Applied Science, Faculty of
Architecture and Landscape Architecture (SALA), School of
DSpace
A spectacle in the remaking
UBCV
Loten, Calista
Post-industrial landscapes, voids left in the fabric of Rust Belt cities, present an opportunity for transformation, and the reclamation of a city’s identity. This project explores the tangible and intangible impacts of repair on a site that exhibits the agency to repair itself. Central to this exploration is the material identity of clay. As a core element in the history of Hamilton’s industrial past, clay represents not only the region’s manufacturing legacy but also the possibility for renewal. The project interrogates the placeness and cultural significance of clay as both a material and a medium of memory. Clay, with its malleable nature and ancient craft tradition, becomes a metaphor for the site’s ability to repair itself, reflecting its own material-making in a regenerative process. The building’s architecture, crafted with local clay, offers a narrative of resilience and continuity, inviting the landscape to reclaim agency in its restoration. Hamilton Brickworks —once a thriving industrial site—now stands abandoned with its past embedded in the physicality of the site and the production of bricks that shaped part of the city’s industrial development. By diving deep into the history of the Brickworks, this project builds upon research from its past to inform the repair for its future. The project aims to reveal what new relationships and experiences can be formed between people and the post-industrial landscape.
A SPECTACLE IN THE [RE] MAKING 1A SPECTACLE IN THE [RE] MAKINGBYCALISTA LOTENCalista Loten A SPECTACLE IN THE [RE] MAKING2 3A SPECTACLE IN THE [RE] MAKINGBy Calista LotenBachelor of Architectural Studies (Hons.), Carleton University, 2021Graduate ProjectSubmitted in partial fulfillment of the requirements for the degree of Master of Architecture’In The Faculty of Graduate Studies, School of Architecture and Landscape Archi-tecture, Architecture ProgramChair:Blair SatterfieldCommittee:Daniel IrvinePiper BernbaumUniversity of British Columbia, Vancouver©December, 2024i iiFront MatterCalista Loten A SPECTACLE IN THE [RE] MAKING4 5ABSTRACT Post-industrial landscapes, voids left in the fab-ric of Rust Belt cities, present an opportunity for trans-formation, and the reclamation of a city’s identity. This project explores the tangible and intangible impacts of repair on a site that exhibits the agency to repair itself. Central to this exploration is the material identity of clay. As a core element in the history of Hamilton’s industrial past, clay represents not only the region’s manufacturing legacy but also the possibility for renewal. The project in-terrogates the placeness and cultural significance of clay as both a material and a medium of memory. Clay, with its malleable nature and ancient craft tradition, becomes a metaphor for the site’s ability to repair itself, reflecting its own material making in a regenerative process. The building’s architecture, crafted with local clay, offers a narrative of resilience and continuity, inviting the land-scape to reclaim agency in its restoration. Hamilton Brickworks —once a thriving industrial site—now stands abandoned with its past embedded in the physicality of the site and the production of bricks that shaped part of the city’s industrial development. By diving deep into the history of the Brickworks, this proj-ect builds upon research from its past to inform the re-pair for its future. The project aims to reveal what new relationships and experiences can be formed between people and the post-industrial landscape.iii ivFront MatterCalista Loten A SPECTACLE IN THE [RE] MAKING6 7TABLE OF CONTENTSGP IIPart Five: Clayworks Project Intention Material Journey Study ModelsEnd Matter Endnotes Bibliography v viFront Matter96 106144 148 150 GP IFront Matter Title Page Abstract Table of Contents List of Figures Acknowledgements Positionality Thesis StatementPart One: Concepts Making Notes Key WordsPart Two: Comparisons Production Case Studies IntersectionsPart Three: Contextualizing Geology Site Part Four: Collecting Clay Finding Processing ii iv v vii xii xivxvi 20 30 34 3852 58 64 78 88Calista Loten A SPECTACLE IN THE [RE] MAKING8 9LIST OF FIGURESvii iixFront MatterFigure 1: Thesis Framework Diagram - Part 1, Author, 2024Figure 2: Thesis Framework Diagram - Part 2, Author, 2024Figure 3: Thesis Framework Diagram - Part 3, Author, 2024Figure 4: Clay, Sand, Silt Diagram, Author , 2024 Adopted from Andrew Alden Sand, Silt, and Clay Soil Classification Diagram. https://www.thoughtco.com/ soil-classification-diagram-1441203Figure 5: Steel Making Process Collage, Author, 2024 Figure 6: Glass Making Process Collage, Author, 2024Figure 7: Brick Making Process Collage, Author, 2024Figure 8: The old wattle and daub construction system found at the 19th century Razboishte monastery, Bulgaria, By MrPanyGoff. (https://creativecommons.org/licenses/by- sa/3.0), from Wikimedia CommonsFigure 9: A Rammed Earth Wall in the Nk’Mip Desert Cultural Centre, Extracted from Arch Daily.https://images.adsttc. com/media/images/5e3c/faa7/3312/fd25/4b00/01d5/slide show/nic_lehoux_photography.jpg?1581054626Figure 10: Beartooth Portal in Landscape, Photograph by Ensamble Studio, 2015. https://static.wixstat ic.com/media/9df9c9_1c0550af16da414a9497cd4e2b 8c648~v2_d_1800_1200_s_2.jpg/v1/fill/w_611,h_406,al_c,q_ 80,usm_0.66_1.00_0.01,enc_auto/9df9c9_1c0550af 16da414a9497cd4e2bc8c648~mv2_d_1800_1200_s_2.jpgFigure 11: Site Context Map of Beartooth Portal in Rural Landscape, Author, 2024Figure 12: Beartooth Portal Exterior Concrete Surface Texture, Photograph by Ensamble Studio, 2016. https://static.wixstatic.com/media/9df9c9_6ca346f8abd b4164a3056c231d56dd2d~mv2_d_1800_1200_s_2.jpg/v1/ fill/w_611,h_420,al_c,q_80,usm_0.66_1.00_0.01,enc_auto/ 9df9c9_6ca346f8abdb4164a3056c231d56dd2d~mv2_d_ 1800_1200_s_2.jpgFigure 13: Correlation Drawing Between Beartooth Portal Project Fabrication & Slip Casting Ceramic Method, Author, 2024Figure 14: Bruder Klaus Field Chapel in Landscape, Photograph by Aldo Amoretti, 2016. https://www.archdaily.com/798340/ peter-zumthors-bruder-klaus-field-chapel-through-the-lens- of-aldo-amorettiFigure 15: Site Context Map of Burder Klaus Field Chapel in Rural Landscape, Author, 2024Figure 16: Interior Burder Klaus Field Chapel Entrance Featuring Charred Concrete Pour Texture, Photograph, SEIER + SEIER, October 2008, https://www.flickr.com/photos/sei er/3122721913/in/photolistFigure 17: Correlation Drawing Between Burder Klaus Field Chapel Project Fabrication & Burnout Ceramic Method, Author, 2024Figure 18: Pattern Followed when Sculpting Clay, Author, 2024Figure 19: Photo Diagram of Author Sculpting Clay, Author, 2024Figure 20: Beehive Brick Kiln Section & Plan - not scaled, Author, 2024Figure 21: Bottle Neck Pottery Kiln Section & Plan - not scaled, Author, 2024Figure 22: Down Draft Climbing Pottery Kiln Section & Plan - not scaled, Author, 2024Figure 23: Extent of Glacial Lakes Ontario, Author, 2024 Adopted from Guillet, G.R. “Clay and Shale Deposits of Ontario; Ontario Geological Survey”Figure 24: General Ceramic Property Ontario Clays, Author, 2024 Adopted from Guillet, G.R. “Clay and Shale Deposits of Ontario; Ontario Geological Survey”Figure 25: Shale of Central and Southwestern Ontario, Author, 2024. Adopted from Guillet, G.R. “Clay and Shale Deposits of Ontario; Ontario Geological Survey”Figure 26: Brick Plants in Ontario, Author, 2024. Adopted from Guillet, G.R. and Joyce I. H., “Clay & Shale Industries of Ontario; Prepared for the Ontario Ministry of Natural Re sources”1987Figure 27: MegalopolisRust Belt, Author, 2024 Adopted from Wikipedia, “Rust Belt”.Figure 28: Hamilton Brickyards Collage Depicting Site Processes, Author, 2024Figure 29: Material Heritage of Hamilton Brickyards in Relation to Context, Author, 2024Figure 30: Topographic Survey Plan, from City of Hamilton Records, 2006Figure 31: Brick Rubble: Dismantled Drying Stack, Jonathan Cas tellino, All content Copyright © 2024. https://images-pw. pixieset.com/elementfield/123960441/L1450514-557817b6. JPGFigure 32: Photo of Former Forming and Cutting Building from Brickyard Site, Author, 2024Figure 33: Exterior Track Line Facing Manufacturing Building, Jonathan Castellino, All content Copyright © 2024. https:// images-pw.pixieset.com/elementfield/123960441/326279616 45_7613049580_4k-f39ff4ae.jpgFigure 34: Manufacturing Building Interior Workspace, Jonathan Castellino, All content Copyright © 2024. https:// images-pw.pixieset.com/elementfield/123960441/515603460 22_5e15358e5a_4k-07e16ebe.jpgFigure 35: Overall Site Photo of Exisiting Site Conditions with Dismantled Beehive Kiln, Author, 2024Figure 36: Interior with Crates of Bricks, Jonathan Castellino, All content Copyright © 2024. https://images-pw.pixieset.com/ elementfield/123960441/L1440371-877c8d6d.JPGFigure 37: Map Collage of Finding Clay, Author, 2024Figure 38: Creek Flowing Near Escarpment Rail Trail, Author, 2024Calista Loten A SPECTACLE IN THE [RE] MAKING10 11LIST OF FIGURESix xFront MatterFigure 39: Shovelling into Creek Edge Revealing Clay, Author, 2024Figure 40: Author Coil Testing Wild Clay, Courtesy & Consent of use from Christina Hudson, 2024 Figure 41: Author Rolling Wild Clay into Tube, Courtesy & Consent of use from Christina Hudson, 2024Figure 42: Small Stream in Forest Near Bruce Trail, Author, 2024Figure 43: Author Handling Wild Clay, Courtesy & Consent of use from Christina Hudson, 2024Figure 44: Mountain Bike Trail Clay Trail, Author, 2024Figure 45: Surface Cracks Revealing Sign of Wild Clay Presence, Author, 2024Figure 46: Dried Wild Clay Samples, Author, 2024Figure 47: Wet Processing of Wild Clay, Author, 2024Figure 48: Dry Processing of Wild Clay, Author, 2024Figure 49: Author Presenting at Final Defense, Photograph & Consent by Helia Mahdavian, 2024Figure 50: Multiple News Articles Collaged, Author, 2024.Figure 51: Hamilton Brickyard Extended Site History Timeline, Author, 2024.Figure 52: Kintsugi Methodology Diagram, Author, 2024.Figure 53: Defense Pin-up, Author, 2024Figure 54: Outdoor Trail Information Poster of Clay Extraction, Author, 2024.Figure 55: Fork in the trail, Author with production & consent of Jovis Lau, 2024.Figure 56: Timeline Section of Escarpment Repair to Switchback Trail, Author, 2024.Figure 57: Switchback Callout Plan, Author, 2024.Figure 58: Gabion Basket Retaining Wall Detail, Author, 2024.Figure 59: 1:10 Gabion Brick Rubble Basket Model, Author, 2024.Figure 60: Outdoor Trail Information Poster of Clay Processing, Author, 2024.Figure 61: Onto the scaffolding path, Author with production & consent of Jovis Lau, 2024.Figure 62: Timeline Section of Infrastructure Repair to Clay Craft Oriented Makerspace, Author, 2024.Figure 63: Makerspace Ground Level Floor Plan, Author, 2024.Figure 64: Makerspace Upper Level Floor Plan, Author, 2024.Figure 65: Old & New Masonry Suspended X-Bracing Tention Rod Wall Detail, Author, 2024.Figure 66: 1:10 Scaffold Path Between Walls Detail Moment Model - Maked with Clay Hand Processed from Site, Author, 2024.Figure 67: Outdoor Trail Information Poster of Clay Firing, Author, 2024.Figure 68: Thermal Memory, Author with production & consent of Jovis Lau, 2024.Figure 69: Timeline Section of History Repair to Hybrid Kiln / Warming Huts, Author, 2024.Figure 70: Ground Level Brick Kiln Callout Plan, Author, 2024.Figure 71: Upper Level Kiln/ Warming Hut Callout Plan, Author, 2024.Figure 72: Warming Hut Pavilion Facade Detail, Author, 2024.Figure 73: 1:20 Lantern Screen Facade Detail Model, Author, 2024.Figure 74: Outdoor Trail Information Poster of Clay Exporting, Author, 2024.Figure 75: Under & Out Tuneel, Author with production & consent of Jovis Lau, 2024.Figure 76: Timeline Section of Tunnel Access Repair, Author, 2024.Figure 77: Tunnel Level Callout Plan, Author, 2024.Figure 78: CN Rail Line Level Callout Plan, Author, 2024.Figure 79: Rammed Earth Tunnel Detail, Author, 2024.Figure 80: 1:10 Rammed Earth Wall Layering Detail Moment Model - Maked with Clay Hand Processed from Site, Author, 2024.Figure 81: Site Model of Hamilton Brickyards in 2080, Author, 2024.Figure 82: Conceptual Study Model Index, Author, 2024Calista Loten A SPECTACLE IN THE [RE] MAKING12 13ACKNOWLEDGEMENTS I would like to thank the many hands that sup-ported me throughout the process and success of this project. Firstly, my chair Blair Satterfield thank you for good laughs and conversation as you helped to guide me and my ideas throughout the past year with unwaiver-ing support. Thank you to my two committee members, Daniel Irvine for jumping on board with the project and coming to every meeting with enthusiasm and Piper Ber-nbaum for supporting me on my academic architectural journey these past 6 years and joining me on this project as the last stretch of my academic career. Thank you to all of my friends whom I have shared many good late night studio memories with and especially Sarah Rob-inson, Helia Mahdavian, Anna Ferguson, Madelaine Snelgrove, Merissa Lompart, Holly Mills, Jovis Lau, and Dustin Wardrop for helping me in the final weeks with the fine tone final production of this project. And lastly, thank you to my parents for always encouraging me to learn through my hands.xi xiiFront MatterCalista Loten A SPECTACLE IN THE [RE] MAKING14 15POSITIONALITY I was born and raised just outside of the city of Hamilton in Ontario. A city that was created to extract, manufacture, make, and export steel and clay ware. I have always been interested in the spectacle of making and learning through my hands, whether what I make is failure or a success. And it has been through this thesis project process that I have drawn the correlation be-tween the influence of where I grew up and my interest in making. I have always valued the fundamental explo-ration of materials and have always found it to be the most enjoyable part of my architectural projects over the years. Yet, I feel as though it is not a skill practiced as much in institutional learning. And when I see the post-industrial sites in my hometown I can’t help but to think how these landscapes offer a reciprocal opportu-nity to repurpose and repair them through learning and making. Front Matterxiii xivCalista Loten A SPECTACLE IN THE [RE] MAKING16 17xv xviTHESIS STATEMENTThis thesis challenges contemporary notions of building, heri-tage preservation, and environmental stewardship by embrac-ing slowness to inform an architecture that values process of recreation. Drawing upon the ethos of ceramic crafting, the project explores the tangible and intangible qualities of reuse and repair to seek what new relationships can be formed be-tween people and the post-industrial landscape.Front MatterCalista Loten A SPECTACLE IN THE [RE] MAKING18 19PART ONE: CONCEPTSCalista Loten A SPECTACLE IN THE [RE] MAKING20 21WHAT IS CRAFT? Concepts Making NotesFigure 1: Thesis Framework Diagram - Part 1, Author, 2024Craft/kraft/noun 1.an activity involving skill in making things by hand.verb 1.exercise skill in making (something). The Oxford dictionary defines craft as simply a term used to describe something that is in the making of or process of1. Therefore, this thesis will use these three terms – craft, making, and process - interchangeably. This thesis describes the act of making as a val-ued process that helps us to understand both our built and natural environment. Author architect David Pye describes the act of making through two lenses, that of risk and that of certainty. Risk as an approach to making offers freedom to explore, enabling uniqueness, and un-predictability in the body of work created, while certain-ty on the other hand, is prescribed and bound, offering predicable and standard outcomes2. The importance of making is reflected in how we instill value and care about objects. The quality in these objects we make arises from the repetitious practice of making over time3.Calista Loten A SPECTACLE IN THE [RE] MAKING22 23WHY SLOW ARCHITECTURE?ConceptsMaking NotesFigure 2: Thesis Framework Diagram - Part 2, Author, 2024Having defined what craft means, slow architecture is a collective representation of what it means to make with intention and care in an architectural form. Slow archi-tecture is a type of architecture that values the process of its slow creation. Unlike most of our built environment, which is born built, this type of architecture is designed for the user group and will evolve and adapt with it over time. It values intentionality and quality which are inher-ent qualities attributed to notions of craft and making. Calista Loten A SPECTACLE IN THE [RE] MAKING24 25WHY CONTEXT?ConceptsMaking NotesFigure 3: Thesis Framework Diagram - Part 3, Author, 2024 Slow architecture and craft converge at this point. They both engage with people and the environment. Craft is tied to social and environmental traditions of a place. Slow architecture is about building with the environment in a sustainable manner.Calista Loten A SPECTACLE IN THE [RE] MAKING26 27WHY CLAY?ConceptsMaking NotesFigure 4: Clay, Sand, Silt Diagram, Author , 2024 Adopted from Andrew Alden Sand, Silt, and Clay Soil Classification Diagram. https://www.thoughtco.com/soil-classification-di agram-1441203 I turn to clay as it is the mediator between craft, architecture, and place. Used as one of the oldest build-ing materials, and used as a medium for ceramists, clay as a material is versatile and scalable in its applications. Its plasticity reveals its capacity to hold various shapes and forms. The material itself draws deep ties to the ground from where it comes from. It draws upon traces of its for-mation and its location. It is a material reflection of the place from which it was extracted and holds the memory of the tool which extracted and shaped it – the machine or the hand.Calista Loten A SPECTACLE IN THE [RE] MAKING28 29LITERATURE REVIEWConceptsMaking Notes This literature review outlines the conceptual framework of this thesis proj-ect and will be the foundation for my de-sign research to follow. In our current Western society, we tend to value products through a consum-eristic culture. This can begin to explain why we often build with the objective of a (marketable) finished product as quickly as possible. In his book, “24/7 Late Capi-talism and the Ends of Sleep (2013)”, the art critic and essayist Jonathan Crary po-sitions contemporary western society as being caught up in the endless rhythm of production and consumption culture. He describes the catch phrase of “24/7” as a static symbol that is periodic to human life4. His claim is that the phrase announces a time, without any material or identifiable sequence that is reflective of that passing of time5. Translating this to architecture, these themes of mass production and mass consumption are subject to how we live in our environments, that is, statically. This notion of being static in our built environ-ment has provoked the question that fun-damentally drives this thesis project: how can we create an architecture that is not static, but rather dynamic, unpredictable and embraces process? Building on these ideas, I turn to two main sources to provide a conceptu-al underpinning and discourse context to this thesis. Under review are the texts, The Craftsman, and The Timeless Way of Building within which both authors are of the mindset of generating care for all things we build. In the book, “The Time-less Ways of Building (1979)”, Christo-pher Alexander, architect and design theorist, touches on just that – creating an architecture that is adaptable, unpre-dictable, and embraces slowness. Alexan-der’s book examines the act of thoughtful building as a series of patterns which he refers to as pattern languages. These pat-tern languages describe how we can cre-ate an architecture that is alive – and thus unpredictable and dynamic - through the means of its slow adaptations and growth. He describes pattern languages as rules of thumb6. In the context of occupiable built spaces, a pattern language is “...a system which allows its user to create an infinite variety of those three-dimensional combi-nations of patterns which we call buildings, gardens, towns.”7 Through these set pat-terns, uniquely infinite variations can be created by each individual and yet through the subtle differences of the patterns’ in-terpretations there is consistency and har-mony in the underlying repetition of these patterns8. Through the millions of acts of these patterns, an alive and unpredict-able outcome emerges over time from the slow building9. However, echoing Crary, Alexander writes that industrial practices have resulted in the death of variability in the patterns of buildings10 which is caused by a method of “total design”. He claims that enacting total control over the envi-ronment results in building practices that are less connected to people as the people engaging in the built environment are less involved in their making11. It is important to note that Alexander specifies that pat-terns must be generated on the site to take shape in accordance with their surround-ing context12. What Alexander describes in his book is essentially a type of formwork for slow architecture; driven by processes over time, contextually engaging with peo-ple and the environment through acts of thoughtful ritualized patterns of building. Sociologist Richard Sennett ex-presses a similar argument to Alexander in his book, “The Craftsman” (2008) as he considers notions of repetitious learn-ing through the hands and becoming con-scious about engaging in the environment we work within. He discusses how craft-manship is based on slow habitual learn-ing13 and claims this method of learning stems from the intimate connection be-tween the head and the hands in dialogue to form sustainable rhythmic habits14. However, Sennett too acknowledges that western civilization has found it hard to make this head/hand connection15 through our industrial process driven society. Fur-ther, Sennett discusses the importance of craft in relation to the environment as he states, “…in both natural resources and climate change we are facing a physical cri-sis largely of our own human making… to deal with this physical crisis we are obliged to change both things we make and how we use them. We will need to learn differ-ent ways of making buildings and transport and to contrive rituals that accustomed us to saving. We will need to become good craftsman of the environment.”16 In do-ing so he references Philosopher Martin Heidegger when he talks about the act of conscious making from within the environ-ment. He describes how Heidegger uses the term sustainable to suggest living more at one with nature, to establish a balance between us and our resources17. However, Sennett disagrees with this use of the term and suggests that the craftsmen’s efforts be more radical for environmental craft18. This statement made by Sennett provokes the question of how architecture can play a role in establishing a balance between humans and our resources. Considering Sennett’s perspective, I can begin to see how similar ideas can inform an architec-ture that values the importance of making and processes to both humans and to the environment. Alexander’s conceptions of pat-terns as framework which enable variabil-ity in design overlaps nicely with Sennett’s notions of rhythmic making and learning as the expression of the individuals’ de-sires through the hands. These books also raise other important ideas associated with designing a dynamic, unpredictable, and process driven architecture which in-volves creating a deeper connection to en-vironment and place. Both authors refer to the importance of our environment in framing how and why we make. Alexander emphasizes that pattern languages must be generated from their environmental and contextual influences to create meaning-ful ways of buildings, while Sennett argues for a better relationship between making and the environment to foster a better relationship with nature amidst the phys-ical climate crisis. To conclude, these two thinkers prioritize themes of slowness, en-vironmental context, and learning through making, and lead me to the question of how these themes can further be translat-ed into architecture and building thinking.Calista Loten A SPECTACLE IN THE [RE] MAKING30 31KEY WORDSConceptsKey WordsSlow ArchitectureProcessMakingCraftingTimeTimelessAliveAdapting Certainty RiskUnpredictabilityRepetitionPattern LanguageRitualsHandsLearning (through making)ContextEnvironmentEngagementReuseRepairAfter having reviewed relative literature on my topic, I have generated a list of key words that will thematically inform my in-vestigative design research moving forward.Calista Loten A SPECTACLE IN THE [RE] MAKING32 33PART TWO: COMPARISONSCalista Loten A SPECTACLE IN THE [RE] MAKING34 35GLOBALComparisonsProductionFigure 5: Steel Making Process Collage, Author, 2024 In the digital and industrial era that we live in, the architec-ture we experience is modular and predictable. This predictabili-ty stems from the standardization of materials19 we use and where we source them from. The adjacent figures illustrate contemporary transformations of these materials and how they result in standard-ized forms – steel, glass, and brick. With the exception of bricks, these final products share no visual resemblance to their raw mate-rial form and are not reflective of their contextual environment. In addition, these drawings further explore these processes of building material fabrication as well as expressing the fact that these processes of making are hidden from the final product.Figure 6: Glass Making Process Collage, Author, 2024Figure 7: Brick Making Process Collage, Author, 2024Calista Loten A SPECTACLE IN THE [RE] MAKING36 37LOCALComparisonsProduction I turn to clay as one of the world’s oldest buildings materi-als. Deeply tied to its context, these methods of clay construction highlighted in figure 8 and figure 9 of wattle and daub and rammed earth are material reflections of their surrounding environment. Both methods of building communicate quality of craft through the work of the hands and the celebration of slowness and user engaged processes. The outcome is a built form that reflects individuality and uniqueness. Wattle and daub is a building method for walls which is com-prised of vertical wooden stakes in which twigs are woven between, then a clay (or mud) plaster applied over20. This method is seen and used to fill in timber frame structures in traditional building practic-es21. Rammed earth is a building method for the construction of walls that use a mixed aggregate of gravel, sand, silt and small por-tions of clay which are layered and compacted repeatedly between panels of formwork22.Figure 9: A Rammed Earth Wall in the Nk’Mip Desert Cultural centre, Extracted from Arch Daily.https://images.adsttc.com/media/images/5e3c/faa7/3312/fd25/4b00/01d5/slideshow/nic_lehoux_pho-tography.jpg?1581054626Figure 8: The old wattle and daub construction system found at the 19th century Razboishte monas-tery, Bulgaria, By MrPanyGoff.(https://creativecommons.org/licenses/by-sa/3.0)], from Wikimedia CommonsCalista Loten A SPECTACLE IN THE [RE] MAKING38 39BEARTOOTH PORTALComparisonsCase StudiesBeartooth PortalEnsamble Studio, Montana, United States, 2015 The sculptural earthworks project is part of a collection of three “Structures of Landscape” – Domo, Inverted Portal, and Beartooth23 - projects housed in the rolling hills of the Montana Tippet Rise Art Center sculpture park. Commissioned to create site-specific works for the park and music venue, Ensamble Studio ar-chitects took to creating works directly derived from the landscape24. Trucking gravel into the site and excavating two cav-ities from the compacted gravel bed was the method used to create the formwork for the poured-in-place concrete. The ex-cavated craters lined with plastic mem-branes, was fitted with rebar when pour-ing commenced and topped with a layer of dirt and rocks25 to create an unpredictable surface texture when cured. Lifted upright by cranes, the twenty-five-foot-tall pieces were leaned against one another in equi-librium on support footings26. Although the concrete sculpture appears as though it was designed as it was being built, pri-or computational analysis was conducted before fabrication. It is through the unpre-dictable nature of the plastic membrane and gravel that give this sculptural its en-crypted wilderness form27. My analysis of this project focuses on the process of creating the architectural work and expanding on the valued notion of making and unpredictability. Driven by site informed relations, the landscape becomes the formwork for the project. Al-though the project was approached with a pre-conceived notion of the design, the method of its making with the landscape informed the final results – an architec-tural reflection of unpredictability. As the project aims to be a materialized and reflected acknowledgement of the land-scape through an earthworks approach to design, the project celebrates its creation process through the intentional and thor-Figure 10: Beartooth Portal in Landscape, Photograph by Ensamble Studio, 2015. https://static.wixstatic.com/media/9df9c9_1c0550af16da414a9497cd4e2bc8c648~mv2_d_1800_1200_s_2.jpg/v1/fill/w_611,h_40 6,al_c,q_80,usm_0.66_1.00_0.01,enc_auto/9df9c9_1c0550af16da414a9497cd4e2bc8c648~mv2_d_1800_1200_s_2.jpgCalista Loten A SPECTACLE IN THE [RE] MAKING40 41remains – green body - takes on the shape of the cast object when de-molded. The green body is then fired in a kiln to solidi-fy the ceramic piece. The remaining plas-ter cast is reusable and can create identi-cal multiples of the work. What creates uniqueness in this type of ceramic work is using different clay slurries to achieve colour variation through varying mineral content. In the following figure 13, using ar-chitectural representation I illustrate the similarities in process between ceramic slip casting method and the method of fab-rication of Beartooth portal. The project celebrates the process of its creation, its environmental context, and is an example of how ceramic methods of work can be upscaled to the size of the building and be-come habitable space. Figure 11: Site Context Map of Beartooth Portal in Rural Landscape, Author, 2024ComparisonsCase Studiesough documentation of its construction. Intertwined, these methods of the celebra-tion of process and making formulate a se-ries of construction rituals. Recalling craft, making, and pro-cess are interchangeable terms throughout this thesis, I analysis and conclude Ensam-ble Studio’s project utilizes a scaled version of ceramic fabrication process as a method of construction. Slip Cast method is used in making ceramics when a plaster mold is created to shape a complex clay body. A plaster mold is created using a positive of an object shape that is being replicated cast into the plaster to form the shape. The mold is created in connecting parts to al-low for easy removal of the cast object and re-use for future clay work. Once the mold has been created, a clay slurry (or slip) – a liquidous mixture of water and clay – is poured into the mold where over time the water from the slurry is absorbed by the plaster leaving behind a wall of clay pow-der. The remaining slurry is drained from the mold and the dried clay powder that Figure 12: Beartooth Portal Exterior Concrete Surface Texture, Photograph by Ensamble Studio, 2016. https://www.ensamble.info/beartooth-portalBEARTOOTH PORTALCalista Loten A SPECTACLE IN THE [RE] MAKING42 43ComparisonsCase StudiesFigure 13: Correlation Drawing Between Beartooth Portal Project Fabrication & Slip Casting Ceramic Method, Author, 2024BEARTOOTH PORTALCalista Loten A SPECTACLE IN THE [RE] MAKING44 45BURDER KLAUS FIELD CHAPELComparisonsCase StudiesBurder Klaus Field ChapelPeter Zumthor, Mechernich, Germany, 2007 The small chapel located in a rural landscape setting has now become a land-mark of Mechernich, German. The project was commissioned by a local farmer with the desire to construct a chapel to honor their patron Saint, Burder Klaus from the 15th century28. As Zumthor’s intention for the project is to reflect its surrounding landscape, the project is constructed using simple materials – concrete and wood. The formwork for the chapel was construct-ed with hundred and twelve tree trunks sourced from the surrounding forested ar-eas29 and erected to form the mold of the chapel interior. By pouring and compact-ing layers of concrete over the tree trunk framework the structure and shape of the chapel was created. When the concrete was cured the wooden interior scaffolding was then ignited, slowly burning out the formwork from within over three weeks30. Left behind is a reflection of its construc-tion process – fire – with charred walls and an interior space that could not be entirely predictable. I want to acknowledge this proj-ect holds much rhetoric around religious architecture, however my analysis of this project deviates from its symbolism and rather focuses on the process in creating the architectural work. The construction of the project was approached on a local level by engaging with the farming com-munity in constructing the chapel and using readily available material resources from the surrounding landscape. Through this means of making by engaging with people and place, the project celebrates its creation process through the intention-al slowing down of its construction. The project celebrates the creation of its form-work driven by site material relations, the layering of compacted concrete suggests a material display of slow making postpro-duction, and the slow burning out of the Figure 14: Bruder Klaus Field Chapel in Landscape, Photograph by Aldo Amoretti, 2016. https://www.archdaily.com/798340/peter-zumthors-bruder-klaus-field-chapel-through-the-lens-of-aldo-amorettiCalista Loten A SPECTACLE IN THE [RE] MAKING46 47Case Studiesticed in ceramic fabrication processes and the same method used to construct Burder Klaus Field Chapel. Mapping these pro-cesses between the scale of the human and hand, and the scale of the building argues that these methods of ceramic making are scalable to human inhabitable spaces.Comparisonsorganic formwork over an extended peri-od of time leaves the traces of fire char in the interior spaces, eternalizing the con-struction process. Together these meth-ods of the celebration of slow process and making formulate a series of construction rituals, a type of pattern language. Again, advancing on what I had defined earlier in chapter one, where craft, mak-ing, and process are interchangeable terms throughout this thesis, I further analyze and conclude Zumthor’s project utilizes a scaled version of ceramic fabrication pro-cess as a method of construction. Burnout method is used in crafting ceramics when an organic mold is used to aid in the shap-ing of a clay body. The intension is to use organic materials as a mold to support the clay body. When the object is fired in a kiln, the organic formwork/mold will ignite and combust, leaving behind the sculpted clay body. In the following figure 17 I use ar-chitectural representation to map a cor-relation between burnout method prac-Figure 15: Site Context Map of Burder Klaus Field Chapel in Rural Landscape, Author, 2024Figure 16: Interior Burder Klaus Field Chapel Entrance Fea-turing Charred Concrete Pour Texture, Photograph, SEIER + SEIER, October 2008, https://www.flickr.com/photos/sei-er/3122721913/in/photolistBURDER KLAUS FIELD CHAPELCalista Loten A SPECTACLE IN THE [RE] MAKING48 49Case StudiesFigure 17: Correlation Drawing Between Burder Klaus Field Chapel Project Fabrication & Burnout Ceramic Method, Author, 2024ComparisonsBURDER KLAUS FIELD CHAPELCalista Loten A SPECTACLE IN THE [RE] MAKING50 51FINDINGSComparisonsCase StudiesSite Informed Both projects use the surrounding landscape as formwork in some capacity, by excavating or gathering. Both projects engage with site and surrounding con-text in two prominent design approaches: Community, and earthworks. Zumthor’s project engages with the local community to build the project celebrating it in a col-lective process. Ensamble studio engages with the landscape through an earthworks design approach to celebrate a collabo-rative project and materialized reflection of the surrounds. Using both methods for creating and engaging in the projects, the essence of placemaking is achieved by these processes.Questions & Critics Further studying the projects and using architectural representation to dis-sect and analyze them has provoked a se-ries of questions. First, in respect to the materiality of the projects. The architects claim they are landscape projects, that they are reflections of their context. However, these works are made of materials for-eign to the site - concrete. This brings up questions of what would an architecture that is informed by the material context of a place and the methods of its making look like? Second, these works are sited in rural landscape context, separated from urban contexts. How would these archi-tectural works differ in an urban context? Third, both projects are reflections of sin-gular moments and instances in time. How can these methods of making inform ar-chitectural design of multiple spatial mo-ments? Fourth, drawing inspiration from the physical testament to these project’s creation, how can these methods of “mak-ing” inform new relationships between site and function? Moving forward in my research, these case studies are well known exam-ples of architectural form that express how methods of ceramic making can be translated to the building scale and what themes arise out of this notion of making when architecture celebrates process over product. These will be questions this thesis will begin further exploring. Study Take AwaysCelebration of Making Drawing upon the similarities in both these case studies, I find these works to be as much about the celebration of their fabrication process as their final architec-tural product. These projects both strive for a celebration of process – be it slow - and unpredictability, which is what makes these notable and successful projects. As quoted by Zumthor, “What I find is that when things have come out well, they tend to assume a form which often surprises me when I finally stand back from the work, and which makes me think: you could nev-er have imagined when you started out that this would be the outcome. And that is something that only happens sometimes, even after all these years – slow architec-ture.”31 Both projects blur the boundary between the value of the final product and the value of the process of its making. This is recognized through thorough documen-tation and engagement of its making pre-senting an architecture that values process over product.Upscaling of Ceramic Methods For both projects, arguably the most interesting aspect is the method of construction used. Atypical to conven-tional methods, by drawing correlations between their construction processes and processes in fabricating ceramics there is a resemblance suggesting a building meth-od informed by craft. The success of these projects lay in the curiosity in testing new ways of informing building methods. By drawing out the correlations between ce-ramic crafting and the processes used in making the architectural work of Ensam-ble Studio and Zumthor, these projects are testament to the capacity for methods of making to be scaled to the size of build-ing. Calista Loten A SPECTACLE IN THE [RE] MAKING52 53PATTERNS & RITUALSIntersectionsComparisons How we make and how we build follows a series of rituals and patterns. The same thing can be said about how we craft with clay in the context of making ceram-ics. The rituals in crafting ceramic objects revolve around a series of steps from pre-paring the raw clay body to firing the object in the kiln. Throughout the rituals of mak-ing a work of clay, there are a series of pat-terns that are present within each step of the process. These patterns are what guide individuality and differences between each ceramic object. They are informed by the movement of the potters’ hands, which of-fer very different outcomes, shapes, and functions to the clay object made. The stag-es of preparing and constructing a body of raw clay is a balancing act with water. Too dry the clay is difficult to work with and surface cracking will appear. Too wet and the clay body will not be able to support its structure. Figure 18, is a diagram that visu-alizes the logical steps taken when making a ceramic object. The diagram highlights what are the ritual steps and what are pat-terns noted by numbering. By drawing out this diagram it raises the question, “how can architects lean more into a method of making to inform our architecture? How can these rituals and patterns translate to building thinking?”Figure 18: Pattern Followed when Sculpting Clay, Author, 2024 Figure 19: Photo Diagram of Author Kneading, Centering, Opening Clay to Form a Cup, Author, 2024Calista Loten A SPECTACLE IN THE [RE] MAKING54 55ARCHITECTUREIntersectionsComparisons The above studies examine the intersection between archi-tecture and the final firing stage of clay. Figure 20, is a plan and sectional drawing of an industrial beehive kiln. The design influence of this industrial brick firing kiln dates back as early as 6000BC for its dome shaped roof and was adapted during the industrial revolu-tion to accommodate large quantities of bricks to be fired at once32. Figure 21 illustrates a bottle neck kiln in plan and section. Widely spread across England in the 18th century33, these kilns were used for firing large, stacked quantities of pottery simultaneously. Figure 22 is a plan and section of a downdraft climbing kiln. This type of kiln uses a series of chambers containing large quantities of pottery and the sloped landscape to control the heat flow of the firing pro-cess34. While there are numerous methods to fire ceramics, I have chosen these three kilns as they inhabit both the human and the crafted clay object in the same space. In these instances, the no-tion of making by firing informs the program, while the architecture is what contains this process. The accessibility of these spaces be-came part of the ritualistic process of creating ceramics controlled by time. While the firing process of the kilns occurs the outcome of the objects are not always predictable. During this time humans relinquish control of their work to the unpredictability of the fire in the space. By creating these drawings, the entangled relationship between the built architecture and clay crafting processes are high-lighted.Figure 20: Beehive Brick Kiln Section & Plan - not scaled, Author, 2024 Figure 21: Bottle Neck Pottery Kiln Section & Plan - not scaled, Author, 2024 Figure 22: Down Draft Climbing Pottery Kiln Section & Plan - not scaled, Author, 2024Calista Loten A SPECTACLE IN THE [RE] MAKING56 57PART THREE: CONTEXTCalista Loten A SPECTACLE IN THE [RE] MAKING58 59CLAY MAPPINGGeologyContextFigure 23: Extent of Glacial Lakes Ontario, Author, 2024 Adopted from Guillet, G.R. “Clay and Shale Deposits of Ontario; Ontario Geological Survey”Figure 24: General Ceramic Property Ontario Clays, Author, 2024 Adopted from Guillet, G.R. “Clay and Shale Deposits of Ontario; Ontario Geological Survey” As defined in earlier chapters in this thesis, clay is the connection between craft, architecture, and context. In pursuit of a site for my project, I turn to geology to find clay. Large quantities of clay beds have formed in Eastern Canada in the province of Ontario due to the province’s glacial lake history as illustrated in figure 23 and figure 24. The clay beds formed through slow sedimentation of valves clay on the land from the melting of the most recent glacial ice 5,000 to 14,000 years ago35. With the recession of the glacial lakes to what are now referred to as the Great Lakes, these clay beds are exposed and make up most of the soil in southern Ontario.Calista Loten A SPECTACLE IN THE [RE] MAKING60 61CLAY MAPPINGGeologyContextFigure 25: Shale of Central and Southwestern Ontario, Author, 2024 Adopted from Guillet, G.R. “Clay and Shale Deposits of Ontario; Ontario Geological Survey” During the most recent melt of the glacial lakes a small deposit of red clay accumulated in the lagoon at the south-western portion of Lake Iroquois in what is now referred to as Hamilton-Aldershot area. This red clay is referred to as alder-shot clay and exclusively formed from the erosion of queenston shale36. Formed from an already attractive ceramic source, queenston shale, aldershot clay is the best ceramic clay available domestically in On-tario due to its very low lime content and has an extensive history of manufacturing and versatile use from clay pots to struc-tural tiles37.Calista Loten A SPECTACLE IN THE [RE] MAKING62 63INDUSTRIAL MAPPINGGeologyContextFigure 26: Brick Plants in Ontario, Author, 2024 Adopted from Guillet, G.R. and Joyce I. H., “Clay & Shale Industries of Ontario; Prepared for the Ontario Ministry of Natural Resources”1987 Through my research on the vast clay and shale beds of Ontario, the re-search document “The Clay and Shale Industries of Ontario” by G.R. Guillet and I.H. Joyce revealed an abundance of industrial plants ranging from brick to clay tile to clay sewer pipe manufacturing plants scattered among the various shale and clay beds in the southern portion of the province38. With close proximity to Lake Ontario, these plants’ locations were desirable for waterway exporting of clay building materials. As the document was written in 1987, I conducted brief cross reference re-search of the brick manufacturing plants still operational and found that many have ceased production, and as a result left abandoned. Figure 26W illustrates the mapping of brick factory industrial sites and highlights those that are still opera-tional and those no longer manufacturing bricks.Figure 27: MegalopolisRust Belt, Author, 2024 Adopted from Wikipedia, “Rust Belt”.Calista Loten A SPECTACLE IN THE [RE] MAKING64 65 In researching of clay and industrial sites, I have select-ed a site to further explore the potential for ceramic crafting to inform notions of buildings; Among the many abandoned brick factories in Southern Ontario, I have chosen an abandoned brick factory located in Hamilton, Ontario. Located in an industrial city, this site offers a lens of contrast between a place of past in-dustrial processes to my proposal of an architecture informed by ceramic crafting processes. Nestled into the clay and shale bed escarpment carved by the glacial lakes, the abandoned factory holds rich historical significance to the industrial development of the city39 for its responsibility for manufacturing mostly all brick constructed infrastructure and dwellings in the city40. Figure 28: Hamilton Brickyards Collage Depicting Site Processes, Author, 2024HAMILTON BRICKYARD SiteContextCalista Loten A SPECTACLE IN THE [RE] MAKING66 67HISTORYSiteContextFigure 29: Material Heritage of Hamilton Brickyards in Relation to Context, Author, 2024 Founded in 1907 by Henry New un-der the company name Hamilton Pressed Brick Company, the brickworks factory extracted clay and shale from the base of the Niagara Escarpment, manufactured and pressed the clay and shale material into bricks and baked them all on-site in the large beehive kilns41. In 1910, the com-pany expanded becoming “The Hamilton Pressed Brick Co. Ltd” and in 1953 was purchased by “Collinwood Shale Brick Supply Company of Cleveland”, Ohio. Over the following years, the clay depos-it from the excavation site depleted and forced the company to import raw clay material42. By 1988, the yard was produc-ing and firing 12 million bricks annually43. During the following years the brickyards experienced the collapse of several of its original beehive kilns only leaving one his-toric kiln remaining44. Ten years later in 1998, the site dropped production to ex-clusively heritage brick restoration proj-ect, thus appearing abandoned in the eye of the public45. After 113 years the site fi-nally ceased all operations in 2020 and in 2021 the last remaining beehive kiln roof and partial walls collapsed in a fire46 leav-ing behind only brick masonry buildings and two chimney stacks.Calista Loten A SPECTACLE IN THE [RE] MAKING68 69WHAT’S NEXT?SiteContextFigure 30: Context Plan, Author, 2024 What remains on the site is the original 1907 office build-ing, Brick manufacturing drying complex, ruins of the beehive kiln and west associated chimney, east chimney from prior on-site kilns, yard office, and later entrance landscape feature - en-trance wall47. In ongoing negotiations starting 2022, the Ham-ilton Municipal Heritage Committee has registered the site under the Municipal Heritage Register has a non-designated Cultural Heritage Landscape with the future potential for this designation to change48. Currently the site is listed for sale and Hamiltonian community members are petitioning for the city to take claims of the land for use of other community engage-ment programs such as artist markets, no settlement has been addressed49. As only the masonry buildings remain on the site, this project seeks to propose a speculative creative solution to pre-serving the material heritage of this industrial site through a new approach quite the opposite to the site’s former function of material mass production, but rather celebrating notions of processes and making.Calista Loten A SPECTACLE IN THE [RE] MAKING70 71SITE PHOTOS SiteContextFigure 31: Brick Rubble: Dismantled Drying Stack, Jonathan Castellino, All content Copyright © 2024. https://images-pw.pixieset.com/elementfield/123960441/L1450514-557817b6.JPGFigure 32: Photo of Former Forming and Cutting Building from Brickyard Site, Author, 2024Calista Loten A SPECTACLE IN THE [RE] MAKING72 73SITE PHOTOS SiteContextFigure 33: Exterior Track Line Facing Manufacturing Building, Jonathan Castellino, All content Copyright © 2024. https://images-pw.pixieset.com/elementfield/123960441/32627961645_7613049580_4k-f39ff4ae.jpgFigure 34: Manufacturing Building Interior Workspace, Jonathan Castellino, All content Copyright © 2024. https://images-pw.pixieset.com/elementfield/123960441/51560346022_5e15358e5a_4k-07e16ebe.jpgCalista Loten A SPECTACLE IN THE [RE] MAKING74 75SITE PHOTOS SiteContextFigure 36: Interior with Crates of Bricks, Jonathan Castellino, All content Copyright © 2024. https://images-pw.pixieset.com/element-field/123960441/L1440371-877c8d6d.JPGFigure 33: Overall Site Photo of Exisiting Site Conditions with Dismantled Beehive Kiln, Author, 2024Calista Loten A SPECTACLE IN THE [RE] MAKING76 77PART FOUR: COLLECTING CLAYThe following research reflects my experience finding, collecting, and processing wild clay from the Niagara escarpment and within proxim-ity to the Hamilton Brickyards site. The intention behind conducting this research is to gain firsthand experience with clay found in nature and the materials on site. Calista Loten A SPECTACLE IN THE [RE] MAKING78 79MAPPINGFindingCollecting Clay On a cool sunny weekend afternoon, I set out to find wild clay. Wild clay is a descriptor for clay existing in the landscape that has not been processed or refined. As clay exists in part with the outside environment, it becomes entangled with other organic ma-terials and aggregates not desirable for ceramic crafting. However, collecting wild clay requires minimal preparation. Before setting out I gathered simple supplies to collect the clay: a couple of small containers, a filled water bottle, plastic bags, and a small gardening shovel. Using the geology maps of clay in Southern Ontario I plan my journey to make several explorations stops along the eastern rim of the Hamilton Niagara escarpment. Figure 37: Map Collage of Finding Clay, Author, 2024BRICKYARDSTREAMCREEKCalista Loten A SPECTACLE IN THE [RE] MAKING80 81CREEKFigure 38: Creek Flowing Near Escarpment Rail Trail, Author, 2024FindingCollecting Clay Beginning my wild clay search I start at the Albion falls park. Through brief research, wild clay can typically be found near water sources such as lakes creeks and streams. Moving water erodes, transports, and deposits clay particles which collect along these bodies of water. I start my search walking along the park trail following the river that feeds the waterfall. About 10 minutes into walking the escarpment rail trail, I cross over a bridge and find a slow-moving Creek which feeds into the larger river. Along the edg-es of the creek is where I first dig my gardening shovel into. Only a couple centimeters beyond the surface of the foliage and debris, my shovel finds a smooth slick-to-the-touch material – clay. The clay is mixed with small stones, twigs, and other organic matter. The deeper I dig into the bank, the more clay I find.Figure 39: Shovelling into Creek Edge Revealing Clay, Author, 2024Calista Loten A SPECTACLE IN THE [RE] MAKING82 83COIL TESTFindingCollecting Clay To ensure the found soil is truly clay I test the sample using a simple field method called the coil test. Taking the wild sample, I roll it in my hand to resemble a tube or a ‘snake’. Then taking the rolled sample, I wrap it around my finger. The higher quan-tity of clay in the soil, the lesser number of cracks will appear in the coiled tube. The intention of the coil testing is to assess the plasticity of the soil for traces of clay. This sample taken from the creek bank contains large amounts of other soil components such as dirt and sand as seen in the number of cracks displayed in the coil. The sample from the creek is not a high-quality wild clay and would not yield much clay when processed.Figure 40: Author Coil Testing Wild Clay, Courtesy & Consent of use from Christina Hudson, 2024 Figure 41: Author Rolling Wild Clay into Tube, Courtesy & Consent of use from Christina Hudson, 2024Calista Loten A SPECTACLE IN THE [RE] MAKING84 85STREAMFindingCollecting Clay As I continue my search for wild clay, I relocate to the Bruce trail that runs midway down the Hamilton escarpment. The main trail is busy with people and cyclists, so I hike off the beaten path. Within minutes of dodging trees and small bushes I find a small stream of water under my feet. Dipping my hand into the stream, I scoop out with my fingers a dark beige tinted slick putty – clay. This deposit of clay is purer; less sand, less aggregates, and less organic matter mixed within it. Removing a few larger rocks that obstruct the stream reveals an accumulation of clay. Using my shovel, I col-lect some - but not all - and package it to take back home to process later into a workable ceramic clay body.Figure 42: Small Stream in Forest Near Bruce Trail, Author, 2024 Figure 43: Author Handling Wild Clay, Courtesy & Consent of use from Christina Hudson, 2024Calista Loten A SPECTACLE IN THE [RE] MAKING86 87BRICKYARDFindingCollecting Clay With an aim to get a better understanding of the brickyard site I have selected for this project; I continue to walk along the Bruce trail. Once again wandering off the main path, I find a foot trail traced with mountain bike tracks. I follow the path until I reach the southern portion of the site and I stand at the edge of the old excavation pit made into the escarpment. Here the ground beneath my feet is a dusty rust red. With no visible water source in-sight, I look for cracks in the topsoil to indicate clay just below the surface. Clay when dry shrinks uniformly, thus creating cracks that will reveal in the surface of the ground indicating the presence of wild clay beneth. The surface cracking is exactly what I find along this foot trail. As I shovel some of the dry clay from the trail into a bag to process later it splinters and bricks with ease - another mate-rial property of wild clay. Figure 44: Mountain Bike Trail Clay Trail, Author, 2024 Figure 45: Surface Cracks Revealing Sign of Wild Clay Presence, Author, 2024Calista Loten A SPECTACLE IN THE [RE] MAKING88 89PROCESSINGProcessingCollecting Clay With the wild clay collected it is now time to process it. Processing wild clay is an essential step in making a workable clay body. The objective in processing wild clay is to remove small rocks, twigs, and other organic and inorganic materials embedded in the found clay. Removing these aggregates ensures a more uniform and smooth workable clay body. There are two main methods to pro-cess wild clay; wet processing and dry processing. I experiment with both processing methods with the clay I have collected as described in the following pages.Figure 46: Dried Wild Clay Samples, Author, 2024 Calista Loten A SPECTACLE IN THE [RE] MAKING90 91Collecting ClayWETProcessingWet Processing1. Place the wild clay in a bucket and submerge in water just until the clay is covered2. allow the clay to loosen in the water then mix to a slurry3. serve with the wet clay to remove aggregates and organic matter from the wild clay body4. dry the served clay on a plaster slab. The plaster slab aids in absorbing the moisture from the clay.5. Remove the clay from the slab when the clay is kneadable consistencyFigure 47: Author Wet Processing of Wild Clay, Author, 2024Calista Loten A SPECTACLE IN THE [RE] MAKING92 93Collecting ClayDRYProcessingDry Processing1. Allow the collected wild clay to air dry2. grind the clay to a refined powder. If needed sieve out materials that cannot be refined such as rocks or twigs.3. Add water to the powder and knead the clay body until a workable consistencyFigure 48: Author Dry Processing of Wild Clay, Author, 2024Calista Loten A SPECTACLE IN THE [RE] MAKING94 95PART FIVE: CLAYWORKSCalista Loten A SPECTACLE IN THE [RE] MAKING96 97PROJECT INTENTIONProject IntentionClayworks The Hamilton Brickyard, formally known as Century Bricks, is located in a resource extraction city, a material recon-stitution to the rest of the world city, a city founded for its ability to manufacture and make. It is a steel city that has been caught in the web of the industrial rust belt. It is these aspects of Ham-ilton that have been waning, shifting, and dying leaving voids in the city. These voids are acknowledged in this thesis as the post-industrial landscape. Taking all that I have learned from clay and my hands, the following project was told as a story through the eyes of a person in 2080 walking the curated path of repair following the material journey of clay. In the proposal of the path, the project arrives at four unique conditions that range from tangible and intangible repairs. Addressing history, defining the broken/ lost condition, repairing intervention, and resulting opportunity that formed. Figure 49: Author Presenting at Final Defense, Photograph & Consent by Helia Mahdavian, 2024Calista Loten A SPECTACLE IN THE [RE] MAKING98 99Warming Hut KilnsThis intervention seeks to repair the history of the sites iconic symbols - beehive kilns - through recreation, scale reduction, and alterations to the historic design. By engaging in the fir-ing transformation of clay materials through proposed hybrid warming huts, creates an opportunity for social unity through beaconing lanterns in the landscape drawing people to the site.TunnelThis intervention seeks to repair the access to the site from the base of the escarpment. Addressing the barriers of an active rail line and towering entrance gate. The intervention proposes the excavation of a commuter tunnel to reconsider the export of knowledge from site over the export of material.PROJECT INTENTIONProject IntentionClayworksSwitchback TrailThis intervention seeks to repair the scars on the landscape left behind from the extractive process while reconnecting the up-per Hamilton to the lower downtown core. By reusing discarded materials on site to retain the unstable cliff face and implement-ing new planting strategies, the defines a new reciprocal rela-tionship between material extraction and nature.Clay-workers’ Makerspace This intervention seeks to repair the lost knowledge of making and learning through your hands through the reprogram of the remaining masonry infrastructure. Adapting the walls of the old to host a new function, this intervention focuses on learning about the process of forming local materials. Calista Loten A SPECTACLE IN THE [RE] MAKING100 101CALL FOR ACTIONProject IntentionClayworks With push from the community for the preservation of the site and public declaration from the current owner who uses the site as a storage lot for commercial construction equipment wishing to find a way to open the Hamilton Brickyards site to the public, is where I build the foundation of my project from. When I see the post-industrial sites in my hometown I can’t help but to think how these landscapes offer a reciprocal opportunity to repurpose and repair them through learning and making.Figure 50: Multiple News Articles Collaged, Author, 2024.Calista Loten A SPECTACLE IN THE [RE] MAKING102 103Figure 51: Hamilton Brickyard Extended Site History Timeline, Author, 2024. The Hamilton Brickyard has a rich history that extends across scales from the landscape to the human. Through research of the site and its context, what does the timeline of the brickyards look like beyond 2024?EXTENDING A TIMELINEProject IntentionClayworksCalista Loten A SPECTACLE IN THE [RE] MAKING104 105ETHOSProject IntentionClayworks The project takes on the ethos of Kintsugi, an ancient Japanese method of repairing broken pottery with gold lacquer. Through the process of repairing the ceramic object it becomes more appealing when it embraces and reflects both its history and its transformation. I take the analogy of this ethos to ap-proach my project by exploring the tangible and intangible qual-ities of repair. Looking beyond repairing the post-industrial site physically, but also considering repair of history, knowledge, na-ture, community, material. The project defines repair as the return of or altering of something to a condition that serves a purpose, yet ensures its pervious functioning history is not erased. This project also defines broken as something that no longer serves a purpose, hinders development, and/or left in a state undesirable. Figure 52: Kintsugi Methodology Diagram, Author, 2024.Calista Loten A SPECTACLE IN THE [RE] MAKING106 107Material JourneyClayworksFigure 53: Defense Pin-up, Author, 2024A MATERIAL JOURNEYCalista Loten A SPECTACLE IN THE [RE] MAKING108 109 A crispy autumn day entices you to go on a walk along the Niagara escarpment Bruce trail to be emerged among the orange, yellow, and red colours of the changing leaves. Three kilometers from the Chedok stair entrance on the trail you come across an information board, roughly at waist height, at a fork in the path. In reading the short text you discover the Niagara Escarpment be-low your feet formed over 10,000 years ago by the Glacial Lake Retreat. As the lakes retreated north and east, it carved the sedi-mentary clay bed that formed below the lake surface leaving behind what is known today as the Niagara escarpment cliff face. Rich in clay resources left behind by the glacial lakes, the Niagara Es-carpment is home to vast clay beds, fertile soils, natural waterfalls, and the Indigenous Iroquoian Tribes. Impacted by weather from the exposure to wind and rain against the cliff, slowly erodes at the soft shales under the permanent limestone sedimentary layers causing the escapement cliff face to slowly erode and crumble over time. However, the extractive practices conducted at the Hamilton brickworks factory exopodite the natural cycle of erosion leaving the escarpment cliff unstable.Figure 54: Outdoor Trail Information Poster of Clay Extraction, Author, 2024.EXTRACTINGMaterial JourneyClayworksFigure 55: Fork in the trail, Author with production & consent of Jovis Lau, 2024.Calista Loten A SPECTACLE IN THE [RE] MAKING110 111EXTRACTINGMaterial JourneyClayworks In efforts to repair the expedited erosion of the cliff, a crane stored on site was erected at its center with a reach length spanning enough to hover over the tip of the Bruce trail. Initially tasked with placing an excavator at the top of the cliff face to carve a switch-back trail path to connect the Bruce trail above to the base of the escarpment below, repairs the geological divide. Once carved and the extracted clay used in doing so has been lifted away by the crane to a storage contain at the bottom of the site. The crane continues to act as an extension of the hand by lifting rubble and whole bricks gabion retaining walls baskets to support the unstable ledged of the switchback trail into place in the landscape. Varying in size, the baskets create the opportunity to be live staked with native plants to repair the ecology of what once inhabited the escarpment prior to the mass productive excavation and create natural stabilizing sys-tem of roots in the clay soil.Figure 56: Timeline Section of Escarpment Repair to Switchback Trail, Author, 2024.Calista Loten A SPECTACLE IN THE [RE] MAKING112 113EXTRACTINGMaterial JourneyClayworksFigure 57: Switchback Callout Plan, Author, 2024. Travelling down the switch back path you feel your body’s relative scale as you pass by short gabion basket walls with wide paths capped at the top with erosion control plants at your feet, to tall, towering gabion walls reaching upwards of 5 meters tall, live stacked with willow branches in the top block tiers and crawling with Virginia creeper ivy. Occasional a curious squirrel or mouse pops its head out from its home among the roots, leaves and bricks. As you make your way around a switchback corner you notice oth-er people sitting on a masonry bench enjoying the lookout view onto the city while a grounds keeper of the site put’s away garden sup-plies after pruning the walls before winter.Calista Loten A SPECTACLE IN THE [RE] MAKING114 115EXTRACTINGMaterial JourneyClayworksFigure 58: Gabion Basket Retaining Wall Detail, Author, 2024. Figure 59: 1:10 Gabion Brick Rubble Basket Model, Author, 2024.Calista Loten A SPECTACLE IN THE [RE] MAKING116 117Material JourneyClayworks PROCESSING Now at the base of the switchback path you are met with another board of information. In reading yet again another debrief text you learn the buildings in front of you were once the two orig-inal Hamilton Pressed Brick Company masonry factory buildings. Opened in 1907, it is the only urban brick manufacturing factory sourcing and processing raw clay on site. Additionally, in the fac-tory’s early years, bricks from the factory were distributed to build dwellings in the city core to house the booming steel manufactur-ing plant worker population. During the factory’s peak production in the 1950’s and the site’s mass production ramped up the site reduced excavating into the escarpment and resorted to importing clay from other nearby regions in Ontario. At the end of 1998 the brickyard’s mass production of Hamilton stamped bricks came to a halt. Left seemingly abandoned in the early 2000’s, the site was a tourist attraction for curious local trespassers. Despite the graffiti across the site, the original brick press stamper was occasionally used for heritage restoration projects. In 2021, the brickyard was sold to Reimar, a commercial construction company who used the site as an equipment storage yard. Figure 61: Onto the scaffolding path, Author with pro-duction & consent of Jovis Lau, 2024.Figure 60: Outdoor Trail Information Poster of Clay Processing, Author, 2024.Calista Loten A SPECTACLE IN THE [RE] MAKING118 119PROCESSINGFigure 62: Timeline Section of Infrastructure Repair to Clay Craft Oriented Makerspace, Author, 2024. Living in an era of mass consumer-ism and production has systematically re-moved the notion of making through indus-trialization. And thus, in order to repair the relationship between humans and making, the existing infrastructure has become repur-posed into a makerspace focusing on clay work practices. A large gantry was installed to aid in the slow rebuilding and expansion of the infrastucture by straddling over the original masonry walls and uses the existing parallel tracks on site beside the buildings to move heavy material across the span of the building.Material JourneyClayworksCalista Loten A SPECTACLE IN THE [RE] MAKING120 121PROCESSINGFigure 63: Makerspace Ground Level Floor Plan, Author, 2024.Material JourneyClayworks Stepping off the red dirt path of the switchback, your new path below your feet becomes metal scaffolding roughly 1 story from the ground. Elevated over top of the old wall to reach the new, the scaffolding you walk on is framed between the old masonry wall and the new. Walking on this new path you become a part of the buildings repair. Under your feet, you see someone tightening the suspension bracket bracing and linking the old wall to the new under the scaffolding. On this path the old walls are reliant on the new ones, and the new walls are informed spatially by the old. The first building you come across is the newest addition to the makerspace. Peering your head through the window you see a lecture about the material potentials of clay with the backdrop of the refinement equipment outside. Passing yet again out and over the old brick wall you walk alongside the clay that was extracted from the landscape to make the switchback trail. From the scaffolding path you see the how the gantry lifts unprocessed raw clay into a rubble sieve, then gets conveyor belt lifted to further grinding using the brickyards existing clay grinder. With the dry clay re-duced to small particles it is then mixed with water. Dripping from a pipe spout overhead you glance up and see the first of two-smoke chimney’s has been converted into a water catchment tower that releases water for the Calista Loten A SPECTACLE IN THE [RE] MAKING122 123PROCESSINGMaterial JourneyClayworksFigure 64: Makerspace Upper Level Floor Plan, Author, 2024.mixing of the clay. After mixing, you watch the wet slumps of clay get carried up a con-veyor belt and funneled into storage silos for future use. Continuing along the scaffolding path you pass the private residency space for ceramicists who live on site to maintain the grounds. In through a void in the origi-nal masonry wall you look down and see a trolley of wet clay has followed you under the scaffolding and is now being lifted and pressed into 5lbs Hamilton Stamped Bricks. You then notice a member of the maker-space has appeared at the end of the brick press and takes a wet brick for themselves. A strange interaction, but you soon come to realize they have taken it to further refine the unfired brick into a smooth hand workable clay body. Following in parallel with the art-ist you find yourself back outside between the old and new walls. Peering into the open studio you notice it is busy with people work-ing with clay at different scales and methods. Inside you see the thickness of the wall offers ample storage for the storage of work using scissor lifts to access the highest of shelves.Calista Loten A SPECTACLE IN THE [RE] MAKING124 125Figure 65: Old & New Masonry Suspended X-Bracing Tention Rod Wall Detail, Author, 2024. Figure 66: 1:10 Scaffold Path Between Walls Detail Moment Model - Maked with Clay Hand Processed from Site, Author, 2024.Calista Loten A SPECTACLE IN THE [RE] MAKING126 127FIRINGMaterial JourneyClayworksFigure 67: Outdoor Trail Information Poster of Clay Firing, Author, 2024. The scaffolding path slips out from between the old and new walls and pivots norths directly towards the second of the two kiln chimney stacks. Heading towards the chimney stack, you notice a third information board. Peering up from the board a series of small kilns align themselves along where the path leads to next. From the description on the panel, the beehive kiln was historically an iconic symbol of the site. A tried-and-true method of making bricks since 6,000 bc the beehive kiln uses the rising and dropping of heat to bisque clay – A chemical reaction that solidifies earth bound clay to a non-water-soluble mass. At the 1907 opening of the site 10 beehive kilns were present on site lined up in a single file along the northern side of the brickyards. By 2005 all but 1 beehive kiln remained in tack until 2021 when a curious trespasser drove a forklift directly into the iconic symbol on site sending that kiln up into flames leaving it to sit as a ruin on site. Figure 68: Thermal Memory, Author with production & consent of Jovis Lau, 2024.Calista Loten A SPECTACLE IN THE [RE] MAKING128 129FIRINGFigure 69: Timeline Section of History Repair to Hybrid Kiln / Warming Huts, Author, 2024. The loss of the site icon was shared by the surrounding community. And to ac-knowledge the Brickyards rich history of beehive kilns as a source of mass-producing bricks, one small beehive kiln was built first with the remaining bricks on the site as a starting source for the intentional manufac-turing of more bricks to repair and expand the site. With the introduction of the Clay works Makerspace the small, reconstructed beehive kiln used to fire bricks on site for the repair and expansion of the site, was retro fitted with sunken pottery kilns into the roof to take advantage of a dual firing function. With access to the roof granted the scaffold path now bridges the makerspace studio to the kilns. The heat on top of the kilns has brought a warm delight attracting visitors to gather near the heat that rises out from the top of the kiln. As technology advanced the common use of the robot arm to extract brick ware from kilns after fire has become more advanced and had an additional pur-pose to build a warming hut brick screened pavilions for visitors to come, gather, and socialize atop the kilns. Additional kiln huts were implemented over the years as a series of 10, the same number of beehive kilns that were originally built on site in 1907. In their multiplicity they appear as lanterns in the landscape from dusk until dawn attracting visitors from outside the makerspace to in-vestigate the landmark. As the sun begins to set, you pass through the roof tops of the kilns you hear people chattering behind the brick screen façade. And towards the end of the series you smell before you see that the last kiln has been ignited with a fire in the pit and being enjoyed by a small group of friends.Material JourneyClayworksCalista Loten A SPECTACLE IN THE [RE] MAKING130 131Figure 70: Ground Level Brick Kiln Callout Plan, Author, 2024. Figure 71: Upper Level Kiln/ Warming Hut Callout Plan, Author, 2024.FIRINGMaterial JourneyClayworksCalista Loten A SPECTACLE IN THE [RE] MAKING132 133Figure 72: Warming Hut Pavilion Facade Detail, Author, 2024. Figure 73: 1:20 Lantern Screen Facade Detail Model, Author, 2024.FIRINGMaterial JourneyClayworksCalista Loten A SPECTACLE IN THE [RE] MAKING134 135Material JourneyClayworksFigure 74: Outdoor Trail Information Poster of Clay Exporting, Author, 2024.EXPORTING Ramping down and around the retro fitted water tower of the first smokestack chimney, the scaffolding path you have em-barked on has come to an end dropping you off at the base of the original masonry office building – the now entrance to the maker-space. Back on red dirt again, you encounter the final trail informa-tion board. Skimming the panel, you come to realize that Hamilton Brickworks peaked in production in the 1950’s. The sites’ location for export and distribution of material was ideal largely due to its proximity to the Hamilton harbor port opening onto Lake Ontario and the adjacency of the active CN rail line to the site. With only one way in and out of the site blocked by a towering 2.5-meter brick front gate and the need to cross two active Rail lines, the Rail lines and gate create a barrier between the Hamilton Brickyard and the adjacent community it built. As of 2024, these two features of the site still echo the brickyards material exportation history. Figure 75: Under & Out Tuneel, Author with produc-tion & consent of Jovis Lau, 2024.Calista Loten A SPECTACLE IN THE [RE] MAKING136 137EXPORTINGFigure 76: Timeline Section of Tunnel Access Repair, Author, 2024. After the excavation of the switch-back trail the excavator then proceeds to dig a tunnel under the entrance gate and CN rail line to repair the broken access to the site. When shoring of the tunnel under the rail line and gate was completed, the extract-ed clay was compacted into rammed earth walls and lined from the back with gabion brick rubble walls seal the perimeter of the tunnel. The multiple layering of the rammed earth walls resembles the same layering of what was once created by the great lakes that form the clay bed 10000 years ago. Once the tunnel under the front gate and tracks was dug the excavator completes the connection to the adjacent downtown Hamilton neigh-bourhood by creating a sloping ramp lined with brick gabion retaining walls breaking the physical and invisible barrier of access to the site. Gradually sloping deeper into the earth, you run your hand along the rammed earth wall as you pass under the tunnel. The layering of earth clay reflective of the slow sedimentary layer of clay during the glacial lake era follows you as you go into the tun-nel. Surfacing on the other side and up the ramp you turn back and realize that materi-als may no longer be exported from the site, but a knew form of export has happened. And that is the export of clay knowledge. Material JourneyClayworksCalista Loten A SPECTACLE IN THE [RE] MAKING138 139Figure 77: Tunnel Level Callout Plan, Author, 2024. Figure 78: CN Rail Line Level Callout Plan, Author, 2024.EXPORTINGMaterial JourneyClayworksCalista Loten A SPECTACLE IN THE [RE] MAKING140 141Figure 79: Rammed Earth Tunnel Detail, Author, 2024. Figure 80: 1:10 Rammed Earth Wall Layering Detail Moment Model - Maked with Clay Hand Processed from Site, Author, 2024.EXPORTINGMaterial JourneyClayworksCalista Loten A SPECTACLE IN THE [RE] MAKING142 143SITE MODELMaterial JourneyClayworksFigure 81: Site Model of Hamilton Brickyards in 2080, Author, 2024.Calista Loten A SPECTACLE IN THE [RE] MAKING144 145STUDY MODELSStudy ModelsClayworks The following model studies are a med-itation on the notion of repair. The con-ceptual aspects of the model’s enable the freedom to challenge scales. The studies explore different methods of repair in re-lation to found and existing mass ranging from supporting, bracing onto, and build-ing around, and bridging. These conceptu-al studies helped to inform the tool kit used repair the Hamilton Brickyard.Figure 82: Conceptual Study Model Index, Author, 2024Calista Loten A SPECTACLE IN THE [RE] MAKING146 147END MATTERCalista Loten A SPECTACLE IN THE [RE] MAKING148 149End MatterEND NOTESsculptures,” Martin Schulze, November 29, 2019, https://publicde-livery.org/ensamble-studio-structures/.28 “Burder Klaus Field Chapel/Peter Zumthor,” Megan Sveiv-en, January 27, 2011, https://www.archdaily.com/106352/bruder-klaus-field-chapelpeter-zumthor.29 Ibid.30 “The Amazing Architecture of the Burder Klaus Field Chapel,” Bianca Bauza, March 14, 2018, https://nomadbiba.com/bruder-klaus-field-chapel/.31 Zumthor, Peter Zumthor, Atmospheres, (Basel: Birkhäus-er, 2006), 71.32 “A Complete History of Kilns,” Scott Shannon, July 3, 2023, https://www.kilncontrol.com/blog/history-of-kilns/.33 Ibid.34 Ibid.35 G.R Guillet, “Clay and Shale Deposits of Ontario; Ontario Geological Survey,” Ontario Ministry of Natural Resources, 1977, 45.36 Ibid, 47.37 Ibid, 61.38 G.R Guillet & I.H. Joyce, “The Clay and Shale Industries of Ontario,” Ontario Ministry of Natural Resources, 1987, 49.39 Hamilton Municipal Heritage Committee Addendum, Sep-tember 2022, City of Hamilton, Hamilton, 25, chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/https://pub-hamilton.escribe-meetings.com/FileStream.ashx?DocumentId=33896025.40 Micheal Heinhold, “Abandoned Brick Factory,” Steemit, 2020, https://steemit.com/urbex/@mikeheinhold/aban-doned-brick-factory.41 Hamilton Municipal Heritage Committee Addendum, 27.42 Ibid.43 Ibid.44 Ibid.45 “Abandoned Brick Factory.”46 Hamilton Municipal Heritage Committee Addendum, 27.47 Ibid.48 Ibid, 28.49 “Abandoned Brick Factory.”1 Oxford English Dictionary, 2nd ed. (Oxford: Oxford Uni-versity Press, 2004), s.v. “Craft.”2 David Pye, The Nature and Art of Workmanship. London: The Herbert Press, 1968, 26.3 Richard Sennett, The Craftsman, (New Haven: Yale Uni-versity Press, 2008), 37.4 Jonathan Crary, 24/7 Late Capitalism and the Ends of Sleep, (London: Verso, 2013), 8-9.5 Ibid, 29.6 Christopher Alexander, The Timeless Way of Building, (New York: Oxford University Press, 1979), 176.7 Ibid, 186.8 Ibid, 191.9 Ibid, xiv.10 Ibid, 231.11 Ibid, 238.12 Ibid, 462.13 Sennett, The Craftsman, 263.14 Ibid, 9.15 Ibid.16 Ibid, 12.17 Ibid.18 Ibid. 13.19 Pye, The Nature and Art of Workmanship, 27.20 “Wattle and Daub,” T. Editors of Encyclopedia Britannica, August 1, 2018, https://www.britannica.com/technology/wattle-and-daub.21 Ibid.22 “Rammed Earth,” Australian Government, https://www.yourhome.gov.au/materials/rammed-earth#:~:text=Under-standing%20rammed%20earth-,Rammed%20earth%20walls%20are%20constructed%20by%20ramming%20a%20mixture%20of,earth%20mixture%20to%20compress%20it.23 “Ensamble Studio designs Monumental Works for Tippet Rise Art Center,” David Hill, August 1, 2016, https://www.archi-tecturalrecord.com/articles/11807-ensamble-studio-designs-monu-mental-works-for-tippet-rise-art-center24 Ibid.25 Ibid.26 Ibid.27 “Architecture Studio Ensamble & their weird & impressive Calista Loten A SPECTACLE IN THE [RE] MAKING150 151End MatterBIBLIOGRAPHYAdamson, Glenn. “Material.” In Thinking Through Craft, 38–68. London: Bloomsbury Academic, 2007. Accessed March 8, 2024. https://www.bloomsburycollections.com/encyclopedia-chap ter?docid=b-9781350036062&tocid=b-9781350036062-chapter2.Alexander, Christopher. The Timeless Way of Building. New York: Oxford University Press, 1979.American Iron and Steel Institute. “Steel Production.” Accessed December 12, 2023. https://www.steel.org/steel-technology/ steel-production/Bauza, Bianca. “The Amazing Architecture of the Burder Klaus Field Chapel.” Nomadbiba, March 14, 2018. https://nomadbiba.com/ bruder-klaus-field-chapel/“Beartooth Portal.” Ensamble Studio. Accessed March 28, 2024.https:// www.ensamble.info/beartooth-portal“Brick: Thick/Thin.” Harvard Graduate School of Design, 2016. https:// issuu.com/gsdharvard/docs/brickBritannica, T. Editors of Encyclopaedia. “wattle and daub.” Encyclopedia Britannica, August 1, 2018. https://www.britannica. com/technology/wattle-and-daub.Bloomfield, Linda. “Technofile: Geology for Potters”. Ceramics Monthly, 2015. https://ceramicartsnetwork.org/ceramics-monthly/ ceramics-monthly-article/Technofile-Geology-for-PottersBustillo Revuelta, Manuel. “Glass.” In Construction Materials. Springer Textbooks in Earth Sciences, Geography and Environment, 389. Switzerland AG: Springer. 2021 https://doi.org/10.1007/978-3- 030-65207-4_13Castellion, Jonathan. “Century.Brick.” jonathancastellino, 2024. https:// www.jonathancastellino.com/centurybrick/“Ceramic Processing: Slip Casting,” The American Ceramic Society, Accessed March 14, 2024. chrome-extension://efaidnbmnnni pcajpcglclefindmkaj/http://ceramics.org/wp-content/uploads/ 2014/04/Slip-Casting-Lesson-111.pdfCrary, Jonathan. 24/7 Late Capitalism and the Ends of Sleep. London: Verso, 2013.Dawson, Kelsey Rose. “Clay Shapes the Hand.” Master diss., University of Waterloo, 2021.Foley, Nora k. “Environmental Characteristics of Clay and Clay Mineral Deposits.” USGS. 1999. https://pubs.usgs.gov/info/clays/Guillet, G.R, and Joyce I.H. “The Clay and Shale Industries of Ontario.” Ontario Ministry of Natural Resources, 1987. https://archaeolo gymuseum.ca/wp-content/uploads/2022/08/1987NSP005.pdfGuillet, G.R. “Clay and Shale Deposits of Ontario; Ontario Geological Survey.” Ontario Ministry of Natural Resources, 1977. https:// www.geologyontario.mndm.gov.on.ca/mndmfiles/pub/data/imag ing/MDC015//MDC015.pdfHamilton Municipal Heritage Committee Addendum. City of Hamilton, Hamilton, ON. chrome-extension://efaidnbmnnnibpcajpcgl clefindmkaj/https://pub-hamilton.escribemeetings.com/ FileStream.ashx?DocumentId=338960Heinhold, Micheal. “Adandoned Brick Factory.” Steemit, 2020. https:// steemit.com/urbex/@mikeheinhold/abandoned-brick-factoryHeschong, Lisa. Thermal Delight in Architecture. Cambridge: MIT Press, 1979.Hill, David. “Ensamble Studio designs Monumental Works for Tippet Rise Art Center.” Architectural Record, August 1, 2016. https:// www.architecturalrecord.com/articles/11807-ensamble-studio-de signs-monumental-works-for-tippet-rise-art-centerLundberg, Kim. “Natural Clay Processing, Gathering, cleaning, tempering, and storing.” Museum of Ontario Archaeology, August 2020. https://archaeologymuseum.ca/wp-content/up loads/2020/08/Natural-Clay-Processing_Kims-handout.pdf“Manufacturing of Brick.” The brick Industry Association 9, (December 2006): 2-7. https://www.gobrick.com/media/file/9-manufactur ing-of-brick.pdfMathieu, Paul. “Shelter: Ceramics and Architecture”. Function/Archi tecture. Studio Potter 44, 2. (2016). https://studiopotter.org/shel ter-ceramics-and-architectureMcNiven, Tegan. “Transform Hamilton Brickworks site into community rail trail access and more.” Change.org, October 16, 2020. https:// www.change.org/p/city-of-hamilton-transform-hamilton-brick- works-site-into-community-rail-trail-access-and-moreMoffitt, Lisa. ”Sand, silt, salt, water: entropy as a lens for design in post-industrial landscapes.” Landscape Research 42, no.7 (2017): 769-781. https://doi.org/10.1080/01426397.2017.1363878Oxford English Dictionary. 2nd ed. Oxford: Oxford University Press, 2004.Pallasmaa, Juhani. “An Architecture of the Seven Senses.” In Questions of Perception - Phenomenology of Architecture. Edited by Steven Holl, Juhani Pallasmaa, and Alberto Perez-Gomez, 40-49. Tokyo: a+u Publishing Co.,Ltd.,1994.Pallasmaa, Juhani. The Thinking Hand: Existential and Embodied Wisdom in Architecture. London, England: Wiley & Sons, 2009.Pye, David. The Nature and Art of Workmanship. London:The Herbert Press, 1968.Prepared under the Joint Auspices of the International Labour Office and the United Nations Industrial Development Organization, comp. “Small Scale Brick Making”. New Zeland: International Labour Organisation, 1984. 35-38.“Rammed Earth.” Australian Government. https://www.yourhome.gov. au/materials/rammed-earth#:~:text=Understanding%20 rammed%20earth-,Rammed%20earth%20walls%20are%20 constructed%20by%20ramming%20a%20mixture%20 of,earth%20mixture%20to%20compress%20it.Schulze, Martin. “Architecture Studio Ensamble & their weird & impressive sculptures.” Public Delivery, November 29, 2019. https://publicdelivery.org/ensamble-studio-structures/. Accessed 2024-4-17.Calista Loten A SPECTACLE IN THE [RE] MAKING152 153End MatterBIBLIOGRAPHY CONT.Sennett, Richard. The Craftsman. New Haven: Yale University Press, 2008.Shannon, Scott. “A Complete History of Kilns.” sdsindustires, July 3, 2023.Sofield, Mark. “Craft + Context: Connecting Architecture to Place and Time.” Terrain.org 16, April 16, 2023. https://www.terrain. org/2013/currents/craft-and-context/#:~:text=The%20essen tial%20meaning%20of,%2C%20temporal%2C%20or%20 even%20 spiritualSveiven, Megan. “Burder Klaus Field Chapel/Peter Zumthor.” Arch Daily, January 27, 2011. https://www.archdaily.com/106352/brud er-klaus-field-chapel-peter-zumthorTuomey, John. “Craft and Construction.” In Food and Architecture: At the Table, 167–170. London: Bloomsbury Academic, 2016. http://dx.doi.org/10.5040/9781350009615.ch-013.Wells, Jon. “Hamilton’s last brickyard hitting the bricks after 113 years?” The Hamilton Spectator, September 28, 2020. https://www.thespec.com/business/hamilton-s-last-brickyard- hitting-the-bricks-after-113-years/article_7181f9ef-6536-572c- a209-8c140c8db65a.htmlVan Dongen, Matthew. “Century Brick literally stamped the Hamilton name into countless buildings; Should it be redeveloped for public use?” The Hamilton Spectator, September 19, 2024. https:// www.thespec.com/news/council/century-brick-literally-stamped- the-hamilton-name-into-countless-buildings-should-it-be-rede veloped-for/article_8793c152-18d3-5c02-8c26-4c2592e1eaf3.html“What role do crafts play in architecture.” Re-thinking the Future. https://www.re-thinkingthefuture.com/art/a2847-what-role-do- crafts-play-in-architecture/Wen, Yifeng. ”Combined Material Recycling Study with Aesthetic of Entropy and Place Making.” The Scientific World Journal 2015. (2015): 1-12. http://dx.doi.org/10.1155/2015/208342Zumthor, Peter. Atmospheres. Basel, Switzerland. Birkhäuser, 2006.Zumthor, Peter. Thinking Architecture: 2nd Expanded Edition. Basel, Switzerland. Birkhäuser, 2006.Calista Loten154
Graduating Project
eng
Unreviewed
Vancouver : University of British Columbia Library
Attribution-NonCommercial-NoDerivatives 4.0 International
Graduate
University of British Columbia. ARCH_V 549
A spectacle in the [re]making
Text