CONTENTS
1. HISTORIC BUILDING REPORT
0 3
2. INTERIOR INTERVENTION
2 4
3. IN-DEPTH ANALYSIS & RETRACE
5 5
4. CONCLUSION & REFLECTION
9 0
1
HISTORIC BUILDING REPORT
THE BRIGGAIT THE WHISKY BOND
The historic report is about two buildings located in Glasgow, The Briggait and The Whisky Bond. The main points of consideration are the analysis of the type and quality of the host buildings, their relationship to their urban context, both historic and current, the original intended functions and material observations.
0 3
THE BRIGGAIT
141 Bridgegate and Clyde Street Glasgow G1 5HZ
Former Fish Market Architects: Clarks & Bells
te
gega
Brid
Cl
yd
e
St
.
The Briggait, Former Fish Market is a Grade A listed building in Glasgow’s medieval quarter, occupies almost all of a city block on the north bank of the river Clyde. It was built in 1872-3 and was the city’s fish market for over 100 years. The Fish Market belonged to the riverside where there were many warehouses built replacing the merchants’ mansions. The building was designed by the architects Clarks and Bells in the French Renaissance style, with painted stone facades and inside, a galleried market hall of cast iron and glass. Arched shops on the ground floor above circular openings filled like the gate arches with intricate cast-ironwork. (Williamson, Riches, Higgs, 1990, p.194-195)
0 4
0 3
01
02
0 6
03
It was extended twice in 1886 and in 1903 enfolding the Merchants’ Steeple. (Williamson, Riches, Higgs, 1990, p.194-195) During the 1980’s Assist Architects converted the building to a shopping centre. In converting to a shopping centre, the great halls were sub-divided with walls and glazed screens to form individual shop units. A series of shop and café/bar units were created along Bridgegate and Clyde Street and mezzanine floors were inserted. Since then the building was empty until the redevelopment in 2008-09. (GlasgowArchitecture, 2010)
0 9
BUILDING REDEVELOPMENT
Year: 2008-09 Architects: Nicoll Russell Studios For: The Wasps Trust
The building was redeveloped in 2008-9 into a new home for visual artists and cultural organizations by the Nicoll Russell Studios. Respecting the architectural elements of the building, the great hall of 1873 is maintained as a large single volume. There are some careful alternations and restorations of the original historic fabric while the public functions focused on the ground floor. The main entrance has been removed and replaced by a new entrance using three central arches and a flexible exhibition and event area has been designed in the central space of the hall. (GlasgowArchitecture, 2010) In order to bring light into the space a new atrium has been created adjacent to the steeple by cutting away part of the mezzanine floor. In addition new studio spaces for artists have been created within the existing volumes of the 1889 and 1094 halls as modern insertions into the historic fabric of the Briggait. The Briggait project redevelopment has been done in order to support the cultural sector of the Merchant City area.
1 1
THE WHISKY BOND
Former Whisky Bond & Mushroom Factory
Dawson Road G4 9SS, Glasgow
on
ws
Da Rd
fo rt h an d cl yd e ca na l
The Whisky Bond is a seven-storey red brick building which was built in 1957 and was the home of Highland Distillers before becoming a mushroom factory. After being left empty for ten years, it has now become a cultural and creative space for artists. It is located over the Forth and Clyde Canal at Speirs Locks. Speirs Locks is well on its way to become Scotland’s centre for creative and cultural production. (STVnews, 2012) In terms of the canal redevelopment, the Whisky Bond is transformed into a creative factory, providing art studios, exhibition spaces and galleries for a wide audience to enjoy. Also is the new home for the Glasgow Sculpture Studios whose previous space was the Briggait before the redevelopment. They occupy the lower three floors of the building while the top four floors will become home to a range of studios housing artists from the Glasgow School of Art and will be available to let. Part of the ground floor and the fifth floor are used as exhibition spaces. There will also be a Sculpture Garden, which will become a public space for artists and people to visit. (GlasgowCanal, n.d)
1 4
BUILDING REDEVELOPMENT
When the building was the Whisky Bond it had an open plan structure with large spaces that still have a sense. After the renovation, the structure of the building remained, as it is when it was a mushroom factory. The industrial appearance, the exposed brickwork and the original wooden sliding doors were kept while a new central core stairwell and lift structure has been inserted.
1 9
After researching the two buildings one can realize that they are completely different concerning their structure, their history and their urban context but for the present they share quite the same functions as both buildings are redeveloped for cultural reasons. On the one hand the Briggait the Former fish market, located in the Merchant City, with its Victorian architectural style has been redesigned into a place for visual artists, exhibitions and public activities in order to enhance the cultural context of the area. On the other hand the Whisky Bond, a former warehouse located near the Spiers Lock in an area of redevelopment will become a centre for artists and the community.
2 2
2
INTERIOR INTERVENTION
THE WHISKY BOND
DRAWINGS AND STRUCTURE
STRUCTURE
FRONT ELEVATION
2 5
INITIAL IDEA ANALYSIS
MAP TRANSLATION NETWORK
The whisky bond will become a network community where collaborations spark... The initial idea is the creation of an art installation in the facade of the Whisky Bond. An attempt to translate the city map towards the building into shape, the creation of a network that leads to a point.
2 6
INSPIRATION
SOL LEWITT Connections
04
05
06
07
08
09
“each person draws a line differently and each person understands words differently” “Perception had become a deprivation of action and reaction” 2 8
NETWORKS
LINES
POINTS
RELATIONS
0 3
MAP TRACING & TRANSFORMATIONS
3 1
IDEA EVOLUTION
THE EXTERIOR
INSPIRATION
CARSTEN NICOLAI
URBANH SCREEN
11
12
RYOJI IKEDA
10
ETIENNE-JULES MAREY
14
13
NAN HOOVER
3 3
IDEA ANALYSIS
“An “optical unconscious”, a field otherwise unavailable to visual perception” Etienne-Jules Marey Investigation of the boundaries of perception Carsten Nicolai Relationship between critical points of device and the threshold of human perception Ryoji Ikeda
IMPACTS OF MOVEMENT THE FACADE BECOMES THE DEVICE TRANSLATION OF MOVEMENT
The building itself is a core of communication and information. The idea is to reveal this hidden core to the exterior facade. The impact of movement inside the building becomes the main issue of consideration.
3 4
INVETION OF HYPOTHETICALS IN EXISTING SPACE
MOVEMENT
MOVEMENT CONSTELLATION
MOVEMENT DIAGRAMS
CONSTELLATION LEVELS
CONSTELLATION LEVELS
TRANSLATION OF MOVEMENTS INTO PATTERNS
EVOLUTIONS
3 9
4 1
INVETION OF HYPOTHETICALS OF EXISTING SPACE Rebuilding the space in abstract way
REAL SPACE & THOUGHT SPACE
4 3
“UNSEEN”, PROJECTION MAPPING
ANIMATION EVOLUTION
ANIMATION EVOLUTION
“UNSEEN”, PROJECTION MAPPING
“UNSEEN”, PROJECTION MAPPING
ANIMATION EVOLUTION
ANIMATION EVOLUTION
“UNSEEN”, PROJECTION MAPPING
3
IN-DEPTH ANALYSIS & RETRACE
THRESHOLD Boundary/Transition/Circulation/Passing Spaces
“Our bodies and movements are in constant interaction with the environment; the world and the self inform and redefine each other...there is no body separate from its domicile space, and there is no space unrelated to the unconscious image of perceiving self.�
Pallasmaa, 2005, p.40
5 5
MOVEMENTS & REFLECTIONS
5 7
THE BUILDING IS STANDING STILL WAITING FOR SOMETHING “We see in order to move and we move in order to see”, William Gibson
0 3
0 3
REPETITION/DARK CORRIDORS/ABSENCE OF DAYLIGHT “Architecture presents the drama of construction silenced into matter, space, light. Ultimately, architecture is the art of petrified silence.” Pallasmaa, 2005, p.51
BOUNDARIES OF HEIGHT
THE HEIGHT OF THE FLOORS DECREASES
6 3
“Openings are important in buildings...they can be simply frames for the rhythm and movement to a space. “ Brooker & Stone, 2004,p. 208
6 5
The capture of movement The movement becomes very strict and repetitive There is a network of movement that gives life to the building
6 7
THE ABSENCE OF LIGHT
Light that permits us to perceive the world...
Light that allows the projection of personal information to the world. CIAC, 1986, p.13
“Deep shadows and darkness are essential because they dim the sharpness of vision make depth and distance ambiguous and invite unconscious peripheral vision and tactile fantasy.� Pallasmaa, 2005, p.46
“Installation can be seen as the generation of a symbolic relationship between the building and the series of elements placed within it. The two often have quite different characters and it is their juxtaposition that provides life and vitality for both.� Brooker & Stone, 2004,p. 127
7 2
“We conceive each object and its surroundings as a main starting point for every concept. Existent structures and aesthetics represent a basic visual and contextual guideline as well as the main source of inspiration.” Urban Screen, 2010
Operates on a number of modules of different visual effects which interfere with the viewer’s ability to visually perceive the actual imagery that is being displayed through the projection. Carsten Nicolai (Derivative,2012)
“I am interested on working with light and movement, either random movement or the controlled movement, as in a performance, where the bodies, slow movement through light creates sublet changes in perception” Nan Hoover (CIAC, 1986, p.86)
The journey begins The projection is displayed in the facade The user is a spectator
7 4
7 5
The circulation of the building becomes the continuity of the journey... The projection encompass the space and the user becomes part of the intervention
“Inhabited space transcends geometrical space. As he listens to the geometry of echoes dignifying and distinguishing-every old house, every experienced house, he probes the impact of human habita tion on geometrical form, and the impact of the form upon human inhabitants.� Bachelard, 1994
7 9
IDEA EVOLUTION
THE INTERIOR
SPACE OF THOUGHT PATTERN EVOLUTION
8 1
GENERATION OF SPACE THROUGH LIGHT
8 2
THE EXHIBITION SPACE SEQUENCE
THE CORRIDORS SEQUENCE
8 5
THE STAIRS SEQUENCE
8 6
“It is necessary to unlearn space in order to embody space. It is necessary to unlearn how we see in order to see with our bodies. It is necessary to unlearn knowledge of our body in three dimensions in order to recover the real dimensionality of our body. Let’s dance space. Let’s re-space our bodies. Let’s celebrate the felt feeling of presence.” Olafur Eliasson, Unlearning Space – Spacing Unlearning
8 8
4
CONCLUSION & REFLECTION
The historic building report between the two buildings led to the selection of the Whisky Bond as a building for practice and intervention. A building in progress, which offers many opportunities for consideration. This building became the starting point of an exploration of themes such as, art interventions, interactions and impacts, the experience of space in terms of perception and reflection, the relationships of boundaries and infinite within space. The investigation started with the idea of identifying the connections between the building and its urban context. The city map is explored as a network of lines, points and relationships, which are translated into forms that surround the building. The idea evolves by defining the building as a core of literal or metaphorical communication. The building is interpreted as a network of movement. The exploration continues with the creation of hypothetical movement diagrams concerning the relationships of hidden movement either on real space or on thought space. The experience of space and the impacts upon its users are translated into geometrical forms and patterns that are depicted with the use of digital media as a projection-animation. The materials are the light and the shadows. They become the mean to reveal unperceived information and create transformations to reality. The intervention is an investigation between observation and thought. A journey begins, starting from the exterior and continues to the interior. The user act as a spectator at first but then his/her presence becomes part of the intervention. A potential development of the intervention itself could be the change of the material. New hypothetical scenarios can be developed if the two-dimensional diagrams evolve into three dimensional spaces or objects. This could lead to the invention of new structures or forms that could be displayed as freestanding art installations revealing the potentials of space. As a further development and research within further stages, the idea can be applied in different buildings and spaces within the city as an exploration of interstitial art and the intercommunication of real space and space of thought. An approach could be the investigation of how we visually perceive space and how to reveal the space in between. The notion of interstitial space and the use of digital technology can be explored as a mean to change the built boundaries of an existing space and expand our way to perceive things.
9 0
BIBLIOGRAPHY PART1 Books Williamson E, Riches A, Higgs M., 1990. The buildings of Scotland, Penguin Books Websites ClydeWaterFront. Available at:<http://www.clydewaterfront.com/projects/glasgow-city-centre/commercial/briggait> [ Accessed October 2013] GlasgowCanal, n.d. Available at: < http://www.glasgowcanal.co.uk/regeneration-projects/whiskybond> [Accessed October 2013] OldGlasgow. Available at:< http://oldglasgow.tumblr.com/post/54538477804/i-happened-across-thiscuriosity-top-image-when >[Accessed October 2013] ScottishCanals. Available at: < http://www.scottishcanals.co.uk/our-canals/forth--clyde-canal/ forth--clyde-canal-history> [Accessed October 2013] ScottishGoverment. Available at:< http://www.scotland.gov.uk/Publications/2011/03/16100049/11> [Accessed October 2013] STVnews, 2012. Available at:<http://news.stv.tv/west-central/195566-glasgow-sculpture-studiosofficially-move-in-to-whisky-bond/> [Accessed October 2013] Vimeo. Speirs Locks Urban Regeneration: An Introduction. Available at:<http://vimeo. com/26125177>[Accessed October 2013] WaspsStudios. Available at:< http://www.waspsstudios.org.uk/studios-spaces/briggait-merchant-city >[Accessed October 2013]
PART 2&3 Books Bachelard, G., 1994. The poetics of space. Boston: Beacon Press Brooker & Stone, 2004 . Rereadings, Interior Architecture and the design principles of remodeling existing buildings. London: RIBA Enterprises CIAC, 1986. Lumieres Perception-Projection. Montreal: Plow & Watters Lewitt S. 1993. Structures 1962-1993. Oxford: Museum of Modern Art Pallasmaa, J.,2005. The Eyes of The Skin, Architecture and The Senses. New York: John Wiley & Sons Ltd Websites Carsten Nicolai. Available at: < http://www.carstennicolai.de>[ Accessed October 2013] Derivative,2012.Carsten Nicolai, unidisplay (tri-version) Available at: http://www.derivative.ca/ Events/2012/unidisplay/>[Accessed November 2013]
DigiMag, n.d. Available at:<http://www.digicult.it/digimag/issue-064/revealing-interstitial-spaces-part-2/>[Accessed November 2013] DumpType. Available at: < http://dumbtype.com/>[Accessed October 2013] NanHooverFoundation.Available at: <http://www.nanhooverfoundation.com/> [Accessed December 2013] Tate. Available at: <http://www.tate.org.uk/art/artists/sol-lewitt-1504> [Accessed 30 Oct 2013] Tate, 2012. Spaces of Transformation: Continuity/Infinity Available at:< http://www.tate.org.uk/ whats-on/tate-modern/talks-and-lectures/spaces-transformation-continuityinfinity>Accessed November 2013] TIP,n.d. Available at:<http://thinking-in-practice.com/olafur-eliasson>[Accessed December 2013] Ryoji Ikeda.Available at: <http://www.ryojiikeda.com/>[Accessed October 2013] Urban Screen, 2010.Available at: <http://www.urbanscreen.com/about>[Accessed 18 Nov 2013]
Images 01.ScotlandPlaces. Merchantâ&#x20AC;&#x2122;s House And Steeple. Available at: <http://www.scotlandsplaces.gov.uk/ record/rcahms/44287/glasgow-135-bridgegate-merchants-house-and-steeple/rcahms?item=588862#carousel> [Accessed October 2013] 02.WaspsStudios. Available at: <http://www.scotlandsplaces.gov.uk/record/rcahms/44287/glasgow135-bridgegate-merchants-house-and-steeple/rcahms?item=588862#carousel> [Accessed October 2013] 03.OldGlasgow.Available at:< http://oldglasgow.tumblr.com/post/54538477804/i-happened-across-thiscuriosity-top-image-when>[Accessed October 2013] 04.Sol Lewitt, 1972, Wall Drawing 132 Available at:< http://www.mutualart.com/Artist/SolLeWitt/5D1F862F0381BF32/Artworks?q=Sculpture+Framing&Params=3131392C43757272656E74546162416C6961732 C417274776F726B732C317C3936382C43757272656E74506167652C34392C31>[Accessed October 2013] 05.Sol Lewitt,1990. Lines from Points to Points Available at:< http://blog.library.si.edu/2013/01/ lines-and-lines-and-points-artists-books-by-sol-lewitt/#.UrISFPRdWSo> [Accessed November 2013] 06.Sol Lewitt, 1971. Wall Drawing 111 Available at: <http://www.magasin3.com/en/blog/exhibitions/ sol-lewitt/?postTabs=3>[Accessed November 2013] 07.Sol Lewitt, 1972 Wall Drawing 130 Available at: <http://www.massmoca.org/lewitt/walldrawing. php?id=130>[Accessed November 2013] 08.Sol Lewitt Available at:<http://contemporarydrawingsalon.blogspot.co.uk/2010/08/sol-lewit. html>[Accessed November 2013] 09.Sol Lewitt, 1989. Wall Drawing 614 Available at: <http://www.massmoca.org/lewitt/walldrawing. php?id=614> [Accessed November 2013] 10.UrbanScreen,2011. MQ10 Available at:<http://www.urbanscreen.com/usc/1044>[Accessed November 2013] 11.Carsten Nicolai, 2012.Unidisplay Available at:<http://www.derivative.ca/Events/2012/ unidisplay/>[Accessed November 2013] 12.Ryoji Ikeda. Test Pattern Available at:<http://thethirdvoid.com/?p=462#more>[Accessed November 2013] 13.Etienne-Jules Marey,1880 Available at: <http://photographyhistory.blogspot.co.uk/2009/02/ etienne-jules-marey-1830-1904-study-of.html>[Accessed November 2013] 14.Nan Hoover,1984. Walking In Any Direction Available at:<http://www.li-ma.nl/en/2013/04/nan-hoover-a-body-in-light/>[Accessed November 2013]