THE LANGUAGE OF MAKING: THE FINE ARTS, CRAFTS, AND BUILDING TRADES

by David J. Cocks

Submitted in partial fulfillment of the requirements for the degree of Master of Architecture

at Dalhousie University Halifax, Nova Scotia

April 2010

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•+• Canada DALHOUSIE UNIVERSITY SCHOOL OF ARCHITECTURE

The undersigned hereby certify that they have read a thesis entitled "The Language of Making: The Fine Arts, Crafts, and Building Trades" by David J. Cocks, and recommend it for acceptance to the Faculty of Graduate Studies in partial fulfillment of the requirements for the degree of Master of Architecture.

Date:

Catherine Venart, supervisor

Emanuel Jannasch, advisor

Carol Burns, external examiner

II DALHOUSIE UNIVERSITY

Author: David J. Cocks

Title: The Language of Making: The Fine Arts, Crafts, and Building Trades

Department: School of Architecture

Degree: Master of Architecture

Convocation: May 2010

Permission is herewith granted to Dalhousie University to circulate and to have copied for non-commercial purposes, at its discretion, the above title upon the request of individuals or institutions.

The author reserves other publication rights, and neither the thesis nor extensive extracts from it may be printed or otherwise reproduced without the author's written permission.

The author attests that permission has been obtained for the use of any copyrighted material appearing in the thesis (other than brief excerpts requiring only proper acknowledgement in scholarly writing), and that all such use is clearly acknowledged.

Signature of author

Date:

in CONTENTS

Abstract v Acknowledgments vi Introduction 1 Research Question 1 Background 1 Art, Craft, and the Trades 2 Workmanship 4 Proposed Curriculum 7 History and Theory 9 Materials, Working Methods, and Production 10 Exhibition 12 Design 14 Site 14 Selection 16 Industrial History at the Coulee Edge 19 Expansion of the Art District 22 Geometric Legacy 25 Planimetric Context 25 Vertical Datums 29 Material Implications 31 Extension into the Landscape 33 Refinement of Programme Areas 35 Interdisciplinary Programming 44 Public Access and Exhibition 48 Detailing 50 Material Expression and Record of the Trades 50 Building Facades and Student Work 53 Conclusion 58 Notes 61 References 62

iv ABSTRACT

This thesis explores the development of an architecture and aesthetic language which recognizes the historical legacy of the labour and industry of a place, and which encourages public interaction with processes of production and the products of the building trades, crafts, and the fine arts. Proposing a post-secondary programme and facility which looks towards the integration and interdisciplinary exploration between the trades, crafts, fine arts, and the public, this thesis aims to promote the value of the conscious act of making. These ideas are developed through the placement of the building on site, the organization of the programme to encourage affinities and interactions, and the development of building details and systems which exhibit the work of the building trades and allow for the exhibition of student work. The proposed facility is located in Lethbridge, Alberta and integrates elements of the University of Lethbridge, Faculty of Fine Arts, and the Lethbridge College, School of Apprenticeship and Trades.

v ACKNOWLEDGEMENTS

First and foremost, I would like to thank Karla for her continued support and understanding throughout the course of my studies, including her patience through many nights spent home alone with the dog, and a number of birthday dinners ruined by a quick nap gone wrong. I would also like to thank my parents for always encouraging me to continue my education and offer my apologies for all of the family gatherings missed. I would like to thank Catherine and Emanuel for their work with me on the development of this thesis. Their knowledge and expertise has been an invaluable asset. Thank you as well to Steve Parcell and Bev Nightingale for their work behind the scenes to ensure the schedule and high standards of the thesis program are maintained. Finally I would like to thank Art Ferrari for revealing the joy of the business of architecture and the personal relationships it fosters; Dan Westwood for sharing his love of the profession and teaching me the joy of designing and making things for oneself; and Henry Warszawski for sharing his vast knowledge of the technical side of building and the great satisfaction that comes from ensuring that things are done right.

VI INTRODUCTION Research Question How can the industrial legacy of place and a focus on methods of production inform an architectural aesthetic and building programme? Can these influences help express and encourage exchange between the trades, crafts, fine arts, and the public?

Background In the past half-century the western world has undergone a cultural evolution removing the need for many of its citizens to participate directly in the production of material goods. Industrialization, combined with the reduced costs of labour in the developing world, has allowed for the responsibility for production of a large majority of the goods which define our culture to be exported. While the implementation of wide-spread industrialized production initially offered the potential to supply all of society with low-cost, high-quality goods, this dream has yet to be realized. Most people today have no choice but to consume disposable, low-quality, low- cost goods in order to achieve a quality of life defined by quantity of material possessions rather than quality. Rather than the continuing cycle of consumption and disposal of poorly made goods, the value and longevity of well designed and well made products needs to be understood. A shift is required in our perception of value. While this is ultimately an economic argument, an increased understanding and appreciation of the skill inherent in making can help achieve an increased appreciation of the quality of production. It is my contention that mankind has an inherent desire to understand and consciously participate in the production of his or her material surroundings. Our loss of a culture of production at the hands of a globalised economy has robbed us of an outlet for a basic instinct to make. Therefore, it is by fostering an opportunity to connect the public more directly to a place of production, that the potential for an increased appreciation of the value of the conscious act of making can be developed.

Art, Craft, and the Trades Traditionally, the separation between the fine arts, crafts, and trades, though difficult to define, has evolved around distinctions between the idea and the means by which it is expressed. Ever since the first artists were elevated above their fellow craftsmen by the recognition of a spark of genius there has been a separation perceived between the idea - the spark - and the means by which that idea is expressed. Though craft was important, it was the expression of the idea that would separate the artist from the craftsman. While the fine arts have embraced some elements of craft and adapted them to artistic expression, most recognizably painting, other crafts have historically been relegated as more practical and therefore lesser pursuits. Craft is a term which defines a skill in a certain area of work, be it a skill with a specific type of material or in a specific method of working. Craftspersons traditionally included masons and stoneworkers, blacksmiths, spinners and weavers, and ceramicists, to name a few. Each of these labels define a producer who has worked to achieve a mastery of a material and working method, and who is able to apply that skill in the production of goods. The craftsperson is one who typically produces by hand, small and medium-scale goods. Hand crafted goods are valued primarily as an expression of the skill of the craftsperson in the execution of his or her craft rather than as the expression of a critical concept or statement which may exist outside of the work itself. Those crafts which have shown the most potential to the production of highly practical large-scale goods, such as buildings and industrial equipment, have been removed yet again from the arena of craft and given the title of trade. It is in the trades that we typically find the carpenter, mason, welder, and machinist training and labouring today. These tradespersons are valued for their craft and their knowledge of the materials and processes of their chosen vocation as well as for the shear practicality of the work they produce. While a working skill in their craft is required, a tradesperson is not typically held to the same standards of aesthetic quality in the end product as would be a craftsperson. These distinctions, and the hierarchies developed between them, have produced a rift between the idea and the means by which it is expressed. This divide has stripped society of the more widely relevant influence of the artist, and the skilled labour of the crafts and trades on our material environment. This thesis hopes to encourage a return to the integration between the critical concept and the skilled application of a working method by reintegrating an education in the arts with an extensive training in the crafts and trades. Workmanship Workmanship is the thread with which this thesis ties together the work of each of the traditional classifications of production - the trades, crafts, and fine arts. Workmanship being the application of skill and knowledge with which the physical products of each discipline is produced. The knowledge of materials and methods, as well as the skill with which that knowledge is applied in production, is apparent in the development of a working method that is materially focused rather than one focused on process. A knowledge of material properties and the interaction between materials and working methods allows for critical thought and innovation in the act of making. Workmanship exists in the potential for innovation apparent in the distinction between craft and manufacture. The initial distinction between modes of production is that of the division of labour by which goods are produced. In a holistic, or craft-based production system, an individual, or small group of individuals, is responsible collectively for each step of production. Those involved in production may go so far as to gather and refine raw materials, and will certainly be responsible for fabricating components and eventually assembling and finishing a product. A holistic approach to production is materially focused and involves the education and training of a craftsman in the qualities and properties of their materials and the appropriate working methods.1 In contrast to a holistic production method is prescriptive production, in which a division of labour is applied.2 Rather than training involving a knowledge of materials and methods, prescriptive production instead involves only a very limited application of a small series Assembly line workers of processes. In these cases a worker, rather than being assembling electrical fans (2003). From Decomin. extensively trained in their materials and craft, is instead trained to perform a brief and repetitive series of actions, and is dependent on others to perform any earlier or subsequent actions necessary to complete the finished product. As the number of actions a worker is required to take is reduced, and the number of repetitions of those actions is increased, the risk to the quality of the finished product is reduced and the speed with which a quantity of goods can be produced is increased. The critical distinction between holistic and prescriptive methods which is carried forward in this thesis is in the consciousness of the action and the potential for an individual to learn from the repetition of their actions. Learning and repetition must be applied to an improved quality of product and the retention and application of knowledge for future innovation. At the industrial scale, learning in a system of prescriptive production takes place prior to the act of making. The technology, both the mechanical means and the physical processes by which goods are produced, are optimized prior to the act of production. First, unnecessary human inputs are removed from the process, to be replaced by more certain mechanical means. Secondly those human inputs which cannot be removed are optimized to limit movement and the potential for conscious action on the part of the worker. The ability for the worker to learn in a prescriptive system is therefore limited to an increased unconscious efficiency in their task. The system as a whole learns from the resultant efficiency in the overall process and these lessons are applied to further reduce conscious input by increasing mechanization and repetition of tasks - increased repetition results in increased efficiency.

In contrast, learning in a holistic system is directed towards an increased quality of production over time. Repetition of a task involves the conscious recognition by the craftsman of their materials and methods, and the results produced by their own actions. In this system repetition allows a craftsman to develop their working methods, and the conscious learning process results in the increased quality of the finished product. Based on these distinctions between holistic and prescriptive working methods, workmanship is most apparent in the consciousness of the act through which goods are produced. The loss of risk in the predetermination of the end result of production inherent in a prescriptive working method negates the need for conscious thought by the labourer during production. The loss of a conscious interaction between a worker and his or her process prevents the development of an enhanced knowledge of material and method which might begin to satisfy the human desire to create. Learning in a prescriptive system

"An Industry Epoch: Changing the Works in Ford Employees to Five-Day Movements" The Labour Age (February 1927). From Flickr of production develops an increased efficiency as a result of the repetition of actions. In a holistic production system the repetition of action is combined with a knowledge of materials and working methods and results in an improved quality of product. This holistic knowledge of making benefits society by allowing and encouraging critical thought and innovation. It is this holistic knowledge of material and method which the proposed curriculum wishes to promote.

Proposed Curriculum This thesis proposes a curriculum and facilities which seek to combine a training in the fine arts, crafts, and trades to redevelop a link between critical thinking and the physical means by which that thought is expressed. These connections are explicitly revealed in the process of production and in the exchange between disciplines and the public which is embedded in the curriculum. These ideas are developed and expressed through the linking of practical and theoretical learning. This combination of educational streams was initially developed with reference to the Bauhaus under Walter Gropius, and later with reference to the Constructivist principals of Alexei Gan. Certain ideological distinctions became apparent with reference to Gropius' writing on the Bauhaus. Gropius was quite clear about his views on mechanical production techniques and the impact they would have on the future of craft when he predicted in The New Architecture and the Bauhaus, the inevitable failure of the "dogged resistance of the old civilization of handicrafts to the new world-order of the machine."3 Walter Gropius, The Bauhaus at Through the Bauhaus, Gropius embraced the Dessau (1925). From Bauhaus. co.il large-scale industrial production of consumer goods as the most efficient solution to the problem of production. As Ursula Franklin laments in The Real World of Technology, the machine was seen as the solution to the perceived inefficiencies of human labour. Industrialists were of the opinion that where a machine could do the job, it should, and where human labour was required it should be regulated by the machine4 - efficiencies of production enhanced by a prescriptive process. Whereas the Bauhaus sought to bring together artists and craftspersons and adapt the art and craft of each to the demands of mass production by machine, this thesis proposes instead to bring artists, craftspersons, and tradespersons together and teach each to combine critical thinking with the knowledge, craft, and skill that

Curriculum concept define workmanship. The goal of the curriculum then, is to produce graduates who are capable of working holistically across the spectrum of production, from the fine arts to the building trades. Towards this end the campus is proposed as a shared facility between the University of Lethbridge Fine Arts program and the School of Apprenticeship and Trades at Lethbridge College. Graduates achieve both a degree in the fine arts and a trade certificate in their chosen field of study. The proposed curriculum is defined here in three categories: History and Theory; Materials, Working Methods, and Production; and Exhibition (Theory, Production, and Exhibition). The degree of connection between these varying programme elements is critical to developing interdisciplinary relationships within the school and in fostering relationships with the public by their inclusion both formally and informally in the school's activities.

History and Theory An understanding of the current state of production and material culture is first rooted in an understanding of the past. Both a theoretical and practical education in the arts and trades requires knowledge of first principals. It is by an understanding of the history and theory that precede our current technology, and by an understanding of the uses and influences of modern technology, that students will best be able to approach methods of production which challenge the current state. It is by a thorough understanding of the history of work and labour practices that students will learn to appreciate the value of skilled labour and the economic and societal influences that labour movements and unionized action have had on the formation of current work practices domestically and abroad.

Materials, Working Methods, and Production The role of materials and workmanship in construction, and in the development of a visual and material culture that is expressive of labour, form the basis by which Alexei Gan defined the three principles of the Russian Constructivist movement.5 In his 1922 publication Konstruktivizm, Gan defined the theory behind his three tenets of Constructivism: Faktura, Konstruktsiia, and Tektonika. These same principles are useful here to define the intentions proposed in this thesis for both the production and exhibition components of the programme. Alexei Gan's first Constructivist principle, Faktura, the knowledge of material properties and methods of work, is the foundation of the practical training proposed. Both material properties and the methods by which materials can be worked and manipulated influence their selection for a required purpose. Before a critical understanding of production can be developed, students must understand the physical characteristics and working methods of the materials with which they work. Through an understanding of materials and methods, the goods produced can embody both the essence of their materiality and the process by which they were produced (Faktura), as well as the principles and quality of the act of making inherent in their finished form (Tektonika). Gan's second principal, Konstruktsiia, is concerned with the construction or processes of production that embody the values and processes of making, and record the actions of the labour involved in their manufacture. The curriculum proposed here does not seek to 11 teach the craftsperson to prescriptively produce, or mass produce, his or her products, but rather seeks to instil in its students an awareness of the consciousness of the art of making. As a result of the elimination of human input in a prescribed production method, the end products of such a method rarely make apparent the means by which they were produced. Automated control will be approached for all disciplines as a mediation between traditional hand, and mechanically-assisted production, and large-scale mass production. First principals are critical to the development of a base knowledge in practical skills training, as they are to an understanding of theoretical concepts. It is necessary to instil an appreciation of traditional methods of production in students before the potential of automated production can be fully appreciated, and the consciousness of the craftperson's process can be maintained. Rather than firmly

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POTENT ALFOR •s AUTO UATED a LABOU »INPUT « 11 1 Early programme relationshiifp diagram opposing automated inputs in production, the school would instead seek to teach an approach to design that focuses on the various processes of making, and on design which considers the benefits, limitations, and characteristics of the chosen method of production. An appreciation and understanding of the advantages and limitations that are established by the manufacturing technology available today is critical. The educated selection of a method of production should express in the quality of the finished product the consciousness of action in the method of production chosen.

Exhibition A key element of the programme at the proposed facility is the exhibition of the work taking place and the exchange of ideas between disciplines and between the students and the public. Gan's third principle, Tektonika, the expression of revolutionary principles, is concerned with the physical expression of these ideals.6 Here this principle is exercised in the physical expression of workmanship and the conscious act of making. The programme promotes both the formal and informal exhibition of the finished work of the students as well as inviting the public to observe the working methods and processes in action. The campus and its architecture will be developed to promote both formal and informal interactions between, students, their work, and the public. A formal gallery is to be included as a part of the building programme which will showcase much of the work produced by the students as well as allowing for exhibitions from the University's large art collection as a draw for the public to the site. As well, an outdoor work space also enhances the exhibition and production components of 13 the programme. Both the gallery and outdoor work space will link the work taking place on the building interior with the public space in the quad and vice versa. Informally, the physical form of the buildings themselves also encourage an exhibition of work through the use of transparency and opportunities for overlaps in the production hall and workshop spaces. These are intended to help facilitate community involvement and interest. The building facades themselves are designed to be changeable and adaptable in so that the students, as part of impermanent cladding projects, or in response to changes in the programme and educational components of the facility, can adapt their work space and exhibit large scale works on the building facade.

Facade study model detail DESIGN Site The City of Lethbridge forms the context in reference to which this thesis is developed. The vertical and horizontal legacy of the city's agricultural and industrial history, and both the natural and man-made surface geometries provide order for the city and its surroundings, and provide a reference for the development of the proposed site. Lethbridge is the largest centre in Southern Alberta, and the fourth-largest city in the province, with a population of approximately 85,000. The city is located on a provincial highway, which connects it, at two-hours in either direction, to Medicine Hat in the east and Calgary to the North. Lethbridge is an hour north of the United States border and only an hour east of the Rocky Mountains. The founding industries in Lethbridge were agriculture and the North Western coal mine. When the Canadian Pacific Railway was established in the late nineteenth century the coal mine was able to expand and became a primary economic driver in the city. After World War II, the mine, which had been declining for years by that point, was shutdown and the city's economy began to shift more towards light industry, the support of local agriculture, and post-secondary education. The Lethbridge economy now depends heavily on its two post-secondary institutions. The Lethbridge College was established in 1957 and the University of Lethbridge was founded ten years later in 1967. These two institutions have a combined enrolment today of over 15,000 students and are the third and second largest employers in the city respectively. These post-secondary institutions, the city's arts 15

City form and major transportation routes Map source: City of Lethbridge institutions, and the industrial and consumer districts within Lethbridge, are instrumental in the selection of a site that will both house and enhance the proposed programme.

Selection A site for this thesis within the city of Lethbridge was located using informal zoning, or programme areas, which coincide with the proposed curriculum being developed. Within the city, the industrial district, as a centre of production, is located to the northeast of the city, having first developed around the railway lines and then expanded north as truck-transportation became more prevalent. While production facilities formerly developed more towards the coulee edge for access to water from the river below, over the years the ease of access to transportation routes has become more important and a shift to less expensive land near the major transportation systems took place. Within the downtown core is a grouping of exhibition or consumption programmes which form the primary consumer district. Though Lethbridge has recently experienced a trend towards big box stores on the outskirts of the city they are fortunate to have the two largest shopping malls located in the downtown core which has kept the city centre a vibrant commercial centre as well. The theory component of the programme exists in two groupings, corresponding to the city's two post- secondary institutions: Lethbridge College and the University of Lethbridge. The Lethbridge College campus is located in the city's south-end, on the east side of the coulee. The University of Lethbridge is located on a single campus in the city, on the west side of the coulee, directly in and above the Oldman River valley. Both institutions are active in the city, offering various community education programs and the use of their grounds and limited use of their facilities for public events. Though both the College and the University work to stay involved in the community, both institutions are physically remote from the city centre and have struggled with the need to establish a presence in the downtown. Based on these findings, the selection of a site in the city centre will allow for greater exposure of the work done on campus by placing elements of the theory and production programmes of the school within the downtown as a centre of exhibition and consumption. A primary goal of the programme proposed by this thesis is in the visual expression of the products of industry and of the work of the arts, crafts, and trades. In keeping with these goals, and the desire to integrate the institutions of the University of Lethbridge and Lethbridge College into the city centre, the selection of a site in the downtown core of Lethbridge is ideal, providing for the exhibition programme element on a large scale. Initially, three potential sites in the downtown were considered for the location of the new campus. Each of the sites shared a relative proximity to the arts district and major transit routes in the downtown. Each site was also either vacant or dominated by a single structure which could be removed for the purposes of this thesis without wider implications for the context of the downtown. The site selected, on the edge of the river valley and adjacent to the Gait Museum and Archives, has the further benefit of linking the proposed development to the industrial history of its site typology, and to the historical and archival programme component of its neighbouring institution. 18

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City-scale programme diagram Map source: City of Lethbridge 19 Industrial History at the Coulee Edge There is a certain nostalgia inherent in looking towards a greater focus on the craft of making. Looking back to a time before globalised production had firmly taken hold we find the built remnants of a legacy of production marking the domestic landscape.

The site chosen for the proposed campus is on the North Western Gait Coal Mine east side of the river valley. Located on the coulee edge (1909-1914). From Gait Museum and Archives, Lethbridge, Alberta the site is linked with a history of production within the city. Industry in Lethbridge was traditionally located along the river, in the valley and along the edge of the coulee above. These locations were important for access to water for industrial processes and for the disposal of waste. One of the primary historical industries in the city was the North Western Coal Mine, established as a drift mine operation on the west side of the Oldman River Valley in 1882. Drift mining involves the discovery and excavation Lethbridge Viaduct. of a coal seam horizontally into the face of the river valley. Lethbridge, Alberta The remnants of the mining infrastructure that exist on site today, though inaccessible to the public, are a landmark within the city. The Lethbridge Viaduct, referred to locally as the High Level Bridge, serves as a reminder of the importance of the ease of access to efficient transportation in the Lethbridge Viaduct with development of an industrial infrastructure in an area. erection traveller (1910). From Gait Museum and Archives, The Viaduct is a steel trestle rail-bridge which spans the Lethbridge, Alberta Oldman River for a total length of 1.6 kilometres at 95.7 metres above grade at its mid-point. The Viaduct connects the east-side of the river valley with the west and does so with only a 0.4 metre change in elevation across its span. By architecturally referencing these industrial remnants, this thesis hopes to develop a link with the 20

North Western Gait Coal Mine. Lethbridge, Alberta From Microsoft Corporation. "Bing Maps"

North Western Gait Coal Mine. Lethbridge, Alberta 21

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Medalta Potteries kilns (c. 1930). Medicine Hat, Alberta From The Virtual Museum of Canada, Clay Chronicles: Stories from a Pottery Factory industrial history of place, and encourage a memory of the processes by which our culture was produced.

Expansion of the Art District The art district in downtown Lethbridge is supported by a number of institutions and the programmes and galleries in the area. The Southern Alberta Art Gallery, Bowman Arts Centre, Yates Theatre, and a number of privately run galleries and studios operate directly in the downtown and support a strong arts community in the city. The primary arts institution in Lethbridge is the Southern Alberta Art Gallery (SAAG), which has a strong civic presence as the only building within the Gait Gardens park in the city centre. The SAAG was founded in 1974 with the mandate to exhibit both contemporary and historical art collections of national significance. The Allied Arts Council of Lethbridge, a body which oversees the Lethbridge arts community as a whole, and maintains the Bowman Arts Centre and the Yates Theatre in the downtown. The Bowman is a community arts centre which maintains a pair of small exhibition spaces, primarily for emerging artists, as well as classrooms for community education, and workshops which are used by a number of groups in the city, including the potters and weavers guilds who have space within the building. The Yates Theatre is the civic performing arts centre in Lethbridge and contains a large proscenium theatre along with a more intimate black-box theatre and small art gallery. A number of private studio collectives and art galleries also operate within the downtown art district. The Potemkin and Potemkin II studios are maintained by a collective of local artists and students who work and exhibit (and occasionally live) in these spaces. Small galleries in the downtown, such as the Trianon, and Penny Gallery, are associated with a supporting business but also mount rotating exhibitions of the work of both local students and professional artists. The collection of a number of these arts institutions within such a small area in the downtown has created both a formal and informal arts district. Informally the galleries in the area coordinate the openings of their exhibitions to coincide on a single night. This presents an opportunity for patrons to begin at an opening at the SAAG and then spend the evening in the downtown taking in a number of exhibitions at the various galleries. Formally the city puts on an annual Artwalk event which engages the arts institutions in the downtown as a group, as well as any other civic institutions or private businesses that may wish to participate. While Artwalk does an excellent job of incorporating institutions such as the Public Library and City Hall in the downtown, the College and University are too far removed from the city centre to be involved directly. As well, the Alexander Gait Museum and Archives, which is located next to the proposed site is individually remote from the downtown and doesn't benefit from the same level of exposure as those institutions gathered more closely in the downtown. The site selected for this thesis, adjacent to the Gait Museum, is intended to strengthen the connection between the museum and the downtown arts district. By the addition of these new facilities, and the inclusion of new public spaces in the programme, both the new campus and the existing Gait Museum will become a greater presence in the formal and informal arts events in the downtown. The University of Lethbridge and Lethbridge College will 24 also benefit from a more public presence on a satellite campus in the downtown.

Geometric Legacy The same industrial legacy of place which provides an architectural reference for the development of this thesis also establishes a historical geometric legacy which can be pulled forward as a reference point for the horizontal and vertical development of the site. An ordering system is developed based on the historical measure of the place and the vertical order established by later industrial development. Both these systems are used here to produce a regional precedent for the site geometry, materials, and massing.

Planimetric Context The planimetric context inherent in the prairie landscape was initially that of the Dominion Land Survey (DLS) grid. The DLS was used primarily in the prairie provinces of Western Canada at the end of the nineteenth century to divide the land into a series of townships. Each township is composed of 36 sections at one square-mile each. Each section is then divided into quarter-sections, which comprise 160 acres of land each. Between each section of land, road allowances provide for the construction of roadways running north-south, and east- west. The patterns established by these grids of sections, quarter-sections, and roadways laid the geometrical foundations for the development of prairie towns and cities and their later subdivisions. The grid of the landscape surrounding Lethbridge begins initially with the Dominion Land Survey grid and evolves a pattern of rectangular or circular geometries based on the agricultural use of the land and the irrigation system employed. The later development of the urban road grid in the city can be seen to have grown directly from the DLS road network and as the need for fast and efficient transportation networks arose, a hierarchy of systems developed across the grid to provide a more direct connection by road and rail. In the horizontal plane the site geometry for the proposed campus references the regularity of the Dominion Land Survey grid as an organizing principle for the location and massing of the campus structures. Based on a 24' structural module the site is initially divided allowing for the buildings to be located around the quad. From there 12' and 6' incremental divisions are developed to accommodate the various programme spaces and services. While the physical mark of the DLS grid is stopped at the coulee edge, the measure of the grid is continuous across the void. Where the DLS grid is rigid in its response to the cut of the river valley across the landscape the geometry of the ordering grid implemented on site maintains a similar response to the coulee edge, with a single exception in response to the vertical datums referenced from the industrial legacy of city. City of Lethbridge and Lethbridge County - Planimetric context and the Dominion Land Survey Map source: City of Lethbridge and Microsoft Corporation. "Bing Maps" N3 28

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Conceptual model detail - background geometries 29 Vertical Datums The prairie on which the City of Lethbridge has developed establishes a strong horizontal plane with reference to which other planes are set. A series of datum planes established here are used to order the development of the proposed site and the vertical system of building massing, structure, and materials. Each of the datums identified corresponds to an element of work history in the area, as well as to the material and structural implications of the artifacts left behind. These objects provide visual cues for the formation and massing of structures as well as cues to the materiality of structures on-site with reference to their vertical position from the prairie's surface. The datum provided by the Lethbridge Viaduct continues the line of the prairie across the 1.6km span of the bridge to the other side of the coulee. This line is expressed on site by the extension of the land over the coulee edge to form a working platform at the west end of the Production Hall. This same line of the Viaduct is then reinterpreted as a raised platform with reference to the bottom of the river valley and expressed on site by the level of the gantry crane which extends through the Production Hall and Lethbridge Viaduct with erection traveller (1909). From Cranbrook continues over the edge of the coulee below. Museum and Archives The drift mining operations of the North Western •SfcHFTv Coal Mine are reference by a cut made into the site and ramped down to visually and physically connect the surface in the campus quad with paths into the river valley below. Instead of the excavation of an enclosed tunnel beneath the surface, the cut on site is left open and establishes at its lowest level the floor level of the below grade spaces in the City of Lethbridge drift mine building programme, including the Library and Ceramics (1909). From Gait Museum and Archives, Lethbridge, Alberta *VSi-i -. i«

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Site section detail Site section detail Site section detail - Colliery elevator - Drift mine - Lethbridge Viaduct o 31 Studio. The final datum referenced on site is that of the colliery elevator at the mine, one of the tallest structures in Lethbridge for generations. At the former coal mine the various mine shafts would be connected by a central vertical shaft and the elevator was used to lift the products of the mine to the surface to be sorted and distributed. On the proposed site this plane is referenced by the creation of a tower element which is intended to mark the location of the campus in the downtown as well as housing the public and exhibition elements of the programme. Borrowing from the collective typology of the colliery elevator, the tower North Western Gait Coal Mine. then serves to draw the public to the site to observe or Lethbridge, Alberta participate in the work taking place there.

Material Implications These datum lines, established with reference to the prairie's surface, carry with them material implications for the proposed campus structures. The Viaduct both extends the line of the prairie at the top of the river valley and establishes a raised line with reference to the plane of the river in the valley below. This plane, expressed in the level of the gantry crane, establishes a steel material and structural language, elevated above the surface of the prairie. The studio block, tower, and gallery all take advantage of the elevated language of the crane to keep a clear line of site from the entrance of the campus to the the river valley beyond. The tower, a steel structure elevated on a heavy concrete foundation, serves as a gateway to the site, matched in elevation to the raised floor plate of the studio block beyond. The gallery maintains the same plane of structure but hangs below this line rather than resting Site model above. - Building composition J 't 0 0 n a n q n 8 j_

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Proposed East-West Site Sections The plane established by the mine with reference to the surface of the prairie, is one of excavation and materials inherently linked to the qualities of earth. In Lethbridge excavation immediately brings to mind clay soils and the history of brick production and construction in the area. Masonry is an excellent material with which to showcase the labour and process of production and assembly. The standard masonry unit is familiar, as is the manual process by which they are assembled. Masonry construction is understandable in both scale and process to the observer and is a reminder of the workmanship inherent in its construction. Structures exposed below the line excavated through the site are expressed in brick and begin at the quad where the first cut is made. This first cut hinges on the construction of a brick down-draft kiln at the center of the site, and around which the excavation linking the surface datum with that of the mine begins.

Extension into the Landscape Along with the material implications, each of the established datum lines brings with it the potential to link spaces on the surface of the prairie with spaces both above and below that surface. These existing extensions: that of the Viaduct drawing out the line of the prairie into space, and that of the mine linking a point within the slope of the river valley to the surface by excavation, are both incorporated in the design of the campus by the physical and visual extension of space over the edge of the coulees, thereby engaging the new campus with the natural landscape beyond. Where as the mark of the DLS grid is broken by the cut of the river valley, here the grid is extended past the edge of this cut by the collection of elements of the datum 34 lines established. The prairie surface is extended out as a block at the edge of the coulee which extends the working surface at the west end of the Production Hall and houses the Library below. Serviced by the extension of the gantry crane over the same rooftop, an outdoor production and exhibition space is created. While the platform provides a physical extension of the surface into the valley, a visual and physical connection is established into the coulees by the sloping cut of the excavation alongside the classroom block. This cut hinges on the active down-draft kiln and ramps down into the valley exposing the materiality of the brick which retains the soil on either side.

Site model detail - Extension into the landscape 35 Refinement of Programme Areas As discussed earlier the proposed curriculum and responding building programme have been organized into three components: theory, production, and exhibition. Each of these elements of the programme plays a key role in the operations of the school, and each is expressed in physical form on the proposed campus. The theory element of the programme is housed in two interconnected buildings. The first a classroom, laboratory, and seminar block, is housed in a 4-storey concrete structure which also houses the primary physical plant for the campus. This building is the heaviest structurally and visually and as the central building on campus serves to anchor the composition of buildings. The east wall of the classroom block is load-bearing masonry and presents a monolithic face to the quad. The remainder of the building is in-filled in either curtain wall or masonry and each structural bay provides an opportunity for the exhibition of student work on a large scale. The

Site model detail - Theory block 36 second building making up the theory block houses the design studios in 4-storeys which are elevated above the datum established by the gantry crane. Each of the floors of individual studios is served at one end by circulation, services, and a group work space for collaborative projects. The Production Hall houses the production programme element and is composed of a number of elements, the first being the main hall, serviced by the crane running the length of the building and out either end for the movement of materials, or of finished work, into the landscape. Within the main hall primarily the trades are organized around the perimeter in loosely defined studios which are intended to be adaptable as disciplines grow, 7rar^g^deTproduction Hall shrink, or are replaced over the years. Alongside the Production Hall a higher element is pulled up to facilitate the other disciplines. To reduce the segregation between the disciplines as much as possible

North-south site section detail - Transverse section at Production Hall 37 many of the arts and craft studios are located on the second floor with a large mezzanine overlooking the work taking place below. This mezzanine is also serviceable by the crane as required. Facilities such as the prototyping lab and locker rooms are located on the third floor, again with a mezzanine, this time above the crane rail. By locating Framing model - Gallery these shared facilities on the third floor of the production building, as well as a catwalk and skywalk link to the theory block, circulation routes are used to force informal interaction between disciplines. The final element of the programme for the campus is exhibition and is housed in the tower and gallery. The tower houses elements of the public programme which Framing model detail - Gallery

Site model detail - Tower and gallery are intended to bring members of the public to the site and promote interaction with the students and work taking place there. A book and supply store, cafe, and variety of public meeting spaces are provided within the tower as a draw for the public. The gallery, located in a long block suspended above the landscape, has one side which looks inward for more traditional exhibitions of student work or work from the University art collection, and a second side which looks outward, taking advantage of its raised aspect to observe work taking place on site or static exhibitions mounted in the quad. The structures on campus have been arranged around a central working quad, which is programmed as informal education and production space. The working component of the quad is served by the crane linking material and work flows through the Production Hall. The Production Hall with its large gantry is representative of the focus at the school on physical

Site model - Building composition production and anchors one corner of the quad. The theory block, with its classrooms, laboratories, seminar rooms, and design studios occupies the corner opposite to the Production Hall, completing the west edge of the campus. The public spaces, including the cafe, book store, and meeting rooms, along with the gallery, line the north edge of the site and define that edge of the quad. The east edge of the quad is defined by the park and sculpture garden which creates a public space at the street edge and visually buffers the campus centre from the street, creating interest and inviting the public further into the site. The south edge of the quad is left open for vehicular access to drop-off and pick-up materials and projects. The structure of the gantry crane partially defines this edge while still allowing for people and materials to move through and access the site.

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Building plans and section - Production Hall and theory block 44 Interdisciplinary Programming It is critical to the programming for the campus that students involved in the various arts, crafts, and trades are encouraged to participate and interact with students in other areas of the facility to promote working relationships between disciplines and exposure to the potential of work in one field to influence that taking place in another. While the massing of buildings on-site has been informed by local geometries and the form and organization of structures typical to local industrial sites, it is also necessary to maintain connections between these structures and the programme elements they house in order to encourage interactions between students in the various arts and trades and at various stages in their education. Initially the attempt was made to sort and categorize the various disciplines involved in the proposed curriculum

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Early programme relationship diagram 45 by their traditional classifications, working methods, and material types. This proved problematic and contentious as the classifications can be open to interpretation and were something the intended programme tries to avoid. It proved more useful to take each discipline individually and group them in orbits with other disciplines with which they may work, share a material or working method, or with which there may be an obvious potential for affinities to develop. To test these relationships two test projects were charted, one a fabric-formed concrete sculpture taken on by the concrete finishing class in consultation with the fibre- arts and others, and the second a full-partnership between the framing carpenters and masons on a competition for a small building to be built from off-cut lumber and reclaimed bricks. Charting the paths of the two test projects through the building identified a number of key points where interactions could be fostered. One key interaction point is where the skywalk meets the theory building. Programmatically this link is important and is enhanced by locating the student lounge at this hinge point between the labs and classrooms, design studios, and the production hall. Where the catwalk at the production end of the link allows for observation of the work taking place below, the lounge also provides a point at the theory end where student design work can be exhibited and conversation between disciplines can be fostered.

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PROGRAMME ASSOCWTONS AND INTERACTION POINTS Programme diagram Public Access and Exhibition Public interaction is key to the exhibition component of the proposed building programme. The goal of these facilities is to encourage an inter-disciplinary exchange between the trades, crafts, fine arts, and the public. The exhibition programme is satisfied by showcasing the work of the students in a manner in which the public is invited to participate directly, or by their presence as observers on site. The public face of the proposed programme and the exhibition component are one-in-the-same. Public access to the site is marked at the entrance by the gateway created at the base of the tower. As the public moves through the site they continue through the quad, above which the steel gantry crane looms, linking the industrial character of the site with the history of the city's industry as recorded in the steel trestles of the Viaduct. Proceeding down the ramp a visitor to the site is lead around the kiln and to an intermediate platform at which the work in the Production Hall above can be observed along with the work in the Ceramics Studio below. The excavation of the ramp hinges on the kiln and invites the public through the site and down into the river valley. From the bottom of the ramp, now in the coulees, the Lethbridge Viaduct and the remnants of the old coal mine can be seen across the valley. Site Section - North-south section 50 Detailing Material Expression and Record of the Trades One of the key goals in the development of this thesis and these facilities is to capture in the architectural aesthetic and building detailing the properties and strengths of the materials used as well as the skill and consciousness of the work of the trades involved in the fabrication and construction of the building. A Framing model - Gallery The aesthetic for the buildings on campus reinterprets a modern architectural language to serve as an extension of the exhibition component of the programme. The building structure and a number of building systems are largely exposed and make use of steel, concrete and masonry building structures to reveal in their completed form the types of work learned by steel fabrication, brick laying, and concrete finishing students respectively. While the work of the trades primarily forms the structural skeleton of the building they also allow for a flexibility in the building facade that is used to allow for

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Site model detail - Skywalk 51 programmatic adjustments in the Production Hall, and is taken advantage of in the bays of the theory block to showcase large scale installations by any of the disciplines on site. The importance of the skywalk link between the Production Hall and the theory block suggests a visual expression in the detail where the skywalk meets the theory block. This link is initially conceived of as a pulling back of the floor plate in the skywalk to allow the connection of the load-bearing truss to the building to be more clearly identified. Considering the possibility for differential movement between the buildings on either T^J^odS - Production Hall end of the truss, an exposed pin joint here, as one part of a simply-supported beam, seems an appropriate visual expression and also provides a potential teaching tool in the detail.

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SKY WALK CONNECTION Perspective and details 53 Building Facades and Student Work As was mentioned earlier, the open framework of the structural systems used in the proposed buildings establishes a number of structural bays within which the building envelope or building facades can be modified in response to changes in the programme within, or as an opportunity to showcase large-scale works completed by students. Earlier work in the development of this thesis looked at the potential to vary the transparency of a facade Site model detail in response to the programme taking place behind and Structural bays at theory block to reveal or conceal programme elements, or adjust the amount of daylight penetration. These studies included the development of brick patterning system that made use of a modified monk bond in a double wythe brick wall. The double wythe allowed the masonry to be structural where solid. As stretcher bricks were rotated out of the standard pattern to vary the transparency of the wall a separate

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PRIVATE PUBLIC VISIBILITY OF WORKING PROCESS Brick patterning and transparency diagram 54 primary structure could take over. This patterning would allow only a single wythe to be rotated to reveal the depth of the wall behind, or both wythes to be rotated to allow for transparency and daylighting to the programme beyond. The relationship between the header and stretcher courses as a type of warp and weft within the earlier brick pattern study developed into a woven study where the the structural requirements of variations in a facade were explored. In order to remove the weft from one panel of the tapestry, or to be allowed to cut the warp in a second panel, both without weakening the integrity of the weave as a whole, it was necessary to create a structure within Facade study model detail the weave to strengthen the fabric around these areas. Framing ribs were created by grouping and tightly wrapping warp and weft strands together. These ribs surrounded the areas where variations were desired and allowed elements of the weave to be removed. Both the masonry and textile explorations were later applied in kind to a structural framework facade study which would develop into the potential of the open

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Facade study model structural frame for facade changes and exhibition at the proposed campus. These studies have lead here to a type of rail and clip system in which a steel track could be integrated into the side, and for the full-height, of the concrete columns of the Theory block. A fully-functional building envelope, curtain wall in this case, but masonry in-fill in others, would be installed to enclose the space. Students could then design, fabricate, and install pieces adjusting the qualities of the Framing model - Production Hall facade. Custom clips would be fabricated on site to bolt into the track and support installations in steel, wood, fabric, or masonry, among others. In the Production Hall, the structural system pushes the building envelope to the exterior of the primary structure which greatly reduces the instances of thermal- bridging and creates a space for services to be run and changed as required without interference with the run of the gantry crane above. Envelope panels are segmented by the various structures with the intention that segments can be replaced or modified as new penetrations are required for services or as the demands for more or less transparency in a given area may change.

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Ol CONCLUSION In conclusion, my thesis has been interested in the integration and interdisciplinary exploration between the trades, crafts, fine arts, and the public, developed through a post-secondary programme and facility. The development of this programme and its architecture has been approached through the exploration of a series of links between the past and present, the programme and the city, the school and the public, and between disciplines within the school. Site analysis and the positioning of the building and programmatic elements have been done through an analysis and interpretation of the horizontal and vertical geometries established by the remnants of an industrial legacy and history of work in Lethbridge and its agricultural surroundings. Ordering systems are translated as horizontal measures from the Dominion Land Survey, and later agricultural grid, and from datum planes established vertically by the historical legacy of industrial building. The remnants of this legacy have been left by the North Western Coal Mine and Lethbridge Viaduct. These organizing systems have set the framework upon which the proposed campus has been laid out and provide an inherent logic to the campus plan and building massing, as well as connecting the programme and the public to the industrial legacy of the place. Site analysis and selection also provides the proposed campus with the opportunity to provide a link between the arts district in the downtown with the history and geography of the river valley and the existing adjacent institution of the Gait Museum and Archives.

Organization of the programme was developed around three key programme areas - theory, production, and exhibition. The development of an architecture on site must support connections between programme elements and disciplines within the school and foster affinities between the trades, crafts, fine arts, and the public. Programme areas have been laid out and key areas identified between these spaces, to help encourage formal and informal interactions between students of various disciplines and groups with an interest in the school, its curriculum and products. A high degree of transparency in the facade of the Production Hall and the inward and outward looking exhibition component of the gallery both play with the interior/exterior relationships of these buildings and the public interaction with the activities taking place in both realms. Building structures, systems, and details are used in the development of the campus to express and exhibit both the structures and components of the buildings themselves, as well as the work of the students taking place on site. These architectural systems are developed to reiterate the connection between the studies and explorations taking place within the school and the resultant actions of the students in the built environment both on campus and off. While building systems and physical connections are given prominence in the building aesthetic to exhibit the capabilities and consciousness of the acts of the trades, the framework created by these building systems are taken advantage of in the creation of a framework of spaces in which students can design, produce, and exhibit large scale works which effect the physical qualities and characteristics of the built spaces themselves. This thesis is organized around three primary classifications of making, the trades, crafts, and fine arts. During the development of this thesis it has become clear that these categories can be considered rough distinctions, and a series of finer categories can be developed. The classification of producers such as labourers, artisans, industrial artists, or even the hobbyist, among many others, develop a gradient in which the knowledge, action, and skill of each can be more closely examined. As these distinctions develop they bring with them a debate on the level of conscious thought inherent in the actions of the practitioner in each, and the cultural value and significance of the objects produced. The value of the workmanship of each category of producer lies in the potential for that person to improve, through repetition, the quality of the work produced and their knowledge of the materials and working methods. This ability, developed through the consciousness of the action, allows for critical thought in relation to the work produced. Inherent in a discussion of the consciousness of thought and action is a finer grain of the scale between holistic versus prescriptive production. As a society we have become increasingly disconnected from the methods by which the products of our material culture are produced. It is by a greater recognition of the knowledge and skill inherent in workmanship that an appreciation of making and a dissemination of knowledge of materials and methods can take place. It is hoped that this thesis has contributed in part to a larger discussion on the value of workmanship. A holistic knowledge of making, encompassing the whole of the process from refinement of materials to production of a finished piece, retains a skill set within society that allows the individual to think critically about their process and products, and provides the knowledge necessary to be innovative in the future. 61 NOTES

1. Ursula M. Franklin, The Real World of Technology (Toronto: House of Anansi Press, 1999), 12. 2. Ibid. 14. 3. Walter Gropius, The New Architecture and the Bauhaus (Cambridge, Massachusetts: The MIT Press, 1998), 33. 4. Franklin, The Real World of Technology, 56. 5. Alexei Gan, "Constructivism," in Art and Theory: 1900-2000, ed. Charles Harrison and Paul Wood (Maiden, Massachusetts: Blackwell Publishing: 2003), 343. 6. Ibid. 343. 62 REFERENCES

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Marx, Karl, and Friedrich Engels. The Communist Manifesto. Edited by A. J. P. Taylor. Translated by Samuel Moore. Markham, Ontario: Penguin Books Canada Ltd., 1967. Microsoft Corporation. "Bing Maps" (image), http://www.bing.com/maps/(accessed February 19, 2010). Moholy-Nagy, Laszlo. The New Vision: Fundamentals ofBauhaus Design, Painting, Sculpture, and Architecture. Mineola, New York: Dover Publications Inc., 1938. Morris, William. "The Lesser Arts". In Art in Theory: 1815-1900, edited by Charles Harrison, Paul Wood, and Jason Gaiger, 750-758. Maiden, Massachusetts: Blackwell Publishing, 1998. Naylor, Gillian. The Bauhaus. Edited by David Herbert. New York: E.P. Dutton and Co. Inc., 1968. —. The Bauhaus Reassessed: Sources and Design Theory. New York: E.P. Dutton, 1985. Pye, David. The Nature and Art of Workmanship. Bethel, Connecticut: Cambium Press, 1995. Rubin, Jeff. Why Your World is About to Get a Whole Lot Smaller: Oil and the End of Globalization. Toronto: Random House Canada, 2009. Sennett, Richard. The Craftsman. New Haven, Connecticut: Yale University Press, 2008. The Trowbridge Museum. Cloth Making in Trowbridge. 2003. http://www.trowbridgemuseum. co.uk/cloth/weaver.html (accessed March 5, 2010). The Virtual Museum of Canada. Clay Chronicles: Stories from a Pottery Factory. 2009. http:// www.museevirtuel-virtualmuseum.ca/Search.do?ex=on&R=VE_1956&lang=en (accessed February 16, 2010).