Project description

The Madelvic Car Factory sits at the centre of the Granton Waterfront Regeneration Project. The dilapidated building evidences the dramatic decline of industrial activities in the area. The thesis aims to preserve and celebrate the site’s history—and to repurpose the existing structure—while also coming to grips with its pollution and toxic remainders, and finding architectural and tectonic protocols for ‘staying with’ them in space and time. The remedial architectures proposed seek to foreground and choreograph the risks and injustices associated with the (often invisible or unnoticed) interaction between bodies, soils, and toxicants.

Phyto-Remedial Architectures curates safe working spaces and protocols for the processing of large quantities of contaminated earth, so that the material may be re-introduced into the construction industry. On one side, the site is enclosed by a ramp that acts as a protective boundary, also allowing visitors to witness remediation steps, to learn about the corresponding risks and procedures, and to understand the correlation between exposure and injustice. The ramp leads visitors to the upper level of the factory, which is used for material and repurposing workshops.

Alternatively, visitors can enter the so-called Toxic Garden—a terrace that, by visually correlating the remediation of wastes (their bio-availability) with the slow erosion of their earthy containers, emphasises the spatio-temporal dimensions of hazard and risk. The terrace comprises two levels: the lower one marked by visual and sensory warnings; the upper one by a bright, open, and inviting space—a hopeful reminder that a contaminated earth can be reclaimed.  

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Semester 1 - Earth Testing Exhibit
Testing Earth Technologies

Early in the first semester, there was an understanding of the different types of earth construction that took place through a series of workshops ran by Rowan Keeble and Becky Little.  The four main earth types studied were rammed, mass, light, and plasters where the research process identified key methodologies related to each earth technology, understanding the various compositions that are required for each mix and the tools required.

An early focus was that of hands, feelings, textures, and human emotion that come from the interaction with earth as a building material. The realisation of this corporeal bio-relationship early on set the foundation for work on understanding construction on the human body, the risk involved in dealing with various materials and relating the risks of earth construction compared to other current (and more modern) building methods. Then trying to understand these through speculative drawn investigations, re-evaluating what we would consider typical building details that would be used in everyday practice.

Examining the flow of construction materials throughout Edinburgh from the perspective of EALA Impacts, an organisation dedicated to redefining waste and value in demolition and construction through the use of ‘demolition passports’ and the creation of frameworks. This analysis involved creating maps and detailed drawings to comprehend the existing material flows across various scales: city, construction sites, and architectural details. 
 

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Image of Fragment - Performing Earth Building
Performing Earth Building: An Exercise in Excaptive Design

The initial thought of tearing a beautiful piano made of rare timbers, metals and fabrics combined with fine craftsmanship seems almost sacrilegious, until one realises that the next destination for these pianos is the landfill or being burned. The radical harvest of these pianos begins with the suspension of their functionality as musical instruments, which has devalued them to the point of burning. This project aims to promote the emergence of ‘new horizons of use’ through exaptation.  The rigorous study of piano parts and components allowed us to comprehend what pieces would work well for various functions. This informed what components would take on facing, bracing, or supporting roles, and then be turned into light structure once the formwork had been removed. The construction of the live-build fragment consisted of 6 stages: drying, deconstruction, formwork, mixing and ramming, removing formwork, and assembly of light structure.

Being on site, it was vital to understand the various types of risk involved, considering tools, site and other workmen at Granton. This led to the development of various risk assessment documents, time lines and drawings to understanding how and where materials would be delivered, how long they would be there for, and the potential risks of storage/ contamination. This also looked at several P.P.E. that was required on site such as gloves, vests and helmets and how these served to protect the human body.

A contrast exists in the project between the crumbly, vague, slightly strange nature of the earth fragment and the precision used in the transformation of the piano parts, emphasised in the spacers and additional light structure. This echoes the design process, and the tension between the precision of the drawing tools and software used to create the initial design, and the less predictable – ad hoc and responsive - construction process.  This speaks to the notion of exaptive design, whereby the architect’s sequential adaptations and exaptations translate, and experiment with, and reactivate the dormant potentials in discarded objects – pianos in this case.
 

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Video Excerpt - Making Mixer Handle
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Video Excerpt - Emptying Mixer Tool Made from Pianos
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Video Excerpt - Making Earth Measure
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Video Excerpt - Making Ramming Tool
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Perspective Section through Factory and Remedial Architectures
Harvesting a Contaminated Earth

Both environments and humans possess a threshold for tolerable levels of contamination before harm occurs.   Recognizing that industrial activities have contributed to the contamination of land, it becomes imperative to adapt to these altered landscapes. Addressing the considerable amount of soil waste in the UK necessitates solutions akin to those proposed by the live-build, which involves reactivating the dormant potentials of soil.

The process of soil remediation typically entails significant water usage. However, disposing of this water without treatment would amount to externalizing the costs of contamination, resulting in adverse impacts on the natural world such as polluted water bodies, disease propagation, and ecological trauma. Phyto-remedial techniques offer a viable means of addressing this challenge, as they enable the purification of contaminated water for reuse. Additionally, these techniques leverage plants, which may serve multiple functions including serving as indicators of contamination, creating aesthetically pleasing environments, or even being harvested for consumption, such as in the case of mustard seed plants.

Conventional thought on contaminated building material might go back to toxic arsenic-based wallpaper, ironically creating beautiful natural patterns in the 19th Century or the various building elements constructed with asbestos in the 1960s and 1970s. However, in the chase for zero carbon initiatives like the mandate passed in Scotland in January of 2023,  there is a requirement for the standards of buildings to increase each year. For energy and heating requirements, this is a positive move towards better living, but the materials required to reach these goals become evermore toxic in order for the contractor to economically meet these higher targets. An example of a present-day material includes phenol formaldehyde-laced plywood sheets, where cuts can cause irritation to the skin and eyes. A careful balance must be struck to increase living standards but also reduce modes of consumption, production, regulation and most importantly – disposal.
 

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Photo of Granton Beach - Waste as Commodity
Waste as Commodity

In Edinburgh, contamination is widespread and is most inflicted through building and construction. The greatest example is that of mass dumping of construction material in the 20th century. Granton beach is home to the construction waste of 11,000 properties from 1958 to 1970s. This suggests that architecture has a role to play in highlighting, absorbing and dealing with different types of toxins, pollutants and contaminants. 

Understanding waste as a commodity allows us to reduce our impact on production and consumption when it comes to the creation of new architectures.  Reusing materials from the local area also embeds the communities histories into the fabric of architectures. 
 

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Material Quantities of Remedial Architectures
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Local Material Sourcing in Granton
Reflections

Throughout the project, there has been a consistent frustration that has existed in the way we deal with and dispose of construction materials. Early on, this was introduced through EALA Impacts and how they speak of carbon and the way this can be avoided through the process of architectural implementation. The live-build fragment emphasised this fractured process, with beautiful and architectural instruments such as the pianos being disposed of and burnt, an agonising waste of carefully crafted and laborious structures. A sensitivity towards these materials can be shown through how we use, construct and most importantly, draw. Redrawing and understanding various materials and objects give them a value through awareness and is how waste materials can be saved from the landfill and economised.

Before an architecture of any capacity should be built, one must understand the economic, environmental and social ramifications, and how much consumption will be required for the completion of a project. The confluence of these concerns has been key in discerning useful phyto-remedial architectures. 
 

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Looking Out of Public Material Workshops
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Harvesting a Contaminated Earth: The Practice of Architectural Protection
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