Scriptwriters Library, 2015

Scriptwriters Library

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a journey through scenes

Scriptwriting technique

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Characteristics extract from Game of Thrones, available on YouTube https://www.youtube.com/watch?v=ABMdCiy7m3U

Process

90-100 pages

extract from Game of Thrones, HBO, available on YouTube https://www.youtube.com/watch?v=ABMdCiy7m3U

Destination and last conflict

Character is known by his actions, reactions and speech

available from Zap2list http://www.zap2it.com/blogs/game_of_thrones_tyrion_trial_scene_script-2014-06

a likeable character overcomes his weaknesses, does not simply achieve his/her goal the story might ask for alterations, it is more powerful than the author

extract from Game of Thrones, HBO, available on YouTube https://www.youtube.com/watch?v=ABMdCiy7m3U

Conflict

Short action lines; the script should not direct the scene.

Abscence of ‘stream of consciousness’ (seldom as a soliloquy), the spectator can only imagine what the character is thinking

extract from Game of Thrones, HBO, available on YouTube https://www.youtube.com/watch?v=ABMdCiy7m3U

Inciting Incident

Outline

characters; structure; end point; scene sequence; no dialogue

Rewrite

scripts that are not sold are generally not published

white spaces are the result of the story’s fast pace

Only descriptions that can be seen or heard

Scriptwriting evolution of screenplay

Scenario

Brief synopses of the actions to occur; Technical aid to film; Published for audience’s understanding

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Master Scene

Continuity

Master Scene and Shooting Script

Scene headings with description of the action; Absence of dialogue; Independence of cameraman from directors - there are no specific shots

From 1910’s, with the Central Producer System; Technical plan of the movie; Indication of different schots in one scene; Ensures continuous actions; Central producers control costs and have power to change the story;

From 1970’s - collapse of the studio system; Writers produce less detailed script in the master scene format and directors develop the shooting script; Producers lose power over script scripts extracted from Screenplayology, available on http://www.screenplayology.com/content-sections/screenplay-style-use/1-1/

Scriptwriting compatison to architecture

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Contemporary script according to John Truby...

Architecture as script according to Rem Koolhaas...

Script genre

Architectural typology

Organisation

Set hero and theme

Set programme

Assemblage

Combination of more than one, escape from the obvious

Hybrids

Details in a design may highlight a particular event

TV Tower view from the Dutch Embassy, Berlin - specific view connecting architecture to the city

Design is to consider a series of episodes Staircase in the Casa da MĂşsica, Porto - the walls and ceiling change as one goes up

? ...

Mutation

Specific beat is twisted to cause surprise

!

Questioning the role it plays in contemporary life

The architect writes the script of how people interact with the building, or creates possibilities of interacitons

Changing rooms in Prada store, New York interaction between inside and outside, client and salesperson, client and store

Typology the development of the modern library

Medieval scribe Jean Miélot

Malatestiana Library

Medieval

Renaissance

Books preserved in monasteries, accessible mainly by the members of the church Programme

Scriptoria (copying room); Shelves: books attached by chains and desk for consultation

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British Museum reading room

Bibliothèque Publique d'Information

Seattle Public Library

XIX century

XX century

XX century

Opening of first public libraries; Beginning of private collections

Creation of reading rooms for researchers

Reading areas are expanded and users can access shelves directly

Process of turning the library informal and a meeting place

Programme

Programme

Programme

Programme

Study areas (individual and group); Rare books section only for researches; Children’s area

(in addition to previous programme) Enclosed study spaces; Introduction of other media (appearance of the mediathèque typology); Shops; Online services

Reading area; Shelves area; Disseminator of books with the invention of the press

Reading rooms with restricted access and shelves available for the public; Main shelves area; Rare books section unaccessible to the main public

38 days 25 days 24.6ºC 9.8ºC

6.0ºC -4.1ºC

statistics from yr.no

Two Libraries (Jussieu Library) - the urban library

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Architect: OMA Year: 1992 Area: 22,000 sqm Location: Paris, France Metro station Closed garden

University Campus

Continuity

Communicating floors create the sense of a continuous surface, an extension of the urban ground

Docks

The Seine

0

100

200

300km

Centrality

The new centre of the campus in a unused area, connected to the main roads and metro

Independent floors do not communicate with ground

Communicating floors extend the ground into the building

Two Libraries (Jussieu Library) building the concept

Exposing interiors

Transparent skin of the architecture shows the true form of the building, its floor slabs

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Fleunerism

Flowing planes suggest free and devious circulaiton, an opportunity for unexpected events; escalators and lifts provide direct routes

Devious and linear circulations

Interlocking layers

Urban scale

Stable instability

Programme distribution

Folding floors are the mass of the building, reduced to floating planes

Structure is kept to a minimum, marking with a rhythm the planes and bringing unity

Main circulation and free spaces resemble plazas and streets; library furniture is like buildings in a city, generating an effect of openess

Open and closed spaces are distributed as series of incidents; moveable partitions are used to accommodate events

Detailed view of the model

Visual flow

Circulation is mostly peripheral, resulting in atriums in the centre of the building, from where there is visual contact between floors

Outline of selected floor plans

10 days 14 days 28.0ºC 15.7ºC

14.4ºC 4.4ºC

statistics from yr.no

Joan Maragall Library - the personal library

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Architect: BCQ Arquitectura Year: 2014 Area: 3,000 sqm Location: Barcelona, Spain

road leveled with pavement, dilating the public space around library

new trees planted trees on roof garden

Centre Cívic Vil·la Florida Existing garden

Schematic longituginal cross section

Narrow streets

Mixed use area

existing garden

earth prism

programme

Light and earth

Idea to preserve the existing garden and build underneath, leaving earth prisms for the living trees. Light prims contrast with the solid ones, reading rooms that substituted the earth prims since these were not made possible 0

50

100

200m

connecting views to the street

Plinth

Façades are described as a series of manipulations and openings of the surface that support the garden - the building is secondary, related to the garden by the access stairs and rased volumes Aerial view from street

Initial concept

Joan Maragall Library spaces and scenarios

Personal spaces Floor plan is divided into smaller areas, scale is reduced as a simulacrum of a domestic room, also being furnished as such - library is seen as a comfortable and informal place

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Diverse programme

Programme is extended to the community with with book clubs, workshops and available spaces for schools Schematic floor plan with highlighted ‘scenes’

Staging

Division of the plan in smaller areas create different identity to each section, a setting for different activities and possibilities

Edinburgh in time Geographical data

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More touristic

Other areas have become popular

Characterised as a historic town (preserved, touristic, slow to change), the physical aspects of Edinburgh are more present in people’s memories.

Slow to change 26 days 32 days 7.2ºC 0.5ºC

WSW ENE

WSW

statistics from yr.no and windfinder.com

19.3ºC 8.7ºC

More cosmopolitan

This suggests the library should communicate well with the surroundings, but should also introduce a new programme that reflects the changes in the city.

More commercial

Growth of the Old Town into New Town

XII century

Building of the Holyrood Abbey and Edinburgh Castle; Canongate and Edinburgh are two distinct settlements

XV century

Edinburgh becomes the capital of Scotland

XVI century

The two settlements meet at Edinburgh’s main gate and Canongate has the Tolbooth built as the town’s civic centre

XVII century Edinburgh is overcrowded and the first high-rises are constructed XVIII century The city is a financial centre; competition for the new town plan is held

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500

1.0km

XIX century

Technologies brought by the industrial revolution modernise the city, but it does not become an industrial town; Patrick Geddes draws his plan for a green network

XX century

Leith is incorporated; Fringe Festival begins; the Scottish Parliament is opened

Edinburgh city and architecture

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Survey: Value of the city

Due to growth of the population and the size of the city restricted by its walls, Edinburgh grew upwards.

This gives the Royal Mile its effect of linearity and density, adapting its interiors and commerce without changing the main construction materials.

Culture Preservation/ History

Urban environment Architecture

Community

Difference in housing typologies

Edinburgh - enclosures

Canongate - houses and gardens

Central area is intended for animals.

Closes assume an identity of directing people out of the Royal Mile (to New Town) or to their homes.

Residential buildings and Public Houses were both frequented by a diversity of classes, creating a culture of tolerance and equality

Back garden, the priviledge of the wealthy, a display of domain (and control?), a background for the inside of the houses.

There is a cultural relationship with what lies beyond the closes, an experience to discover.

Central area is occupied by buildings due to high demographics.

Housing only along the street.

Schematic plan of housing typologies over time

Nolli map of the northen side of the Royal Mile

The Festival

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Scripted events and venues in festivals Imaginate Festival - theatre

Edinburgh Jazz and Blues Festival - no scripted event

Royal Edinburgh Military Tattoo - no scripted event

- community centre, theatre, North Edinburgh Arts

January

Edinburgh Hogmanay - no scripted event

Closely related to library’s programme

February

March

April

May

June

July

August

Edinburgh Int. Science Festival - LateLab (talks and performances)

Edinburgh Int. Film Festival - movies

Edinburgh Art Festival - performances, screenings, talks

- City Art Centre, New Media Scotland, University’s Informatic Forum, Science Festival Hub

- gallery, cinema, hall

- gallery, museum, artistrun space

September

Edinburgh Int. Book Festival - no scripted event

Edinburgh Int. Festival - theatre, dance, opera, talks

Edinburgh Fringe Festival - theatre, dance, circus, musical, talks

- theatre, hall

- theatre, hall

October

November

Edinburgh Mela - dance

Scottish Int. Storytelling Festival - storytelling, talks

- pavillions Leith Links

- Scottish Storytelling Centre

December

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Most popular venues

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Most popular events

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Frequency of library visits per age

Cabaret

65-74

55-64

35-44

The online survey aimed to understand the relationship people have with the city of Edinburgh and their habits in terms of visiting public libraries and the festival

18-24

Cultural survey data shown per participating age group

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1/week > 1/month 1/month

Talks

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> 1/6 months 1/6 months 1/year

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According to the survey, the most popular events in the festival are comedy, exhibitions and music. These results are not directly related to the library, but they show the library can be used as a promoter of other events

Although ‘theatre’ is not the most popular event amongst the results, a place for performances is considered the most appropriate

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84% of the responses demonstrated public libraries are not a popular place in Edinburgh, raising the need of a complementary programme to turn the library more ‘public’

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Old Town character

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Photographic narrative of the Royal Mile

A painted canvas awaiting new layers

This map registers the character of the Old Town as an individual response to the site visit, including: personal landmarks; spatiality of the closes; descriptions from the survey; existing gardens designed

by Patrick Geddes (in green) as part of his plan of a network of green areas

Old Town analysis

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Medieval high-rises border the Royal Mile, enhancing its linear form and disentangling the area from the city.

It is a backdrop for the Old Town, a set where people are aware of what lies beyond, but do not interact.

Schematic close passageway section

Schematic close plan Schematic street cross section

Morphology of both sides

Connecting plot

Closes are instruments of context for the Royal Mile, a threshold between Old and New Town, revealing one or the other after travelling through a compressed passage.

Old Townâ&#x20AC;&#x2122;s closes are narrower and lead to passageways fringed by high buildings - oppressive.

Extract from the map of Edinburgh by James Gordon, 1647

Canongateâ&#x20AC;&#x2122;s closes have wider entrances and lead to dilated open area protective, but free.

Survey: The meaning of the Royal Mile Culture sale

The Royal Mile is mostly associated with its tourists, who seek historical value, but it also belongs to the circulation route of locals.

History

Identity

Tourism

Destination

Meaningless

From the survey, it has been noticed that there is a need of buildings for its residents.

To increase the diveristy in use means to bring both tourists and locals to this area, and prevent it from becoming an empty stage for the real Edinburgh.

Scenes layering of closes and gardens

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The experience of going through scenes has always been present in the Old Town - going through the passageway into a close or between ordered gardens.

As one goes from one spatial identity to the next, the relationship with surfaces and sky changes, as if going through the backstage of a theatre, exploring the backdrops and rooms.

Voids spatiality of closes and gardens

Old Fishmarket Close

James’ Court

Trunk’s Close

Edinburgh side

Circulation in the closes is strictly linear whilst in the gardens it is free, around hedges and trees.

Fleshmarket Close

Carrubber’s Close

Canongate side

Dunbar’s close gardens

Closes assume a vertical spetiality, whilst the gardens a horizontal one - volumes of low mass do not become visual obstacles.

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Closes compress the space and bring the texture closer o those who experience it, it becomes more expressive.

Texture in the gardens is soft and of a smaller scale. The relationship people have with the vegetation is purelely of observation.

Parterres in Dunbar’s Close contrast with the wild and northen areas, this where the logic is inverted - the centre is cleaned, emphasising its untamed and irregular surroundings.

Sugarhouse Close

Bakehouse Close

Dunbar’s Close

Dunbar’s Close context

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History and development

Supposed sphere of influence of Dunbar’s Close

House of a canon linked with Holyrood Abbey Wealthy families (including the Dunbars) dwelling and oyster cellar popular in the area Redesigned as a physique garden by Patrick Geddes (XIX century) as part of his plan of a green network in the city. It was restaured by The Mushroom Trust (1978) after being abandoned. Today it is both a tourist attraction as well as a local retreat.

Backstreet access

0

100

Student accommodation

Commerce

200

Scottish Veterans Residences

0 10

People’s Story

Museum of Edinburgh

Canongate Kirk

Museums and Poetry Library bring idea of storing and displaying to the region; the presence of another specilised library may connect and support one another.

Student accommodation and Veteran Residences may be sources of potential users of the library and gardens. Garden’s back access is not used and may be a service entrance.

Kirk, souvenir shops and coffee shop demonstrate tourists and locals frequent the area, suggesting the library may be used by both groups.

50

Scottish Poetry Library

100m

Dunbar’s Close movement

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The garden in different seasons

Garden’s plan and circulation sections

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30m

Sinuous corridor Main circulation occurs on the periphery of the parterres, being their joining element.

The borders of each parterre creates a corridor that ushers the visitor to the last section of the garden, the site, pseudo-allowing interaction with others parterres

Natural character Garden changes the perception one has of the space seasonally - more closed and shaded in summer and more permeable in winter, presenting the stages ‘between’ in midseasons.

Some elements are constant, and these give character to each parterre.

Dunbar’s Close perception

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In the garden layout, it is characterised as a ‘wild area’.

Trees shade the house behind, probably preventing it from receiving warmth from the sun.

North corner view

West corner view

West and east corners have views blocked by trees. In winter the view ‘through’ is free and the void is filled with a lattice of branches; in summer it is blocked by a mass formed by leaves.

In winter the sun is low and the southern half of the site is shades, in summer most of the site receives direct sunlight. Tree’s shadow is minimised in winter, it reflects on the grass the ‘pattern’ of the branches.

West view faces the New Parliament House and Calton Hill, landmark of the city. The east does not have visibility to the rest of the garden (it is at a lower level), exhibiting the top of the buildings on the Royal Mile, with which the site does not establish a relationship.

Site plan with sunpath diagram

South view faces the last hedges of the garden and the stone wall behind which is the cemetery of the Kirk.

It has no further view.

Shouth corner view

0

10

20

30m

East corner view

Extracts from the script of The Secret Garden,1993, written by Caroline Thompson

Site scripting a motion-picture experience

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Characters and effects

DARK PASSAGEWAY GATE HEDGES WINDING PATHWAY GRAVEL SHRUBS BENCHES GRASS CARPET UNTRIMMED VEGETATION

threshold between street and garden privatisation of the garden cut garden in 4 acts, reduce scale to individual establishes gardens as scenarios, connects one to the next paces the garden’s atmosphere with the rhythm of steps give identity to each enclosure, create the illusion of tamed nature on the borders, create visual control of the gardens and limit the occupation to four people enhances the absence of order around the sublime, escape of the order, a forgotten (more personal?) space

Journey through the backstage of a theatre

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The series of scenes created by the parterres and the divinding hedges are read as if part of the backstage of a theatre, where partitions engender smaller spaces of distinct uses.

One becomes an observer and/or a participant of each ‘set’, depending on the choice of engaging with the scenario or circulating peripherally.

Slow House - the scripted house

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Architect: Diller + Scofidio Year: 1991 Location: North Haven, USA

‘picture window’

Creating a view

Physical, optical and virtual

camera

A monitor generates an effect, an image that can never be lived. Architecture frames a landscape and makes it a view. The virtual image repeats the ‘view’ as an illustration of what is seen, depicting what already exhists but is not displayed

The house interacts in three levels with the inhabitants; the monitor in front of the window shows registered images of the sea (directly behind it), an illusion to control what/when one sees

door

plan, view and details of suspended monitor

What is the role of media in architecture?

Circulation and form

Entrance is aligned with the car’s path; the house turns itself towards the sea as the individual walks along its linear morphology. The interior promenade creates scenes that each reveal more of the house and of the main view, the sea plan of serial view

Jump Cuts

The installation by the architects showcases the interior activities of the building - making it public what mostly is private.

The monitors break the barrier the skin of the building creates between outside and inside

Amsterdam Central Library - circulating through voids

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Each floor is designated to a part of the programme, but also hosts an extra element.

Thus, each one develops its own identity in terms of events that might happen.

The void that connects all floors visual and vertically is irregular and changes the perception one has looking up or down in every floor.

Architect: Jo Coenen & Co Architekten Year: 2007 Area: 28,500 sqm Location: Amsterdam, The Netherlands

View from Nemo

Seminar room

City as background

The library is located accross the Oosterdok, from where the skyline of the old city is clearly seen. It is a place of contemplation of the city, a characteristic the building adopts with its glass façade.

Enclosed reading areas

Performance stage

Individual pods

Schematic section with uses

Amsterdam Central Library - space perception and use

Communicating spaces

Expanded voids visually connect programme areas, bringing them close to one another but still differing the ‘here’ from ‘there’.

Computer stations are placed around atria, a virtual interaction with a volume without mass. This allows for a distribution of users throughout the building, also functioning as a support to the physical study.

Books and seats

Study areas are placed in between shelves, creating the contact between users and materials, a break in the traditional library where books are held in a distance.

Low shelves allow for a complete understanding of the space around lest the tables feel compressed.

Reading retreat An area destined for quiet reading incorporates features of a lounge area curtains, armchairs and lamps - creating the impression of an enclosed space and privacy.

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Light and signs

The escalator system is marked by strips of light, which also indicate the contents of the floors above and below. The lighting in the shelves area is indirect, causing the light to be more comfortable to read and not dim the escalators.

The mechanic circulation brings a unified identity to the library. The repetition of the same light also creates a language for easy understanding of users.

Light reading

In areas that are not destined for circulation, study or storage, individual chairs are placed for independent reading. The library becomes a place to relax, with ‘no specific purpose’, an extension of the casual urban space.

Concept statement

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It is a library where media links inside and outside, voids allow for circulation and scenes are set to determine the scale of spaces.

Circulation and media concept collage from closeâ&#x20AC;&#x2122;s entrance to the building

Spatiality media, void and scenes

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Interior concept collage

LED panels distributed in the library divide spaces, determining scenes and hence scales. The panels show in real time and actual scale Dunbar’s garden, questioning the ‘inside and outside’ in the digital era and creating a live background.

Garden intervention concept collage

Voids are translated in the creation of an atrium, creting a relationship between floors and expanding the perception of the building - a vain search for the constricted sky of the closes.

The windows are wrapped outside by a pattern of branches mirroring the trees of the garden, filtering the natural light so the inner environment has an optimum iluminance.

The garden is lit by strips of floor lights, similar to emergency lights in an airplane. The aim is to dim the role of light in the garden, preserving it’s natural identity in the dark.

At the end of the perspective of each parterre in Dunbar’s garden a LED panel is placed.

This time showing the reverse contents, the interior of the library. Visitors of the garden are found themselves in a garden that opens itself into the interior of a building, a scene within a scene.

Programme

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Dunbar’s Close

Entrance

Garden

Theatre

Showing events

Inform people of what goes on in the garden

Views from the garden

Arise curiosity and invites people in

Path lights

Guides

No loss of quality of garden in the dark

Screens in parterres

Display inside of the library

Add a digital layer, immaterial, to the scenes

Relaxing

Sheltered space with seats

Preservation of the public space (garden) as relaxing space

Projection

Space can be closed for events

Comfort throughout the year

Movies

Independent programme

Electronic posters

Stage

Performance Spoken word

Reception

Foyer

Shops

Offices

Open area Book returns

Scriptwriters Library

Events gathering Exhibitions

Cinema-related goods

Sale of scripts, specialised books, merchandise

Reception desk

Group viewings

Information and sale of tickets Controls access to upper floors Close to library non-users public Use of the library for entertainment Material from library or outside Collaborations Library staff meetings

Collection of movies with options to pause, return and slow motion

Electronic storage

Movies no longer need to be stored in physical form

Physical storage

Lending of DVDs

Makes rare movies accessible to general public

Reading desks

Study areas closer to books

Residue areas

Relaxed reading

Storage

Amongst reading area

Brings readers closer to the library experience

Writer stations

Individual spaces

Digital research

Computer stations

Garden

Small plants and trees

Outdoor furniture

Reading

Library

Smoking area Programme organisation

Talks from the field

Viewing pods

Reading

Terrace

Possible Fringe venue

Brings casualness to the library

Meetings

Videothèque

Hybrid between theatre and cinema

Café

Management

Seminar room

Unsold scripts

Writing Easy escape from closed space

Movie is analysis material To be viewed in the library Links to library system to be watched in screening facilities

Scale is reduced to create a reserved space Personal library where rented books are kept Linked to library system Linked to other libraries system Outdoor experience close to top floors Relates back to the garden Allow for direct contact with nature and city

Programme-generated architecture

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Seatle Central Library

Available on The Architectural Review <architectural-review.com/reviews/the-story-of-the-world/8641929.article?blocktitle=Reviews&contentID=6752>

The form is non-composite (in the sense that it is not previously known; it does not follow notion of beauty), being generated through the study of the programme and its distribution.

Available on World Architecture Community <worldarchitecture.org/authors-links/pmhnv/the-perfect-drawing-8-sensational-sections-that-raise-the-bar-for-architectural-representation.html>

The Office for Metropolitan Architecture (OMA) uses the programme to regulate the form of the building, creating spaces ‘in between’.

The building is conceived around the main performance room, with the other programmatic spaces around this void. Its form is the result of spaces and calculated views towards the city.

Dee and Charles Wyly Theater

‘Functional’ spaces are separated vertically, creating ‘living’ open spaces in between. By shifting the programme areas, the external envelope tilts, breaking the idea of a strict wall.

Available on REX <rex-ny.com/work/wyly-theatre/>

Casa da Música

The traditional theatre is questioned through the diagram. Removing the chamber from the middle of the building, the architects could relate the stage to the city, having the support spaces above and below it.

Programme volumetric and view organization The theatre, on the ground floor, is accessible at any time and ensures the rest of the building is closed in evening performances; the library has views of the city and receives more natural light.

Upwards circulation in the building is a continuation of the journey through the garden. With the use of scalators as a medium to circulate, outside and inside views are enjoyed as one goes up.

Vertical circulation is then seen as a tree that supports the views and horizontal circulation branches. The diagram below shows the physical and optical connections within the building according to the schematic section.

sky

The programme was distributed vertically following the five main divisions: theatre, foyer, videothèque, library and terrace. The layring was determined by the relationship each would have with the outside and its views.

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nt H ame i l r a P

theatre

Theatre

Schematic section showing distribution of the programme on site and uses

que

foyer

D

ent

onum

nM Nelso

old tolbooth

Videothèque

Foyer Office

ate

ng ano

Circulation and views diagram

5m

Programme areas

Building envelope

Raised ground

Main vertical circulation

Horizontal circulation

Views

Concept sketches

Henrique C¡ Delarue ||||||||||||||||||||||||||||||||||||||| P14184767_ARCH2 Spatiality in the interior is vertical with the presence of the atrium and in the terrace horrizontal.

The interior is a collage of scenes, each floor halfshowing the events that are happening.

Terrace with high parapet encloses the space without obstructing the city view.

Programme diagram showing relationship of building and the site.

Foyer is located at the level of the top of the trees for balance between sun and shade.

Atrium concept section

Videothèque has smaller area with less need for physical storage.

Projector and lights are located in the ceiling in crossing directions to preserve the projection.

Personal areas go through the outer skin and protrudes to the exterior in a gesture to move away from the more public areas.

Bifold windows are stored in the ceiling and close the theatre area for temperature control. A blind is rolled down for projections during the day.

Sides of the building are pushed inwards in order to let more light into the neighbouring buildings.

A skin wraps around the distributed programme areas and then is wrapped by a pattern of branches filtering the light passing through the openings. The logic is the reverse of the hedges in the garden - the mass is behind the structure.

Teared seating can be used without chairs in informal and every-day occasions and with chairs for events.

Concept sketches journey through the scens

From the entrance of Dunbar’s Close to the terrace of the library, the visitor passes by and through a series of scenes that set different uses and moods.

The building is a continuation of the garden, a place unrecognised from the exterior and a host of spaces of different scales inside.

‘Scenario’ of the building: 1 - Screen-posters at entrance of Dunbar’s Close; 2 - Screens in the garden display interior of library; 3 - Building is seen at the end of the garden; 4 - Escalators separate private and public areas; 5 - At the foyer: reception, exhibition and café; 6 - Spaces to watch videos alone or in a group; 7 - Screens and stations reduce scale of reading area; 8 - Garden and city views at the terrace.

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Programme understanding volume and space

Henrique C· Delarue ||||||||||||||||||||||||||||||||||||||| P14184767_ARCH2

The diagrams below show the programme distribution in plan and a suggested section of the spatiality created.

Terrace Emergency exit shaft Lift shaft

Fith floor

Terrace is above surrounding buildings to have views beyond the roofs.

Library

Envelope is made of glass and concrete, both following the same branch pattern.

Forth floor

Denser envelope filters light entering the videothèque, enhancing video experience.

Writer’s station

Meeting and projection room has glass walls that can be opened and include a larger public.

Toilets

Library

Third floor

Trees at the back of the site might be removed lest they die being shaded by the building

Viewing pod Seminar room

Videothèque Foyer concept collage Second floor

Office Toilets

Suggested section based on programme distribution

Café

0

Foyer

1

3

5m

First floor

Theatre ‘Backstage’

Escalators are accessible by activating the control to speed down and release the equivalent to three steps.

Ground floor

Escalators provide means of circulation through space seizing any effort of climbing a staircase, engendering an opportunity for contemplation.

Rear staircase might be substituted by open service lift in order to facilitate delivery.

Materials public scale

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Non-external walls are white so there is a distinction and hierarchy, the building communicates with the user.

Black ceramic is used in the foyer to remove sense of scale of the floor and highlight the people and exhibition.

Foyer concept collage

The pattern of the branches used on the outside of the windows is also printed on concrete walls, translating in the inside the affect the building is wrapped by the trees of the garden.

Grey-stained natural fibre carpet around the screens brings the gravelâ&#x20AC;&#x2122;s texture to the inside.

Light timber floor reduces the scale of the environment in terms of details and public to domestic space.

Library concept collage

Materials individual scale

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Viewing pod receives finish in timber on floor, ceiling and walls, making the place more tactile and personal.

Screen is controlled by a remote control attached to the seat and is connected to the pair of headphones.

Airplane technology seat adjusts for the viewer’s comfort and has retractable table.

Black ceramic is repeated in the videothèque, relating the environment to the aparent depth of movies.

Viewing pod concept collage

Station is equipped with a small bookcase and a pin board for the writer’s collection and thoughts.

The furniture is individual and resemble the office of the writer.

The timber floor is repeated in the station, with no carpets.

The writer interacts directly with the environment.

Writer’s station concept collage

Inside and Outside sifted views

In the naked garden, the branches of the trees open the view to the surrounding, rendering a low definition image of what is completely blocked in the summer.

By applying a pattern resembling branches on the exterior of the library windows hinder the view of the outside, simulating a constant winter mashrabiya.

From inside, the building looks as if it were wraped by a growing natural structure, an affect that the character of the architecture asks for itself and is given over the surface of the envelope.

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Inside and Outside pattern study

From the views identified on the photographs, the branches are interpreted in terms of possibility to generate a pattern.

Images showing trees from further away had the strong presence of their trunk, which escaped from the language of the branches in scale.

The more detailed images (bottom three) were considered to have the desired affect. These were tested in terms of low and high density and the highlighted pattern was chosen - it has more balance between vertical and horizontal lines and a higher density.

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Skin Pattern development Once the chosen pattern is multiplied accurately, there is a strong sense of centrality, emphasising the repetition.

Henrique C¡ Delarue ||||||||||||||||||||||||||||||||||||||| P14184767_ARCH2 By creating more links between pattern units, the overall affect changes from horizontality to verticality.

Once the lentgh of vertical and diagonal lines is increased, not only does the pattern lose its focus point but also blurs the joining line.

This design is not as dense as the next one and has less centrality than the previous one, being the most ideal to be used.

The 3.5x3.5m option seems to have the best proportion in terms of openings and wall pattern, creating openings that are big enough to be printed on the concrete

Scale test

6.0x6.0m

4.0x4.0m 3.5x3.5m 3.0x3.0m

3.0x3.0m 3.0x3.0m

3.0x3.0m

Skin Pattern density

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Scale

Area

Target public

Skin density

Affect

Public

Theatre / Foyer

Residents / tourists

Low

Broader visual domain

Semi-public

Reading / study

Residents / writers

High

Sunlight filter

Personal

Writerâ&#x20AC;&#x2122;s station

Writers

Low

Direct to specific views

High density

Medium density

Spaces destined to distinct activities will assume different scales.The pattern accommodates its density in each of these environments to create the most appropriate affect.

High density

Façade materiality

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Transparent planes

Metal pattern fits between the two glazed surfaces, also functioning as a support for the glass.

Together, the two materials create the affact of the pattern wrapping around the building. The difference in materials is mainly noticed at night, when modules are lit from inside.

Opaque planes

Pre-cast concrete panels receive the pattern during its fabrication to the same depth as the metal piece in the windows.

Simulation of a concrete panel adjacent to a window

Although there is an interest in making the pattern continue without breaking, the differences in density mark the modules of the façade, exposing the construction logic.

Theatre seating dimensions study

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180mm 1300mm

720mm

410mm

As the theatre is placed on the ground floor, the earth can be excavated to accommodate the seating area. So that the ares is flexible in use, tiers are designed bearing in mind the possibility to be used with and without chairs (depending on the casuality of the event).

This study explores comfortable dimensions based on research of theatre seating. The designed chairs are mobile and can be stored when not in need.

Sketch of the chairs to be designed

Arrangement for theatrical performance

Timber pieces are fitted on top of the concrete seats to bring an affect of warmth to the theatre. The material may also improve the accoustics.

430mm

900mm

2000mm

View of the tiered seating

Stage in proportion to tiered seating (arrangement for public space)

Genesis of the form

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The following diagrams show how the design has been developed. The final form is here used, however, the logic is the same throughout the process.

Due to site area limitation, it is decided that the programme be organised vertically.

Axes determine the built volume in terms of distance from site limits, widening and narrowing the journey perception. On the middle of the site, the building creates circulation ‘around’.

Lift and emergency exit shafts are specified as ‘fixed points’ on every floor.

Floors are divided according to programme, respecting the area needed in each level.

Volume is addapted to the area of each floor, funneling upwards, lessening the impact the building has on the garden and casting smaller shadows.

Writer’s stations and viewing pods are added to the outside of the envelope, exposing these distinct programme areas and connecting them to the outside.

Process sketches

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Lift placed near emergency exit shaft to make use of the structural walls

Escalators are placed adjacent to trees to create the affect of ascending different levels of the vegetation.

Possible balcony on the first floor for a view outside.

Study of the continuation of the journey

Tiered seating placed in L shape to accommodate more spectators.

The first sketches were aimed to understand the possibilities of spatial arrangement in the ground floor. The focus was on the position of the theatre and the escalators, which should be a continuation of the journey in the garden.

This floor proved to be the most complex since it hosts large areas of the programme (theatre, changing rooms, emergency exit and access to the escalators).

It is decided that there should be no lift in the ground floor as it would interrupt the flux the escalators continue from the garden.

Process sketches

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Emergency exit Theatre Changing rooms

Escalator

Emergency exit The ground floor has its elements distributed according to the position of the theatre and the escalator. The emergency exit is placed near the rear access of the site for it is the corner with no views of interest to have windows being opened to.

Main entrance

Addition of ramps around the building as part of access and the continuation of the journey.

The escalator is placed above the changing rooms as these are 1.5m below the ground level.

Process sketches

Projector Lights

Bifold windows allow for the stage to be open to the outside

Office/reception

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Toilets

Café LED panel

Study of heights and tiered seating

Ground floor

Theatre and tiered seating section

First floor - foyer

Viewing pod Seminar room Toilets

Writer’s station These sketches are the first schematic plans showing the vertical circulation, void areas and changes in levels.

Toilets are placed on alternating levels for the floor area being compact, there is no need found for toilets on every level.

Second floor - videothèque

Third floor - library

Forth floor - library

Process rough drawings Backstage area

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Storage

Toilets

Viewing pods

Seminar room

These plans are more detailed and improved versions of the ones shown on the previous page.

The library is here reduced to one floor since it is thought this brings enough area for the programme.

The terrace is seen as an echo of the garden below and receives vegetation and seatings.

First floor - foyer

Ground floor LED panel

Writer’s station

Toilets

Second floor - videothèque Garden Closed space should interact more with the terrace.

Slope on the south façade is not recognisable, the circulation void is hence thought to be be reduced more every floor as possible.

Third floor - library

Forth floor - terrace

Section through theatre

Process development drawings

Emergency exit shaft is made more regular to reduce unnused corners.

Lift is placed at an angle so it is visible from any point on each floor. Voids created may be used for service ducts.

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Seminar room is placed away from windows to avoid excess of light on the screen.

Terrace is cut out from the volume clearing the view to Calton Hill and the city

Writer’s sation

Viewing pods

Developing from the first accurate representation of the building, this set of drawings explore the area each floor has as part of the circulation void and the position the stairs shall be placed.

Ground floor

0

10

First floor - foyer

20

30m

Second floor - videothèque

Third floor - library

Fourth floor - library

Fifth floor - terrace

The position of the structure is also studied here. I beams form the main structure and the two adjacent walls of the theatre are also structural, supporting columns above.

Garden intervention

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Screens at Dunbarâ&#x20AC;&#x2122;s Closeâ&#x20AC;&#x2122;s entrance indicate the access to the library and display showing movies and events.

Media connects building and street, two distant places linked virtually.

0

2

5

10m

Light slits are added to the floor so the garden can be open until late afternoon.

The low light does not interrupt the atmosphere of a private garden.

Screens at parterres show the library inside. The events in the building are watched, creating the affect of a scripted picture.

Abandoned east parterres are revitalised. The gardens are bordered by a 400mm high concrete wall that forms a seating area. The controlled nature of the parterres is translated by this wall dividing the garden into smaller parts no hedges are used so vegetation is in natural state.

Site is dug to accommodate the theatre and hence ramps are built around the building, continuing the journey from the garden. Entrance steps of this area have been changed to a ramp to facilitate access.

Rear steps are substituted by an open service lift to transport goods to the library more quickly.

Elevation

0

1

3

5m

Ground floor - theatre

A

1

Once any library-related programme areas are avoided, the theatre becomes a semipublic space, likewise the perception of the garden.

Escalators are the ‘real’ entrance to the library.

-800

-1500

3 2

Changing rooms are leveled witht he stage, facilitating movement of actors and sets.

2

B 3

4

6

-1720

Electric ceiling mounted screen turns the space into a cinema and in performances displays projected backdrops, questioning how a theatre deals with the ‘imaginary’.

B

1

3

0

0

Storage room can be used for chairs and theatrical sets.

0

-1500

1

300

Stage’s back wall opens onto the garden, letting natural diffused (north) light in and connecting the stage to the outside, possibly using the garden as a background.

5

6

A

5

4

Empty spaces are left on both sides of the theatre to accommodate props during performances.

5m

-480

-5200

First floor - foyer

A

1

Landing of escalators is close to the wall, forcing the visitor to turn into the foyer - the scenes change from wall to a view of Calton Hill (through the transparent plane) to the foyer.

1

4000

2

LED screens block the view of the foyer as one area, the perception of the space occurs by circulating.

2

B 3

Reception takes the form of a desk between office and foyer, ensuring there is always someone available for visitors.

4

CafĂŠ is positioned near the atrium and windows, being related to the inside of the building and the garden.

3

4

B

A

0

1

3

5m

Second floor - videothèque

A

1

Area of transparent plane used is reduced on this floor so as t not interfere with screen displays.

2

Seminar room can be opened to turn the screening public or accommodate more viwers. Stopping to watch a movie becomes part of the experience and the journey.

3

1

7500

2

3

Viewing pods allow visitors to have access to digital moving picture archive. Pushed outwards, they reduce the scale to that of a monad.

4 void

4

Computers and tablets contain digital archive of the library and digital copies of periodicals.

B

A

0

1

3

5m

B

Third floor - library

A

1

Chairs are placed at unused spaces to create casual reading areas.

2

Sisal carpet surrounds the LED screens and gives the effect of personal scale to the public building, also having its texture related to the gardenâ&#x20AC;&#x2122;s pavement.

11000

3

Desk follows the lines of the void, allowing librarian to see and be seen from both access routes (staircases or lift).

4

Transparent planes on all the façades collect and distribute more evenly natural light.

3

1 B

A

0

1

3

5m

2

4

B

Fourth floor - library

A

1

Minimizing void area filters the sound from more public areas in the lower floors.

2

Computer station encourages professionals and general public to visit the library for daily activities.

3

3

14500

Server room stores digital archive.

2 1

4

Glass wall separates servers and rare scripts section, both benefiting from the climatised quality of the room.

B

A

0

1

3

4

5m

B

Fifth floor - terrace

A

1

2

3

This floor is not aimed to a particular part of the library programme, but to casual reading, meeting and contemplation.

4

Garden on the perimeter of the floor echoes the garden where the journey began.

5

Retractable roof together with sliding glass panels open the floor and create effect of a terrace.

5 Roof slopes towards the south corner of the building in a gesture to direct the view to the Old Town and the sky.

18000

4

Electric ceiling mounted screen turns the space into a screening room.

B 2

3

1 B

A

Roof plan with closed terrace

0

Roof plan with open terrace

10

20

30m

0

1

3

5m

AA section

0

1

3

5m

BB section and interior views

Theatre

0

Reading area

2

5

10m

Writerâ&#x20AC;&#x2122;s station

LED screens views

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Location

Contents

View

2 1

2

3 3

4

4

1 2

1

Showing events and movies

2

Café’s seating area

3

Videothèque

4

Library

5

3

4

5

6

7

8

9

10

11

12

Garden and theatre

5 6

5

Mirrored image of what is before it

6

Parterre 1

Foyer

7

Parterre 5

7

Videothèque

10 8

9

8

Entrance to Dunbar’s Close

9

Parterre 2 (looking into 3)

10

Parterre 4

Library

11

0

10

20

30m

Library

11

End of parterre 2 (looking into 1)

12

Parterre 4 (looking into 2)

12

Aerial view

Process evaluation

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Meta-process

Is this project not only about developing a design to suffice a programme but also a process that speaks of the stages the architect passes through to conclude with a building design. Hence it is a meta-process, that is, a design process about the process of designing.

Following are the four stages this process has presented.

Foreword

Writing

Analysis

Directing

The scriptwriting research brought the idea of organising scenes (spaces) one in relation to another, an ‘intermezzo’, (as Deleuze and Guattari describe the ‘rhizome’ in ‘A Thousand Plateaus’). Each space is ‘in between’ other spaces (in the sense of a script, the past as a cause and the future and as consequence), rather than being positioned and related solely in terms of appropriated functions.

Quantitative (history, architecture and events) and qualitative (perception of values and space) data engendered a reading of the city and site, from which an interpretation was extracted, leading to the concept. Similarly to a script, the story the project is host of is henceforth developed from this ‘inciting incident’, that is, the understanding of the site and its context, aiming for a building at ‘the end’.

Within the script the design process holds from research to design, there is another script intrinsic to the first: the building’s. This second script is materialised as the programme, a form of ‘master scene’ script, which explains in detail the use in each area, and spatial studies, which guide the correlation between spaces in the building.

In working with different scales, details and the form of the building evolve. The programme is arranged according to the journey to be created, which in turn is illustrated by studies of specific areas inside (including choice of materials). This collaboration ensures the materialised building follows the narrative desired in the programme study and responds to site interpretation.