Molten Memories
Molten Memories
Uma Madhumita
The project explores speculative interior design in a future where humans are no longer the central focus. Instead of solving problems, it encourages designing provocative scenarios that rethink relationships between humans and non-human entities such as materials, organisms, systems, or forces. The work must remain site-specific and cannot alter the building’s exterior. Students investigate how materials behave, how spaces are perceived, and how ethical relationships of coexistence can be reimagined. A key aspect is deciding the role of humans—whether they can inhabit, observe, or are excluded entirely. Through research, site mapping, and storytelling, the project develops a narrative-driven interior that reveals new ways of living, interacting, and understanding space beyond human-centered design.
The Hidden Gardens is a peaceful urban green space situated behind the Tramway arts venue and was created in 2003 by the public arts organisation NVA. The site was originally part of a tram depot courtyard, but it has been transformed into a landscaped garden that provides a quiet retreat from the surrounding industrial and urban environment. Today it includes lawns, planted beds, trees, winding paths and a chimney that encourage relaxation, reflection, and social interaction.
With a closer look, the chimney’s bricks were different colours at different heights. The first question about this is why, and whether it is related to the chimney’s role in venting smoke from the boilers. With further research, the different colours on the chimney are mainly caused by how smoke and gases moved through it when it was in use.
After understanding the chimney bricks as a whole, I wanted to look closer at the smaller details. During my site visit, the individual bricks drew my attention. Many of the bricks had weathered over time, which created small crevices and cracks in their surfaces. Within these crevices, small plants, rocks, and dirt had collected.
I used clay to create moulds of the crevices and damaged areas. The process was quite simple: I selected bricks that showed visible signs of weathering and pressed clay into the negative spaces within the cracks and gaps. I wasn’t entirely sure what to expect from this experiment, but the results clearly revealed the depth and irregular shapes of the cracks.
The clay captured details that were difficult to notice just by looking at the brick surface. Some of the moulds showed surprisingly deep fissures and uneven textures, which helped me appreciate how much the material had deteriorated over time. In some cases, it was difficult to take clean moulds because plants, debris, and other small materials had collected in the crevices and would stick to the clay. However, even these imperfect moulds were useful, as they also reflected the natural conditions within the cracks.
To further experiment with and develop the findings from the site, I used a software called KIRI Engine to scan the clay models I had created. This process allowed me to translate the physical moulds into digital 3D forms.
It was one of the moments during the project where I was genuinely surprised by the accuracy of the technology. The scan captured subtle variations in the clay surface, including small ridges, folds, and depressions that represented the original cracks in the brick.
For my first experiment with combining metal and brick from the site, I worked with the original brick impressions I had taken during my initial visit. This exploration marked my first attempt at understanding how metal could be integrated into my material practice.
This experiment highlighted the unpredictability of working with materials and reinforced the importance of adaptability. It encouraged me to embrace setbacks as part of the creative process and to seek alternative methods in developing my ideas further.
This exploration aimed to bring my idea of filling the crevices in bricks with metal to life. First, I modelled and 3D printed a 1:1 scale brick with a simple crack. I did not want the crevice to be too complicated, as it was my first time working with metal, and my initial experiment was unsuccessful.
I then spoke to the silversmithing team, who kindly guided me through the metal casting process. The first step was to create a wax mould of the crevice, which would later be cast in aluminium for me. The first time the wax was poured, it was not hot enough, so the fine details of my 3D-printed mould were not captured clearly. The second time, the wax was heated to a higher temperature, which produced a better result.
Unfortunately, the wax was too hot and had melted the 3D-printed model. We discussed this and realised that more powder needs to be dusted onto the model before the wax is poured. I also think that once the brick is actually cast in plaster, such issues will not happen.
The first two material experiments gave me a clearer understanding of what works—and what doesn’t—when working with metal. Through further exploration, I discovered that metal can be cast, which opened up an entirely new set of possibilities for my project. The workshops introduced me to pewter, a type of metal that is particularly suitable for casting due to its relatively low melting point and ease of handling.
After discussing the process with the workshop leads, I was guided through a series of steps. The process began with 3D printing my weathered brick model, which served as the original form. From there, I created a silicone mould to capture the negative space of the brick. This step required careful attention to detail to ensure that all textures and imperfections were preserved. Following that, I produced a secondary, supportive silicone mould to reinforce the structure and maintain its shape during casting.
Finally, I moved on to casting the piece in metal. At first, the entire process felt overwhelming, as each stage required precision and introduced unfamiliar techniques. However, as I progressed step by step, the process became more manageable and even rewarding. It turned into a valuable learning journey, allowing me to better understand both the technical and creative aspects of working with metal, and giving me greater confidence in handling complex fabrication processes.
After conducting a series of material experiments and developing a clearer understanding of my concept, I began to rethink the role of the chimney’s interior. Rather than treating it as a passive void, I envisioned it as an active system—one that engages with the ongoing process of decay and transformation.
I proposed a simple scanning mechanism embedded within the chimney. As weathered bricks deteriorate or are removed, they can be scanned in situ, capturing their form, texture, and degree of erosion. This data is then transmitted to a preservation team, where it can be analysed and interpreted. From this digital information, a precisely fitted metal insert can be designed and fabricated, responding directly to the unique void left behind by the original material.
Over time, this evolving catalogue becomes more than just a technical record; it becomes a narrative. It reveals patterns of wear, environmental impact, and material behaviour, while also showcasing how contemporary interventions can coexist with historic fabric. In this way, the chimney is not simply preserved as a static object, but reimagined as a living structure—one that adapts, records, and tells its own story through an ongoing cycle of erosion, documentation, and renewal.
To ensure the system remained simple and functional, I needed to carefully consider the dimensions of the chimney and how a scanning device could be integrated within such a confined vertical space. A key requirement was that the camera should be capable of capturing a full 360-degree view of the interior brick surface while also travelling the full height of the chimney.
In response to this, I developed a straightforward mechanical system. I designed four vertical rods that act as guiding rails, providing stability and alignment within the structure. Attached to these rods is a circular ring fitted with a camera. This ring is able to move up and down the length of the chimney, allowing the camera to continuously scan the interior surface as it travels
