MA Interior Architectural and Spatial Design Final Thesis
SITE AND SELF:
EXPLORING SITE SENSITIVE DESIGN INTERVENTIONS THAT INTEGRATES CULTURES
Through this design portfolio, I aim to take you on my journey through the MA Interior Architectural and Spatial Design program at the University of Edinburgh and showcase how it has shaped my design sensibilities. Central to this exploration is my design project for the product ‘Aa-Du-Ku’. This project is an intersection of SELF and SITE, it weaves together elements of personal identity with the context of the Customs House in Leith.
As the project title suggests, this is an exploration into creating a low-impact modular design intervention at the Customs House in Leith, infused with the essence of my Tamilian identity. This endeavor is informed by studies cultural and societal influences on design, self-expression in design along with case studies and relevant precedents, site analysis, and iterative physical design processes. These elements culminate in a condensed catalog showcasing the final product and the outcome is tested by inserting this product in different sites to see if it can adapt itself to the contexts.
Finally, I invite you to explore the culmination of this journey through our final exhibition, PERSEVERE at the Customs House in Leith. This exhibition not only reflects our collective design process but also highlights the intricate connections between site and self within the broader context of spatial design. It serves as a testament to how our personal identities and the environments we inhabit continually shape and influence our creative endeavors.
Me Objectives and anticipated Outcomes Methodology
SELF
Customs House Region study
Customs House Building Study Historical Context SWOT
INTERVENTIONTHINNAI Introduction Physical Articulations Thinnai and the Customs House Intervention
DESIGN EXPERIMENTS
Studying Visual Landscapes. Playing With Forms Anthropometry Study Design Reflections
DESIGN DETAILING Detailed Drawings Detailed Model Product Catalogue
Prescedent Study Identity and Function Allocation Concept Proposal Design Details Design Prototyping Content Manager Setting up Doors Open Interactions Wrapping
MA Interior Architectural and Spatial Design
Coming from a completely different part of the world, I moved to the UK to pursue my MA in Interior Architectural and Spatial Design, seeking not just an education but a well rounded life experience.
Before this, I worked for eight months as an architect in India. Surprisingly, the site taught me more than my five-year bachelor’s degree ever did. I loved interacting with vendors and contractors, witnessing the evolution of a building from barren land to completion. However, despite this, my work life felt unfulfilling. The culture of merely replicating Pinterest images stifled creativity, and the work itself, along with the pay, lacked excitement. The only thrill I found was in the independence of living on my own for the first time.
I decided that moving to a different country would amplify this sense of independence and present new challenges. My goal in the UK wasn’t just academic; I sought holistic growth as an individual. I wanted to live alone, manage my responsibilities, and truly immerse myself in the experience. And I did exactly that—balancing studies, cooking, cleaning, and navigating everyday life. However, what I didn’t anticipate was the profound sense of design freedom this program would grant me.
This course had an all-embracing approach to design. The term “viewing through lenses” was a recurring theme, and it truly shaped how we approached our projects. We learned to examine design from multiple perspectives, starting with the “Reading Interiors” course that redefined spaces for me, all the way to the final synthesis course, which gave me the freedom to explore any subject.
From the very first day, I was introduced to a new approach. During a simple exercise in the studio, a classmate suggested an unconventional way of displaying posters by turning tables upright. While some of us hesitated, unsure if it was a good idea, he said, “Let’s do it first and then see what happens.” This moment set the tone for my entire design journey here. Gone were the days of worrying about whether a design could be modeled in software, whether it would increase deliverables, or if contractors and engineers would approve. I learned to embrace experimentation—designing first and learning through both success and failure.
Throughout the year, I explored diverse projects: creating detailed models, casting staircase treads, and even crafting toys in the metal workshop. The university’s facilities, coupled with the passion of my peers and faculty, continuously pushed the boundaries of design. For someone who rarely picked up a book before, having my wild design ideas supported by theoretical knowledge was a revelation.
After this year-long journey in a new country, I feel liberated as a designer. I have emerged as someone unafraid to experiment, to push boundaries, and to embrace the unknown.
is an image of my peers and me turning a fully assembled exhibition stand upside down. This symbolizes my design journey and the lessons I’ve learned about being fearless and embracing experimentation.
Above
“If you talk to a man in a language he understands, that goes to his head. If you talk to him in his language, that goes to his heart.”
-Nelson Mandela, At home in the world: the Peace Corps story, 1996
The lenses through which I perceive spaces are colored by my personal experiences. Just as an economist views the world through numbers, and market conditions, and a musician through pitch, and harmonies, I view it through the lens of my design principles and philosophy. Since one of the key aspects explored in this project is the expression of personal heritage and identity, it’s important for me to provide you with a brief description of who I am and what I consider my identity to be.
Hello, Im Roshini.
I am a native Tamil speaker, born in Chennai. I pursued my undergraduate studies in architecture in Mumbai and since then, I have lived in four different cities across two countries. Living away from my hometown has made me realize the importance of remaining anchored to my cultural roots. My connection to my mother tongue is stronger than my gender identity, nationality, or religious identity, as it embodies the essence of home for me.
Moving to different cities has also exposed me to diverse people and designs from various cultures and heritages. This experience has taught to stay connected to my cultural roots while embracing diversity and adapting to new environments. My work is always user and site-driven, incorporating vernacular elements to create meaningful spaces. Throughout my design journey, I’ve noticed that my cultural roots subtly influence my decisions. This project offers me the opportunity to consciously bring these cultural elements to the forefront, integrating them into the site at Leith.
Figure 1: Collage about me
INTRODUCTION: Objectives and Anticipated Outcomes
The title of the project itself can be distinctly divided into SITE and SELF.
Objectives for SITE:
To study the site through various lenses and scales.
To analyse the needs of the site.
To design a non-intrusive design interventions.
To integrate the essence of Leith into the design.
To develop an intervention that is dynamic and with repeat value that can adapt to similar and different sites.
To detail out the intervention thoroughly.
To test the intervention in other similar and different sites.
Objectives for SELF:
To define what self is.
To study and analyse how self is reflected in design.
To study and analyse instances of incorporating self in design
To analyse how can self be incorporated successfully in spatial design.
Anticipated outcome:
The anticipated outcome is to design an adaptable spatial intervention that aims to blend traditional Tamil architectural elements with the unique requirements of the Customs House waterfront in Leith.
Note: The title change from ‘Exploring low-impact modular design interventions that integrate culture’ to ‘Exploring site-sensitive design intervention that integrates culture’ reflects a deeper reflection on my aims and process. The focus on low-impact and modular design emerged after site analysis, while the overarching theme remains site sensitivity.
Background Research:
Study the site, relevant theories, and academic papers.
INTRODUCTION:
Precedent Study:
Analyze similar design interventions to draw relevant inferences.
Design Experiments:
Develop various design concepts through sketches and physical models.
Refine designs based on feedback and insights.
Design Development:
Produce detailed plans, sections, and technical drawings for the final design.
Product Catalogue:
Create a catalogue detailing the design for replication at similar sites.
Figure 2: Collage on methodology.
Sir Patrick Geddes coined the phrase “Think Global, Act Local.”
(Partnership 2020)
I interpret this to mean that designing even a local intervention requires understanding its connection to a much larger context. This section of my portfolio is inspired by this idea. I study the ‘SITE’—the Customs House—through various scales and perspectives. The aim is to determine the most beneficial intervention for the Customs House and to identify the design principles I should follow to achieve this.
The research conducted in this section is part of my ‘Connecting Interiors’ course. Looking at it through a different lens now, I have drawn slightly different inferences from the initial findings.
Connecting Interiors
In the Connecting Interiors course, I extensively studied and analyzed Customs House and its surrounding region, along with the stakeholders of Leith, to devise a master plan that would honor both the site and the community. Using the Citadel Youth Centre as my flagship stakeholder, I proposed a vocational training center supported by the Edinburgh Tool Library, the Edinburgh Gurdwara, and the Citadel Arts Group.
My effort aimed to restore Customs House to its former glory in terms of experience, program, and visual appeal, transforming it into a center where the youth of Leith can strive for excellence. The new design seamlessly connects the old with the new, the outside with the inside, and the community with the structure through an innovative continuous staircase
Figure 3: Design proposal for connecting interiors project.
LANDUSE ANALYSIS
ECOLOGY ANALYSIS
TRAFFIC ANALYSIS
HEAVY TRAFFIC
LIGHT TRAFFIC OFFICES
RESTAURANTS HOTEL
RESIDENTIAL
LANDUSE ANALYSIS:
There are commercial spaces like restaurants and retail stores that predominantly face the roads.
WATER BODY
PEDESTRIAN ANALYSIS
ECOLOGY ANALYSIS:
There is a lot of unbuilt space around customs house but there is a need for greenspaces.
TRAFFIC ANALYIS:
The commercial street has a lot more traffic and wouldn’t be ideal for a main entrance since it directly faces the traffic.
PEDESTRIAN ANALYSIS:
There is more pedestrian activity near the waterfront area.
INFERENCE:
With more pedestrian activity and no vehicular traffic, the customs wharf emerges as a stronger entry point into the customs house.
The typology of users mostly contains users looking to relax and have leisure time. This is evidenced by the numerous restaurants and cafés located nearby.
There are open spaces around the customs house but it requires more green or landscaped spaces.
MOVEMENT CONFIGURATION:
MOST-LEAST MOVEMENT
INFERENCE:
The side of the Customs Wharf offers an excellent view of the waterfront. The farmer’s market is also an open and Landscaped space that offers good views.
There is maximum overlap in the central portion of Customs House showcasing the potential for a central public space but the entrance with the maximum influx of people cuts through it. Having the entrance along this horizontal central belt i.e. either from the farmers market side or the customs wharf will benefit the structure.
View 1
View 2
View 3
VIEWS FROM SITE:
Figure 4: Site analysis maps
Figure 5: View from the wharf
Figure 6: View of commercial st
Figure 7: View of Leith Market Figure 8: Movement Configuration map
Source: (SHBT, 2022)
Wark destroyed by fire.
1560: Mary of Guise moves government to Leith causing it to be besieged.
1811-1813: Leith Custom House, designed by Robert Reid (the King’s Architect and Surveyor in Scotland) constructed for the Board of Customs and Excise.
1980: Custom House is acquired by the National Museum of Scotland and is used almost exclusively for storage.
2015:
NMS move to purposebuilt storage facility. CEC acquire building and SHBT awarded short term lease for “meantime” use.
Figure 9: Timeline of Customs House
I created a brief timeline of the history of the Customs House to understand its historical context. This timeline reveals that the role of the Customs House has changed significantly over the years. It has experienced various high and low points and is now ‘dormant,’ ready for its next chapter.
Significant building: Valuable historical and architectural heritage.
STRENGTH
Footfall: The immediate context of the building is full of cafes and restaurants. These tracts a lot of footfall.
WEAKNESS
Category A building: The custom house is a category A listed building hence a lot of altercations cannot be made to the building.
Load bearing walls: Most of the walls are load bearing hence spaces can’t be expanded.
OPPERTUNITY
Waterfront: The building faces the water of Leith which provides a great view and waterfront.
THREAT
Category A building: The custom house is a category A listed building hence a lot of altercations cannot be made to the building.
1683: King’s
The Custom House moves to a new building in Tolbooth Wynd.
Figure 10: SWOT analysis of the customs house
Manifesto for the intervention based on
SITE
1. Respect the Existing Structure:
The intervention must enhance, not overshadow, the beauty and historical significance of the existing building.
2. Ensure Congruence with Existing Structure:
The intervention should harmonize with the existing structure, maintaining architectural cohesion.
3. Attract and Engage Users:
The intervention should strategically attract visitors to Customs Wharf and Custom Lane, enriching their experience.
4. Provide Leisure Spaces:
The intervention must offer leisure spaces that cater to the needs of the surrounding community.
5. Maintain Structural Integrity:
The intervention must be non-intrusive, preserving the original building’s structural integrity.
6. Utilize Waterfront Potential:
The intervention should take full advantage of the site’s waterfront potential, enhancing its natural appeal.
“Objects surely don’t talk? Or do they? The person in that living-room gives an account of themselves by responding to questions. But every object in that room is equally a form by which they have chosen to express themselves. They put up ornaments; they laid down carpets. They selected furnishing and got dressed that morning. Some things may be gifts or objects retained from the past, but they have decided to live with them, to place them in lines or higgledypiggledy; they made the room minimalist or crammed to the grills. These things are not a random collection. They have been gradually accumulated as an expression of that person or household.”
(Miller 2008)
The research presented here is based on tasks and lectures from the “Reading Interiors” course.
Reading Interiors was the course that laid the foundation for all the other courses in this program. The insights gained from this course underpinned the concepts of all the others. In Reading Interiors, we studied spatial theories and experimented with the concept of an “Interior” through various mediums and lenses. At the end of the course, we were asked to define an “INTERIOR” based on our inferences and reflections. The image below is an illustration of my definition of an “INTERIOR.”
This image is composed of the Tamil word for interior ‘Utpuram’, the Tamil word for exterior ‘Velippuram’, and a question of whether it is an interior or exterior ‘Velippuram?Utpuram?’ The image creates the perception of a space by using planes composed by words. Through this, I wanted to show how there aren’t necessarily any boundaries marking out an interior. This is something I have learned after my first iteration of the definition at the start of the course. The use of Tamil words is to depict the subjective nature of perceiving an interior depending on personal experiences and ideologies.
Figure 11: Image showcasing my definition of an ‘Interior’.
SELF: How Self Makes a Space.
SELF: How Self Perceives a Space.
As part of the “Intersectional Interiors” task during the Reading Interiors course, we studied the artist’s studio at Customs House. The aim was to explore how positions in an interior can shape the experience of a space. Through this study, we observed how the artists had transformed the space for their own use, so much so that it no longer resembles the historic room from the 1800s.
From the customized artistic furniture to the anthropometrics of these furnishings and the artworks gilded onto the walls, the space is completely transformed into the artist’s abode. This raises the question: are these users designers? Architects? Interior designers? They made this space their ownby simply inhabiting it.
“Clinathi Nizhal (Spider shadow): The shadow cast on the curved wall by the dimly lit chandelier makes the whole space eerie. The ancient-looking fireplace and door design simply adds to it.”
-Roshini Vimalanathan
“ The absence of windows means that all the light comes from artificial sources, so that the “shadow” becomes a variable spatial element. Opening the door of the closet leads to a hidden corner waiting to be discovered. ”
-Xinyu Zhang
These are interior aspect sketches that we were tasked to create in the Reading Interiors course. Although my peer Xinyu and I sketched the same space in a similar style, the sketches are a product of different feelings evoked in each of us. Mine was about a dingey scary observation, hers is more inquisitive. This variation could be due to factors such as our beliefs, past experiences, or even our moods on that day. Spatial perception is inherently subjective.
Figure 13: Interior aspect sketch by Roshini Vimalanathan
Figure 12: Image studying positions in spaces
Figure 14: Interior aspect sketch by Xinyu Zhang
SELF: How Self is Reflected in Design.
In disseminating design practices we learnt a term called Free association’.
Christopher Bollas, a psychoanalyst defines free association as ‘that which occurs when we think by not concentrating on anything particular, and where the ideas that emerge, which seem to the conscious mind to be disconnected, are instead related by a hidden and unconscious logic’.
(Bollas 2002)
Unlike disciplines grounded in systematic analysis and tangible principles, design thinking is rooted in a nuanced understanding derived from past experiences and empathetic engagement. Design thinking is rooted in the idea of ‘knowing’.
Charles Eames designed the Eames Lounge Chair and Ottoman to evoke the comfort of a well-used first baseman’s mitt. This iconic American reference resulted in a universally appreciated piece of mid-century furniture.
(Kirkham 1995)
Apple’s Health app, released in 2014, initially failed to include menstrual cycle tracking, a crucial health aspect for women. With nearly 70% of Apple’s staff being men, they overlooked the needs of their female audience. After user feedback, Apple redesigned the app to address this. (Helsinki Design Weekly 2020)
Courtyards in Chinese Architecture:
The Siheyuan
Symbolic Significance
In the traditional Chinese Siheyuan, the courtyard symbolizes the balance of yin and yang, harmonizing built and open spaces.
Cultural Context
The courtyard reflects Chinese social hierarchy, with the senior male family member’s room positioned at the top. This layout reinforces familial respect and order, embodying Confucian values.
(Zbigniew 2020)
REFLECTION:
These two cases exemplify how designs are influenced by the specific circumstances, feelings, and backgrounds of their creators. One design was a success, while the other required significant revision.
Eames successfully translated a specific American comfort into a universal design, while Apple initially failed to consider the diverse needs of its users.
From these examples, I learned that universal experiences can be integrated into designs, but it’s crucial to adapt them to specific user needs. I will explore this further with architectural examples.
Courtyards in Islamic Architecture:
Symbolic Significance
The courtyard connects the sky, earth, and light, symbolizing the Quranic verse, “Allah is the light of the heavens and the Earth.” This open space connects the earthly and the divine. (Dwidar et al. 2022)
Cultural Context
Courtyards serve as central spaces in mosques, homes, and schools, transitioning from semi-public to private areas. For example, in the Diwan-i-Aam, screened upper floors allow women to observe proceedings privately, reflecting societal norms about gender and privacy.
(Husin 2016)
To illustrate the universality of design and its varied effects in different cultural contexts, we can examine the architectural element of courtyards. Courtyards have been integral to human habitats in regions such as India, the Middle East, China, North Africa, and ancient Greece and Rome. The primary appeal of a courtyard lies in its ability to provide thermal comfort, light, and ventilation to surrounding spaces. Additionally, courtyards serve as effective dividers of space, acting as transitional areas within spatial arrangements.
REFLECTION:
Certain design elements possess universal characteristics. However, their effective implementation requires adaptation to the specific cultural and environmental context of their location to meet the needs of users successfully.
Figure 15:
Top: Eames lounge chair
Middle: Baseman’s Mitt
Bottom: Heath App
Figure 16: Courtyard of The Siheyuan house with the matriarch’s house right on top
Figure 17: Courtyard of typical Diwan-i-aam with the King’s throne on top
Manifesto for the intervention based on
1. Personal Connection:
The intervention must originate from my identity, culture, traditions, and experiences, reflecting what I value.
2. Universal Resonance:
While rooted in my personal perspective, the intervention should resonate with people universally, creating a broader appeal.
3. Adaptability:
The intervention must be based on flexible concepts that can be adapted to various sites and contexts.
4. Collective Expression:
The intervention should empower people to make it their own, allowing a reflection of a collective SELF rather than just mine.
INTERVENTION: Thinnai
After studying the site and exploring how to integrate personal elements into design, I concluded that a “thinnai” is an ideal intervention for this project. The site analysis showed that the Customs Wharf has significant potential to enhance Customs House by attracting more visitors. This flexibility allows Customs House to accommodate various functions, such as a community center, art exhibition, or museum—similar to the projects we explored in the Connecting Interiors course.
The thinnai, a traditional Tamil architectural element, is a sit-out space at the entrance of a building, serving as a transition, pre-function, or resting area. Here’s how the thinnai aligns with my manifesto for SITE and SELF:
1. Respect and Enhance the Existing Structure:
The thinnai complements Customs House without detracting from its original architecture.
2. Ensure Integration with Existing Architecture: Its flexible form integrates smoothly with the current structure
3. Attract and Engage the Community:
The thinnai encourages community interaction and increases foot traffic.
4. Provide Relaxation and Leisure: Positioned by the waterfront, it offers a peaceful space for relaxation.
5. Maintain Structural Integrity:
Designed as a non-intrusive addition, it preserves the building’s structural integrity.
6. Utilize Waterfront Potential: It maximizes the scenic views of the Water of Leith.
7. Personal Connection:
The thinnai reflects traditional Tamil house architecture, linking to my cultural heritage.
8. Universal Appeal: While it holds personal significance, the thinnai resonates with a broader audience.
9. Adaptability:
The design is versatile, allowing it to be adapted for various sites and contexts.
10. Encourage Collective Expression: It invites people to make the space their own, reflecting a shared sense of identity.
Design, Play and Games
Design Play and Games was an elective I chose during my first semester. In this course, we explored various game types, themes, and their design elements.
For the final project, we had to design our own game and write an essay analyzing two games, focusing on their similarities or differences. My essay, titled “Dystopian Worlds with Real Problems: How Does the World Building in Bioshock (2007) and Bioshock Infinite (2013) Educate Us About the Outcomes of an Objectivist and Subjectivist Society?”, examined how these two games construct narratives of two distinct worlds.
In the essay, I discussed how the Bioshock games use visuals, nonplayer characters, game rhetoric, and player choices for world building. Although both games belong to the same franchise, they create distinct worlds through their design.
“Rapture uses architecture and infrastructure as a visual aid to build the narrative of the game, Columbia’s strongest visuals are the posters, billboards, and other popular artwork used throughout the city. Comstock is a self-proclaimed prophet of Columbia. Aspects of his religion hold a close resemblance to Christianity. This idea is further reinforced by how he is represented in the artworks of Columbia. He is always showcased with a halo behind his head to indicate a divine force. This is accompanied by texts that depict him as a saviour.” (Vimalanathan 2023)
Above is an excerpt from my essay that explains how the design of a game can subtly influence your opinions and help you understand the world better. I noticed that this is similar to spatial design, where certain architectural elements influence behavior subconsciously. Inspired by this approach, I aim to study both the tangible and intangible qualities of the Thinnai and incorporate these elements into Customs House.
The “Thinnai” is a raised plinth typically found at the entrance of traditional South Indian homes, functioning as a shaded verandah. This space marks the transition from the outdoors to the indoors. (Sadanand and R. V 2020)
Historically, it served multiple purposes: providing a resting place for travelers seeking relief from the heat, facilitating social interactions among neighbors, and even hosting traditional schools known as “thinnai pallikoodam.” Additionally, it acted as a passive cooling element for the rest of the house. (Sunder 2023)
Yatin Pandya, in “Elements of Spacemaking,” explores the physical articulation of architectural elements within the transitional spaces of Indian vernacular architecture. He examines fundamental architectural components such as Column, Floor, Wall, Door, Window, Stair, and Roof, which are intrinsic to both local culture and geographical context. (Pandya 2014)
Let’s deconstruct the parts of a Thinnai using these elements and study its articulations.
Threshold
Delineation
Pause and move
Boundary
Seating
Place of importance
Figure 19: Image of a Thinnai where school was being conducted
Figure 20: Spatial configuration of a ‘Thinnai’.
COLUMN AND ROOF SERIES OF COLUMNS
THINNAI:
Thinnai and The Customs House
PHYSICAL COMPOSITION:
The architecture of the Customs House incorporates elements reminiscent of a ‘Thinnai’. The main entrance features a raised plinth and a pediment supported by columns, echoing the form of a Thinnai
Thinnai and The Customs House
FUNCTIONAL COMPOSITION:
The functions of the Customs Wharf closely resemble those of a Thinnai. It serves as a transitional space for people moving between the wharf, Customs House, and Customs Lane—a place for people to pause, relax, sit, and enjoy the view.
Figure 21: Physical and functional composition of the customs house and thinnai.
THINNAI: Intervention
INTERVENTION:
Building on my initial research and analysis, I propose creating a public space at the Customs Wharf designed as a Thinnai leading to the new entrance of the Customs House on the east end. This area will serve as a relaxing leisure space, embodying design principles outlined in the portfolio—such as being non-intrusive, low-impact, harmonious with historical elements, and integrating modern features.
STUDY
Now that I have established my design principles and identified the characteristics of the intervention, I have chosen to study a structure that aligns with these as a precedent.
Figure 22: Site chosen for intervention
Transforming Threshold Spaces:
The installation was set to create a public extension of the building itself onto the pavement, inviting more people into the building. This created an interesting urban scape that assists the host building. This also challenges the definition of ‘interior’ by creating a bridge between RCA and the adjacent street. This site condition is similar to that of my proposed site for the synthesis project.
KEY INFERENCE:
The form of the structure doesn’t overpower the façade of the building. It is cohesive to it.
The installation doesn’t obstruct the way of the pedestrians but they have to walk through the structure allowing them to interact with it.
Typology: Public Installation
Architects: SO?Architecture and Ideas, Istanbul.
Location: Royal College of Arts, London.
Year: 2015 (Howarth 2015)
Colours and Materiality:
The installation has a strong colour palette that stands out from that of the host building. It is a more modern colour palette when compared to that of the building. The material used in the installation is ceramic by turkishceramics. Geometric patterns using ceramic tiles are very commonly used in Turkey and other Middle Eastern countries.
Integrating culture:
The form of the structure is inspired by a typical Islamic architectural element called ‘Muqarnas’ which are a triangular geometric pattern that are extrapolated in 3D to form a vaulting pattern.
KEY INFERENCE:
The use of modern colours to make it stand out in the grand host building.
The choice of material is reflective of the culture of the country of the designer but is integrated to the context of the site.
KEY INFERENCE:
The integration of typically Islamic elements of design into a classical British style of architecture is unique. This is achieved by mirroring the colonnade facade of the building to the columns created by the installation to create a similar effect.
Figure 23: The structure gradually builds up hence doesn’t overpower the structure in the backdrop.
Figure 24: The massing of the structure mirrors the columns of the host building in the backdrop.
Figure 25: Unexpected Hill at Royal College of Arts.
To begin conceptualizing and structuring the intervention, I plan to conduct several experiments and draw insights. Given that this intervention is highly visual and physical, the experiments will primarily involve sketching and model making. These methods will help refine the design and guide its development through tangible, iterative processes.
Culture and Performance in the History of Construction
This is an elective course focused on vernacular construction technology across Scotland. This course provided a comprehensive understanding of various techniques, including their historical, political, and evolutionary contexts.
For our final project, we created a 3D model and detailed report on one of these technologies. My group—Supapit Tangsakul, Yihan Nie, Yiqing He, and I—chose to study the Pencheck staircase from Customs House. We examined the history and mechanics of this type of staircase, built a model, and tested its structural integrity under various conditions.
The process of experimenting with a physical model and simulating various scenarios to study its behavior closely mirrors the upcoming steps in this project. This method will be instrumental in further refining my design, allowing me to test and adjust it based on real-world simulations and insights.
Figure 26: Experiment on the load distribution in a pencheck staircase.
Figure 27: Experiment on the cantilever of the staircase.
Figure 28: Experiment that caused the staircase to fail.
DESIGN EXPERIMENTS: Studying Visual Landscapes.
For my initial experiment, I explored shapes from the visual landscape of Customs House and Tamil culture to sketch different permutations of seating arrangements.
DESIGN EXPERIMENTS: Studying Visual Landscapes.
Although my project is rooted in culture and heritage, it has a distinctly physical outcome. I drew inspiration from the Customs House site and Leith. The form of Customs House, composed of basic shapes like triangles, semicircles, and rectangles, inspired me to play with these shapes in my design.
Gopurams, key features of Dravidian temple architecture, are tall, grand entrance gateways adorned with intricate sculptures and vivid colors. They resemble a series of reverse corbelled rectangles. Also an arrangement of basic shapes.
Leith is known for its vibrant graffiti and wall murals, which are integral to its cultural landscape. Inspired by this, I plan to create an engaging composition for the public promenade at Customs House, blending basic shapes with the colorful essence of Leith’s artistic expressions.
Figure 20: Sketches of different arrangements of basic shapes
Figure 29: Studying similarities in the visual landscape of customs house and Tamil temple architecture
Figure 30: Studying the colours in Leith’s murals and graffities.
DESIGN EXPERIMENTS: Playing With Forms DESIGN EXPERIMENTS:
As the next step I sourced some wooden playing blocks and used them to experiment various permutation and combination.
I also tried to replicate the tower like form of gopurams.
INFERENCE:
I found the permutations to be endless and realized the need for self-imposed rules or order to refine my design.
OBSERVATION:
Rotating a single piece on its axis changes its utility, suggesting potential for creating a more interactive public space.
NEXT STEP:
Based on the previous observations and inferences, I chose to stack blocks on a central rod, allowing rotation to generate various permutations.
To add structure, I arranged the rods in a geometric pattern inspired by the traditional South Indian Kollam design, characterized by dots arranged in geometric formations.
I began by cutting sponges into the required block shapes—cubes, cuboids, pyramids, etc.
Next, I drew the grid I wanted to follow, marking the points where the rotating axes would be placed.
To simulate the rotation, I skewered the sponge blocks and fixed them onto the grid, then attempted to replicate the SketchUp model.
REFLECTION:
The sponge isn’t rigid enough to maintain the shape of the blocks.
The grid needs adjustment to accommodate the rotating axes of the blocks.
Figure 31: Trying different arrangements of blocks to form different seating spaces. Figure 32: Arranging blocks to create a tower like structure.
Figure 33: Cutting up the cleaning sponge.
Figure 36: Skewing the blocks together.
Figure 37: Inserting skewers onto the grid. Figure 38: Inserting skewers onto the grid.
Figure 39: Trying to create a massing with these blocks.
Figure 40: Trying to create a massing with these blocks.
Figure 41: Form developing process.
Figure 34: Cutting it to desired dimension.
Figure 35: Drawing the grid with demarcation of the insertion points.
DESIGN EXPERIMENTS: Anthropometry Study
To study the anthropometry of the blocks for constructing the thinnai, I decided to simulate the design in real life. I cut holes in cardboard boxes and slid them through a metal framework, mimicking the effect of sponge blocks rotating on skewers.
Using standard measurements—450mm for seating height and 750mm for table height—I aimed to create a configuration as close to these dimensions as possible.
I then tested various configurations to explore various ways the structure could be used.
DESIGN EXPERIMENTS: Anthropometry Study
REFLECTION:
During testing, I found the table height to be uncomfortable. Typically, the difference between the seating height and the tabletop is 300mm (750mm - 450mm), but in my simulation, it was 440mm (880mm - 440mm). This discrepancy needs to be corrected and reduced in the final design to ensure user comfort.
Figure 42: 1:1 experimentation using cardboard boxes and exhibition stand.
Figure 43: Sizes of the cardboard boxes used in the experiment.
DESIGN EXPERIMENTS: Anthropometry Study
DESIGN EXPERIMENTS: Anthropometry Study
I tried various configurations it was interesting to see how the blocks could be used. I also got a friend along to see how multiple people can use it together.
REFLECTION:
It was fascinating to observe how the blocks transformed in terms of their purpose in multiple ways. They were also really fun to move around and play with.
However, when stacking three blocks, it felt precarious due to the prototype being made of empty cardboard, which wasn’t very strong. If the blocks were made more solid, I would have felt more comfortable.
Despite this, I believe that stacking beyond three blocks is unsafe for public use, so three should be the maximum allowable stack height. For larger-scale designs, these blocks could be used as plant pots or fixed elements that cannot be moved or climbed on, ensuring safety.
Figure 44: 1:1 experimentation using cardboard boxes and exhibition stand.
DESIGN EXPERIMENTS: Design Reflections
After conducting 1:1 scale experiments, I’ve established some guidelines for detailing the final product. These guidelines cover the form, mechanism, and dimensions of the blocks.
Block Size and Configuration:
I’ve determined that each block should measure 400mm x 400mm, which provides a stackable design and closely aligns with standard, comfortable heights. This dimension ensures usability and comfort, and while the final size may vary slightly with the addition of fixing details and hardware, the overall dimensions should remain effective for the intended purpose.
DESIGN EXPERIMENTS: Design Reflections
Cantilever:
The cardboard boxes used in the prototype lacked structural integrity and could not support weight in a cantilevered position, causing them to slope downward. This issue needs to be addressed in the hardware stage to ensure stability and strength.
Seamless Rotation:
While seamless rotation is beneficial, it causes the blocks to move when someone leans against them. To prevent this, a mechanism for adding friction or brakes should be incorporated into the design to control movement.
Bending:
The prototype’s empty cardboard boxes tended to bend under load, indicating that the final design must use materials with adequate strength and durability to prevent bending.
Block Arrangement:
When arranging two blocks adjacent to each other, there will naturally be a gap between them. This is because the diagonal length of a cube exceeds its side length, preventing a seamless connection. This gap should be considered in the design.
Wobbly Rotation:
The rod tends to rotate with the blocks, leading to wobbly rotation. This issue needs to be resolved to ensure the rod remains stable and the blocks rotate smoothly.
Materiality:
Recycled plastic emerges as an excellent material choice for outdoor furniture due to its durability, environmental benefits, and resilience. Here’s why it’s a strong contender:
• Eco-Friendly
• Will Never Rot, Crack, or Splinter
• Waterproof
• Less Maintenance Required
• UV and Chemical Resistant
Figure 45: Fixing the sizes for my sitting blocks based on the anthropometry study.
Figure 46: Studying the rotation of the blocks and how it affects the distance between them.
Figure 47: Recycled plastic sample blocks.
Figure 48: Design inferences based on 1:1 experimentation.
DESIGN DETAILING
Now that I have established my design guidelines and principles, I plan to keep them in mind while designing and detailing the final product. My goal is to ensure the product’s functionality and feasibility while allowing for customization according to site constraints. By thoroughly detailing the working mechanisms, I aim to create a versatile design that adapts to different environments.
Adapting Interiors
Adapting Interiors was about looking at Customs House and the Leith community through a much more detailed lens. It was all about the little things. Each of us was given an object that holds cultural and historical significance to the Leith community. Our task was to design a display for this object at a site inside Customs House of our choice.
We had to research the object and study the site, coming up with a display design that does justice to the object’s heritage, the site’s history, and the users who will experience this exhibit.
We created deliverables that included a detailed set of drawings showcasing all the fixing details and architectural drawings of the display design. This process resonates with the next steps of my design project, where I will be detailing the product in terms of its hardware and assembly and creating a product manual for it.
Figure 49: Concept sketches for detailing the design.
Figure 50: Detail drawings of suspending the lifebuoy from the ceiling.
Figure 51: Images of my adapting interiors model.
DESIGN DETAILING:
SS base plate that is welded to the rod length of your choice is bolted to the ground at desired location using SS concrete screw.
Insert the bearing followed by the block of choice through the rod and bolt it to the block.
BLOCK
Insert the bearing on top of the block and bolt it to the block.
Repeat the same process for desired number of blocks to be stacked.
The stopper cap features a spring pin, which can be pulled out halfway to rotate each block and released back into place to fix it in the desired position.
Stainless steel rods are available in various lengths, depending on the number of blocks to be stacked. The rod lengths can also be customized based on user preferences, providing flexibility for different design requirements.
CUBE BLOCK RECTANGULAR BLOCK ARCHED
Figure 52: Assembly process of my product.
Figure 53: Various lengths of the rods that can be customised.
DESIGN DETAILING: Detailed Model
Detailed model: To study look and feel
After the sponge and skewer model failed, I decided to create a more structurally sound model to study the product’s functionality.
I drafted an open projection of the blocks and laser cut them out of cardboard. I then folded them and stuck them together.
To simulate the appearance of the final product, I painted the pieces in bright colors.
REFLECTION:
This model boosted my confidence in the structural integrity and form of my final design.
I then ordered a skateboard bearing with the appropriate internal radius and 3D printed the blocks using the university’s facilities, ensuring they had a depression to accommodate the bearing. After fixing the bearing into the block, I attempted to assemble the model.
Unfortunately, the rod was too large to fit through the bearing, preventing me from achieving the final result I envisioned. However, I still stacked the blocks onto the rod to explore how they interacted with each other.
Detailed model: To study working
Once I had finalized my design details, I set out to create a small-scale model with all its working parts.
REFLECTIONS:
This experiment reassured me that theoretically my product will work even if this scaled model failed because of a small error.
First, I used the metal workshop to weld the rod to the base plates, scaling down all dimensions from the detailed drawings.
Figure 54: Using the cardboard box and skewer arrangement in different ways.
Figure 55: Left-Right: Cutting up the base plate, sanding the rods, welding the rods to the base plates.
Figure 56: Skateboard bearings. Figure 57: 3D printed square block. Figure 58: 3D printed triangular block.
Figure 59: (Left) 3D printed rectangular block. (Right) Rod welded to baseplate
Figure 60: (Left) Block with depression for inserting bearing. (Right) Block with the bearing inserted.
Figure 61: Play with the stacked boxes by rotating them on the axis of the rod.
DESIGN DETAILING:
Product Catalogue
I named the product AA-DU-KU since in Tamil the word ‘Aaduku means to stack. I gave it an expansion based on the best description of the product.
AA- Adaptive Aesthetic
DU- Dynamic Use
KU- Kultural Uplift
I created a product catalog for my product to make it more user-friendly.
DESIGN DETAILING:
In the last leg of this project, I am going to be testing the product in different sites and across various historical and architectural contexts. To achieve this, I have placed the product around different university buildings, as they represent a range of architectural styles and time periods. Of course, I have also included our key site, the Customs House in Leith.
After testing, I have compiled my final reflections and conclusions.
OUTCOME: Outcomes and Reflections
This design stems from a preliminary study aimed at understanding the type of arrangement that would fit well within the context of Customs Wharf. In this example, I’ve followed the sectional profile of Customs House, incorporating offsets that echo its architectural lines.
The blocks are intentionally positioned away from the building’s wall, as this arrangement is not meant to be a traditional sit-out like a thinnai but rather a public space. A buffer zone is necessary to keep unnecessary crowds away from the structure, preserving both the aesthetics and function of Customs House.
Figure 62, 63: An arrangement of my product at the Customs House in Leith.
Figure 64: Concept sketches to see what would suit the site the best.
OUTCOME: Outcomes and Reflections OUTCOME: Conclusion
Main Library:
The layout reflects the library’s sectional profile, taking into account the large columns and circulation around them. Since the library is on a raised plinth, the design keeps the structure low to avoid further elevation.
Old College:
The Old College has limited space facing the street, so I propose placing the product arrangement in the inner courtyard, where foot traffic naturally diverges into various buildings. The courtyard, aligned with the main entrances, can be divided accordingly for strategic product placement. This design also showcases the potential use of the product in semi-indoor spaces like courtyards, beyond just building entrances.
The Gordon Aikman Lecture Theatre features a modern architectural style distinct from the Old College. To complement its design, I’ve chosen an arrangement with just two blocks, mirroring the building’s rectangular base and tapering top. Adding more would detract from the building’s natural form.
REFLECTIONS:
Overall, I believe I achieved the objectives I set for myself when I started this project. My goal was to create a design intervention at Customs Wharf that respected the existing structures while incorporating elements from my Tamil heritage and universal design principles. Through conceptualizing with references from the visual landscapes of the Customs House and Tamil architecture, I created various models using materials like wooden blocks, sponge, and cardboard to refine my ideas. My research explored how self-expression and subconscious influences shape design, allowing me to create a versatile solution that resonates with a wider audience.
Despite achieving these objectives, I recognize that further exploration is needed to fully realize the project’s potential, especially in real-world applications like customs houses. I did a superficial study of arranging the aa-du-ku units for these spaces, and more time would allow me to delve into this aspect. Instead, I chose to focus on showcasing the design’s adaptability across different sites, like university buildings, to illustrate its versatility. Overall, the project balances my cultural roots with modern adaptability, offering a solid foundation for future exploration.
CONCLUSION:
Throughout this project, I discovered that Site and Self are the architect’s most important clients, and it is crucial to satisfy both aspects. I realized that different sites and selves aren’t as different from one another as they may seem. When broken down into their basic elements—shapes, colors, and forms—they share commonalities, and the emotions they evoke are perceived in similar ways.
This project allowed me to explore this idea by abstracting an architectural feature, the ‘thinnai,’ into a versatile product made of blocks. These blocks draw inspiration from various sources: the shapes of the Customs House of Leith, the vibrant graffiti culture of Leith, and the colorful paintings of Tamil temples. Because the product can be assembled on-site, it respects the sensitivity of existing buildings and doesn’t intrude on them. Its flexible arrangement, customizable stacks, block combinations, and color options allow it to adapt to different contexts and be used globally.
As I continue to refine and apply this design, it provides a solid foundation for exploring how architectural interventions can balance respect for historical context with modern adaptability.
Gordon Aikman Lecture Theatre:
Figure 65: View of the main library.
Figure 68: View of the old college.
Figure 71: View of the Gordon Aikman Lecture Theatre.
Figure 66: View of the main library.
Figure 69: View of the old college.
Figure 72: View of the Gordon Aikman Lecture Theatre.
Figure 67: Concept sketches.
Figure 70: Concept sketches.
Figure 73: Concept sketches.
In Appendix B of this portfolio, I will explore the relationship between Site and Self using our cohort’s exhibition held at Customs House in Leith as a medium of study.
Before diving into this study, I would like to clarify what I mean by Site and Self concerning this exhibition:
Site: Refers to the Customs House in Leith, where our exhibition took place.
Self: Refers to our class as a whole and the core design concepts we brought to the site for the exhibition setup.
I will walk through the step-by-step process of setting up the exhibition, including reflections on the experience. This will involve specific examples that illustrate how the site influenced our designs while maintaining the core elements (the self) intact. Additionally, I’ll explore how a designer’s memories and experiences subconsciously shape their design choices.
An art gallery should have flexible lighting An artist should have the freedom to choose how to light up their exhibit. There should be an option to use natural light and artificial light as per their requirement. We can have big windows and blinds to shut out the light when not needed. But big windows will take up too much wall space. I need to maximize the wall space for the artist’s work. A skylight could work. It will create interesting shadows. There will be ample light since there’s no vegetation around. But how can I shut out the light when it is not necessary? Maybe there is a mechanical blind of some sort that can shut out skylight as well. It’s a long shot though. I don’t know if such a thing even exists. How can I create an opening that is not permanent? I can maybe create a sliding wall. The room can open into outdoors and allow for sufficient light to enter when the need arises. It can’t be an ENTIRE WALL. Maybe a panel of some sort? If it’s a panel as big as a wall it lot more structural support. The mechanisms to slide it will also be complicated. Maybe a portion of the wall can become a panel. It could The panels can be solid so when not in use they can Or maybe it can be divided in a way to have fixed and moveable fixed ones can have a permanent display and the flexible t needs to open to a place that has a lot of natural light for the room to be There should be another source of natural light as well. This is not enough. Some cutouts at the top and bottom of the wall can provide more light.
At first, this course seemed very different from the others in our program, which primarily focused on design and design-related theories. This course was more about another crucial aspect of design: dissemination. Unlike other art forms, architecture requires interaction with users and clients; it demands a market. To tap into that market, dissemination is essential. Despite architecture’s significant presence throughout history and extensive research in the field, conveying its intricacies to those outside the design realm remains challenging (Malinin, 2018).
Instead of disseminating a completed project, I chose to share my design process so people could gain insight into design thinking. My creative piece is inspired by George Perec’s book, An Attempt at Exhausting a Place in Paris (Perec, 1975). It captures the thoughts that raced through my mind before I put pen to paper in designing—every fleeting thought and every design consideration I had to make before starting. I used Instagram as my medium of
In this section of my portfolio, I will similarly highlight the design process for our program’s exhibition at Leith’s Customs House.
Figure 74: Instagram post displaying my creative writing piece.
EXPOSITION: Introduction EXPOSITION: Introduction
The core modules of our program—Reading, Adapting, and Connecting Interiors—revolved around a common site: the Customs House in Leith. We frequented this building multiple times, studying it through various lenses. We reimagined, redesigned, and rebuilt it in our heads and on paper, using cardboard, metalwork, fabric, and numerous other materials.
To bring our experience in this program full circle, we had the unique opportunity to exhibit selected works from our courses at the majestic Customs House itself. We were tasked with creating an original design to disseminate curated works from the various courses of our program and to showcase the work in progress of our final projects at the SITE. This also included a publication of our selected works.
To undertake a project of such stature, we needed to divide the work broadly among ourselves. We were organized into three main groups: Exhibition, Building Tours, and Publication. During our induction class, we collectively outlined the roles and responsibilities of each group to ensure a seamless collaboration.
EXHIBITION:
This team was responsible for developing an interesting and original exhibition system to display the projects we designed in the Connecting Interiors project within the exhibition rooms of the Customs House. Our responsibilities included:
• Deciding a narrative for the exhibition
• Surveying the building
• Social media engagement
• Audience feedback
• Sustainable design
• Easy-to-build design
• Fixing details
REFLECTION:
BUILDING TOURS:
This team was responsible for displaying works from the other courses throughout the building and planning the guided tours for visitors. Their responsibilities included:
PUBLICATION:
This team is responsible for compiling selected works from the course into a physical printed publication. Their responsibilities include:
• Narrative
• Guided tour script
• Marketing the guided tour/ ticketing
• Signage
• Selection of works
• Circulation
For this project, we had the freedom to choose our groups based on our interests and strengths, a rarity in the practice of interior design and architecture. This freedom allowed us to pick tasks that resonated with us personally, giving the project a more individualized touch. This choice reflects the essence of SELF in our work, as we were able to infuse our personal interests and strengths into the project.
MY ROLE:
• Brand and Identity
• Color palette
• Logos
• Graphical design
• Test prints
• Selection of works
• Narrative of the book
I chose to work with the Building Tours team because I was excited about interacting directly with visitors. This role gave me the chance to explain our work in detail, providing insights into our design process and engaging with the audience firsthand.
Figure 75: Our exhibition posters displayed outside Customs House in Leith.
Figure 76: The division of groups and the distribution of responsibilities.
THEME: ADAPTIVE REUSE
We identified adaptive reuse as a central theme across all our courses. With this focus, we decided that;
The Exhibition team would showcase our Connecting Interiors coursework to illustrate the diverse possibilities for the Customs House’s future.
The Building Tours team would present our projects throughout the building, with the interventions themselves serving as examples of adaptive reuse for the Customs House’s spaces.
The Publication team will follow similar flow of chapters and selection of coursework that would reflect the theme of adaptive reuse.
REFLECTION:
This step was a prime example of balancing SITE and SELF in our design process. As a class, we had a clear narrative and story we wanted to convey about the building. However, the site presented its own demands and constraints. We needed to find a middle ground that accommodated both our vision and the site’s requirements, ensuring we maintained the core of our intended message. Hence we came up with a more versatile flow of spaces and works which will be detailed in further chapters.
INTRODUCTION TO THE EXHIBITION
ADAPTING INTERIORS
READING INTERIORS
CONNECTING INTERIORS
SYNTHESIS PROJECT
To determine the overall flow of the exhibition, we went through several iterations. One strong initial concept was to present the exhibition in a linear progression, starting with a detailed, small-scale view of our Adapting Interiors project and gradually transitioning to broader perspectives like the Synthesis project.
Feedback: After revisiting the site map, we realized that a strictly linear flow wouldn’t work due to the multiple entry points into the exhibition. We needed a more flexible and interchangeable circulation plan. With the rooms for the Building Tours and Exhibition groups fixed, we had to adapt our design to work around these constraints.
INTRODUCTION TO THE EXHIBITION
READING INTERIORS
ADAPTING INTERIORS
CONNECTING INTERIORS
SYNTHESIS PROJECT
INTRODUCTION TO ADAPTIVE REUSE
ROOMS FOR BUILDING TOURS ROOMS FOR EXHIBITION
INTRODUCTION TO EXHIBITION,
READING INTERIORS, ADAPTING INTERIORS
INTRODUCTION TO ADAPTIVE REUSE,
SYNTHESIS PROJECT
Figure 77: Narrative iteration 1.
Figure 78: Proposed broad zoning in the layout of Customs House.
Figure 79: Narrative iteration 2.
Figure 80: Proposed broad zoning in
layout of Customs House.
EXPOSITION:
As discussed in the site chapter of the synthesis project, site study is a crucial aspect of spatial design. When designing our exhibition, we started with a thorough site survey. The surveying was done through several lenses:
Site Measurements: Detailed measurements of each room.
Surveying Existing Furniture: We surveyed tables and consoles that could potentially be used in our design.
Documenting Existing Objects: We documented the existing objects, categorizing them as movable and immovable.
In addition to these steps, we also noted the location of plug points, windows, and observed the lighting conditions in each room. All this information formed the foundation of our design.
REFLECTION:
This step was crucial for us to effectively integrate SITE and SELF into the exhibition. By conducting a thorough site survey, we were able to develop designs that not only captured the essence of our concepts but were also specifically tailored to each room’s unique characteristics and potential.
MY ROLE:
As part of the Building Tours team, I documented the rooms on the first floor, focusing on the existing furniture in the Dome Room and providing detailed documentation of the corridor below the staircase.
Figure 81: Site survey by the exhibition team.
Figure 83: Moveable and immovable object survey by exhibition team.
Figure 82: Furniture survey by building tours team.
EXPOSITION: Precedent study
EXPOSITION: Precedent
Each team in the exhibition took on various precedents to study specific aspects relevant to their roles. These studies provided valuable insights that influenced our design choices. Here are some examples:
• Building Tours: Signage
The Building Tours team focused on the ECA Graduation Show, examining the use of signage. We analyzed the colors, symbols, and strategic placement of signs to draw key inferences for our exhibition, ensuring clear navigation for visitors.
• Publication: Brochure
The Publication team explored brochures and pamphlets from the ECA Graduation Show. Their study of paper folds, weights, materials, and graphic styles informed the design of our own brochures, aiming for an engaging and professional presentation.
• Exhibition: Spatial Arrangement
The Exhibition team analyzed spatial arrangements and circulation patterns within exhibition spaces. By studying different stand layouts, we gained insights into optimal spacing and heights, significantly influencing the flow and experience of our exhibition.
My role:
As a part of the Building Tours team, I studied prcedents to make the exhibition universally accessible. This involved researching various methods, such as guided tours specifically designed to assist visually impaired visitors. Although we didn’t have any visually impaired attendees during our exhibition, we still implemented guided tours to provide deeper insights for those interested.
I also proposed incorporating interactive elements and games to engage visitors of all ages, making the experience more dynamic and inclusive. These ideas were integrated into the final exhibition in various ways, enhancing the overall visitor experience.
Figure 84: Signage analysis by building tours team.
Figure 85: Broacher study by publication team.
Figure 86: Exhibition layout study by exhibitions team.
Figure 87: Study on making exhibitions accessible and inclusive.
After conducting various studies and discussions as a class, we set out to finalize the basic concept of our exhibition. The most crucial decision was determining the name, which would encapsulate our theme and intentions.
After numerous discussions, some of the names we came up with included:
• Re Interiors
• Re Adapt
• Re Juvinate
• Persevre
• Re Leith
We noticed that the term ‘Re’ consistently resonated with us, especially when discussing adaptive reuse. Moreover, we wanted to incorporate the essence of Leith into the design. Ultimately, we decided to embrace the motto of Leith: Persevere while emphasizing the ‘re’ within it.
The next step in our exhibition planning process was to allocate room-wise functions so that we could begin working on individual designs. Considering the size of each room, its features, and its sequential position within the building, we made informed decisions about how each space would be utilized.
REFLECTION
SELF:
The word Persevere appeared frequently in many of our designs throughout the semester. As Leith’s motto, it always had a connection to anything we designed for Customs House. Naming our exhibition PERSEVERE perfectly aligned with our projects and gave a more personal touch for the locals visiting the exhibition. It felt like a natural extension of our design philosophy, ensuring that our creative vision resonated with the historical and cultural identity of Leith.
SITE:
The allocation of room-wise functions was meticulously planned based on the site’s potential, but also with the narrative decided by us as a class in mind. Each room’s unique characteristics guided us in determining the most suitable function, whether it was showcasing a particular aspect of our work or facilitating interactive elements. By doing so, we ensured that the exhibition’s flow harmonized with the architecture and historical significance of Customs House.
Figure 88: Poster for the exhibition prepared by the publication team. Figure 89: The room-wise allocation of functions in the layout.
EXPOSITION: Concept Proposals
Kitty’s 1:1 display stand with persevere logo.
Within the Building Tours group, we divided the rooms and determined the broad content to be displayed there amongst us. Each member developed design concepts for dissemination, using sketches, reference images, and collages to explain our proposals.
Some sheets are hung from the ceiling at various lengths.
Some sheets are displayed on the wall.
Short table/stand sourced from reuse hub, backed with a white board
Rope or wire, the ends are fixed to the exhibition shelves on both sides.
The end of the folded banner with a fold or glue or clip to secure the banner to the string or wire.
Folded banner, print a small picture on it, and fold it for visitors to pick up and read.
My role:
Together with my friend and classmate Haotian, I was tasked with designing the corridor space behind the staircase at Customs House. Our challenge was to create a sculptural/visual display using papers, with the specific aim of reusing prints we created as part of our coursework. This sustainable approach not only showcased our work but also aligned with our theme of adaptive reuse.
Sheets hung with the face flat like ref 1.
Wall mounted device for displaying posters
Feedback:
The idea of having something overhead in the corridor was particularly appealing, as this location offers two distinct perspectives: one from the mid-landing level and another from the corridor itself. This dual vantage point provides a unique opportunity to engage viewers differently, making the display both dynamic and immersive.
However, we encountered some practical challenges. Implementing multiple points of insertion to hang the pieces was not feasible within our budget. Our tutor suggested an innovative solution: using fishnets, which would not only provide a practical framework for hanging our display but also reflect Leith’s rich nautical heritage. This suggestion became the key design element in our proposal, allowing us to creatively tie in the historical context of the site while maintaining our exhibition’s focus on reuse and sustainability. With this concept in mind, we developed our proposals further.
Wall mounted device for displaying posters
The connection on the corner can enhance the continuity of the design.
Sheets hung with the face flat like ref 1. Can be tied to the handrail.
I used the site survey drawing to detail the corridor exhibit design. We proposed hanging fishing nets and placing paper boats made from A3 printouts within them, creating an “underwater” effect for those below and a top-down view for those on the mid-landing. I also analyzed potential materials to provide the team with a cost estimate.
Given that the design required only two materials—hooks and nets—I began by sourcing samples to create a prototype. To test the setup, I replicated the width of the Customs House corridor in our class studio. I hung up the net and created several paper boats to drop into it.
Feedback:
Initially, using just the net led to the need for more boats to achieve a fuller visual effect. However, given the length of the corridor, this was impractical. To address this, we decided to incorporate additional materials on top of the nets to enhance the display.
Iterations:
1. Fabric Inside the Net: We first experimented with blue fabric, but it was too dense and did not produce a satisfactory appearance when viewed from below.
2. Plastic Inside the Net: Next, we tried using plastic. Its transparency allowed light to diffuse through, creating a more appealing visual effect. The crumpled texture of the plastic also effectively mimicked the appearance of waves.
All the other groups also created prototypes in the studio. The Exhibition team sourced exhibition stands from the Edinburgh College of Art’s Graduation Show and constructed mockups to assess their look and feel. Meanwhile, the Publication team printed brochures and developed mock-ups for various posters.
Figure 99: Size of a boat made from A3 print.
Figure 100: Fishnet from amazon.
Figure 101: Fishnet from amazon.
Figure 102: Hooks from amazon.
Figure 104: Sample materials from local stores.
Figure 105: Above images show me folding boats and simulating the display design in the studio’s corridor.
Figure 103: Hooks from amazon.
Figure 106: Prototypes for exhibition stands.
Figure 108: Brouchers and poster for publication.
Figure 109: Publication test prints.
Figure 107: Prototypes for exhibition stands.
I also served as the Content Manager for the Building Tours group. My responsibilities included reviewing, proofreading, and editing all content for the building tours, such as the introduction panels, model descriptions, and exhibit labels. After finalizing the content, I coordinated with the Publication team to ensure it aligned with the exhibition’s branding. Additionally, I designed the informational panels for the adapting objects, which were to be displayed behind the respective items.
Once our designs were finalized, we transported all materials from ECA to Customs House. The entire class packed everything into boxes and made multiple trips, working together to load and unload the materials.
For the corridor design, I began by positioning the nets in the desired layout, using masking tape to temporarily hold them in place. This approach allowed me to visualize the final arrangement before permanently fixing the hooks to the wall, as they couldn’t be repositioned once attached.
After finalizing the net placement, I replaced the masking tape with hooks, securing the nets firmly. We experimented with different ways of attaching the paper boats: first by sticking them onto the plastic and then directly onto the nets. Each option had its pros and cons.
With Plastic: Attaching the boats to the plastic created unique shadows and provided a more immersive experience. It also offered a subtle commentary on environmental sustainability.
Without Plastic: Sticking the boats directly onto the nets resulted in a cleaner, more polished look, as the plastic sometimes appeared unfinished.
Ultimately, we chose to alternate between the use of plastic and just the nets by themselves so we could achieve the best both worlds.
Figure 110: Poster designs for exhibition contents.
Figure 111: Process of us packing, loading, unloading and unpacking.
Figure 112: (Top and Bottom) Process of securing the nets with masking tape.
Figure 114: Adding plastic sheets and boats to the assembly.
Figure 113: (Top and Bottom) Removing the masking tape and fixing the nets to the hooks.
EXPOSITION: Doors Open EXPOSITION: Doors Open
On the morning of the opening, we arrived early to make final touch-ups to our exhibits. I noticed that one of my hooks had come loose, causing the net to hang precariously, so I quickly secured it back in place.
Similarly, we went through the entire exhibition space, fixing any last-minute issues with other exhibits to ensure everything was perfect for the opening.
After addressing these final adjustments, we gathered for a briefing from our professors and Antonia from the Scottish Historic Buildings Trust, who oversees Customs House. With the final instructions given, we were officially ready to welcome the public to our exhibition later that evening.
MY ROLE:
As mentioned earlier, I was thrilled at the opportunity to conduct a guided tour through our exhibition. I love sharing the story behind our process and vision, and how it all came together. When I got the chance to do this, I seized it immediately.
All the exhibition spaces were completely transformed and perfected right up to the last second. It was incredible to see our collective vision come to life. As a class, we felt elated and proud that we were able to pull this off.
The exhibition ran for four days, during which we took turns managing various aspects of the event. We volunteered to be stationed in different areas to guide visitors through the exhibits. We also had a few opening and closing procedures each day and took responsibility for maintaining cleanliness and organization.
Figure 115: (Top-Bottom) The nets coming off on the morning of the exhibition, Final briefing by our faculty, opening night of the persevere exhibition.
Credits: Jingyang Huang and Zihan Xu
Figure 117: Display of our reading interiors posters. Credits: Jingyang Huang and Zihan Xu
Figure 116: The exhibition room displaying our connecting interior models.
Figure 118: Display of our publication book. Credits: Jingyang Huang and Zihan Xu
Figure 119: Conducting the guided tour around the exhibition.
Figure 120: Conducting the guided tour around the exhibition.
There is growing consensus that visitor studies are crucial for understanding how museums communicate. For instance, funding bodies often demand evaluations of how a project impacts its target audience.
(Coffee 2007) The success of an exhibition is measured by how it physically engages people. When visitors bend down, stand on tiptoes, draw, fold paper, walk in a specific direction, or simply touch the exhibits, it shows the exhibition has made an impact. It was incredibly fulfilling to see our exhibition evoke such responses, as captured in the images above.
Beyond how people interacted with the exhibition itself, I was particularly interested in observing how visitors engaged with Customs Wharf, the space outside the exhibition. It became a transitional area where people could relax, prepare themselves before entering, or process what they had seen before moving on with their day. This observation reinforced an idea from my synthesis project about the importance of having a “thinnai” (a traditional porch or seating area) outside Customs House, serving as a welcoming and reflective space.
Figure 121: Photographs of people interacting with the exhibition clicked by Jingyang Huang and Zihan Xu.
Figure 122: Photographs of people interacting with customs wharf after or before the exhibition.
What goes up must come down. After a successful 4-day exhibition, we had to take it all apart. While we left a mark on the Leith community, we left none on the building. Our exhibits were sitesensitive, ensuring no harm to the building’s structural integrity.
Figure 123: Images of me taking down the exhibition.
My experience at Customs House came full circle when I was tasked with creating a display for the staircase corridor. During my initial visit to Customs House at the beginning of the course, we selected sites for our Adapting Interiors project.
I was assigned a nautical lifebuoy as the object whose display I had to design, and this corridor, with its unique dual viewpoints, intrigued me from the start. I often found myself looking down from the mid-landing into this corridor.
The concepts I developed for my Adapting Interiors project were reflected in the design of this corridor space. While the purpose of the displays differed— one for showcasing used prints and the other for a historic lifebuoy—the end results bore a striking resemblance.
Were the designs similar because it was the same SITE of design? Or because it was the same SELF designing it? Would a different person have designed the corridor differently? Would I have displayed the prints differently at a different site?
Despite numerous iterations, the essence of my design thinking remained consistent from the Adapting Interiors course to the final exhibition for this corridor. I believe the things that stood out to me about the corridor, how I perceived them, and the emotions they evoked influenced the similarity in the designs. This continuity highlights how a designer’s personal perspective is subtly reflected in their work.
Figure 124: Concept iteration for adapting interiors. Figure 125: Concept iteration for adapting interiors.
Figure 126: Image of my final design in adapting interiors.
Figure 127: Image of my final design in adapting interiors.
Figure 128: Images of the final corridor display design.
Adaptation to Existing Furnishings
Initially, we envisioned using exhibition stands for the first-floor dome room, anticipating that existing furniture would be relocated. However, on the first day of setup, we learned that we couldn’t move these pieces and had to integrate them into our design. This situation forced us to adapt quickly. Instead of our planned central stand, we repurposed the existing tables to display our objects.
Unexpectedly, this adjustment introduced several benefits. The semicircular shape of the tables echoed the dome above, creating a visual synergy that we hadn’t initially planned. Additionally, placing the three model towers on these tables made use of the room’s substantial headroom, which we could exploit more effectively. This adaptation not only salvaged our design but also enhanced it by integrating the site’s features into our concept.
Unplanned Shadow Play
Another surprise came from the way light interacted with our displays. Although we had carefully planned each exhibit’s arrangement, the actual lighting setup cast intriguing shadows that we hadn’t anticipated. These shadows added an extra layer of depth and dimension to the exhibits, creating a more immersive experience for the visitors. What was initially an unplanned outcome turned into a compelling aspect of the exhibition, enriching the overall atmosphere and engagement with the displays.
Reflection on Site and Self
These examples underscore the dynamic relationship between site and self in design. The challenges we faced with the existing furnishings and unexpected lighting effects forced us to adapt our design thinking on the fly. This adaptability not only highlighted the practical aspects of working within a constrained site but also reflected our ability to embrace and integrate unforeseen elements into our creative process. In essence, these adaptations reveal how a designer’s self is often reflected in their response to site constraints. Our ability to pivot and find opportunities within these constraints showcases a deeper connection between our design intent and the evolving context.
Figure 129: Initial proposal for display in the first-floor room under the dome.
Figure 131: Photographs of different shadows created at the exhibition.
Figure 130: Final design for the display in the first-floor room under the dome.
EXPOSITION: Site or self?
After the exhibition at Customs House in Leith concluded, we reassembled it in the studio at Edinburgh College of Art (ECA) for the graduation show. Although the contents and us designers were unchanged, the shift from the historic, room-by-room layout of Customs House to a single, bright studio space at ECA altered the exhibition’s impact.
At Customs House, the architectural character and history added drama and depth to our work, enriching the adaptive reuse narrative. In contrast, the ECA studio presented our designs in a minimalist, straightforward way, highlighting their elegance but lacking the atmospheric richness of the previous site.
REFLECTION:
This relocation highlighted the profound influence of site on the perception of self. The same designs took on different meanings in each context, showing how the site shapes the narrative and experience of a space. The exercise emphasized that while the self of the designer remains constant, the site can significantly alter how that vision is realized and perceived.
Figure 133: The final set-up at ECA graduation show.
Figure 132: Process of setting up the exhibition for the ECA graduation show.
SITE AND SELF: My Reflection
I set out on this design journey with a deep desire for my project to resonate with my identity. I thought it was a way for at least my peers and professors to know about Tamil as a language and cultural identity. A recurring question I faced was, “Why Customs House? Why here? What does Tamil architecture have to do with Edinburgh?” maybe it doesn’t. but it has something to do with me and that counts for something, right? It should have an impact on my design.
The ‘SELF’ chapter of this portfolio was particularly enlightening. The research and examples in that section were eye-opening, revealing how designers leave traces of their identity and experiences within their work. As designers, we often make decisions simply because we “know,” we “feel,” or sometimes, just because we “want to.” These instinctual choices are the moments when our “SELF” subtly infiltrates our designs. For instance, I drew inspiration from a “thinnai” for an informal sit-out area, rather than opting for a conventional veranda or porch. Or the way I tied the nets to mimic waves, reminiscent of the ones I created in the corridor during my adapting project. These are design decisions informed by the intangible—by personal history, cultural memory, and individual experience.
On the other hand, tangible design decisions are those dictated by the site itself—its constraints, its users, its socio-historical and political contexts etc. As spatial designers, these external factors are our guiding forces. I have always been a user-centered and site-sensitive designer, and this is evident throughout my work. In the first semester, my display design was deliberately non-intrusive. In the second semester, design at Customs House highlighted the site’s natural beauty. My synthesis project also reflected this approach, with a site-sensitive, low-impact intervention.
In conclusion, my project is a testament to the balance between personal identity and the external demands of the site. It demonstrates how the intangible elements of the ‘SELF’ can harmonize with the tangible realities of a space. Ultimately, design is not just about what fits within the parameters of a site, but also about what resonates with the designer’s identity. This journey has taught me that, while the site is important, it is the infusion of personal experience and cultural heritage that truly breathes life into a design.
My ultimate goal over the next 5-10 years is to establish my own practice. Everything I’m doing now is a step toward that vision. This course has been instrumental in shaping me into a fearless designer, unafraid to embrace new ideas and experiment, while staying deeply connected to my roots, intuition, and inner self. It has taught me the importance of being honest to both the self and the site in my design work.
In the immediate future, I plan to gain experience by working in an international studio. This will help me understand global work cultures and design standards. Studying in a multicultural environment has broadened my perspective, making me more aware and inclusive as a designer.
I would like to express my deepest gratitude to the University of Edinburgh for offering me this golden opportunity. To my professors and faculty, thank you for your unwavering support, for challenging me to think critically, and for opening my eyes to the intricate theories and nuances of design. Your guidance has been invaluable. I’m also deeply thankful for my friends and peers, who are not only highly skilled and talented individuals but also a source of constant encouragement and inspiration. Together, we’ve pushed each other to excel and reach new heights.
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2020. Helsinki Design Weekly. May 15. Accessed june 20, 2024. https://helsinkidesignweek.com/2020/05/15/ the-standard-male-and-the-invisible-female/?lang=en. (PAGE 19)
Howarth, Dan. 2015. Dezeen. July 6th. Accessed June 2024. https://www.dezeen.com/2015/07/06/soarchitecture-ideas-unexpected-hill-triangular-prisms-ceramic-tiles-installation-london-royal-academy-arts/. (PAGE 32)
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Sadanand, Anjali, and Nagarajan R. V. 2020. “Transition Spaces in an Indian Context.” Athens Journal of Architecture. (PAGE 25)
Sunder, Kalpana. 2023. Paper Planes. March 4. Accessed June 19, 2024. https://www.joinpaperplanes.com/ the-thinnai-in-chennai-tamil-nadu/. (PAGE 25)
Vimalanathan, Roshini. 2023. “Dystopian Worlds with Real Problems: How Does the World Building in Bioshock (2007) and Bioshock Infinite (2013) Educate Us About the Outcomes of an Objectivist and Exceptionalist Society?” Edinburgh, December. (PAGE 24)
Zbigniew, Wesołowski. 2020. “A Courtyard House – siheyuanas the Dwelling Place of the Traditional Chinese Family.” Forum Teologiczne. (PAGE 20)
Figure 1: Collage about me
Credits: Author
Figure 2: Collage on methodology. Credits: Compiled from various open sources and edited by the author.
Figure 3: Design proposal for connecting interiors project.
Credits: Author
Figure 4: Site analysis maps.
Credits: Author
Figure 5:View from the wharf Source: Googlemaps
Figure 6: View of commercial st Source: Googlemaps
Figure 7:View of Leith market Source: Googlemaps
Figure 8: Movement Configuration Map
Credits: Author
Figure 9: Timeline about Customs House Credits: Compiled from various open sources and edited by the author.
Figure 10: SWOT analysis of Customs House
Credits: Author
Figure 11: Image showcasing my definition of an ‘Interior’
Figure 105: Above images show me folding boats and simulating the display design in the studio’s corridor.
Credits: Author
Figure 106: Prototypes for exhibition stands.
Credits: Exhibition team of the PERSEVRE exhibition held at Customs House in Leith.
Figure 107: Prototypes for exhibition stands.
Credits: Exhibition team of the PERSEVRE exhibition held at Customs House in Leith.
Figure 108: Brouchers and prototypes for publication.
Credits: Publications team of the PERSEVRE exhibition held at Customs House in Leith.
Figure 109: Publication test prints.
Credits: Publications team of the PERSEVRE exhibition held at Customs House in Leith.
Figure 110: Poster designs for exhibition content.
Credits: Building tours team of the PERSEVRE exhibition held at Customs House in Leith.
Figure 111: Process of us packing, loading, unloading and unpacking.
Credits: PERSEVRE team
Figure 112: (Top and Bottom) Process of securing the nets with masking tape.
Credits: Author
Figure 113: (Top and Bottom) Removing the masking tape and fixing the nets to the hooks.
Credits: Author
Figure 114: Adding plastic sheets and boats to the assembly.
Credits: Author
Figure 115: (Top-Bottom) The nets coming off on the morning of the exhibition, Final briefing by our faculty, opening night of the persevere exhibition.
Credits: Author
Photographs: Jingyang Huang and Zihan Xu
Figure 116: The exhibition room displaying our connecting interior models.
Photographs: Jingyang Huang and Zihan Xu
Figure 117: Exhibition of our reading interiors posters.
Photographs: Jingyang Huang and Zihan Xu
Figure 118: Display of our publication book.
Photographs: Jingyang Huang and Zihan Xu
Figure 119: Conducting the guided tour around the exhibition.
Credits: Author
Figure 120: Conducting the guided tour around the exhibition.
Credits: Author
Figure 121: Photographs of people interacting with the exhibition clicked by Jingyang Huang.
Photographs: Jingyang Huang and Zihan Xu
Figure 122: Photographs of people interacting with customs wharf after or before the exhibition.
Photographs: Jingyang Huang and Zihan Xu
Figure 123: Images of me taking down the exhibition.
Credits: Author
Figure 124: Concept iteration for adapting interiors.
Credits: Author
Figure 125: Concept iteration for adapting interiors.
Credits: Author
Figure 126: Image of my final design in adapting interiors.
Credits: Author
Figure 127: Image of my final design in adapting interiors.
Credits: Author
Figure 128: Images of the final corridor display design.
Photographs: Jingyang Huang and Zihan Xu
Figure 129: Initial proposal for display in the first-floor room under the dome.
Credits: Building tours team of the PERSEVRE exhibition held at Customs House in Leith.
Figure 130: Final design for the display in the first-floor room under the dome.
Credits: Varsha Vadiraj
Figure 131: Photographs of different shadows created at the exhibition.
Photographs: Jingyang Huang and Zihan Xu
Figure 132: Process of setting up the exhibition for the ECA graduation show.
Credits: PERSEVRE team
Figure 133: The final set-up at ECA graduation show.
