a) reeds

b) slate, glass and brass

c) organic

d) petals

- reeds were pressed into the concrete after it was poured into the

- black pigment was added to the concrete mix for this sample

- moss was pressed into the concrete after it was poured into the

- dried petals were glued to the base board before the

mould

- this was added with the water

mould

e) a selection of the samples after they are removed from the formwork

concrete mixture was poured into the mould

1.

6.

2.

5.

4 3. f) lace

g) timber grain

- a piece of lace was placed in the mould before the concrete mix was

- textured paper was secured to the base of the mould to create a - aggregate replaces sand, in part

poured over

grain like image on the face of the concrete

h) rough to smooth (1-3) - the ratio of aggregate to sand increases to obtain a more rough appearance

i) light to dark (4-6)

j) formwork

- timber dowels were glued to the baseboard

- the formwork was put together using timber battens, cut to size and nailed together

- the dowels increase in diameter, length and the number of - a base board was nailed to the formwork to provide a flat, smooth surface dowels per mould as the appearance appears darker

- a variety of techniques were used to impress the surface of the concrete samples

The samples after removing the formwork. The top right sample had coffee added to the water during the mixing process. The intention was to test two elements, the first whether a coffee scent would be identifiable after the concrete had set and secondly, the visual appearance of panel joints. This sample was unsuccessful, the concrete mix became too brittle and broke away as the formwork was removed. The added coffee may have altered the structure of the mix. Secondly the joints were too deep and close to the edge, weakening the concrete further.

- it became increasingly difficult to remove the dowels from the concrete samples, without damaging the surface layer

The process In exploring the ways in which the surface of the concrete could be changed, timber formwork was put together creating moulds in which the concrete could be set. (j) In the base of the formwork a number of different elements were used to impress the concrete. After the concrete mix had been prepared and poured into each mould, additional methods were explored on the top surface. This was carried out to maximise the number of samples. Standard concrete mix: 3 parts sand, 1 part cement, water to mix. Process: the sand and cement were mixed together thoroughly. This was transferred to a second container and a hole made in the centre of the mix. Water was added as the cement and sand mix was drawn in from the sides. The mix was prepared one sample size at a time. The standard mix was adjusted for a number of the batches as outlined above.

Graphic Concrete

1. A pattern of the proposed facade is

2. A mirror image is printed

3. The membrane is

4. Concrete is poured

5. The membrane is

6. The surface is pressure

7. The panel is ready to be

drawn up (a blank membrane can be

onto a membrane and sent

placed in the prepared

directly onto the membrane

removed after one day

washed to expose the pattern

sent to site

Research was undertaken to explore how the surface quality of prefabricated panels of concrete would

used for a fair-faced finish)

to the manufacturer

formwork

be manufactured for a building facade, as proposed in this project. Graphic Concrete technology has been developed by a Finnish Company, who produce a membrane from a given design. This is sent to the concrete manufacturer, and is placed at the bottom of the formwork, before the concrete is poured. It is important that samples are tested before the final panels are cast.

Graphic Concrete production process

The adjacent sketch has been adapted from a drawing by Graphic Concrete. Source: http://www.graphicconcrete.fi/instructions/

This model explores the use of five different patterns. 1. Timber grain, 2. Musical scores, 3. Reeds, 4. Timber grain (2) and 5. Growth rings of a tree. In the proposal just one image would be repeated across the facade on both the concrete and glazing.

CMA; Ornate Detail Project programme;

The makerS’ Atelier, making instruments and making music; exploring the



relationship between the master, apprentice, user and the observer.

Summary;

The project is based in Sunderland, over two sites split by Low Street, a street



with a history of industry that once lined Sunderland’s riverside sites



along the River Wear. The proposal explores making music in a Guild ‘music’ hall



and making musical instruments in an atelier. The instruments include the



trumpet, oboe and the violin.



This CMA exploration draws focus from detail, ornate details, inspired by those



found within the construction of musical instruments. The material palette for the



project has developed from the instruments, and the construction is in

turn inspired.

A selection of precedents of impressed concrete surfaces, with a range of colour, texture and pattern



The detail explored initially is patterned concrete, following on from an earlier



model made, as photographed above. However, it considers the pattern to be



more than just an image. It explores how a pattern can reflect a city, a



past, movement, light, function and place.

Inspired by the Carson Pirie Scott Department Store in Chicago, the internal recess of the window frames are detailed in brass. As the shop facade is set back from the pavement, the brass detail is only seen from an angle, visible to people passing by the site.

S’

The maker

Trail

underland Guild

Complex Material Assembly; ARC 584 Studio 11; Toxic City; Lost Makers & Industrial Territories Nicola Donnery, 2013 (Sheet 1 of 3)