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A Material Story

A Conclusion To Material Expression

“The bricks that were long forgotten seem to get along well with the new occupants – the white chalky material that clung on tightly, curing as time went on. I take a deep breath in, close my eyes and remember the musty smell that use to linger in my nostrils. It was gone, the lime was doing its job well. I flicked on a light switch, it illuminated my destination – the dark void of a kitchen. It was smooth, matte, almost silky to the touch. It pleased my fingers as I ran across the countertop, feeling the flatness of it, yet admiring the depth of the patterns. I was amazed that you could reuse something which I deemed completely useless into something so pleasing to the eye. I was home.”

The kitchen and dining area of the double casement space is meant to be an open space, welcoming both residents and their guests into a space where cooking and socialising is combined into one. The history of the building is quite like my new narrative that I will introduce – they were both used as accommodation. However, my new narrative aims to redefine the casements as more luxurious and eco-friendly dwellings for temporary and permanent workers of the wider scheme at Fort Cumberland.

A cosy and comfortable space can be achieved using lime plaster and wooden flooring. Lime plaster filters the air and is anti-fungal, it is particularly good for people suffering from asthma. This connection to the body makes it an ideal material which connects to both residents and guests without any form of physical touch. Lime plaster is also a naturally occurring material, free of chemicals and carbon neutral, so it also benefits the planet. It is particularly useful in areas that sustain tough weather conditions, and areas with moisture and humidity – this makes it perfect for the use in the casement buildings which suffer from dampness.

Colours of white and light greys work well on the mind and create an area of inspiration and refreshment in contrast to the already-existing dark brick archways. In my design, I did not specify a gender for the occupants. White conveys cleanliness and sometimes is perceived as a blank slate. This was my intention for the occupants – the space is meant to be neutral and genderless.  The reason for creating a black kitchen is to define the space. Black adds depth and definition to a space, but too much can be overwhelming. The harmony the black kitchen creates with the white lime plaster creates an aesthetically pleasing space, with the warm tones of the wood and the brick.

The attention to detail is evident in the design of the counter – which is made from recycled wood chips, arranged into a terrazzo-like pattern. This type of counter design is environmentally friendly, re-using materials which would be wasted otherwise. The small wood chips emanate a warmth in the rather cold black counter and creating a contrast with the white lime plaster.

Through the careful selection of wall finishes, and the eventual decision to use lime plaster, I believe it is the best solution for a space that’s dark and damp. The material connects with the body through filtering the air and allowing the building to ‘breathe’. Matching the white lime plaster with the wooden flooring, the black kitchen cabinets and the recycled terrazzo-like countertop allowed me to successfully create a series of comfortable accommodation for temporary and permanent use for anyone and everyone.  

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Atmospheric Hybrid Drawing showing the choice of materials and colours in the private dwelling of the casement buildings.

For higher resolution: https://1drv.ms/b/s!Ajd_j1p72C8BvlXdJkH6rUkuEi8V?e=HPfB9V

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Section A-A in 1:20 scale and Section Detail A-A in 1:2 showing the detail of the folding doors.

For higher resolution: https://1drv.ms/b/s!Ajd_j1p72C8BvlXdJkH6rUkuEi8V?e=HPfB9V

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Detail of folding doors at 1:10 scale with perspective of kitchen and room in dwelling.

For higher resolution: https://1drv.ms/b/s!Ajd_j1p72C8BvlXdJkH6rUkuEi8V?e=HPfB9V

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Section B-B, Section C-C and Axonometric view of the kitchen and dining area in the private dwellings.

For higher resolution: https://1drv.ms/b/s!Ajd_j1p72C8BvlXdJkH6rUkuEi8V?e=HPfB9V

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1:20 Detailed plan of kitchen area in the double casement dwelling, showing materials and details.

For higher resolution images: https://1drv.ms/b/s!Ajd_j1p72C8BvlXdJkH6rUkuEi8V?e=HPfB9V

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Model and Material Experimentation

As an experimentation into modelling, I decided to model the texture of the lime plaster as it is applied to the existing brick walls. Lime plaster is course and can sometimes appear soft as well. It is one of the more texture wall finishes, and I achieved a similar effect by scrunching up tracing paper 4 times and then overlaying it over a piece of cardboard. I then used a light to shine onto the model, playing with the shadows and the texture. The light allowed me to create artificial scenarios to show how the lime plaster might behave under certain lighting and different times of day. 

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Week Seven: Surface – Between Body and Building

What surfaces will contact the body?

The body would contact multiple surfaces such as the moveable wall panels, furniture, floor and walls. Places of work such as kitchen counters and tables would be in contact the most with the body. The textures of the surfaces and materials would be perceived differently to the senses. For example, lime plaster might be perceived as smooth, but the wood texture of the table might be rough and cold.

Are there any particular considerations e.g. safety? Comfort? Hygiene?

Lime plaster regulates and filters the air, and because of its elevated pH levels and caustic properties, it’s a natural fungicide so it’s anti-bacterial and prevents the growth of mould. Lime plaster creates a healthier environment, and is particular useful to people who are asthmatic.

Will surfaces change, how and why? Over time? Through use? Movement?

Lime plaster is versatile and can be painted over, so it would be up to the occupants to customise their own living spaces. Lime plaster when applied is a very wet material, over time it dries and hardens. Sometimes it can take up to a century for it to cure completely. So it would be easy to see a progress of curing over time. Surfaces such as moveable wall panels would change depended on the needs of the occupants, whether they want to separate the living space to the kitchen space, leave the study room door open etc.

How might surfaces enable spaces to function? Flexible? Multi-use?

The wall panels allow the transition and division of spaces to create separate rooms to suit the occupants’ needs.

How do new surfaces connect or interact with existing?

The use of lime plaster would be from the floor up to the start of the barrel vaults, leaving the exposed brick as an original feature. The aim is to create a neutral space, with limited colour, so the only source of colour would be the red bricks and leaving them uncovered creates a sense of warmth.

How do you want people to feel in the space? How might surfaces help to create an atmosphere?

Lime plaster is versatile and you can add aggregates to customise the final finish. Lime plaster dries in an earthy-tone so it creates a very warm space, that appears soft and welcoming. The space in the casements is meant for accommodation, so it should appear as “homely” as possible, by using warm and neutral colours, but also brighten the space due to the limited amount of natural light available.

How might materials work to create the surfaces? Are they structure in some way?

The lime plaster will be applied only to a certain point, allowing the brick vaulted ceiling to be exposed. Lime plaster bonds with whatever surface it is applied to. Lime plaster would be contrasted with the rough brick texture and create a harmonious composition.

Santorini Cave Summer House by Kapsimalis Architects

La Raia Gallery by deamicisarchitetti.  © Alberto Strada

Musico Iturbi by Roberto Di Donato Architecture.

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Week Six: Think Surface - Assemblage

My assemblage (3D collage) consists of mostly natural materials which are in neutral tones. Crushed terrazzo tiles arranged in an intriguing way shows the counter tops made from recycled terrazzo. The black tiles representing the cabinets in terms of colour. The lime plaster covers most of the collage as this is the predominant material in my scheme. The satin material creates a contrast to the harsh edges and hard material of the terrazzo, the lime plaster and the cabinets. It’s rounded and moldable, allowing to be fixed in any shape and form to the assemblage. As my scheme is about natural materials, there was a need to include plant life, as this is the most natural material that you can build with and is in a sense still alive as the assemblage was made within seconds of tearing the leaves off the plants.

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Week Six: Think Surface - Research and Gather

Venetian Plaster: an exploration into a craft of a natural material that has declined in modern times

Venetian plaster is a general term that refers to putty made from fired limestone combined with water, then it’s mixed together to make lime plaster [Herzig, 2017]. It has stood the test of time, and its extensive uses can be traced back to ancient Greece and Egypt (and even beyond), and intact pieces of lime plaster have been found in some of the pyramids [Green Growing, 2017]. One of the earliest examples of lime plaster dates to around 7200 BC, where three statues were discovered in Jordan that were sculpted with lime plaster, over an armature of reeds [Schmandt-Besserat, 2020]. When excavated, the statues were in an almost perfect condition, despite their age, – which showed just how durable lime plaster actually is [Tubb, 1998]. During the Pre-Pottery Neolithic, lime plaster was mainly used for architectural and artistic purposes in the Middle East, in settlements around the Levantine and upper Mesopotamian regions of the Fertile Crescent [Chazan, 2017]. One of settlements was Aşikli Höyük in Anatolia, one of the oldest known to use lime plaster in the lining of floors and walls [Hauptmann, Yalcin, 2000]. Ancient lime plaster often contained pozzolan additives to reduce working time, and the proximity to the fertile volcanic lands of Mesopotamia and Anatolia made this a staple in the building of ancient settlements [Hauptmann, Yalcin, 2000].

When applying Venetian plaster, there is no need to paint it; leaving it in a raw state, the plaster is breathable and free of chemicals. Hydrated lime plasters cure, instead of drying. They absorb carbon dioxide, which completes the lime cycle and turns the lime back into stone, giving it a natural appearance [Guralnick, 2020]. The curing process can take up to a century, during which the plaster becomes harder with each passing year.

Lime works well in places that sustain tough weather conditions and works well anywhere that gets a lot of humidity and moisture, such as by the coast. Lime is also the best as a render for the exterior of a building – it is less porous and harder-curing that clay or gypsum plasters. It requires little maintenance over time and can be “refreshed” by applying a new coat of lime wash each year [Abundant Edge, 2020]. Lime plasters are easy to work with, non-toxic and environmentally friendly. It is almost carbon neutral, which means that it is perfect for eco-friendly builds [Abundant Edge, 2020].

It is a traditional method of construction and is encouraged by the Society for the Protection of Ancient Buildings because it allows the building to breathe. It reduces the risk of trapped moisture and consequently, the risk of damage to the structure [Green Growing, 2017]. It regulates the humidity and filters the air, and because of the elevated pH of the lime and caustic properties, it acts as a fungicide, and prevents bacteria and mould from forming and so it creates a healthier living environment for the occupants [Abundant Edge, 2020].

The binding qualities of lime plaster are better than that of cement because lime plaster is made up of finer particles and allows it to penetrate the surface of other materials better. Due to these binding qualities, lime plaster is incredibly strong and long lasting. Lime was used in the construction of the Pantheon’s concrete dome, the world’s largest unreinforced concrete dome. An analysis of Roman concrete revealed that it was made out of three materials: pasty hydrated lime, pozzolan and pieces of aggregate [Muench, 2015]. Lime consisted of calcium carbonate, that was heated in a kiln to undergo a chemical reaction and release the gas in the limestone. After being burnt for days, the end product was quicklime. When quicklime is mixed with water, it becomes pasty and hardens as it dries [Muench, 2015]. Pozzolan is a volcanic ash that when mixed with the quicklime paste, the molecules lock together. And when these products are mixed with a rock aggregate, it further increased the strength [Muench, 2015].  

Lime plaster is versatile, and the finishing effects and appearance can be changed by adding pigments or minerals, and by changing the application technique. Lime plaster can be painted with water soluble paints to create frescoes in the same way the Sistine Chapel was done [Abundant Edge, 2020]. In lime plaster, there are no aggregates added. Tadelakt and Marmorino are plasters which include aggregates such as marble, granite and glass. Their final texture differentiates them from Venetian plaster [Herzig, 2017]. It is important to mention, though, that due to the widespread preference and adoption of drywall and gypsum plaster, there had been a decline in the number of qualified tradesmen who specialise in lime plaster.

The introduction of “white washing”, or painting the plaster white or off-white, emphasises the psychology of the space and colour. White creates a sense of space and it is predominantly used to make a room seem larger and more spacious. White Venetian plaster emanates a “freshness” and simplicity to a space. White brings a balance with other elements of the space, particular natural finishes and objects, such as wood and plants.

The final finish is earthy and soft; applying it in thin translucent layers creates an iridescent finish, giving the material a sense of depth and movement, that shifts with natural light due to the calcite crystals imbedded inside [Herzig, 2017]. The qualities of Venetian plaster offer a minimalistic look to an interior and emanate warmth and lightness in a space. An interior plastered with Venetia plaster looks natural and clean, and offers a modern approach to ancient methods of construction.

Word Count: 922

References:

Tubb, J. (1998). Canaanites (People of the Past). The British Museum Press.

Chazan, M. (2017). World Prehistory and Archaeology: Pathways Through Time. Routledge. p. 197.

Hauptmann, A, Yalcin, Ü. (2000). Lime Plaster, Cement and the First Puzzolanic Reaction. Persée.

Eubanks, W. (2017). Is Lime Plaster Safe to Use? Green and Growing. https://www.greenandgrowing.org/lime-plaster-safe-facts-tips/

Abundant Edge. (2020). Earthen Plasters: The Healthiest and Most Beautiful Ways to Finish Your Home. Abundant Edge. https://abundantedge.com/articles-1-2016-6-17-earthen-plasters-the-healthiest-and-most-beautiful-way-to-finish-your-home/

Ayres, S. Top 10 Reasons Why You Should Give Lime Plaster A Go. Renovate Me. https://renovateme.co.uk/blog/lime-plaster/

Herzig, L. (2017). Venetian Plaster: An Everything-You-Need-To-Know Guide. Architectural Digest. https://www.architecturaldigest.com/story/venetian-plaster-trend-guide

Muench, S. (2015). Construction and Behaviour of the Pantheon. https://brewminate.com/construction-and-behavior-of-the-pantheon/

Guralnick, M. (2020).  Remodeling 101: Modern Plaster Walls, Six Ways. Remodelista. https://www.remodelista.com/posts/modern-plaster-walls-clay-plaster-slaked-lime-plaster-venetian-plaster-and-more/

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Week Five: Above and Below The Surface

In his essay, Hygiene and Cleanliness, Adrian Forty discusses some of the social and cultural associations of materials and surfaces connected with cleanliness and hygiene. The essay presents materials from a critical perspective, exploring the notion that material choices are not only practical and logical but also respond to other considerations e.g. cultural, or as signifiers of ideas.

What is the role of modern design in promoting cleanliness?

The psychology of colour, and the use of white, shiny floors, lighting and the use of space can make a room appear clean and hygienic. Cleanliness has a relationship to health, but it can be categorised as ‘beautiful’, whereas dirt is ‘ugly’.  

What do you understand from Mary Douglas’ statement that ‘there is no such thing as dirt, only matter out of place’?

Dirt is an outcome of our actions, it is a product of our lives. Wherever we go, there is dirt, it gets picked up by cars, on our clothes etc. It washes off, but it doesn’t actually disappear – it will go in the drains, get filtered, and then gets back out into the atmosphere and the process begins again. Dirt comes from everywhere – dust, soil etc. Mary Douglas is right, dirt is only matter out of space, because it appears in places it doesn’t belong, and that’s why we classify it as ‘dirt’.

What are the arguments for using train seat coverings that are not considered easily cleanable or hygienic surfaces?

Soft fabrics and upholstery are more comfortable to sit on during journeys. Fabrics are cheaper to replace than replacing a whole seat and usually on public transport, patterns are used to cover up spillages and dirt.

Choose three surfaces and materials connected with your building and its proposed use.  Through research and discussion, explore ideas, arguments and theories attached to each of your choices that represents aspects of care in respect of: building, people, planet.

Lime Plaster

Building – application of lime plaster can be made to a certain degree, so original material of bricks can be left exposed. Lime plaster is naturally caustic and a fungicide, so it helps with damp areas and prevents the growth of mould and other bacteria. It allows a building to “breathe”.

People – lime plaster filters the air and makes the space healthier. It is particularly good for people who are asthmatic as it prevents damp and mould.

Planet – lime is a naturally occurring material, and only natural ingredients are used to make lime plaster as it is an ancient method of construction. It is an environmentally friendly way to finish a space

Concrete

Building – concrete is fireproof and easy to clean when it’s polished. It doesn’t rot or rust.

People - has maximised energy efficiency via thermal mass and this allows it to moderate interior conditions, reducing a building’s heating and cooling demands.

Planet – concrete is easy to make as the materials used are abundant. It is also 100% recyclable and has the lowest carbon footprint for a structure or pavement over its lifecycle.

Glass

Building – bigger façade allows for more light to come into building, while also keeping in line with original structure of building.

People – allows a connection with the outer world visually and boosts mood of occupants

Planet – saves energy because of a lower need of artificial lighting, it is 100% recyclable and it can be recycled repeatedly without compromising on quality or purity.

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Week Four: Drawing It All Together

Material Composition for Casement Building

Material Composition for Former Guard House (cafe area)

Material Composition for Former Guard House (multipurpose level)

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Week Three: Experience Writing, Knowing Through Writing

An Experience At Terrestrial Sanctuary 

The sea laps at the rocks, trying to break through, to invade the land. The red brick crumbles underneath my fingertips as I peer through the timber framed window, observing the dirty glass, and feeling the dry wood as I run my fingers across it. The cold salty breeze seeps through the cracks in the window, settling on my lips and skin, making me shiver. Seagulls squawk overhead, hovering in the air and observing the fort underneath them, preying on a source of food. The sun reveals itself from behind a series of clouds, warming my skin through the window and bringing light into a dark abyss, reflecting off the puddles in the space. The musky dampness seeps into my nostrils, almost suffocating me. Stepping outside, I feel the fresh sea breeze and the instant warmth on my skin. The grass had dried a long time ago, and now the dead blades scratch my bare skin. I see people mingling around in the distance, laughing, smiling. These people call this place their home!

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Week Three: Experience Writing

She is walking around a building she doesn’t know. She feels the damp settling on her skin, the hair rising at the slightest cold grazing of the wind, as if aware of the history entwined in the building. She stops, breathes in the cold sea air, and then sighs, wondering how she will get back through the maze of arched rooms. She thought, and the walls just looked back on her in silence, unable to give her directions. She felt the walls with her fingertips, the red brick crumbling between her fingers.

This way.

She turned a corner, greeted by a darkness that overcame her soul. The cold raked her skin, her spine shivering, as if asking her, demanding that she goes on. She understood why. Her foot stepped forwards, slowly, and careful, the sole slipping into the dark puddle underneath. She pressed on, her fingertips carefully feeling the cold brick, feeling the history and the years between her fingertips. She saw the light at the end, rushing towards it. The howling wind pushed her onwards, almost dragging her with it as her hand grasped the freezing handle, pushing it down, her other hand hit the door, feeling the splinters claw at her skin.

I’ve overstayed my welcome here. 

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Week Two: Disruption, Intervention, Transformation

Image Source

Using the drawing of the exisitng materials within the building, I added an organic material (plant leaves) to the drawing of the brick material. This formed a mixed composition of both man-made materials and natural materials. It also formed the basis of what materials I would like to use in my detail drawings.

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Week One: Experience Drawing

Paper form wrapped around hand. The end product is coarse, rough, sharp, raw, hard.

Paper form scrunched and rolled then flattened 4 times, before being shaped around hand. The end product is smooth, soft, organic, intricate, warm.