ACT ON A THEATRE LABORATORY 88 LOTHAIN ROAD, EDINBURGH
NOVA MA
ACT ON THEATRE LAB
NOVA MA
CONTENTS
01 INTRO
02 SITE
03 DEVELOPMENT
04 PROPOSAL
05 DETAIL
06 VISUAL
01 INTRO
PROJECT BRIEF BACKGROUND QUESTIONNAIRE, SURVEY & ANALYSIS
PROJECT BRIEF
Edinburgh has a globally renowned theatre culture. There are more than twenty permanent host venues across the city, but only a small number of producing theatres. Urban rehearsal and performance spaces are becoming increasingly rare and difficult for performers to access. Therefore, this project creates a new producing theatre space.
My project aims to design a laboratory space accommodating all the pre-production and performance needs, whilst cultivating more creators and forming a collaborative and diverse theatre community. Writers, actors, designers and producers can work individually or together here. The venue will provide a flexible stage, a series of professional studios, a co-working space with mobile writer's studios, a rehearsal and practice room, a cafe, and 'in-residence' accommodation.
EDINBURGH FRINGE FESTIVAL
The Fringe is a globally renowned celebration of performing arts. It began with eight theatre companies turned up uninvited to the inaugural Edinburgh International Festival in 1947.
Fringe Festival Venues Distribution BREAKING BARRIERS
The core concept of the Fringe Society is 'everyone should have the opportunity to express themselves through EQUALITIES
CREATIVITY
The venues themselves make it a standout event, with traditional theatre spaces in the minority here. Performances take place in opulent circus tents, churches, clubs, pubs, tunnels beneath the city, and even inside moving busses.
creativity and experience the thrill of live performance'.
DIFFERENCES BETWEEN FINGE THEATRE & MAINSTREAM THEATRE
Shows are typically technically sparse. They are commonly presented in shared venues, often with shared technicians and limited technical time, so sets and other technical theatre elements are kept simple. Venues may be adapted from other uses. Casts tend to be smaller than mainstream theatre; since many of the performing groups are traveling, and venues (and thus potential income) tend to be fairly small, expenses must usually be kept to a minimum. Oneperson shows are therefore quite common at fringe festivals.
Fringe festival productions often showcase new scripts, especially ones on more obscure, edgy, or unusual material. The lack of artistic vetting combined with relatively easy entry make risk-taking more feasible. While most mainstream theatre shows are two or three acts long, taking two to three hours with intermissions, fringe shows tend to be closer to one-hour, single-act productions. The typically lowered ticket prices of a fringe theatre show permit audiences to attend multiple shows in a single evening. Performers sometimes billet in the homes of local residents, further reducing their costs.
QUESTIONNAIRE - AUDIENCE
QUESTIONNAIRE - PRACTITIONER
THEATRE PRODUCTION: FROM THE SCRIPT TO THE STAGE
• Writer starts writing the script and discusses it with the director. • The script is finalised and production begins. • Stage manager and director communicate. • Set design, including lighting, sound, costumes, stage props, etc. • Auditions and allocation of roles. • Confirmation of venue and schedule. • Rehearsals, discussions and meetings. • Confirmation of performance times and numbers. • Transporting props and setting up the stage. • Performances. • Take-down of the stage and restoration of the venue. • Review sessions.
COLLABORATIVE WRITING
Collaboration not only draws on the expertise and energy of different people but can also create an outcome that is greater than the sum of its parts. It helps writers understand writing as a public, communal act, developing a sense of audience and a better understanding of who they are writing for and why. In communicating with others, writers can explain or defend writing strategies in response to questions about the work, which can deepen their thinking and understanding.
PROBLEM —————————————
TARGET
————————————— SOLUTION
• Educational inequality. Only 18.2% of music, performing and visual arts workers are from working class. • Space accommodating all the pre-production and performance needs. Have ability to connect people across different sectors.
• The number of producing theaters is far less than receiving theaters in Edinburgh.
THEATRE PRACTITIONERS
• Include education and learning materials.
• Include practical opportunities and work experience. PEOPLE WILLING TO ENTER THE INDUSTRY
• Small theatre companies usually face difficulties in financing, insufficient promoting and operation.
• Offer different types of venues.
• Includeing operations and marketing, where writers and designers can focus on theatrical creations. • 60% of theatre enthusiasts in the survey have considered a related career, but various difficulties prevent them from entering the industry.
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WEST END CONSERVATION AREA
EDINBURGH WORLD HERITAGE SITE BOUNDARY NEW TOWN CONSERVATION AREA OLD TOWN CONSERVATION AREA WEST END CONSERVATION AREA
The West End Conservation Area is a large diverse area with a rich mix of historical periods and stages of development. The area is characterised by mixed, 4-6 storeys residential and commercial buildings with the Georgian and Victorian styles, constructed of stone with pitched, slated roofs. In the central, there is a major modern financial section consisting of modern offices.
Building: Edinburgh Filmhouse Location: 88 Lothian Rd, Edinburgh EH3 9BZ Area: 940 square meter Number of floors: 3 Listing Status: B-listed
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MAJOR ROADS, LISTED BUILDINGS, THEATRE VENUES AND LANDMARKS
HISTORY
The Filmhouse as seen today was erected as United Presbyterian Church in 1830, named Lothian Road Free Church, designed by David Bryce in a Neoclassical villa style. According to Dr Reid's history of the church, the idea of founding a congregation originated from the proprietor of Gardner's Crescent to build a place of worship with the object of meeting the needs of the district. The building was first altered by MacGibbon & Ross (Davia MacGibbon and Thomas Ross) in 1893. On 14th December 1970, Historic Scotland designated 88 Lothian Road a Grade B Listed building. In 1976, the Filmhouse company took the building over, and Waters Jamieson Partnership started converting it into a cinema. Commenced screening in 1978 with only one 90-seat auditorium (now cinema 2), which can only be accessed via Morrison Street Lane via a back door on Chuckie Pend. The listed front of the building remained inaccessible until the restoration work in 1985. The bar and the new 280-seat auditorium were added, and the front entrance opened up. The functions hall was transformed into Cinema 3 with a seating capacity of 73 in 1997. Since its inception, Fillmhouse has been the home of the Edinburgh International Film Festival and presents a varied programme. Historical maps of Edinburghshire, Sheet2, Publication date 1853, 1885, 1909, 1944.
TIMELINE
1831
Erected as United Presbyterian Church (later United Free Church), designed by David Bryce.
1893
Alterated by MacGibbon and Ross.
1976
The Filmhouse took the building over. Converted it to cinema by the Waters Jamieson Partnership.
1978
Commenced screenings. At first it had only one 90-seat screen, accessed via a back door on Morrison Street.
1985
The restoration work was complete. Cinema 1, the bar and the front doors were opened.
1997
Cinema 3 was added.
2013
Extension was added, including a new roof-mounted ventilation plant and service access.
2020
Filmhouse submitted their new Edinburgh Filmhouse Planning Application to the City of Edinburgh Council. The new building will be located in Festival Square.
1900 ------------------------ 1911--------------------------------- 1977 ----------------------------- 2006 ------------------------------------------------ now
EXISTING PLANS
EXISTING SECTIONS
STRUCTURAL STRATEGY
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ACT ON THEATRE LAB
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FILMHOUSE, 88 LOTHIAN STREET, EDINBURGH
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FILMHOUSE, 88 LOTHIAN STREET, EDINBURGH
LOCATION
FILMHOUSE, 88 LOTHIAN STREET, EDINBURGH
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PRIMARY STRUCTURE
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SECONDARY STRUCTURE
STRUCTURAL MODEL
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DESIGN DEVELOPMENT
THEATRE PRODUCTION SPATIAL FUNCTIONS
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AL
PROPOSED FUNCTIONS
performance venue
backstage
residential area
meeting space
writing studio
co-working space
costume studio
rehearsal venue
props studio
EXTERNAL COURTYARD
MEETING ROOM
FLEXIBLE STAGE
BACKSTAGE
STUDIO
CAFE
LOBBY
REHEARSAL ROOM
OFFICE
WORKSHOP
CO-WORKING SPACE
STORAGE
LIBRARY
RESIDENTIAL AREA
PRIVATE WRITING SPACE
FLEXIBLE
PERFORMANCE VENUE
EDUCATION
EVENT VENUE
PROSCENIUM STAGE
ARENA STAGE
TRUST STAGE
The multi-purpose stage is located on the ground floor to facilitate the transportation of props. The back of the stage is connected to the make-up rooms, changing rooms and storage. On the first floor there is a control room for light and sound and a flying gallery. These two spaces are connected by a staircase. This black box design offers the ability to easily transform scenes through flexible staging and alternate lighting configurations. The sliding doors also extend the flexibility of this space. When the sliding doors are fully open, the black box space is connected to the lobby, which allows the space to be used as an event space for smaller events.
ENVIRONMENTAL ENRICHMENT
The beneficial effects of enriched environments have been established through a long history of research. Animal experiments have demonstrated that everyday experience may enhance or inhibit cognitive plasticity and thus enhance the ability to learn. There has also been much research in recent years on the positive relationship between environmental enrichment and human creativity. The Writer's Box is therefore a movable unit that allows the user to move the box and stimulate creativity in writing by changing the field of vision. In addition to a private writing space, the co-working space offers the possibility to communicate and connect with others, easing the anxiety of writers who are under constant pressure during the writing process.
MOVEMENT & CURVE
Movement and curves are essential elements of this project. More than performativity, contemporary theatre focuses on tapping into the energy of the body, rather than making the written word the absolute centrepiece. As a result, the contractions, joints, twists, tensions and curves that the body exhibits become crucial. Aalto's 'Theatre of Cruelty' and Stanislavski's 'Body Movement Method' are all examples.
FINAL PROPOSAL
STRATEGY & ZONING PLANS & SECTIONS 3D MODEL
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Pitched roofs made of slated
Steel roof trusses
Oak flooring
Vinyl flooring, multiple colours
Polished concrete flooring
Polished sandstone, ashlar
White composite membranes
GENERAL ARRANGEMENT PLAN - GROUND FLOOR
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ACT ON THEATRE LAB
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FILMHOUSE, 88 LOTHIAN STREET, EDINBURGH
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NAME
NOVA MA
SCALE NAME
PROPOSED SECTION F-F'
D
E
STOP
MOVE
D'
E'
0 0
1
5
2
1
2
10
DRAWING TIT LOCATION DRAWING TITLE
ACT ON THEATRE LAB
LOCATION
FILMHOUSE, 88 LOTHIAN STREET, EDINBURGH
BIM
ACTON-ECA-A1-ZZ-DR-I-0411-GA SECTION D-D'
DWG
SECTION D - D'
SCALE
1:100 @A1
NAME
NOVA MA
BIM DWG SCALE NAME
SKETCHUP MODEL
SKETCHUP MODEL
DETAIL MODEL, MATERIAL & GRAPHIC DESIGN PLANS, SECTIONS & ELEVATIONS DETAIL DRAWINGS PHYSICAL MODEL
05
CONCEPT
The "Writer's Box" is a mobile writing studio that allows the user to move the box and stimulate creativity in writing by changing the field of vision. The table and chair are foldable for different functions to add more flexibility to this small space. It can be a private writing and reading space, or a minimal stage - for script readings and discussions with other writers.
The main material used is OSB board, a type of engineered wood similar to particle board, which is formed by adding adhesives and then compressing the layers of wood strands in a specific direction. It is made from fast-growing trees of minimal diameter, and utilises minimal levels of formaldehyde compared with products of the same category. The irregularity of the texture and the random organic composition are its main characteristics.
3D MODEL & ELEVATIONS
ACCESSIBLE
STANDARD (UNFOLD)
STANDARD (FOLDED)
FRONT
RIGHT
TOP
BACK
LEFT
BOTTOM
EXPLODED AXONOMETRIC DIAGRAM
Edge banded OSB board X-type bracing
Acoustical wood panel LED lighting
40mm steel frame
K-type bracing
Gypsum acoustic board
Transport wheels
AXONOMETRIC DIAGRAM WITH GRAPHIC DESIGN
ELEVATION DRAWING WITH DETAIL DIMENSION
865
100
1800
100
170
STOP
170
2200
1260
1130
395
1200
MOVE
635
MOVE
90
740
STOP
1865
2000
135
18
18
PLAN WITH DIMENSION
85
1815
2000
100
1866
1200
900
665
SECTION WITH DIMENSION
Detail A
1800
18
1200
1200
65
820
1000
115
18
610
Detail C
Detail B
ACCESSIBLE & STANDARD
ACCESSIBLE
STANDARD
ACCESSIBLE
STANDARD
DRAWING TITLE
ACT ON THEATRE LAB
LOCATION
88 LOTHIAN STREET, EDINBURGH
BIM
ACTON-ECA-A1-2F-DR-I-0601-WRITER'S BLOCK PLANS & SECTIONS
DWG
DETAIL - ELEVATIONS
SCALE
1:10 @A1
NAME
NOVA MA
DRAWING TITLE LOCATION
ACT ON THEATRE LAB 88 LOTHIAN STREET, EDINBURGH
BIM
ACTON-ECA-A1-2F-DR-I-0601-WRITER'S BLOCK PLANS & SECTIONS
DWG
DETAIL - ELEVATIONS
SCALE
1:10 @A1
NAME
NOVA MA
CONSTRUCTION DETAIL A 18mm EDGE BANDED OSB BOARD, FIXED TO THE S.H.S FRAME 40mm S.H.S 4mm X TYPE STEEL BRACING THE S.H.S
S.H.S
18mm EDGE BANDED OSBFIXED BOARD,TO FIXED TO THE S.H.S FRAME
DOUBLE GLAZING GLASS RECESSED CHANNEL
12mm ACOUSTICAL WOOD PANEL 40mm S.H.S KINETICS ® ALTO 4mm X TYPE STEEL BRACING FIXED TO THE S.H.S
S.H.S DOUBLE GLAZING GLASS RECESSED CHANNEL
12mm ACOUSTICAL WOOD PANEL KINETICS ® ALTO
BLIND SLIDING TRACK
BLIND SLIDING TRACK
BLIND CARRIER & STEM
BLIND CARRIER & STEM 89mm CONCERTINA BLIND CALIA ASC FR ® Cream Pleated Blind
89mm CONCERTINA BLIND CALIA ASC FR ® Cream Pleated Blind
18mm OSB BOARD FSC® STERLING OSB ZERO
4mm DOUBLE GLAZING FSC®
A
DETAIL A - CONCERTINA BLIND, SLIDING TRACK AND JUNCTION OF THE TOP AND WALL PANELS
18mm OSB BOARD STERLING OSB ZERO
4mm DOUBLE GLAZING
1:2
A
DRAWING TITLE
ACT ON THEATRE LAB
LOCATION
FILMHOUSE, 88 LOTHIAN STREET, EDINBURGH
BIM
ACTON-ECA-A1-2F-DR-I-0604-WRITER'S BLOCK DETAIL A
DWG
DETAIL A
SCALE
1:2 @ A3
NAME
NOVA MA
DRAWING TITLE
ACT ON TH
LOCATION
FILMHOUS
DETAIL A - CONCERTINA BLIND, SLIDING TRACK AND JUNCTION OF THE TOP AND WALL PANELS
BIM DWG
DETAIL A
1:2
SCALE
1:2 @ A3
NAME
NOVA MA
ACTON-EC
CONSTRUCTION DETAIL B
12.5mm GYPSUM BOARD BRITISH GYPSUM - GYPROC ® SOUNDBLOC
12.5mm GYPSUM BOARD BRITISH GYPSUM - GYPROC ® SOUNDBLOC
12.5mm GYPSUM BOARD BRITISH GYPSUM - GYPROC ® SOUNDBLOC
12.5mm GYPSUM BOARD BRITISH GYPSUM - GYPROC ® SOUNDBLOC
K TYPE STEEL BRACING FIXED TO THE S.H.S
K TYPE STEEL BRACING FIXED TO THE S.H.S
18mm OSB BOARD WITH A CLEAR EGGSHELL VARNISH FINISH 18mm OSB BOARD WITH A CLEAR EGGSHELL VARNISH FINISH
CONCEALED STRAP HINGE CONCEALED STRAP HINGE
18mm OSB BOARD 18mm OSB BOARD WITH A CLEAR EGGSHELL FINISH WITHVARNISH A CLEAR EGGSHELL VARNISH FINISH
MOVEABLE SUPPORT COLUMN FOR FOLDING TABLE
MOVEABLE SUPPORT COLUMN FOR FOLDING TABLE
B
DRAWING TITLE
ACT ON THEATRE LAB
LOCATION
FILMHOUSE, 88 LOTHIAN STREET, EDINBURGH
DETAILS OF FOLDING TABLE AND ACOUSTIC GYPSUM BOARDS
BIM DWG
DETAIL B
1:2
SCALE
1:2 @ A3
NAME
NOVA MA
B
ACTON-ECA-A1-2F-DR-I-0605-WRITER'S BLOCK DETAIL B
DRAWING TITLE
ACT
LOCATION
FILM
DETAILS OF FOLDING TABLE AND ACOUSTIC GYPSUM BOARDS
BIM DWG
DET
1:2
SCALE
1:2 @
NAME
NOV
ACT
CONSTRUCTION DETAIL C
TIMBER SUPPORTING FRAME
18mm OSB BOARD WITH A CLEAR EGGSHELL VARNISH FINISH
TIMBER SUPPORTING FRAME
18mm OSB BOARD WITH A CLEAR EGGSHELL VARNISH FINISH15mm SOLID TIMBER FLOOR
RUSSWOOD® BRUSHED OAK FLOORING
15mm SOLID TIMBER FLOOR RUSSWOOD® BRUSHED OAK FLOORING 25mm ACOUSTIC BOARD
ROCKFLOOR® BS EN 13162
25mm ACOUSTIC BOARD ROCKFLOOR® BS EN 13162
LOCKABLE TRANSPORT WHEEL CONTROLLED BY THE "MOVE" "STOP" BUTTON
LOCKABLE TRANSPORT WHEEL CONTROLLED BY THE "MOVE" "STOP" BUTT
C
DETAILS OF SEATING UNIT, BOTTOM FRAME AND TRANSPORT WHEEL 1:2
C
DETAILS OF SEATING UNIT, BOTTOM FRAME AND TRANSPORT WHEEL 1:2
DRAWING TITLE
ACT ON THEATRE LAB
LOCATION
FILMHOUSE, 88 LOTHIAN STREET, EDINBURGH
BIM
ACTON-ECA-A1-2F-DR-I-0606-WRITER'S BLOCK DETAIL C
DWG
DETAIL C
SCALE
1:2 @ A3
NAME
NOVA MA
DRAWING TITLE
ACT
LOCATION
FILM
BIM
ACT
DWG
DET
SCALE
1:2 @
NAME
NOV
1:10 PHYSICAL MODEL
MODEL MAKING
STEEL FRAME, K-TYPE, X-TYPE BRACING & LIGHTING UNIT
RECESSED WINDOW & EXTERNAL OSB BOARD
EXTERNAL OSB BOARD & INTERNAL FLOOR
FOLDABLE CHAIR, TABLE, TRANSPORT WHEELS & DOORS
06 VISUALS
LOBBY
A wooden installation made using steam bending technology with LED strips on the back, connecting the ground and first floors, The adjacent black box theatre can also be fully opened up and used as an event venue .
GF
EXTERNAL COURTYARD
The external stage consists of 4mm whitecoated curved steel tubes flowing in the courtyard, with a translucent polyester membrane spanned between them. The canopy part covers the entire stage and more than half of the outdoor area. Therefore, neither light rain nor sun exposure will affect the events.
GF
CO-WORKING SPACE
The flooring in the co-working space is heterogeneous vinyl. The heterogeneous vinyl provides long-term slip resistance of R10 and can be patterned by splicing different colours.
The space includes mobile writing boxes, a reading corner, a stage design library, a digital lab and a collaborative writing area. The installation of heritage conservation roof windows brings in natural light.
2F
CO-WORKING SPACE
One of the design themes of this project is inclusivity and accessibility, creating an equivalent experience for people with disabilities.
2F
CO-WORKING SPACE
The collaborative writing area contains seating along the perspex fence, multipurpose wooden cubes and a pin-up wall. The luminaire is made of acrylic luminous sheets.
M2
LIGHTING & SOUND CONTROL ROOM
1F
COSTUME STUDIO
GF
PROPS STUDIO
GF
REHEARSAL ROOM
GF
Nova Ma College of Art, University of Edinburgh nova.w.ma@outlook.com Instagram: nova_designblog E-book online available at https://issuu.com/nova_wenyu/docs/desi10066_ interior_design_4c_design_book_nova_ma