INDUSTRIALISED BUILDING - Feal-Varlonga
INDUSTRIALISED BUILDING 2// Diamant
INDUSTRIALISED BUILDING// Diamant
INDUSTRIALISED BUILDING - Spiral
INDUSTRIALISED BUILDING - Lowton-Cubitt
INDUSTRIALISED BUILDING - Porte des Lilas
INDUSTRIALISED BUILDING - Calverley
INDUSTRIALISED BUILDING 4// Diamant
INDUSTRIALISED BUILDING - Modus
INDUSTRIALISED BUILDING - Speculative Houses
INDUSTRIALISED BUILDING - Laing Building Systems
INDUSTRIALISED BUILDING - Tracoba 4
From conception to demolition, St. Louis Missouri (1954-1972)
PRIMARY RESEARCH // Tottenham Court Road
PRIMARY RESEARCH // Brick Lane
Construction and Demolition Waste:
Construction and demolition waste (CDW) is one of the heaviest and most voluminous waste streams generated in the EU. It accounts for approximately 25% - 30% of all waste generated in the EU and consists of numerous materials, including concrete, bricks, gypsum, wood, glass, metals, plastic, solvents, asbestos and excavated soil, many of which can be recycled.
CDW arises from activities such as the construction of buildings and civil infrastructure, total or partial demolition of buildings and civil infrastructure, road planning and maintenance. Different definitions are applied throughout the EU, which makes cross-country comparisons cumbersome. In some countries even materials from land levelling are regarded as construction and demolition waste. CDW has been identified as a priority waste stream by the European Union. There is a high potential for recycling and re-use of CDW, since some of its components have a high resource value. In particular, there is a re-use market for aggregates derived from CDW waste in roads, drainage and other construction projects. Technology for the separation and recovery of construction and demolition waste is well established, readily accessible and in general inexpensive.
"Overview of Demolition Waste in the UK" :
Total construction and demolition waste for England was estimated at 89.6 million tonnes in 2005. 46 million tonnes were recycled and a further 15 million tonnes were spread on exempt sites (usually land reclamation, agricultural improvement or infrastructure projects). The remaining 28 million tonnes were sent to landfill (including backfilling at quarries, and landfill engineering) as waste. The waste arisings only account for aggregate wastes and excludes other non-aggregate waste streams such as timber, plasterboard, insulation and plastics.
How to better manage demolition arisings:
Unlike construction waste, it is not possible to minimise the quantity of demolition arisings. Minimising the quantity of demolition arising entering the landfill and finding higher grade applications via reuse and recycling activities contributes towards the better management of demolition waste.
- Recyling: Concrete is readily separable at demolition sites, easily recycled, with good quality assurance. Very often the problem with recycling demolition arising is that the crushed materials are down-cycled.
ANGEL MARCOS (China, 2007)
The process of buildings being build in the present was also being re-built in the past - this constant cycle of demolition and construction. My plan is to interpret the words "demolition" therefore, I begin to research the meanings of "demolition"' which I came across to "compression". I will research artists that experiment with compression as my next step for development.
French sculptor who was at the forefront of the New Realism movement with his radical compressions (compacted automobiles, discarded metal, or rubbish). He became known for his solid, welded sculptures of creatures and compressions of old vehicles and other junk material into tight packages. He utilised the most economical of materials for sculptures, and he reworked common objects and recycled urban detritus in order to challenge the values of mass production. Because of his creations it were often interpreted as critiques of consumerism.
COMPRESSED PLASTIC (1990)
EDWARD BURTYNSKY (China Recycling, 2005) -
Credit: Photo-wisdom (Lewis Blackwell)
HATJE CANTZ (Reading the City), Street Level 4
HATJE CANTZ (Reading the City), Cover
HATJE CANTZ (Reading the City), Street Level 2
DIRK SKREBER, Untitled (Crash 1) 2009 [Red Mitsubishi Eclipse Spider]
Tadashi Kawamata is an artist who works in the midst of demolition and construction. These projects have taken place all over the world and range from intimate transformations of a single house or apartment to the whole scale reconfiguration of towns. Usually using scrap or reclaimed materials, mostly wood; Kawamata sets about building new and unusual structures by engaging with ideas of home, shelter, and social contexts. He creates installations in both public and private spaces. Kawamata's aim is to turn these environments inside out, and present the viewers with a completely fresh view of their surroundings, whether it's from a walkway built three metres above the town square or by a room transformed with a suspended ceiling of reclaimed doors. These projects make us question our environment, the way it is constructed and how we interact with it.
Kawamata is one of the artists that inspired me, as his works is based in the midst of demolition and construction which is similar to my project. I was inspired by how he sets an existing building into new and unusual structures by turning these environments "inside out". My intention is to have more knowledge of my concept and to find artists that could influence me creating new experimentation.
Tadashi Kawamata, CHAIRS
"THE GATHERING" - Robert and Shana ParkeHarrison
JOHN CHAMBERLAIN, Sprayed Myopia
JOHN CHAMBERLAIN, DOGEYEMATADOR (2010)
DENNIS OPPENHEIM, Compression (Poison Oak, 1970)
CHRISTOPH BUCHEL, Dump
DEMOLITION SITE // Aftermath, JOEL MEYEROWITZ
DEMOLITION SITE 3// Aftermath, JOEL MEYEROWITZ
DEMOLITION SITE 5 // Aftermath, JOEL MEYEROWITZ
DEMOLITION SITE 7 // Aftermath, JOEL MEYEROWITZ
DEMOLITION SITE 9// Aftermath, JOEL MEYEROWITZ
(Credit: Textile Persepectives in Mixed-Media Sculpture)
Viktor & Rolf, Haute Couture / Fall (2016)
Exploring the Use of Plastics
GARMENT RESEARCH // VEST
Toile (Vest) for my Final Outcome
PRIMARY RESEARCH // Liverpool Street Station
INDUSTRIALISED BUILDING - Jackblock 2
INDUSTRIALISED BUILDING - Jackblock
INDUSTRIALISED BUILDING - G80
INDUSTRIALISED BUILDING 3// Diamant
INDUSTRIALISED BUILDING - Barets
INDUSTRIALISED BUILDING - Catenary Construction
INDUSTRIALISED BUILDING - Lens-Seibert
INDUSTRIALISED BUILDING - Peacemaker
INDUSTRIALISED BUILDING - Italsider
INDUSTRIALISED BUILDING - Estiot
INDUSTRIALISED BUILDING - Dynacore
INDUSTRIALISED BUILDING - Worker
INDUSTRIALISED BUILDING 4// Diamant
INDUSTRIALISED BUILDING - Ohlosson & Skame
"Construction is turning London into a city of holes" :
"In London, most urban construction today is perceived as a nuisance rather than a sign of progress, greeted not with nostalgia for the old but frustration in the moment: a closed Tube station, a road diversion, a racket. As the capital grows, it goes through waves of rebuilding, each purporting to address a dominant issue." - As capital grows therefore, more building are being build or re-built. At the same time there's frustration within the public.
"In London’s last great rebuilding, in the mid-20th century, many mistakes were made — urbanism delegated mainly to traffic planners, terraces needlessly demolished, poor quality social housing, grim commercial canyons. But there was also an idea that the city was being rebuilt for the benefit of its inhabitants as visionary public projects such as the Southbank Centre, the Festival Hall, National Theatre and the Barbican emerged. Social housing, from Ernö Goldfinger’s Trellick Tower in the west to his Balfron Tower in the east, with a landscape of fine quality council housing in the middle, facilitated a genuinely socially integrated city." - There are other factor that can be argued that construction do 'benefits' us especially the public projects that was being build which contribute a good cause to the peoples.
"There can, of course, be no construction in the city without demolition. The sudden exposure of a site leaves the surrounding buildings looking vulnerable. It gives a glimpse of the parts of structures never meant to be seen from the street. It opens strange new views that can leave the onlooker surprised, even disoriented." - When there's construction it need to be 'demolition' which left the surrounding building looking 'vulnerable', and other factor can be argued that it'll leave waste and this causes environmental impacts.
CONSTRUCTION & DEMOLITION WASTE
César Baldaccini, COMPRESSED COPPER (1961)
César Baldaccini, COMPRESSED CAN (1962)
HATJE CANTZ (Reading the City), Street Level
HATJE CANTZ (Reading the City), Locked Mobility
HATJE CANTZ (Reading the City), Street Level 3
DIRK SKREBER, Untitled (Crash 1) 2009
BEN QUILTY - Crash Painting, oil on linen, (2009)
This imagery was to reflect my colour scheme, as I am currently looking at what colour scheme I should use throughout this project.
Tadashi Kawamata, COLLECTIVE FOLIE
Tadashi Kawamata, Apartment project "Tetra House N-3 W-26" (1983)
DANIEL FIRMAN, The Hidden Land (2009)
The Hidden Land is an invitation to reflect on these theories of multiple worlds and the unidentified zones situated between fiction and reality. Transcending universal understanding, these remarkable theories symbolise acts of intellectual humility as the world is indubitably more vaste and complexe, more unpredictable and colourful, than what our comprehension, here and now, would want to let us know. Each work emphasises the idea that movement is an intrinsic and permanent flux existing in all things, as well as being the sign and measure of space and time.
JOHN CHAMBERLAIN,Superjuke (2011)
DEMOLITION SITE 2 // Aftermath, JOEL MEYEROWITZ
DEMOLITION SITE 4 // Aftermath, JOEL MEYEROWITZ
DEMOLITION SITE 6 // Aftermath, JOEL MEYEROWITZ
DEMOLITION SITE 8 // Aftermath, JOEL MEYEROWITZ
DEMOLITION SITE 10 // Aftermath, JOEL MEYEROWITZ
Details of QUOI ALEXANDER collection
I am now looking at the interpretation of 'compression', therefore, I did a primary research of step on a Coke can hardly so it is compressed. I want to take inspiration from the texture and the lines of compressed can.
GARMENT RESEARCH // DUNAGREES
This is the textiles sample I will be using for my final outcome. It will be attached to the garment as an embellishment.