Architecture of Stratification_Museum of Photography Angel Hsiao 0791184
Architecture of StratiďŹ cation_ Museum of Photography in Edinburgh
Angel Hsiao 0791184
Architecture of Stratification_Museum of Photography Angel Hsiao 0791184
Edinburgh_ as inspiration of Hill and Adamson’s work
Edinburgh - a city with rich history and a cultural city that inspired numerous artists and writers. The city itself is consisted of layers - overlapping roads and bridges, richly embeded history and culture and stratification of architecture. This is particularly evident in the Old Town area where the urban development started. With the invention of photography, we are able to observe the 19th century Edinburgh from different aspects and views thanks to Hill and Adamson’s extensive documentry. The strong connection between Hill and Adamson and the city can be explained by thier photography studio - Rock House - on Calton Hill. This dominant spot in the city not only benefits from great panoramic views of Edinburgh but also establishes a dialogue between the old and the new - New Town and Old Town, new photography technique and conventional oil painting skills.
New Town Rock House
Old Town
Site
Architecture of Stratification_Museum of Photography Angel Hsiao 0791184
Edinburgh_ as a city of surprise
Architecture of Stratification_Museum of Photography Angel Hsiao 0791184
Edinburgh_ historical development
Map 1647
Map 1647
Map 1647
As a city, Edinburgh is one of the places where endless surprises can be found in the cityscape due to the history of urban development and intricacy of dense urban fabric. Looking at some of the old maps of Edinburgh, it is interesting to observe the linear expansion/formation of houses along High Street. One of the reasons for the unique urban pattern was because of high population pressure, houses extended upwards (stacked up vertically, sometimes even reaching 14 storeys high) but also in a linear fashion, moving away from High Street. As the result, houses used to collapse and rebuilt regularly, creating layers of lives and memories about places. From the maps we were able to determine old building footprints on the site and previous closes, the ruins were realed by archaeological research. It is therefore known that the site was heavily occupied before and there are traces of evidence that further suggest the industrial use/environment. The ruins themselves are rather prominant and straightforward as they directly show previous interventions. In this sense, however, it would be interesting to note that the middle plot flanked by the ruins still remain ‘mysterious‘ as we may assume the previous uses , but not in the same way as the ruins can determine.
Built form pressured by urban population growth
Baliley Fyfe’s Close
The ‘gap site‘
Architecture of Stratification_Museum of Photography Angel Hsiao 0791184
Edinburgh_ urban fabric
Urban fabric 1817
The houses that are standing in the same strip may not necessarily be built in the same period of time but a series of discontinuity, in terms of time frames. Similarly, the photo frames within one single roll of film negative do not necessarily share the same time frame as they may be shot at different times, but in the end connected and joined up as a roll of film, which suggests a continuity of time. Each frame contains its own story and memory waiting to be told. The facades of these old tennement blocks not only form the boundaries of residential blocks but also define the existence and boundaries of the closes. Each facade, built in different periods of time, can be read as a photo frame of a film negative, as there is always a story and a living memory behind each facade that wraps around the building.
Urban fabric 1852
Urban fabric 1894
Past
Present
Tannery
Tannery footprint
Metal workshop
Metal workshop footprint
Residential/commercial
Tannery ruins (underground) Metal workshop ruins
Future layer...
Mix use Residential (commercial)
Urban green space
Commercial
Museum of Photography
Residential (private) Cultural/civic Urban void (unused) Visible ruins
Ever since the medieval times, Edinburgh has always had a unique characteristic stratification. Old buildings collapse, new buildings build on top of old parts, old ruins become exposed above ground... The functions change as buildings change, many tenement buildings in Old Town would have a shopfront on street level, and residential units above. The addition of the museum will further emphasise the idea of layering and stratification of time/ funtion/memory.
Architecture of Stratification_Museum of Photography Angel Hsiao 0791184
Photography collection and night display
Considering the importance of Edinburgh and Rock House on Calton Hill, Edinburgh would have an important part in the development of photograhphy in Scotland. Looking at Hill and Adamson’s works, the pair used to travel and bring back ‘photographic visual documentation. People and construction became a major focus or subject of their work. The photographs they produced certainly act more than documentation but also a visual reference that reflects the people and the society. Surprisingly, for such a place as Edinburgh, there is a lack of photographic events and institutions/facilities though Edinburgh is well known for its anuual festival. The Museum of Photography should in turn be the promoter of knowledge and the driving force for bringing back the awareness of the importance of Hill and Adamson’s work. 7
Focusing on people as the subject, the collection will be mainly based on informal portraits or snapshots of ordinary people and this has led me to the exploration of street photography which has been widely practiced since late 19th century up to today. The idea of street photography is that the photographs themselves would be able to tell stories directly and candidly. By the curation of temporary exhibitions, a range of work by international or national talents would be available to the general public for viewing and understanding. For example, English photographer Martin Parr is known for witty photographs that dipict the aspects of modern life critically.
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1 Hill and Adamson, His Father Breeks 2 Martin Parr, Small World 3 Sturat Matt 4 Robert Doisneau, Musician in the Rain 5 Hill and Adamson, Newhaven Fishwives 6 Henri Cartier-Bresson, Coronation 7 Ron O’Donnell Chambers Street
Although the collection is mainly consisted of photo prints, a small selection of the original negatives will also form part of the permanent collection. However the display condition is extremely critical: these negatives should not be exposed in light for longer than three months. This led to my interest in displaying the negatives at night, when the environmental condition also reflects the preciousness and fragility of old negatives. A popular annual art/performence event named Nuit Blance originated in Paris, France and soon spread out across major European cities. The idea of the event is that museums and galleries open their doors to public in late evenings, with a rich programme of activities, performences and exhibitions. In some places visitors are even invited to stay overnight. These places will be transformed by light or art installations as well. Surprisingly this type of even is not at all popular in the UK. Therefore, proposing a new concept festival of Nuit Blanche in Edinburgh would highlight the cultural environment of Edinburgh but also rovide a platform for displaying these special negatives as they are only on display once a year, for a limited period of time.
Architecture of Stratification_Museum of Photography Angel Hsiao 0791184
Design concept
A single ribbon of plane becomes the film negative that wraps around the site, turning around like the facadeds of old buildings that defined closes would do, and hence creating several spaces within. The continuation and consistency of material suggest a continuous movement through the site from High Street to Jeffrey Street, like the old circulation before the construction of Jeffrey Street, while bringing various prgrammes and functions together. Along with the ruins on site, memories that were closely associated with the old complex residential blocks are reminded and addressed. A new layer of built form is addded to the already complex history of the site and the city itself.
“Frames of memories“
A collage of Royal Mile facades made by pinhole camera shots, exploring the idea of frame-like building faces along Edinburgh streets and closes
Architecture of Stratification_Museum of Photography Angel Hsiao 0791184
Design development
Photographs of 1:200 study model with site model
Sketch showing design idea for Royal Mile facade - creating a tall, narrow close-like entrance
Architecture of Stratification_Museum of Photography Angel Hsiao 0791184
Urban Strategy
Circulation to and through the site Visitors can enter the building from three entrances: main entrance from Royal Mile will serve as the public entrance for easy access to exhibition space, while photography professionals can enjoy a direct and separate entrance to the Creative Centre to use photographic facilities. While a public library is located on the lower ground floor, it also has its own entrance from the landscaped area of the site. For park users, it is also possible to obtain a thorough wander around the landscaped open space around the building. With the addition of the museum on site, the originally abandoned site is transformed from being a pass-by place into a fully visitorintegrated public open space.
Views from the building The site itself is characterised by remaining ruins of the metal workshop, but also characterised by its surrounding – crumbled ruins of previous houses and original structures such as Trinity Church. It is therefore important to provide visual connections to the site’s unique setting. Framed view will direct visitor’s eyes towards these features or landmarks (such as Calton Hill).
Forgotten urban ruins to welcoming green open space At the moment, not many people are aware of the existence of such a void in the densely built area in Edinburgh as it is much hidden behind buildings along Royal Mile. The museum will not only introduce a new layer of memory to the site but also introduce new activities and usage of the open space. The landscape area may be a possible venue for outdoor fairs (flea market) or simply as a park. The renewal of forgotten void becomes an important impact of the museum on the surrounding area.
“Portable darkroom” Inspired by artist/photographer Katie Cook, who is specialied in traditional wet plate photography, the idea of having portable darkrooms around the city would not only act as an educational or promotional material of old development method but could also provide technical support for photographers in need. The wet plate method was used by early photographers including Hill and Adamson, it requires immediate darkroom process. The portable darkrooms then become a way to emphasise the importance of Edinburgh in terms of history of photography, it would also integrates with the city context.
Architecture of Stratification_Museum of Photography Angel Hsiao 0791184
Museum design: programmes
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L1
Creative Exhibition G
Recreation Administration Resource Education
LG Axonometric diagram of vertical circulation
Axonometric diagram of programme zoning
Service
Architecture of Stratification_Museum of Photography Angel Hsiao 0791184
Museum Design_ 1:400 Plans
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Delivery entrance level/basement plan
Lower ground level plan
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1 Entrance foyer 2 Reception 3 Cloakroom 4 Book shop 5 Temporary exhibition gallery 6 Storage room
7 Creative Centre reception 8 Public library 9 Seminar room 10 Education space 11 Delivery entrance
Ground floor/main entrance level plan
Architecture of Stratification_Museum of Photography Angel Hsiao 0791184
Museum Design_ 1:400 Plans
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First floor plan
12 Permanent collection gallery 13 Office 14 Film darkroom 16 Workshop/printing facility 15 Library and archive 17 Multimedia editing suite 18 Cafe
Second floor plan
Architecture of Stratification_Museum of Photography Angel Hsiao 0791184
Musuem Design: 1:400 Royal Mile Elevation
Architecture of Stratification_Museum of Photography Angel Hsiao 0791184
Musuem Design: 1:400 Short Section
Architecture of Stratification_Museum of Photography Angel Hsiao 0791184
Musuem Design_ 1:400 Short Section
Architecture of Stratification_Museum of Photography Angel Hsiao 0791184
Musuem Design_ Perspective Image of Temporary Exhibition Space
Architecture of Stratification_Museum of Photography Angel Hsiao 0791184
Technical Study_ section through gallery space 4 1 5 2 6
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1 Wall construction: 1.5mm sheet Cor-ten steel cladding, fixed on stainless steel rails 2mm waterproof layer (‘Environsip‘) Structural insulated panel with 10mm plywood on both sides of 120mm insulation 2 Steel columns HEB 200 3 Interior wall finish 10mm plaster board 4 Steel Beams HEB 200 5 Steel column HEB 200 6 Floor construction: 120mm steel deck composite floor with thin timber plank finish 7 Steel beams IPE 300 8 Interior finish 10mm plasterboard 9 Suspended ceiling 10mm plasterboard 10 Steel beams IPE 500 11 Foundation and slab construction 130mm concrete slab 150mm insulation Damp proof membrane 160mm concrete slab Pad foundation 12 Double glazing, 10/13/10mm
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Architecture of Stratification_Museum of Photography Angel Hsiao 0791184
Technical Study_ 1:20 section through glazed facade
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1 Facade post: Two 30 dia. x 10mm steel tubes 150 x 150 x 12mm connecting plates 2 12mm dia. rail
Architecture of Stratification_Museum of Photography Angel Hsiao 0791184
Technical Study_ 1:5 plan detail of junction between glazed facade and exterior Cor-ten cladded wall
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15 60 x 180mm connecting plate (tube clamp and other fittings in stainless steel) 16 Permanently elastic seal 17 Double glazing, 10/13/10mm