STORIES UNTOLD ENGAGING EDINBURGH THROUGH THE NARRATIVE
NAOMI WHITE | LUCY LUNDBERG
THESIS
LUCY
PRE-COVID CRI
THE NATURE OF A FRA
IT INTENTIONS
AGENTED COLLECTION
NAOMI
EDINBURGH CASTLE
WRITER’S MUSEUM
MUSEUM OF CHILDHOOD
STORYTELLING CENTRE
THE PEOPLE’S STORY
OLD CANNONGATE THEATRE SCOTTISH POETRY LIBRARY
ATHENS OF THE NORTH
Robert Burns
Robert Louis Stevenson Walter Scott John Knox
Map showing locations of importance to key literary figures, primarily along the Royal Mile
LITERATURE & EDINBURGH
PATH OF RESEARCH
NARRATIVE OF ARCHITECTURE
EDINBURGH LITERATU
BURNS
DEFOE
STEVENSON
PEOPLE GROUPS
METHODOLOGY TRAITS
EDINBURGH OLD TOWN
METHOD
METHODOLOGY
WRITING METHODOLOGY
URE
HISTORIC
INDIVIDUAL
BOOK MAKING TECTONIC STRUCTURE + USE OF SPACE
SCOTT
THEMES
DOLOGY
ACT OF READING HOW THE NARRATIVE IS READ THROUGH ARCHITECTURE
INTRODUCING THE PROTAGONISTS
PSYCHOLOGICAL QUALITIES OF STORIES Books of fiction “disengage us from ourselves”, ‘from the self to the other, crossing a boundary’ Robert Louis Stevenson.
PHYSICAL EXPRESSION OF STORIES Benefits of performance include ‘emotional expression, self-affirmation, and catharsis’ alongside ‘the ability to see one’s individual challenges as a reflection of socially-constructed and politically-reinforced norms’ (Sajnani 2013).
PSYCHOLOGICAL QUALITIES
LITERA
PROTAGONISTS
PROPO
PROPO
ATURE
OSAL
OSAL
PHYSICAL EXPRESSION
PROTAGONISTS
PROTAGONIST Life revolving around perfect little squares. Valuing ‘likes’ based on image rather than genuine connections with depth.
A survey by the Royal Society for Public Health found ‘Instagram, Snapchat, Facebook and Twitter all led to increased feelings of depression, anxiety, poor body image and loneliness’ in 14-24 year olds.
PROPOSAL Using literary imagination as a generator to appeal to senses, ‘to understand and implement a literary imagination at the roots of an architecture capable of producing communicative atmospheres, both emotive and cognitive, for embodied human action, conveying its meanings in a multisensory way’ (Alberto Perez-Gomez 2018).
PROTAGONIST The Deaf community.
Excluded from Scottish culture, seen and not heard
A strong root in Edinburgh but not yet fully acknowledged
Scottish Culture is intrinsically linked with oral storytelling and literature
This means that th are not just exclu literature but also
Almost all early deaf therapy was based on the assumption of the deaf community lacking intelligence.
Speaking community’s Deaf Community’s be resul
HOW HAS THE DEAF EXCLUDED FROM S THROUGH ORAL
he deaf community uded from Scottish o Scottish culture.
s often acted on the ehalf with negative lts.
F COMMUNITY BEEN SCOTTISH CULTURE L TRADITIONS?
Edinburgh does however have a history of Deaf education
The proposal aims to tackle this entrenched attitude of ignorance
EXCLUSION OF THE DEAF
‘Narrative is crucial to the ways that humans understand or make sense of their world, and it is a spatiotemporal world, to be sure’ (Fredric Jameson).
PROPOSAL
VIII | UNDERSTANDING THE WRITER
IMAGINATION
DUALITY
PERCEPTION
LONG-TERM MEMORY
THOUGHT
ENCODER
THE WRITER’S MIND
OUTPUT
WRITING PROCESS
Archive of narrative
LONG-TERM MEMORY
READING PROCESS
IDENTIFYING CONGNITIVE PROCESSES TO INFORM THE PROGRAMME
Library spaces to escape reality and enter the fictional world
IMAGINATION
Disc inspir thought
TH
cussion, ration and t provoker
HOUGHT
Creative escape spaces to write and produce
Library spaces to exhibit and discuss work
ENCODER
OUTPUT
Escape spaces to reflect on the crossing between fiction and reality
REFLECTION
Therapeutic effect on loneliness, anxiety and depression, enhancing emotional intelligence and reconnecting the mind with personal narrative, imagination and reality.
RECONNECTION
VII | UNDERSTANDING THE DEAF
IDENTIFY STORY
TRAN
DEAF STORYTELLI
https://www.deafinit
NSLATE
ING IN THEATRES
telytheatre.co.uk/
EYE CONTACT & SPACE
SPACE & PROXIMITY
LIGHT & COLOUR
VIBRATIONS
SENSOR
SEEN AND NO
Deaf design re
https://www.curbed.com/2016/3/2/1 washingto
& ACOUSTICS
RY REACH
OT HEARD
equirements
11140210/gallaudet-deafspaceon-dc
MOBILITY & PROXIMITY
IX | THE MAP AND IDENTIFYING THE SITES
Robert Louis Stevenson’s ‘TREASURE ISLAND MAP’
Following earlier research, Robert Louis Stevenson’s approach of drawing a fictional map to create his story’s setting was adopted. This map of Edinburgh incorporates areas identified as having geographical, historical, symbolic and literary importance.
TRON KIRK
CHESSEL’S COURT
JOHN KNOX HOUS
CHOSEN HERITA THE ROYA
& MOUBRAY USES
AGE SITES ON AL MILE
ST. GILES
SIR BASIL SPENCE STAIRS
X | DESIGN APPROACH
All the sites and proposals involve parasitic structures attaching to existing heritage structures. Choice and detailing of materials ensures definition and clarity between existing and new, protecting the integrity of the architectural heritage.
BOOKCASES WITH MULTIPLE FUNCTIONS E.G STAIRS & SEATS
LEVELS IN THE BUILDING WHICH MIRROR THE TOPOGRAPHY OF EDINBURGH
ARCHITECTUR
PARASITIC INTERVENTIONS
RAL MOTIFS
HIDDEN NOOKS
INTERCON
NNECTION
BOOK III
XI | REPRESENTING THE STORY
57
Perception
Memory
ANIMATION AS A TOOL
Imagination
OF REPRESENTATION
Encoding
PROPOSALS
XII | THE ARCHIVE | Tron Kirk To Remember Representing the long-term memory of the writer, the vaults beneath the South Bridge house artefacts of importance to the city and its people. They inspire the writer, reconnecting them with the past of the place and their own personal memories.
Located at the ‘ruins’ and ‘caves’
THE ARCHIVE IN LITERARY CONTEXT
Section through archive intervention, in the context of the Royal Mile
The vaults beneath the South bridge provide the long-term memory archives, storing and displaying the oldest artefacts and curiosities.
Perspective view inside archive ‘cave’
1 Existing stone walls 2
2 Existing vaulted stone ceiling 3 Existing uneven stone floor surface
4 Framed view to activity below 5
5
1
3
Design allows person to sit within the structure increase physical contact with archive
4 New timber frame structure, partitioning the cavernous volumees into more personal spaces and displaying arhive curiosities 5 New smoothsurfaced stone forming transitions between spaces withing the heavy rough walls
The area of the archive between the cave and kirk is a transitional space between these two historic sites. The ground level is lowered significantly to mediate the great difference in levels.
This transitional space aims to intrigue the public, providing passers by with a space to pause an sit in the urban garden environment, drawing them into the archives.
Concrete arches provide partial covering for the urban garden area
Timber frame structures provide display shelves and public seating
The architectural language further connects the two archive buildings by continuing the arched geometry, seemingly growing from the ‘cave’ Steps are constructed from stone to continue the historic materiality
and
parasitic timber
structures from the kirk, as they meld together.
Use of the Trok Kirk has been turbulent, most recently it has been transformed from a market to an heritage exhibition. However, beneath the floor of this exhibition lies ruins and foundations of historic tenements, wynds and the High Street itself.
The proposal inside the kirk is to lift the floor to expose these ruins and use timber frame structures to structures display curiosities which seemlingly grow from these foundations. They encompassing the historic spacial arrangement in a tectonic manner, giving a more authentic interaction with the site’s heritage.
4
1& 2
Wy nd
Plan as existing, showing layout of historic fabric beneath the Kirk floor
Mi le Ro ya l
St re et
Hi gh
B Bu il di ng
In du s ar tria ea l
g din l i Bu C
Ma rl in ’s
3
Co ur ty ar d
Bu il di ng
D
Ce ll ar
Ce ll ar s
Ce ll ar
Mi le Ro ya l
Hi st or wh ic t ee he at co led r ur i nt e se ty o ar ol ts d d si te
Axonometric sketch demonstrating spacial arrangement of parasitic structures within the kirk
3
1
2
1 Martin’s Wynd route reestablished as primary route through kirk
2 Raised timber platforms to protect archaeological importance of foundations
3 Structure at entrance to frame view through kirk upon arrival
4 New timber frame curiosities, arr to appropriate s
4
4
e structures to display archive ranged above the historic foundations some of their past spacial qualities.
A 200mm gap is left between the new timber platform flooring and the foundations, to further define new fabric from the historic.
The Tron Kirk has recently been adapted to accommodate the Edinburgh World Heritage Exhibition. Rather than merely educating visitors through posters, this proposal reinstates an experience and understanding of the site as it was before the kirk was built in the 17th Century. The archives continue into the kirk, representing more recent memory and thought. Historic stage sets are exhibited in the old courtyard, to further inspire the writer with stories which have come before.
XIII | THE OLD DEAF SCHOOL | Chessels Court To Learn
Located at the ‘old school’
CHESSELS COURT
DEAF AND DUMB I
SITE AN
• Accessible but also • Links to Midlothian • Patrick Geddes hist • Deaf history • Site of Brodie crim capture • Inspiration for Ste
INSTITUTE | 1817
NALYSIS
o private n tory
me which lead to his
evenson
BRAIDWOOD ACADEMY | 1817
VIEW OF INSTA CANNONGATE THR COURT A
ALLATION FROM ROUGH CHESSELS ARCHES
KEY | WRITER’S USE | PUBLIC USE | DEAF EDUCATION USE | EXISTING BUILDING | PROPOSED BUILDING
INTERACTIVE
E FURNITURE
XIV | THE STORYTELLING CENTRE To Translate and Inspire
Located at the ‘walls’ and ‘gateway’
STORYTELLING CENTRE
18
WHY CHOOSE THI
869
IS AS A SITE?
• • • • • •
Links to Defoe Links to John Knox Accessible Prominent Links to Nature Avoid Jury Inn, due to too small a programme • Occupation of the streets • Already taps into deaf community • Current proposal has a limited function
HISTORIC SITE OF NETHERBOW PORT
WORLD’S END
SOUTH SIDE
LOCATION OF THE COLLAPSE OF TENEMENT HOUSING IN 17TH C
NORTH SIDE CARRUBERS CHRISTIAN CENTRE
SITE MATE
HIGH STREET AT THE S
MUSEUM OF CHILDHOOD
ACCOMODATION OF AUTHOR
ERIALITY
STORYTELLING CENTRE
OF SIGN LANGUAGE BOOKS, DANIEL DEFOE ACCOMODATION OF JOHN KNOX, KEY FIGURE IN
LOCATION OF HISTORIC JOHN KNOX CHURCH
THE REFORMATION
MOUBRAY HOUSE
JOHN KNOX HOUSE
STORYTELLING CENTRE SITE OF HISTORIC KING’S WALL
COBBLES
SLATE TILES
RANDOM RUBBLE STONE
SITE MATE
THE MATERIAL PALETTE TAKE FRO
SHUTTERED CONCRETE
ERIALITY
FOR THE PROPOSAL IS OM THESE
TIMBER
RENDER
STORYTELLING CENTRE MOUBRAY HOUSE
E
JOHN KNOX
L MI AL
Y RO
REMOVAL OF EXISTING STORYTELLING CENTRE
RETAIN ‘THE WALL’ & HISTORIC
NATURE
INTERACTION OF OLD AND NEW
INTROVERT & EXTROVERT ENTRAN
SITE MA
C BUILDINGS
THE CORE
NCE
SOLAR GAINS
ASSING
INTERCON
NNECTION
A
B
BIRDS EYE VIEW A | DEAF EDUCATION AND PUBLIC ENTRANCE B | WRITER’S ENTRANCE
KEY | WRITER’S USE | PUBLIC USE | DEAF EDUCATION USE | EXISTING BUILDING | PROPOSED BUILDING
O
N
J
I K
D
L M
C E
F
A B
G H
BASEMENT AXONOMETRIC A B C D E F G H I J K L M N O
| | | | | | | | | | | | | | |
ENTRANCE RECEPTION TO WRITERS EXHIBITION W.C OFFICE RECEPTION & ACCESS TO CORE STAIRS CORE STEPS WRITERS EXHIBITION ARCHIVE OF WRITER’S WORK WORKSHOP FOR SET PRODUCTION POP UP STAGE ON RAILS BASEMENT OF MOWBRAY HOUSE W.C LIBRARY NOOK STAGE EXTERNAL STAGE
S
Q P
O
K
R J
N
I M L
D
B
A
G H E
F
S
GROUND FLOOR AXONOMETRIC
C
A | ENTRANCE B | RECEPTION TO PUBLIC & DEAF EDUCATION C | EXHIBITION SPACE ON HISTORY OF DEAF EDINBURGH D | DEAF EDUCATION E | REHEARSAL SPACE F | STREET SEAT WITH VIEW INTO REHEARSAL SPACE G | TRANSLATION SPACE H | STEPS DOWN TO DRESSING ROOM I | STAGE MAKE UP ROOM J | ACTOR’S STEPS ON TO STAGE K | SECONDARY ENTRANCE TO STAGE THROUGH PUBLIC STEPS L | W.C M | LIBRARY NOOK N | CAFE O | KITCHEN P | PUBLIC STEPS ON TO STAGE Q | STAGE R | INTERNAL COURTYARD S | EXTERNAL STAGE
L M
J H
K
I
G
F E
G B
A
C
D
FIRST FLOOR AXONOMETRIC A | CORE STAIRCASE B | MEZZANINE OVERLOOKING REHEARSAL SPACE C | WRITING NOOK OVERLOOKING REHEARSAL SPACE D | PUBLISHING OFFICE E | WRITING SNUG F | STORYBOARDING BOOKCASE DISPLAY STORIES TO REHEARSAL SPACE G |VIEW ON TO STAGE H | VIEW ON TO DEAF EDUCATION ROOM I | WRITING OFFICE J | WRITING LOUNGE K | W.C L | WRITING LIBRARY M | INTERNAL GARDEN
K
E D
C A
B
PUBLIC & DEA ENTRA
KEY | WRITER’S USE | PUBLIC USE | DEAF EDUCATION USE | EXISTING BUILDING | PROPOSED BUILDING
F
A B C D E F G H I J
| | | | | | | | | |
DEAF EDUCATION AND PUBLIC ENTRANCE RECEPTION CAFE LIGHT POD VIEW FROM WRITER’S OFFICE INTO RECEPTION VIEWING WINDOW FROM PUBLISHERS INTO RECEPTION PUBLISHING SPACE STAIRCASE CONVERTED INTO BOOKCASE DEAF EDUCATION EXHIBITION BRIDGE TO REHEARSAL
G
H
I
J
AF EDUCATION ANCE GROUND FLOOR AXO
CHILDREN’
’S LIBRARY
GROUND FLOOR AXO
A | DEAF EDUCATION B | WRITER’S PUBLIC LIBRARY C | WRITER’S EXHIBITION D | BRIDGE OVERLOOKING CORE STAIRCASE & WRITER’S EXHIBITION E | WRITER’S CORE STAIRCASE F | ENTRANCE TO WRITING NOOK G | SECOND FLOOR MEZZANINE OVERLOOKING REHEARSAL H | FIRST FLOOR MEZZANINE OVERLOOKING REHEARSAL I |VIEWING PLATFORMS BUILT INTO BOOKCASE J | STEPS FROM REHEARSAL INTO DRESSING ROOMS K | REHEARSAL L | RECEPTION TO WRITERS EXHIBITION M | PRIVATE ROUTE BEHIND RECEPTION TO ACCESS STAIR CASE N | PUBLIC STREET SEAT WITH VISUAL ACCESS TO REHEARSAL O | READING SNUG LIT FROM HIGHER WINDOW P | ALLEY TO BACK GARDEN
A
F
G
H E
D
B
J
L
C
KEY | WRITER’S USE | PUBLIC USE | DEAF EDUCATION USE
SECTION THROUGH
| EXISTING BUILDING | PROPOSED BUILDING
E
G O I
N
P
K
M
REHEARSAL SPACE
GROUND FLOOR AXO
REHEARSA
AL SPACE
GROUND FLOOR AXO
STORYBOARDING SECOND FLOO
LOOKING UP TO OR MEZZANINE
FIRST FLOOR AXO
F
E
B
G
D
C
H
I
A
KEY | WRITER’S USE | PUBLIC USE | DEAF EDUCATION USE | EXISTING BUILDING | PROPOSED BUILDING
WORKSHOP
M
N
J
S
O
R
Q K
P L
A | STORYTELLING GARDEN B | VIEW FROM TRANSLATION AREA TO STAGE C | AUDITORIUM SEATING D | TRANSLATION DESKS E | VIEW FROM STORYBOARDING F | VIEW FROM LANDING G | VIEW FROM DRESSING ROOMS H | POP UP STAGE PROPS I | INTERNAL COURTYARD FOR CONNECTION TO NATURE
J | AND K | L | M | N | O | P | Q | R | S |
ENTRANCE TO LIBRARY POD INTERNAL COURTYARD MAKE UP PREP WORKSHOP WRITER’S NOOK WRITER’S LOUNGE CHILDREN’S LIBRARY CAFE STORE CUPBOARD CAFE W.C
P SECTION
GROUND FLOOR AXO
D
C
E
A
F
B
KEY | WRITER’S USE | PUBLIC USE | DEAF EDUCATION USE | EXISTING BUILDING | PROPOSED BUILDING
AUDITORIU
I
K
L
J
H
G
A | SEMI-CIRCULAR SEATING FOR VISUAL CONNECTION TO ACTORS B | TIERED STAGES TO ALLOW FOR ADAPTION BETWEEN DIFFERENT STORIES C | AUDITORIUM SEATING D | TRANSLATION DESKS E | STEPS TO STAGE F | AUDIENCE ENTER THEATRE VIA THE STAGE IN ORDER TO EXPERIENCE THE PLATFORM OF THE ACTOR G | STEPS DOWN FROM CAFE
H | ACTORS JOIN AUDIENCE ON THESE STEPS TO CREATE A SENSE OF UNITY I | WRITERS LIBRARY POD TRANSECTS THE OLD AND NEW BUILDING, GIVING A VIEW OF ALL ACTIVITY J | VIEWING WINDOW FROM CAFE ONTO STAGE K | CAFE L | KITCHEN M | WRITER’S NOOK
O
UM SECTION
GROUND FLOOR AXO
5 6
1
2
3 4
1 | FOLD OUT STAGE MECHANISM ON WHEELS
2 | RAILS
3 | STAGE
4 | FLOOR
Hardwood timber flooring (22mm) Timber frame (75 x 50mm) and (150 x 75mm) Plasterboard (12.5mm) Timber beams 150 x 75mm
Solid wood flooring 22mm Screed 100m In-situ Concrete 250m Insulation 150mm Hardcore 300mm Pile cap dependent on ground conditions In-situ Retaining wall (150mm)
5 | CONNECTION WITH NATURE Green roof build up Solid wood flooring 22mm Rockwool acoustic 50mm Glulam 250 x 90mm battens 22 x 22mm Plasterboard 12.5mm
6 | RESTRICTIVE GAP
7 | SU TIMBER
Solid wo Rockwool Glulam 2 battens Plasterb
1.20 DETAIL DEMO STA
VIBRATIONS & ACOUSTICS
8
7 10 9
USPENDED R FLOOR
8 | MAKE UP ROOM - BUILT IN STORAGE
ood flooring 22mm l acoustic 50mm 250 x 90mm 22 x 22mm board 12.5mm
Timber frame 75 x 50mm Plasterboard (12.5mm) Rigid insulation (160mm) Stainless steel brackets In-situ shuttered reinforced concrete(200mm)
9 | WORKSHOP
10 | RETAINING WALL Solid wood flooring 22mm Screed 100m In-situ Concrete 250m Insulation 150mm Hardcore 300mm Pile cap dependent on ground conditions In-situ Retaining wall (150mm)
ONSTRATING POP UP AGE GROUND FLOOR AXO
SE
CO
ND FL
OO
R
MOBILITY & PROXIMITY
FI
RS
T FL
OO
R
GR
OU
ND FL
OO
R
BA
SE
ME
NT
INTERACTION BETWEEN GROUPS NATURE
PUBLIC
DEAF
WRITER
SE
CO
ND FL
OO
R
SENSORY REACH
FI
RS
T FL
OO
R
GR
OU
ND FL
OO
R
BA
SE
ME
NT
MOVEMENT VIEWS
INTERCON
NNECTION
XV | THE PLATFORM | St. Giles To Perform
KEY | WRITER’S USE | PUBLIC USE | DEAF EDUCATION USE | EXISTING BUILDING | PROPOSED BUILDING
ST GILES PERFORMANCE PLATFORM Silent Theatre which performs an accessible interpretation of the stories of those in the Storytelling centre
VIEW FROM STREET A bridging element history of the site
WATCHING BRIDGE which digs into the and mediates divides
Located at the ‘ruins’ and ‘caves’
XVI | THE REFLECTION TOWER | Sir Basil Spence Stairs To Reflect The final destination in the writer character’s journey is reflection. Influenced by Robert Burns’ draw to nature for therapeutic effect and his works, the tower removes the user from the busy High Street, elevating them to view the hills above the rooftops.
Perspective view of parasitic tower in context
Section through tower showing parasitic structure on existing fabric
There is a transition point between opposing characteristics; old and new as well as urban and natural materials.
Where the concrete stair
and metal banisters run out they meet juxtaposing timber frame.
Perspective internal view showing view to Aurthur’s seat
Alberto Perez-Gomez. 2018. ‘Foreward’. In Re and Architectural Experience. Routledge.
Bachelard, Gaston. 2014. The Poetics of Spac
Bleeckere, Sylvain De, and Sebastiaan Gerard Designer’s Story. Taylor & Francis.
Hannah Frankman. 2017. ‘The Importance of Re 18 October 2017. https://medium.com/the-miss 7f57546a229b.
Lehtinen, Heini. 2019. ‘Environments for a H Mind (blog). 13 April 2019. https://medium.c happier-mind-4c0e3fb3db55.
Menikoff, Barry. 2005. Narrating Scotland, th Columbia, South Carolina: University of Sout
‘Palimpsest: Literary Edinburgh’. n.d. The U February 2020. https://www.ed.ac.uk/literatu research/palimpsest.
Phillipson, Nicholas. 1992. ‘The Athens of t 73–84. Mainstream Publishing Company (Edinbu
Reclam, Hannah. n.d. ‘Performance as Therapy Literature Review’, 34.
Sajnani, Nisha. 2013. ‘The Body Politic: The for Therapeutic Performance Research in Dram Gender and the Creative Arts Therapies, 40 ( aip.2013.05.001.
Tally, Robert T. 2012. Spaciality (THe New C
———. 2017. The Routledge Handbook of Literat
‘Understanding The 7 Key Elements of A Narra From Whispers to Roars (blog). 16 January 20 blog-1/2018/1/11/understanding-the-7-key-ele
Woolf, Virginia. 1995. Orlando: A Biography. Wordsworth Editions. Artwork for collages: Rebecca Green Clover Robin Amanda White Marion Barraud
BIBLIOG
eading Architecture - Literary Imagination
ce. Revised ed. Penguin Classics.
ds. 2017. Narrative Architecture: A
eading Fiction - Mission.Org - Medium’. sion/the-importance-of-reading-fiction-
Happier Mind’. Environments for a Happier com/ravenandwood/environments-for-a-
he Imagination of Robert Louis Stevenson. th Carloina Press.
University of Edinburgh. Accessed 5 ures-languages-cultures/english-literature/
the North’. In Edinburgh A Celebration, urgh) Ltd. & Bowman Associates Partnership.
y and Its Role in Community Healing: A
e Relevance of an Intersectional Framework ma Therapy’. The Arts in Psychotherapy, (4): 382–85. https://doi.org/10.1016/j.
Critical Idiom). 1st ed. Routledge.
ture and Space. Routledge.
ative’. 2018. An Arts & Literary Magazine. 018. https://www.fromwhisperstoroars.com/ ements-of-a-narrative.
. New edition edition. Hertfordshire:
GRAPHY
M
S
U
DEAF A | Deaf Support Services B | Deaf and Dumb institute C | Deaf Action D | Dumbiedykes MUSEUMS/PUBLIC BUILDINGS E | St Giles Church F | Museum of Childhood G | Storytelling museum H | Poetry library I | The people’s story J | Writer’s museum K | National museum of Scotland
X
JY REF L O
Z
THEATRE L | Bedlam theatre M | The Lyceum N | The Space
EDUCATION O | George Heriot P | Edinburgh Scho
DANIEL DEFOE Q | Daniel Defoe’s
BUILDINGS OF
C N
F
T
QG
P
K
I W
B
H
D
Z
e
School ool of English
s house
SIGNIFICANCE
A WALTER SCOTT R | Heart of Midlothian S | Edinburgh Castle T | College Wynd U | Scotts Monument ROBERT STEVENSON W | Burke and Hare X | Doctor Knox Y | Deacon Brodie Z | Edinburgh University
EAST ELEVATION
WEST ELEVATION
SITE MAT
The materiality of the
arches are continued in t
TERIALITY
e church and underground
the parasitic intervention
NORTH ELEVATION
SOUTH ELEVATION
EXPLODED INSTALL
D AXO OF LATION
EXPLODED AXO WITH ROOF ON
POP-UP PAPER | FLW The concept of pop-up books and cards inspired us to create a pop-up set
TARA THEATRE | AEDAS Parasitic Foyer extension on to John Knox house
WHITE HORSE INN The faรงades aim to architecture of Ed
PRECED
o mimic the jumbled dinburgh
DENTS
YUE LIBRARY | BEIJING SPACE DESIGN The bookcase have mulitple functions such as tables and stairs
O’DONNELL & TUOMEY Perforated views throughout building and layers of interaction
Insertion into facade from access and insertions into the Royal mile for reading. Visual facade which to allow passers-by to view connection building without actualand access internal activity therefore create a Visual
more inclusive programme
The stage moves vertically, similarly to the ‘Swan Theatre props to precedent, the auditoriumconnecting similar to the Swan the theat to the introvert of the Theatre precedent. This would part link the building where sets are built. A stage which moves vertically from stage
introverted manufacturing part of the centre with the extroverted performance space
RYTELLING CETNRE
ecting moments (so far...)
DESIGN P INTERNAL
Writer’s visualbetween connection to Visual connections the writers deaf theatre - interesting opportunity for interpretation theatre performs their writings whilst also and inspiration and the deaf theatre, in which the deaf
Insertion into facade from Writ Royal mile for reading. Visual to storyboard area dea connection to building without oppor actual access
Deafconnection visual connection DEAF visual to storyboarding area
inspiring other scripts with their acting
STORYTELLING CETNRE
Inter-connecting moments (so far...)
PROCESS CONCEPTS
Auditorium summarising internal concepts
WRITING NOOK REHEARSAL SPACE
A
EXTERNAL SEATING NOOK
STORYBOARDING
TRANSLATION
C
DRESSING ROOM WC
A | WRITER’S ENTRANCE LOOKING INTO WRITER’S EXHIBITION
OFFICE
B | BRIDGE TO REHEARSAL LOOKING OVER CORE STAIRCASE
C | VIEW INTO AUDIT SPACE
KEY | WRITER’S USE | PUBLIC USE | DEAF EDUCATION USE | EXISTING BUILDING | PROPOSED BUILDING
LONG SECTION TH AND STAGE
STAGE
E
TORIUM FROM REHEARSAL
HROUGH REHEARSAL E SEATING
SEATING TO EXTERNAL STAGE
GARDEN
D | VIEW FROM FIRST FLOOR INTO DEAF EDUCATION
E | WORKSHOP
E D
C B
A
GROUND FLOOR AXO
ARENA
ENDSTAGE
• Easy to see and engage, but actor will always have back to an audience
• Never have back to audience • Less accessible • Less flexible/immersive
THRUST
THRUST/HORSESHOE
• Never have back to audience • More accessible • Less flexible/immersive
• This is most appropriate for deaf audiences given it allows constant eye contact with the actor and an immersible experience
THEATRE DESIGN Environmental theatre relies on the architecture of the theatre to aid the narrative
CONNECTION TO NATURE In storytelling communities, the connection to nature is imperative. This pocket courtyard is therefore placed directly behind the stage. Even though there is not a huge amount of light accessible, it will be suitable with appropriate planting. Environmental theatre relies on the architecture of the theatre to aid the narrative https://live.staticflickr.com/3050/2814775369_53617c6bb2_b.jpg
SLATE TILES
SHUTTERED CONCRETE
TIMBER