The resulting installation is a series of stone assemblies collectively titled A Good Wall. The title references the traditional notion of a “good wall”—a stable structure that respects the fundamental properties of its materials. Beckett’s wall, however, subtly undermines this expectation. At its core lies a layer of Medina sandstone salvaged from former schools and civic buildings. This softer sandstone is compressed between two heavier strata of limestone, forming a structure whose apparent monumentality conceals a long-term instability.

Over time, the limestone above will slowly leach natural acids into the sandstone below. This process will gradually weaken the central layer, leading to its eventual delamination and collapse. What appears solid in the present is therefore designed to undergo a slow transformation—a controlled form of demolition unfolding across decades or centuries. Markings on the façade record this process: as the structure compresses, the distances between these markers will slowly contract, making structural failure perceptible within the architecture itself.

Embedded within this reactionary masonry are a series of investigations developed by participating students, each probing different aspects of stone—its geological character, modes of assembly, and the cultural and material associations that emerge through its construction.

Another theme incorporated in the project is the concept of “digital quarrying,” a low-impact building method combining hyper-local materials with computational design. Through 3D scanning and digital assembly, irregular stones can be organized into precise structural compositions that remain reversible and adaptable over time.