2023-24 Interior, Architectural and Spatial Design
This catalogue is part of a collection published by the Edinburgh School of Architecture and Landscape Architecture (ESALA), Edinburgh College of Art, University of Edinburgh. It documents student design work produced by the MA Interior, Architectural and Spatial Design programme in 2023-24. The full collection is available to view online at issuu.com/eca
Published in 2024 by The University of Edinburgh, under the Creative Commons
Attribution Non-Commercial Non-Derivative 4.0 International License (CC BY-NC-ND 4.0).
This collection of work by MA Interior, Architectural and Spatial Design students from the Edinburgh College of Art is inspired by Leith Custom House. Throughout this year-long design journey, we have explored the potential of the Custom House and pushed the boundaries of interior architecture. In our studies, we have explored 2D, 3D, written, and digital expressions of interior spaces, making our approach increasingly diverse.
The book is intentionally divided into three main chapters representing three core design explorations undertaken throughout the year - namely, Reading, Adapting and Connecting Interiors - that are the different lenses through which we explored Custom House. ‘Echoes’ representing Adapting interiors showcases the historic and past elements of the building through detailed design project, whereas ‘Whispers’ represents Reading interiors which acts upon the current condition of the building and we have used different medium to convey our ideas related to the building. Finally, ‘Dreams’ represents Connecting interior as the future of the building where we have explored potential
spatial planning within the building as per different stakeholders that define Leith through masterplanning and undertaking different urban theories.
By linking interior design with urban design theory, we have gained deeper insights and developed innovative strategies. Repeated visits to the Custom House have allowed us to appreciate every detail of its design: the intricate patterns on the staircase, the vibrant colors of the central atrium, the stained glass domes—each element has gained new significance.
As we look to the future, this book is a document to unfold journey we took as Masters students. The journey to explore the interior elements of the Custom House and discover the intricate layers of design that make it unique. This book is not just a showcase of our work, but a conversation starter about the evolving nature of interior architecture. We hope it inspires people to think differently about the spaces being inhabited and the potential they hold.
‘This book serves as both an end and a beginning’
Scottish Historic Buildings Trust
The Scottish Historic Buildings Trust (SHBT) plays a pivotal role in preserving and promoting Scotland’s heritage. By partnering with local communities and experts, they work to save significant properties at risk throughout Scotland. They have successfully restored over 30 buildings and raised over £30 million.
SHBT boasts specialized skills in historic building preservation, fundraising, project management, and property management. Their expertise also extends to event management, building interpretation, and educational program delivery. As guardians of historically significant buildings, their mission is to ensure these structures have a sustainable future and remain
cherished and relevant to their communities. They accomplish this by offering rentable office space, educational and learning opportunities, wedding and venue hire, and a diverse range of events and performances.
Among their projects, SHBT has led various regeneration and restoration initiatives for the Custom House in Leith. Collaborating with Richard Murphy Architects, they conducted a feasibility study proposing a mixed-use community and creative hub for the building. This plan includes heritage displays, ensuring the landmark’s future while making it accessible and sustainable for everyone to enjoy.
Image under license from SHBT
Image under license from SHBT
MA Interior, Architectural and Spatial Design
In the 2023-2024 term, 30 students are collaborating to conduct innovative spatial research. Each participant has developed unique definitions and approaches to the diverse and often controversial topics of interior, space, and design. By engaging with various theories in spatial, interior, and architectural design, and through the creation of inventive design projects, we cultivate the theoretical and practical skills necessary for you to apply your own definitions in practice. Our projects vary widely, from the intricate details of individual objects to the broad influence of interior design on entire communities and cities. We have delved into themes of equality, diversity, inclusion, and sustainability, demonstrating both the potential of Custom House and the boundless opportunities within interior design.
The Custom House is designed by Robert Reid and constructed for the Board of Customs and Excise
1811-13
1824
Significant architectural alterations to Custom House made by architect William Burn
The Excise Department moved to be combined with the Custom Department
1909
1973
UK joins the EEC, reducing the number of import/ export taxes to be paid, and negating the needs for Custom House
Custom House is acquired by the National Museum of Scotland and is used for storage
Present
Custom House hosts independent artists and studios. Venue hire is also available for special occasions
CEC acquire the building and SHBT is awarded a short term lease for ‘meanwhile’ use
Potential for heritage display along with studio and workshop accommodation
Leith in 1940, Licensed by Threadinburgh
Leith in 1850, Licensed by Digimaps
Leith in 1804, licensed by National Library of scotland
Custom House
Leith is a region located north of Edinburgh, Scotland. It was a municipality before it was incorporated into the City of Edinburgh in 1920. It is located at the mouth of the River Leith, which runs through Edinburgh with a total length of 35 kilometers, and enters the sea through the Firth of Forth. This area has historically been one of Scotland's most important ports. Its maritime history can be traced back to the 14th century, and has long existed as the port of Edinburgh. The maps to the left show the developments of east and west docks within Leith. This sparked the need to build a Custom House to keep up with the imports and exports taxes.
The grandeur of the Georgian architecture of Custom House was designed to leave a strong, lasting impression on the arriving merchants from sea. This continues inside, wher they were met with the Imperial, lion rampant embossed staircase underneath a large, central dome. The 19th Century reading room, now used as a gallery and wedding hall, is notable for its ornate plaster ceiling and predominant marble fireplace. Today, Custom House is an A-listed building known to be the oldest custom house in Scotland.
ECHOES
Interiors are often distinguished from buildings by their small scale, more temporary nature, and their close relationship with the human body. Designing an interior requires a facility with the limited, the contingent, and the ephemeral; and an intimate understanding of the ways in which bodies occupy space.
The art of making interiors is often the art of altering what exists; and its practice therefore requires skills and sensibilities that go beyond creativity. It requires the ability to read and reread existing spaces and situations, and a desire to work with, rather than to replace, what already exists.
Here we introduce the art of occupation and alteration through a design project in Custom House. We focus on understanding the small scale details that come together to form the whole. We have associated this chapter with the ‘Echoes of the past’ since we have explored Leith’s history and artefacts to understand their current narratives for building and exhibiting.
VECTORWORKS EDUCATIONAL VERSION
7. Drawings Of Final Proposals PROPOSAL SECTION DRAWINGS
Support bar ×3
Material: Custom heated bent aluminum alloy rod Size: 40×16×2600mm
As an individual, I’m passionate about experimenting with different design concepts that enhance people’s experience in an Interior space. Hence, I am delving into the study of color psychology, given its significant impact on the human brain. My research primarily focuses on understanding how the elderly perceive colour and develop interventions using the architectural features of a 200year old Georgian building, to improve their experiences.
The Manifesto illustrates a gradual change in colours, with circles symbolizing the life cycle and the interconnection of all age groups. The play of coloured gradients and negative spaces represents public and private areas in a building. The image is symbolic of the hues created by natural auroras, the blending colors create a harmonious composition that helps reduce mental stress.
Who in the world am I?
Supapit Tangsakul
Interior and architectural design emerge as an assembly of fragments from both tangible and intangible realms, establishing a unique identity. I see an interior, architectural, and spatial designer as a creator or collector of ante-narrative, whose role is not to tell complete or fully formed stories but to provide fragments of potential stories, the raw material that allows structured narratives to be completed and told by those who experience them.
In a rapidly changing world, buildings and their fragments undergo constant adaptation and reuse to reflect societal shifts. “Who in the world am I?” speculates on the limits of adaptive reuse, questioning how much a building and its fragments can transform before losing their original identity, and which aspects of that identity are essential and must be preserved. Above all, sensitivity in managing fragments of potential stories— whether through creation or collection—is demanded, to enrich rather than erase.
Persevere Motto
Stone Carving 1365
"Persevere" is the motto of Leith from 'Fisherman’s Prayer'. There is an 810mm diameter stone carving from a market cross located at Edinburgh near St.Giles Cathedral. The blazon represents the Leith identity and the history of the town as a trading port in the 17th century.
Kitty Lee
Paolozzi Elephant
Eduardo Luigi Paolozzi
1972-73
Paolozzi Elephant, also known as Nairn Elephant, is an elephant container commissioned by Nairn Floors Ltd to place brochures promoting their Linoleum Floor material. The elephant would symbolise Nairn's qualities of strength, intelligence and durability.
Xinyi Zhao
Digital
Storytelling: Visualisation of Interior Memories
Xiaotian Shi
As a creative practitioner, I believe it is my duty to continually explore the boundaries of my industry and provide diverse experiences for my audience. I am passionate about finding similarities between my field and various disciplines and theories, seeking new forms of expression through these intersections. I prefer to see myself as a creative explorer constantly expanding boundaries, rather than a designer confined to a single field.
My project seeks to combine interior theory and digital practice. It explores how digital technology can enable a building to tell its own story when we view the interior as a memory palace. Through this approach, I aim to explore the intersection between digital art and traditional interior practice and the potential for their integration. By doing so, I hope to find new forms of expression that can expand the boundaries of traditional interior design in the future.
Ambiguous Boundaries
Jingyang Huang
My approach as a creative practitioner emphasises the integration of traditional architectural principles with innovative, flexible design thinking, to create spaces that resonate with human experience. During my undergraduate studies, I deeply explored structural aspects of architecture but sought more dynamic and expressive applications. This drive for creativity and human-centred design has shaped my projects.
My Synthesis project, ‘Ambiguous Boundaries: How Can Public Interior Spaces Shape Social Interactions?’ embodies this approach. It explores public spaces within Custom House, analysing their influence on social interactions and urban morphology. Utilising behavioral mapping, interdisciplinary research, and modern technologies, I aim to develop a comprehensive design theory, with the aim of understanding interior spaces within broader social contexts.
Bell Rock Lighthouse
Maritime Icon 1800s
The Bell Rock Lighthouse model features an imitation marble base and glass dome. Managed by Trinity House and later supported by the Northern Lighthouse Board since 1786, it highlights maritime advancements. Its construction (1807-1811) by engineer Robert Stevenson, aided by a lightship, represents a signifcant era of navigational innovation and safety in uncharted waters.
Jingyang Huang
The Leith Banking Company is a historic Scottish bank founded in 1793 as part of the private banking system in Scotland. The bank issued a range of beautifully designed bank notes as part of the private banking system of the time,which were often elegantly designed and exquisitely printed,including the name of the bank,the denomination, artwork and security features.
Yiqing He
Adaptation boundaries
Xinyi Zhao
As a creative practitioner, I am committed to making space a vehicle for people’s memories. It is no longer just a shelter for people’s physical bodies. In addition to function and aesthetics, space design needs to create an emotional bond between the environment and the individual. It is my responsibility to connect people to the space through design and to make stories happen in the space.
For this project, I explored the relationships between spaces in the Custom House. In looking at the flexibility of transitioning between spaces in the Custom House, I wanted to strike a balance between open space and private space. By exploring the various boundary principles and forms that exist in the space, I accomplished an adaptive design and flexible transformation of different boundaries. In order to satisfy the emotional state and activity needs of the users, thus promoting interaction between residents and enhancing community cohesion.
Unveiling Interior Time
Tianxin Sun
Inspired by the architectural shear layer diagram, I use Custom House to explore material and narratives. My approach involves systematically collecting and analysing existing materials from the building, focusing on their historical significance and transformations over time. By examining these materials, I aim to uncover changes across different temporal layers and assess how they reflect Custom House's historical evolution and usage traces.
Recognising that users are integral to the architectural hierarchy, my further research delves into the role of people within Custom House. This project examines the building's skin layers, investigating how they shape the physical form and influence human experience and emotional resonance. Through this exploration, I aim to reveal the intricate relationship between architecture and its occupants, highlighting how the evolution of materials impacts and enriches human interaction with the built environment.
Alexander Ireland's Boxing Silver Medal
Antwerp Olympics
1920
Alexander Ireland won Scotland's first Welterweight silver medal at the 1920 Antwerp Olympics. The medal features the Olympic symbol and an Antwerp monument. Ireland was a prominent member of Leith Victoria AAC.
Founded in 1919 by shipyard workers, this club is Scotland's oldest boxing club and helps Leith's youth, providing community support and steering them away from drugs and crime.
Xinyu Zhang
The Proclaimers Guitar
Taylor Guitars 1983
The Taylor acoustic guitar, with a Sitka spruce top and rosewood body, is essential to the Scottish duo The Proclaimers. Known for their distinctive accent and folk style, The Proclaimers use this guitar to express emotion in songs like "I'm Gonna Be (500 Miles)." The guitar represents Scotland's cultural heritage and the duo's love for music and their homeland.
Yihan Nie
Interior Clouds
Yuanyuan Pan
I am an interior, architectural, and spatial designer with an interest in informatics and arts. Our environment, interpersonal relationship, and personal space have drastically changed with technological advancements. A designer and a learner, I hope to understand new breakthroughs and create my own knowledge through practices that explore the future by learning from the past. This Synthesis project is the culmination of learnings from the past year’s masters programme.
Testing the technology of 3D scanning, this project involves the discourse of cybernetic architecture, which concerns with how information is communicated and controlled via computational machines. Point clouds produced by 3D scanning transform understandings of the composition of space - as particles rather than surfaces. The digital twin in the virtual interior proposes creative futures for heritage preservation with projection mapping that allows immersive and flexible interior design.
Journey Through Interventions
Varsha Vadiraj
As an interior designer, my vision is to integrate diverse design realms, crafting a comprehensive and cohesive approach. This holistic perspective invigorates my principles and drives my future endeavors, with a strong inclination towards sustainability. By blending aesthetics, functionality, and ecofriendly practices, I aim to create spaces that are not only beautiful and practical but also environmentally responsible, ensuring a positive impact on both the occupants and the planet.
My Synthesis project focuses on a thorough analysis and identification of the existing shortcomings of the site, followed by the design of a landscape intervention aimed at significantly transforming its functionality and impacting its demographic context. This intervention, meticulously developed in alignment with the principles of adaptive reuse, integrates diverse domains of design to foster innovation and creativity. This methodical and comprehensive approach is a testament to my commitment to professional excellence and aligns seamlessly with my core principles.
Pilot Beer
Pilot Beer pursues drinkability and have different products for different groups. They are committed to sustainability, and established the first brewery in Scotland to stop using isinglass finings (made from fish bladders) to clarify beer.
Haotian Zheng
Leith 2011
North Leith Parish Church 1738
The bell is from the tower of the North Leith Parish Church. After the new church was built, the bell was donated to Trinity House as a memorial. Church bells often mean holiday and remembrance. It serves as a witness to the centuries-old history of the Port City of Leith. This model hopes to show the church bells ringing again, while connecting the past and present to form a dialogue of time.
Yiran Zhou
Reweave Time
Xinyu Zhang
In the rapidly changing digital age, our approach to designing and experiencing spaces has become increasingly visualcentric, often neglecting the real experience. By using the phenomenology of perception, I challenge the “Instagrammable” architecture trend, aiming to create “unfinished” spaces. By creating atmosphere and methodology, I invite users to engage sensory elements such as touch and sight, over time, to co-create flexible and adaptive designs.
What is temporary? What is eternal? What changes will occur in space when materials shift from permanent to temporary usage? This project explores the diversity of time in architecture through the theory of material cycles. It involves the creation of a materials bank using available materials related to Custom House and developing a democratic reuse methodology that promotes community participation.
From Habitat to Space
Ziyu Zhao
I have studied the theory of habitat evolution in landscape ecology in depth during my undergraduate studies, and at the current stage, I have started to try to cross-study ecology and interior architecture, with the aim of exploring more possibilities of renovating open spaces. As an interior designer, we should have a cross-disciplinary approach to explore more design and research possibilities.
My Synthesis project is based on the urban context and aims to address the increasing lack of a sense of belonging in today’s cities, by opening up the boundaries of the building in order to strengthen the connection between people and the city. This is achieved by bringing the theory of patch boundaries from landscape ecology to interior architecture and combining it with the idea of deconstructionism to open up the design of a specific building.
Stories Woven On the Creel
Leith
Stepping onto the spiral path, you'll immerse yourself in Leith's fishing history through various creels suspended at different heights. Stories on display boards narrate the port's longstanding tale. At the spiral center, you'll find Leith's oldest creel, highlighting the close connection between them and the local fishwives.
Linyu Mao
Presentation Trowel
Trinity House 1898
The custom of using a silver or gold trowel for groundbreaking began in the early 19th century. Trinity House in Leith displays a presentation trowel gifted at the groundbreaking of the Leith Nautical Academy, Scotland's first building dedicated to nautical education. The trowel is inscribed with: "to thomas aitken esq. on laying memorial stone of leith nautical college 27th december 1901. wm c laidlaw architect.robertlambbuilder"
Siqi Huang
The oldest Custom House in Scotland, this distinctive neoclassical building in Leith was designed by Robert Reid and built between 1810 and 1812, with alterations in 1825 by William Burns. It was built as an administrative centre for the collection of dues on goods traded through the Port of Leith. Our group focused on an art studio in the Custom House, a historic building that now generates a portion of its revenue from renting out rooms.
The art studio is shared by four artists, whose distinctive and impactful creative environment contrasts strongly with the original architectural style of the Custom House. Most of the furniture in the art studio is made by the artists themselves, and the placement of the objects here is usually a bit unconventional. Due to their working habits and the cost saving factor, they do not use the regular 450-480mm working chairs, but rather high chairs, which are also used as coffee tables in combination with their own drawing boards.The artist's desk is built on the original countertop of the wall, and almost all the furniture in the studio can be used in a flexible way. The position of the objects here is different from the other rooms, but at the same time, it grows wildly from the original space.
Lifestyle
Artists’ working hours are flexible as some have other part-time jobs. They also engage in different mediums depending on the project. Some artists are working on a larger scale project that requires cutting large pieces of work in the garage area, whereas some are focus on smaller paints in the studio room.
street art has evolved defiant graffiti into form of art, as one now lies with the often meant to authority.
In the process of relationships, the loose and regular differences in each
We can study multiple historical, traditional, on body positions, positions people
furniture the artists around the entire architecture. office, on the commercially interactive with studio could be example, stools tables oftentimes. functions is studio, whereas clear and singular
desks and stools at the artist studio are noticeably
Studio table: 930mm
Studio stool: 740mm
Office table: 740mm
Office chairs: 530mm
the research, we noticedthe office of the Custom House. In terms of spatial space of art studio is upward and tight, while the space of the office is regular. The different positions show the two working lifestyles and reflect the each other's professional attributes. multiple layers of comparisons from various positions such as directional, traditional, contemporary, and rhythm of object arrangement. We also focus positions, from use of body parts to room layout, from space to social roles. The occupy are constantly changing.
The studio space is filled with objects and artworks that cover the walls. There isn’t a single empty corner. Artists use the space not only to work and exhibit art, but also create personality by putting personal objects in “strange” places, such as the hanging shoes over the ventilation pipe.
People working position
Artists move around the space many times as they take various positions to work – sitting, standing, climbing, squatting, etc.
Artists utilize limited space as much possible, building shelves to use high space as storage.
The office is organized and neat.
Decoration
Break the Rules
Haotian Zheng
As a designer who pays attention to marginalized groups, especially sexual minorities, I believe that the final result of design is to reflect rules. Many existing architectural spaces reflect old and out-ofdate rules which are the source of social injustice, so I want to break these old rules and reflect fair rules in new spaces. I analyse and deconstruct from three scales - architecture, space and elements - to establish a space under new rules in these three dimensions.
In the Synthesis project, I first sorted out the rules achieved in the Custom House, to find their internal logic, and then transformed them through a method of deconstruction. The aim is to establish a spatial organisation that is not exclusive and good for all people. The impact of such a space on people is secret, and people will think about the existing rules from the spatial experience.
Rhythms of Light
Wenxi Li
As an interior designer, I believe in understanding and creating spaces comprehensively. I focus on the interplay between light and space, and the application of smart lighting. I aim to use light to create cosy atmosphere and enhance spatial experience. Through research on natural and artificial light, and exploring the combination of both with smart systems, I delve into the interaction between light and space, pondering the effects of light on people.
My project involves exploring lighting and shading for the atrium of Custom House. I have designed a lighting system for the elderly that promotes a comfortable activity space conducive to circadian rhythm and mental and physical well-being. The smart lighting system can automatically or manually adjust according to different times, weather conditions, functions, and atmospheres, providing the elderly with a more comfortable, convenient, and joyful interior space.
WHISPERS
Bearing the maritime history of Leith, Custom House stands as a witness to past glories. In this chapter's exploration, we will reconstruct the present-day Custom House from an 'interior' perspective. But what is 'interior'? How should we understand this concept?
'Interior' not only refers to the physical space within a building but also encompasses the psychological, social, and cultural dimensions that spaces evoke and sustain. Understanding the 'interior' means delving into the experiences of people within these spaces, examining how they are shaped by activities, emotions, and interactions. Using Custom House as the focal point, we re-examine this concept of the 'interior.' Essentially, exploring Custom House from this perspective is an invitation to understand space not just as a physical structure, but as a dynamic, living entity that is inseparable from human experience.
In this chapter, we explore Custom House beyond the confines of 2D and 3D, with an introduction to uses of AI and storytelling. We discover the elements and details that make up the building as it is currently, and have explored the changes it has undergone throughout its time from different lenses.
Imagining Interiors
During our first visit to Custom House, we each chose three aspects of the interior that intrigued us, then created three images of any medium to represent this. We each had our own approaches, where some were interested in tangible aspects like building details, while others were interested in the intangible elements like light, shadow, and sound.
Making Moods
With interiors being spaces we inhabit every day, it’s important for us as designers to be able to translate our visions into 3d dimensional concepts. Taking inspiration from our interior aspect images, we shifted our perspectives from 2D to 3D visualizations through model making. Some models were leaning towards atmospheric depiction, while others were leaning towards abstract representations of literal features.
About Time
Cherry Shiu
Driven by a response to the Anthropocene epoch, I am passionate about unveiling hidden narratives within the built environment to create conversations surrounding how we can design for a better future. Rooted in a fascination with phenomenology, my approach considers the subliminal and the multisensory, aiming to balance pragmatism with poetry to craft spatial experiences embedded with allegory. I often draw upon philosophy, literature, art, and history to highlight the role design plays in shaping the social climate.
‘About Time’ explores the overlapping temporal dimensions in architecture, emphasising the tension between human transience and the permanence of our creations. My methodology involves the transportation of ‘time’ through the temporal dimensions of different materials and creative practices. Through my process, I aim to highlight our intricate relationship with time. Our role as designers is to think beyond the moment. In the end, our creations are not about us; they are always ‘About Time’.
Repositioned Boundary
Yiqing He
As a creative practitioner, I identify as a ‘boundary-pusher’, continually exploring the multidimensional interactions between space and human experience. I draw inspiration from historical contexts and contemporary issues, integrating them into my work to provoke thought and evoke emotion. My practice is characterised by a commitment to inclusivity, innovation, and a relentless exploration of social issues through design.
My Synthesis project ‘Repositioned Boundary’ aims to reimagine historical spaces as open, inclusive environments that challenge traditional power structures, thereby diminishing the authority embedded in such spaces. By depowering the Custom House, I strive to create a space that embodies freedom and equality. One of the key initiatives in this depowering process is empowering the public, allowing people to enter and create the space themselves. Through this project, I reflect on the boundaries between freedom, equality, and power.
Under the Big Green Eye
From up here I can see it all, the bifurcated staircase, the pristine white wall, the sailors that walk in, and the worms that crawl. From up here I can see it all.
The doors open to let the salty breeze in, and the clomping boots were followed by pallets and cartons. The fabric of the carpeted floor would fill up with sand. Why can't they clean their feet beforehand?
People would flock in day and night, Storms and rains would never cause them fright. For they had to claim taxes for their goods, Else the customs officers got very shrewd.
The shadows of the people moving around under the soft yellow light. Looked like a puppet show, ah what a delight! It's like someone breathed life into the customs house. You could sometimes hear echoes of booing and sometimes applause.
From up here I can see it all, the bifurcated staircase, the pristine white wall. One day the sailors didn’t come in, all that was left was an empty hall. From up here I can see it all.
The salty breeze would still blow in, but nobody followed. It's just me, the paintings on the wall, and the cobwebs that wallowed.
There's dust gathered over the piano that’s on the staircase’s right. The paint was peeling off and the cornices cracked, the door was still shut tight.
I shed a tear from my big green eye. For the glory days, this can’t be the final goodbye.The metal railings are getting rusty waiting for a miracle to happen. Lo and behold, in walks a new captain.
This time they are not carrying cartons and packaging to unroll. In their hands are paintbrushes, pencils, and charcoal. They filled every crack on the building with colours. Patterns made of shapes and flowers.
Soon the space looked vivid and full of enigma. I can finally hear echoes of charisma. The smell is no longer musty, the wooden doorframes are no longer dusty.
Roshini Krishnaswamy Vimalanathan
The Essence Behind the Walls
It started long ago, my curiosity. I was always intrigued by the noises, the chatter, the yells, the storms, but no matter how hard I tried I couldn’t catch a glimpse. Every day I would wake up to the chaos and commotion on the other side and would fight and fight to break through until the evening silence takes over, but I'm always too late. In the days my ears were overfilled with vibrancy, but my eyes were overfilled with darkness. In the evenings my dreams ran wild with all that could be on the other side, fueling me for my morning strength to try all over again. I was stuck in what I thought would be an endless cycle. I tried to race time, but of course time was always faster.
I was stuck in what I thought would bean endless cycle. I tried to race time, but of course time was always faster.
As the years went by, the noises were slowly reducing while my panic was quickly spiraling. I fought harder with all my might, every day and every chance I could. The noises were almost fully gone, but I could feel the barrier weakening between us, my chance could be any day now!
I can no longer hear the noises, but I won’t let that stop me from all that awaits behind. Today will still be the day, I can feel it. I built up my strength for my final fight. The barrier is at its weakest point, it's now or never.
I closed my eyes and took a deep breath, 3, 2, 1 push! I heard a crack.
Again, 3,2,1 push! I could see some light shining through! One last time, 3,2,1 push! I did it, I finally did it, I can see, I can see!
The light was blinding at first, but as it settled, I had the chance to truly look. The beauty around me is astounding, but the soul I felt all these years is nowhere to be found. I crack through some more and follow all those cracks throughout the property just to try and feel an ounce of what I used to feel, but even through the beauty it is still nowhere to be found. I rush through each crack and each room, up the ceilings looking down, back down and around to the kitchen, back up the staircase to the domed ceiling and peeking through the glass.
It’s hopeless. I am too late. I am always too late. All I can see everywhere is cartons and boxes, leftover tools and settled dust. It is all beautiful but soulless, filled to the brim with things yet so empty with heart. I used to be blinded by darkness while I listened to the light, but now I can see the light while I listen to the darkness.
I retreat back into the walls with sorrow, hoping another day will come when life will once again echo throughout the walls. When that time comes, I hope the cracks remain untouched so I can catch a glimpse of what I have always longed for.
Dalal Al-Abdulhadi
Beyond the Body
Zihan Xu
Design is a means of experiencing life and serves as a bridge for interacting with the world. I engage with the world through senses and use design to construct my understanding of the world. I believe that interior design is not just about designing physical spaces but is also a mode of observation that transcends the physical material. I aim to anticipate future developments through space, using design as a language to explore infinite possibilities within the constraints of finite time.
I view my Synthesis project as a profound self-reflection. The relationship between our bodies and space is complex and intricate. Space and its intangible attributes profoundly influence our thoughts and lives. Through this research, I critically analyse the relationship between the body and space and reveal how technological advancements may redefine this connection in future scenarios.
Unveil
Dalal Al-Abdulhadi
As a designer, I prefer to approach my work with a whimsical or philosophical point of view. I enjoy relating our understandings of the interior to our understandings of the universe, the mystical, our existence, and more. As natural beings that are connected through more than just the known and tangible, I like to introduce new means of connection. Through working with Custom House, I realized that despite the history the structure holds, it is still losing its importance in our present time.
Buildings that have stood the test of time often have stories to tell, and Custom House is no different. Historically connectng international trade through the water it overlooks, I want to emphasize the concept of water for all connections, even interdimensionally. My concept is to create wallcoverings to embrace overlooked spaces, like doorways, stair risers, wardrobe interiors, ceilings, and more, through designs that take inspiration from water and water deities. While moving throughout the interior, this creates an atmosphere of sudden ‘scenes’ of other worlds existing within. This acts as open portals or glitches between dimensions and times, unveiling to us the hidden layers and secrets, while amplifying the voices of historic structures.
Digitising Interiors
Pushing the Boundaries
Using the fireplace as a portal, we take a journey through time
Back to the Future
A story of a sailor from the past visiting present day Custom House
Time Space Compression
Building details simplified into abstracts, showing the ability to compress time and space
The space and memories of Custom House through stop-motion animation
Echoes of Time
Concept of time using a black circle as a symbolic representation
Tabula Rasa
Site and Self
Roshini Krishnaswamy Vimalanathan
Growing up as a native Tamil speaker and living in four cities across two countries has shaped my design philosophy. It has taught me to stay connected to my cultural roots while embracing diversity and adapting to new environments. My work is always user and site-driven, incorporating vernacular elements to create meaningful spaces. Throughout my design journey, I’ve noticed that my cultural roots subtly influence my decisions.
The Synthesis project offers me the opportunity to consciously bring these cultural elements to the forefront, integrating them into the site at Leith.The final product is a versatile piece of furniture designed to be assembled into a traditional ‘thinnai’. Its modular arrangement can adapt to the specific needs and context of the site, allowing it to function effectively. This adaptable design aims to blend traditional Tamil architectural elements with the unique requirements of the Custom House waterfront in Leith.
The Other Space
Bingfu Yang
Design is not merely a pursuit of aesthetics, but also a responsibility to the environment, society and culture. I strive to preserve and emphasise the historical features of a building, to awaken peoples thoughts on their current environment. At a time of urban homogenisation, I respect the history and culture of each space and aim to reveal its uniqueness. I look forward to exploring the identity of the space through narrative.
My Synthesis project linearly organises stories about spaces and abstracts them into spatial forms. I engage with philosopher Michel Foucault’s theory of heterotopia, creating another space that reflects Custom House and Leith. When people come to the installation, they can quickly feel its past, triggering thoughts about the real identity of the space. This is not only for Custom House and Leith, but also provides ideas for the identification of other old buildings.
Digitising Interiors
Community Consultation
Representing time-space interactions, human actions, and perceptions.
Interior Waves
Exploring waves from water, light, and more to represent the daily cycle of Custom House.
Envisioning Custom House
Features and functions using AI and our individualistic vision
Trajectory of Custom House
Narrating the story through rise and meanwhile state of custom house
Variation
How we influence spaces
Narration in Space
Changning Fu
I am rooted in exploring the intersection of narrative and spatial design. I approach projects with a keen interest in how stories can be embodied and experienced within physical environments. My work is characterized by a blend of innovative storytelling, immersive spatial layouts, and a deep understanding of audience engagement, aiming to create spaces that not only tell a story but also invite personal connection and exploration.
In my Synthesis project, the seafood restaurant narrates the process of people eating seafood with the environment becoming a dynamic exploration of daily behavior integrated into interior design. This approach involves creating immersive spaces that reflect the sensory experience of seafood dining, tells a cohesive story that enhances the dining experience and connects patrons to the maritime origins of their meals.
Spatial Order Under Social Production
Xinling Zhang
My motivation stems from a unique perspective on homelessness, seeing it as a concept beyond traditional definitions of “home.” I agree that all spaces designed by humans, whether indoors or outdoors, from rooms to streets, essentially represent the concept and experience of interior space. My approach involves exploring how people define and interact with interior spaces, studying the impact of design on human behaviour and social dynamics within specific environments.
My Synthesis project focuses on examining overlooked elements in spaces to understand their impact on dynamics. By studying behaviour and production methods of different groups in specific institutions, I explore how physical environments influence human behaviour. Through analysing bench seating in places like Custom House, I aim to grasp how design affects cognition, behaviour, and social interactions. The goal is to develop movable chairs that facilitate communication, promote relationships, and enhance public interiority, reflecting a user-friendly design approach that encourages self-assembly.
Re-Imagining Interiors
THREADS
I began thinking that “the interior” depended on “the interior” of the individuals, convinced that people and their environments are codependent on each other. This was only a small piece of the bigger picture. I realized how the concept of time acts as intertwining threads. The occupants of a space are not isolated entities, but rather participants in a shared narrative. These subtle threads connect us all through different eras, weaving our collective experiences within the boundaries of a single interior. This shared history and collective memories are then permanently embedded in the foundations and walls, continuing to layer and adapt over time.
Dalal Al-Abdulhadi
PAINTINGS BY TIME AND MEMORY
The interior is something tangible or intangible that exists in multple dimensions. Interiors carry people’s history and memories. As time goes by, people will change it. Most of these changes are physical, such as the layout of space and the style of furniture. At the same tme, Interiors will trigger ideological responses. When they see the objective Interiors, this will spark imagination and memories to be recorded to form a disembodied Interior. Finally, Interiors will naturally erect invisible barriers to separate people of diferent sizes, genders, races and social statuses.
Haotian Zheng
TIME DESIGNS
The Leith Custom House, a venerable edifice nestled in Edinburgh’s historic port district, stands as a vivid testament to the relentless march of time and change. Spanning over two centuries, this architectural marvel has witnessed a profound evolution, not just in its physical form but also in its functional essence. Its walls and interior, once echoing with the clamor of commerce and trade, have seen a gradual yet significant transformation. The picture explains how space is affected by time, and we imagined how this space would change due to the alteration of time from the 19th century to today, and 100 years from now.
Ziyu Zhao
FROM INTERIOR TO 'INTERIOR'
“Interior” can be seen as both a physical space and a metaphor for an individual’s inner world, where physical traces evoke emotions or memories, forming a complete “interior.” This concept parallels the ancient Chinese philosophy of “Tai Chi,” embodying the duality of Yin and Yang. Similarly, the physical and metaphysical aspects of “interior” combine to create a cohesive whole. Beyond traditional buildings, “interior” includes digital spaces, art, literature, and philosophy, exploring the psychological dimensions and human memories and experiences. This imbues space with symbolic emotional meaning, representing the connection between its physical and metaphysical properties.
Zihan Xu
Re-Imagining Interiors
THE FRACTAL DIMENSION
The interior is both practical and emotional, grounded and spiritual, scientific and divine. This amalgamation of metaphysical factors creates a tangible phenomenon, represented by fractal artwork. Using a Custom House balustrade unit, I digitally manipulated it through duplicating, twisting, distorting, resizing, and overlaying. The result is an abstract image open to various interpretations, inviting viewers to decipher it based on their physical and philosophical positioning, much like how we experience interiors.
Cherry Shiu
UNDERSTANDING INTERIORS
My view of the interior has shifted to a deeper understanding. This interdisciplinary field merges architecture, psychology, and sociology to create spaces that nurture wellbeing and express values. Materials like hardwood and stainless-steel can influence mood and memories, such as the white walls of Custom House. Interiors embody history, culture, and style, reflecting and influencing emotions. Light and color are crucial for psychological well-being. Interiors are a blend of elements and narratives.
Slma Bahuwayrith
PLANETS
The interior in my painting is like countless planets in the universe, each connected to a person, reflecting their statuses, relationships, and world views. These interiors, like Custom House, bear human imprints and evolve over time. They are intertwined with people's experiences and social dynamics, serving as reflections of individuals. Interiors also record the past, acting as containers of time filled with memories of different periods, adapting as people change with age and circumstances.
Yiran Zhou
THE ORDER OF INTERIOR SPACE
I understand 'interior' as an order within a space, encompassing decoration, arrangement, atmosphere, architecture, or a story. Most modern life occurs indoors, linking human working and living conditions to these spaces. Human intervention makes indoor existence meaningful. I created a photo of a house under construction, showing only its frame, and added a triangular space to a square box to evoke an interior. Even without walls, this space can accommodate people’s lives. This photo expresses that even when interiors are not fully designed, people naturally arrange and assign functions to them, demonstrating how human interactions bring meaning and purpose to any space.
Xinling Zhang
Re-Imagining Interiors
NETWORK OF INTERIOR
The composition describes an abstract of interwoven lines and shapes, each bearing a distinct texture and hue. Forming a fluid and dynamic arrangement, the image hints at spatial connections and atmospheric moods with colors creating a visual warmth to the viewer. Beginning with a fundamental definition of interiors that takes materiality, comfort, and aesthetics into account, this statement has developed to describe interiors as a juxtaposition of position, mood, network of space, and the people occupying it. The interior can be seen as a powerful medium to keep people connected in this cycle of life with their possessions, history, and passion, the way the internet and digital world keep us connected globally.
Aishwarya Sharma
A SHELTER OF MEMORIES
At the start, I viewed the interior as merely a shelter. In hindsight, this view was superficial. Over time, interiors foster an unrivaled sense of intimacy, becoming entities that carry diverse memories and emotions. To illustrate this complexity, I depicted a room in the Custom House with superimposed scenes of possible activities. Palm and footprints in the painting symbolize human interaction with the space, while the building's exterior interacts with weather and waves, with these textures also overlaid in the artwork.
Xiaotian Shi
AESTHETICS DANCE
The living canvas where aesthetics dance with functionality, and spaces metamorphose into immersive experiences. It’s not merely the inside of four walls but a symphony of colors, textures, and furnishings orchestrated to evoke emotions, inspire creativity, and encapsulate the essence of personal style. The interior is a curated masterpiece, blending form and function, where every element tells a story and every corner is a brushstroke in the artistry of spatial composition.
Yitong Yao
SPATIAL PERCEPTION
Interiors shape the intangible aspects of a space through elements like light, shadow, texture, and more. These characteristics create nuanced atmospheres in spatial perception. Understanding the interior requires defining the exterior, as the concept of interiors is relational to exteriors. This relationship extends beyond physical spaces; a two-dimensional image can capture the essence of an interior. The perception of an interior is personal and subjective, influenced by individual experiences and ideologies.
Roshini Krishnaswamy Vimalanathan
DREAMS
Public institutions often operate under a degree of stasis, especially in relation to their interior environment. Logistical, budgetary, and historical constraints are often at play, making spatial changes low on the list of priorities.
In this chapter, we approach these established organisations and stakeholders with fresh perspectives, using various research and investigational methods to untangle how spatial changes could improve and evolve current user experiences.
We explore various urban theories related to cities, and apply these concepts to possibilities of Custom House to diminish the boundaries between the building and the city. We examine the building through a zoomed-out lens, and focus merely on understanding the concepts of spatial planning, masterplanning, and the wider context of connections.
Immersive Narrative of Leith’s Shipbuilding History
Jun Hu
Space serves as a pragmatic and emotive vessel. When designing spaces, designers must consider not only their structure and function but also the atmosphere and spirit that space evokes. On a concrete level, the interplay between the structure and function of a space creates the most comfortable environment. On an abstract level, the historical and cultural context of a space, user needs, and environmental influences interact, and considering their balance in design yields a harmonious atmosphere.
I want to provide visitors with a unique experience in the spaces I design, using narrative and storytelling techniques to allow them to experience the soul of the architecture. The Synthesis project is the process of deconstructing real spaces, and through reshaping spatial forms and using appropriate spatial language, I reconstruct environments that integrate history, culture, and social memory.
For Memorable and Inspirational Design
Slma Bahuwayrith
Each project is an opportunity to push boundaries, explore new ideas, and leave a mark beyond the ordinary. I create designs that ignite imagination and evoke lasting emotions. My work transcends mere aesthetics and functionality, aiming to create spaces that stir the soul and linger in memory. I focus on inclusivity and accessibility, using innovative technologies to craft welcoming environments for all. My goal is to inspire and leave a lasting impact through transformative design.
My research project aims to enhance visitor interaction and experience within heritage sites by employing innovative design solutions, technological integrations, and cultural narratives. Using the Vibrant Hub, formerly the Custom House, as a case study, this project seeks to redefine navigation and appreciation of heritage sites in the modern era.
Future Possibilities
EQUAL SOUL HUB
In the heart of the city, a beacon of hope emerges: a sanctuary offering solace to those in need. Thoughtful architecture transforms this haven into a utopia, a second home where burdens are lifted and souls find peace. Catering to the unique needs of mental health seekers, LGBTQ individuals, and troubled youth, this inclusive space embodies equality. It raises public awareness and sparks positive change, showcasing architecture's power to foster community well-being. Interior design meticulously crafts spaces resonating with human essence. Through planning and details, we demonstrate how architecture can heal souls.
Kitty Lee
TURAS EALAÍN AGUS CULTÚR
In the renovation of Custom House, I aim to preserve and promote Leith's culture, local language, theatre, and handicrafts. The building will be divided into two parts: activity areas for the Art Group and a Gaelic school. The bright, spacious design features a central staircase expanded into a stage, visible from all corners. In the school, the floor beneath the dome has been removed to allow light to shine onto key areas. The Art Group's side includes larger, regular spaces, while the annex will host markets to showcase Leith's artistic heritage.
Bingfu Yang
CULTURE INNOVATION INCUBATOR CUSTOM ARK
LI
The Culture Innovation Incubator provides emerging artists and cultural enterprises with workspaces, equipment, training, and promotional opportunities, creating a hub that integrates creativity, culture, and technology. The space includes a central multi-functional hall open to the public, a surrounding ramp gallery for art displays, and small sections for training and workspaces. The design aims to transform work styles, fostering a warm, inspiring atmosphere where users can find a sense of belonging and achieve their dreams.
Wenxi Li
Containers are fundamental to human culture and existence, both physically and spiritually. Physically, our skin encloses us, while spiritually, our brains and energy serve as containers. Any entity that encloses and wraps can be seen as a container, with internal spaces that support various ecosystems and relationships. As we adapt to history, space shapes us as we shape it. The historical order influences the ecological makeup of space, which affects its function and structure, creating diverse ecosystems. Over centuries, the Custom House has witnessed countless events, continuously forming new ecosystems within its container.
Siqi Huang
WENXI
CULTURAL ENTREPRENEURSHIP SPROUTS
Future Possibilities
UNFOLDING CONNECTIONS
Re-imagining Custom House as an all-encompassing complex of Art, Retail and Culinary delights. Through enhancing the original forms of the structure while retaining the existing, bringing about a sense of obscurity through a hidden art gallery and individual reading spaces on the second-floor level. Creating connections that supplement the notion of the microcosm of a city through a labyrinth of staircase that also frame the central atrium to fabricate a focal point. Fashioning rhythm through repetitive arches that lead the audience through the main areas to the atrium, enhancing the intent of a central focus.
Varsha Vadiraj
PROTECTION AND PURPOSE
Through the development of technology, people are accepting new things every day. The explosion of information will inevitably lead to a continuous decline in our cognitive abilities. Therefore as designers, we have the duty to manage the knowledge we have acquired in detail. Seek, discover, and use interior design to connect with the rest of the world. Interiors are the medium connecting people to architecture, and architecture is the medium connecting people to society and nature.
Zheng Zhang
STORYTELLING CENTRE
This project expresses respect for the context of Custom House by considering all the existing rooms in the building as a whole place. Through this project, I seek to establish an urban living system in the interior The existing central staircase will be transformed into a theatre stage and the Globe Theatre-style terrace will be added around it. During the day this atrium is a leisure plaza for the different studio groups, and at night it is transformed into a theatre that brings the audience together.
Xinyu Zhang
EMOTIONAL COMMUNITY
I am committed to transforming Custom House into a community space that incorporates emotional bonds. By redistributing the internal space, I will create an emotional atmosphere suitable for residents of all ages and the social needs of the community while bringing them closer together. Custom House will become a marketplace, leisure destination, a space for cultural exchange, a hub for innovation, and an arena for stimulating the interests and potential of its residents. The goal is to not only renovate the building, but to create a space for emotional exchanges and a palace of memories.
Xinyi Zhao
Mimicking Ecological Rhythms
Yixuan Wang
Interior design is a multi-dimensional discipline that conveys deep meaning, cultural resonance and personal thought far beyond the material plane. Its design originates from the natural environment, drawing on the wisdom and inspiration of nature. Respecting the laws of nature and advocating natural laws, design is not only a combination of function and aesthetics, but also a kind of tribute and reinterpretation of the natural environment.
Through the use of nature’s elements, the historical elements of the Custom House are cleverly fused with modern architectural elements, adopting a unique design thinking and expression to create a cross-generational design work. The design aims to create a highly urban architectural complex from an urban planning perspective and to apply natural elements to the building’s interior design from a multi-dimensional perspective.
Intersections of Art and Time
Yiran Zhou
The question of what to do with historical buildings can be challenging. Maintaining them can be costly, while removing them is a loss of cultural value. As a creative practitioner, I hope to protect historic buildings by reusing them. Through the functional transformation of the historic building, it integrates with the local community and drives cultural and economic development. In this way, historical buildings can carry out a virtuous cycle and achieve the purpose of sustainable development.
‘Intersections of Art and Time’ rejuvanates Custom House as an integrated Arts Centre. The form of the building is transformed through the architectural language, and is re-presented through new architectural and structural forms, which at the same time are given new functions. The project preserves the historical framework of the Custom House to the greatest extent possible, while the new functions allows it to adapt to the development of modern society and connect to the community.
Cities In Evolution
Patrick Geddes, 1915
Using coloured fabrics, we depicted the diverse disciplines essential for thorough planning, creating a complex tapestry of sociology, psychology, ecology, and more. Custom House, at the centre, is surrounded by, and intersected with, fabrics to show studies related contextually and directly. Inside, Geddes' theory of coexisting timelines is illustrated with black-and-white activities representing the past, and colourful ones depicting the present, showing urban evolution.
Roshini Krishnaswamy,Yihan Nie, Yiran Zhou
Los Angeles:
The Architecture of Four Ecologies
Reyner Banham, 1971
Through the transparent, acrylic framework, we gained insights into the distinctions and connections among the internal systems. Amidst historical changes, the functions of existing spaces underwent significant transformations, yet each space is not isolated. Employing a fragmented approach to deconstruct spatial relationships, we reorganized these five systems, expressing the interdependence and influence between indoor and outdoor systems.
Bingfu Yang, Siqi Huang, Zihan Xu
The Death and Life of Great American Cities
Jane Jacobs, 1961
In this model, with reference to Jane Jacobs' urban theories from 'The Death and Life of Great American Cities', we aimed to explore how the interior of Custom House integrates into the urban network. We have categorized the turns within the model into three types: urban street turns, building interior turns, and internal turns, using different colours to distinguish them. We then established connection routes between these categories using threads of different colours.
Tianxin Sun, Xiaotian Shi, Zheng Zhang
Cities For People
Jan Gehl, 2010
Achieving the vision of lively, safe, sustainable and healthy cities has become a general and urgent desire. Strengthened immeasurably by increasing the concern for pedestrians and interaction in general. A unified citywide to ensure that the residents of the city are invited to walk and bike as much as possible in connection with their daily activities is a strong reinforcement of the objectives.
Aishwarya sharma, Jun Hu, Kitty Lee
Maritime Echoes
Siqi Huang
Events take time as their starting point, constantly developing and winding, interweaving an iterative ecosystem in space. Therefore, only with the overall view of history can we naturally feel and develop the ecological atmosphere in the space. I think this is the future of interior design, not a single construction according to the same scale and style, but from the society, time and human itself, to accommodate the order of all things. Space and time are closely intertwined, how to map history to an object and organize space by analyzing the phenomena of that object?
In the Synthesis project, I use the phenomenological language of ships to translate the maritime history and culture of Leith. Using space to convey emotional resonance, influenced by the form of the ship as a cultural symbol of Leith and the historic building of Custom House to convey to the inner world of human beings, this project connects the past, present and future.
Soul Nexus
Kitty Lee
The realm of interior design extends far beyond aesthetics and functionality: it represents a profound link between physical spaces and the human experience. Spatial design becomes an essential medium to bridge the tangible environment with the intangible dimensions of human emotion and soul. This creates spaces that are not only visually engaging but also resonate on a deeper emotional level.
Transition spaces, often underestimated, play a crucial role in the coherence and flow of architectural designs. Transition, acting as a nexus between distinct areas, offers spatial opportunities for engagement, interaction, and activities. More significantly, these spaces bridge reality and imagination, physical and mental realms. Through examining and experimenting with transition spaces, this research aims to bridge individual and collective experiences within a dynamic urban interior environment.
The Walker: On Finding and Losing Yourself in the Modern City
Matthew Beaumont, 2020
Taking inspiration from Beaumont's theory, we designed a maze interpreting the spatial pattern and flow of Custom House. The maze indicates how everyone in the city can try to find their own ways to move about, including characters that each represent their own emotion and path.
Dalal Al-Abdulhadi, Xinling Zhang, Yuanyuan Pan
City Planning According to Artistic Principles
Camillo Sitte, 1889
Integrating the authors' theories, we used thin silver lines to link the surrounding areas with Custom House to express their connection and sense of harmonious atmosphere. We also used different coloured threads to enclose irregular private spaces, and each of these small private spaces encloses an irregular public space within that harmonious atmosphere.
Haotian Zheng, Linyu Mao, Xinyi Zhao
The Urban Brain: Mental Health in the Vital City
Des Fitzgerald and Nikolas Rose, 2022
We extracted the concepts of urban inclusiveness, accessibility and adaptivity from 'The Urban Brain' theories. We renovated the existing space of Custom House to make it more inclusive and open by using a grid to divide the site, then small spaces to express the connection between human environment, interior activities and outdoor environment, aiming to deepen concepts of "urban openness" and "activity inclusion".
Slma Bahuwayrith, Supapit Tangsakul, Ziyu Zhao
Space is the Machine: A Configurational Theory of Architecture
Bill Hillier, 1996
We viewed Custom House as an open space with no clear walls and divisions between floors. We began planning the model by analysing the spatial configuration of Custom House through drawing the relations between permeable spaces within the interior, and how these are linked to the exterior urban spaces.
Cherry Shiu, Varsha Vadiraj, Yitong Yao
Architecture: The Working Machine
Zheng Zhang
The interior designer should adapt to the specific site and analyse the relationship between the project and the environment. They should ensure the creation of responsive and harmonious spaces, while considering the enhancement of user experience and functionality, and the seamless integration of technology and design in modern architecture.
‘Architecture: The Working Machine’ highlights how modern buildings, integrated with computer chips and data transmission systems, function as intelligent entities. This theme invites interior designers to create adaptive, responsive spaces that enhance user experience and optimize functionality, reflecting the seamless blend of technology and design in contemporary architecture.
Vitality Nexus
Yihan Nie
As a creative practitioner, my attitude is rooted in continuous learning and embracing diverse perspectives. I believe in approaching my work with an open mind, constantly seeking to understand and integrate new ideas. This openness allows me to think creatively and innovate, ensuring that my designs are inclusive and responsive to various viewpoints and needs.
The ‘Vitality Nexus’ embodies this commitment to openness and integration. By transforming the Custom House into a cultural centre, the project aims to connect the building with its community. It will feature public spaces that encourage interaction and engagement, reflecting my belief in the power of inclusive design. Through the blend of historical and contemporary elements, the project not only respects the building’s heritage but also adapts it for modern use, fostering a culturally vibrant and connected community.
Making People-Friendly Towns: Improving the Public Environment in Towns and Cities
Francis Tibbalds, 1992
We aimed to highlight the functional distribution and connections in the model. We chose to represent the physical parts of the building in an abstract manner, leaving only the framework and lines that delineate spaces. This allowed us to explore the relationships between functions to create a friendly urban environment, in line with Tibbalds' belief that the richness and variety of the environment come from the diversity of uses and spaces between buildings.
Changning Fu, Wenxi Li, Xinyu Zhang
A
Pattern Language: Towns, Buildings, Construction
Christopher Alexander, 1977
We deconstructed and then reconstructed Custom House according to the theories of A Pattern Language. We believed that the Custom House could be composed of different linguistic square boxes, and then disassembled them into squares of different colours according to the functions and the structural partitions inside Custom House.
Jingyang Huang, Yiqing He, Yixuan Wang
Beyond Vision
Yitong Yao
As a creative practitioner, my identity is deeply rooted in the intersection of sound, space, and sensory experience. I approach design with a keen awareness of how auditory elements can shape and transform our perception of environments. My work is characterized by a blend of analytical research and intuitive experimentation, aiming to create immersive experiences that engage multiple senses. I believe that sound is a powerful medium that transcends the visual and can evoke profound emotional responses and connections to space.
My Synthesis project reflects this belief by exploring how sound can be used as a tool for exhibition and storytelling within urban settings. Through the creation of sound maps and sound installations, I aim to highlight the unique auditory landscapes of different spaces and invite participants to engage with their surroundings in new ways.
Artful and Emotional Harmony in Design
Linyu Mao
Interior design transcends planning physical spaces by integrating human perception, emotion, and cultural influences. It serves as a dynamic canvas shaped by time, history, and interactions, imbuing spaces with meaning beyond functionality. Each design element reflects civilization, offering visual pleasure and soulful resonance. My goal is to transform spaces into warm, artful environments that meet functional needs while expressing emotions and fostering communication.
My Synthesis project involves designing a cultural centre at Custom House inspired by river confluence. It will show how diverse cultures can blend in a shared space, fostering harmony. The center will be a platform for multicultural exchange, promoting interaction and understanding among diverse backgrounds. Through this design, I aim to facilitate deep exchanges between communities and cultures, like the natural confluence of the Forth and Leith Rivers.
PERSEVE RE
The work presented in this publication is a permanent record of the design research activities of the MA Interior, Architectural and Spatial Design cohort, and delivered in parallel with a temporary exposition and public exhibition at Leith Custom House from 10-14 July 2024. Titled ‘Persevere’, this exhibition, designed and delivered by the Masters students, was a live project and practice of making an interior, with the presentation of a research archive responding directly to the site in which it is situated. Collaboratively produced, ‘Persevere’ is the demonstration of provocations and speculations, and a metaphorical and actual vessel; both container and vehicle voyaging into the future to elicit further ideas and responses. The exhibition and its documentation in this publication is one iteration of many possible, a further contribution to and palimpsest upon the material history of Custom House.
As an open and public platform hosting the ongoing creative and interrogative work of the Masters students, the exhibition provided an important means of engagement for and with the community of Leith. The public encounter with the exposition of ideas and speculations for Custom House allowed for the students to observe visitor behaviour and highlighted the importance of storytelling and interactive elements in enhancing engagement. Personalised comments from attendees added a memorable dimension. Practically working to reimagine Custom House and seeking feedback from experts proved invaluable, offering insights and suggesting improvements that differed significantly from working in just imaginable projects allowed for tangible problem-solving. This collaborative approach enriched the project, reinforcing the power of shared expertise.
This publication is the culmination of a year-long practice by MA Interior, Architectural and Spatial Design students from the Edinburgh College of Art. Throughout this design journey, we envisioned various possibilities for the Custom House: imagining it as a ship, a public community that promotes equality and inclusion, or a vibrant and open space. The final Custom House and Graduate Exhibition serves as a summary of our designs, marking the end while we prepare to embark on new design journeys in the future.
The success of the exhibition, design campaign, and publication is a testament to the collective effort of everyone involved in the design programme. We are grateful for the guidance and encouragement provided by our tutors and the support from Scottish Historic Buildings Trust. Our thanks to everyone for their inspired designs and contributions.
Acknowledgements
Academic Staff
Edward Hollis
Dave Loder
Rachel Simmonds
Tutors
Eleni Bismpiki
Eleni Geragidi
Mirza Harahap
Izzy Jones
Asad Khan
Paul Morsley
Brian Proudfoot
Visiting Critics and Lecturers
James Brook
Gunnar Groves Raines
Richard Murphy
James Stevens
Organisations
Scottish Historic Buildings Trust
Edinburgh College of Art
Students
Dalal Alabdulhadi
Slma Omar Bahuwayrith
Changning Fu
Yiqing He
Jun Hu
Siqi Huang
Jingyang Huang
Roshini Krishnaswamy Vimalanathan
Kitty Lee
Wenxi Li
Linyu Mao
Yihan Nie
Yuanyuan Pan
Aishwarya Sharma
Xiaotian Shi
Cherry Shiu
Tianxin Sun
Supapit Tangsakul
Varsha Vadiraj
Yixuan Wang
Zihan Xu
Bingfu Yang
Yitong Yao
Xinyu Zhang
Zheng Zhang
Xinling Zhang
Ziyu Zhao
Xinyi Zhao
Haotian Zheng
Yiran Zhou
This catalogue was designed and collated by students from MA Interior, Architectural and Spatial Design programme in 2023-24 and records the evolution of their learning, research and design practice through the academic year. This edition marks the inauguration of a book series which will highlight the unique site-focused character of the Masters programme at Edinburgh College of Art, University of Edinburgh. Printed by J Thomson Colour Printers Ltd., Glasgow
