Siân McGrath - Reuse Reimagined by Amsterdam Academy of Architecture

Reuse Reimagined

Reuse Reimagined Siân McGrath Academie Van Bouwkunst, Amsterdam

Contents 1

Introduction The Architectural Problem The Need for an Alternative Design Approach Experiencing Architecture at an Innate Level Determining Elemental Experiential Preferences

4 6 14 20 24

Port of Rotterdam: A Case Study Site Location Historical Research Urban Analysis Urban Conclusions

30 32 38 48 62

Architectural Approach and Programme Adaptive Re-Use Plastic Production Research Analysis Architectural Conclusions

68 70 74 78 92

Research Methodology and Process Design of Workshop The Elements

100 102 110

Workshop

134

Analysis and Findings Workshop Outcomes Summary of Principles

152 154 170

Design Testing and Development Design Principles Intuitive Design

172 174 180

From Toolbox to Design

196

Final Design

222

Reflections

266

Introduction

The Architectural Problem

It is no secret that the world is in a state of emergency - the climate emergency. Circular ways of thinking, including reusing and recycling, are essential aspects of the future of the architecture profession as it becomes increasingly more important to preserve the precious natural resources that are left. Demolition itself costs energy and often produces unusable waste products that have to be burned, disposed of or buried, again further adding to the multitude of environmental issues and problems that we are currently facing.

Existing structures and materials are a valuable resource in themselves but they also have an added architectural value. Yes, re-use is necessary to tackle climate change but existing buildings can offer value to a project in the existing storytelling capabilities that they possess. Taking the old and adapting it to the new can add layers of narrative to an area, strengthening the sense of place and helping people to connect with it. With a bit of imagination, existing elements can be kept and reconfigured to create new and intriguing layers of narrative.

Introduction

Existing structures, objects and materials can tell a powerful story. Reusing these fragments can add experiential value to an architectural project by triggering an innate internal dialogue with these narratives.

Introduction

The architectural salvage yards in Glasgow were the first source of inspiration for this project. Rammed ceiling-high with old artefacts and general 'junk', these warehouses are an endless feast for the imagination. The Glasgow salvage yards brought me to the realisation that there is value in existing and used objects in their ability to tell a powerful story and trigger your imagination. Although the environmental arguments for re-use are of upmost importance, existing objects also possess architectural value: they contain narrative.

Introduction

Meaningful historic buildings or beautiful structures are often the types of buildings that are flagged for refurbishment, but they are not the norm.

This project is about challenging preconceived ideas about architecture and searching for alternative ways of approaching the re-use of difficult sites/ structures.

Masses of buildings and structures are deemed to be unworthy of a second life because it is difficult to look beyond their alien forms and appearances.

Introduction

"The refinery is huge. It sprawls over the sodden land between the motorway and the estuary. It looks like an alternative town, this town's dystopian double, with cooling towers and distillation drums instead of houses and shops."

Cocaine, class and me: everyone in this town takes drugs, all the time they’re part of the civic culture The Guardian, Tabitha Lasley 25th June 2022

Introduction

The Need for an Alternative Design Approach

A current petrochemical site in the Port of Rotterdam will pose as a case study location for this project. It serves as a good example of an expansive industrial landscape that will become vacant when the petrochemical industry becomes obsolete. The existing expanse of industrial forms and structures provide potentially valuable resources but brings into question a multitude of architectural and spatial challenges: Firstly, large industrial sites such as the petrochemical sites at the Port

of Rotterdam were designed to be purely functional. Although capable of conducting their industrial functions in a highly efficient manner, human inhabitation was never considered. As a result, the existing structures are generally speaking of a very large scale and stretch over an expansive site where repetition and functionality were key driving factors for design. Considering the human use of these purely industrial objects and how to introduce the ‘human scale’ to these huge forms poses some major challenges.

Introduction

The second major challenge of reusing a petrochemical site lies in the ‘alien’ nature of the forms and shapes that make up these sites. Architecture and the built environment make up a huge part of the physical environment for the majority of people. Buildings can be broken down into components that take on a representational meaning. Specific buildings, spaces and building elements are associated with very

Is a different apporach to re-use required? 15

particular visual ideas or mental representations. These architectural elements are often of a certain shape or form that have a representational meaning. For example, when you hear the word door, you automatically think of a rectangular shape in a frame, on hinges, with a door handle placed to one side. In psychology, this mental representation of knowledge is called a schema.

Introduction

The Glossary of Architecture published in 1882 (below) shows a very precise and prescriptive array of architectural elements. A more recent example is the 2014 Venice Biennale by Rem Koolhaas. Architectural elements can be selected, categorised and used to define a set of ‘architectural ingredients.’ Throughout history, different architectural styles have variations of similar components that are stitched together by an architect, most of the time in an intuitive manner. In a similar manner

to the way a composer creates music from a series of notes, an architect composes a building our of a series of walls, windows, doors and stairs etc. By adulthood, these ‘architectural ingredients,’ and our associated mental image of what they should look like, are usually predetermined in our minds through experience and memory. But what happens when these architectural components are not recognisable ‘stairs’ or ‘windows’ such as the components of an industrial zone?

Top The Glossary of Architecture, 1882 Bottom Venice Biennale Fundamentals, 2004

Introduction

"...knowledge is represented mentally in a dynamic structure called a schema. These structures allow one to build mental models of the physical world... Schemas provide us with expectations about our environment and continually undergo modification through maturation and learning. Schemas direct the construction of all conscious experience in perceiving, remembering, imagining and thinking."

Kellogg, R. T. (1995) Cognitive psychology. London: Sage Publications. pp19-20

Introduction

Experiencing Architecture at an Innate level

If a schema is formed through memory and experience of life, how a person responds to the built environment is subject to many influences such as educational conformity, culture and personal experience etc. In order to create architecture from the industrial forms of a petrochemical site that is spatially appealing, this project therefore searches for a way to bypass some of these preconceived mental representations and attempts to determine a set of baseline principles that are important to all of us at a human level regardless of our life experiences.

Studies in neuroscience have shown that when we look at a building, we process the visual information in a part of the brain called the fusiform face area (FFA). The FFA is responsible for facial recognition which is a highly evolved human trait. This implies a correlation between how we experience the built environment and evolutionary preferences (human traits that have evolved to increase the likelihood of our survival as a species). If you can start to tap into come of these neurological responses that are the result of evolution then you can appeal to people at a deeper, more primal level.

Introduction

Relating to these culturally-specific evolutionary ideals of beauty, many studies have shown strong subconscious preference for specific facial features.6 The fusiform face area (FFA) is the area in the brain responsible for facial recognition. When a person is asked to look at faces, the FFA in their brain will light up on a fMRI scan showing concentrated neural activity in this area.7 Facial recognition, a highly evolved human trait, occurs by configural processing.8 This means that when we look at a face, we process the information based on the layout of facial features for example the distance between the eyes. A neuroscientific study by Choo Et al. (2017) “characterised neural mechanisms for perceptual encoding of architecture in the human visual system.”9 extract from 05 essay, Redefining Beauty Siân McGrath

The results of the study suggests that when we look at buildings, or more specifically, architectural styles, the neural codes responsible for processing the visual information occur at a highly complex level and involve the fusiform face area of the brain. This implies a correlation between how we visually process buildings and how we recognise faces – we might process the distance between windows in a similar way to how we process the distance between a person’s eyes. As facial recognition is an evolved innate ability, the link between architecture and evolutionary preferences for beauty could be stronger than first assumed.

Introduction

project mindmap

Introduction

Determining Elemental Experiential Preferences

‘house’ over a period of a few years. Adding layer upon layer, a growing awareness of what a ‘house’ should look like develops, however, upon closer inspection a more imaginative representation of shape and form is apparent. Using random items found around the house, my 7 year old self was often able to look beyond their intended use and vividly re-imagine them at the scale of a dolls house.

Introduction

So how and why is this relevant? The imagination and perception of a child can be an incredibly powerful tool. By studying what priorities and associations children give certain objects or ideas during play, we can see architectural configurations in a new light. As adults, we have very defined schemas and rigid associations of what a certain object should look like, the form that it should take and how it should related to other objects. For example, returning to the example of a door, if you observe young children playing outside in a garden for example, their underdeveloped schemas allow for a much more fluid representation of

a door than an adult’s mental image of a rectangle on hinges. Is the door more of a threshold marked out by a stick on the ground? Or is the door actually that small hole in the neighbour’s hedge that you have to crawl through? Perhaps entering through the door is not even a horizontal movement, perhaps it is the vertical manoeuvre into a tree? As we grow older and experience more, we no longer look at a stick on the ground and immediately declare that that is the door. The associations and definitions that life experience brings corrupts our imaginations by defining our schemas.

Introduction

a milk bottle top?

an egg cup?

... or a bath?

... or a clock?

... or a kitchen sink?

Introduction

Children have less definitive ideas about the representation of shape and form - their schemas are still under development as they explore the world around them. The progression and narrative of representational shapes and forms can be seen in a child’s artistic development. Taking a personal example of an artistic endeavour of mine between the ages of about 6 and 8, the cardboard box on the left was slowly transformed into a ‘house’ over a period of a few years. Adding layer upon layer, a growing awareness of what a ‘house’ should look like develops, however, upon closer inspection a more imaginative representation of shape and form is apparent. Using random items found around the house, my 7 year old self

was often able to look beyond their intended use and vividly re-imagine them at the scale of a dolls house. So how and why is this relevant? The imagination and perception of a child can be an incredibly powerful tool. By studying what priorities and associations children give certain objects or ideas during play, we can see architectural configurations in a new light. As adults, we have very defined schemas and rigid associations of what a certain object should look like, the form that it should take and how it should related to other objects. For example, returning to the example of a door, if you observe young children playing outside in a garden for example, their underdeveloped schemas allow

Port of Rotterdam: A Case Study

Site Location In order to test how the design toolbox (established through the children’s workshop) would impact the spatial qualities of a design, a current petrochemical site in The Port of Rotterdam was selected as a case study location. This particular zone is currently owned by Shell and is

involved in the processing of crude oil. As it becomes increasingly likely that the fossil fuel industry will become obsolete in the near future, the project poses the question: what happens to these petrochemical supporting landscapes when the use of crude oil becomes obsolete?

Port of Rotterdam: A Case Study

This page Energy reserves in billion tonnes of oil equivalent https://mahb.stanford. edu/library-item/fossilfuels-run/ Extract from information board at Port of Rotterdam. Next page Redevelopment of Grasbrook, Hamburg proposal by Herzog de Meuron and Vogt.

Port of Rotterdam: A Case Study

Commercial Port Area to Mixed Live / Work Neighbourhood

a comparison with the redevelopment of Hamburg harbour area 35

Port of Rotterdam: A Case Study

Historical Research The Port of Rotterdam was first established in the 1400s and gradually but steadily grew in scale and importance becoming a prominent location for both the Dutch East India and Dutch West India Companies. Faster growth began in the 1800s across on the South side if the river

following the construction of the Nieuw Waterweg, connecting Rotterdam with the sea. Both prior to and following World War II, the port sequentially extended further West. The most recent extension to the Maasvlakte is currently under construction.

Port of Rotterdam: A Case Study

1649

1856 40

Port of Rotterdam: A Case Study

1891

1900s 41

Port of Rotterdam: A Case Study

1911

1927 42

Port of Rotterdam: A Case Study

World Word II had a colossal impact on the city of Rotterdam, the city centre was almost completely flattened including some of the historic port area.

This page Aerial photos of before and after the ‘Rotterdam Blitz’.

As extensive rebuilding progressed in the second half of the 20th Century the principle port areas began moving further and further West along the Nieuwe Maas.

Port of Rotterdam: A Case Study

This page Aerial photos of new port construction along the Nieuwe Maas.

Port of Rotterdam: A Case Study

This page SHELL Pernis 20/01/1968 Explosion leaves two people dead and dozens injured.

Port of Rotterdam: A Case Study

INTEGRATED IN CITY LIFE DISTANT AND DETACHED

Port of Rotterdam: A Case Study

conclusion and proposal for urban redevelopment direction

Port of Rotterdam: A Case Study

Urban Analysis

The Port of Rotterdam is home to a variety of landscapes that are extreme examples of industrial sites. These landscape typologies form an important part in the character and identity of the site and the wider Rotterdam area. The existing networks of intertwining forms have a strong narrative that creates a unique sense of place, however, they also possess a complexity that poses many architectural challenges. The design challenge is to reuse some of the existing elements on site, guided by the design toolbox, in order to leave a layer of the existing narrative behind.

Using a circular design approach, the site will be re-imagined using an experimental design process which will take into account the aesthetic and spatial preferences of its end-users at an evolutionary level of intuition. With a view to using the site as a case study for this experimental design process, this project will demonstrate how other difficult sites and structures can be reused in a meaningful way.

Port of Rotterdam: A Case Study

De Kracht van Rotterdam

Identity of Place Photographers Erik Kroes Martijn Jaarsveld Jetteke van Schie

Port of Rotterdam: A Case Study

Coastal landscape

Extensive Agriculture

Intensive Agriculture

Isolated settlements

Urban Settlements

Landscape Typologies

Port Activities

Port of Rotterdam: A Case Study

Maintenance and Salvage

Raw Material Handling

Storage and Logistics

Petrochemical Industries

Port Functions

Goods Transportation

Port of Rotterdam: A Case Study

Current Petrochemical Sites

Import Infrastructure Routes

Port of Rotterdam: A Case Study

Waterways Isolating / Connecting?

Isolation of Residential Communities

Lack of Provision of Public Transport

Road Infrastructure Isolating / Connecting?

Extensive Air and Noise Pollution

Fragments of Green Parks and Recreational Areas

Port of Rotterdam: A Case Study

Urban Conclusions

The more historic harbour areas have already undergone extensive renewal. The Waalhaven and Eemhaven have both begun undergoing redevelopment in recent years.

SHELL’s site at Pernis provides an opportunity to explore new approaches to redevelopment and create an important connecting keystone between Hoogvliet, Pernis and Vlaardingen and further afield to Rotterdam itself.

Opposite page Progression of harbour redevelopment. SHELL Pernis site.

Port of Rotterdam: A Case Study

Vlaardingen

Pernis M

Hoogvliet

Strengthening and Making Site Connections

Existing green areas Proposed green connections Nieuwe Maas

e Oud Maa s 2. 4.

Connecting Existing Green Landscapes

Port of Rotterdam: A Case Study

Top left, clockwise Botlek Towers Vlaardingen Pernis Hoogvliet

Top left, clockwise 1. Ruigeplaatbos 2. Chill Hill 3. Pernisserpark 4. Bos Valckesteyn

Port of Rotterdam: A Case Study

WIDER SITE LOCATION

Wider Site Location

CHOSEN CASE STUDY LOCATION WITHIN SITE

Chosen Case Study Location

Port of Rotterdam: A Case Study

Petroleumweg 1940

WIDER TRANSPORT CONNECTIONS IN RELATION TO CASE STUDY LOCATION VLAARDINGEN WATER TAXI

RACK

RAIL T PERNIS METRO

LEUMW

PETRO EG HOOGVLIET Key Axes and Connections

Architectural Approach and Programme

Adaptive Re-Use Industrial areas can be difficult to develop with large and specialised infrastructure and buildings that are problematic and challenging to reuse. This often results in a ‘tabula rasa’ approach where everything is demolished including all existing narratives. The layers of history and all the stories that provide opportunities for people to make connections with disappear. After studying some existing examples of adaptive re-use

of similar industrial scale elements and sites, it become apparent that the current design methods generally make use of the existing forms and structures as they stand. This approach is limiting because the large industrial scale stays present in an uncontrolled manner and there is little opportunity to create a more complex variety of spatial qualities according to the needs of the new programme.

Opposite page The Axel Vervoordt Company and Gallery at Kanaal, BOGDAN & VAN BROECK, Antwerp

Working with existing elements

Architectural Approach and Programme

Re-Use Precedents

This page Ricardo Bofill Taller de Arquitectura Headquarters Opposite page Landschaftspark, Latz and Partner, Duisburg Nord

Architectural Approach and Programme

Plastic Production Research The site is currently home to SHELL, one of the largest petrochemical companies in the world. The petrochemical industry relies on the fossil fuel, crude oil as its primary resource and as a result causes significant environmental harm. The petrochemical industry is responsible for the production of virgin plastics (plastics that are made from crude oil). A lot of these plastics also contribute

to an excess of plastic waste with many ending up in landfills across the globe. Existing plastics in themselves should be seen as a valuable resource as they can be recycled multiple times. To address some of the problems created by the current industry, my proposal is for a large plastic recycling hub that can create a more circular and sustainable legacy for the area.

Plastics This article is more than 8 months old

UK plastics sent for recycling in Turkey dumped and burned, Greenpeace ﬁnds Investigation reveals that ‘plastic waste coming from the UK to Turkey is an environmental threat, not an economic opportunity’

Plastic waste found dumped and burned in the Kuyumcular area of Turkey included packaging from UK supermarkets and global food and drinks brands. Photograph: Caner Ozkan/Greenpeace

Architectural Approach and Programme

Solutions?

SHELL USES PLASTIC WASTE TO PRODUCE CHEMICALS Nov 21, 2019 Today Shell announced it has successfully made high-end chemicals using a liquid feedstock made from plastic waste. The technique, known as pyrolysis, is considered a breakthrough for hard-to-recycle plastics and advances Shell’s ambition to use one million tonnes of plastic waste a year in its global Microbiology chemicals plants by 2025.

This article is more than 7 months old

Scientists ﬁnd way to remove polluting microplastics with bacteria Sticky property of bacteria used to create microbe nets that can capture microplastics in water to form a recyclable blob Soﬁa Quaglia



Wed 28 Apr 2021 08.00 BST

Microbiologists have devised a sustainable way to remove polluting microplastics from the environment – and they want to use bacteria to do the job. Bacteria naturally tend to group together and stick to surfaces, and this creates an adhesive substance called “bioﬁlm” – we see it every morning when brushing our teeth and getting rid of dental plaque, for example. Researchers at the Hong Kong Polytechnic University (PolyU) want to use this sticky bacteria property and create tape-like microbe nets that can capture microplastics in polluted water to form an easily disposable and recyclable blob. Although these ﬁndings, presented on Wednesday at the Microbiology Society’s annual conference, are still preliminary, this invention could pave the way for 76

THE VEOLIA INSTITUTE REVIEW - FACTS REPORTS

Architectural Approach and Programme

TURNING THE NETHERLANDS INTO A PLASTIC CIRCULAR HOTSPOT

The Netherlands has a longstanding, ambitious environmental policy with regard to the recovery and recycling of materials. Currently, 79% 1 of its waste is recycled and the residual waste is mainly used for energy generation, which in turn is part of the solution toward a shift in energy production through renewables. The initiative “Netherlands as Circular Hotspot” aims at positioning the Netherlands as an international example for circular business and develop a circular economy in the Netherlands by 2050. Based on this political ambition, the Dutch ecosystem has started a transition toward a circular economy. The plastics recycling market in the Netherlands is constantly evolving in parallel with the adaptation of more circular business models due to the impact of climate change and resource scarcity.

Hildagarde McCarville CEO, Veolia Netherlands

To accompany the intense development of the circular economy in the Netherlands, Veolia decided to acquire in 2015 a Dutch company named AKG Polymers that now has almost 50 years of experience in plastics recycling. This plant in the Netherlands is now Veolia’s global center of excellence for recycling polypropylene. Veolia is accompanying brands, such as Philips, in their commitments to making their products and services more environmentally friendly. This innovative dynamic around recycling is also encouraged by a more collaborative approach, breaking down the traditional silos, and creating new markets and business models in the Netherlands and abroad. Veolia is the global leader in optimized resource management. With nearly 169,000 employees on five continents, the Group designs and provides water, waste and energy management solutions that contribute to the sustainable development of communities and industries.

INTRODUCTION Since the 1960s, the Dutch economy has strongly relied on gas following the discovery of the largest gas field in Europe, the Groningen field, and the tenth largest in the world. The Netherlands became the EU's largest natural gas-producing country. This abundance of gas facilitated the development of energy-intensive industries, notably refining, petrochemicals and agriculture. Holland represents one of Europe’s leading suppliers of chemical products and services and boasts more than 400 top chemical companies across the entire supply chain. The Port of Rotterdam, Europe’s largest port, is one of the strongest refining and chemical clusters in the world. Second only to the United States for agri-food exports worldwide, more than 4,150 companies are established in this key sector and the Netherlands hosts major production or R&D sites of 12 of the world's largest agri-food companies.

Hildagarde is the CEO of Veolia Netherlands and is a nonexecutive director of Veolia Ireland. Prior to this, Hildagarde was the CEO of Dalkia, having transferred to the Netherlands from Dublin, where she was the Finance & Support Services Director of Dalkia Ireland.

This well-established, gas-oriented economy has recently known major shifts. A big turning point was the progressive decision to reduce natural gas production in response to popular and parliamentarian environmental pressures.

KEYWORDS • CIRCULAR ECONOMY • CIRCULAR HOTSPOT • NETHERLANDS • INNOVATION • RAW MATERIAL

1 Ministry of Infrastructure and Water Management of the Netherlands

Architectural Approach and Programme

Analysis

Developing a Circular System To create a circular system in plastics production, the base chemicals produced from fossil fuels must be replaced through the re-use of waste plastic - a resource in plentiful supply. Through both the collection of plastic waste that we recycle and the capture of plastic pollution in our environment, a wide spectrum of plastic resources can be optained. Ranging from whole plastic products that can be directly reused, to scraps of plastic that can be mechanically recycled, to microplastic waste that can be turned back into the base chemicals for plastic production.

This closed, circular system helps to address our significant detrimental impact on the environment - reducing our use and reliance on fossil fuels while tackling the damage of plastic pollution. SHELL’s site at Pernis already contains much equipment and machinery that can be utilised in this system. By reconfiguring and reimagining these existing processes, a new identity for the site and the local area can be developed that seeks to address and recompense for the site’s harmful legacy.

Architectural Approach and Programme

Plastic recycling collected in homes

Textile manufacturing

Storage

Deposited in street containers

Textile factories and retailers

Mechanical sorting > 30 procedures

Collection of commercial plastic waste

Textile recycling with circular systems

Hand sorting procedures

(Inter)national import of plastic waste

Microplastic capture and separation

Bailing - 94-98% purity

Deposit schemes

Shredding

Pyrolysis produces refined hydrocarbons from plastic waste

Cafe / restaurant / groceries with reuseable containers / packaging

Cleaning

Cracking breaks hydrocarbons into monomers using existing furnaces

Repurposing / refurbishment

Colour Sorting

Depolymerisation produces monomers from plastic waste

Clothing re-use / 2nd hand markets

Melting and Extrusion

Monomers used in existing plant to produce feedstock chemicals

Architectural Approach and Programme

Microplastic Capture About 8% of European microplastics released to oceans are from synthetic textiles — globally, this figure is estimated at 16-35%.

EEA: Pathways to prevent the release of microfibres from textiles

• •

new research facilities local textile manufacturing

• •

education and awareness local, high-quality textile shops

• •

old textile collection and recycling microplastic capture from manufacturing and local pollution sources

Architectural Approach and Programme

proposed water capture and filtration network

Architectural Approach and Programme

Chemical Recycling

Pyrolysis produces refined hydrocarbons from plastic waste

Source: Supply Chain Optimization: Short Term Planning and Distribution Decisions for a Petrochemical Complex Maria Diaz, Erica Schulz, J. Bandoni

Architectural Approach and Programme

This page Locations of existing petrochemical furnaces

Architectural Approach and Programme

Functional Requirements

Architectural Approach and Programme

Van Heek Textiles Factory A= B= C= Totaal =

2,000m2 9,500m2 4,000m2 15,500m2

De Kringloop D=

750m2

A 0m 33x6 C 2m 70x2 5m 95x2

135m

B 5m 99x9

165m

D 3m 32x2

Architectural Approach and Programme

Euro Used Clothing Sorting Centre 6,750m2

150 45m

Architectural Approach and Programme

MEILO Plastic Recycling Centre Main building - 7,500m2

m 50

80 m

Side Building - 1,750m2

Plastic Storage 4,000m2

Totaal 13,250m2

Architectural Approach and Programme

Re-imagining the Factory Typology

Above Freeing the process 90

Architectural Approach and Programme

Above Modern day factory typology - a box 91

Architectural Approach and Programme

Architectural Conclusions

Programmatic Concepts When re-imagining the programme and site, there is an opportunity to address some of the current problems in relation to the surrounding residential areas. The existing segregation between residential areas and industrial

functions could be drastically improved. The circular system of plastic processing proposed could be integrated and connected with recreational functions both within the site itself as well as to adjacent neighbourhoods.

Architectural Approach and Programme

PLASTIC RECYCLING PROGRAMME ACROSS WHOLE SITE

RE-USE

SORTING

CHEMICAL RECYCLING

COLLECTION

MECHANICAL RECYCLING

MICRO-PLASTICS CAPTURE

Plastic Recycling System Across Whole Site

Architectural Approach and Programme

Architectural Concepts The common factory/industrial typology typically consists of hyperefficient, closed-off boxes with little connection or relationship to their surroundings. The ‘process’ is contained within these units.

These processes are usually linear, and therefore, can be unravelled with opportunity for interaction both with other industrial processes as well as with recreational and/or public functions.

Architectural Approach and Programme

Case Study Location - The Textile Quarter CHOSEN CASE STUDY RECREATIONAL vs. INDUSTRIAL LOCATION WATER’S - EXISTING EDGE ELEMENTS

IAL

TR US

IND

RECREATIONAL

Water Edges - Industrial and Recreational EXISTING ELEMENTS TO BE ADAPTED IN SITU

Keep in situ and adapt Remove and use elsewhere on wider site

Existing Elements to be Adapted In Situ 96

Architectural Approach and Programme

ZONING PLAN: INDUSTRIAL AND RECREATIONAL PROGRAMME

Oud Petroleumweg

1: Industrial 2: Recreational 3: Overlap

Zoning Plan: Industrial and Recreational Programme RECREATIONAL PROGRAMME ‘Highline’ route Climbing wall Outdoor amphitheatre Cafe/ comfort facilities

Skate park Sailing school

Viewpoint Informal park

Recreational Programme 97

Recreational beach

Architectural Approach and Programme

INDUSTRIAL PROGRAMME - THE TEXTILE QUARTER Polyester thread out Spinning and stretching

Polyester thread in

Heating/ melting

Weaving PET flakes in

Dyeing

End product fabric rolls

Synthetic thread production from

Fabric production:

PET flakes (polyester and nylon) weaving and dyeing INDUSTRIAL PROGRAMME - THE TEXTILE QUARTER

Polyester clothing recycling: sorting and cleaning

Used synthetic clothing received Sorting proceedure 1

Re-distribution

INDUSTRIAL PROGRAMME - THE TEXTILE QUARTER

Sorting proceedure 2

Synthetic thread production from PET flakes (polyester and nylon) Fabric production: weaving and dyeing

Sorting proceedure 3

Polyester clothing recycling: sorting and cleaning Supporting programme: public/ semi-public

Synthetic thread production from PET flakes (polyester and nylon)

Fabric production: weaving and dyeing

Industrial Programme - The Textile Quarter 98

Polyester clothing recycling: sorting and cleaning

Architectural Approach and Programme

SUPPORTING PROGRAMME - THE TEXTILE QUARTER

Clothing design studios Sewing workshops

Climbing equipment hire/ store (from recycled materials)

Re-made clothing shop

Supporting Programme - The Textile QuarterClothing repair

Fabric shop

Cafe

workshop INDUSTRIAL AND PUBLIC/ SEMI-PUBLIC DESIGN FOCUS: INTERACTION BETWEEN

Design Focus: Interaction Between Industrial and Public / Semi-Public 99

Research Methodology and Process

Design of Workshop Whilst designing the workshop, a child psychologist and early years specialist was consulted. This was to obtain advice on matters such as the ideal age group, how to engage the children in the task, the suitability of the task itself and the tools that would be required. It was advised that the ideal age range is before the age of seven as this is the approximate age in brain development

where imagination becomes less fluid. An infant class was then selected with an age range of between five and eight. The children were therefore old enough to grasp the task in hand but with some children on the threshold of this key developmental point. The following considerations were made as a result of the specialist advice given to best optimise the outcomes of the research.

The workshop process 102

Research Methodology and Process

ENGAGING WITH THE CHILDREN’S IMAGINATIONS

- Engaging with the children’s imagination

- Introducing purpose using figures and expressions

103

Research Methodology and Process

- Maximising creative freedom

Elements

Box of junk

+ Testing in VR

104

Research Methodology and Process

- Harnessing a child’s imaginative perception of form as a design tool

Physical spatial considerations / expressions

Internal narratives and reasoning

- Getting into the role

Photographs containing children have been redacted from this version for safeguarding purposes.

105

Research Methodology and Process

Architecture Workshop 18/02/2022 – outline plan

9.45am – 10am : INTRODUCTION What is an architect and what do they do? What different buildings can the children think of? The task: A big clumsy giant has knocked over a town and needs the children’s help to build a new one! The problem is no-one remembers what it used to look like to the new town can be anything they like, it’s completely up to them. Every child will get a small wooden figure about 2.5cm tall. This is their person in the town that they need to look after. The children will split into two groups: Group A: 5/6 year olds (approx. 11 children) Group B: 7/8 year olds (approx. 10 children)

One group will be the ‘builders’ and work together with some blocks to help the giant re-build the town. The other group will be the ‘architects’ and they will ‘design’ and make a salt-dough shelter for their little wooden person to live in until the new town is ready. The groups will then switch roles. Each child can take home their salt-dough shelter and their little wooden person at the end of the day if they would like to. 10am – 10.30am : WORKSHOP ROUND 1 Group A (5/6 year olds) will work with the blocks Group B (7/8 year olds) will work with the salt-dough

10.30am – 10.45am: WORKSHOP ROUND 1 REFLECTION Some group A children can volunteer to show the piece of the model that they made/ worked on and tell everyone about it. Group B children can tell the group all about the model shelters they have made. 106

Research Methodology and Process

10.45am – 11am : BREAK 11am – 11.45am : WORKSHOP ROUND 2 Group B (7/8 year olds) will work with the blocks Group A (5/6 year olds) will work with the salt-dough

11.30am – 11.45am : WORKSHOP ROUND 2 REFLECTION Some group B children can volunteer to show the piece of the model that they made/ worked on and tell everyone about it. Group A children can tell the group all about the model shelters they have made.

2.30pm – 3.15pm: EXPLORING THE TOWN Some of the town ‘designs’ will be placed in a 3D computer modelling programme. A real-time rendering software will then be used to walk through the model at eye level. The computer generated model can be projected onto a big screen and some of the children can have a go at using the arrow keys on the keyboard to walk through and explore the town that they designed with the little wooden blocks. This will give the children the opportunity to experience their own designs as if they were built in a 1:1 ‘reallife’ scale.

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The Elements A key aspect of designing the workshop for the children was in the design of the ‘building blocks’ that the children were given. Firstly elements on site were identified and key typologies defined. These typologies were then abstracted so that they were still recognisable forms but practical as building blocks that were suitable for five year olds.

From these abstracted forms the blocks were designed to be multidirectional and fully rotatable in order to maximise creative freedom and not interfere with the children’s intuitive response. The block themselves were made from laser cut MDF, then glued, sanded and painted to form childfriendly and engaging pieces.

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ABTs (above ground storage tanks)

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Chimneys

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Pipework

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Walls/Cladding

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Platforms

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Structural Bracing

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Making the Building Blocks

Photographs containing children have been redacted from this version for safeguarding purposes.

The Workshop

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The Workshop

Classes

5/6 years girls 5/6 YEARS - GIRLS

5/6 YEARS - GIRLS Photographs containing children have been redacted from this version for safeguarding purposes.

5/6 YEARS - BOYS

5/6 years boys 5/6 YEARS - BOYS

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The Workshop

7/8 years girls 7/8 YEARS - GIRLS

7/8 YEARS - GIRLS Photographs containing children have been redacted from this version for safeguarding purposes.

7/8 YEARS - BOYS

7/8 years boys 7/8 YEARS - BOYS

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The Workshop

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general photos?

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Workshop Notes

Connections • Every child, regardless of introverted/ extroverted nature connected their part of the city to another • Even the children that took some blocks off to a corner still bridged across / connected to the larger part • Eventually the children spread across two tables and built a large spanning bridge between them • Most extreme version of this is the ‘gateway to the next town’ (creation of potential connection to imaginary town beyond) Boundaries • Despite emphasis on connection, strong boundaries between buildings / complexes were clearly visible • Boundaries were often permeable with maintenance of visual connections • Symbolic boundaries often in the form of pathways Pathways • Physical pathways with small wooden blocks • Large gestures e.g. bridge • Visual connections, mostly in the form of open gateways Formal and informal entrances • Curved or arched forms often signified point of entry • When asked how people entered, secret entrance apart from the formal one was identified Association and interpretation according to known or familiar narratives • The ‘tube’ bridge was interpreted by another child as a slurry pipe which was built upon by another child as a milk pipe who created a whole dairy farming narrative 146

The Workshop

•

One ‘complex’ was described as a bull sale as one child fed into the living quarters of another

Non-definitive boundaries between programme / changing use within the imagination • E.g. bedroom next to bull sale • Slide into rubbish collection pile • Another child’s structure started as undefined in terms of function however morphed into a car function when the cars were brought into the equation / function is not fixed but adaptable according to available resources / imagination Water elements • Almost all water elements took on a recreational function in the form of swimming pools, paddling pools, jacuzzi etc. Decorative elements • Smaller pipes • Curved platforms • Patterns in openings of scaffolding/ structural bracing elements The role of the roof • The roof became of stronger importance with the curved forms used on their side • Roof also of more importance when it adds to the larger form of the structure • The initial attempts more often than not excluded the roof from thought – emphasis was placed on boundary and connection. • Roof became more important with bedrooms etc with private spaces

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THE ELEMENTS Scaffolding • Most often used on their side as a boundary • Openness but rigidity of structures commonly symbolised a wall with openings • Twice referred to as a ladder or a means to traversing the vertical plane Storage tanks • Curved form used both on its side and as an arch • Fragments often used as an archway to signify an entry point • Fragments used as archways played an important role in connections • Used often as curved walls for softer programmatic functions e.g houses • Some of the quarter fragments used on their side were associated with agricultural programme Pipes • Smaller pipes took on a decorative role • Larger pipes used as functional tunnels • Thick pipes often used as ‘chimneys’ with a landmark role significance Chimneys • Full chimney mostly kept their significance as chimneys • ‘Landmark’ significance Structural bracing • Used as walls/ boundaries • Similar to the scaffolding elements, the open but rigid structure often took on the symbolic meaning of a wall with windows • Functioning gates a recurring theme • Decorative meaning: used as boundaries but with decorative element – seen in arrangement in hierarchy according to size Walls and cladding • Supportive function • Infill to support other elements Platforms • Smaller more circular elements took on decorative meaning • Used to resemble seats, domestic elements • Functional use e.g. extending a wall, capping the top of a piece of scaffolding to make a wall 148

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Analysis and Findings

Workshop Outcomes

The most prominent observations made during the workshop were the priorities of the children when they were arranging their cities and where their design emphasis was placed. By not providing little house-shaped blocks, the children were removed from their schemas of what a building should look like and how a collection of buildings should relate to each other. Due to their young age, the children were less influenced by their personal experiences of life. As a result, they

worked in a more intuitive manner and their physical depictions start to suggest spatial preferences of a more innate nature. The representational industrial elements used in the workshop therefore became a vessel to demonstrate the potential and versatility of this line of thought. From these observations a variety of themes which were key driving factors in the children’s decision making processes became apparent. These key themes are explored further and analysed in the following pages.

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Analysis and Findings

These very harsh and imposing industrial elements were still treated by the children with a lightness and sensitivity towards human use.

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Analysis and Findings

1- Landmarks

The advantage of integrating landmarks is perhaps the most obvious; landmarks aid in navigation and orientation. They are useful in wayfinding and can be used as identifying features that are then associated with their particular

function. What is perhaps the most striking aspect about this observation is that the importance of landmarks has been acknowledged in many previous architectural and urban theories and continue to do so today.

An identifiable feature in the landscape that guides orientation and elicits recognition/ association with a specific function

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Analysis and Findings

2- Connectivity / Routing

The children built their own structures with clear boundaries and individual identities however they did not exist in isolation, everything was part of a wider social network. Every single child connected their part in some way to the other children. Humans are social animals that have a strong innate

desire to belong to a social group. This need for belonging is an evolutionary trait because being a part of a larger social group increased our likelihood of survival. It is natural then that these strong observations regarding connections and routing between the individual children’s clusters occurred.

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Analysis and Findings

Carefully curated connections and routing between, around and through individual clusters.

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Analysis and Findings

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Analysis and Findings

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Analysis and Findings

3- Defining Space

How the children defined ‘space’ involved a fascinating interplay between curved and straight forms. The main focus seemed to gravitate towards housing the ‘comfort program’ within the embrace of circular structures, while straight forms assumed the role of delineating boundaries. There emerged a thoughtprovoking dichotomy wherein curved forms gracefully curved as roofs, seemingly contrasting with the utilitarian function of straight forms as defining elements. Within this juxtaposition, a delicate balance of hierarchy and complexity unfolded. It was evident that the space and material arrangement possessed an inherent order, which in itself was a testament to its complexity. The interplay between order and complexity became a central theme, shaping the spatial experience. What became strikingly apparent was the fluidity in defining external and internal space. The programmatic inhabitation materialized as a less-rigid infill and zoning arrangement between these various forms. This revelation challenged traditional notions of space, inviting a dynamic and ever-evolving perspective on how architecture and space interact.

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Analysis and Findings

Fluid definitions of external/ internal space. Programmatic inhabitation occurs as a less-rigid infill/ zoning between forms.

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Analysis and Findings

4- Familiarity of Narrative

Storytelling and our ability to create internal narratives is a unique human trait. It gave us an evolutionary advantage because it allows us to imagine an array of potential scenarios and outcomes of our actions before making decisions. As a result of this evolutionary relationship with narrative, people connect to stories in a deep way and it helps them to relate to the world around them and situate themselves within it. The theory of schemas comes back here; we relate more strongly to what is familiar to us which is important for the identity of a place. In the workshop, the children assigned the narratives that were

familiar to them to the forms and objects. As they were all from a rural farming village in the Scottish borders, they associated certain forms with the agricultural building that they grew up with. This then took a central role in their play. At the Port of Rotterdam site, some of the larger industrial forms, that currently dominate the landscape, play a big role in the existing narrative and sense of place. An example of this is the strong rhythm of large, round storage tanks. To keep this layer of narrative in the redevelopment of the site, it is important that a recognisable imprint of these industrial elements is left behind.

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Analysis and Findings

4) FAMILIARITY OF NARRATIVE

Resonating with the familiar narrative of the existing petrochemical landscape.

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Analysis and Findings

5- Gateways, Entrances and Thresholds

The research findings highlight the distinction between thresholds and entrances as distinct spatial elements. Thresholds are characterized by prominent, symbolic gestures, while entrances exhibit a more subtle, human-scale quality. These entrances encompass both informal and formal variants, offering multiple entry options, each contributing to varying spatial atmospheres. Importantly, the workshop revealed that entrances are often discreet, requiring children to actively identify them, making them a subtle expression within the space. The physical point of entry, the ‘door’, could relate to a more primal idea of shelter and safety. Passing through a door and into an enclosure of safety is felt through the need for a human scale and more subtle indication of point of entry. Smaller, more subtly marked points of entry would have provided a heightened sense of safety for our evolutionary ancestors.

Larger scale gestures, termed here as ‘thresholds,’ more likely relate to complex ideas about showing societal status. Theories suggest that the need for societal status stem from the evolutionary emotion of envy which increased our chances of survival by ranking ourselves and available resources within a larger social group. The more resources we had, the larger our chance of survival. These resources could be expressed as symbols of status which is an complex but integral part of human social groups. Alternatively, the threshold symbols could be used as an aid in orientation and identification of a specific structure.

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Analysis and Findings

Thresholds are expressed as a larger symbolic gesture whereas entrances are marked in a more subtle manner with a 'human scale'. Choice and variety in points of entry.

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Analysis and Findings

6- Permeability of Boundaries

This observation was not obvious at first but after talking to the children, it became evident that definite choices had been made about the visual and physical permeability of the boundaries to their ‘buildings’. When you get down to the children’s eye-level and speak to them about what they are doing, you start to see a variety of sight lines and layering of boundaries with varying degrees of permeability. Solid elements very decisively placed to create hard boundaries that sealed of specific areas or prevented sight into them. More open structures on the other hand, marked more permeable boundaries and visual connections. The layering of these boundaries became quite complex and continued to evolve and grow in complexity throughout the children’s play. This observation brings to mind a theory called ‘thigmotaxis’ which is

the ‘wall-hugging’ trait. Thigmotaxis describes how people prefer to stay close to the edges of an open space (such as a large public square) because it enhanced the likelihood of their survival by ‘keeping their backs covered’. Potential attack would therefore only have to be anticipated from 2 or 3 directions which is much more manageable with the human field of vision and head rotation. This theory could help to explain the permeability of boundaries and the gradient of visually open and closed parts of wall. This gradient of permeability could almost be compared to our evolutionary ancestors walking along the tree line at the edge of a forest. The tree line give the best hunting vantage point because it strikes a balance between protection and sight/ opportunity. A similar balance appear to be important in the observations of the children’s creations.

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Analysis and Findings

Controlling porosity of physical and visual boundaries as a tool for directing attention. Layering spatial sequences by controlling the permeability of boundaries.

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Analysis and Findings

Summary of Principles

1) LANDMARKS An identifiable feature in the landscape that guides orientation and elicits recognition/ associate with a specific function.

2) CONNECTIVITY/ ROUTING Carefully curated connections and routing between, around and through individual clusters.

3) DEFINING SPACE Fluid definitions of external/ internal space. Programmatic inhabitation occurs as a less-rigid infill/ zoning between forms.

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Analysis and Findings

4) FAMILIARITY OF NARRATIVE Resonating with the familiar narrative of the existing petrochemical landscape.

5) GATEWAYS, ENTRANCES AND THRESHOLDS Thresholds are expressed as a larger symbolic gesture whereas entrances are marked in a more subtle manner with a ‘human scale’. Choice and variety in points of entry. 6) PERMEABILITY OF BOUNDARIES Controlling porosity of physical and visual boundaries as a tool for directing attention. Layering spatial sequences by controlling the permeability of boundaries.

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Design Testing and Development

Design Principles To what extent are the learning outcomes from the workshop results implemented into a design project?

Define a set of baseline guiding principles, influenced by the workshop outcomes: the toolbox

These principles still leave room for creative interpretation by designs to ensure variety, progression and new discoveries.

Scientific Influence

Creative Intuition

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Design Testing and Development

Influences on Design Decisions

1) Design decisions that are related to the programme/specific conditions of the site

2) Design decisions that are influenced by the workshop outcomes: the toolbox

3) Design decisions that are the result of the creative freedom and interpretation of the designer (interwoven throughout first 2 points)

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Design Testing and Development

Integrating Urban Outcomes and Toolbox Through Sketching

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Design Testing and Development

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Design Testing and Development

Intuitive Design Exploring Toolbox Principles Using Building Blocks

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Design Testing and Development

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Design Testing and Development

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03.

02.

01.

Design Testing and Development

Further Study Exploring Connections and Levels

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1st floor

ground floor

Design Testing and Development

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Design Testing and Development

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From Toolbox to Design

Summary of Principles

1) LANDMARKS An identifiable feature in the landscape that guides orientation and elicits recognition/ associate with a specific function.

2) CONNECTIVITY/ ROUTING Carefully curated connections and routing between, around and through individual clusters.

3) DEFINING SPACE Fluid definitions of external/ internal space. Programmatic inhabitation occurs as a less-rigid infill/ zoning between forms.

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From Toolbox to Design

4) FAMILIARITY OF NARRATIVE Resonating with the familiar narrative of the existing petrochemical landscape.

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From Toolbox to Design

1- Landmarks

An identifiable feature in the landscape that guides orientation and elicits recognition / association with a specific function.

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From Toolbox to Design

Re-use of existing chimney structure for recreation

Industrial, recreation 201

From Toolbox to Design

2- Connectivity / Routing

Carefully curated connections and routing between, around and through individual clusters.

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Primary site lines

From Toolbox to Design

Site lines connecting to wider site

Connections and routing

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From Toolbox to Design

Courtyard connections

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From Toolbox to Design

3- Defining Space

Fluid definitions of external/ internal space. Programmatic inhabitation occurs as a less-rigid infill/ zoning between forms.

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From Toolbox to Design

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From Toolbox to Design

4- Familiarity of Narrative

Resonating with the familiar narrative of the existing petrochemical landscape.

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From Toolbox to Design

The rhythm of the storage tanks are a prominent feature of the wider site’s character and current identity. 209

From Toolbox to Design

Different approaches to reusing the storage tanks to leave behind in imprint whilst controlling their spatial impact.

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From Toolbox to Design

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From Toolbox to Design

Still identifiable in the landscape

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From Toolbox to Design

Manipulating the impact on space

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From Toolbox to Design

5- Gateways, Entrances and Thresholds

Thresholds are expressed as a larger symbolic gesture whereas entrances are marked in a more subtle manner with a 'human scale'. Choice and variety in points of entry.

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From Toolbox to Design

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From Toolbox to Design

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From Toolbox to Design

6- Permeability of Boundaries

Controlling porosity of physical and visual boundaries as a tool for directing attention. Layering spatial sequences by controlling the permeability of boundaries.

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From Toolbox to Design

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Final Design

Case Study Location - The Textile Quarter CHOSEN CASE STUDY RECREATIONAL vs. INDUSTRIAL LOCATION WATER’S - EXISTING EDGE ELEMENTS

IAL

TR US

IND

RECREATIONAL

Water Edges - Industrial and Recreational EXISTING ELEMENTS TO BE ADAPTED IN SITU

Keep in situ and adapt Remove and use elsewhere on wider site

Existing Elements to be Adapted In Situ 224

Final Design

ZONING PLAN: INDUSTRIAL AND RECREATIONAL PROGRAMME

Oud Petroleumweg

1: Industrial 2: Recreational 3: Overlap

Zoning Plan: Industrial and Recreational Programme RECREATIONAL PROGRAMME ‘Highline’ route Climbing wall Outdoor amphitheatre Cafe/ comfort facilities

Skate park Sailing school

Viewpoint Informal park

Recreational Programme 225

Recreational beach

Final Design

INDUSTRIAL PROGRAMME - THE TEXTILE QUARTER Polyester thread out Spinning and stretching

Polyester thread in

Heating/ melting

Weaving PET flakes in

Dyeing

End product fabric rolls

Synthetic thread production from

Fabric production:

PET flakes (polyester and nylon) weaving and dyeing INDUSTRIAL PROGRAMME - THE TEXTILE QUARTER

Polyester clothing recycling: sorting and cleaning

Used synthetic clothing received Sorting proceedure 1

Re-distribution

INDUSTRIAL PROGRAMME - THE TEXTILE QUARTER

Sorting proceedure 2

Synthetic thread production from PET flakes (polyester and nylon) Fabric production: weaving and dyeing

Sorting proceedure 3

Polyester clothing recycling: sorting and cleaning Supporting programme: public/ semi-public

Synthetic thread production from PET flakes (polyester and nylon)

Fabric production: weaving and dyeing

Industrial Programme - The Textile Quarter 226

Polyester clothing recycling: sorting and cleaning

Final Design

SUPPORTING PROGRAMME - THE TEXTILE QUARTER

Clothing design studios Sewing workshops

Climbing equipment hire/ store (from recycled materials)

Re-made clothing shop

Supporting Programme - The Textile QuarterClothing repair

Fabric shop

Cafe

workshop INDUSTRIAL AND PUBLIC/ SEMI-PUBLIC DESIGN FOCUS: INTERACTION BETWEEN

Design Focus: Interaction Between Industrial and Public / Semi-Public 227

Different approaches to reusing the storage tanks to leave behind in imprint whilst controlling their spatial impact.

2 1

Existing element adapted in situ Existing structure/ material directly reused

Element brought in from wider site and adapted Entirely new layer

Stiffening ring above and below new openings Openings cut into welded steel panels

Openings reinforced with Ferrock lintels/ frames New supporting wall

Top angle Stiffening ring Welded steel panel coursing

Wall Type 1 steel plates re-used as exterior cladding breathing membrane steel supporting structure insulation birch plywood interior lining ferrock concrete lintels and reveals

Wall Type 2 steel plates re-used as interior lining insulation steel supporting structure breathing membrane larch timber external cladding ferrock concrete lintels and reveals

Steel Structural Frame Birch Ply Sheet Insulation Breather Membrane

Cavity with supporting steel battens Re-used steel plates

Wall Type 1 -

Steel gratings re-used as internal screens

Steel gratings re-used as rainscreen facade providing solar shading

Recycled polycarbonate panels used to clad re-used steel frames

Reflections

Qualitative Approach The workshop is an original piece of research and therefore not based on precedent which means that the outcome was subsequently unpredictable. The most appropriate form of research to use here was therefore a qualitative method instead of a quantitative method. Qualitative methods have their advantages in that they reveal human reasoning that cannot be read from data sets. The building block compositions became an external representation of an internal reasoning; the significant design priorities and decisions were externally expressed through the building blocks. A qualitative method of research is most useful here, even if a concrete output is not always achievable. Further quantitative studies can help to fill in gaps and address doubts. Taking the ‘familiarity of narrative’ point as an example, a quantitative method would have given a result such as: ‘40 out of 60 of the half circle forms were used on their side to form an arch’. What is far more interesting however was to discover why they were placed on their side. Only a qualitative study would give rise to the discovery that forms placed in this manner reminded

the children of a farming typology that was specific to the area. The important takeaway is therefore not to make similar arches, but to resonate with a familiarity of the area in question. Recognisability makes the area more relatable and perhaps even elicits a sense of belonging. The expectations of the workshop outcomes were heavily based on the specific forms of the petrochemical industry, raising questions such as what does each form represent without the interference of the fixed/ developed schemas that adults possess? Although some observations were made regarding the specific elements, the more general observations were much more significant. It was the qualitative method that allowed these other observations to come to light. Although the approach intended to bring about an outcome specific to form, it actually created the ideal conditions to study wider design implications and more general design decisions. As such, the implications of this are much more widely applicable and the resulting design toolbox could theoretically be applied to any industrial/ difficult site to re-use.

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Reflections

Limitations of the Research The qualitative nature of this study means that the toolbox that I have created is my interpretation of the findings and outcomes. If others were to repeat the workshop or exam the recordings, they may interpret them differently. These dialogues are not only present in most scientific studies, but also initiate necessary and beneficial debates and discussion. It is common for experiments to be repeated multiple times and improved each time with the limitations of the previous studies considered and addressed. Being an original study, there is no precedent to base the findings off and no previous studies to improve upon but it is nevertheless important to start somewhere in order to initiate further study. My project makes this start and is a statement to the architectural community intended to raise questions and challenge the status quo. The hope is that it may even initiate further studies.

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Note: This study is based on scientific reasoning but is carried out to a level that is appropriate for the scope of this Master’s thesis. This initial study is limited by: • •

• •

Small data sample sizes Lack of comparison across cultural backgrounds (influence of culture and upbringing is not taken into consideration) No control group was established, therefore a baseline is unknown Availability of resources and specialist equipment

Reflections

Ideas for Future Study

Although a qualitative research method was suitable for the scope of this project, qualitative methods can be limiting in producing concrete conclusions. The continuation of this study may involve the search for a quantitative means of objectively measuring the outcome. In order to achieve this, collaborations with quantitative neuroscience imaging techniques would likely be required in order to pinpoint specific and measurable reactions to spatial features.

Further research include: •

•

questions

may

What specific design features lead to spatial experiences that make us feel excited/ in awe/ comfortable? Are similar outcomes achieved with a different set of abstracted forms? To what extent do the forms influence the apparent design priorities assigned by the children? Do adults still demonstrate, on some level, the same innate priorities as the children?

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Reflections

Why this Study is Important for the Future

It has been recognized that the built environment has a big impact on our cognitive functioning. We have rules and building regulations for minimum spatial requirements and daylight requirements etc. but nothing that ensures that our cognitive comfort and needs are met. As we draw an increasingly stronger link between buildings and well-being, we may soon need to consider minimum requirements for ensuring a level of spatial quality that appeals to everybody at an intrinsic level. This is of particular importance when reusing industrial sites due to their lack of human scale, harsh/ imposing aesthetic and strong association with industry which, in the case of petrochemical, could be very negative. The workshop is based on the hypothesis that there are certain key definable principles that can be applied to how we approach design that appeal to an innate/ intrinsic part of us. This project is a first step towards discovering and defining some of these principles. Eventually,

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we could manage to define a set of rules for architectural design that ensures a baseline level of spatial quality or more specifically, a positive innate experience of space (through by-passing the pitfalls of conformity in the architectural educational system and appealing to the individual at an innate level). No matter where we come from, or our life experiences, the one thing that we share is our human nature; we share the same set of baseline evolutionary gene sets. By understanding what is means to be human at the deepest, evolutionary level, we can create architecture that better addresses our basic primal desires. We can create spaces that appeal, on some level, to everybody, and take care of their evolutionary cognitive needs. If we are to address the current and future architectural problems successfully, architecture cannot be a static profession, we must acknowledge that perhaps the answers to the uncertain future that we face may lie out with our comfort zone of knowledge.

Reflections

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Reflections

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With thanks to Committee: Elsbeth Ronner - Mentor David Keuning Kamiel Klaasse Twynholm Primary School and the wonderfully creative wee pupils and teachers there. Mum, for teaching me resilience and Fraser, my rock.

Siân McGrath sian.mcg@outlook.com Master of Architecture Academie van Bouwkunst Amsterdamse Hoogeschool van de Kunsten Copyright © 2022, Siân McGrath All rights reserved. No portion of this book may be reproduced in any form without prior written consent from the publisher. Printer - Print en Bind