MArch Year 1 Portfolio [2019-2020]: Jason Glionna

Architecture Portfolio Jason Glionna 190330976

Table of Contents

1 Critical Introduction [1] 2 Introducing 'Perception' [9] 3 Uncovering the Site [25] 4 A Dystopian Perspective [37] 5 A Mega-Proposition [51] 6 Revealing History [61] 7 Temporary Structures, Permanent Parks [77] 8 Material Deception [97] 9 Forming a Dialect [113] 10 Experiential Architecture [125] 11 Reflective Conclusion [156]

Critical Introduction ‘Athens of the North,’ Din Eidyn, ‘Auld Reekie;’ Edinburgh has taken on numerous personas over the course of its existence. The city has come to represent the tale of two towns compiled of different lives, riddled with unique histories. The Old Town, primarily built in the 12th century, followed the typical Medieval “fishbone” layout and was contained within walls to protect the castle from English attacks. The New Town, built in the late 18th century, was the result of overcrowding. Its expansion into a landscape freed from major barriers resulted in a more structured town compiled of neo-classical and Georgian architecture. The stark contrast of the two towns, the prominent topography, and the preservation of most of the buildings is what has helped deem the land as a World Heritage Site. What is often overlooked is the land that lies between these two narratives - the gently carved valley, a natural product of melted ice that currently holds the Princes’ Street Gardens. The vast divide in the earth is a true depiction of the dramatic landscape that forms the fabric and roots that unites all of Edinburgh. Without this space, there is no picturesque view of the castle, there is no getaway from the bustling city, and there is no moment to pause and acknowledge the dialect between the ‘old’ and ‘new.’ The perception of Edinburgh must in turn be seen through the lens of Princes Street Gardens; a perception that is often misunderstood, misinterpreted, and is in need of clarity.

Upon further investigation, the picturesque valley that is Princes Street Gardens acts as an archive to the city of Edinburgh. It holds countless stories from the past, captures the present state of Edinburgh, and provides the resources needed to progress sustainably into the future. So, why is it that such a beautiful, lush piece of land was treated with such neglect for so many years? Piles of dirt, excavated for the basements of the New Town, were carelessly tossed into the centre of the valley, ultimately leading to a formation and barrier as appalling as its name, “The Mound.” To accommodate for a major increase in population, the enormous beast that is Waverley Station was slammed down on Edinburgh’s fragile valley, filling it with billowing smoke and roaring engines. There is no better way to truly grasp the endless damage from the past than to stand on a platform at Waverley Station and look up at what no longer is a beautiful view. Tainted

[ 1]

glass pains and endless amounts of steel alienate visitors to the city from the picturesque surroundings.

As a comment on the dystopian state of the valley, it is appropriate that the severely underused Princes’ Street Gardens is flooded once again, except this time with architecture.

Initial design iterations worked with the reimagination of a megastructure, ultimately leading to individual ‘clusters’ dispersed throughout the valley. The overall form and location of each cluster is informed by historical and present carvings and extensions on and nearby the site. Studies taken through traverse sections throughout the valley help uncover the key characteristics of Edinburgh, a stark contrast to how the city is depicted today. Each cluster focuses on this clear variance by placing more permanent, cultural spaces below ground, and temporary, deceptive spaces above ground. To match their programming, the temporary spaces are built as easily interchangeable modular boxes, whereas the permanent spaces are lined with thick stacks of timber. Thin, vertical wood columns form a connection between the spaces above and below ground. Materiality for both spaces is carefully selected to enhance the visitors experience. Stone walls for the ‘pods’ above create a glowing interior during the day and luminous exterior at night.

Stacked timber beneath the earth is carefully exposed to the rain, leaving behind the stains of rotted wood. As a result, the meaning of the terms ‘stereotomic’ and ‘tectonic’ as structural solutions is put into question. The focus shifts to space-making through materials, and thus a change in perception is born.

Through rigorous studies of Edinburgh’s layered past, a clear perception of the city has emerged. Its authentic aspects are meant to be preserved, while still acknowledging the purpose of its deceptive features. The once underused valley becomes the central hub that metaphorically and physically bridges the Old and New Towns. In a city so well defined by its landscape, it is only appropriate to create an architecture defined by the context, both physically and contextually, resulting in a shift in the perception of Edinburgh’s coveted valley: “The dialogue between building and nature oscillates between contrast and convergence; it explores the potential of topographical architecture. The unsettling effect this may have on visitors stems from an imperceptible shift” (Gerhard Mack 2009, p. 9).

[ 2]

Old Town Princes Street Gardens

Edinburgh, Scotland

[ 3]

New Town

[ 4]

[ 5]

Establishing an Archive My portfolio intends to act as an archive of both my thorough design process and Edinburgh's layered history. The section dividers originate from the seven sections I took through Princes Street Gardens to help me observe the valley through various lenses of perception.

[ 6]

[ 7]

Condensed Acrylic Model These seven traverse section cuts through Princes Street Gardens began to establish the key vertical layers found in the valley. By overlapping the layers in a condensed manner, I was able to start to discover connections between them.

[ 8]

Introducing 'Perception' When attempting to better understand Edinburgh, we must ask: where does a city primarily characterized by its development in the 12th and 18th century situate itself in the present day? In addressing this question, we need to seek an alternative perspective to the norm. The process of going against the grain and altering standardized perceptions through their work is something architects such as Herzog & de Meuron, Archigram, Bernard Tschumi, and Kengo Kuma were able to successfully do, especially during periods of stagnation.

[ 9]

[ 10]

Key Perception Changers Highlighted throughout the portfolio

Herzog & de Meuron

Peter Cook (Archigram)

A Topographical Approach

A Dytopian Utopia

[ 11]

Bernard Tschumi

Kengo Kuma

The Park Typology

Wood & Sustainability

[ 12]

Herzog & de Meuron [ 13]

On Perception...

"

People have lost their sense of direction; everything has become a question of perception, association and perspective. The boundary between the real and virtual is utterly blurred, making even experience and memory unreliable factors.

- Gerhard Mack | Herzog & de Meuron Complete Works [vol. 4]

[ 14]

"

A Topographical Approach

- Dominus Winery, California (Gabion Wall)

[ 15]

Herzog and de Meuron began their practice in the post-modernism era. Their work demonstrated a liberation from big narratives and focused on the experimentation with materials. What separates Herzog and de Meuron’s work from the rest is their use of sampling and collage. The process of applying fragments wherever seemed fit led to a multilayered reality and their ‘topographical approach.’ Suddenly, the structural properties of materials became less important and the focus turned to the experiential attributes of each material. In a similar manner, I have attempted to uncover the numerous layers of Edinburgh so that I can determine an informed solution. I have experimented with materials in a fragmented way, inverting the perception of how they can be used in a tectonic and stereotonic manner.

[ 16]

Where can we draw the line?

Edinburgh Fringe Festival

Scaffolding for Edinburgh Christmas Market

Congested Princes Street

Princes Street Gardens Pathways

Deception

Temporary (Light)

Noisy

Dispersed

Authentic

Permanent (Heavy)

Calm

Gathered

National Museum of Scotland

Ross Fountain & Edinburgh Castle

New College, The University of Edinburgh

[ 17]

Ross Band Stand

Overcrowded Princes Street Walkway

Massive Waverley Station

Princes Street Shops

Edinburgh Christmas Market

Movement

Dystopia

Unsustainable

Falacy

Pause

Landmark

Stable

Character

St. Giles Cathedral

The Caley Picture House

The Royal Mile

[ 18]

Victoria Street

Current Perception: Princes Street Gardens as a valley with very little function or programming.

Altered Perception: Filling the valley with architecture, keeping authentic spaces hidden beneath layers of earth. [ 19]

[ 20]

1.

Uncovering the Valley

2.

Using preliminary site observation and analysis, I attempted to determine the area that represented the heart of Edinburgh. Following my investigations, I determined that the valley between the Old and New Town (Princes Street Gardens) holds countless stories from the past, captures the present state of Edinburgh, and provides the resources needed to progress sustainably into the future.

A Dystopian Perspective As I continually peeled back the layers of Edinburgh's coveted valley, it became clear that the lush piece of land has been severely neglected for years. The Utopian intentions of placing a massive train station (Waverley Station) in the valley, quickly altered Princes Street Gardens into a dystopian space. To further depict the poor implementation of this megastructure, I turned to the work of Archigram.

[ 21]

3.

A Mega-Proposition

4.

As a comment on the dystopian state of the valley, it is appropriate that the severely underused Princes Street Gardens is flooded once again, except this time with architecture in the form of a megastructure. My proposed structure would act as an extension of Waverley Station but would contrast the station's poor execution with modular boxes that are configured to suit the program of which they house.

Revealing History In order to help determine the authentic characteristics to Edinburgh, I looked further into the history of the area in and around Princes Street Gardens. I specifically examined notable pieces of architecture with common desires to be preserved. Ross Bandstand (located in the gardens) embodies an authentic use (performance space) in a deficient area, and therefore determined my next focus.

[ 22]

5.

Temporary Structures, Permanent Parks

6.

Littered throughout modern day Edinburgh are various forms of quick, attention seeking programmes. These are contrasted by the less noticeable authentic cultural spaces. Each of the proposed clusters focuses on this clear variance by placing more temporary, deceptive spaces above ground and permanent, cultural spaces below ground.

Material Deception To match their programming, the temporary spaces above are built as easily interchangeable modular boxes, whereas the permanent spaces below are lined with thick stacks of timber. The typically stereotomic stone is used in a tectonic manner for the ‘pods.’ Stacked timber beneath the earth also defies the material's conventional perception as a tectonic member.

[ 23]

7.

Forming a Dialect

8.

Just as the connections between the deceptive and authentic spaces throughout Edinburgh are subtle, so too would the physical and visual connections between the 'floating pods' above and the submerged spaces below. Thin, vertical wood columns act as the lone indication of what lies above and below the ground plane. Their sporadic placement demonstrates the impermanence of the pods.

Experiential Architecture The essential shift in perception of both Princes Street Gardens and the use of materials can be achieved by focusing on how stereotomic and tectonic materials create an experiential space. This is contrary to the typical view of materials as structural solutions. The newfound perspective would enhance the experience of the user and aid in the revitalization of the dilapidated gardens.

[ 24]

Uncovering the Valley

Using initial site observation and analysis, I attempted to determine the area that represented the heart of Edinburgh. Following my investigations, I determined that the valley between the Old and New Town (Princes Street Gardens) holds countless stories from the past, captures the present state of Edinburgh, and provides the resources needed to progress sustainably into the future.

[ 25]

[ 26]

Symposium [Team: Sarah Askew, Scott Doherty, Alex Ferguson]

1. Lasercut cardboard and covered it in layers of Rockwall.

2. Attached to the wall with images & graphics

[ 27]

3. Attached strings to the layered map to create a gigamap.

Edinburgh, Scotland

Our Approach We started out by each conducting individual research and comparing our findings. We searched for any common themes or overlaps in our research approaches. Based on our findings, we planned out a general route throughout Edinburgh (Old Town, New Town, and Leith). On site, we observed and recorded as much information as we could, and upon our return, we each sketched on trace paper our memory of Edinburgh to a 1:5000 scale and superimposed the maps.

We established a boundary to our site model based on the overlapping areas of importance. The remaining portions of Edinburgh were omitted for visual and metaphorical emphasis. We then formed a three-dimensional map at 1:2000, focussing on the contours of the landscaping – a defining aspect of Edinburgh. In order to tie together our ideas, we used the strategy of gigamapping; whereby we connected images, sketches, and pictures with thread to find commonalities. I utilised the strategy of isolating layers of information to help inform my research and design approach moving forward. The theme of perception also emerged from this exercise.

[ 28]

1. Layer: Key Roadways and Paths

2. Layer: Public and Private Gathering Spaces

In order to discover common themes and principles in my research and observations, I created a layered model. I focused on elements that defined the vastly different New and Old Town.

[ 29]

I established gathering spaces as a key component to

o tell the story of how the two towns presently operate.

3. Layer: Character of New & Old Town I concluded that the past, present, and future stories told by New and Old Town can all be represented in the common ground found between the two: Princes Street Gardens. This space was framed through the layers.

[ 30]

Key Plan Princes Street Gardens

Railway Line

Old Town

New Town

The Old Town's organic medieval characteristics provide a stark contrast to The New Town's structured neo-classical and Georgian architecture. A large portion of the boundary between the two towns falls within Princes Street Gardens. The valley acts as a literal and figurative no-man's land for Edinburgh, leaving ample opportunity for a magnified improvement. As a result, the gardens and their immediate surrounding context became my revised site boundary.

Revised Site Boundary [ 31]

Princes Street

High Street

[ 32]

Lasercut Model [1:5000]: A topographic cardboard model was created to help me visualize the dramatically landscaped site.

1. Using acrylic, I metaphorically "flooded" the gardens in reference to Nor' Loch.

2. I observed the reflections of Castle Rock that once casted down on the valley.

[ 33]

7

6

5

4

3

Key sections as indicated throughout the topographic cardboard model.

[ 34]

2

1

Lasercut Model [1:5000]

I created slots of key sections that occur across the gardens on the East-West axis. I etched the section lines onto acrylic sheets to capture the changes in height.

[ 35]

Layered Acrylic Sections

Layered Collage Sections

The key sections could be removed and observed in closer proximity to view the valley as a condensed section.

This layered visual was also applied to the section dividers located throughout my portfolio highlighting the variances in perception

[ 36]

A Dystopian Perspective

As I continually peeled back the layers of Edinburgh's coveted valley, it became clear that the lush piece of land has been severely neglected for years. The Utopian intentions of placing a massive train station (Waverley Station) in the valley, quickly altered Princes Street Gardens into a dystopian space. To further depict the poor implementation of this megastructure, I turned to the work of Archigram.

[ 37]

[ 38]

Yona Friedman

Archigram

Cedric Price

[ 39]

On Utopia...

"

Architecture is probably a hoax‌an attempt to rationalize the irrational. [Our] playful incitements functioned as a search for ways out from the stagnation of the architectural scene.

- Warren Chalk & Peter Cook| Archigram

[ 40]

"

A Dystopian Utopia

- Ron Herron's version of Instant City, California

[ 41]

Archigram was formed in the early 1970s at a time where mundane architectural designs had become the norm as a result of the late Modernist period. In an attempt to challenge the utopian “form follows function� notion, Archigram turned to innovative collages to highlight dystopian cities while depicting people-oriented cities.

In particular, the Instant City introduces the concept of the tectonic megastructure that brings architecture in motion. The graphic became a piece of my collage for the dystopian Princes Street Gardens. Archigram’s avant-garde approach through provocative collages and grand, motion-driven designs helped inform my initial megastructure for the heart of Edinburgh.

[ 42]

Megastructure Propositions

Fun Palace: Cedric Price

Instant City: Arch

[Megastructure compiled of independent, yet interrelated programmes]

[ 43]

[Immediate saturation of the site with a wid

Spatial City: Yona Friedman

higram [Peter Cook]

de range of heavily populated programme]

[Immense and dense roof structure gently suspended above nature]

[ 44]

Past vs. Present

Old North Bridge with market; New North Bridge

Old Town row houses; Waverley Station

[ 45]

North British Station Hotel; Waverley Station interior

Carving: Nor' Loch A depiction of the beauty of Castle Rock, naturally formed from glacial melting. The rock sharply slopes down into the valley, filled by Nor' Loch.

The space represents one of the carvings that occurred to Princes Street Gardens.

Extending: The Mound An image of the built-up pile of dirt, which became known as The Mound. The dirt dissects the valley in half preventing any visual connection or the possibility of filling the space with water. The Mound represents one of the extensions to Princes Street Gardens.

Edinburgh 1700s - Nor' Loch; Edinburgh 1800s - The Mound

[46]

Depiction of the potential beauty of Princes Street Gardens, free of visual barriers (The Mound) and industrial monstrosities (Waverley Station).

[ 47]

Princes Street Gardens in its current state - dissected into compartments and oversaturated with piles of steel and glass.

[ 48]

1

3

2

Princes Street Gardens Collage

1. Instant City A radical design concept applied to a very neutral site.

I followed through with the radical aspects of this concept with my megastructure in order to make a comment on the dystopian valley, while providing a solution.

2.

Edinburgh Christmas Market A yearly event whereby temporary architecture is used to provide entertainment while maximizing site usage. I aimed to capture the essence of this temporary architecture in a more permanent manner.

[ 49]

3.

South Bridge Vaults An early design concept to apply the permeability of the South Bridge vaults to The Mound, bringing back the visual connection that once played a prominent role in this valley.

Spatial City The concept of the Spatial City, [utilising a megastructure to maximize the usage of a site] has been used as a design principle to guide my work.

[ 50]

A Mega-Proposition

As a comment on the dystopian state of the valley, it is appropriate that the severely underused Princes Street Gardens is flooded once again, except this time with architecture in the form of a megastructure. My proposed structure would act as an extension of Waverley Station but would contrast the station's poor execution with modular boxes that are configured to suit the program of which they house.

[ 51]

[ 52]

[ 53]

Flooding with Architecture The proposed megastructure resembles the original flooding of Princes Street Gardens, both in in terms of the density and its reflective roof component. The graphic on the left portrays the conceptual flooding of the gardens through the lens of the condensed key vertical sections.

[ 54]

Princes Street

High Street

[55]

Programming Plan [Refer to image on the left] [1] Graves built vertically with platforms that raise and lower.

Interior Perspective

[2] Numerous columns are used to create a partial visual barrier with boxes in between acting as the stage and sound system.

[3] Increased size of Ross Fountain, with overflowing pools to create splash pads.

[4] In addition to the splash pads, a waterpark can be incorporated with slides intertwined between columns.

[5] The current gardens are preserved and the roof scape is lifted above the tree canopies.

[6] Vertical boxes for the backing of the stage and the sound system.

[7] Market stalls hang below the roof with platforms in between.

[8] The boxes can be reorganized and stacked by a crane to form a hotel.

View from the base of Princes Street Gardens demonstrating the experience beneath the megastructure.

[ 56]

Site Section [Refer to image on the right] Various historical characteristics and present components on site play a key role in defining the roof scape of this megastructure. Each of the seven key sections highlights a different area of program, which is designed in accordance with the principle of creating ‘mega-programs.’ The fundamental ideas remain but are also subject to a contemporary interpretation.

Interior Perspective

View from where the roof scape of the megastructure hangs above the railway tracks. The opposing sides of the tracks are connected through platforms.

[ 57]

[1]

Just as how North Bridge was 'flooded' with Waverley Station, the station would be 'flooded' with the new megastructure.

[2]

Layers of this transport hub are enhanced with the train below, and the megastructure above.

[3]

Market stalls and platforms are inserted beneath the roof scape.

[4]

Excavation through The Mound visually reconnects the gardens.

[5]

The roof scape dips down to emphasise the dramatic Castle Rock backdrop.

[6]

The roof scape lowers to highlight the grand Ross Fountain, which spills into its surroundings.

[7]

The roof rises up to act as a beacon, just as the church spire provides a similar effect.

1

4

2

3

7

5

[58]

6

3D Modelling In order to provide the conceptual temporary models with a scale and context, I decided to work with fabricating devices (CNC and 3D Printers).

Sectional Perspective Model [CNC & 3D Print] I utilised this model to test the modular form in the vertical direction, especially in response to the nearby buildings and contoured landscape.

[ 59]

Megatructure Perspcetive

[ 60]

Revealing History

In order to help determine the authentic characteristics to Edinburgh, I looked further into the history of the area in and around Princes Street Gardens.

I specifically examined notable pieces of architecture with common desires to be preserved.

Ross Bandstand (located in the gardens) embodies an authentic use (performance space) in a deficient area, and therefore determined my next focus.

[ 61]

[ 62]

Historical Maps: I looked through numerous historic maps of Edinburgh documenting various 'carvings' and 'extensions' that have taken place in and around Princes Street Gardens. On each map, I indicated the strip that later became my focus.

1765

1780

Extension: Castle; Ramsay Gardens

Extension: Parish Church of St. Cuthbert

Carving: Nor' Loch

Carving: New Town Private Gardens

[ 63]

1784

1804

Extension: New Town Development; Tan Yard

Extension: The Mound

Carving: Farmland

Carving: Nor' Loch Drainage System

[ 64]

1813

1828

Extension: Procession Space

Extension: St. John's Church; Residential Complex; The Royal Scottish Academy

Carving: Sewage Lines

Carving: Garden Paths

[ 65]

1898

1851

Extension: Scottish National Gallery; Bank of Scotland

Extension: New Town Commercial Buildings; Ross Fountain; Ross Bandstand; Lodge

Carving: Grave Yard; Railway Lines

Carving: Princes St. Gardens - Landscaped Gardens

[ 66]

9 8 7 6

3

5 4 3 2 1

Site Perspective: Carvings & Extensions

[ 67]

Current Carvings & Extensions

Focusing on Princes Street Gardens, I documented each of the current 'carvings' and 'extensions.' Each of these help provide a true depiction of the past and present characteristics embedded within the gardens.

Carving

1. Railway tracks & Waverley Station

2. Edinburgh Christmas Market

3. Scott's Monument & Other Monuments

4. The Mound: Scottish National Gallery & The Royal Scottish Academy

5. Princes Street Gardens Pathways

6. Ross Band Stand

7. Ross Fountain

8. The Parish Church of Saint Cuthbert & St. John's Church

9. St. Cuthbert Churchyard (Cemetary) [ 68]

Extension

Digital Interpretation of Lasercut Model Demonstrates the extreme variances in topography heights along with how the lasercut model was executed. [ 69]

Historic Sections Collage Each traverse key section collage highlights key historic and present moments, architecture, and activities [ 70]

Key

[ 71]

Tra v

erse

Sec

tion

Sele

cted

for

Fur

ther

Inve

stig

rati

on

3

2 1

5

5

4

Section 5: Historic Collage [1] The winning proposal for the Ross Pavilion Design Competition focusing on enhancing the landscaping through organic forms.

[2] The radical concept of the instant city, filling the gardens with programme.

[3] The unfortunate original uses for Nor' Loch - execution grounds and cease pit.

[4] The original Ross Pavilion, used as an outdoor stage to gather large numbers of people.

[ 72]

[5] The paths found throughout the gardens, which were implemented when the land was opened to the public.

Selected Strip for Further Examination Selected primarily due to Ross Bandstand. The abandoned historic cultural space is a clear example of a shift away from authentic and towards deception. [ 73]

3

1

2

4

Ross bandstand Ross Bandstand is an iconic part of Princes Street Gardens. It was first introduced in 1877 as a cast iron gazebo bandstand [1] and has since expanded into how it appears today [2]. The bandstand has been home to numerous performances, dance classes, and shows [3 & 4], which is what has led me to focus on it for further design development.

[ 74]

Digital Interpretation of Lasercut Model I created a model compiled of vertical sections to further analyse the strip of Princes Street Gardens that I decided to focus on. The acrylic section cut represents the original traverse section (from the seven sections). I also used this model to test out the idea of filling the site with architecture as depicted with the two pieces of MDF.

[ 75]

Lasercut Model cut through Section 5 [ 76]

Temporary Structures, Permanent Parks

Littered throughout modern day Edinburgh are various forms of quick, attention seeking programmes. These are contrasted by the less noticeable authentic cultural spaces. Each of the proposed clusters focuses on this clear variance by placing more temporary, deceptive spaces above ground and permanent, cultural spaces below ground.

[ 77]

[ 78]

Sketch Models Place & Fill: Wire

Lift: Nails & Cardstock

Raise/Lower: MDF

I created numerous models of temporary forms, based on external forces, which would inform my design for the 'floating pods'. These three models had the greatest impact on my scheme.

[ 79]

Concrete Model Concrete models were utilised to explore material properties and their correlation with the terms 'tectonic' and 'stereotomic.'

[ 80]

Design Process Shown through Traverse Section 5 1. Site Section 5

2. Fill Valley with Earth

[ 81]

3. Excavate & Raise

4. Determine Materiality

[ 82]

Site Section Collage [ 83]

1. Floating Deceptive Structure

2. Green Space Maintained

3. Historic Elements Hidden Below [ 84]

Quiet Spaces Giftshops

Li

Site Programming Collage Based on surrounding authentic spaces such as churches and deceptive activities like the Christmas Market, I created a sectional collage. Each 'permanent' space underground is paired with a 'temporary' space above.

Church Railway [ 85]

Service Corridor

Christmas Market/Fringe/Tattoo

Tickets

Dressing Rooms Department Stores

ibrary

Gathering/Piano BOH

Theatre

Unbuilt Edinburgh

Water [ 86]

Herzog Bernard & de Tschumi Meuron [ 87]

On the Park...

"

During the twentieth century we have witnessed a shift in the concept of the park, which can no longer be separated from the concept of the city. The park forms part of the vision of the city...The inadequacy of the civilization vs nature polarity under modern city conditions has invalidated the time-honored prototype of the park as an image of nature. It can no longer be conceived as an undefiled Utopian world-in-miniature, protected from vile reality.

-Bernard Tschumi | Excerpt from Competition Text

[ 88]

"

The Park TypologyÂ

- Parc de la Villette, Paris (Overall Layout)

[ 89]

Bernard Tschumi’s approach to architecture leans primarily on deconstructivism, whereby he locates problems and proposes alternative solutions through fragmentation. His innovative work sheds light on a different design approach, which steps away from the neo-classicism typically used during the 1980s. Through projects like Parc de la Villette, Tschumi demonstrates his process of dis-structuring – breaking down the concept of typical structural solutions to focus more on the overall composition. In a similar manner, I incorporated a purity to the form and materiality of the floating pods placed throughout Princes Street Gardens.

[ 90]

Site Axonometric: Placement of Clusters In reality, the locations of the clusters would be closer in proximity to the related key buildings/ spaces. For the purpose of my analysis, I kept my designed clusters contained within the designated strip of the gardens that I assigned.

For example, the "quiet spaces" above the railway would be closer to the New College Building as their function is based off university study spaces.

[ 91]

Key Nearby Buildings/Spaces Key historic and cultural spaces are represented in a concrete texture to symbolize their permanent presence. New College, Scottish National Gallery, and The Royal Scottish Academy provide invaluable education; Castlehill Reservoir, Princes Street Gardens, and Edinburgh Castle are visual reminders of key historic moments; and The Esplanade, St Cuthbert's Church, and Ross Bandstand create meaningful gathering spaces. The intent is to move these types of spaces underground and change their materiality to one that is more sustainable (wood) - a controversial decision.

Ross Bandstand (Outdoor)

Underground Theatre [ 92]

[ 93]

Proposed Princes Street Gardens West [Refer to image on the left] A depiction of what the gardens could potentially look like of they were to be filled with various clusters.

Pri

nc

Cleansing the Landscape [Removal of tacky tourist shops]

Hi

The intention behind the selection of programme within the 'temporary' pods is to figuratively 'cleanse' the nearby heavily densified streets [Princes Street and High Street] of the tacky tourist shops. This way the buildings which currently house these shops can regain some of their initial character.

gh

[ 94]

Str e

et

es

Str e

et

Princes Street

The Mound

Site Plan: Focus on Strip The studied strip with the seven clusters across it provides an example of what a portion of Princes Street Gardens could look like with clusters dispersed throughout.

[ 95]

High Street

Current Plan

Pods Roof Plan [ 96]

Excavated Plan

Material Deception

To match their programming, the temporary spaces above are built as easily interchangeable modular boxes, whereas the permanent spaces below are lined with thick stacks of timber.

The typically stereotomic stone is used in a tectonic manner for the ‘pods.’ Stacked timber beneath the earth also defies the material's conventional perception as a tectonic member.

[ 97]

[ 98]

The Hepworth Wakefield: A Precedent Study The intent behind the materiality selection for the museum stems from the surrounding brick and stone industrial buildings. Its simplistic form without a single dominant faรงade carefully blends in with its surroundings.

Angled walls allow for clerestory windows, flooding the interior with light. To address the River Calder that it banks, the museum gently dips down into one of the weirs, whereby water can crash against the concrete walls submerging the lower portion of the faรงade.

Concrete Massing Model I created a concrete massing model to gain a better understanding of the choice of material. The heavy massing blocks interlock into each other in a unique manner.

[ 99]

[ 100]

The Hepworth Wakefield | David Chipperfield Architects

[ 101]

Assembly Process: Individual Blocks

Percepton: Concrete vs. Wood Massing

The Hepworth's appearance and circulation can be defined through the process of putting each of the individual blocks together. For my concrete model I created ten unique blocks that each only fit into one specific spot.

The museum's heavy stereotomic massing is what inspired me to question the need for its association with concrete. Instead, I imagined the building as being constructed out of wood.

[ 102]

[103]

Concrete Facade Sectional Detail [At Window]

Concrete Facade Sectional Detail [At Grade]

This portion of the model was created to better understand the connection between solid and voids, especially in relation to sunlight. My explorations later informed my use of lightwells for my underground church.

This portion of the model helped me understand the connection between concrete and water. My explorations later led to a focus on water and wood, which is used throughout my underground church.

[ 104]

Perception: Concrete Tree Trunks

I created two collages to represent the inversion of materials, stepping away from their stigmatized perceptions.

[ 105]

Perception: Wood Slabs

The result was two spaces that are purely based on the experience created by materials instead of their structural properties.

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Original Conditions [Green Space] - Vegetation, Grass 1

Stone

Vegetation

Dystopian Intervention [Waverley Station] - Steel, Glass 2

Semester 1 Proposal [Megastructure] - Steel, Glass 3

Semester 2 Proposal [Individual Clusters] - Wood, Stone 4 [ 107]

Stone

Inverting Materiality Perception In accordance with Alberto Campo Baez, materials such as stone are seen as steretomic and wood as tectonic. My design attempts to challenge this notion and chance the stone cave and wood hut into the inverse.

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Connecting Programme Above & Below Ground This sketch model was created to help me establish the connection between the programming above and below grade. It also helped be visualize the heavy stone being lifted into the air like as a tectonic piece. The collage pictured to the right demonstrates the vertical and horizontal layers created by both the stone hovering above, and the wood layered below.

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Diagramatic Collage: Connection through Materials [ 110]

Model for Temporality: Concrete Pods

Sketch models were made to better comprehend the concept of lifting a heavier feeling material like concrete into the sky.

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Model for Temporality: Wood Pods

Wood blocks were used to demonstrate how wood can achieve the same feeling as the concrete, despite it often being labelled as a tectonic material.

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Forming a Dialect

Just as the connections between the deceptive and authentic spaces throughout Edinburgh are subtle, so too would the physical and visual connections between the 'floating pods' above and the submerged spaces below. Thin, vertical wood columns act as the lone indication of what lies above and below the ground plane. Their sporadic placement demonstrates the impermanence of the pods.

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7 Clusters Site Strip without Clusters

Site Strip with Clusters

Sectional Site Strip with Clusters

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Plan

S-N Section Facing West

S-N Sectional Perspective Facing West

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7 Clusters Sectional Perspective

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Giftshops

Church

7 Clusters Exploded Axonometric Permanent wooden spaces are tucked beneath the surface, whereas temporary stone modules are lifted into the sky.

Each cluster's pods are laid out based on the programme.

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Quiet Spaces

Service Corridor

Dressing Rooms

Christmas Market/Fringe/Tattoo

Tickets

Railway

Water

BOH

Theatre

Gathering/Piano

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Department Stores

Unbuilt Edinburgh

Focus on these 3 Clusters: 1. Church (light) 2. Theatre (sound) 3. Exhibition (space)

Sectional Axonometric Out of the seven clusters, I narrowed my focus down to three. I explored how wood could be used in a way that would focus on light and water for the church, sound for the theatre, and space for the exhibition.

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Light

Sound

The intent behind the design is to utilise wood for each of the underground spaces. In doing so, not only will the spaces be sustainable, but they will have the opportunity to showcase the ability of wood to create experiential architecture through aspects such as light, sounds, and space

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Space

3 Clusters Sectional Perspective Wooden columns extending from the pods above stop at grade but continue beneath the ceilings in a variance of ways based on programme below ground.

Church: Select columns reintroduced below ground as a reminder to the pods above.

Theatre: All columns reappear at the ceiling level and act as structu

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ural supports for acoustical ceiling panels.

Exhibition: A few rows of columns are reintroduced underground as a reminder of the unrealized plan to build a road with a colonnade along the edge of the gardens.

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Experiential Architecture

The essential shift in perception of both Princes Street Gardens and the use of materials can be achieved by focusing on how stereotomic and tectonic materials create an experiential space. This is contrary to the typical view of materials as structural solutions. The newfound perspective would enhance the experience of the user and aid in the revitalization of the dilapidated gardens.

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Kengo Kuma [ 127]

On Wood...

"

We should create a building that is a symbol of a new age, a new period of natural design.

- Kengo Kuma

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"

Wood & Sustainability

- Odunpazari Modern Art Museum

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Kengo Kuma is best known for this ability to seamlessly integrate his architecture into the surrounding nature and contextual culture.

His use of wood in projects like The Nest symbolize stability in a stereotomic manner.

Kuma’s portrayal of wood as a permanent material contrasts how it is typically perceived today. Kuma’s sustainable outlook of replacing concrete and steel with wood, no matter the scale, is something I incorporated into the clusters across Princes Street Gardens. His process of layering wood and lodging wood into each other is something I also integrated into my work.

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From Model to Design

Sketch models like this one helped inform design decisions such as the use of layered timber to act as load bearing and retaining walls beneath the surface.

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Sectional Perspective of Church & Giftshop Cluster [ 132]

Peter Zumthor [ 133]

Church & Giftshop Cluster Approach at Grade

Upon arriving at the church and giftshop cluster at grade, the viewer is met with a thin pool of water, retained from past rainfalls. It stands as a reminder to how the valley used to be filled with water (Nor' Loch). The water slowly drains down pipes located at the base of the timber columns until it reaches the church space below. The pods above resemble the clouds that often engulf Princes Street Gardens.

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Vestibule: Guided to entrance by glowing light from overhead light well.

Entrance to Sanctuary: Angled floor to represent procession to a highe

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er spiritual connection. Ceiling angled for focus on alter

View from Pews: Chancel lit by light from the overhead lightwell bringing the person's attention to the light of God.

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Lightwell Above Entrance: Horizontal members of wood are used to disperse the light allowing for increased focus on the lightwell at the front.

Lightwell Above Chancel: Vertical members of wood are used to focus the light on the chancel, and more specifically the alter. [ 137]

Sectional Perspective: Lightwells

The only two sources of light come from the lightwells located at the front and back of the church. The muted lighting allows for spiritual reflection. [ 138]

Plan: Church Layout

Section: Church Layout

The entire church is encased with a thick timber shell for protection from the surrounding earth. Everything within the church faces the alter at the front.

The central aisle slopes upward towards a stepped-up chancel. The increase in height represents the challenges one must face to obtain internal peace.

30m 1.5m

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Elevator Shaft Vestibule Confession Box Font

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Sanctuary Chancel Alter Lectern

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1

Lectern and seating for Alter Boy/Girl

Alter and seat for Priest

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Perspective Plan Each of the circles captures stereotomic, built-in furniture located throughout the church.

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Confession Boxes

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10m

This view was cut at three varying heights to capture the lightwells, sanctuary, and confession boxes/vestibule.

Pews

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Font

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Axonometric: Font & Chancel [Refer to Image on the Left]

With the walls behind the font and alter being continually exposed to rainwater, I decided to introduce a thin wood cladding to protect the stacked timber structural walls. Once the cladding gets too weathered it can easily be removed and replaced without damage to the structure.

Elevation: Font & Chancel [Refer to Image on the Right]

This graphic depicts the result of extended rotting of the wood cladding behind the font and alter. The visual reminds the individual of the natural decaying process of wood that continually takes place in nature.

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1.

2.

Timber Column at Grade Water collects at the base of the timber column and slowly seeps down the drainpipes.

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Timber Column at Ceiling The water from the drainpipes reaches the timber the wood cladding along the column to rot.

3. column within the underground church. It slowly causes

Timber Column at Floor The water eventually reaches the base of the column where there are two more drainpipes ready to release the water into the earth below.

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Water seeps down the wall reaching the font and leaving behind a stain of rotted wood. The water symbolizes the holy water found in the font.

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Light pours down the lightwell to bring a focus to the alter. The light symbolizes God's presence.

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On a rainy day, the outdoor water and heated floors results in steam subtly emerges from small gaps in the floorboards creating a relaxed atmosphere.

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When the sun is shining, it illuminates the interior of the pods through the translucent stone facades, creating a warm glow.

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Giftshop

Pod Axonometric

Pod Exploded Axonometric

6m

3m

Christmas Market Stall

3m

3m

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Sectional Perspective: Individual Pod

Each pod is designed as a flexible space to accommodate any type of programme. Their form and composition are designed for reuse, barring a change in function. Each pod is compiled of 3mm thick pieces of marble held together with a steel mullion system. They are ventilated through latches at the top of the mullions an electrical mat below.

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Reflective Conclusion Archiving the City As a whole, Archiving the City was very thoroughly laid out well and primarily well executed. It provided us with the opportunity to explore our own interests while still conforming to a brief.

The introduction of ‘stereotomic’ and ‘tectonic’ terminology was a strong foundation to construct our projects from. With the brief from semester one being too open-ended, the guidance and exploration through these terms helped ground my ideas. One of the major strengths for this studio were the options we were provided with: continue our work from semester one, change our site within Edinburgh, or switch to a site in Athens. However, I felt there was still a lack of connection established between Athens and Edinburgh. I feel that the studio would have benefited a lot more from further lectures or texts on this subject matter.

Pandemic Implications I would first off like to applaud and thank our professors for the handling of the unforeseen pandemic, specifically Ivan for his work as the MArch Degree Programme Director, and Christos as an extremely sympathetic and supportive tutor. The switch to working almost completely electronically has severely taken away from my design process. Without access to a printer, scanner, or workshop, my tangible talents, such as drawing and model making, have gone severely underused. Where I think the situation affected my project the most is through the technical explorations that could no longer take place. The ability to use models as exploration devices is vital to architecture (especially in a masters programme) and has left me desiring more from that portion of my project. Through further investigation of past tech submissions, it is very evident how the tech portion of the design became the focal point of the project; something that is undoubtedly missing from each of our submissions.

Moving Forward Throughout the semester I have focused on establishing strong concepts based on a thorough analysis of Edinburgh. In order to demonstrate these concepts, I focused on a strip of Princes Street Gardens, then on an individual cluster within that strip. In turn, the level of detail utilized for the underground church, could easily be applied to the underground theatre and exhibitions spaces.

The floating pods have the opportunity to further carry out the vital aspect of sustainability through possible changes in their programming. For example, upon giftshops potentially becoming obsolete in the future, the pods that once housed those giftshops could be turned into vertical farms, moving up or down based on environmental conditions. Ideally, I am hoping to find a way to incorporate this years design principles and ideas into my stage six thesis project.

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Thank you Jason Glionna