life: Rilke, Benjamin, Sebald. (Chicago and London: University of Chicago Press), 2006, pp. 261-290.

describes without providing evidence.” evidence 2

In his book, “The Rings of Saturn”, W.G. Sebald leads the reader, at the hand of a

The images provided a different tone to the text. It is through them that, I feel,

narrator, through a part memoir, part fiction walk through the English countryside

one can best understand and make sense of Sebald’s sometimes abrupt changes

of Suffolk. The narrator also guides us through and between moments of external

in narrative in his text. The images and text work hand in hand in depicting the

references that pop up into their mind during the walk. These textual thoughts and

narrator’s experience and thoughts along their walk.

moments along the walk are placed in relation and alongside various illustrations of 59 overworked photographs or documentary fragments.

The images in the text, as William Firebrace describes in his essay, “Restless Writing: The Work of W. G. Sebald” - where he also attempts, in moments, to write in Sebald’s style and with text in relation to images - help to “give the works the

The images in the text, as William Firebrace describes in his essay, “Restless

In a conversation with Fenella Collingridge and Binet for Walmer Yard, Juhani

‘The Making of a Photograph’, January 20, 2021. Emphasis mine. Pallasmaa describes the uniqueness of Binet’s architectural photographs. He states,

records rather than descriptions of imaginary people and places places.”1 air of factual records,

Writing: The Work of W. G. Sebald” - where he also attempts, in moments, to write

“Most Binet: architectural photographers the building as an architectural 5 Rob Wilson, Hélène ‘An image for mephotograph should never be completely defined’.

Architects´ Journal, 15 February 2019. https://www.architectsjournal.co.uk/news/helene-binet-anin her photographs of Peter Zumthor’s Thermal Baths in Val. In his essay, ‘Helene

image-for-me-should-neverbe-completely-defined, [accessed 29 Val March 2021].as,Emphasis mine. Binet: Photographs as Space’, Mark Pimlott describes Binet’s photographs

The relationship between image and text plays an important role in “The Rings of

in Sebald’s style and with text in relation to images - help to “give the works the

Cu u a nqu y 2007

object […] Hélène photographs the building as her experience of it.”2 This can be seen

imagining and being.”3 A similar narrative and experience can be seen in Binet’s

a sort of spirit world, like ours but located elsewhere,

overworked photographs or documentary fragments.

4 Hélène Binet, 2021 Geddes Fellow at ESALA, Public Lecture,

“a series of images whose subtle variation draws the viewer into the act of looking,

deploys them to create a disturbing atmosphere, distinct from the melancholy of the text. text The photographs,

W.G. Sebald, Section from ‘Chapter IV: Il ritorno in patria’ from Vertigo, translated by Michael Hulse (London: Vintage Books), 2002, pp. 171- 210.

moments along the walk are placed in relation and alongside various illustrations of

Juhani Pallasmaa 1

Saturn” as supporting evidence of the themes and places discussed in the text of

records rather than descriptions of imaginary people and places.” places 1 air of factual records,

the book. Firebrace later goes on to examine the illustrations closer, stating the

The relationship between image and text plays an important role in “The Rings of

images,

Saturn” as supporting evidence of the themes and places discussed in the text of the book. Firebrace later goes on to examine the illustrations closer, stating the

images,

photographs of Carrara Quarry, Italy, 2013 which evoked strong architectural

W G Seba d and W am F eb ace Res ess W ting AA F es W n e 2001 No 45/46 W n e 2001 pp 163 173

In his essay, Pallasmaa discusses the phenomenological nature of architectural

images, explaining how,

“The R ngs of Saturn” book scan

describes without providing evidence.” evidence

fig.7 Hélène Binet’s photographs of the Carrara Marble Quarry as viewed on her website

defined’. Architects´ Journal, 15 February 2019. https://www.architectsjournal.co.uk/news/helene-binet-an-image-for-me-should-neverbe-completely-defined, [accessed 14th May 2021].

fig.9 “The Rings of Saturn” book scan

with digital. With all my heavy equipment, the set-up and

encountered, related to one’s body, moved about, utilised

snapshots Sebald “appear rather ordinary, like private snapshots.

world seem sometimes to be images of some other world, or perhaps already vanished. [The] photographs have

a promise of use and purpose. A bodily reaction is an

building is encountered – it is approached, confronted,

Hé ène B net s photographs of Peter Zumthor s Therma Baths n Va .

together with fragments of drawings and calligraphy, a sort of spirit world, like ours but located elsewhere,

a different quality from the written word that merely

experience is not simply a series of retinal images; a

1 Juhani Pallasmaa. “An Architecture of the Seven Senses”, in Questions of Perception: Phenomenology of Architecture, Tokyo: E ando Yu, 1994, p.35. 2 Juhani Pallasmaa, “The Personal Encounter Turns Architecture into Experience”, Conversation with Fenella Collingridge and Helene Binet, Walmer Yard, 26 November 2019, https://walmeryard.co.uk/journal/the-personal-encounter-turns-architecture-intoexperience/, [accessed 20th February 2021]. Emphasis mine. 3 Mark Pimlott, “Hélène Binet: Photographs as Space,” in Composing Space, (London: Phaidon), 2012, p.209.

from the melancholy of the text. text The photographs,

“I think you lose the connection with the point of making

a consequence of this implied action. A real architectural

photographs of Carrara Quarry, Italy, 2013 which evoked strong architectural

discusses why she continues to work with film, stating,

W.G. Sebald, Chapter 2 and 3 from The Rings of Saturn (London: The Anchoring Points Harville Press), 1998, pp.27-50.

deploys them to create a disturbing atmosphere, distinct

of architecture, the moment of active encounter or inseparable aspect of the experience of architecture as

imagining and being.”3 A similar narrative and experience can be seen in Binet’s

JOURNAL

snapshots Sebald “appear rather ordinary, like private snapshots.

Anchoring Points

specific moment in time which can be seen in Binet’s photographs. In the article,

in her photographs of Peter Zumthor’s Thermal Baths in Val. In his essay, ‘Helene “a series of images whose subtle variation draws the viewer into the act of looking,

03 W G Seba d Chap e 1 The R ngsJOURNAL o Sa u n London The Ha v e P ess 1998 pp 1 26

There is a very personal dialogue between space and the viewer captured at a

Binet: Photographs as Space’, Mark Pimlott describes Binet’s Val photographs as,

FURTHER READINGS

these caves […] you have a ground, walls and a ceiling which is completely marble

[Re] Experiencing Hélène Binet’s Carrara Quarry Experience

“Most architectural photographers photograph the building as an architectural

Hélène Binet, ‘Composing Space’, public lecture, Harvard University GSD March 20, 2012, https://www.youtube.com/watch?v=YkpeFr87wOo

Cultural Inquiry, 2007). W. G. Sebald and William Firebrace, Restless Writing. AA Files , Winter 2001, No. 45/46 (Winter 2001), pp. 163-173.

she captures in her photographs even more intimate and personal.

as a condition of other things.”

Pallasmaa describes the uniqueness of Binet’s architectural photographs. He states,

CLOSE UP 05 PHOTOGRAPH N TEXT A CAMERA ON FOOT

as she slowly, but decisively captures key moments of it. This makes the moments

encountered, related to one’s body, moved about, utilised

In a conversation with Fenella Collingridge and Binet for Walmer Yard, Juhani

Her making of a photograph causes Binet to carefully navigate and explore the space

building is encountered – it is approached, confronted,

Hélène Binet, 2021 Geddes Fellow at ESALA, Public Lecture, ‘The Making of a Photograph’, January 20, 2021.

W.G. Sebald, ‘Chapter 1’, The Rings of Saturn, (London: The Harville Press), 58 1998, pp.1-26.

1 William Firebrace, “Restless Writing: The Work of W. G. Sebald”, AA Files , Winter 2001, No. 45/46 (Winter 2001), pp. 164-5. Emphasis mine.

image-for-me-should-neverbe-completely-defined, [accessed 29 March 2021]. Emphasis mine.

fig.10 Relationship between text and image in “The Rings of Saturn”

2 Firebrace, “Restless Writing: The Work of W. G. Sebald”,. 171. Emphasis mine.

Patience Afte Seba d F m D G an Gee 2012 60

of architecture, architecture the moment of active encounter or

1 William Firebrace, “Restless Writing: The Work of W. G. Sebald”, AA Files , Winter 2001, No. 45/46 (Winter 2001), pp. 164-5. Emphasis mine.

fig.10 Relationship between text and image in “The Rings of Saturn”

“There is an inherent suggestion of action in images

“Whilst reading chapter one, I found myself often lost within the words, not truly understanding where I was. As Firebrace describes in his essay, “It is as though the reader has been moved abruptly in a different direction. But just as he despairs of ever finding the main current of the story again, the narrative finds its former course.” Even though the images did prove, at times, help to bring my focus back to what was being discussed, it was the references to the hospital, dittoed throughout the first chapter that provided me with the strongest moments of anchorage in the text.”

W. G. Sebald and William Firebrace, Restless Writing. AA Files , Winter 2001, No. 45/46 (Winter 2001), pp. 163-173.

Rob Wilson, Hélène Binet: ‘An image for me should never be completely defined’. Architects´ Journal, 15 February 2019. https://www.architects-

FURTHER READINGS

Robin Schuldenfrei, ‘Images in Exile: Lucia Moholy’s Bauhaus Negatives and the Construction of the Bauhaus Legacy’. History of Photography, There is a very personal dialogue between space and the viewer captured at a 37: 2, 2013, 182-203.

CLOSE UP 05 PHOTOGRAPH IN TEXT: A CAMERA ON FOOT

specific moment in time which can be seen in Binet’s photographs. In the article,

Mark Pimlott, “Hélène Binet: Photographs as Space,” in Composing Space,

JOURNAL 03 //Anchoring Points

Hélène Binet, 2021 Geddes Fellow at ESALA, Public Lecture, ‘The Making of a Photograph’, January 20, 2021.

JOURNAL

CLOSE UP 02 COMPOSING SPACE

describes a very architectural space when discussing her experiences in the quarry,

Response 03

Mark Pimlott, “Hélène Binet: Photographs as Space,” in Composing Space, Binet, Hélène, and Mark Pimlott (London: Phaidon, 2012): 200-215 and KEY TEXTS Photographic index, 216-221

and experiential narratives. In her lecture, “The Making of Photography”, Binet

Re at onsh p between text and mage n “The R ngs of Saturn”

a promise of use and purpose. A bodily reaction is an

inseparable aspect of the experience of architecture as a consequence of this implied action.”6

FURTHER READ NGS

The Architectural Review, 29 March 2019, Hélène Binet: ‘I am interested in making you dream about the place’, https://www.architectural-review. com/films/helene-binet-i-am-interested-in-making-youdream-about-theplace Architectural images, like architecture and space itself, are encountered; we react and are moved by them. This can be seen in my viewing of Binet’s Quarry

Upon viewing the contents page I could not understand how all these themes could

photographs.

possibly connect, interlink or work together. The various subtitles presented to

Ch stina K aenz e P c u ng P ace T ave Po og aphy and mag native Geog aphy n W G Seba d s R ngs o Sa u n n Sea ch ng o Seba d nsti u e o Cu u a Pho og aphy Afte W G Seba d Los Ange es Ca nqu y 2007 pp 126 145

the reader under chapter one are: “In hospital”, “Obituary”, “Odyssey of Thomas Browne’s skull”, “Anatomy lecture”, “Levitation”, “Quincunx”, “Fabled creates”

In his essay, Pallasmaa discusses the phenomenological nature of architectural

inseparable aspect of the experience of architecture as a

nature is very violent […] what is this about?” The highlighted image shows a small,

consequence of this implied action.”6

sheltered dwelling. The dwelling gives human scale to the image causing me to be

transported into the vast space and understand its true scale, unconsciously placing

“Anatomy lecture” and “Levitation”, where Sebald states,

under a large marble overhang. The image also conveys the large affect humans

consciousness was veiled by the dame sort of fog as I lay in my hospital room once more after surgery late in the

scarred by our interventions.

evening.”5

W G Seba d Section om Chap e V o no n pa a om Ve tigo ans a ed by M chae Hu se London V n age Books 2002 pp 171 210 fig.12 View out the hospital window, my anchoring image.

Through viewing Binet’s work I find myself coming to similar conclusions about the Photograph”, whilst visiting Carrara Quarry.

fig.8 Hélène Binet’s photographs of the Carrara Marble Quarry

an Hé ène B net s photographs of the Carrara Marb e Quarry

fog that shrouded large parts of England and Holland on

fig.8 Hélène Binet’s photographs of the Carrara Marble Quarry

the 27th of November 1674, it was the white mist that rises from with a body opened presently after death, and which, during our lifetime, so he adds, clouds our brain when asleep and dreaming. I still recall how my own consciousness was veiled by the dame sort of fog as I lay in my hospital room once more after surgery late in the

window, had stuck strongly in my subconscious mind whilst I read the opening

3 Firebrace, “Restless Writing: The Work of W. G. Sebald”, p. 165. Emphasis mine. 4 Ibid. 5 W.G. Sebald, ‘Chapter 1’, The Rings of Saturn, (London: The Harville Press), 1998, pp.17.

fig 9 The R ng o Sa u n book

“Perhaps, as Browne says in a later note about the great

It was evident that the image at the start of the chapter, looking out the hospital chapter.

human impact on the world as Binet discussed, in her lecture, “The Making of a

the text. The most notable of these, for me, was the transition period between

the 27th of November 1674, it was the white mist that

have on the landscape even through such small measures, leaving the landscape

Photograph”, whilst visiting Carrara Quarry.

the first chapter that provided me with the strongest moments of anchorage in

fog that shrouded large parts of England and Holland on

when asleep and dreaming. I still recall how my own

The hut, dwarfed by the quarry, emphasises its fragile nature as it precariously sits

6 Pallasmaa. “An Architecture of the Seven Senses”, p.35. Emphasis mine. 7 Binet, ‘The Making of a Photograph’, January 20, 2021. Emphasis mine.

what was being discussed, it was the references to the hospital, dittoed throughout

“Perhaps, as Browne says in a later note about the great

which, during our lifetime, so he adds, clouds our brain

and scale in the scene. I can feel the sharp, hard edges through the photograph.

human impact on the world as Binet discussed, in her lecture, “The Making of a

course.”4 Even though the images did prove,, at times, help to bring my focus back to

rises from with a body opened presently after death, and

myself in the Quarry. The sharp light and portrait orientation creates large verticality

Through viewing Binet’s work I find myself coming to similar conclusions about the

of ever finding the main current of the story again, the narrative finds its former

W G Seba d Chap e 2 and 3 om The R ngs o Sa u n London The Ha v e P ess 1998 pp 27 50

nature is very violent […] what is this about?”7 The highlighted image shows a small, sheltered dwelling. The dwelling gives human scale to the image causing me to be

scarred by our interventions.

reader has been moved abruptly in a different direction. But just as he despairs

the text. The most notable of these, for me, was the transition period between “Anatomy lecture” and “Levitation”, where Sebald states,

She states, “every year somebody is dying to produce […] marble. The impact on

have on the landscape even through such small measures, leaving the landscape

E c L Sa ne On C ea u e y L e R ke Ben am n Seba d Ch cago and London Un ve s y o Ch cago P ess 2006 pp 261 290

fig.11 A list of seemingly unrelated themes

understanding where I was. As Firebrace describes in his essay, “It is as though the

the first chapter that provided me with the strongest moments of anchorage in

the quarry caused her to reflect on the price of marble both to nature and humans.

under a large marble overhang. The image also conveys the large affect humans

6 Pallasmaa. “An Architecture of the Seven Senses”, p.35. Emphasis mine. 7 Binet, ‘The Making of a Photograph’, January 20, 2021. Emphasis mine.

Whilst reading chapter one, I found myself often lost within the words, not truly

course.”4 Even though the images did prove,, at times, help to bring my focus back to

what was being discussed, it was the references to the hospital, dittoed throughout In her lecture, “The Making of Photography”, Binet describes how the experience of

The hut, dwarfed by the quarry, emphasises its fragile nature as it precariously sits

Robin Schuldenfrei, ‘Images in Exile: Lucia Moholy’s Bauhaus Negatives and the Construction of the Bauhaus Legacy’. History of Photography, 37: 2, 2013, 182-203.

encyclopaedia with no clear taxonomy.” taxonomy 3

of ever finding the main current of the story again, the narrative finds its former

and scale in the scene. I can feel the sharp, hard edges through the photograph.

FURTHER READINGS

collections of narratives, narratives an accumulation of endless detail, detail extracts from an

reader has been moved abruptly in a different direction. But just as he despairs

photographs.

myself in the Quarry. The sharp light and portrait orientation creates large verticality

As Firebrace writes in his essay, Sebald’s “books seem sometimes to be simply

fig.11 A list of seemingly unrelated themes

understanding where I was. As Firebrace describes in his essay, “It is as though the

react and are moved by them. This can be seen in my viewing of Binet’s Quarry

The Architectural Review, Hélène Binet’s angels: W Awards trophies 2020. https://www.architectural-review.com/awards/w-awards/helene-binetsangels-w-awardstrophies-2020

and “Urn burial”. A fascinating and curious series of seemingly unrelated themes.

Whilst reading chapter one, I found myself often lost within the words, not truly

Architectural images, like architecture and space itself, are encountered; we

transported into the vast space and understand its true scale, unconsciously placing

Browne’s skull”, “Anatomy lecture”, “Levitation”, “Quincunx”, “Fabled creates”

encyclopaedia with no clear taxonomy.” taxonomy 3

a promise of use and purpose. A bodily reaction is an

the reader under chapter one are: “In hospital”, “Obituary”, “Odyssey of Thomas

collections of narratives, narratives an accumulation of endless detail, detail extracts from an

of architecture, architecture the moment of active encounter or

She states, “every year somebody is dying to produce […] marble. The impact on

possibly connect, interlink or work together. The various subtitles presented to

As Firebrace writes in his essay, Sebald’s “books seem sometimes to be simply

“There is an inherent suggestion of action in images

the quarry caused her to reflect on the price of marble both to nature and humans.

Upon viewing the contents page I could not understand how all these themes could

and “Urn burial”. A fascinating and curious series of seemingly unrelated themes.

images, explaining how,

In her lecture, “The Making of Photography”, Binet describes how the experience of

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evening.”5

fig.13 Anchoring point in text

A st of seem ng y unre ated themes (contents page) bes de anchor ng po nt n text

fig.12 View out the hospital window, my anchoring image.

It was evident that the image at the start of the chapter, looking out the hospital window, had stuck strongly in my subconscious mind whilst I read the opening chapter.

fig.13 Anchoring point in text

3 Firebrace, “Restless Writing: The Work of W. G. Sebald”, p. 165. Emphasis mine. 4 Ibid. 5 W.G. Sebald, ‘Chapter 1’, The Rings of Saturn, (London: The Harville Press), 1998, pp.17.

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Brief 01 // Reading Journals

CLOSE-UP 07 MATERIAL ERRATA CLOSE-UP 08 PAINTING, PHOTOGRAPHY AND FILM

LIST OF FIGURES

fig. 9

W.G. Sebald, ‘Chapter 1’, The Rings of Saturn, (London: The Harville Press), 1998, pp.10-11.

fig. 10

scan from: Sebald, The Rings of Saturn, pp.10-11.

fig. 11

scan from: W.G. Sebald, ‘Contents’, The Rings of Saturn, (London: The Harville Press), 1998

fig. 12

scan from: Sebald, The Rings of Saturn, pp.4

fig. 13

scan from: Sebald, The Rings of Saturn, pp.16-17.

JOURNAL

CLOSE UP 01 words of light

The Death of the Photographed

KEY TEXTS

[MArch 2] AMPL DSA DSH DR

JOURNAL ENTRIES: ENTRIES: Part I

JOURNAL

FURTHER READINGS

JOURNAL

Susan Sontag, Introduction, One-Way Street and Other Writings, pp.7-42

fig.1 David Octavius Hill and Robert Adamson, Dennistoun Monument, Greyfriars Churchyard

JOURNAL

CLOSE UP 01 words of light

The Death of the Photographed

KEY TEXTS

FURTHER READINGS

JOURNAL ENTRY 1:

Through viewing the texts, a moment of illumination appeared to me. In his thesis, “GHOSTS”, Cadava discusses the death of the photographed, he states,

Eduardo Cadava, Lapsus Imaginis: The Image in Ruins, October, Spring 2001, Vol. 96, pp.35-60

The Death of the Photographed

Susan Sontag, Introduction, One-Way Street and Other Writings, pp.7-42

JOURNAL ENTRY 1: The Death of the Photographed

fig.1 David Octavius Hill and Robert Adamson, Dennistoun Monument, Greyfriars Churchyard

fig.4 Vivian Maier’s photograph, “New York, February, 1955”

[Re] Experiencing Hélène Binet’s Carrara Quarry Experience

Screenshot from: Cadava, Words of Light: Theses on the History of Photography. pp. 10-11.

Hélène Binet, 2021 Geddes Fellow at ESALA, Public Lecture, ‘The Making of a Photograph’, January 20, 2021.

Screenshot from: Cadava, Words of Light: Theses on the History of Photography. pp. 12.

Hélène Binet, ‘Composing Space’, public lecture, Harvard University GSD March 20, 2012, https://www.youtube.com/watch?v=YkpeFr87wOo

In his essay, Pallasmaa discusses the phenomenological nature of architectural images, explaining how,

[…] it is absolutely amazing!”

“There is an inherent suggestion of action in images of architecture, architecture the moment of active encounter or a promise of use and purpose. A bodily reaction is an

There is a very personal dialogue between space and the viewer captured at a

inseparable aspect of the experience of architecture as a

specific moment in time which can be seen in Binet’s photographs. In the article,

fig. 4

Vivian Maier, Self-Portraits.http://www.vivianmaier.com/gallery/ self-portraits/#slide-13 [accessed 17th May 2021]

Response 04

a promise of use and purpose. A bodily reaction is an

Mark Pimlott, “Hélène Binet: Photographs as Space,” in Composing Space,

inseparable aspect of the experience of architecture as

Binet, Hélène, and Mark Pimlott (London: Phaidon, 2012): 200-215 and

a consequence of this implied action. A real architectural

Photographic index, 216-221

experience is not simply a series of retinal images; a building is encountered – it is approached, confronted,

Rob Wilson, Hélène Binet: ‘An image for me should never be completely

encountered, related to one’s body, moved about, utilised

defined’. Architects´ Journal, 15 February 2019. https://www.architectsjournal.co.uk/news/helene-binet-an-image-for-me-should-neverbe-com-

as a condition of other things.”

pletely-defined, [accessed 14th May 2021].

discusses why she continues to work with film, stating,

with digital. With all my heavy equipment, the set-up and

Hélène Binet, 2021 Geddes Fellow at ESALA, Public Lecture, ‘The Making of a Photograph’, January 20, 2021. Hélène Binet, ‘Composing Space’, public lecture, Harvard University GSD March 20, 2012, https://www.youtube.com/watch?v=YkpeFr87wOo

JOURNAL ENTRY 4:

Vivian Maier, Self-Portraits.http://www.vivianmaier.com/gallery/ self-portraits/#slide-13 [accessed 17th May 2021]

There is a very personal dialogue between space and the viewer captured at a specific moment in time which can be seen in Binet’s photographs. In the article,

“There is an inherent suggestion of action in images a promise of use and purpose. A bodily reaction is an inseparable aspect of the experience of architecture as

Binet, Hélène, and Mark Pimlott (London: Phaidon, 2012): 200-215 and

a consequence of this implied action. A real architectural

Photographic index, 216-221

experience is not simply a series of retinal images; a building is encountered – it is approached, confronted,

encountered, related to one’s body, moved about, utilised as a condition of other things.”

pletely-defined, [accessed 14th May 2021].

discusses why she continues to work with film, stating, “I think you lose the connection with the point of making with digital. With all my heavy equipment, the set-up and making is a bit like a performance and this moment of making is very precious. precious I don’t want to lose that.”5 Her making of a photograph causes Binet to carefully navigate and explore the space as she slowly, but decisively captures key moments of it. This makes the moments

JOURNAL ENTRY 5:

she captures in her photographs even more intimate and personal.

Juhani Pallasmaa 1

In a conversation with Fenella Collingridge and Binet for Walmer Yard, Juhani Pallasmaa describes the uniqueness of Binet’s architectural photographs. He states, “Most architectural photographers photograph the building as an architectural object […] Hélène photographs the building as her experience of it.”2 This can be seen in her photographs of Peter Zumthor’s Thermal Baths in Val. In his essay, ‘Helene

The Architectural Review, Hélène Binet’s angels: W Awards trophies 2020. https://www.architectural-review.com/awards/w-awards/helene-binetsangels-w-awardstrophies-2020

Binet: Photographs as Space’, Mark Pimlott describes Binet’s Val photographs as, “a series of images whose subtle variation draws the viewer into the act of looking, imagining and being.”3 A similar narrative and experience can be seen in Binet’s

[Re]Experiencing Hélène Binet’s Carrara Quarry Experience

fig.5 Hélène Binet’s photo-books

photographs of Carrara Quarry, Italy, 2013 which evoked strong architectural

FURTHER READINGS

and experiential narratives. In her lecture, “The Making of Photography”, Binet

Robin Schuldenfrei, ‘Images in Exile: Lucia Moholy’s Bauhaus Negatives and the Construction of the Bauhaus Legacy’. History of Photography,

[…] it is absolutely amazing!”

of architecture, the moment of active encounter or

Mark Pimlott, “Hélène Binet: Photographs as Space,” in Composing Space,

2 JOURNAL ENTRY 2:

“a series of images whose subtle variation draws the viewer into the act of looking,

“Never in any other space have I had such emotion than when I was inside one of

KEY TEXTS

Screenshot from: Cadava, Words of Light: Theses on the History of Photography. pp. 10-11. Screenshot from: Cadava, Words of Light: Theses on the History of Photography. pp. 12.

in her photographs of Peter Zumthor’s Thermal Baths in Val. In his essay, ‘Helene Binet: Photographs as Space’, Mark Pimlott describes Binet’s Val photographs as,

photographs of Carrara Quarry, Italy, 2013 which evoked strong architectural

FURTHER READINGS Robin Schuldenfrei, ‘Images in Exile: Lucia Moholy’s Bauhaus Negatives and the Construction of the Bauhaus Legacy’. History of Photography, 37: 2, 2013, 182-203.

these caves […] you have a ground, walls and a ceiling which is completely marble

[Re] Experiencing Hélène Binet’s Carrara Quarry Experience

imagining and being.”3 A similar narrative and experience can be seen in Binet’s fig.5 Hélène Binet’s photo-books

Image from: Feòrag, Some oddities of Edinburgh’s High Street, [accessed 16th May 2021]

fig.3 photograph of the “ghost” of photographer Atget

JOURNAL

CLOSE UP 02 COMPOSING SPACE

fig. 2

fig. 4

making is a bit like a performance and this moment of making is very precious. precious I don’t want to lose that.”5 Her making of a photograph causes Binet to carefully navigate and explore the space as she slowly, but decisively captures key moments of it. This makes the moments she captures in her photographs even more intimate and personal.

[Re]Experiencing Hélène Binet’s Carrara Quarry Experience

fig. 18

“Hélène Binet: ‘An image for me should never be completely defined’”, Binet

“I think you lose the connection with the point of making

Juhani Pallasmaa 1

The Architectural Review, 29 March 2019, Hélène Binet: ‘I am interested in making you dream about the place’, https://www.architectural-review. com/films/helene-binet-i-am-interested-in-making-youdream-about-theplace The Architectural Review, Hélène Binet’s angels: W Awards trophies 2020. https://www.architectural-review.com/awards/w-awards/helene-binetsangels-w-awardstrophies-2020

JOURNAL ENTRY 2:

JOURNAL

Eduardo Cadava, Words of Light: Theses on the History of Photography. (Princeton, New Jersey: Princeton University Press), 1997, p. 9.

fig. 3

consequence of this implied action.”6

“Hélène Binet: ‘An image for me should never be completely defined’”, Binet “There is an inherent suggestion of action in images

Image from: Feòrag, Some oddities of Edinburgh’s High Street, https://feorag.wordpress.com/2020/08/07/some-oddities-ofedinburghs-high-street/, [accessed 16th May 2021]

fig.4 Vivian Maier’s photograph, “New York, February, 1955”

LIST OF FIGURES fig. 1

of architecture, the moment of active encounter or

screenshot from: Ella Chmielewska, “Material Errata: Warsaw Neons and Socialist Modernity”. p. 56, 62

fig. 17

“Never in any other space have I had such emotion than when I was inside one of these caves […] you have a ground, walls and a ceiling which is completely marble

KEY TEXTS

fig. 2

fig. 3

fig. 16

fig.2 moment of illumination in the text fig.3 photograph of the “ghost” of photographer Atget

JOURNAL

CLOSE UP 02 COMPOSING SPACE

screenshot from: Ella Chmielewska, “Material Errata: Warsaw Neons and Socialist Modernity”, in Mark Dorrian and Ella Chmielewska (eds) Warsaw Tracking the City, Special Issue of The Journal of Architecture, 2010. p.56.

fig.2 moment of illumination in the text

JOURNAL

Eduardo Cadava, Words of Light: Theses on the History of Photography. (Princeton, New Jersey: Princeton University Press), 1997, p. 9.

Ella Chmielewska, Shanghai, 2007.

fig. 15

Through viewing the texts, a moment of illumination appeared to me. In his thesis, “GHOSTS”, Cadava discusses the death of the photographed, he states,

Eduardo Cadava, Lapsus Imaginis: The Image in Ruins, October, Spring 2001, Vol. 96, pp.35-60

LIST OF FIGURES fig. 1

fig. 14

JOURNAL ENTRIES: ENTRIES: Part I

describes a very architectural space when discussing her experiences in the quarry, fig.6 Hélène Binet’s photographs of Peter Zumthor’s Thermal Baths in Val.

37: 2, 2013, 182-203.

Edinburgh’s Ghosted Sign

6 Pallasmaa. “An Architecture of the Seven Senses”, p.35. Emphasis mine. 7 Binet, ‘The Making of a Photograph’, January 20, 2021. Emphasis mine.

4 Hélène Binet, 2021 Geddes Fellow at ESALA, Public Lecture,

Photobook + Typophoto

JOURNAL 04 // Edinburgh s Ghosted Sign

Extract from text: In the same way the “Skarpa” sign points to the past, this sign, with it pointing hand, points to the a far different political, cultural and social time in Edinburgh, where factories were still a key staple in the centre of the urban fabric of the city. Once used to prompt the location of the wireworks, it now points to a time when Edinburgh was known as ‘Auld Reekie’, meaning Old Smokey, in reference to the thick smog from the factories and fire pits that hung over the city - an unimaginable in current day Edinburgh, pointing to an important historical moment of the city.

JOURNAL

CLOSE UP 07 MATERIAL ERRATA

KEY IMAGES //

KEY TEXTS Jacques Rancière, “The Surface of Design”, in The Future of the Image. (London: Verso), 2009, pp. 91-107.

FURTHER READINGS

CLOSE UP 07 MATERIAL ERRATA

El Lissitzky, ‘Topography of Typography’ in The Book, 1923. Frederic J. Schwartz, ‘Distraction: Walter Benjamin and the Avant Garde’ in Blind Spots: Critical Theory and the History of Art in Twentieth-Century Germany, (New Haven and London, Yale University Press), 2005. pp. 37-100.

FURTHER READINGS Olaf Peters ‘Berlin Metropolis: Art, Culture, and Politics between the wars.’ In Olaf Peters (ed) Berlin Metropolis, 1918-1933. (Munich, London, New York: Prestel, and Neue Galerie New York), 2016. pp.14-35.

FURTHER READINGS

André Tavares, The Anatomy of the Architectural Book. (Montreal and Zurich: CCA and Lars Müller Publishers), 2016.

Ella Chmielewska, “Material Errata: Warsaw Neons and Socialist Modernity”, in Mark Dorrian and Ella Chmielewska (eds) Warsaw Tracking the City, Special Issue of The Journal of Architecture, 2010

Wallis Miller, Points of View: Herbert Bayer’s Exhibition Catalogue for the 1930 Section Allemande. Architectural Histories, 2016, X(X): X, 1–22, DOI:http://dx.doi.org/10.5334/ah.221

Wallis Miller, Points of View: Herbert Bayer’s Exhibition Catalogue for the 1930 Section Allemande. Architectural Histories, 2016, X(X): X, 1–22, DOI:http://dx.doi.org/10.5334/ah.221 Walter Ruttmann, Berlin. The Symphony of a Metropolis, 1927.

fig. 19 book spreak from Lazlo Moholy-Nagy’s “Painting, Photography, Film”

JOURNAL 67

FURTHER READINGS

CLOSE UP 08 Painting, photography and film 74

KEY TEXTS KEY TEXTS

Johanna Drucker, “Stephane Mallarme’s Un Coup de Dés and the Poem and/as Book as Diagram”, Journal of Philosophy: Journal of CrossDisciplinary Inquiry, Fall 2011, Vol. 7 No.16, pp. 1-16. Marjorie Perloff, ‘Textuality and the Visual: A Response’, http://marjorieperloff.com/essays/textuality-visual/

JOURNAL

Robin Schuldenfrei, ‘Images in Exile: Lucia Moholy’s Bauhaus Negatives and the Construction of the Bauhaus Legacy. History of Photography, 37: 2, 2013, pp. 182-203.

fig. 19 book spreak from Lazlo Moholy-Nagy’s “Painting, Photography, Film”

Janet Ward, “Modern Surface and Postmodern Stimulation”, Electric Stimulations’ Weimar Surfaces: Urban Visual Culture in the 1920s Germany. (Berkeley, LA and London: University of California Press), 2001, pp. 1-43, 92-141.

book spread from Laz o Moho yNagy s “Pa nt ng, Photography, F m”

Walter Ruttmann, Berlin. The Symphony of a Metropolis, 1927. Robin Schuldenfrei, ‘Images in Exile: Lucia Moholy’s Bauhaus Negatives and the Construction of the Bauhaus Legacy. History of Photography, 37: 2, 2013, pp. 182-203.

the illustrations will make the problems raised in the text VISUALLY clear.” clear 4 In this

section it is about what you bring from one pair of illustrations into the next and

Photobook + Typophoto

how they work together, to emphasise the communicative nature of photography as a typographical material.

The pair of photographs of interest to me are the ones presented on pages 50-51: “Flock of cranes in flight” and “Flight over the arctic sea”. To best understand these

Laszlo Moholy-Nagy, Dynamic of the Metropolis. in Painting, Photography, Film. (London: Lund Humphries), 1969.

images, the photographs presented before and after this double-page layout must

JOURNAL

about what it is that I am framing but what must I frame to retain, to capture before

Edinburgh’s Ghosted Sign

fig.14 Shanghai Neons

of dynamic changes Warsaw has seen over the years. It is now, as Chmielewska

Shangha Neons

used as a tool to catalogue and document these signs so their importance to the

its disappearance.” disappearance 4 These signs formed an essential part in remembering the variety

city can be forever understood.

CLOSE UP 07 MATER AL ERRATA

JOURNAL

Chmielewska examines how the disappearance of urban stylist neon signs in the cities past. Her photographs form an important role as documentation of the neon signs and as a record of them in their urban context in Warsaw within which

the cities past. Her photographs form an important role as documentation of the

One such neon sign that Chmielewska discusses in her text is “Skarpa” which

neon signs and as a record of them in their urban context in Warsaw within which

previously formed part of the lettering above a cinema in Warsaw. The sign, as

they once existed.

Chmielewska writes, is “Deployed as an index, it points back to the past […] when

One such neon sign that Chmielewska discusses in her text is “Skarpa” which

moments that have occurred at Nowy Świat. Even now, as the sign no longer lights

previously formed part of the lettering above a cinema in Warsaw. The sign, as

up, it continues to point to the “urban choreography” that has reconstructed

Chmielewska writes, is “Deployed as an index, it points back to the past […] when

Warsaw as a city and how it has evolved post-war, through politics and socialist

it would articulate Le Corbusier’s fascination with neon light transforming the city

modernity.3

up, it continues to point to the “urban choreography” that has reconstructed

In a moment of reflection whilst photographing the empty frame, where once the

Warsaw as a city and how it has evolved post-war, through politics and socialist

“Skarpa” neon sign had stood, Chmielewska writes, “My questions are no longer

“Flock of cranes in flight” and “Flight over the arctic sea”. To best understand these

emphasise and highlight photography’s new role in society as a new, more effective

communication.”2 The whole design of the book space emphasises Moholy-Nagy’s communication

images, the photographs presented before and after this double-page layout must

way of communication over traditional means of visual representation. Photography

stance and his belief in the effectiveness of “typophoto” as a visual communication

also be examined.

has gone beyond the capabilities of the eye and “manual means of representation” through other means.1 Maholy-Nagy later goes on to discuss a new form of communication, “typophoto”.

fig. 20 “Typophoto” expressed typographically

“Typophoto” is the combination of the written and visual presentation of a the visually most exact rendering of subject, making it as Maholy-Nagy states, “the communication.”2 The whole design of the book space emphasises Moholy-Nagy’s communication stance and his belief in the effectiveness of “typophoto” as a visual communication tool.

“Typophoto” is the combination of the written and visual presentation fig. of 21a Pair of photographs on pages 50-1

highly effective when used as Photographs for Moholy-Nagy are seen as “highly

the visually most exact rendering of subject, making it as Maholy-Nagy states, “the

typographical material.” material 3 The series of photographs, presented as a narrative

communication.” communication ThePhotography, whole design 1 László Moholy-Nagy, “Introduction”, in Painting, Film,of the book space emphasises Moholy-Nagy’s 4 Moholy-Nagy, Painting, Photography, Film, p. 47. Emphasis mine. stance and his belief in the effectiveness (London: Lund Humphries), 1969. p. 7. of “typophoto” as a visual communication 2 Ibid. p.39. Emphasis mine. tool. 3 Ibid. p. 40. Emphasis mine. 2

montage of double-page layouts, seeks to highlight photography’s effectiveness as a typographical material. This section carries a lot of weight in the book, forming the greater portion of it, highlighting its importance to Moholy-Nagy. MoholyNagy, heading the section “Illustrations (some with explanations)”, writes, “I have

highly effective when used as Photographs for Moholy-Nagy are seen as “highly fig.15 “Skarpa” image in text

fig.16 “Skarpa” neon sign before and after removal

fig. 20 “Typophoto” expressed typographically

whilst providing unique distorted viewports of the world that cannot be represented

placed the illustrative material separately following the text because continuity in

typographical material.” material 3 The series of photographs, presented as a narrative

fig. 21 Pair of photographs on pages 50-1

montage of double-page layouts, seeks to highlight photography’s effectiveness as

El Lissitzky, ‘Topography of Typography’ in The Book, 1923.

a typographical material. This section carries a lot of weight in the book, forming

1 Ella Chmielewska, “Material Errata: Warsaw Neons and Socialist Modernity”, in Mark Dorrian and Ella Chmielewska (eds) Warsaw Tracking the City, Special Issue of The Journal of Architecture, 2010. p.57. Emphasis mine. 2 Ibid. 3 Ibid.

In a moment of reflection whilst photographing the empty frame, where once the fig.15 “Skarpa” image in text

fig.16 “Skarpa” neon sign before and after removal

“Skarpa” mage n text and before and after remova 4 Chmielewska, “Material Errata: Warsaw Neons and Socialist Modernity”, p.62. Emphasis mine. 5 Ibid. Emphasis mine.

the greater portion of it, highlighting its importance to Moholy-Nagy. Moholy-

4 Chmielewska, “Material Errata: Warsaw Neons and Socialist Modernity”, p.62. Emphasis mine. 5 Ibid. Emphasis mine.

placed the illustrative material separately following the text because continuity in fig. 21 Pair of photographs on pages 50-1

Frederic J. Schwartz, ‘Distraction: Walter Benjamin and the Avant Garde’ in Blind Spots: Critical Theory and the History of Art in Twentieth-Century

Pa r of photographs on pages 50-1 77

Germany, (New Haven and London, Yale University Press), 2005. pp. 37-100.

within the “Skarpa” neon sign in Warsaw whilst in Aberdeen, I am reminded of

the variety of historic, ghost-like, signs I have walked past around Edinburgh’s Old

ane Wa d “Mode n Su ace and Pos mode n Stimu ation” E ec c Stimu ations We ma Su aces U ban V sua Cu u e n he 1920s Ge many Be ke ey LA and London Un ve s y o Ca o n a P ess 2001 pp 1 43 92 141

Olaf Peters ‘Berlin Metropolis: Art, Culture, and Politics between the wars.’ In Olaf Peters (ed) Berlin Metropolis, 1918-1933. (Munich, London, New York: Prestel, and Neue Galerie New York), 2016. pp.14-35.

as it red paint and lettering no longer show what used to exist but instead live on as

is not using his camera “photographically”.6 It appears very uninteresting when presented beside the Zeppelin photograph. The image is turned ninety degrees causing the viewer to turn the book, engaging with the book space. Through the

organised planes (the camera) photography’s streamlined nature against the eye is

Edinburgh was known as ‘Auld Reekie’, meaning Old Smokey, in reference to the

thick smog from the factories and fire pits that hung over the city. This is a scene

allows the viewer to view the next pair of images in their correct orientated, as

book space.

that is almost unimaginable in current day Edinburgh but this sign, and ones like it

around the city, point to an important historical moment in the history of the city.

The book, having already been rotated ninety degrees by the previous photographs

André Tavares, The Anatomy of the Architectural Book. (Montreal and Zurich: CCA and Lars Müller Publishers), 2016. highlighted. The birds and planes, flying in different directions, creates a ‘v’ in the

thick smog from the factories and fire pits that hung over the city. This is a scene

that is almost unimaginable in current day Edinburgh but this sign, and ones like it

[turns page]

technology enabling flight for man. In the chaos of the birds (the eye) against the

Once used to prompt the location of the wireworks, it now points to a time when

Edinburgh was known as ‘Auld Reekie’, meaning Old Smokey, in reference to the

visual ability is presented.

one set of images bleeds into the next. The images look remarkably similar. The camera is an enhanced technology of the eye and the plane is the enhanced

where factories were still a key staple in the centre of the urban fabric of the city.

Once used to prompt the location of the wireworks, it now points to a time when

contrast in these images a good foundation on which to emphasis photography’s

allows the viewer to view the next pair of images in their correct orientated, as

hand, points to the a far different political, cultural and social time in Edinburgh,

where factories were still a key staple in the centre of the urban fabric of the city.

around the city, point to an important historical moment in the history of the city.

one set of images bleeds into the next. The images look remarkably similar. The camera is an enhanced technology of the eye and the plane is the enhanced

[turns page]

ohanna D ucke “S ephane Ma a me s Un Coup de Dés and he Poem and/as Book as D ag am” ou na o Ph osophy ou na o C oss D sc p na y nqu y Fa 2011 Vo 7 No 16 pp 1 16

technology enabling flight for man. In the chaos of the birds (the eye) against the organised planes (the camera) photography’s streamlined nature against the eye is

Again, the photographs are presented in the correct orientation as the images

highlighted. The birds and planes, flying in different directions, creates a ‘v’ in the

seamlessly move between one another. The photographs transition from the highest

book space.

point that photography can be viewed, in the skies, to the smallest, lowest point that can photographed at the microscopic scale. The photographs of microscopic

[turns page]

creatures can be enlarged, allowing for closer inspection, viewed in greater detail that the eye could do.

Wallis Miller, Points of View: Herbert Bayer’s Exhibition Catalogue for the 1930 Section Allemande. Architectural Histories, 2016, X(X): X, 1–22, DOI:http://dx.doi.org/10.5334/ah.221

Again, the photographs are presented in the correct orientation as the images seamlessly move between one another. The photographs transition from the highest

5 Moholy-Nagy, Painting, Photography, Film, p. 7. 6 Ibid. p.49.

fig.17 1948 map of Edinburgh showing Wire Works

fig.18 “Smith Fletcher & Co. Wirework Manufactures”, ghosted sign

6 Feòrag, Some oddities of Edinburgh’s High Street, https://feorag.wordpress. com/2020/08/07/some-oddities-of-edinburghs-high-street/, [accessed 16th May 2021].

“Sm th F etcher & Co. W rework Manufactures”, ghosted s gn Film” fig. 19 book spreak from Lazlo Moholy-Nagy’s “Painting, Photography, 71

that can photographed at the microscopic scale. The photographs of microscopic creatures can be enlarged, allowing for closer inspection, viewed in greater detail that the eye could do. 79

The ser es of ustrat ons from pages 48-53

point that photography can be viewed, in the skies, to the smallest, lowest point

fig. 22 The series of illustrations from pages 48-53

6 Feòrag, Some oddities of Edinburgh’s High Street, https://feorag.wordpress. com/2020/08/07/some-oddities-of-edinburghs-high-street/, [accessed 16th May 2021].

illustrations that Moholy-Nagy has presented in this section.

does not capture the possibilities that photography possess, the photographer

[turns page]

In the same way the “Skarpa” sign points to the past, this sign, with it pointing

hand, points to the a far different political, cultural and social time in Edinburgh,

and provide an excellent lens, through which, to view the rest of the series of

photography as a visual representation of a scene. Through this oblique view,

how photography has attempted to copy painting over the years. The photograph

The book, having already been rotated ninety degrees by the previous photographs

In the same way the “Skarpa” sign points to the past, this sign, with it pointing

These three series of images already serve as a great advertisement for photography

III flying over the ocean” and secondly, “Paris”. The first image really captivates

photography.5 The second image is scrutinised by Moholy-Nagy and emphasises

visual ability is presented.

fragments of it. Dating to the early part of the 1900s6, this sign is located at the top of Old Assembly Close, just off the Royal Mile.

Moholy-Nagy opens this section with two vastly different images, first, “Zeppelin

photography can be seen moving away from painting. The oblique view is

contrast in these images a good foundation on which to emphasis photography’s

as it red paint and lettering no longer show what used to exist but instead live on as

fragments of it. Dating to the early part of the 1900s6, this sign is located at the top

highlighted by Moholy-Nagy in his introduction as a key distinguishing attribute of

causing the viewer to turn the book, engaging with the book space. Through the

of the historic fabric of Edinburgh’s Old Town. It’s paint is beginning to show its age

of Old Assembly Close, just off the Royal Mile.

JOURNAL

how photography has attempted to copy painting over the years. The photograph

presented beside the Zeppelin photograph. The image is turned ninety degrees

just that. Painted directly onto the sandstone walls of the close, the flat sign is part

of the historic fabric of Edinburgh’s Old Town. It’s paint is beginning to show its age

illustrations that Moholy-Nagy has presented in this section.

photography.5 The second image is scrutinised by Moholy-Nagy and emphasises

is not using his camera “photographically”.6 It appears very uninteresting when

Manufactures”, with a white, graphic hand pointing to the right, into the close does

just that. Painted directly onto the sandstone walls of the close, the flat sign is part

and provide an excellent lens, through which, to view the rest of the series of

photography as a visual representation of a scene. Through this oblique view,

does not capture the possibilities that photography possess, the photographer

Town. This sign, with its white lettering reads, “Smith Fletcher & Co. Wirework