M.Arch Stage 05 Winter Portfolio 2020 by Brandon Few

Studio 05, Edge Conditions.

20/21

PORTFOLIO Studio 05: Edge Conditions. The studio looked at Edinburgh as the primary site of enquiry and looked to investigate architectural responses to ‘edge conditions’, conceived both literally and figuratively. The ‘edge conditions’ were the initial starting point and catalyst for our projects. A phrase with a huge range of possibilities and meanings, therefore providing a loose theme for the studio. This allowed us a vast range of ‘experimentations and iterations, from the most literal and material to the more ephemeral and metaphorical.’1 On visiting Edinburgh it was the topographical edge condition of the Water of Leith that I chose to use as a starting point. A literal and physical edge condition which weaves and winds its way from the centre of Edinburgh out towards the edges of the city. As you traverse this physical edge condition within the city, the dramatic changes in architectural typology and social context become dramatically apparent. The Water of Leith cuts through the ever changing social and historical edge conditions of the various neighbourhoods and districts of Edinburgh. Leith became an area of particular interest due to the visible historical scars; abandoned and derelict buildings are set within a dramatic climate of social change. For centuries Leith was known as the ‘economic powerhouse’ and ‘gateway’2 to Edinburgh but in recent years has seen changes to its role within Edinburgh and the UK at large. The decline of trade and industry in the area led to poor quality housing and unemployment, resulting in a dramatic increase in the number of artists and creatives within the area. This emerging community has led to a transformation of Leith from a port and industrial giant to a cultural and creative

Edinburgh, Scotland. Social, Economic, Topographical, Environmental. Artistic + Cultural Community. Leith.

Stage V Architecture Portfolio. ARC8050. Newcastle University. Year 05. Brandon Athol Few.

STAGE V WINTER PORTFOLIO By Brandon Few

2020 - 2021

Advocate’s Close A narrow alleyway leads off the Royal Mile in Edinburgh, Scotland.

Contents

ARB Criteria

01 - 02

Critical Introduction

03 - 04

Preliminary Research

07 - 16

Edinburgh

17 - 67

Culture of Leith

68 - 100

Reflective Conclusion

101 - 102

Bibliography

103 - 104

New work shown through presence of this symbol. Revised work shown through presence of this symbol.

ARB Criteria Throughout this portfolio I have referenced the relevant ARB criteria. This process has helped me to gain a much deeper understanding of the knowledge and skills expected from the ARB whilst keeping track of my progress through the different criteria and specific areas I need to focus on next semester.

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Ability to create Architectural Design that satisfy both the aesthetic and technical requirements.

Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences.

1. Prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief; 2. Understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project; 3. Develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user.

1. The cultural, social and intellectual histories, theories and technologies that influence the design of buildings; 2. The influence of history and theory on the spatial, social, and technological aspects of architecture; 3. The application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach.

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Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale.

Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors.

1. The needs and aspirations of building users; 2. The impact of buildings on the environment, and the precepts of sustainable design; 3. The way in which buildings fit in to their local context.

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Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate. 1. Principles associated with designing optimum visual, thermal and acoustic environments; 2. Systems for environmental comfort realised within relevant precepts of sustainable design; 3. Strategies for building services, and ability to integrate these in a design project.

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1. The nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society 2. The role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment; 3. The potential impact of building projects on existing and proposed communities.

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The necessary design skills to meet building users’ requirements within the constraints imposed by cost factors and building regulations. 1. Critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; 2. Understand the cost control mechanisms which operate during the development of a project; 3. Prepare designs that will meet building users’ requirements and comply with UK legislation, appropriate performance standards and health and safety requirements.

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Knowledge of the fine arts as an influence on the quality of architectural design.

Adequate knowledge of urban design, planning and the skills involved in the planning process.

1. How the theories, practices and technologies of the arts influence architectural design; 2. The creative application of the fine arts and their relevance and impact on architecture; 3. The creative application of such work to studio design projects, in terms of their conceptualisation and representation.

1. Theories of urban design and the planning of communities; 2. The influence of the design and development of cities, past and present on the contemporary built environment; 3. Current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development.

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Understanding of the methods of investigation and preparation of the brief for a design project.

Understanding of the structural design, constructional and engineering problems associated with building design.

1. The need to critically review precedents relevant to the function, organisation and technological strategy of design proposals; 2. The need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context; 3. The contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation.

1. The investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design; 2. Strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques; 3. The physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices.

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Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning. 1. The fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation; 2. The professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures; 3. The basic management theories and business principles related to running both an architect’s practice and architectural projects, recognising current and emerging trends in the construction industry.

STUDIO 05 Edge Conditions Zeynep Kezer, Ivan Marquez Munoz, Christos Kakalis 03

[above] Doon Yer Tea AND EAT THE RICH Site photography of Community artwork found along Leith Walk.

Edge Conditions

Critical Introduction 1. Edge Conditions Studio Brief, Prof. Zeynep Kezer, Dr. Christos Kakalis and Ivan Marquez Muñoz

At the beginning of the academic year I decided on ‘Edge Conditions’ as my studio for MArch Stage 05. The studio looks at Edinburgh as the primary site of enquiry with the intention to investigate ‘architectural responses to edge conditions, conceived both literally and figuratively.’1 The ‘edge conditions’ were the initial starting point and catalyst for our projects. A phrase with a huge range of possibilities and meanings, therefore providing a loose theme for the studio. This allowed us a vast range of ‘experimentations and iterations, from the most literal and material to the more ephemeral and metaphorical.’1 On visiting Edinburgh it was the topographical edge condition of the Water of Leith that I chose to use as a starting point. A literal and physical edge condition which weaves and winds its way from the centre of Edinburgh out towards the edges of the city. As you traverse this physical edge condition within the city, the dramatic changes in architectural typology and social context become dramatically apparent. The Water of Leith cuts through the ever changing social and historical edge conditions of the various neighbourhoods and districts of Edinburgh.

2. Leith Guidebook. http://www. leithlocalhistorysociety. org.uk/guidebook/pdfs/ guidebook.pdf.

Leith became an area of particular interest due to the visible historical scars; abandoned and derelict buildings are set within a dramatic climate of social change. For centuries Leith was known as the ‘economic powerhouse’ and ‘gateway’2 to Edinburgh but in recent years has seen changes to its role within Edinburgh and the UK at large. The decline of trade and industry in the area led to poor quality housing and unemployment, resulting in a dramatic increase in the number of artists and creatives within the area.

3. Leith Open Space. 2020. Leith is many places, whose voice is unheard? – Leith Open Space. [ONLINE] Available at: https://www. leithopenspace.co.uk/ headlines/leith-is-manyplaces-whose-voice-isunheard/.

This emerging community has led to a transformation of Leith from a port and industrial giant to a cultural and creative hub. A rapidly increasing population within the context of the industrial infrastructure has led to an urgent call for a creative and vibrant urban strategy that provides the area with ‘community centres’ as well as ‘green... [and] public spaces.’3

4. Leith should receive new arts centre - study finds | The Scotsman. 2020. Leith should receive new arts centre - study | The Scotsman. https:// www.scotsman.com/artsand-culture/leith-shouldreceive-new-arts-centrestudy-1504920.

‘Culture of Leith’ intends to interact with the growing community of artists to establish a creative and cultural ‘centre’ for Leith. The urban strategy aims to provide public spaces surrounding the creative nodes on Ferry Road and intends to improve the existing and limited infrastructure surrounding the area’s important cultural centres: Leith Library, Leith Theatre and Leith School of Art. This cultural and artistic hub will provide space for exhibitions, performances, social interaction and engagement, in turn helping to celebrate the strong sense of identity and community spirit within the area. The public spaces will also further enhance the four existing festivals that take place in Leith annually. Furthermore, the improved public spaces will provide an additional setting (alongside Edinburgh City Centre) for existing cultural events such as ‘Edinburgh Fringe’ and ‘Edinburgh International Festival’. The profits from these events will then be invested back into the local community, helping to support artists, creatives and community projects at risk of being forced out due to increasing rent and land costs. The proposed plans for Leith’s cultural hub at the urban scale will ultimately provide the ideal context for an intervention at the architectural scale: a new Arts Centre. There is currently a distinct lack of dedicated space for music, theatre and the arts which is said to be ‘holding back ambitions... to transform the future of Leith’.4 This new Arts Centre will confront these issues as well as further establishing the area as a creative and cultural ‘centre’ for Leith. GC2

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The Water of Leith Walkway View from the Water of Leith Walkway looking towards Junction Street Bridge and the new housing development in the former art deco cinema on Great Junction Street. 05

Preliminary Research The semester started with mapping and studying a local neighbourhood of Newcastle in preparation for our site visit to Edinburgh. Having lived in Newcastle previously, the Ouseburn Valley was always an area of interest to me. Now, living in Heaton I tend to spend a large amount of time walking through and visiting Ouseburn and so I decided to base my preliminary research and investigations into this area. The Ouseburn was the cradle of the industrial revolution in Newcastle and was the context for a dense cluster of heavy crafts and industrial hubs within the area. After falling into disuse and dereliction in the middle of the 20th Century, these large industrial buildings were slowly utilised and occupied by artists and creatives as workshops and studios as well as performance and exhibition spaces. In the late 90s, the Ouseburn Trust began leading a regeneration in the area, seeing the important role of Ouseburn as a cultural hub within Newcastle. The regeneration was successful and the area continues to be a thriving cultural and artistic hub.

[right] Postcards of Ouseburn A collection of old postcards showing the Ouseburn Valley back before its regeneration as a cultural and artistic hub. 07

[right] Mapping the Ouseburn Valley Utilising the research and mapping techniques of Corner and Lynch this map looks at exploring the nodes, landmarks and viewpoints of the Ouseburn Valley.

[above] Initial Sketchbook Work Experimental sketch of Ouseburn mapping the key landmarks, nodes, districts and viewpoints from memory.

[left] Developed Mapping of Ouseburn A continuation of the previous techniques in mapping. This study looks at expanding on the landmarks, nodes, viewpoints and districts but in more detail.

[above] Ouseburn Landmarks + Social Condensers A collage style drawing showing the main landmarks and key social condensers as seen in the field.

[above] Collage Process Work 01 Initial concept sketch for a collage of Ouseburn showing the suspended transport routes above the valley.

[above] Collage Process Work 02 Concept sketches for final collages. These initial sketches helped to map the ideas and concepts for the final images. 13

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Carlton Hill The view from the Old Observatory House on Carlton Hill looking out towards Edinburgh City Centre. 17

Edinburgh After my initial research and investigations into the Ouseburn Valley I turned my sights towards Edinburgh as the primary site of enquiry for semester one. In exploring Edinburgh and navigating the rich variety of edge conditions throughout the city, I focused my initial research on the Dean Village and Great Junction Street Neighbourhoods. Both areas were vastly different in context: Dean Village is an area dramatically affected by topographical and environmental edge conditions, whereas the Great Junction Street area is a product of social and historical edge conditions. Both areas provided compelling opportunities for urban interventions. It was the distinct similarities between the social and historical backgrounds of Leith and the Ouseburn Valley that ultimately led me to choose Great Junction Street as my site of investigation, continuing to explore the narrative I had found so interesting in my preliminary research.

[left] An Experiential Map of Edinburgh A route to remember, mapping our route through Edinburgh on our site visit working our way along the Water of Leith Walkway from Edinburgh city centre out towards Leith.

Dean Village

The View from Water of Leith Walkway

55° 57’ 6.4836’’ N 3° 13’ 5.0052’’ W

[above] The View from Water of Leith Walkway A study from our site visit to Edinburgh looking at Dean Village. The village is an incredible example of how the built form interacts with the dramatic topographical environment.

Natural and Political History OF

The Dean Village, Edinburgh! “The result of this bridge is what is believed to be the first settlement ever to go into economic decline due to the construction of a road bypass.”

Chapter 01... Natural History Nestled just a few minutes away from the hustle and bustle of Edinburgh City Centre is the hamlet of Dean Village.

that still stands in the valley below. In the 1880s John Findlay, a newspaper magnate living in Rothesay Terrace, part of the New Town which overlooked the valley and village funded the construction of Well Court. A remarkable development of rid brick and a complex of social housing with a magnificent clock tower. Despite this investment, Dean Village spent the first half of the 1900s in continued decline and the last tannery closed in the late 19960s. It was only in the 1970s and 1980s that changed began to occur and the existing houses started to get renovated and old industrial buildings were converted into housing. The unregulated origins and growth of Dean Village as well as the rather fragmented recent developments have led to a remarkable contrast to the carefully planned and ordered streets of Edinburgh’s New Town. The old bridge over the Water of Leith at the bottom of Bell’s Brae is the main focus of the village. From here as you wander around you can see fascinating variety of styles and housing typologies from mill conversions, traditional mews to modern houses and apartments.

Originally at the centre of the Water of Leith Mills, Dean Village means ‘deep valley’ and has been standing in Edinburgh in one form or another for an exceptionally long time. Records surrounding the hamlet date back to the reign of King David I in the early 1100’s when he awarded the income from a number of water mills already in operation to Holyrood Abbey. At this point Edinburgh covered only the area now known as ‘the Old Town’ and its westward development effectively halted at the castle. What was known for centuries as ‘Water of Leith Village’ developed in isolation, harnessing one of the most powerful rivers within easy reach of the city to power up to eleven grain mills. These provided the whole of Edinburgh and the surrounding villages with meal until the 19th C. Although these mills are no longer active you can still see remains of them throughout Dean village; from miller’s stones, carved stone plaques and the architecture of the buildings still standing strong in the area. By the early 1800s the river was being harnessed to power textile mills, and other industries such as tanning and blacksmiths which had been established in Dean Village. It lay on the route of the main road west from Edinburgh which snaked its way down into the valley and crossed the Water of Leith over the narrow stone bridge which still stands at the heart of the village. In 1831 Thomas Thelford built Dean Bridge, the 450ft long four arched stone bridge which carried a new road at a height of over 100ft over the valley below. The result of this bridge is what is believed to be the first settlement ever to go into economic decline due to the construction of a road bypass. All the traffic heading west from Edinburgh now crossed Dean Bridge and progressed through the steadily expanding new suburbs beyond. Dean village became an industrial backwater. In 1912 following a spate of suicides the parapets of Dean Bridge were raised, resulting in obscurance of the scale of the valley below or the once distinct village

Creating the ‘Untouched’ Gardens OF

The Dean Village, Edinburgh!

The Dean Gardens are the largest of the four ‘pleasure grounds’ to border the Water of Leith and they are the second-biggest private amenity gardens in Edinburgh encompassing over seven acres. They feature a series of planted slopes and level lawn areas with many delighful viewpoints over the Dean Valley. The lay-out of pathways, lawns and the wooden pavilion are virtually unchanged from the original Victorian era plans but the tennis court has been replaced with a well equiped children’s play area. Strong planting growth including many forest trees had changed the character of the Gardens over the decades. Today, following the removal of most of the elm trees and a variety of other aging trees the Dean Gardens has become a brighter more open space again. The Dean Gardens was originally founded in the late 1860s by public-spirited, nearby residents who wanted to improve the steep slope then used for sheep grazing and in places, disfigured with piles of building spoil. They also were against plans to construct a new terrace of townhouses (Cambridge Terrace) near the impressive Telford Bridge completed in 1832. The original work took over 10 years including acquisition of additional land. In today’s money the original Dean Gardens work cost almost £1.8 million pounds. These funds were raised entirely by private subscriptions, modest bank loans and fund raising events - an impressive community feat with an enduring legacy.

Early Water of Leith View The Dean Valley with St george’s Well and St Bernard’s Well in the background.

Dean Valley Early 1870s The wall deatured in the Dean Gardens has long gone; possibly an early boundary.

The Dean Bridge + Randolph Cliff 1890 30

Dean Village

[above] Miller Row Below the Dean Bridge A study from the site visit to Edinburgh as we began our journey along the Water of Leith Walkway from the city centre out towards Leith.

12 Miller Row Below the Dean Bridge

55° 57’ 9.9324’’ N 3° 12’ 51.372’’ W

[above] The Forest of Dean A collage depicting the planned and human manipulation of the built environment of the Dean Valley. 32

Leith / UK Context

“Sometimes, in any city, an area emerges as the hub of creative life for a whole generation of artists; and that’s what’s happening right now around Edinburgh’s old port of Leith. It was always a feisty community with a strong sense of identity, recently gentrified through several decades of waterfront development, and now – following the recent commercial property crash, and a powerful surge of immigration in the last decade – suddenly full of people and spaces dedicated to the making of art.”

Joyce McMillan, The Scotsman

North Sea Edinburgh

English Channel

SCOTLAND

North Berwick Firth of Forth Berwick-upon-Tweed Leith

Population: 24,000+

LEITH

Historical Context Leith is located on the Firth of Forth in south east Scotland. It was for many centuries the premier port of Scotland. In 1833 it was a separate burgh from Edinburgh, with its own Town Council - this changed in 1920 when Leith became part of the City of Edinburgh. While the story of Leith is partly entangled with the story of Kings and Queens, merchants and mariners, it is more a story of the ‘ordinary’ people who lived and worked on its docks and industries. After World War II the port and trade declined in the area, many industries such as shipbuilding, fertilizer manufacturing and distilling closed down. This resulted in derelict buildings and areas of derelict land. Many of the houses in the area were substandard in quality and many were left lying uninhabited. The population decreased dramatically and local facilities became limited. By the 1980s, conditions started to improve as old abandoned industrial sites were re-developed to create affordable housing and new small industrial businesses began to open.5 More recently the historic port area has seen a growing ‘culture boom’6 and rapidly growing community of artists and creatives. Cheaper rent by comparison to the centre of Edinburgh has led to dramatic increases in Leith’s population and population density, leading to a significant growth of the artistic community.

TRANSPORT LEGEND: 5. ‘Port of Leith Review and History.’ World Port Source. 6. ‘Leith Should Receive New Arts Centre’ The Scotsman quoting an Investigation by Leith Late.

[above] Mapping the key transport routes as well as the main artistis/cultural hubs in Leith. 43

Ferry Road

Great Junction Street

Water of Leith Walkway

Leith Walk

A901 Lower Granton Road

A199 Salamander Street

ARTISTIC HUBS IN LEITH:

Leith Theatre located on Ferry Road was a gift to the people of Leith after the decision on the 10th Octover 1920 to incorporate the Burgh of Leith into the City of Edinburgh. Work commenced on the theatre in 1929 and the Town Hall complex was completed in 1932. The entire complex including the Large Hall, Small Hall and Library building were well loved... then came the war. In 1941 the Main Auditorium suffered bomb damage and remained dorment for two decades. The theatre was successfully reopened in 1961 and was used by amateur opera groups, local schools, as a venue for political rallies and even weight lifting during the 1972 Commonwealth Games. The venue has hosted famous artists and bands including AC/DC, Thin Lizzy, Dr Feelgood and Kraftwerk. In 1983 the theatre was essentially closed and only hosted the Edinburgh Festival each August until 1988 when the curtain was ‘finally drawn’ and the beautiful venue fell into disrepair.

Leith Theatre

The Biscuit Factory, located on Anderson Place is a multi-purpose arts, studio and venue space that produces some of the most unique events in the city. The venue is based in one of two of Crawford’s biscuit factories in Leith. Built in 1947 close to the sugar bonds to ease transportation of raw goods and materials to the site. It laid empty for over a decade before it was revived by creative agency Youth Juice Creative to house over 15 different creative studios, a gin distillery and events and exhibitions spaces which open to the public on an event-by-event basis. The main objective of the biscuit factory is to raise funds to enable the arts industry in Edinburgh to reach out specifically to the surrounding community through arts education and participation projects, as well as more generally to the international arts sector to bring nationally and internationally renowned artists, programming and events to Edinburgh to enrich the cultural diversity of the city.

The Biscuit Factory

3 Coburg House is a thriving hub of artists, designers and makers in the heart of Leith. Housed in a former granary of Bell’s Seed Factory which was built in the early 1800s, it currently houses over 80 artists, designers and crafts people. It has housed studios for over 20 years and is home to a dynamic creative community with a well established reputation for excellence.

Coburg House Art Studios

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Historical Timeline A brief historical timeline of Leith

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1905

1910

Earliest recorded mention of Leith in the Foundation Charter for Holyrood Abbey.

Electric trams arrive in Leith.

The first aeroplane to fly in Scotland is built by Gibson and Son in Leith.

1559

1903 Leith Nautical College opens.

The town is fortified during the 1559 1560 Siege of Leith

1651 The Mercurious Scoticus, one of the first Scottish newspapers, is printed in Leith.

1670 Sir James Stanfield sets up a brewery in Leith, the largest industrial unit in Scotland at the time.

1680 The teaching of mathematics begins at Trinity House to teach boys navigation.

1744

1886 Leith Hospital is the first hospital in Scotland to admit female medical students to its wards for clinical training.

1874 The Victoria Swing Bridge is completed – the largest swing bridge in the United Kingdom at the time.

1920 Leith becomes part of the City of Edinburgh.

1939 World War II begins.

1941 Leith Theatre suffers bomb damage and remains dormate for two decades.

1841

1945+

Charles Drummond produces the one of the world’s first greetings cards in Leith – a New Year greetings card.

Leith docks experience a severe decline post World War II.

1837

The world’s first rules of golf are drawn up to be used on Leith Links.

The passenger/cargo ship SS Sirius (the first to cross the Atlantic under its own power) is built in Leith by Robert Menzies & Sons.

1771

1832

Permission is given for the construction of Leith’s first dry dock.

Leith gets its first railway, a branch line of the Edinburgh and Dalkeith railway.

1821

1832

The first steamship service from Leith to London begins.

The first intravenous treatment for cholera is given in Leith by Dr Thomas Latta.

1980 Conditions started to improve as old abandoned industrial sites are redeveloped to create affordable housing and new small industrial businesses began to open.

1993 Trainspotting is written about a group of drug users living in Leith during the 1980s.

Today

[source] www.leithlocalhistorysociety.org.uk. 2020. Explore Historic Leith. [ONLINE] Available at: http://www.leithlocalhistorysociety.org.uk/guidebook/pdfs/guidebook.pdf. 45

Demographic Analysis

Area: 4.98km2 Density: 4,890 / km2 (2019) Change: +1.55% / year (2011 - 2019)

Status:

Population: Census Data 29.04.2001

Census Data 27.03.2011

Population:

Estimated Data 30.06.2019

Population:

Ward

15,600

21,430

24,330

[source] National Records of Scotland.

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Average House Prices Across Scotland and Scotland’s Major Cities data sourced from ‘Registers of Scotland’

[source] www.edinburgh.gov.uk. 2020. Population Distribution and Density. [ONLINE] Available at: https://www.edinburgh.gov.uk/downloads/file/24263/populationdistribution-and-density. 47

Average House Prices Across Scotland and Scotland’s Major Cities data sourced from ‘Citylets’

[source] www.edinburgh.gov.uk. 2020. Population Distribution and Density. [ONLINE] Available at: https://www.edinburgh.gov.uk/downloads/file/24263/populationdistribution-and-density. 48

[left top] Cultural Spaces By Ward (2019) [source] Cultural Mapping Workshops – The Edinburgh Culture and Community Mapping Project. 2020. Cultural Mapping Workshops – The Edinburgh Culture and Community Mapping Project.

[source] A Map of Scotland’s Deprivation – Suprageography. 2020. A Map of Scotland’s Deprivation – Suprageography. [ONLINE] Available at: https://oobrien.com/2013/01/amap-of-scotlands-deprivation/.

[left top] Cultural Spaces By Ward (2020) [source] Cultural Mapping Workshops – The Edinburgh Culture and Community Mapping Project. 2020. Cultural Mapping Workshops – The Edinburgh Culture and Community Mapping Project.

“We don’t just need housing. We need facilities, services, schools, community centres, green space, public spaces. We need a vision and a masterplan with colour and vibrancy, focused on our needs.” workshop: Access to buildings and space

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Culture Mapping Using research carried out by Edinburgh Living Lab I looked at mapping the cultural spaces which reflect the diversity of creative and cultural activities within Edinburgh. The map helped to reinforce research into the neighbourhood around Leith Theatre and Leith Library being a significant creative and cultural hub within Edinburgh as well as an area that is at risk.

[right] Edinburgh Culture Mapping Project Culture Mapping reflecting the diversity of Edinburgh’s creative and cultural activities. A project by Edinburgh Living Lab. 52

Mapping Creative Nodes in Leith A map showing dispersion of creative hubs and businesses around Ferry Road and more generally around Leith, Edinburgh.

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KEY: 1. Leith School of Art 2. artroom32 3. Dean & Cauvin Trust 4. The Prince’s Trust Edinburgh Centre 5. Full Crate 6. Coburg House Art Studios & Ritchie Collins Gallery 7. DOK Artist Space 8. The Leith Walk Gallery 9. Rhubaba Gallery and Studios 10. Bloc Gallery 11. Edinburgh Open Workshop 12. Post Electric Studio 13. Finiflex 14. Ritchie Collins Gallery 15. Edinburgh Atelier of Fine Art, Custom Lane, Studio Alec Finlay, Scottish Skyscapes Trina Bohan, Sheree Walker Edinburgh Web Design & Creative Studio 16. Sketchy Beats Cafe 17. Four Square - Homeless Charity Edinburgh 18. West End Design 19. Almond Design 20. Snowball Design 21. DO - Design Agency 22. Acero Design 23. David Brown Design 24. Bagelfish Design Ltd 25. IIINK Designs 26. Svenno Design Co. 27. Kate George Design 28. Karen Rhodes Design Ltd 29. MBS Graphic Design Boundary Line of Leith

1km

Proposed Area of Urban Strategy

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Existing Cultural and Artistic Centres

[left] Leith Theatre Outside view of the entrance to Leith Theatre.

[middle] Leith Theatre Hall Internal view of the great hall of Leith Theatre during a vintage fair.

[right] Leith Mural Tim Chalk and Paul Grime’s mural depicting Leith’s rich and varied social history. Located in the existing public square outside Leith Theatre.

[left] Leith School of Art A key artistic node within the neighbourhood is the Leith School of Art, an independent art college.

[middle] Leith Theatre Hall Internal view of the great hall of Leith Theatre during a live music concert.

[right] The Sonic Lodge Music Recording Studio based on Ferry Road Across from Leith Library.

[left] Sketchy Beats Cafe Sketchy Beats is an arts concept combining live music, improvised dancing and life drawing.

[middle] Sketchy Beats Cafe

[right] Leith Library Internal view of Leith Library on Ferry Road.

LEITH FESTIVAL: Having starting in 1907 with a pageant and Gala day to raise funds for Leith Hospital, Leith Festival is one of the oldest festivals in Edinburgh. The structure of the festival remains the same, on the second Saturday of June a colourful Pageant proceeds down Leith Walk to the Gala day on Leith Links. Gala day has traditionally been a day of community, where locals can catch up with the gossip and chat with stallholders from local businesses and community groups. The festival continues for the following week, with a selection of performances around Leith, whether it be music, theatre, exhibitions or workshops – there is something for everyone. The Pageant is headed up by the Mock Lord Provost, a light-hearted poke in the ribs to neighbouring Edinburgh, a nod to the many Leithers who were against the assimilation with Edinburgh in 1920.

Leith’s F

LEITH JAZZ AND BLUES FESTIVAL: An annual weekend of live music staged across various pubs and bars located in the Shore area of Leith.

LEITHLATE: Alongside the annual multi-arts festival, LeithLate is responsible for a number of public art initiatives in Leith, including The Shutter Project and The Mural Project. Funding is a clear issue for all of Leith’s festivals, none of which receive regular funding. As a result, each of the festivals are heavily reliant on volunteers and community support to ensure continued activity. These organisations all have the ability to reach large numbers of the local community and to attract a significant number of people to the area, though there is little or no communication between each event.

Festivals

EDINBURGH MELA The Edinburgh Mela is an annual multi-cultural festival held in Edinburgh. It is one of the 12 festivals that make up the Edinburgh Festival. The festival moved to Pilrig Park in 2000, and to Leith Links in 2010. Running over three days in September, the event attracts around 25,000 people each year. Edinburgh Mela is Scotland’s biggest multi-cultural festival of world music featuring dance, family fun, fashion and food, takes place on Leith Links each year. Like similar events worldwide, the Mela is a gathering and celebration full of colourful costumes and performance.

How can the great wealth of knowledge and talent fay.young

in Leith be harnessed? What is the best way to

December 18, 2019

develop a shared understanding of the local

community news, Leith Open Space Events

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The place is packed. The hall is fairly humming with that unmistakeable sound of people getting properly engaged. All ages. Busy tackling the big

Coronavirus: Report suggests arts industry faces 'ruinous losses'

issues of local life. So why are we worried about who is not here? Is that a sign of local perversity? There’s lots on in Leith any day of the week. On a sunny Saturday morning many folk, especially those with young families, have plenty other things to do. Even so, there are more than one

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hundred people signing into the event at Norton Park Conference Centre.

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And that with a match on at Hibs Stadium next door, this afternoon. In truth, with ten tables pretty much fully occupied, there’s not much room

45 minutes ago

for any more. Still, as ﬂip chart comments show, each workshop is aware of gaps in the groups represented around their table. Whose voice is not being

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heard, where are opportunities to meet, how do we ﬁll the gaps?

Leith is many places, whose voice is unheard?

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How can the great wealth of knowledge and talent in Leith be harnessed? What is the best way to develop a shared understanding of the local potential to meet needs and overcome obstacles? Leith Conference The place is packed. The hall is fairly humming with that unmistakeable sound of people getting properly engaged. All ages. … Continue reading

9 hours ago CITY COUNCILLORS FOR LEITH & LEITH WALK Adam McVey

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Leith should receive new arts centre - study | The Scotsman

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While cinemas and galleries are planning to reopen, theatres and concert venues will remain closed for now

ACTive INquiry Theatre Company Ben Macpherson MSP Black and Ethnic Minority Infrastructure Centre for Human Ecology Deirdre Brock MP Elrec Youth Zone Multi-Cultural Family Base

The latest Arts Index, published annually, showed public investment in arts per head of the population fell by 35% in the last decade.

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However, earned income by arts organisations from things like box oﬃce ticket sales increased by 47%.

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And that is exactly what Leith Conference is after. Reaching out and connecting are driving purposes of this weekend. A genuine community-

The government said it was working with the arts sector directly on how to reopen safely and plan for the future.

led ‘place-plan’ needs genuine community engagement. And no-one could accuse the organisers – LeithCreative and Leith Trust – of being unambitious. The overall aim is to lay the foundation for “a new community

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For the plan to be the best, and most relevant it can be, we need input from everyone across the area.

It is published in partnership with the Creative Industries Federation and King's College London and compares year-on-year ﬁgures using 20 key indicators.

How can the great wealth of knowledge and talent in Leith be harnessed? What is the best way to

December 18, 2019

develop a shared understanding of the local

community news, Leith Open Space Events community led planning,

Where local meets global

this after the general election campaign – I brieﬂy wonder if it’s even more perverse to focus on local issues when national and global events pose such

LeithCreative, place

huge challenges?

making

The latest index, published on Monday, puts the recent ﬁgures in the context News you canincome trust Sign sincein1817 of the last decade, which saw a UK recession prompt a shiW in the streams for arts organisations.

That was justto over a month ago (26/27 October 2019). Now – I’m writing potential meet needs and overcome obstacles?

community manifesto,

'He always s long life'

The Arts Index is published by The National Campaign for the Arts (NCA), and acts as a snapshot report of the health of England's arts and culture.

generated Local Place Plan, shaped by the people of Leith.”

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BBC 100 Wo the list?

A cut in public funding has le2 the arts sector more exposed to the threat of Covid-19, new ﬁgures suggest.

City of Edinburgh Council

— Leith Conference

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The place is packed. The hall is fairly humming with that unmistakeable Yet theof pressing issues on the tables in the All conference hall – housing, sound people getting properly engaged. ages. Busy tackling the big

What does the latest Arts Coronavirus Opinion Sport Index Arts say? and Culture

health and welllife. being, transport, space, public space, environment, issues of local So why are we green worried about who is not here? social care, community cohesion, sustainable employment – are exactly

'It doesn't fe

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AWer the 2008 ﬁnancial crash, the arts sector witnessed a signiﬁcant drop in public funding, business support and philanthropic giving

where meets global thinking. These areLeith universal needs. The Is that local a signaction of local perversity? There’s lots on in any day of the election – and itsmorning outcomemany – hasfolk, reinforced divisions and week. Oncampaign a sunny Saturday especially thosewithin with young

Arts and Culture

between parts of the creaking But Leith Conference was families, all have plenty other thingsUnited to do. Kingdom. Even so, there are more than one a powerful reminder thatinto – regardless of Norton tribal politics – every day, people hundred people signing the event at Park Conference Centre.

Investment via public funding for the arts per head of population - via the Lottery, local and national government - has dropped by 35% since then, with local government funding for the arts falling by 43%

Leith should receive new arts centre - study

are inavital work improve quality of life in this theirafternoon. own Andengaged that with match on to at Hibs Stadium next door, communities. Against the odds, they achieve small miracles. Just getting on

However, earned income increased by 47% - with arts organisations becoming more reliant on money made from ticket sales, catering and venue hire

with it. Because it tables needs pretty to be done. In truth, with ten much fully occupied, there’s not much room for any more. Still, as flip chart comments show, each workshop is aware of People places, for better and worse, and it’s worth a look at gaps inmake the groups represented around their table. Whosetaking voice is not being what cliché means. Look closer and stereotypes heard,that where arereally opportunities to meet, how doyou wefind fill the gaps? crumbling. At each table in the hall there’s a mix of ages with workshops

Goodbye AT oﬀer access

This shiW from subsidy to private income has leW the arts sector signiﬁcantly more exposed to the threat from Covid-19

being co-facilitated by young people from the Citadel Youth Club and Leith Academy [as you can probably see from the main image, above, with Ray Bird of

While galleries and cinemas are putting plans in place to reopen, theatres and

A NEW multi-purpose arts centre should be created in Leith to concert venues will remain closed for the foreseeable future. capitalise The onchair a growing culture in therose historic port area and of the NCA, Samuel West, said:boom "Arts organisations to the challenge following the ﬁnancial crash; we salute them for increasing earned help address a desperate shortage of space for artists, a new study income in response to a triple whammy of cuts to public funding, business has found.sponsorship and philanthropic giving.

Rare Bird Media, hard at work documenting the event].

Reunited aO Arena bomb

"It's bitterly ironic that the arts sector's resourceful response to the 2008 financial crash is now the very thing that makes it vulnerable to the COVID-19 Think election endedoff 3a crisis, with theatres closed and income from opportunity tickets and bars dropping November? FERGUSON cliff."

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Available for everyone, funded by readers Contribute Subscribe https://www.scotsman.com/arts-and-culture/leith-should-receive-new-arts-centre-study-1504920 Brendan Lamont of Leith Depot setting up Saturday lunch

And that is exactly what Leith Conference is after. Reaching out and At the end of the weekend the greatest number of votes went to calls for connecting are driving purposes of this weekend. A genuine communityintegrated planning, intergenerational activities and a shift in the balance led ‘place-plan’ needs genuine community engagement. And no-one could of power. [LeithCreative has published an impressively detailed full conference accuse the organisers – LeithCreative and Leith Trust – of being report: click HERE] unambitious. The overall aim is to lay the foundation for “a new community

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The UK arts sector was thriving before coronavirus. It's folly not to save it Polly Toynbee

generated Local Place Plan, shaped by the people of Leith.” We don’t just need housing. We need facilities, services, schools, community centres, green space, public spaces. We need a vision and a

For the plan to be the best, and most relevant it can be, we need masterplan with colour and vibrancy, focused on our needs (workshop: input from everyone across the area. Access to buildings and space )

A decade of was born

Actor and writer Mark Gatiss talks to PM about the importance of regional theatre

Intergenerational activities to bring young and old together (workshop: Keeping Well)

Where local meets global Change of power relationships between Community & Planners (workshop: The NCA said the sector had been "brought to its knees" amid the coronavirus pandemic, adding that many companies now face "ruinous losses".

Development, housing and planning) That was just over a month ago (26/27 October 2019). Now – I’m writing this after the general election campaign – I brieﬂy wonder if it’s even more How to make that happen? Sharing knowledge and experience is an perverse to focus on local issues when national and global events pose such essential part of successful community activism. On both days speakers huge challenges? gave stimulating insight into the secret of getting community voices heard in high places. On Saturday Jemma Neville, author of Constitution Street, Yet the pressing issues on the tables in the conference hall – housing, Finding Hope in an Age of Anxiety, and Jane Jones, from the Fountainbridge health and well being, transport, green space, public space, environment, Canalside Initiative on campaigning for green space and affordable homes. social care, community cohesion, sustainable employment – are exactly On Sunday, Lesley Riddoch, of a Thousand Huts, Eigg Community Buyout, where local action meets global thinking. These are universal needs. The and The Power of Local, and Linda Somerville of Save Leith Walk now election campaign – and its outcome – has reinforced divisions within and campaigning for community right to buy. between all parts of the creaking United Kingdom. But Leith Conference was a powerful reminder that – regardless of tribal politics – every day, people are engaged in vital work to improve quality of life in their own

What happens next? communities. Against the odds, they achieve small miracles. Just getting on with it. Because it needs to be done.

Many people signed up on the day, however, if you are willing to contribute to the process of creating a Leith Local Place Plan let People make places, for better and worse, and it’s worth taking a look at us know by return email [info@leithcreative.org]. what that cliché really means. Look closer and you ﬁnd stereotypes

crumbling. At each table in the hall there’s a mix of ages with workshops — Duncan Bremner being co-facilitated by young people from the Citadel Youth Club and Leith Academy [as you can probably see from the main image, above, with Ray Bird of There’s no quick ﬁx, as Jane Jones reminded the audience on that sunny Rare Bird Media, hard at work documenting the event]. October day. LeithCreative has now started making the crucial follow up, writing to everyone who took part in the conference, with an invitation to join the residents steering group. A meeting with Scottish Community Development Centre will explore how to build on the buzz of ideas captured on those ﬂip charts. A conversation with Forth Ports will pick up CEO Charles Hammond’s promise to kickstart a community support fund. There is much to celebrate in Leith, as Duncan Bremner of LeithCreative and Faith Liddell of Leith Trust, said in their opening remarks. So much, in fact, it’s often hard to keep up with events and activities of an extraordinary diversity of small businesses, voluntary groups, charities and publicly funded organisations at work across a widespread area.

Leith is not just one place. Every street and open space reﬂects an astonishing diversity of cultural heritage. Place-based community empowerment allows for differences while developing shared understanding, and common purpose. — Faith Liddell There has never been a better, or more urgent, time for our communities to work together. ‘Community empowerment’ is now enshrined in legislation as Faith pointed out. Public bodies are legally bound to engage with local communities and the Scottish Government is encouraging ‘community-led, place-based planning’. But no-one at Norton Park was under the illusion Brendan Lamont of Leith Depot setting up Saturday lunch that this is a simple process. Essential relationships – between people, At the endpolicy-makers, of the weekend politicians the greatest number of votes wenttime to calls for planners, and developers – take to build

integrated planning, intergenerational activities and a shiftresults. in the balance and meticulous attention to detail to produce constructive of power. [LeithCreative has published an impressively detailed full conference

report: clickto HERE] “You have know you’re in for the long haul” says Jane Jones from a chilly Fountainbridge Canalside. “We also need to know how power works, how We don’t just need housing. We facilities, services, schools, politics works. We might start byneed pooling resources to learn from one community centres, green space, public spaces. We need a vision and a another.” masterplan with colour and vibrancy, focused on our needs (workshop:

Fri 26 Jun 2020 07.00 BST

746 797

Our booming for film, television, theatre and design industries A spokesman the Department for Digital, Culture, Media and Sport (DCMS) can’tBBC leapNews: back to lifegovernment if venues arehas bankrupt and talent has fled financial aid told "The announced unprecedented for the arts and cultural sectors, including the Self Employed Support Scheme, the job retention scheme, a year's business rates holiday, and the Arts Council's £160 million emergency response package.

The PM who 'right to self

"We want to help those organisations that have worked hard to become a commercial success, and we are working directly with the arts sector on how it can reopen safely and plan for the future." In October, DCMS announced £250m of funding for the cultural and creative sector - the biggest one-oﬀ government investment in cultural infrastructure, local museums and neighbourhood libraries in the last century. Culture Secretary Oliver Dowden told The Evening Standard on Monday: "I am not going to stand by and see our world-leading position in arts and culture destroyed... Of course I want to get the money ﬂowing, I am not going to let anyone down."

PM faces po system

‘When even West-End impresario Cameron Mackintosh cancels all of his moneyspinners until next year, the

Discussing histake negotiations with the treasury about further financial aid, he government should fright.’ Photograph: Nils Jorgensen/REX/Shutterstock said: "Not everyone is going to be happy with whatever comes up. I'm going to s the furlough scheme tapers off, we are entering a frightening have to asknew institutions to take difficult decisions". era of mass unemployment, with 23% more dole claimants in just one month. Day after day, thousands more redundancies are The latest index notes that the West End weathered the financial storm that announced, with more to come. Retail and hospitality warn many started in 2008 particularly well, and since 2013 the sector saw real terms businesses won’t survive unaided. The shadow chancellor, Anneliese Dodds, growth in revenues practically every year to 2018.

has called on the chancellor, Rishi Sunak, to slow the pace of withdrawing support or riskthat wasting the job-saving good done by furloughing so far. jumped It also states ﬁnancial support from arts trusts and foundations

The Queen's women ches

by 38% between 2014 and 2018.

The Treasury view is that paying for 9.2 million workers can’t last forever, so there’s no the point in propping that won’t survive – so shake However, index showed up thebusinesses proportion of all GCSEs being taken inout creative zombies that were20% staggering even before the pandemic hit. If these so-called subjects is down since 2010. zombies employ people otherwise thrown into long-term joblessness, letting them go will be a bad mistake. But the most calamitous error is to impose a one-size-fits-all retreat from job support, where the Treasury makes no Follow us on Facebook, or on Twitter @BBCNewsEnts. If you have a story distinction between failing companies and highly profitable thriving sectors suggestion email entertainment.news@bbc.co.uk. closed only by virus diktat. The performing arts, music of every kind, theatre, film studios and dance venues are dark only because they are banned. Otherwise they would leap

Related back as oneTopics of the few genuinely “world-beating” high-earners for Treasury

coﬀers, a tourist magnet and the heart of the nation’s cultural identity. Musicians, performers, directors, crew, designers, employees of all kinds are Performing arts Film Theatre Music being sacked right now. Many are freelancers with no government support to sustain them, the industry warns. This week the Theatre Royal Plymouth announced

jobsthis could be lost, its director talking of their that 100on More story

“very painful but unavoidable conclusion”, as Newcastle’s Theatre Royal cast off half its staff, 'We're clinging on' - theatre leaders discuss lockdown turmoil cancelling five months of shows. 14 May

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Art can support recovery from addiction Number 37 in our countdown of '70 Ways Art Improves Our Health' highlights the potential for art to aid substance abuse recovery…

Contrary to popular belief, there is little evidence that drugs and alcohol make us more creative. In fact, a study of existing research in 2016 concluded that although creativity and drug use are associated, “The results that we have suggest no direct link between the two.”

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No one knows exactly where our creativity comes from. Theories suggest many different genetic and environmental elements are involved: hereditary traits, family nurturing, early exposure to art, good teaching, an appetite for learning, and endless creative practice.

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One thing we do know is that addiction smothers creativity. But also, thankfully, that art can aid an addict in their lifelong recovery.

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“Art therapy and other creative activities can offer an emotional outlet and a way of expressing inner thoughts.” Recovery from addiction involves much more than stopping the use of drugs or alcohol. We also have to understand why we became addicted in the first place and the reasons for wanting to create a new drug-free life for ourselves.

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Like many others living with physical and mental health issues, addicts may struggle to recognise and communicate their emotions. Art therapy and other creative activities can offer an emotional outlet and a way of expressing inner thoughts. Memories and experiences that are too painful or shameful to speak about can be expressed through paint, pencil, clay and any other medium. Of course, everyone recovers in different ways, but when art is combined with detox and talking therapies, it can be a powerful way to encourage healing.

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In his blog, Wynford Ellis Owen, Chief Executive Officer at the Living Room Cardiff (a communitybased recovery centre), painted us a vivid and moving picture of how the Paintings in Hospitals art collection supports the recovery of service users. You can read Wynford’s blog here.

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A NEW multi-purpose arts centre should be created in Leith to capitaliseof onLeith's a growing culturepop-up boom in arts the historic port arearaised and Organisers annual festival have help address a desperate shortage of space for artists, a new study concerns about the impact of new developments and rising has found.

property prices in the area as they revealed the event had been axed after six years.

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Morvern Cunningham founded the LeithLate arts festival in 2011.

They have also cited funding problems for the demise of LeithLate, which

[above] Leith Theatre Collage Concept collage exploring the importance of Leith Theatre as a significant cultural and artistic hub within Leith. 63

“Edinburgh’s Cultural Venues make a very significant contribution to the Edinburgh and Scottish economies, supporting over 5,000 full time equivalent (FTE) jobs and £194 million Gross Value Added (GVA) in Scotland.” Edinburgh’s Cultural Venues Impact Report

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[left] Leith Theatre Diagram Conceptual diagram exploring the notion of restoring Leith Theatre’s role as a ‘Gift to the people of Leith’.

“The Early History of the town is that of a tributary state under the suzerainty of Edinburgh. True, the two places were so closely joined geographically as to be virtually one, but an underlying spirit of independence, too powerful to be subjugated by the yoke of feudal vassalage, or any form of superficial contacts, held the port apart for many generations, notwithstanding the most strenuous efforts by the City to envelop it. ...the patriotism of the people for the maintenance of their historic past remains unsubdued, and promises to outlive the much-lauded benefactions under the statute.” Arch Carswell, ‘The Port of Leith’, 1937

Below the Bridge View from below the Junction Street Bridge looking towards the old art deco cinema and the sketchy beats charity cafe which serves the local community. 67 02

Culture of Leith Creating a centre for cultural and artistic expression in Leith ‘Culture of Leith’ intends to interact with the growing community of artists to establish a creative and cultural ‘centre’ for Leith. The urban strategy aims to provide public spaces surrounding the creative nodes on Ferry Road and intends to improve the existing and limited infrastructure surrounding the area’s important cultural centres: Leith Library, Leith Theatre and Leith School of Art. This cultural and artistic hub will provide space for exhibitions, performances, social interaction and engagement, in turn helping to celebrate the strong sense of identity and community spirit within the area. The public spaces will also further enhance the four existing festivals that take place in Leith annually. Furthermore, the improved public spaces will provide an additional setting (alongside Edinburgh City Centre) for existing cultural events such as ‘Edinburgh Fringe’ and ‘Edinburgh International Festival’. The profits from these events will then be invested back into the local community, helping to support artists, creatives and community projects at risk of being forced out due to increasing rent and land costs. The proposed plans for Leith’s cultural hub at the urban scale will ultimately provide the ideal context for an intervention at the architectural scale: a new Arts Centre. There is currently a distinct lack of dedicated space for music, theatre and the arts which is said to be ‘holding back ambitions... to transform the future of Leith’.4 This new Arts Centre will confront these issues as well as further establishing the area as a creative and cultural ‘centre’ for Leith.

Developing the Proposal

[above] Concept Sketch Conceptual sketch depicting Leith in its previous role as the economic powerhouse of Edinburgh.

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[above] Initial Proposal Mapping Initial drawing showing the potential for urban interventions around the Ferry Road Neighbourhood. Original drawing at 1:500 on A3.

[above] Further Proposal Mapping Contiued sketching of potential urban interventions around the Ferry Road Neighbourhood. Original drawing at 1:500 on A3.

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Public Spaces Public spaces are extremely beneficial to the social and economic wellbeing of a city and its community7. When designed successfully, they inject life into an area. Public spaces and meeting places are an invaluable social resource, providing an opportunity to come together and engage with one another and creating inclusive, vibrant social spaces for everyone to participate in. They also offer members of the community a chance to enjoy the therapeutic benefits of the outdoors.

7. The Social Value of Public Spaces. Joseph Rowntree Foundation.

KINGS CROSS: The redevelopment of Kings Cross has been one of the most significant regeneration opportunities in London. The proposal provides a unique setting for people from the local community as well as further afield to enjoy; it is a prime example of how a successfully designed public space can transform and reinvigorate an area.

“The very best public spaces have rhythms and patterns of use of their own, being occupied at different times by quite different groups, occasionally by almost everybody. But their attractiveness, flexibility, and pluralist sense of ownership derived from their popularity, makes them immensely valuable to the life of the city.” Demos: The Freedom of the City

COPENHAGEN HARBOUR BATHS: Copenhagen’s harbour is in the midst of a transformation from an industrial port and traffic junction to being the cultural and social centre of the city. The Harbour Bath has been instrumental in this evolution. It extends the adjacent park over the water by incorporating the practical needs and demands for accessibility, safety and programmatic flexibility.

PIAZZA DEL CAMPO: The open plan of the square provides flexibility in the types of activities that occur in the space. Public performances and other informal activities often occur in the center of the square because the downward slope of the space creates a natural amphitheater for spectators. The edge of the square is highly activated by the presence of cafés, museums and retail stores. These adjacent commercial activities provide a steady stream of pedestrian traffic into the square.

Covent Gardens, London 1745

“Feeling in the middle of things, at the place to and from which streets flow, where people come not to escape the city but to be inside it: This us usually what defines a successful square...” Catie Marron, City Squares: Eighteen Writers on the Spirit and Significance of Squares Around the World

The Piazza San Marco Venice

“a square is also an organism, not just a work of art and architecture” Michael Kimmelman, “Culture: Power of the Place”

Leith Square Concept Collage 75

“In a different world Edinburgh might well have been a distant suburb of the City of Leith and not the other way around. For nature had blessed that part of the shore of the Forth with all the advantages of a safe haven and a flat site. It was something that the burgesses of Edinburgh understood well in a more robust age of merchant intrigue. ... At last, there is a future, allowing the natural advantages of location and something of that independent spirit to prevail. In the last dozen or so years houses and shops have sprouted out of empty warehouses, gaps have been filled... A real sense of opportunity is returning.” J.M. Wallace, ‘Traditions of Trinity and Leith’, 1997

Site Locat 1:5000 Map showing the Proposed S [Original drawing

KEY A. Improved Public Square B. Shared Space C. Outdoor + Leisure Space

tion Plan

ites for an Urban Strategy for Leith at 1:5000 at A3]

100m

Process Work

[above] Outside the Library Concept drawing for seating installation outside Leith Library.

[above] Leith Christmas Markets Concept drawing of the expanded public square around Christmas time.

[above] Shared Space Concept Concept drawing for improving pedestrian routes along Ferry Road.

[above] Leith Stair Theatre Initial concept drawing of the proposed ‘Leith Stair Theatre.’

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Proposal

1:500 experiental mapping of rhyth

[Original drawing

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Mapping

hm, nodes and areas of interventions

g at 1:500 at A0]

Site Axonometric ‘Culture of Leith’ Interventions for Ferry Road

a. This section of Ferry Road will be converted into a pedestrianised street with single lane shared space to allow for bus routes through the site. This will allow for the street to act as a space for the community. 89

b. The proposed ‘Leith Arena’ will provide much needed outdoor public public space. The running track will be used by local members of the community as well as local schools. c. A multi use outdoor sports court will be situated alongside the ‘Leith Arena’ and existing local playground.

d. The existing public square will be enlarged and rejuvinated to provide a large space for people to meet and socialise. The design of the square will celebrate Leith, its rich history and frame the Leith Mural.

e. Proposed ‘Leith Stair Theatre’ on the Water of Leith Walkway. This will provide a multi use space for outdoor events to take place year round, as well as improving access to Ferry Road. f. Ostara Street Cafe.

Developing the Public Square

C. A.

B. b.

Existing public Square in Leith

KEY: A. Existing Square B. Leith Library C. Leith Theatre D. Leith School of Art. a. Water of Leith Walkway b. Proposed Stair Theatre

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C. A.

B. b.

KEY:

Analysis of Access to Existing Public Square

A. Existing Square B. Leith Library C. Leith Theatre D. Leith School of Art. a. Water of Leith Walkway b. Proposed Stair Theatre

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C. A.

B. b.

Expanding the Square and Pedestrian Zones along Ferry Road

KEY: A. Existing Square B. Leith Library C. Leith Theatre D. Leith School of Art. a. Water of Leith Walkway b. Proposed Stair Theatre

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C. A.

B. b.

KEY:

Providing a central plaza for activity, improved access into the square with seating and trees around the edge.

A. Existing Square B. Leith Library C. Leith Theatre D. Leith School of Art. a. Water of Leith Walkway b. Proposed Stair Theatre

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C. A.

Final Proposal for the Public Square.

KEY: A. Existing Square B. Leith Library C. Leith Theatre D. Leith School of Art. a. Water of Leith Walkway b. Proposed Stair Theatre

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Tartan Concept Diagram Tartan of Leith draped over the public square in Leith

Tartan Design Final Design of the Public Square in Leith with a modern interpretation of the Tartan of Leith and Coat of Arms.

Tartan of Leith

Leith Coat of Arms

Seating Art Installation Leith Library / Edinburgh Fringe

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Leith Square Perspective of Leith Square around Christmas time

Leith Stair Theatre

Stair Theatre Axomometric

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The Stair Theatre Water of Leith Walkway

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STAGE V

Reflective Conclusion The first semester of Stage 05 has been an extremely unique and challenging learning curve. After two years living in London and working in architecture practices I was extremely excited to get back to Newcastle and dive head first into studying my masters. The effects of life during Covid-19 and the subsequent lockdowns however, have had a much more dramatic effect on my work, motivation, efficiency and creativity than I could ever have predicted. I have always been a busy person. During undergraduate I thrived when I was at my busiest with photography jobs, university sport and the rest of university life allowing for creative stimulation and efficient working when in the studio. The contrast from that to this year has been brutal. Trying to remain motivated, inspired and creative when working alone at home without the buzz, laughter, camaraderie and inspiration of others in the studio has been a painful experience. It has reminded me of just how lucky we are to have the architecture studios, people and environment within which we work. Despite this challenging learning environment, I believe I have developed work with a strong and consistent narrative throughout this portfolio. My early studies into the vibrant community of artists and creatives in the Ouseburn Valley acted as a catalyst for my investigations of edge conditions in Edinburgh, and the resulting urban strategy for Leith. Preliminary research into Edinburgh helped during the site visit and allowed us to see and gain as much as possible from our day within the city. Having returned from Edinburgh, I turned my focus to Leith which was an area that really fascinated me. It was the clear industrial scars and the growing community of artists and creatives which led to my investigations into the historical context and looking towards the future of Leith. The work I have produced has consistently responded to the social and historical edge conditions of the site. Extensive investigations into community projects, the needs of the local community and the urban context have inspired the proposed urban strategy to create a space for the people of Leith. I believe that the interventions immersed around the creative nodes in the area will create much needed cultural hub for social engagement, community projects, art exhibitions and events. A space where the people of Leith feel ‘in the middle of things, at the place to and from which streets flow, where people come not to escape the city but to be inside it’. I have continued to develop on the very strong research and clear framework for the scope and process of the proposal, which was pointed out during my final crit. Following on from this feedback I have continued to develop the proposal at the architectural scale, which the tutors were eager to see emerging. I believe that the urban strategy for the area provides spaces which will act as social condensers; providing a sense of identity for Leith and spaces where people can interact, protest and express themselves. Following on from this, the urban scale proposal will be the context and framework for a proposed Art Centre, which the Leith community has been desperate for. This will provide the basis for my second semester work and allow me to progress from the urban scale into the built form. Having enjoyed the thorough research and analysis of the area of Leith I am excited to continue to develop and push my work in semester 2. GC1

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Bibliography www.leithlocalhistorysociety.org.uk. 2020. No page title. [ONLINE] Available at: http://www.leithlocalhistorysociety.org.uk/guidebook/pdfs/guidebook.pdf. World Port Source. 2020. WPS - Port of Leith review. [ONLINE] Available at: http://www.worldportsource.com/ports/review/GBR_Port_of_Leith_2872.php. Leith should receive new arts centre - study | The Scotsman. 2020. Leith should receive new arts centre - study | The Scotsman. [ONLINE] Available at: https:// www.scotsman.com/arts-and-culture/leith-should-receive-new-arts-centrestudy-1504920. Peter Moskowitz. 2020. What Role Do Artists Play in Gentrification? - Artsy. [ONLINE] Available at: https://www.artsy.net/article/artsy-editorial-roleartists-play-gentrification. Leith should receive new arts centre - study | The Scotsman. 2020. Leith should receive new arts centre - study | The Scotsman. [ONLINE] Available at: https:// www.scotsman.com/arts-and-culture/leith-should-receive-new-arts-centrestudy-1504920. The Edinburgh Culture and Community Mapping Project. 2020. The Edinburgh Culture and Community Mapping Project. [ONLINE] Available at: https:// www.edinburghculturalmap.org. Looking Back and Forecasting Forward to 2020 | Nuggets | Blog | Rettie & Co.. 2020. Looking Back and Forecasting Forward to 2020 | Nuggets | Blog | Rettie & Co.. [ONLINE] Available at: https://www.rettie.co.uk/articles/looking-backand-forecast-ahead-nuggets. www.edinburgh.gov.uk. 2020. Population Distribution and Density. [ONLINE] Available at: https://www.edinburgh.gov.uk/downloads/file/24263/populationdistribution-and-density. Journal of Housing and the Built Environment. 2020. Living through gentrification: subjective experiences of local, non-gentrifying residents in Leith, Edinburgh | SpringerLink. [ONLINE] Available at: https://link.springer.com/ article/10.1007/s10901-009-9151-3. BBC Bitesize. 2020. Developed country case study - Edinburgh - Management of urban change - Higher Geography Revision - BBC Bitesize. [ONLINE] Available at: https://www.bbc.co.uk/bitesize/guides/zqdkkqt/revision/8. www.etag.org.uk. 2020. No page title. [ONLINE] Available at: https://www. etag.org.uk/wp-content/uploads/2015/04/Edinburghs-Cultural-Venues-ImpactReport-6Nov14.pdf. Leith Open Space. 2020. Leith is many places, whose voice is unheard? – Leith Open Space. [ONLINE] Available at: https://www.leithopenspace.co.uk/ headlines/leith-is-many-places-whose-voice-is-unheard/. Our History : Leith Festival. 2020. Our History : Leith Festival. [ONLINE] Available at: http://leithfestival.com/about/our-history/. The Social Value of Public Spaces. Joseph Rowntree Foundation. [ONLINE] https://www.jrf.org.uk/sites/default/files/jrf/migrated/files/2050-public-spacecommunity.pdf Sustainability Kings Cross. [ONLINE] https://www.kingscross.co.uk/media/ Sustainability_King_s_Cross_i_.pdf Understanding Leith’s Cultural Resources and Creative Industries [ONLINE] http://www.leithcreative.org/wp-content/uploads/2015/05/REPORT_web.pdf

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hub. A rapidly increasing population within the context of the industrial infrastructure has led to an urgent call for a creative and vibrant urban strategy that provides the area with ‘community centres’ as well as ‘green... [and] public spaces.’3 ‘Culture of Leith’ intends to interact with the growing community of artists to establish a creative and cultural ‘centre’ for Leith. The urban strategy aims to provide public spaces surrounding the creative nodes on Ferry Road and intends to improve the existing and limited infrastructure surrounding the area’s important cultural centres: Leith Library, Leith Theatre and Leith School of Art. This cultural and artistic hub will provide space for exhibitions, performances, social interaction and engagement, in turn helping to celebrate the strong sense of identity and community spirit within the area. The public spaces will also further enhance the four existing festivals that take place in Leith annually. Furthermore, the improved public spaces will provide an additional setting (alongside Edinburgh City Centre) for existing cultural events such as ‘Edinburgh Fringe’ and ‘Edinburgh International Festival’. The profits from these events will then be invested back into the local community, helping to support artists, creatives and community projects at risk of being forced out due to increasing rent and land costs. The proposed plans for Leith’s cultural hub at the urban scale will ultimately provide the ideal context for an intervention at the architectural scale: a new Arts Centre. There is currently a distinct lack of dedicated space for music, theatre and the arts which is said to be ‘holding back ambitions... to transform the future of Leith’.4 This new Arts Centre will confront these issues as well as further establishing the area as a creative and cultural ‘centre’ for Leith.