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RESEARCH + DEVELOPMENT


architectural design option 2 university of edinburgh culture + crisis mark cousins graham black s0831392


CONTENTS the walk

| edinburgh

the walk

| glasgow

filed trip

| leeds

culture space nexus site documentation concept + development precedent


gayfield square

| site 2

gayfield square police station edinburgh printmakers union street | site 1 start

- artisan roast

scottish gallery

al tion h na is t t ry e sco gall rait t r o p

ingleby car park | site 4 ingleby gallery

south college street

| site 5

informatics ‘garden’ | site 6 inspace ‘laboratory’

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culture + crisis

| graham black

| site 3


WALK | EDINBURGH The walk provided the opportunity to explore a range of galleries in the city. The details of the Ingleby and the flexibility of InSpace stood out as key factors of gallery design.

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FIELD TRIP | LEEDS The most influential visit in Leeds was that of the Hepworth Gallery [Chipperfield]. The unorthodox shape shows that the succeeful gallery need not be a white box, although there is a stronger sense of regularity internally. Also, the fact that the gallery spaces were all on the same floor level is an important factor in the Hepworth’s success I think.

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CULTURE | RICHARD SERRA Richard Serra’s work often blurs the boundary between sculpture and architecture due to its massive scale. His twisting and shaping of industrial steel creates spaces for the viewer to explore. He encourages an interaction with the sculpture and the spaces themselves. During the design process, I brought some of this thinking into my proposal. The main facade incorporates a ‘Serra-esque’ curve that welcomes pedestrians into the site and literally encourages interaction through its secondary purpose as a space for public wall art.

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SPACE | KUNSTHAUS, GRAZ The amoebic form of the ‘friendly alien’ is quite unlike anything else in the traditional city of Graz and yet it can be argued that it fits into its context well. The reflective bluish glazing mirrors the surrounding buildings helps to anchor it in the site. The unorthodox shape also works to situate it as the viewer’s gaze is drawn to the surroundings in wonder at what might host this unusual building. This thinking also contributed to the organic plan of my proposal. While the gallery is not clad in a reflective glazing, it does form spaces within the fabric of the site to help regenerate the currently unused space.

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NEXUS | INSPACE Inspace is located in the university’s informatics building and is regarded as a laboratory rather than a gallery. The fact it is a space for working, performing and exhibiting is something that appealed to me and I tried to incorporate elements of all three in my proposal. Its grid based construction became a starting point for the primary gallery space and now contrasts with the more abstract secondary space.

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SITE DOCUMENTATION | SOUTH COLLEGE STREET The South College Street site is located on the edge of the main Edinburgh University campus. The site is long and thin, elongated on the North-South axis, with an area of around 1800m2. It is also on the very edge of the city’s old town, just outside of the Flodden Wall boundary and has the Royal Museum, Edinburgh University’s Old College and the Festival Theatre for neighbours. Running along the length of the site on the road side is the somewhat ‘iconic’ grafitti wall that is now a dilapidated and fragmented version of its former self. This Western edge of the site is largely open to the surrounding context and provides the opportunity for a prominant facade.

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The sun path diagram to the right illustrates the

direction of the sun at any given time of the year. The solid red lines indicate the time of year, read as a clockface from summer to winter solstice and then winter to summer solstice. The dashed red lines indicate the time of the day in solar hours. Solar hours are different from the standard hours of the day in that the number 12 represents the point in the day in which the shadows from the sun run directly on a North-South axis. When you know the exact time of the day and/or year you are looking for, it is possible to deduce the incident angle of the sun on the site.

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culture + crisis

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21st Jun

21st Jun

21st May

21st Jul

21st Apr

21st Aug

21st Mar

21st Sep

21st Feb

21st Oct

21st Jan 21st Dec

21st Nov 21st Dec

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Cultural context diagram illustrating the varying

degrees of catchment area surrounding the South College Street site. Solid red lines are used to indicate the imediate context (inner circle), cultural community (middle ring) and then further afield relationships. The green obviously highlights areas of trees, planting or park space that are prominant or of significance in the surrounding area. The drawing shows that the South College Street site is at the heart of a growing community, currently not living up to its full potential. With the renovation of the Royal Museum and a merging of the University of Edinburgh with the Edinburgh College of Art, the area has an added promise for a building that can pull its surrounding cultures together.

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Section through site looking East, Wynne McLeish - Scale 1:200 @ A1

Section through pavement looking West, Marietta Galazka - Scale 1:200 @ A1

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SITE | DRAWINGS

Section through South College Street looking South, Florence Donaldson - Scale 1:200 @ A1

Section through site looking South, Paul Kenny - Scale 1:200 @ A1

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CONCEPT + DEVELOPMENT

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Looking at exaggerating the existing curve of the wall that separates the site and pavement. The aim being that it creates a more welcoming external space and invites the public in to explore the gallery. The other idea was to pull the wall into the site and break it down into a fragmented version, again allowing for better movement into the site. Also has connotations of Richard Serra’s work. The second concept proposed the site as one mass and then pathways were cut out from this. Again, referencing Richard Serra’s work, the building would warp and evoke a sense of movement. The gallery would appear to change as the viewer moves around it, constantly offering new perspectives .

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The next idea looked at mirroring the previous concept with the pathways becoming the massed building areas. This would make the comparison to Richard Serra’s ideas even stronger.

CONCEPT + DEVELOPMENT As mentioned previously the project took inspiration from the research seminars conducted at the start of the semester. This base of research was combined with the site documentation before starting the design process. The preliminary designs look at maintaining the graffiti wall, or at least a memory of the current dilapidated structure. Gestures such as exaggerating the existing curve or creating fragmented portions that allowed for a more welcoming public space and eased the integration of a new building with the site. The resulting forms were reminiscent of Serra’s organic sculpture.

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Model exploring the idea of pavillions and a sculptural approach to the design that makes the viewer want to explore.

These two sketches expand on the idea of the warping structure that plays on Serra’s themes. However, it doesn’t quite fit with the site and the design went back to looking at how pedestrians would use the site or travel around the site.

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CONCEPT + DEVELOPMENT The next stage of the design process looked at the circulation and public movement around the site [see sketch left]. The result saw the potential to open a path alongside the Festival Theatre and use the hidden courtyard beyond. It also suggested the building mass could be separated into two main areas [maybe one public and one private]. There are also three main external spaces that can be developed in order to better use the area.

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CONCEPT + DEVELOPMENT With the research of the movement around the site, the next stage looked at the form of the structure and the boundary between the site and adjacent pavement. The page opposite shows the initial idea of exaggerating the current curve and how this appears to create an extension of the road. The third image suggests a fragmented wall that would direct movement into the site. The models show 3D studies of these ideas and lead to the combination of the main facade with the graffiti wall.

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CONCEPT + DEVELOPMENT The next gesture was to shift the mass of the building away from South College Street and engage with the main pedestrial routes around the site. This formed the basis for the final form of the building with the final shape becoming more regular in order to alllow for the creation of functional spaces inside.

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EMBT | SPANISH PAVILLION, SHANGHAI EXPO

ZAHA HADID | SKETCHES FOR MAXXI, ROME

SIZA | PORTUGAL PAVILLION, LISBON

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PRECEDENT

PETER ZUMTHOR | THERMAL BATHS IN VALS, SWITZERLAND

PRESTON SCOTT COHEN | PROJECTING ONTO THE TEL AVIV MUSEUM OF ART

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Senior Honours - Research + Concept