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Ade Omole

DESIGN PORTFOLIO JAZZ AND BLUES ACADEMY DE MONTFORT UNIVERSITY TUTORS: EILEEN MCGONIGAL + SARA SHAFIEI


THOMPSON PEN, GRASSMARKET EDINBURGH, SCOTLAND


THOMPSON PEN, GRASSMARKET EDINBURGH, SCOTLAND

Royal Mile

The Grassmarket is one of the more plaza like sites, with one of the widest spaces between buildings. This is unusual for a vernacular style city, but this only occurs so clearly here because of the new pedestrian format of this street. You could say it is too large to be considered a courtyard but this description comes from the buildings face inwards to a large open space only occupied by people. Cowgate

Princes Street

THE SITE The mapping focuses on texture and materials as the site itself is dominated by this topic. The main feature of the site is the existing wall which made it the starting place for conceptual ideas.


MAPPING In

the wall a variety of things are happening, holes, blocked openings, level

changes connects, erosions, metals, wood, plants, dead leaves and growth.

All of which change the original texture of the wall and change the story, in some place we can see different type of wall.

Texture Map

The Site Hidden in the Grassmarket

Textures of a City


SUPERIMPOSED WALL FEATURES


COLLAGE

This where is all starts, the inspiration of the academy. It starts in the musicians private place where he/ she resides and feels relaxed (in their zone). The egg represents the heart of the academy, the growth of music and maybe the heart of the Grassmarket. Nevertheless it is the focal point in a an environment with varying textures. The Design intensions now are to are to take these 3 elements (relaxation, the growth of music and varying textures) and produce a building which represents them.

WHERE ‘THE JAZZ’ STARTS


PROGRAMME STUDIES

STRUCTURED/COMPLETE

STUD

IO

LAB

The building is Private but is open for public use at specific times of the month or year. Also only to an extent some areas will be of restricted access. Reason being, the Pride of the Academy is based on the students. A private status holds a reputation of prestige and excellence. Emphasising a boundary means the design now has a major influence, in this case security which will also reflect on the circulation, structure type, spatial layout, internal and external environments. Each of the 4 space types do not essentially have to be connected or grouped in a particular way, but consider acoustics. Studios will naturally be pushed back, secluded or recline to the inner parts of a building.

NATURAL/FREE FORM/ORGANIC BOOT

H

S CLAS

Consider placing practice booths as a divide between studios and other rooms. Booths have similar requirements.

ROOM

Consider building height - Influence on sun path Buildings either side are residential therefore they do not want to lose sunlight, as they already do not receive a good amount into their homes. Above the height of the existing wall will have some effect, consider building downwards/underground

Studio

A texture room to diffuse and absorb sound, reducing reverberations. The room is in two parts. This is a structured environment.

Two part room Sound Diffuser

Classroom

Sound proof Partition walls

Angled interior walls and ceilings

Lab

Booths (small practice rooms)

Creative learning/loose form

Using external textures internally

A creative room featuring curved walls and external textures. To represent a natural environment which inspires the mind.

An enclosed environment for privacy where the musician assembles ideas. Therefore should be as natural ans comfortable as possible.


SPATIAL STUDY The entrance now leads up to an interactive social space. In which there are 4 music archive stands for up to 2 people at a time. You may use your own head phones or use the headphones provided. This entrance area is also the reception, which faces the reception desk, the seating incorporated into walls and floors gives an organic feel to the space.

A small performance space located at the end of this path to which will fill the entire ground floor with live music.


THE LIVE EXPERIENCE The

design focuses on making every space useful to the students.

Whether

it is for

inspirational purposes or direct learning, no place is forgotten but aim to encourage the creation of music.


THE SECTION The Section

gives an understaing of volumes and produces moe in depth information of the

building within ithe site than the plan can. This particular section highlights the difference in wall types going from facets to typical cavity.


First Floor

Ground Floor


Second Floor

Basement

THE PLAN The

design.

Enter

on the ground floor and you are overwhelmed by facet walls and

natural oak wood, either take the route on the west to explore other parts of the building or follow the east corridor straight ahead to explore, jazz exhibitions and audio archives.

As you enter each level expect to be met by an event, for a visual experience or a musical experience. Each floor plan is very similar which makes the steel frame structure easier to manage. Although the materials textures are at opposite end of the spectrum, (oak wood, texture plaster and stone walls) the visuals show otherwise and actually work to gether in harmony.


EDINBURGH JAZZ AND BLUES ACADEMY

AUDIO ARCHIVE STATIONS

PERFORMANCE SPACE

GROUND FLOOR

LARGE STUDIO

VIEW TO ENTRANCE

BASEMENT


PERCUSSION ROOM

LARGE REHEARSAL ROOM

SOCIAL/PERFORMANCE SPACE

ENTRANCE LOBBY

MUSIC LAB

LARGE STUDIO


Ade Omole

Edinburgh Jazz and Blues Academy Many thanks to DE Montfort University and Tutors: Eileen Mcgonigal + Sara Shafiei


Ade Omole Studio portfolio 1 DMU