Kat - Tech

_the performing garden and the Ophelian Order

a study of flora and texiles as a casting formwork for concrete within a narrative-driven programme

Katherine Ramchand _UG03 ENVS3046 Technical Dissertation

Design Tutors_figeneia Liangi and Daniel Wilkinson

Technical Tutors_Jason Coe and David Storring

_abstract _the performing garden and the Ophelian Order.

This technical dissertation positions itself within a crucial year in the buildings lifetime; it’s Grand Opening at the Festival of Agatha in the Sicilian city of Catania and the successive one.

In this year, the building will go through a series of stages of growth and decay, mirroring the changes of the seasons: the Festival//the seedling the spring bloom the death of spring//the bloom of summer the death of summer//the winter the Relic//memory

It will do this by the means of the Fabric Facade, embedded with Earth and seasonal seeds. This technical will assess how to design such a Facade specific to the climate of Catania as such that the Facade will grow and decay with the seasonal changes.

The Festival of Saint Agatha is an annual event in the Sicilian city of Catania. Citizens carry her remains(Relic) through the City, telling her story along the way.

P1: Ophelia was a 1:1 fabric depiction of the character from Shakespeare’s Hamlet which address wider concerns on issues such as female sexuality. She was laid to rest within flora and fauna(drowned! O’ where?) to become the flowers that she sang of(metaphors for her turmoil) in her madness(liberation?)

The building is one of storytelling. It tells the stories of both of these protagonists, among others, addressing female sexuality.

0.0_Abstract

1.0_Programme

1.1_Project1_anintroductiontofabricandEarth//Ophelia

1.2_theOphelianOrder_designaimsandintentions

1.3_theGardenofPerformance//programme

2.0_Catania

2.1_map_CataniaandItaly

2.2_sitemap_1:1000_theSanBerilloDistrict//redlight district

2.3_social benefits of flora and fauna within a urban landscape

2.4_geography_abriefhistoryofCatania

2.5_why earth?

2.6_relationship with wildlife

3.0_Climate

3.1_monthlyaveragetemperatures//dailysunlight

3.2_passve solar design//benefits of vertical land

scaping within an urban landscape

3.3_shadow studies

_03Februarymidday

_04Aprilmidday

_01Julymidday

_05Octobermidday

3.4_rainfall

9.0_water irrigation

9.1_casestudy_rainfallcollection

9.2_casestudy_dripirrigationsystems

9.3_plan 1:200_the fluctuating water core of the buil ding

9.4_diagram_exploded layers of the wall with irriga tion

9.5_the low down//irrigation

9.6_1:20 section of water irrigation strategy

9.7_transpirative walls

10.0_construction

10.1_who is sewing the building?_the luccioles

10.2_map_localmaterialsources

10.3_constructionsequence

10.4_section//sectionalplanofcastingprocess

10.5_detail1:10_concretecastagainstearth//fabric wall

10.6_concrete wall after earth has deteriorated

11.0_realisations//overall proposal

11.1_final plans

11.2_final section

11.3_time drawing

12.0_conclusion

_monthlyprecipitation

_water run off on site

4.0_Materiality

4.1_fabriccharacteristics

4.2_seasonal plant characteristics_water, sunlight and shadingrequirements

4.3_concretecharacteristics

5.0_understanding growth and decay

5.1_Ophelia

5.2_Initialfabricstudies

5.3_results_decaytimeforeachfabric

5.4_timeline_seasonalchangesinCatania

5.5_lumpylump//theimportanceoforientationfor sunlightrequirements

5.6_layersoffabricrequired

_layer1

_layer2

_layer3

_layer4

5.7_yeartimetableoffabricfacade

6.0_the integrated column//Droopy-droop

6.1_1:20modelprocess

6.2_1:10sectionofdetail//constructionprocess

7.0_the Memory facade_a 1:1 study of fabric casting formwork

7.1_ the spring wall

7.2_the summer wall

7.3_process_castingtechnique

7.4_the winter wall_the relic//casted memory

7.5_1:20 section//elevation_wall in the the begin ning//February

7.6_1:20 section//elevation_wall during showing plant growth_//April

8.0_on-site casting

8.1_case study 1_Patrick Blac//green walls

8.2_case study 2_Wall One//fabric formwork

8.3_test a_1:20 casted wall with temporary timber structure

8.4_casestudy3_AnneHoltrop//usingearthasa

formwork

8.5_test b_1:20 casted wall with temporary earth structure

Project 1 was a 1:1 construction of the female form, made from fabric and earth. The idea behind this was to create a figure that would both decay and grow, representational of the literal and the poetic. Ophelia, in her death, would become one with nature. How the seeds embedded within her textile body would behave and the deterioration of the fabric remained speculative by the project’s end. This technical study will eradicate the speculation, and test the relationship between textiles and earth. This will be by both monitoring Ophelia, who’s been laid to rest within the wilderness, and investigating different fabrics and seeds. From this, I will continue to explore this materiality architectural potential; how a building could decay and blossom and reveal and narrate.

The Classical orders set the standards for beauty, harmony and strength for European architecture, with their basis being on the proportions on the human body, as well as references to nature. I believe that their interpretation of both the human form and nature is untrue. They ignore body language; the human form is static. The Ophelian order addresses sexuality and self-expression. The Ophelian Order is anthropomorphic and narrative driven; the building is a performance in itʼs own right. It will both decay and grow. The Ophelian Order is representational of both the realities of the bodyʼs relationship with space, and is a surreal experience.

The building will host a series of theatre and cinema spaces, with the purpose of promoting self expression and freedom. The building will tell the tale of Agatha, the patron saint of Catania, through itʼs architectural details, which will be representational of her and other characters within the story. The building becomes the protagonist.

_the Ophelian Order

230_ Agatha born into a noble Christian family

250_Agatha is imprisoned

_the tale of the Undecipus and the Crimson night

_the Witch Builds the House for Agatha

_Agatha’s breast’s get cut off // house has a roof

251_ Agatha dies from her tortures, on the 5th Febuary

3RD - 5TH FEBUARY ANNUALLY: the Festa di Sant’Agata _the anniversary of her death

1669_ the city is covered in Lava//ETNA GETS MAD

_the Breast domes become ballons// the Undecipus and the Good Witch escape the destruction.

1693_ Earthquake hits Catania// the city is rebuilt in the Baroque

the San Berillo District is born, and the Wizard starts his brothel buisness, kidnapping fireflies

1812_the Mafia is born

1958_ Brothels in San Berillo are closed under law, the neighbourhood continues to be a refuge for delinquency and prostitution.

1970_ Agatha is reborn within the heart of the Red Light Distict, turns the house into a safe house for the fireflies// the Undecipus frees fireflies from their jars.

GRAND OPENING OF THE GARDEN OF PERFORMANCE_ opens in accordance with the festival, the procession travels though the site.

JUNE_ flowers blossom, fabric begins to rot.

SEPTEMBER_ the fabric has completely deteriorated, the casted concrete is exposed.

source: http://www.saintagathafoundation.org

the programme is based on the Patron Saint of Catania, Agatha.The Festival of Saint Agatha is the most important religious festival of Catania, Sicily. from the 3rd to the 5th of February the effigy of Saint Agatha, known as a vara, is carried and followed in procession. The building tells her story.

_overview of story

250AD: The Roman’s torture Agatha by rolling her in the broken mosaics, which told the stories of the people of Catania. She is thrown back into prison cell with the mosaics still embedded in her back. The Sparrow comes to help with the Good Wicth and the Undecipus(the 11-legged octopus). They devise a plan to save both Agatha and the lost stories. The Undecipus hides in an olive jar and the Witch gives the jar to the prison night-guard as a gift. Once inside the prison, the Undecipus opens the jar from the inside and sneaks into Agatha’s cell. He then used his suckers to extract the mosaics from her back. Returning, they find that the mosaics are stained with Agatha’s blood. The Witch and the Undecipus set on a pilgrimage to the fresh water springs of Mount Etna, the only way to cleanse the blood and save the stories. They meet Ophelia there, who cuts her finger off in madness.

Good Witch builds a house out of the moasics for Agatha’s return. When Agatha’s breasts are cut off, the Good Witch turns them into roofs for the house. She also makes a Monstrance from Ophelia’s finger. Her and the Undecipus are in love, and they look after the house. Because they are magical, they live eternal lives.

251AD: Agatha dies. She has multiple lives as a Martyr, but doesn’t return to Catania in her new life till the year 1973, born under Mafia rule and within the heart of the Red Light District.

11 March 1669: Catania was destroyed by the eruption of Mount Etna. To save the house, Agatha’s breasts act like balloons and float over the city. The Undecipus likes the view, so they decide to stay.

1973 onwards: The Wizard(pimp and drug dealer) traps the Luccioles(the derogatory term used in Italy to refer to prostitutes), the Fireflies in old Castelvetrano olive jars. He transforms them into women and sells their bodies in the nighttime. When Agatha did come back she decided to make a haven out of her floating house for the Fireflies in Catania. The Undecipus would go to San Berillo and open the jars so they could escape and fly to the house. This was great because the Wizard was very scared of heights. The fireflies dance in the house, and you can see them shining beneath Agatha’s breasts. Her flesh domes glowed red. They don’t call it the Red Light District for nothing.

_Catania lies under the shadow of mount etna. volcanic eruptions destroyed most of the city , the most prominent in 1669, it was covered in lava. this was shortly followed by an earthquake n 1693. the city was rebuilt in Baroque.

_Sicilian Baroque is the distinctive form of Baroque architecture which evolved on the island of Sicily, off the southern coast of Italy, in the 17th and 18th centuries. the architecture is flamboyant and theatrical, and richly ornamented by sculpture with an effect known as chiaroscuro, the strategic use of light and shade on a building created by mass and shadow. it is particually successful in Catania because they used lava stone as a building material, which is a dark grey, and ornmented with limestone, creating the desired high contrast.

_this map shows where Catania is in relation to the rest of Italy. it is an ancient port city on Sicilyʼs east coast. It sits at the foot of Mt. Etna, an active volcano. Sicily, the largest Mediterranean island, is just off the toe of Italyʼs boot.

_over 2,500 years, Sicily has had many cultural impressions: Phoenicians, Greeks, Romans, Byzantines, Arabs, Normans, French, Germans, Spanish, Italians and even British. this has given the island a rich history and landscape.

_many of the facades I saw were sexually espressive; women masterbating, couples making love, general nudity. this is celebrated in Catania.

_we visited two cities, Catania and Palermo, however, I was captivated by the romance of Catania.

_when I was looking at the representation of the female form in project 1, I found that within past and current society female sexuality is rendered as a symbol of shame. I found that male genitalia is depicted very honestly, while women are ‘Barbie doll blank’. this was also true in the depictions of women in catania.

CATANIA

_this map shows where Catania is in relation to the rest of Italy. it is an ancient port city on Sicilyʼs east coast. It sits at the foot of Mt. Etna, an active volcano. Sicily, the largest Mediterranean island, is just off the toe of Italyʼs boot.

_over 2,500 years, Sicily has had many cultural impressions: Phoenicians, Greeks, Romans, Byzantines, Arabs, Normans, French, Germans, Spanish, Italians and even British. this has given the island a rich history and landscape.

_we visited two cities, Catania and Palermo, however, I was captivated by the romance of Catania.

CATANIA

_moments surrounding the site

_the

site_scale 1:1000

_the san berillo district

_the site is within the heart of the old San Berillo District. the buildings surrounding it have fallen into disrepair, however there is a community project in the small piazza with a bar, wall murals and vertical garden filled with rows of succulents in makeshift planters. the site itself is home to the shell remains of old town houses. the town houses surrounding are home to the outcasts of the city.

_3.0_construction and materiality

_the san berillo district_buildings in disrepair _the site

_East elevation of site_1:500

_West elevation of site_1:500

_there are tall town houses on each side of the site, with building heights as high as 15m.

_2.3

Urban-scale benefits of vertical green landscaping

Reductionofurbanheatislandeffect Improvedairquality//thesiteissituatedintheheartofthecity Psychological impact on the inhabitants// the site is within the run-down red light district, the plants will make the site more approachable and welcome to the public. Providingbiodiversityandcreatinganimalhabitats. Sound deadening// the building will host a series of performative/theatre spaces, it is important that there is some sound proofing.

Building scale benefits of vertical green landscaping

Improvement of the building energy efficiency// the building will not need air conditioning in the summer nor heating in the winter. Internal air quality, air filtration and oxygenation Health benefits Envelopeprotection Interiornoisereduction

Much of Sicily is mountainous and hilly. Catania, the second largest city, lies on the east coast facing the Ionian Sea, and at the foot of mount Etna. The city was destroyed by a series of earthquakes in 1169. It was again destroyed by a volcanic eruption in 1693.

The city was rebuilt in the baroque, using lava stone as a building material. The streets are paved with lava stone. Mount Etna has been with as curse and a blessing; the volcanic ashes produce fertile soil. Many of the flora and fauna seen in Catania was introduced over time by the arrays of invading powers that settled there:

Greeks_ vines, olives and figs

Arabs_ dates, lemons and almonds

Spanish_ tomatoes, oranges.

Romans_ various grains.

Catania is the most fertile of all the regions in the island due to Mount Etna. Additionally, because of Sicilyʼs moderate climate, many flora, fauna and herbs will thrive.

_casting with a temporary timber formwork and hung fabric

I will be using earth as a formwork for casting concrete.

Even though the island’s weath originated it’s wealth from the feritily of it’s land, much of the city is eradicated of it. The site is within the derelict Red Light District, which is currently going under regeneration. One of the schemes to make the area more approachable and welcoming was the introduction of urban landscaping (see left).

However, as you can see, these are all potted, attached to the existing urban-scape. Therefore I want my design to intergrate earth as an intergral building material.

source: http://anotherspace.dk

There are over 100 species of birds to be found in the Etna region. However, most are not attracted to the urban landscape of central Catania; the location of the site.

There are over 100 species of birds to be found in the Etna region. However, most are not attracted to the urban landscape of central Catania; the location of the site.

There are 3 main birds found within the city:

There are 3 main birds found within the city:

_Gull

_Gull

_Italian Sparrow _Pigeons

_Italian Sparrow _Pigeons

There are also many stray cats and dogs to be found within the city.

There are also many stray cats and dogs to be found within the city.

There are over 100 species of birds to be found in the Etna region. However, most are not attracted to the urban landscape of Central Catania; the location of the site. There are also many stray cats and dogs.

The flora and water reservior(in the summertime) will help to re-introduce much needed biodiveristy within the city center.

with wildlife

with wildlif

The location places it directly in the middle of the Mediterranean climate zone, which only covers 2% of the Earth’s surface. The Mediterranean climate is characterized by moderate temperatures, wet winters and dry summers. During the summer the subtropical highs keep the precipitation levels low by suppressing cloud development and precipitation, and the winters are wet. With such a sharp variation in precipitation during the year, developing a water irrigation strategy is vital within this technical study.

Sicily’s temperature is moderated by the warm Mediterranean sea, was well as it’s proximity to the equator. It is relatively mild all year round, meaning my only concern will be at the peak of summertime, to provide aqequate solar shading for some of the plants, as well as shading for water irrigation to prevent loss through evaporation.

Summer benefits: Vertical landscaping is a proven method for reducing ambient air temperature, lowering temperatures at street level by as much as 5 degrees celsius. The vegetation obstructs, absorbs and reflects a high percentage of solar radiation.

Plant leafs can be 1 degree lower than the ambient temperature. Damp surfaces like grass, earth, and concrete can be 2 degrees or more.

This is highly beneficial for a mediterranean climate such as Catania, which can suffer unbearable temperatures as high as 32 degrees celsius in the summertime. Leaves take advantage of solar radiation, permitting air to circulate between plant and the building, creating a ‘chimney effect’ by the means of transpiration.

The facade should reduce the buildings internal temperature to a maximum high of 17 degrees celsius in the peak of summertime// a comfortable temperature.

Winter benefits: heat loss can be reduced by as much as 30%.

_this is a section @ 1:20

the fl ora has began to bloom and the fabricʼs detrioration _3.2 passve solar design//benefits of vertical landscaping within an urban landscape

er textiles, such as linen, will have already began to mould.

The main feature of the building is plants embedded into the exterior walls.

I have chosen these specific dates as they are important ones for both my building and the seasonal changes within Catania:

03 February: the Grand Opening//Fiesta d’Agatha

- mild and wet

01 April: the first bloom of the year//Springtime

- warm and wet

01 July: the height of Summer

- hot and dry

05 October: the beginning of Winter//death of summer flowers// cross-seaonal live on.

- mild and wet

The site is surrounded by tall town houses, which vary in height from 9 to 15 meters tall, so overshadowing inbetween the months of October to February is to be considered. Overall, the site has good solar access//exposure.

To gurantee a florishing Facade throughtout the year plants used must require:

Spring: partial shade and full sun

Summer: full shade, partial shade, and full sun

_3.0_construction and materiality

JAN FEB MARAPR MAY JUNJUL AUG SEPTOCT NOV DEC 80mm50mm40mm40mm20mm10mm10mm10mm40mm70mm100mm90mm

indrainagerun-offtravelstowardscoast theeast

Catania’s mediterranean climate means wet winters and dry summers. It’s typology is hilly, as it as at the foot of mount Etna. It is also on the coast, and the drainage of the city travels there. The typical water run off of urban areas are:

30% evapotranspiration

55% runoff

10% shallow infiltration

5% deep infiltration

Green walls can reduce runoff by as much as 80%, which will particulary useful for the months of January, October and December.

Particulary little rainfall is seen in the months of June, July and August. It is crucial that there is assisted water irrgation methods in place for this timeframe.

_I decided to uses only natural fibres within my building, due to the nature I want it’s lifecycle to take hold. Animal, vegetable and mineral sunstances all provide the raw material for cloth. Because I want the building to decay and grow, it is important that the textiles used are biodegradble and non-toxic.

_I decided to uses only natural fibres within my building, due to the nature I want it’s lifecycle to take hold. Animal, vegetable and mineral sunstances all provide the raw material for cloth. Because I want the building to decay and grow, it is important that the textiles used are biodegradble and non-toxic.

_I decided to use only natural fibres within my building, due to the nature I want its lifecycle to take hold. Animal, vegatable and mineral substances all provide the raw material for cloth. Because I want the building to decay and grow, it is important that the textiles used are biodegradable and non-toxic.

_cotton fibre grows as a puff, protecting the seeds of the cotton plant. Magnified cotton has a ribbon-like apperence and is of fairly uniform thickness. Cotton fibres range from in length from 13mm to

Untreated cotton has little resliency. However, it’s normally high strength increases when wet.

_a moth lays eggs that after an incubation period, hatch into tiny, hungry, silkworms. Within a month, each worm eats thousands of times it’s weight in mulberry leaves, growing rapidly and shredding it’s skin several times. It then spins it’s cocoon.

If allowed to continue the cycle, the worm transforms itself into a moth, which emerges from the cocoon to mate and lay more eggs. If the cocoon is to be used for silk, however, the worm is baked and dried in it’s blanket, and the fine protein fibre is unreeled in a continuous filament, which may be from 450m to 1200m long. A stiff natural gum called sericin is boiled away, and silk filaments are combined to form very fine threads.

Silk is extremely strong, aborbent, warm, resilient, and highly elastic.

_linen is made from the fibrous stalk of the flax plant. By a process developed at the dawn of civilization, the outer woody portion of the stalk is rotted away, leaving long, soft, strong fibres composedof cellulose.

The magnfied fibre has a jointed structure similar to that of a bamboo, and the thickness may vary widely. Length ranges from 125mm to 510mm.

It is extremely durable and able to withstand high temperatures. It is however subject to wear and tear along edges and creases.

_when wool is subjected to heat and pressure, fibres interlock and hold together, creating wool’s felting ability.

_wool is considered one of nature’s masterpieces. Made from the fuzzy coat of sheep, it pocesses many unique properties. The wool fibre, which varies in length from 38mm to 380mm, has a natural crimp that facilitates the spinning of yarns and increases it’s elasticity.

The protein molecule that wool is composed of is spiral, which cpntriutes to it’s great resiliency, loft, and shape-keeping ability.

The surface of wool tends to shed water.

_iterfacing is typically used to shape detail areas in a garment. This water-soluble creative interfacing can be versatilely used as support material, for stabilising. It is made of 100% polyvinyl alcohol(PVA), and immediately dissolves at the touch of water.

_creative interfacing

lobularia maritima//violet queen

March//early April late April//maysouth-facing east-facing

March June

gladiolusJuly August

_4.2

south-facing west-facing

east-facing

full sun well-drained petroselinum crispum//curly parsley

clematis July August

shade

south-facingfull sun well-drained

south-facing west-facing

east-facing north-facing

July//AugustOctober// November south-facing west-facing east-facing

partial shademoist but welldrained

partial// full shade moist but welldrained acidanthera// peacok orchid

tritelela July//AugustOctober// November south-facing west-facing

east-facing

liatris purpleJuly//AugustOctober// November

full sun moist but welldrained

Each layer of fabric will have earth and seeds embedded within it. Each layer of facade and the placement of the seeds will be carefully designed to the time textiles take to decay and when the seeds are in season. The facades will be specific to:

-time

-the climate of catania//seasonal changes

-at the building scale//sunlight orientation//water requirements

As each layer is revealed, it is important that the seeds embedded within are appropriate for the weather at the time of year and it’s sunlight and moisture requirements. I began by carefully selecting the plants that will inhabit my building to achieve this rich biodiversity.

there are three categories:

spring bloom

summer bloom

late summer//cross-seasonal bloom

full sun well-drained

within these three categories I have provided a variation of sunlight requirements, so that the south, west, and east and north facing walls have a equal distribution of flora and fauna. I have chosen plants with similiar water//moisture requirements to simplify irrigation requirements. I have also chosen them for their aesthetic appeal.

partial shadewell-drained oxalis deppeiJuly//AugustOctober// November south-facing west-facing east-facing

partial// _seasonal plant characteristcs_water, sunlight and shading requuirements

full shadewell-drained

shade shade

The walls of my building will be made of on-site casted concrete.

General benefits of using concrete:

-Strength and Durability.

-Versatility.

-Low maintenance.

-Affordability.

-Fire-resistance.

-Thermal mass.

-Locally produced and used.

-Albedo effect//reflective qualities of concrete means more light is reflected and less heat is absorbed, resulting in cooler temperatures, reducing the urban heat island effect.

Benefits of using concrete specific to my building:

_I decided to uses only natural fibres within my building, due to the nature I want it’s lifecycle to take hold. Animal, vegetable and mineral sunstances all provide the raw material for cloth. Because I want the building to decay and grow, it is important that the textiles used are biodegradble and non-toxic.

Concrete is a highly disverse casting material. It can hold the memory of textures, shapes, and craft. The building is about capturing the romance of Catania. The romance of memory and storytelling; from the Relic of Saint Agatha, the Catacombs, to it’s rich history of various settler’s and cultures.

The concrete walls that will remain after the Fabric Facade has completely deteriorated will hold the negative memory of the tapestry.

The building, like Agatha, will become a Relic.

_this chapter is about determining the rate of decay of each fabric, so that I can design the Fabric Facade as such so that it decay’s cocurrently with the various seed’s germination, growth, and decay times. This was carried out by both:

monitoring the decay of Ophelia//P1 outdoors in Reading, west of London over a periosd of two months//February-April

monitoring test fabric pouches inside within a controlled envrionment, where water, sunlight exposure and temperature could be controlled to more accurately reflect the weather conditions of Catania .

Drown’d! O, where?

There is a willow grows aslant a brook, That shows his hoar leaves in the glassy stream. There with fantastic garlands did she come Of crowflowers, nettles, daisies, and long purples, That liberal shepherds give a grosser name, But our cold maids do dead men’s fingers call them. There on the pendant boughs her coronet weeds Clamb’ring to hang, an envious sliver broke, When down her weedy trophies and herself Fell in the weeping brook. Her clothes spread wide And, mermaid-like, awhile they bore her up; Which time she chaunted snatches of old tunes, As one incapable of her own distress, Or like a creature native and indued Unto that element; but long it could not be Till that her garments, heavy with their drink, Pull’d the poor wretch from her melodious lay To muddy death.

this test is to investigate the decay process of the different types of fabric, and to find out if the plants within the earth pouches will grow, as the Fabric Facade will be made in a similar way.

Ophelia has been layed to rest in Reading, West Berkshire, on Feburary 4th, 2018. Beneath her is a 450mm deep, untreated pond. She is partially shaded by a tree.

1: week 2:

The creative interfacing has completely dissovled, but otherwise, Opheliaʼs apperence hasnʼt changed significantly. We have began to see some discolouration in the calico, but there is no sign of sprouting from any of the seedlings.

_beast from the east

Bitterly cold weather invaded the UK from Siberia late febuary, resulting in spells of heavy snow. This had a major impact on the rate of decay and growthof Ophelia. Seeds inside her limbs had frozen and died, and the deterioration of the fabric had postponed.

unprecidented spells of snow had delayed the growth and decay process of Ophelia, but 7 weeks in I began to see considerable progress. The daisies had began to sprout in her thigh. I feel that is it safe to presume that the frost had killed many of the other seeds within the other limbs.

_7 weeks after death

_results _what Ophelia has taught us

Over 10 weeks, she has not deteriorated at as fast of a rate as I would’ve hoped. This is due to the UK’s cold spells of snow, the thaw delayed the process as well as blighting the seeds within her. The UK climate regardless is also far diffent than thatofCatania.

Fabric decay: she achieved what I set out to test here; to find out the relationship between each fabric and sewing techniquesinrelationtodecay. linen- highest rate of deacy calico-medium felt- did not decay, but had high water retention. pleated calico- little decay but major discolouration.

Plant growth:

Although due to the blighting, we still saw some growth in two if the earth pouches. Heavy algae growth also occurred on thecalico.

Therefore, these results where more helpful in determining the aesthetic qualities of the decay of the building, and informs my next series of tests, which look at plant growth in relation to decaying fabric pockets, something which was lost in this test.

A B C D

deterioration of felt//calico remained intact

deterioration of felt//natural cotton microfibre stuffing exposed

creative interfacing dissolved, seeds within Ophelia have germinated

fabrics that have been submersed in water have developed algae

_this diagram shows the before and after of Ophelia’s growth//deterioration progress from when she was fi thetechnicalmodule.

_the purpose of this intial fabric study was to compare the fabrics against one another for the following properties:

_rate of decay

_water retention

_pigmentation

_permeability

_the fabrics were tested with flora and fuana not particular to Catania, but ones that would sprout quickly within indoor conditions for the purpose of testing these more materiality-based properties. This is the pattern cut @ 1:1 from which all the tests are cut from.

_I did, however, regulate the how much I watered the pouches relative to rainfall in Catania in the springtime.

Creative interfacing dissolves under water immediately. The pattern cut is @ 1:2. the 100mm x 100mm pouch allows for 300g of soil. Internal temperature at the Bartlett is 21 degrees celsius.

Garden cress and violets are beginning to sprout. No sprouting from the other pouches. Both of the feltʼs have retained their water.

beginning to see some sprouting seeing some discolouration in both

beginning to see some sprouting from the pansies (5mm felt). seeing some discolouration in both of the calico studies.

Both felt studies are drenched in water. sprouting from the fabric is coming

sweet pea’s are begging to sprout from the silk

9:

plant growth has began to seep on the underbelly of the 0.5mm felt and the linen.

the empress of India, within the 1mm felt, has began to take hold. the sweet pea within the silk has also began to manifest. both the calicos are continuing to discolour, and have began to mould.

both felt studies are drenched in water. sprouting from the fabric is coming from the 1mm felt.

both felt studies are drenched in water. sprouting from the fabric is coming from the 1mm felt.

10:

both felt studies are drenched in water. sprouting from the fabric is coming from the 1mm felt.

both felt studies are drenched in water. sprouting from the fabric is coming from the 1mm felt.

the empress of India, within the 1mm felt, has began to take hold. the sweet pea within the silk has also began to manifest. both the calicos are continuing to discolour, and have began to mould.

the empress of India, within the 1mm felt, has began to take hold. the sweet pea within the silk has also began to manifest. both the calicos are continuing to discolour, and have began to mould.

both felt studies are drenched in water. sprouting from the fabric is coming from the 1mm felt.

the empress of India, within the 1mm felt, has began to take hold. the sweet pea within the silk has also began to manifest. both the calicos are continuing to day 14:

Sweet peas are beginning to sprout from the silk Plant growth has began to seep on the underbelly of the 0.5mm felt and the linen.

from the 1mm felt.

_7 weeks later_single calico

_7 weeks later_double calico

the calico fell apart at the touch, the fabric had almost completely disintergrated.

the calico fell apart at the touch, the fabric had almost completely disintergated. plant’s held in this would have to have this short time-span.

the calico fell apart at the touch, the fabric had almost completely disintergated. plant’s held in this could have a longer time-span.

the fabric had kept intact .

_7 weeks later_silk

_7 weeks later_1mm felt

the calico fell apart at the touch, the silk had began to disintergrate.

the fabric had kept intact, and had a high water retention. this could be used for plants which have a long lifetime, such as cross-seasonal plants, which require high soil moisture levels.

the fabric had kept intact. the calcio fell apart at the touch, the silk had began to disintergrate. combing different decay-rate fabrics for the front and back side of the earth pouches would allow for some plant’s to be supported for longer periods of time.

_7 weeks later_0.5mm felt

_7 weeks later_linen

the fabric had kept intact, and had a high water retention. this could be used for plants which have a long lifetime, such as cross-seasonal plants, which require high soil moisture levels.

the fabric had kept intact.

the fabric had completely disintergrated.

the linen fell apart at the touch, the fabric had completely disintergated. The cress had died due to this. this material could be used as the front’s of earth pouches, as it can disintergrate quickly to expose seeds for germination.

_5.3

_timeline _seasonal changes in Catania

Sicily is known to be a very fertile land. 3/4 of Sicilian land is still agricultural. It is of a typical Mediterranean climate; hot, dry summers and mild and wet winters. With succesful irrigation and shading in the summertime, most plants will thrive in Catania.

JANUARY

fiesta d’Agata>>>>>>>

FEBRUARY

MARCH

_results _decay time of each fabric

Now knowing the decay time of these natural fibres, I can take into account the seasonal changes of Siciliy and design the facades of my building to decay with the changes in the blooms.

_creative interfacing_ instaneonous when in contact with water

calico_ 7 weeks

_

double calico_ 14 weeks

_

silk_ 8 weeks

_

linen_ 6 weeks

_

_felt_ 30 weeks

This is now my design tool for the Fabric Facade. Alongside the chosen plants and seasonal changes of Catania, I can design each layer to grow and decay harmoniously.

WINTER

FIRST BLOOM>>>>>>>

APRIL

the coming of spring. Days become longer, the flowers have begun to grow. First of the island’s two harvests.

MAY

temperatures warm and rain becomes more frequent. More wildflowers arise.

SPRING

JUNE

start of the summer.

SECOND BLOOM>>>>

JULY

the heart of summer.

AUGUST

SUMMER AUTUMN

SEPTEMBER

temperatures begin to drop, marking the end of summer.

DETERIORATION>>>>

OCTOBER

the start of Autumn. Temperarures continue to drop and rain becomes more frequent.

NOVEMBER

DECEMBER

because lump, seeds

Because of the positioning of the lump, without direct sunlight the seeds are struggling to grow.

This technical test is made from aero-ply which has been steamed and bent, and then lined with 100% cotton calico, felt, and creative interfacing. It was then filled with compost and voilet seeds. The purpse of this test was to incorporate a more structural form. The ply piece is the same as Ophelia’s knee joint; testing aero-ply as a structural component; a more rigid structure to hold highvolumes of earth with.

I learnt from this test that it is important when designing the pockets of earth in which the plants inhabit to make sure that the seedlings are provided with adequate sun exposure.

Not much progress has been made. The soil is dry and stuggling to retain moisture.

the sprouts on the top vessel have completely died, and the ones on the bottom are on their way. the calico had began to discolour and mould.

day 5: day 7: day 14:

not made.

not much made.

no made.

not made.

the have the on began mould.

the sprouts have the on their began mould.

the sprouts have the on their began mould.

the have the on began mould.

this lump is made from bent ply, calico, felt and creative interfacing. it is planted

seeds. da

made from bent ply, calico, felt and creative interfacing. it is planted with violet

_casting with temporary earth formwork and hung fabric

of fabric required

from both my studies in the degradation of fabric and the seasonal changes of Catania, I was able to design the layers that make up the Fabric Facade. The facade will be prepared off-site, hung, and casted into on-site. The next stage is to deterimine what formwork to use to cast the internal spaces of the building.

_single layer calico and linen.

1

_single layer calico and linen.

_double calico, soil, spring seedlings

_single layer calico and linen.

_double calico, soil, summer seedlings within linen, late summer seedlings within calico.

_double calico, soil, spring seedlings

_pockets of felt, earth.

_double calico, soil, spring seedlings

3

_double calico, soil, summer seedlings within linen, late summer seedlings within calico.

_single layer calico and linen.

4

_pockets of felt, earth.

_double calico, soil, spring seedlings

_double calico, soil, summer seedlings within linen, late summer seedlings within calico.

_pockets of felt, earth.

timetable of fabric facade

layer 1_phase 1_ single layer calico and linen.

layer 1_phase 2_ linen has degraded and single layer calico remains.

layer 2_double calico, soil, spring seedlings.

layer 3_phase 1_double calico, soil, summer seedlings, linen, late summer and cross seasonal seedlings.

layer 3_phase 2_linen has deteriorated, calico, summer plants, and late summer seedlings remain.

layer 4_felt pockets holding the last of the latesummer/cross seasonal plants

layer 5_ the concrete memory, everything has degraded.

signifies when drip-water irrigation system is in place to assist plant growth in low rainwater months.

_continuing my pursuit to intergrate my design strategies to become structural, I made this model of a column, made from concrete casted within tubular calico formwork and supported by steel rods.

_6.1

_passageways for both earth and concrete to be poured. this design is both inspired by the internal organs of the body and suggestive of the phallic.

_first vessel to be casted. the study was hung and poured from the top. the cotton was not treated, so liquid from the plaster had pentrated.

_material study shown before casting. soil has already been implanted in their vessels.

_learning from this mistake, I coated the two other vessels. the right was coated in wax coating agent, and the left in vaseline. both were as successful as the other in reducing water loss.

_the images above show the plaster cast beneath the fabric that iit was casted in. the plaster holds the memory of the seams and the thread count of the textiles. I also noticed some discolouration in some areas.

_1:10 detail of structural column// construction process

sex workers wearing appropriate

Application of Droopy Droop within the building, the Tit Tower//Agatha’s Breasts.

(shown in a 1:50 model)

_6.2

_design precedents

source: http://www.friends4expo.org

source: www.pinterest.com

eyebolt connected to tension wires rebar column structure

concrete poured in from top// platform to aid pouring and provide access

4 layers of fabric coated in beeswax rebar in footing

_1:2_hanging sytem attached to rebars

_1:2_mebrane plate holding fabric

_1:5_ discs sandwiched and bolted together with fabric held between.

This chapter is about testing the Fabric Facade at a 1:1 scale, to determine if the layers of textile are strong and impermeable enough for the concrete-casting process. Researching on methods of casting concrete within fabric formwork, I found that thick canvases where typically used (such as tensile fabrics often used for tents, pavillions, etc).

However these are very durable fabrics, which can last, exposed to the elements, from anywhere between 20-50 years. The Fabric Facade needs to degrade within one year, with some layers deteriorating within weeks to mirror the seasonal blooms.

So the task at hand was to take these relatively weak fabrics which degrade at the appropriate rate and construct a tapestry that can withstand being used as a concrete formwork at the building, real world scale.

From my research it was also apperent that my concrete mix needed minimal water content, to reduce loss through the natural fibres of textiles.

the 100% cotton calico used within the degrading Fabric Facade in comprison to industrial-grade PVC coated cotton. Even though they are both made from the same plant, you can see that the fibres of the calico are much finer, as is the weave//thread count.

Lobularia maritima _Violet Queen_

sow: early spring to late spring flowers: from late spring to early summer held within linen, which deteriorates at a faster rate than callico. held within one layer of callico, to delay sow time.

_7.2

_gladioli

sow: early to late summer flowers: from autumn to early winter base(in contact with concrete) held within felt which retains moisture, and top(eventually exposed) with linen, to allow a faster exposure time. held within larger nipples as is a larger bulb.

_the beginning_the spring wall _designing a living wall

petroselinum crispum_curled parsley

sow: early spring growth: slow, but will flower by early summer held within callico and exposed creative interfacing for immediate growth

_what lies beneth_the winter facade

_designing a living wall

_acidenthera peacock orchid

_tritelgila

_liatris purple

_oxalis deppi

sow: early to late summer flowers: from late summer to winter base(in contact with concrete) held within felt which retains moisture, and top(eventually exposed) with linen, to allow a faster exposure time.

_the facade after it was casted in concrete. the concrete was mixed with marble dust and sand, with a natural red pigment.

_side view of the panel. here you can see how the concrete has intergrated into the fabric.

_this test was successful in achieving irregularity on both sides of the concrete, however this was achieved by the means of gravity and an inadequate amount of concrete to make the cast level. The next tests will explore the means of casting the Walls on-site, and what formwork will be used for the internal side, as opposed to this method of pre-casted//tile-like elements. The Fabric is the Facade, but the casted concrete should be structural.

_7.3

_concrete recipe used:

3 parts marble dust

2 parts cement

1 part water _method:

to cast the concrete with the fabric, I constructed a box from MDF with screws, so that once the mixture set I could dismantle the box and remove the facade. I then coated the inside of the box with waterproof plastic seal, followed by wax parting agent. I laid the fabric quilt face down in the box, and inserted foam to the areas which I didn’t want the concrete to seep through.

_As I already knew the growth//degrading process(and didn’t have a year to monitor such) I removed the Fabric Facade to reveal the concrete Memory//Relic. I was pleased with the aesethic qualities of the results; the cavities where light could shine through the building, the rich textures from the knitwork, the pleats and folds of the calico, the meteorite-esque crators made by the felt pockets. I could conclude that the Wall would be appealing and welcoming after the deterioration of the Fabric Facade, the aesthetic lifespan of the building will go beyond the 1 year flowering and withering process.

The Relic, like the Relic of Agatha, will be an admired spectacle for centuries to come.

cavities//windows

linen//felt pockets from layer 4

memory of knitted panel resulted in exceptional details

memory of pleated calico

pigmentation from the felt imprinted on the concrete

_the grand opening of the building will fall into the festival of Saint Agatha, which runs from the 3rd to the 5th February. this 1:20 section depicts what the building will look like at this opening. the fabric is virgin to the outdoor condition. the concrete has been poured, and the seeds have been planted.

_this is a section @ 1:20 depicting what the building will look like in late April, when the flora has began to bloom and the fabricʼs detrioration is forthcoming. the weaker textiles, such as linen, will have already began to mould. knitted yarn will have started unravelling.

_these series of tests explores at a 1:20 scale the on-site casting process of the walls of thebuilding iwth the Fabric Facade. The tests scrutinize one key issue:

the internal qualities of the concrete wall: what formwork will be used on the other side of the concrete?

I conducted case studies in living facades(green wall system in which vegatation is not obly attached to the building facade, but is full itegrated into the facade construction) and fabric casting formwork in conjuction to achieve my hyrid of the two.

_case study 1_Patrick Blanc _case study 2_Wall One

Blanc’s work is planted without soil on a durable frame of PVC, metal, and non biodegradable felt, with a built-in pump watering system, using a drip-irrigation system. His walls typically use 10mm PVC board and felt, the felt is stapled onto the boards and the plants are planted into the felt pockets and stapled in. I have taken this method of a pump watering system for the winter months when rainfall is low.

Wall one is the fi rst of a series of tests exploring the capablities of fabric formwork by Alan Chandler andRemoPedreschi.

The casting method derives from the idea of a jig. The frame holds the two layers of fabric in tension, and the concrete is poured in-between, the steel pipe-work is embedded within the wall to achieve an adequate tensile strength, and the timber frameisremovedaftertheconcretehasset.

This method allows for on-site casting.

Chandler, Alan, and Remo Pedreschi. Fabric Formwor

_8.3

_this study is a 1:20 model of how these memory walls could be casted on-site. this would be by using a temporary timber structure from which the fabric wall will be hung from, and the concrete and soil is poured retrospectively.

_this study is a 1:20 model of how these memory walls could be casted on-site. this would be by using a temporary timber structure from which the fabric wall will be hung from, and the concrete and soil is poured retrospectively.

_casting with a temporary timber formwork and hung fabric

Taking methodologies from Wall One, this 1:20 study explores holding fabric formwork in tesnion within a temporary timber structure. The back side of the wall is modular in adesiretoguaranteeamininimal wall thickness of 200mm throughout. there are two horizontally placed threaded steel rods to give the wall structure.

what didn’t work

_case study 3_Anne Holtrop

Structurally: I didn’t provide enough support for the fabric, and the cast was high in volume as a result.

Aesthetically: I also didn’t like the look of the straight wall on the reverse side, as it doesn’t fit within my programmeethos.

Ecologically:themethodogyof usingatemporarytimberstructureis very wasteful. After it’s casting purposes, it would go to landfill. I want my formwork to have a second life.

Batara is a collaborative project by Architect Anne Holtrop. They are a series of earth-cast spaces and allude to the primative and natural. They were created by removing material, earth from the ground to create cavities in which the concrete is poured. The result isaperfectharmonyofintentandchance.

This casting formwork is far more appropriate to the ethos and narrative of my building.; the project is about the relationship between earth and fabric, after all.

However, as the site is situated above solidified lava stone, I will source earth from the outskirts of the city, create mounds//the negative of the interior spaces of the building, and once the resultant walls have been cast, the earth will be re-purposed for landscaping.

Environmental benefits: will reduce the water run-off on site and furtherreducetheurbanheatislandeffectofthedistrict.

Social Benefits: will further improve the run-down area of the Red LightDistictforbothresidentsandspectators.

source: http://anotherspace.dk

source: http://anotherspace.dk

source: http://anotherspace.dk

_casting with temporary earth formwork and hung fabric

_this is a 1:20 process test of using the Fabric Facade and Earth together as a formwork for the building. It incorporates all 4 fabric//earth layers within the tapestry, and the other side casted with sand with enough moisture content to become piable.

_aesthetically I was happy with the results, concluding that this will be my methodology for the buildng.

_why sand?

_sand behaves how earth would at 1:1 to the scale of my model. (1:20)

_what about structure?

_the next chapter will explore how pipework for the plant’s water irrigation system could double-up as structural support within the concrete walls.

_this chapter illustrates the process of designing a water irrigation system that is unqiue and tailored to the Fabric Facade. I have already determined the requirements:

Rainfall collection//storage from February-May, and then October-December

Assisted Irrigation by the means of a sheltered water reservior at the core of the building from the months of June-August// summertime.

Irrigation pipework to double up as structural framework within

source: www.e-architect.co.uk

_9.1 _9.2

_case study_rainfall collection// Trio Apartments

_these apartments in Australia use a drip-irrigtion system from rainwater collected on-site. This will be my methodogly during the months of non-assisted irrigation.

source: Wood, Antony, Payam Bahrami, and Daniel Safarik. Green Walls in Highrise Buildings.

_case study_drip irrigation system// Consorcio Santiago Building

_a majority of green walls use drip irrigation systems to supply water, but I chose this building in particular because Santiago Chile has a simiiar climate to Sicily.

_the system ustilizes a series of pipes that release drops of water at specific points along the system, with an automatic control to regulate the irrigation.

_irrigation occurs for one period every two minutes in the morning and up to three two minute periods in the afternoon.

the building in the months of February//May and Oct//December when rainfall levels don’t require assisted water irrigation

//walkway going through the centre of the building

the building in the months of June//August when summers are hot and dry, and assisted irrigation is required

//shaded reservoir

rainwater collection

The system utilizes a simple 30mm galvanized steel pipe with 12mm irrigation branch pipeline that releases drops of water at specifi c points along the system; the nooks and cranny’s wher water would struggle to fall naturally. The system has two water collection//regulation methods:

Rainwater collection: rainwater is collected through funnels at various points of the buildings roofscape.

Automaticcontrol//dripirrigation: this is only turned on the months of June-August, where rainfall is low. water is sourced from the water core of the building//summer reservoir. Irrigation occurs for one period of two minutes in the morning and three two minute periods in the afternoon, when the sun is low to prevent water loss through evaporation.

The irragation pipes are installed behind the fabric facade, where the smaller 12mm branch pipes with water emitters distribute the water.

A solenoid valve is an electromagnetically operated operated valve. It is used whenever fl uid fl ow has to be controlled automatically. When electrically energized or de-energized, it will either shut off or allow fl uid fl ow. This is how the irrigation system will be regulated.

rainwater collection

de-energized energized

source: www.stcvalve.com

_______________30mm galvanized steel pipe

______________12mm branch piplines with water emitters

controller______________

solenoid valve__________________

pressure regulator______________

filter____________________________

pump__________________________

collection

rainwater collection

_9.6

_1:20 section of water irrigation strategy

1:5 detail_water emitters hyrdrating plants at root core

Storage tank for excess rainwater// water from summer reservoir

pipe feeding water from summertime reservoir

summer reservoir in the shaded heart of the building @ 1:40

_transpiration is the process by which water moves up a plant against gravity. The Fabric Facades that are in contact with the core water reservoir will behave in a similar manner to travel water up the wall to the rest of the plants.

_the Fabric Facade that is in contact with the water will also decay in a different manner- it will become green with algae, like Ophelia.

_who is sewing the facade?

the sex worker’s in the San Berillo district are amongst the poorest in the city. They are also the most segregated, lacking the opportunites to improve. They strive through everyday life by the means of prositution and illegal buisnesses. They squat within the derilict remains of the old Red Light Distict. This project will empower the sex workers by giving them first theroleof master seamtresses//builders, and then will run the performative garden when it opens.

_location of soil in relation to site

the earth to construct the formwork and use within the walls is located 3.8km from site and is a short, 11 minute drive.

Source: Google Maps Pro

the red light district_san berillo_SITE

_location of soil in relation to sit

the earth to construct the formwork and use within the walls is located 3.8km from site and is a short, 11 minute dr

1. Demolition of derelict town houses // recycle old brick pieces for concrete aggregate in new building

2.Marklayout

3. Excavate the Witches’ Dungeon and the footings

5. Structural galvanized steel pipework//water irrigation system is installed, alongside pumping

6. Earth is brought to site and the negative is sculpted, marking the internal spaces of the builidn

7. The finished Fabric Facades are brought to site and sides of fabric to be casted are coated in beeswax to make watertight

8. Fabric Facades are hung from the structural galvanized steel pipework//water irrigation sys tem, marking the external boundaries of the building

9.Concreteispouredinthevoid

10. Earth formwork is harvested and used for landscaping elsewhere on the site

11. Internal cavities of the building are pressure-washed to eradicate the excess earth

12. Water irrigation automatic control system is installed // electric works

13. Window fixing

14. Final fixtures // fittings

15. the Fiesta d’Agatha // the Grand Opening

the red light district_san berillo_SITE

1:20 sectional plan

925mm between

temporary earth formwork

concrete

fabric facade//exterior formwork

_1:20 section of on site casting process

30mm structural glavanized steel pipework//water irrigation

joints from which the fabric facade is hung from the irrigation system

concrete is poured

source: http://anotherspace.dk

wor _case study 3_Anne Holtrop

detail of concrete cast against earth//Fabric Facade

_single layer calico and linen.

_double calico, soil, spring seedlings

sex workers wearing appropriate PPE

_double calico, soil, summer seedlings within linen, late summer seedlings within calico.

_timber discs sandwiched and bolted together with fabric held between

concrete poured in from top// platform to aid pouring and provide access

_pockets of felt, earth.

water emitters hydrating plants at root core

4 layers of fabric and earth

timber structure inside earth//Fabric Facade-timber will deteriorate overtime, like the facade. water irrigation pipes wrapped around timber structure Earth formwork// Fabric Facade plants solenoid valve// pressure regulator// filter pump

steel fixing for timber

1. concrete flooring rigid insulation damp proof membrane 75mm floorboard insulation concrete foundations

2. 3. 4. 5.

_12 months after the grand opening// when the earth formwork//Fabric Facade has disintergrated

_the timber structure and the irrigation pipework remain in front of the casted concrete wall

_10.6

the timber will begin to rot away.

souce:

_10+ years after the grand opening// when structural timber as distintergrated

_only the irragtion pipework remains

design precedent: the cathedrals of Catania and their organs pipework- the irrigation will remain in as a decorative relic.

https://www.mascioni-organs.com

the yellow circles mark where the earth used for the casting process is repurposed for garden landscaping within the site.

the yellow circles mark where the earth used for the casting process is repurposed for garden landscaping within the site.

shaded water reservior//core of the building Fabric Facade throughout the building

rainwater collection droopy droop

Lobularia maritima _Violet Queen_ sow: early spring to late spring flowers: from late spring to early summer held within linen, which deteriorates at a faster rate than callico. held within one layer of callico, to delay sow time.

Lobularia maritima _Violet Queen_ sow: early

early to late summer flowers: from autumn to early winter

contact with concrete) held within felt which retains moisture, and top(eventually exposed) with linen, to allow a faster exposure time. held within larger nipples as is a larger bulb.

ladioli sow: early to late summer flowers: from autumn to early winter base(in contact with concrete) held within felt which retains moisture, and top(eventually exposed) with linen, to allow a faster exposure time. held within larger nipples as is a larger bulb.

_the beginning_the spring wall _designing a living wall

_during_April//May

petroselinum crispum_curled par sow: early spring growth: slow, but will flower by early summer held within callico and exposed creative interfacing for immediate growth

_what lies beneth_the winter facade _designing a living wall _acidenthera peacock orhid _tritelgila _liatris purple _oxalis deppi sow: early to late summer flowers: from late summer to winter base(in contact with concrete) held within felt which retains moisture, and top(eventually exposed) with linen, to allow a faster exposure time.

later_1mm felt

_time drawing _section(left)_1:20

_elevation(right)_1:50

It become clear early on in the project that Sicily is renowned for its rich, fertile land, and this identity had been lost within the urbanized city center of Catania. How to reintroduce earth within this context, and how to create a green landscape with such dynamism was the main goal of this report.

Test 6.0(droopy droop) was helpful in informing my design structurally; how the typology of Ophelia could be translated into an independent concrete column. Her typology was further discussed at a 1:1 scale in test 7.0(the memory facade), which visualized the main component of the building: the Fabric Facade. This, however, was not scrutinized structurally until I began considering water irrigation in conjunction with casting techniques. Studying Anne Holtrop’s Batara was a defining point in this journey; it brought a construction language that mirrored the language of the building. Prior to this I was struggling to find harmony between the linear, traditional building methods of construction and the dynamism of the figurative(because there isn’t one to be found.)

The testing of the behaviours of the Fabric Facade would have benefited from more time. A year of monitoring, for example, would allow complete scrutiny and understanding, something which the timeframe of this technical report did not permit. To an extent, this growth//decay process remains speculative, some qualities remain unknown. The building will concurrently reveal and narrate the stories of Agatha, and write its own. The nature of this project is volatile; the Fabric Facade isn’t intended to be linear, but a collective tapestry which allows those sewing it to become the Master Craftsman. It was important to me that the building had both ecological(through the use of flora and fauna) and social(through the employment of sex workers) benefits.

The project being situated within an area undergoing regeneration, the intention is to promote a collective. There is poetry in the unknown.

However, material testing will go beyond this report. Ophelia is still outside, and will remain to be until her demise//full disintegration//indued unto that element.She will continue to inform future architectures, as well as shed light on the Garden of Performance. The most important relationship the building and Ophelia have is with time(and only that will tell.)

Shakespeare, William, and T. J. B. Spencer. Hamlet. London, Eng.: Penguin Books, 1996.

Chandler, Alan, and Remo Pedreschi. Fabric Formwork. London: RIBA Publishing, 2007.

Wood, Antony, Payam Bahrami, and Daniel Safarik. Green Walls in High-rise Buildings. Chicago: Images Publishing Group, 2015.

Uffelen, Chris Van. Facade Greenery: Contemporary Landscaping. Salenstein: Braun, 2011. Yeang, Ken. The Green Skyscraper: The Basis for Designing Sustainable Intensive Buildings. Munich: Prestel, 2000.

Folkard, Edward. Casting in Ciment Fondu. Reading, Berks.: A. Tiranti, 1983. McDougald, Crystal. Vogue Sewing. New York: Sixth & Spring, 2006. McLeod, Virginia. Detail in Contemporary Timber Architecture. London: Laurence King Pub., 2010.

“The Festa Di Sant’Agata | Guide to Sicily.” The Thinking Traveller. Accessed January 21, 2018. https://www.thethinkingtraveller.com/thinksicily/guide-to-sicily/all-things-sicilian/santagata.aspx

“Memorial of St. Agatha, Virgin and Martyr - February 05, 2018 - Liturgical Calendar.” Memorial of St. Agatha, Virgin and Martyr - February 05, 2018 - Liturgical Calendar | Catholic Culture. Accessed January 21, 2018. https://www.catholicculture.org/ culture/liturgicalyear/calendar/day.cfm?date=2018-02-05.

“Catania: Annual Weather Averages.” Weather and Temperature Averages for Catania, Italy. Accessed February 10, 2018. http://www.holiday-weather.com/catania/averages/.

“Economic Region of Sicily.” Economy in Sicily. February 108, 2018. https://www.zainoo.com/en/italy/sicily/economy.

“The Seasons of Sicily.” Holidays to Sicily. February 10, 2018. https://www.sicilianplaces.co.uk/blog/the-seasons-of-sicily.

“Climate.” DIVESICILY. Accessed February 10, 2018. http://www.divesicily.com/climate/.

“Sicily Regional Overview.” My Guide Sicily. Accessed February 11, 2018. https://www.myguidesicily.com/regionalinfo.

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