Portfolio ARC8052
Robert Thackeray 140063781
Contents
Critical Introduction Thesis & Process
Unearthing History Human Geology Existing Site Inhabitation
Athenian Influence
01 01
03 03 07
11
Exploration of Athens 11 Hidden Wall 13 Pikionis Complex 15 Acropolis 17
Remapping Edinburgh
19
Influences of the Landscape 19 Response 23
Staging an Intervention Excavating an Artefact Influences in Action Cyclical Alcohol Network
Archaeology or Construction? Stage 1 - Excavation Stage 2 - Inserting the Core Stage 3 - Forming Landscape Stage 4 - Laying the Land Stage 5 - Tectonics Stage 6 - Surface Significance
25 25 27 29
31 31 33 35 37 39 41
South Bridge Masterplan Section AA Plan of Above Plan of Below Plan of Lower Vaults
Material Archiving
43 43 45 47 49
51
Precedence 51 Formation 53 Shadow 55 Emergence 57 Submergence 59
Temporal Membrane Stereotomy & Tectonics As Day Turns to Night
Project Conclusion Interconnected Infrastructure
61 61 65
69 69
Critical Introduction Thesis & Process
T
his project begins with an investigation into the relationship between Edinburgh and its underlying landscape. Through investigative fieldwork the city was explored in order to understand this relationship. It became apparent, however, that while much of the city is inherently connected to the ground beneath it, Edinburgh has been built upon over time in layers creating a new surface of human created geology. Through sketching and mapping techniques this phenomenon was studied to find the parts of the city that rely upon and inhabit this layer of artificial landscape. This lead to South Bridge as a choice of site, as it exemplifies this characteristic as a high-street built high above the nature ground with a rich history of inhabitation beneath it. An understanding of the contextual relationship of this site to its surroundings, together with the programme and culture that takes place there became the driver for the project. An extrapolation of this culture lead to a programmatic development of the site as an urban intervention strategy and the creation of a masterplan scheme to compliment it. In order to further develop these themes in Edinburgh, an analogous city was used to test ideas through. Athens, being a city of ancient origin has undergone a number of changes throughout its history. It therefore has also accumulated layers of human-made earth. These layers act as a palimpsest of the city’s heritage manifested in physical material. Unlike Edinburgh, however, these histories have been uncovered through destructive acts, presenting the histories to the public through this layered building fabric. Having seen how this accumulation of layers of history have been treated in Athens, the project returns to Edinburgh to implement them. Another process of mapping, with this information in mind, solidified the
initial concepts and paved the way for developing a new strategy for the intervention. These concepts were then tested through a series of modelling techniques, primarily using casting. These models were used to test ideas and technological strategies for the construction processes involved in the intervention. Creating models of precedent buildings to study there effect was also influential to the project. Examining both the scale of the building to understand the concepts employed, and the technological details that made them possible. The final development of the design involved using computer modelling techniques to bring the different aspects together. Getting a three dimensional understanding of the structures and relationships of the vaults and the adjacent buildings helped to further the design and devise practical approaches to the integration of technology. It also enabled the initial sketches to be translated into computerised maps that could overlay and interact with the design of the spaces. Representation of these spaces was critical as they are mainly unseen from the ground due to their underground nature. Developing axonometric drawings to explain these space was a large driver of the project. Similarly with the scale of an urban intervention, managing the organisation of representing these spaces was vital in understanding the relationships between them. An ordered system of drawing labels and numbers that related to their category and sequence was devised. This helps relate drawings to one another, and to the masterplan scheme as a whole. The images in this portfolio are therefore archived in this manner to help with clarity. The categorisation runs as follows: S represents site analysis and mapping studies, A denotes the fieldwork completed in Athens, M pertains to the masterplan as a whole, C refers to construction processes and technology within the design, and D is drawings that explain the design concepts and decisions.
01
02 Edinburgh’s Geology & Topography Collage using printed paper and digital techniques 1:10,000
S01
12 Meadows
11
Edinburgh Uni. College of Art
10
Lady’s Wynd
9
St Cuthbert’s
8
Princes’ St. Gardens
7 Princes’ St.
6
Queen St. Gardens
5
Royal Circus
4
Stockbridge
3
Stockbridge
2
The Colonies
Botanical Gardens Iverleith Park
S02
1
Unearthing History Human Geology
River
I
11
12
Holyroood Park
10
Scottish Parliament
9
Holyrood Rd.
8
Canongate
7
High St.
6
Cockburn St.
5
Princes’ St. Gardens
4
Hope St.
3
Lynedoch Place
nitial site analysis and historic research into Edinburgh uncovered a huge number of stories and past events in the rich background of a city that has reined from ancient beginnings, through medieval development, to today as an important capital city. These histories, however, felt more like myths or legends when experiencing the city in person.
Drumsheugh Gardens
2
Rothersay Crescent
1
Belford Rd. Bridge
River
Perceived Topography of Edinburgh Fieldwork Notations
DIA
When walking the streets of Edinburgh the evidence of certain histories can be clearly seen in the physical artefact of the city. Whereas others seem to be hidden away or lost entirely. Through investigative fieldwork it became clear that Edinburgh’s physical topography may be the reason for this loss. While some of the landscape on which the city rests is born of nature and volcanic action, much is built by humans. Over many centuries of development the city centre of Edinburgh has become an accumulation of layers of the past stacked on top of each other, creating a kind of Human Geology on top of the natural one. It is therefore below the surface, buried within this extensive infrastructure, that the evidence of the stories of Edinburgh’s past lie. Finding these spaces is not easy, however. Since they cannot be seen from the streets or the sky, mapping methods were needed to expose them. By overlaying the Topographical data with that of the Geological data in collage, these spaces can begin to be exposed where the information does not match up.
03
04 Edinburgh’s Hidden Spaces Diagram over Collage 1:5000
S03
S04
Unearthing History
New Town Basements Georgian style housing built for the New Town included raised roads creating Upper and Lower Ground Floors Lower basements accessed by stairs
Human Geology
Edinburgh’s Hidden Spaces Diagram of Hidden Spaces
1:5000
Scotland Street Tunnel Began as the beginning of a railway that was never finished Mushroom Cultivation 1887-1929 Used as an air raid shelter during WWI
North Bridge 1788/1897 Original bridge built to connect to New Town Second bridge constructed to create more space in the valley below for railway tracks to/from Waverley Station
The Mound 1790 Man-made earthen bridge across the Nor’ Loch Valley which houses the National Art Galleries Utilised the excavated earth from the construction of New Town
St Mary’s Close Bricked up in 1645 during The Plague to quarantine residents Royal Exchange built on top of it
South Bridge 1788 Large bridge built to span between North Bridge and opposite valley ridge Blair & Niddry Streets still follow contours of valley and house buildings that abut the sides of the bridge sealing off the structural vaults Vaults occupied by the homeless 1790-1830
Nor’ Loch Man-made Loch used as the waste deposit for Medieval Old Town Drained between 1759-1820 to create a connection across for the construction of New Town Railway opened in 1846 connecting to Waverley after agreement with Princes Street residents to have it cut into the ground to be hidden
George IV Bridge 1836
W
hile the Geological and Topographical data in the most part match, where the Human Geology has been placed on top it does not. Tunnels, basements, bridges, lochs and mounds distort the landscape and reveal more about the past of Edinburgh in their existence or loss than the streets initially present. The development of the New Town at the turn of the 19th Century is a huge contributor to the build up of the human-made surface of the city. This huge transformation of the city began with the draining of Nor’ Loch, which for centuries defined the medieval city. In order to complete this transformation, the separation of the New Town from the Old had to be conquered. The natural valley landscape of the city was radically altered with the construction of the North and South Bridges. The North Bridge spanned over the valley of the Nor’ Loch, connecting the Royal Mile atop the volcanic ridge of the city with the new Princes Street. The South Bridge continued this artery into the city by spanning the next valley of Cowgate to reach the University and Infirmary on the South side of the city. A third bridge was created from the very excavated earth of the New Town construction itself, connecting the lower half of the Old Town with Princes Street. This Mound separated the Nor’ Loch basin into Princes Street Gardens and the site later developed into Waverley Station.
Large bridge built to span between Royal Mile ridge and opposite valley ridge Built as second artery between Old and New Town leading down to the Mound
Innocent Railway Tunnel Runs from East Parkside to Forlanford Now acts as subterranean walkway
05
06 Migration from Old Town Diagram of Migration over Collage 1:2500
S05
S06
Unearthing History Existing Site Inhabitation
Migration from South Bridge Diagram of Movements from South Bridge
1:2500
New Town Development 1850’s As New Town developed further with the addition of the Murray Estate Georgian apartments were created further out, resulting in a movement away from Princes Street
Movement to New Town 1830’s Due to overpopulation in the Old Town the development of New Town began, eventually resulting in a movement of the Wealthy from Old to New Town
Movement to New Town 1830’s Due to overpopulation in the Old Town the development of New Town began, eventually resulting in a movement of the Wealthy from Old to New Town
While this development marked an important move of people, which although helped provide desperately needed space in the Old Town, began a cultural divide in the city. The social elite evacuated the city over a short period to a new purpose built city, leaving the poorer members of society in the overcrowded Old Town. The arteries that were created were to connect the New Town and its wealthier citizens to the important aspects of the Old Town, such as the University and Infirmary. The Mound itself became the site of the Scottish National Gallery, a move of the cultural landmarks away from the Old Town. It left, however, the less desirable and squalid lived conditions of certain parts of the town untouched. Evidence of this can be seen through the tenement housing situation in the city. Sites such as South Bridge, which was build prior to the migration to New Town, show how the lived conditions forced these changes. Wealthier people lived in the upper floors, accessed via the main artery highstreet of South Bridge, whilst poorer people lived directly below them and accessed their homes from Blair and Niddry Streets; side streets kept apart from the wealthier homes entrances.
Movement into South Bridge Vaults 1790’s Wealthier families originally occupied the upper floors of the South Bridge buildings, with poorer communities living in the lower floors accessed via Blair and Niddry Streets. As overpopulation continued the very poor and homeless began to move into the hidden vaults of the bridge
When conditions became too bad, the wealthier members of the tenements moved across the valley to New Town and left their homes vacant. A social move upwards through the building therefore occurred. With the basement and less desirable properties being left abandoned leading to squatting and the illegal dwelling of people within the vaults of the bridge itself.
07
08 South Bridge Inhabitation Acrylic & Timber Model 1:500
S07
S08
Unearthing History St.
South
Tron Kirk
Niddry Street Bars
e Bridg
Marlin’s Wynd: Oldest paved street in Scotland remains beneath South Bridge
Vaults accessed via Niddry St. buildings via a dedicated access ‘alleyway’ consisting of corridors running along the edge of the bridge on the lower floors
Vaults accessed via Blair St. buildings Blair Street Bars
Hive - Night Club Inhabited by wealthier people in the upper floors accessed from South Bridge and working classes below accessed from Blair St.
Inhabited by wealthier people in the upper floors accessed from South Bridge and working classes below accessed from Niddry St. During the overpopulation of Old Town poorer communities were driven into the vaults in order to survive, eventually resulting in the wealthier communities creating and moving to New Town
t.
Blair S
South Bridge Throughout History Diagram of inhabitation of South Bridge
Existing Site Inhabitation
Niddry
1:500
Marlin’s Wynd Wedding Venue Cabaret Voltaire - Club
South Bridge high street shops and restaurants The Caves - Music Venue
Cowgate
Inhabited by wealthier people in the upper floors accessed from South Bridge and working classes below accessed from Blair St.
Niddry Street Bars Vaults accessed via Blair St. buildings
Building & Vaults Inhabited Vault access ‘alleyways’ t.
ary S
Infirm
South
Cha
St. mber
Present
e
Bridg
1788 - 1830 Pre 1788
I
t is South Bridge that will be used in this project to explore the nature of the hidden heritage that lies beneath the surface in Edinburgh. The increasingly deteriorating conditions of these vaulted spaces towards the end of the 18th Century, particularly during times of flood, caused people to evacuate. With the improvement of drainage in the city through the 19th Century, however, these spaces once again became inhabitable. Their easily accessible underground nature allowed them to be perfectly suited to bars and nightclubs. Residing beneath the street itself the noise is contained and access is from the side streets, avoiding disturbance to the function of the main city. This creates another social divide, however. No connection between what happens below and above is possible through the nature of the structure and so the underground inhabitation is seen as disreputable activity. Although predominantly utilised as bars, clubs and events spaces. Some parts of the infrastructure are open for private tours, describing some history of their inhabitation, although mainly as ghost tours for entertainment purposes. Although this provides the public with a glimpse of the past, it distorts the history being disseminated, as discussed in “Forgotten Edinburgh: The reinvention of Heritage through selective memorialisation” - An essay on tools for thinking in architecture. Once the history and use of these spaces was determined, an understanding of their structure and form was necessary to comprehend their complex relationship to one another. Physical modelling of the site using transparent sections allowed the spaces above, below and the adjacent interconnected buildings to be read as one.
09
A01 Exploring Athens Map of Areas of Study
1:10,000
Solidarity Now Elaionas
Kerameikos
Agora
Acropolis Pikionis Complex
Peiraeus Port Niarchos Library
10
Lavrion Mines
DAY 01
Elaionas
Athenian Influence Exploration of Athens
Pikionis Complex Refer to p.15
DAY 02
AM
M
PM
Lavrion Mines
DAY 03
Ancient Wall
Refer to p.13
Agora
DAY 04
AM
Refer to p.17
DAY 05
PM
Peiraeus Port
Acropolis
Refer to p.17
uch of Edinburgh’s past remains hidden beneath the surface of it’s man made landscape. Although major development to the city occurred in the 18th Century, much of the Old Town’s medieval layout remains the same. In recent years the entirety of the Old and New Towns has been designated as a World Heritage site, meaning it will largely remain the same for the foreseeable future as well. It is this lack of evolution of the built environment, however, that keeps its histories locked away in the ground as a secret to the casual observer, as discussed in “Forgetting Edinburgh: The reinvention of Heritage through selective memorialisation” - An essay on tools for thinking about architecture. Athens shares many similarities with Edinburgh, being too a palimpsest of histories built over one another. Athens, however, has gone through a series of major changes in its history. It has experienced a change in overruling empires, religious control and, more recently, economically driven redevelopments of the city to accommodate the influx of population from the rest of the country for industry. By interpreting the city of Athens through fieldwork, a better understanding of the implications of uncovering buried histories could be achieved. Seeing the city in its entirety, not just as a heritage site, allows the methodology used on these sites to be considered as a testing ground for any proposal for Edinburgh. A series of sites were visited for different reasons, each showing a response to the changes that have taken place over time. Three aspects of Athens stood out as important precedence for Edinburgh: The Hidden Ancient Wall of the city, The Pikionis Complex, and the palimpsest of materiality that was prevalent in the Ancient parts of the city.
11
12
Aiolou Mall
Greek National Bank
Museum of Islamic Art
Search for the Hidden Wall Map of the Ancient City Wall
A02
Kerameikos
1:10,000
A03
Athenian Influence Hidden Wall
Remains of the City Wall Photographic Extracts of Wall Locations
PHOTO
U
sing mappings of the Ancient Wall of Athens, and incredibly helpful guides Prof. K. Manolides and Prof. Theoklis Kanarelis from the University of Thessaly, an exploration into what remains of the wall was possible.
National Bank of Greece Kerameikos
Museum of Islamic Art
Aiolou Mall
What was interesting about the fieldwork was how little of the wall actually remains. With the development of the city around the periphery of the ancient centre, much of it has been lost. Sites such as that of Kerameikos display the ruins of what is left as an outdoor museum, while a basement exhibition in the Museum of Islamic Art showcases a portion of the wall as an unrelated addition to the museum curation. More interestingly, however, is the sections of the wall present at the Mario Botta National Bank of Greece building. Here are the uncovered remains of the Ahranean Gate, which is only evident today through its discovery in the demolition and construction process. A clear example of how development and change can regurgitate historical artefacts. Similarly in the basement of the Aiolou Mall, portions of the wall can be found. These too were discovered during the building process and worked around in order to preserve them. Unlike the Ahranean Gate, though, this wasn’t made into a public exhibit. Instead it has become a part of the building fabric itself. Appearing randomly in the exploration of the building. Laid out as an exhibit in Kerameikos with other ruins the importance or interest of this piece of history can be lost or overwhelming. Whereas integrated into the building fabric itself, as a palimpsest of materiality, it becomes much more interesting and clear.
13
Paving Lines
A04 Archiving Through Materiality Plan of Pikionis Complex
1:5000
Hadrian’s Library Greek Agora
Church Facade
Roman Agora
Pirean Gate
Acropolis
St. Demetrios Loumbardiaris Church Pirean Gate
Andero Viewing Platform
Acropolis Museum
14
Monument of Philapappos
Reuse of Materials
eus
Peira s d r a Tow View
A05 Following Lines of Influence Plan of Pikionis Complex
1:500
Athenian Influence Pikionis Complex
I
n a similar way, the Pikionis Complex presents important aspects of Athens’ historic past as an archive of materials pieced together. Dimitris Pikionis designed this in the 1950’s as a landscaping for the Philopappos Hill monument. Clear lines throughout the paving of this park subtly direct people towards certain aspects, such as the naturalistic landscaping or the power of the church. These lines become long routes directing people to a final culmination point, with a view towards the Acropolis at the top of the hill. Throughout this journey the lines act as a reminder to the city’s important points, such as the Acropolis and other surrounding mountains. Although they may not be visible throughout the park, these angles made in the materiality act as a constant reminder. During the 1950’s the antiparochi law allowed a mutual exchange between home owners and contractors in Athens. Without the exchange of money or contract, houses were demolished and replaced by blocks of flats in return for two or three of the flats that were built. This enabled housing for the huge influx of people into the city. It resulted, however, in the demolition of a vast quantity of the city’s older housing stock. The debris of this movement provided Pikionis with the perfect materiality. Marble from across the city, together with new, was used to pave this park and construct the various buildings within it. Old pottery appears in the Church facade and many benches in the park are upcycled marble balcony saljaturi. There is no museum dedicated to the antiparochi development of the city, or the buildings that were lost through it. But this complex palimpsest of materiality acts as an archive of it all.
15
16
Out In
nti
olish
line em of D yza ed B Recovered Ancient Marble
tion
ilica
as ne B Contemporary Carve Marble
Outline of Ottoman Mosque ec ters
A06
Athens Rebuilding the Acropolis
A07
Byzantine Basilica Wall
Ottoman Mosque Column
Athens Fethiye Mosque
Tower of the Winds: Evidence of Ottoman Rule
A08
Erechtheion
Parthenon
Acropolis Museum
Roman Agora: Brick Filled Arches
Roman Agora
Hadrian’s Library: Reconstructed Columns
Fethiye Mosque
Acropolis
T
Hadrian’s Library
Erechtheion: Replacement of Muses
Tracing Palimpsests in the City Map of Acropolis & Roman Agora
Greek Agora
Athenian Influence his layering of materials from different times is not new. Whether it is done deliberately as in the Pikionis Complex, or by accident and necessity as seen along the Ancient Wall, this has been occurring in Athens for millennia. Within the Roman Agora of Athens, the Fethiye Mosque acts as a perfect example. During the Byzantine era of Athens a basilica was constructed amongst the ancient ruins. The site provided a perfect centralised position for the basilica to have significance within the area. During the Ottoman occupation, however, the religious control of the city changed to Islam, and so a mosque was necessary to execute their reign. However a mosque must face towards the holy site of Mecca, and the basilica did not. Therefore it was almost entirely demolished apart from one corner which acted as support for the new mosque. This one building can teach us so much about the history of Athens through its layered materiality that is a result of destruction and change of use. Similarly in the Acropolis itself, the Parthenon has undergone many changes throughout its lifetime, including housing a mosque in the Ottoman era before it befell severe damage during the Morean War. It is currently being restored in order to showcase what it would once have been like. Creating the replacement pieces undergoes the same process as the original using marble from the same quarry, but is 2000 years less weathered and so stands out as a clear intervention, highlighting the destruction.
17
Arthur’s’ Seat
18 Castle Hill
Geological Influence on Edinburgh Mapping of Edinburgh’s Topography & Geology
S09
Carlton Hill
1:5000
Measurement 250m
S10
Remapping Edinburgh Influences of the Landscape
Relationship of Natural & Human Geology Concept Model
1:10,000
Built Environment Connected With Human Geology
R
eturning to Edinburgh having seen the archiving techniques employed in Athens throughout history it was important to re-examine the analysis of the city with these concepts in mind.
Built Environment Connected With Natural Geology
By continuing to layer multiple sets of information into the topographical and geological mapping of Edinburgh, it was possible to reveal the impact that this topography and geology has had on the layout of the city in general. The layout of the streets follows the influence of the three hills that make up Edinburgh’s topography. The five bridges constructed to connect the Old & New Towns (South Bridge included), however, contradict this influence. Being human interventions, they were created to overcome the natural layout of the city. This compounded the theory that the Human Strata of the city is acting against its natural and historic anatomy. While some of the city has a direct relationship to the topography, sites such as South Bridge have become dissociated with it, and so conceal their heritage underground.
S09 - Legend Directional lines from three hills Street Layout Influence on streets from landscape Boundary Lines (Old & New Town, Hills) Topographical Contour Lines Valley Bottom Human Infrastructure (Bridges & Mound) Sandstone Mudstone Volcanic Basalt
19
Cockburn St.
Arthur’s’ Seat
20 Blair St.
South Bridge Niddry St.
Geological Influence on South Bridge Mapping of South Bridge
S11
Royal Mile
Royal Mile
Cowgate
1:1000
Cowgate
Infirmary St.
Remapping Edinburgh
Drummond St.
Influences of the Landscape
F
ocusing on South Bridge, the way in which these influences impact on the existing functionality of the site can be examined. It becomes clear that the influences that affect the rest of the city are not in effect here.
South Bridge
The driving influences of the inhabitation of the South Bridge Vaults is in fact not evident from the street itself. The activity is concentrated instead on side streets, Blair St. and Niddry St. , where their entrances for the public and delivery lie. These side streets do follow the contours of the actual landscape and so interact with both the city and the adjacent vaults of the artificial landscape. In order to bring back the influences of the larger city, and expose the heritage of the vaults themselves to the public, the entrance into them needs to change. Through excavating into the artificial landscape as if it was a true one, a descent into the vaults, and therefore a new entryway into the underground activity, can be created. The concept of excavating, as opposed to demolishing (as it would be known as if this was an ordinary building), allows for an archaeological perception to the site. One of uncovering an artefact, rather than that of destruction. S11 - Legend Directional lines from three hills Topographical Contour Lines Influence on streets from landscape Site Adjacent Building Line Line of Context Buildings Scope of Existing Points of Entry
Chamber St.
Measurement 25m
Direction of Movement from Existing View Angles Sandstone
21
22 Cockburn St. Blair St. North Bridge South Bridge Niddry St.
Influences Acting on South Bridge Mapping of Proposal 1:200
Royal Mile Hunters Square
S12
Remapping Edinburgh
Cowgate
Response Niddry St.
R
esponding to these conceptual moves requires an understanding of how they may relate to a person experiencing the site. Lines drawn from important points of the city to the site may have meaning to an architect, but bare little meaning in reality. To prevent these lines becoming arbitrary orientations of space, the concept must follow through every aspect of the design to imbue the inhabitants of the site with their importance.
South Bridge
Using Pikionis as a precedent of this translation of mapping into reality, the design follows the influence of these factors, whilst also acknowledging the importance of the immediate context of the vaults themselves. The main routes through the site are determined by these lines, culminating in specific views. These direct both: out towards the generators themselves, such as the view east and west above Cowgate towards Arthur’s Seat and Castle Hill respectively; and to aspects of the localised context, such as the view from the performance space towards the Tron Kirk.
Blair St.
The treatment of the surface of the site is also influenced by these factors. The patterns of the paving subtly directing inhabitants’ moments, and the flow of water in drainage channels that pass through the spaces as natural rivers would run through a landscape created by topography and geology. S12 - Legend Directional lines from three hills Topographical Contour Lines Influence on streets from landscape
Cowgate
Measurement 15m
Response to Directional Lines Soft Barrier Entrance to Site View Angles
23
M01
Excavation Down
1:500
24
Excavation into an Artefact Axonometric Section BB
h
out
Descent From North
Des
ce
S om r F nt
M02 Excavation into the Existing Sectional Diagram
1:500
Excavatio
n Down
Staging an Intervention
own Excavation D
Excavating an Artefact
Carving Around Existing
T
he proposal consists of series of interconnected spaces both above and within the South Bridge Vaults. These spaces serve to compliment the current array of Bars and Nightclubs that occupy the vaults, and also provide public space to be used as a multifunctional amenity for the city. This public space can be for the use of Fringe Festival performances and Christmas markets. This will help with alleviating strain on other parts of the city that get overwhelmed during these periods, and require transformation every time they need to be used, such as Princes Street Gardens.
Existing Vaults Inhabitation
As a result the scheme is a public space interspersed with performance spaces, bars and clubs; working as a high street for both the daytime and night-time at multiple levels. A careful analysis of the vaults was achieved through visits compounded with planning application data as shown previously with a physical model. This model was then used as a basis for the design of the new entrances down into the existing.
Proposed Section AA
Hive Nightclub
Marlyns’ Wynd Venue
Cabaret Voltaire Bar
Caves Nightclub/Venue
Viewing South Bridge sectionally helped to make decisions on where to excavate and where not to. Considering the existing nightclubs as artefacts beneath the surface that need to be protected, allowed the form of the design to be carved around them. As a result a slow descent and ascent between the surface level of the street and the vaults below can be achieved. Through this preservation of the existing, transformation of the existing, and intervention of new space, the programmatic layout of the scheme could be determined.
25
26 Influences from Wider City & Views Axonometric Section AA 1:500 Arthur’s’ Seat
View of Tro n Kirk
Carlton Hill
Castle Hill
M03
M04
Staging an Intervention Influences in Action
Influence from Wider City Mapping of Edinburgh’s Topography & Geology
1:5000
O
Carlton Hill
nce the immediate context of the vaults had been determined and the points of excavation into them decided, the implementation of the wider contextual relationship with the topography and geology could begin. Using the information from the mapping studies, lines could be drawn through the scheme to represent views, directions and orientation. Specific views from both the above-ground landscape of the public space, and the spaces formed below it, were modelled three dimensionally to generate forms in the design that respond to them. By pulling these views up out of the below-ground spaces a connection with the immediate context of the site can be understood. For instance within the performance gig space a view out directly at the Tron Kirk spire adjacent helps for an inhabitant of that space to understand their location beneath the South Bridge (As shown in the diagram opposite)
Castle Hill
Using the lines of influence generated from the three hills to determine the direction of the routes people will eventually take through the site allows for a landscape informed by the surrounding topography and geology to be carved out from the human-made infrastructure that currently opposes it.
Arthur’s’ Seat
Orienting elements of the design towards these points also enables a connection between the inhabitants of the space and the wider context of the city, even when they cannot physically see these points in reality. Similar to the methods used by Pikionis in Athens, these directors subtly push and pull the public through the site, and into and out of spaces using the three geological points of the city as magnets.
27
M05
Marketplace Bar
28
Programmatic Layout & Alcohol Distribution Network Axonometric Section AA
1:500
Outdoor Performance Space Performance & Gig Spaces Distillery
Outdoor Performance Space
rk
n
grou
r Unde
wo l Net d Rai
Brewery
M06
Staging an Intervention
Rain
Cyclical Alcohol Network
Cyclical Alcohol Network Diagram of Programmatic Functions
DIA
E Bars & Clubs Empty Casks, Barrels &Bottles
Marketplace
PUBLIC
Returned to the Brewery/Distillery via the Underground Railroad
Filled Casks, Barrels &Bottles Delivered to the Bars & Market via the Underground Railroad
Brewery/Distillery
Recycling Plant
dinburgh traditionally produced whiskeys and beers within the city centre, but now they are made further out beyond the city limits. Reintroducing this industry to the city, a holistic programme of alcohol production and consumption is created. This becomes a cyclical system where alcohol is made on-site, distributed within its own system and sold in new purposeful bars and performance spaces. It also strives to accommodate the existing bars by connecting them into the same system. In the lower levels of the vaults the Brewery and Distillery produce beers and whiskeys to be sold in the bars above them. The alcohol is transported from the production facilities via an underground rail network in order to deliver directly into the Bars, Clubs and Performance Spaces. Here the Alcohol is sold to the public, either through the marketplace or various bars. The waste barrels, casks and bottles are then sent back to the production facilities via the same rail network. Once returned, they are washed and prepared for reuse, minimising waste. The water used in both the washing facility and the alcohol production is contributed to from the series of drainage pools and reservoirs running throughout the site. This water is processed for safe use within the alcohol production facility itself. This grey water minimises the amount of water needed for the industrial processes to take place.
Ground
29
C01 Stage 1 - Excavation Axonometric Section BB
1:500
Excavated Sandstone
30
Preserved Remains of the Vaults
C02
Archaeology or Construction? Stage 1 - Excavation
Stage 1 - Excavation Section FF
1:20
T
o facilitate these spaces, and create the descent down into the vaults, a process of excavation has to take place. Unlike in a conventional building project the ground being excavated, however, is not in fact the ground but the sandstone vaulted structure of the South Bridge itself.
3
1
Following the directions and orientations of the spaces formed in the design process this stone has to be removed carefully to leave behind the desired artefact of the arches. Where this is not possible, or where collapse is inevitable, additional support and rebuilding of fallen pieces takes place.
4
This is the case for the dividing wall between the descent ramp and the internal spaces as once the majority of the vault structure is taken away they will lose some of their rigidity and so may need supporting.
5
The nature of a vault, however, means that excavation is still possible as long as the arch remains intact in any particular location.
6 C02- Legend
2
7
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Existing stone arches supported with bolting Removal of existing sandstone dividing wall Gravel levelling of lower excavated stone Temporary scaffolding supports of existing floors Concrete footings Existing stone structure Existing stone wall of Blair Street buildings
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C03 32
Stage 2 - Inserting the Core Axonometric Section BB
1:500
Precast Concrete Slabs
Circulation and Servicing
Precast Concrete Panels
C04
Archaeology or Construction? Stage 2 - Inserting the Core
Stage 2 - Inserting the Core Section FF
1:20
A
fter the excavation is complete, the initial structural elements can be added to the pit in order to support the later additions of the design.
4
5
1
2
6 7
This is done through two main structural interventions, one in the lower levels of the vaulted spaces, and the other along the western edge of the descent ramp. The lower vaults are divided down the centre of the bridge by a sandstone wall which supplies some support to the overall structure. By replacing this with a series of modular precast concrete panels that fix directly into the stone itself, the structure of the bridge remains in tact and provides additional strength for the additional loading required by the design. Similarly the precast concrete sandwich panel replaces a section of the Blair Street buildings’ existing sandstone wall. Effectively underpinning this facade, the panels prevent the excavation of the descent ramp from affecting the stability of the buildings which may currently rely on the adjacent bridge structure for support. Precast arches in these sandwich panels create entryways into the Blair Street buildings. C04- Legend
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8
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1 2 3 4 5 6 7 8
Precast structural concrete panel Temporary timber supports for levelling Precast holes for fixing to existing stone structure Inbuilt guttering for base of Blair Street wall Precast structural insulated sandwich panels Hardcore and sand levelling Drainage channel Replaced timber floors in Blair Street buildings
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34 Stage 3 - Forming the Landscape Axonometric Section BB 1:500
Cast Concrete Landscape
Shuttered Timber Formwork
C05
C06
Archaeology or Construction? Stage 3 - Forming Landscape
Stage 3 - Forming the Landscape Section FF
1:20
O 7 1 7 1
8 3
2
3
9
4
nce these supporting features are in place the site becomes analogous to an ordinary building site with foundations put in place. These elements help support the structural infrastructure of the South Bridge to create a platform on which to build. The next stage of construction is forming the stereotomic spaces in this semi-underground pit which will act as a supporting structure for the street above. Timber formwork is constructed to create the cast concrete elements of the design, including the internal inhabited forms of the below-ground spaces, and the load bearing wall running along the descent ramp. This formwork fits around the existing stone elements, using temporary polymer mouldings to create a seamless edge around the arches that are to be exposed. The steel supports used to hold together the excavated arches work as a reinforcement system, holding together the cast concrete elements and the stone into one continuous structural element.
C06- Legend
5
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1 2 3 4 5 6 7 8 9
Shuttered formwork of internal elements Formwork for concrete floors and steps Poured concrete Hardcore and sand levelling DPM - applied water resistant bitumen coating Timber finish with insulation and breather membrane Temporary scaffolding for construction workers Reinforcement from bolted existing stone structure Reinforcement into existing stone structure beneath
35
C07
Precast Concrete Chimney Sections
36
Stage 4 - Laying the Land Axonometric Section BB
1:500 Precast Concrete Lightwells
Precast Concrete Slabs
Slabs Fitted Together
Chimney Sections Fitted Together
C08
Archaeology or Construction? Stage 4 - Laying the Land
Stage 4 - Laying the Land Section FF
1:20
F
1
ollowing the curing of the cast concrete form of the below-ground elements is complete, the surface of the excavated street can be replaced. This is supported in parts by the vault structure itself and the load bearing concrete-sandstone hybrid wall.
2
6 3
7
Precast slabs span between these elements in sections designed to fit together and allow for expansion of the surface during use. Ledges cast into the load bearing walls in discrete places and bolts fix the two together. The slabs have channels and holes cast into their surface to accommodate the drainage system and lightwells that are designed into the spaces. Similar precast sections are lowered onto the surface and slotted together to create the chimney stacks for the alcohol production facility below. These elements are designed to fit into one another and fix from the inside, preventing any working from heights by workers, who can ascend safely on the inside of the chimney as it grows.
4 5
8
The surface remains open to the elements and so has no need for insulation or waterproofing, water is persuaded along the drainage channels instead. C08- Legend
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Precast concrete chimney section Precast drainage channels into surface Precast voids for market stalls Cast shuttered concrete internal elements Screed finish Exposed stone vaults encased in wall Cast shuttered concrete wall Drainage Channel
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C09 38
Stage 5 - Tectonics Axonometric Section BB
1:500 Timber Market Stalls
Chimney Cowl Timber Stage
Chimney Cowl
C10
Archaeology or Construction? Stage 5 - Tectonics
Stage 5 - Tectonics Section FF
1:20
T
1
he timber used as shuttering, during the process of concrete casting, is reused at this stage of the construction process. Having been dismantled once the concrete is fully cured these timber members are then cleaned of concrete and processed for construction use.
2 7 3
8 4 5
Structural timber beams span the holes in the precast street surface resting on cast ledges. This works as a supporting platform for markets stalls to rest on. These are constructed off site with the timber from the bracing supports of the formwork, and fixed into place as single units. Planks used as shuttering in the formwork are then reused as cladding for this structure, cut to size on site as required. This cladding acts as a rain-shield for the stalls acting as both the walls and roof in its frustum form. The water runs down into a gutter around the base where it spills out into the drainage channels preventing most weather from entering the space below. The same construction method is used to construct the shades that hang below the platform. These house servicing such as artificial lighting and audio equipment for the zoned spaces below them. C10- Legend
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Timber market stall construction Timber bridges over drainage channels Gap left between precast and timber elements Timber seating finishes Timber board-walk above drainage channels Servicing ducts Timber structural beams supporting market stalls Timber dropped ceiling shades concealing lighting
39
C11 40
Stage 6 - Surface Significance Axonometric Section BB
1:500 Stone Paving Above-Ground
Direct io
nal Co
ncrete
Marki
ngs
Stone Paving Descent
C12
Archaeology or Construction? Stage 6 - Surface Significance
Stage 6 - Surface Significance Section FF
1:20
2
3
4 1
5
T
he final stage of the construction process is the paving of both the above-ground surface of the precast slabs and the excavated descent ramp. The layout and construction of this paving plays a significant role in the design, and so is not just a surface treatment applied to the structure. The design uses specific lines to: direct people through the scheme, orient the spaces, and address the city as a whole through its relationship to the geological and topographical landscape. These lines therefore determine how the paving is arranged. They appear in the patterning of the surface through markings made by pouring concrete in between the paving stones. These markings can be categorised into two types. One follows the layout of the vaulted spaces below, while the other represent a magnetic attraction or repulsion towards specific views and significant geological features that define the city. The stones used in the paving in themselves hold a significance too. The excavated debris of the vaults from the first stage of the construction process is sorted for appropriate stones to be re-purposed as paving. This act exposes the materiality of the bridge itself to the public, rather than the current tarmac layer obscuring it. C12- Legend
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Wall of soft light created by gap in structure Excavated stone used as paving in precast surface Concrete patterning in surface Excavated stone used as paving in descent path Concrete supports poured between stones
41
M07
Royal Mile
1
2
3
C
D
C
D
Masterplan of South Bridge Section AA
1:200
Above
Elevation BB
Below Lower Vaults
8
42
Royal Mile
9
South Bridge Masterplan
Cowgate
E
4
5
F
G
6
7
Section AA
T
he finalised masterplan for South Bridge integrates the different programmes of the cyclical alcohol network and public spaces through the single excavated descent down into the vault infrastructure. These spaces can be categorized into three main types: •
Surface daytime activity spaces. These include the integration of the existing high-street, outdoor theatre performance spaces, and the marketplace.
•
Underground nightlife spaces. These include the music venue for gigs and the integration and addition to the existing bars and clubs.
•
Alcohol Production Facilities. These include the Brewery, Distillery, Railway distribution network and recycling plant for water and waste alcohol vessels.
M07 - Legend
E
10
F
11
G
12
13 Cowgate
Measurement 15m
1 2 3 4 5 6 7 8 9 10 11 12 13
Tron Kirk Ramped descent into the vaults Existing stone vaults Stairs incorporating tiered seating Shuttered concrete wall encapsulating existing vaults Market Stalls Chimney piercing through surface from vaults below Existing nightclubs Gig performance semi-enclosed space Distillery Bar/Nightclub Brewery Existing nightclubs
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44 Cockburn St. Blair St.
A
North Bridge South Bridge Niddry St.
Masterplan of South Bridge Plan of Above
M08
Royal Mile
1
8
Royal Mile
2
9
Hunters Square
3
1:200
B
10 C D
C D
4
11
South Bridge Masterplan
Cowgate
E
5
F
6
7
Plan of Above Niddry St.
T
he surface layer of the scheme provides a continuous route that can be either be taken from one end of the bridge to the other, or a route which descends down to the layer below. An intermediary point of ascent/descent in the centre takes the form of a tiered seating staircase.
12
13
F
14
B
M08 - Legend
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
15 Cowgate
Moments pierce through the surface from below giving a hint of the activity beneath such as the lightwell frustums and chimneys.
Blair St.
E
South Bridge
A
Continuing the street level allows this space to connect to the existing high-street shops and offices. It plays host to number of daytime activities such as music/theatre performances, and a marketplace. This provides both the alcohol produced in the distillery below and food at lunch times for workers in the area.
Measurement 15m
Tron Kirk Ramped descent into the vaults Protruding lighwells providing views in and out Void for water drainage to pool below Stairs incorporating tired seating Market Stalls Stairs leading down into the Bar/Club Planter bollards for soft barrier entrance to site Outdoor Round theatre space Drainage channel Outdoor Stage performance space Outdoor Auditorium performance space Water draining from pool above to pool below Drainage canal through marketplace Chimney piercing through surface from vaults below
45
46 Cockburn St. Blair St.
A
North Bridge South Bridge Niddry St.
Masterplan of South Bridge Plan of Below
M09
Royal Mile
1
Royal Mile
2
1:200
B v
8
Hunters Square
C D
C D
3
9
South Bridge Masterplan
Cowgate
E
4
F
5
6
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Plan of Below Niddry St.
T
he layer below the surface is accessed from the descent and acts as a continuation of the high street by accessing the lower levels of the Blair Street building to the West. These become a string of bars above the Distillery.
South Bridge
A
On the East side of the descent a music performance venue and Bar/Nightclub occupy the space below the surface of the street. Here the night-time activities of gigs and nightclubs take place, with points of connection into the existing clubs in the niddry street buildings. In the lower levels of the Niddry Street buildings, existing corridor spaces, originally used for back of house purposes and accessing the vaults for storage, are transformed into the rial distribution network. Here barrels, casks and crates of bottles are moved between the various spaces.
B M09 - Legend
Blair St.
E
10
11
F
12
13 Cowgate
Measurement 15m
1 2 3 4 5 6 7 8 9 10 11 12 13
Remains of Marlyns’ Wynd in Tron Kirk basement Ancillary spaces and WC’s Bar connected with adjacent rail distribution Entryway down into Niddry Street nightclubs Bar connected with adjacent rail distribution Lift system for distribution through rail network Stairs leading up to the surface level Anticipated uncovered remains of Marlyns’ Wynd Reflection pool and drainage to reservoir below Glazed void to distillery below from bar space Pond within Bar/Club as part of the drainage system Ancillary spaces and WC’s Chimney piercing through surface from vaults below
47
48 Cockburn St. Blair St.
A
North Bridge South Bridge Niddry St.
Masterplan of South Bridge Plan of Lower Vaults
M10
Royal Mile
1:200
B
Royal Mile Hunters Square
South Bridge Masterplan
Cowgate
1
2
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F
4
5
G
6
Plan of Lower Vaults Niddry St.
W
ithin the lower levels of the vaults lie the Alcohol Production and Distribution facilities. Being at the base of the human infrastructure means that part of the facility rejoins the true ground level. This allows access through the Blair Street buildings from the road for delivery and maintenance purposes.
B
South Bridge
A
The facility contains a brewery and distillery which share common barley processing for the early stages before separating off to either ends of the building. In the middle lies the recycling plant for returned casks, barrels and bottles to be cleaned and reused. Here the water from the designed drainage on the surface above is reprocessed as grey water for use in washing. The cleaned vessels are then moved to the adjacent vault for filling and distribution back out through the rail network. Running through the centre of the facility is a structural core that provides support for the necessary alterations above. It also provides the circulation for both product and workers, as well as a servicing and ventilation system. M10 - Legend
Blair St.
7
8
F
9
G
10 Cowgate
Measurement 15m
1 2 3 4 5 6 7 8 9 10
Peat furnace malting & Barrel Charring Maturation Rail distribution system Water processing and vessel cleaning Distribution Mashing, kettle process and boiler Central circulation, ventilation and rail Core Distillation Delivery and wider distribution Kiln drying
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50 Kolumba Museum Wax & Card model 1:200
C13
C14 Kolumba Museum Cast Concrete Model
1:20
Material Archiving Precedence
T
he construction and materiality of these spaces is important in shaping both their atmosphere and the curation of the uncovered vaults. The unearthed artefact of the South Bridge structure presents a unique material challenge. How to utilise and respond to this existing materiality is therefore key to the scheme’s success. The influences from Athens, where old and new sit together as an archive of their pasts with a clear definition between one another, became the overriding concept of material exploration. The way in which Pikionis dealt with materiality underlines this concept. He utilised the heritage rich materiality of the antiparochi demolitions and combined them with artefacts such as the St. Demetrios Loumbardiaris Church. Another precedent of this material strategy is the Kolumba Museum in Cologne, designed by Peter Zumthor. This building is formed around the ruins of a church, but it was decided to take a more radical approach than the conventional strategy of hovering around ruins. The grey brick façades splice directly into the existing church, creating one continuous surface made from different materials from different times. Studying this building both at the scale of 1:200 and 1:20 demonstrated how a simple detail can be extrapolated into an overall concept. The plain brick façades act as a backdrop to let the elements of the church stand out. Perforations in this facade continue this monolithic presence without interrupting it with further distractions from the ruins. They create an atmospheric lighting on the inside, and along the facade at night, without disrupting the continuity of the single block holding together the fragments of the ruin.
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52 Merging Materiality Cast Concrete Model 1:20
C15
C16 Testing Striations Cast Concrete Model
1:5
Material Archiving Formation
D
eveloping this material strategy for South Bridge involved a hands on approach. While creating the 1:20 model of the Kolumba Museum facade, concrete was used as a proxy for grey brick at that scale. The way in which concrete flows around adjacent materials to create a single continuous object, however, embodied the concept entirely. A series of cast models were created to better understand this liquid property of concrete. It became clear early on that the formwork itself was key. Only when carefully controlled by its mould does the liquid concrete comply. By first creating sandstone coloured concrete elements to act as a proxy for the ruins of the vaults themselves. Then the concrete facade could be cast around it. As shown in the 1:20 model opposite, the concrete surrounds the sandstone to become one surface, much like that of the Kolumba Museum. Developing this as a strategy to use throughout the project meant dedicating time into the close up detail design of this concrete surface, and therefore the formwork that ultimately creates it. The surface was designed to become a dynamic entity within the stereotomic spaces through the changing of light, By varying its depth shadows are cast across itself and move slowly over time. Using a single width of board in the formwork allows a horizontal striping effect to be created along the facade, like strata of the underlying rocks in the earth. This plays on the overarching concept of the project involving human geological strata, and becomes another layer of humanmade materiality building up on the site.
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54 Materiality in Action Axonometric Section CC 1:20
C17
Material Archiving Shadow
I
ncorporating this material strategy into the design came from the very beginning. The exposure of, the vaults was a key move of the project. How this exposed materiality relates to the intervention around it is therefore an important aspect of the spaces. Using the concrete as a backdrop for the sandstone infrastructure of the vaults highlights the existing arches along the descent. This makes the artefact of the bridge evident to the public, and therefore returns the heritage associated with it to the public consciousness. Like the Pikionis Complex and Kolumba Museum, the project becomes an archive of its pasts and present through its materials. The way in which the random variation of the concrete strata-like layers cannot be predicted or replicated across the scheme means each space develops an individuality in its formation. Just as naturally formed stereotomic spaces gain a unique atmosphere from the unpredictable surfaces of rock and sedimentary layers, these spaces too find a uniqueness, but through the unpredictability of humanmade surfaces. The different treatment of light within these spaces furthers this individuality as the shadows cast across the surface provide another unpredictable variable. Creating perforations in this surface, however, forces light though in certain places to create a predictable atmosphere of light. This can be seen represented opposite in the perforated facade alongside the stage of the performance space. By using this single surface treatment throughout the scheme, the multitude of different spaces and programmes can be brought together into a single human geological landscape.
55
56 Material Landmark Axonometric Section EE 1:50
C18
C19
Material Archiving Emergence
Construction of the Chimneys Axonometric Diagram
1:100
C
ontinuing this materiality throughout the scheme allows the same material to create different effects. While the stereotomic underground spaces gain a unique character from the shadow of the striations of the surface, the above-ground spaces benefit from the perception of solidity in this material. The use of concrete in the drainage channels and between the paving stones creates a sense of solidness beneath the feet of passers by. Although in reality a hollow membrane, this materiality maintains the perception of the surface as the ground itself, and therefore the spaces below it as underground. Elements of the design, such as the chimneys, use this perception to signify their meaning. Although not cast in situe as the below ground elements, the precast sections of the chimney are given the same surface treatment. This ties together the two materials to be perceived as a single formation of the ground. The chimneys therefore appear as protrusions of the ground itself; pushing up from the stereotomy of below into the realm of the above. Treating the chimneys in this way makes it clear where their origins lie: deep beneath the surface of the street. Hinting to the location of the industrial processes going on below, and the extent of the vaults needed to house such a facility.
Continuous Chimney Element
Precast Modular Sections Stacking
Scaffolding within for construction and Maintenance
As well as providing evidence to the public of activity beneath the ground, the scale of the chimneys provide a beacon to the site. Traditionally chimneys have a strong association with brewing in the public consciousness, and so indicate to the wider city the activity happening within the bridge.
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58 Integration of Cores into the Vaults Axonometric Section GG 1:20
C20
C21
Material Archiving Submergence
Construction of Cores Axonometric Diagram
1:100
C
oncrete is also used for not just its perception as a string material, but also for its physical properties of structural strength.
Floor Panels
Railway Tracks
Steel Members
Servicing Ducts
Precast Concrete Structure
Structural Core Module
Circulation, Servicing & Distribution
The lower levels of the vaults are divided along the centreline of the bridge by a structural supporting sandstone wall. When proposing to occupy these spaces, a number of questions emerge in their practicality. First of all the separation of the vaulted spaces by nature make them difficult to use as a large industrial facility. And secondly, the excavation of the structure above, before casting the spaces back together, may compromise the inherent strength of the infrastructure as a whole. This could mean the dividing wall may no longer be an appropriate structure. To tackle this the wall is replaced with a precast modular Core. Each module is comprised of: two structural precast concrete panels made to fit the shape of the vaulted arches with holes for bolting into the stone structure itself; a precast concrete element tying the two together and creating a cap to be built on top of; and steel members providing additional rigidity to the structure and defining the different levels within it. This Core serves as a replacement to the original sandstone wall, and enables circulation of workers between the different vaults. This allows the collection of spaces to function as a single industrial facility. Integrating rail tracks into the steel flooring system of each module allows an ease of transport of products and equipment around the facility, in the same way as the final product is distributed throughout the rail network. This artery through the centre of the vaults also provides a convenient location for services, connecting to the two chimneys at either end of the facility for exhaust.
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60 Tectonics of Above & Stereotomy of Below Axonometric Section FF 1:50
D01
D02
Temporal Membrane Stereotomy & Tectonics
Membrane Mediating Between Above & Below Plaster & Concrete Concept Model
1:50
Above
T
he very act of digging beneath the surface brings into question the surface itself. While ordinarily the ground beneath out feet is considered a constant, solid entity. Activity happening beneath this, therefore created intrigue and confusion as to its physical relationship to the surface. Notions of caves and carved spaces, that of the stereotomic world, come into play with these below ground space. While the world above is exposed to the positives and negatives of the natural world, such as the daylight and harsh weather, the below remains a more constant, protected and controlled environment. The solid surface of the ground acts as the separator of the stereotomic world below, breaking the relationship between activities in both spaces and shielding it from the temporal changes experienced above.
Stereotomic Below
In order to combat this the ground itself needs to be broken, through the deliberate puncturing of holes in its surface. This allows permeation from one space into the other, thus equalising the drastic differences they experience. Perforating the surface of South Bridge in this way allows it to become a membrane; filtering an exchange of views, light, air, sounds and water between the world above and the world below. The relationship between the Marketplace and the Bar below it exemplifies this, as the dark nocturnal space below is connect through the lightwells around each market stall. Using the light tectonic nature of the market stalls to pierce the membrane of the stereotomic bar brings the life of the outside world down into the space.
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62 Controlling the Relationship Between Above & Below Axonometric Cut-Away of Marketplace 1:100
D03
D04
Temporal Membrane Stereotomy & Tectonics
Exploded Construction of Market Stall Axonometric Diagram
1:100
T
his relationship controls the activity of the space below. During the day time the markets on the surface provide the sale of food and alcohol produce. This works with the daily timings of workers in the city and weekend shopping as an ordinary high street or market would. The controlled daylighting down into the bar, however, through the use of slim gaps around the perimeter of each market stall, and the frustum shades hanging below, mean the space is never bright and airy as above. A continuous evening throughout the day is created allowing the bar to function beyond its expected normal hours. As the evening arrives above, the soft light filtering down into the space below creates walls of light defining each space beneath the stalls, which align with the structure of the vaults themselves. This atmosphere and integration to the vaults separates this space out as a purposeful evening bar, not a daytime public space like above. Not only light is mediated by this membrane, however. Water running through drainage channels above act as an enjoyable public water feature and slow the flow of people through the space as they meander around and over it. This also serves as the streets drainage system, exposing and directing the flow of water through the spaces instead of attempting to control and conceal it as was originally done along the vault, resulting in its consistent flooding. This water flows down into the bar below and runs beneath a board-walk passageway through the bar, following the flow of people in the space as above. This provides a unique feature to the space itself by cooling the air of an otherwise potentially hot nightclub, and an ambient background noise.
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64 Daytime Performance Space Axonometric Section AA 1:50
D05
D06 1:50
As Day Turns to Night
Reflection Pool & Reservoir Axonometric Section DD
Temporal Membrane
T
he gig performance space uses light and the flow of water in a similar way. Without the tectonic structure of the marketplace piercing and mediating the light coming in from above, however, it does not have a controlled consistent evening atmosphere. Instead this raw stereotomic space utilises the dynamic change in light for its own purpose. The tapered lightwell to the north, above the stage, provides a consistent soft light for a daytime performance and directs the view of audience members up towards the spire of the Tron Kirk. A large void to the south acts as a lightwell to flood the space with light from the behind the tiered seating. This void also captures and allows the downward flow of drainage water in a similar fashion to that of the marketplace which collects in a pool at the top of the auditorium style seating. The pool of water serves to reflect light up onto the ceiling, creating patterns from its slow flow down in to the reservoir below. Carved out angles in the concrete soffit above the seating direct this reflected light from the pool back down into the centre of the space. During the daytime when the sun is high it provides a more even lighting to the space, but as the day passes and the angle from the sun becomes shallower, the light no longer penetrates down into the void. At this point the evening below begins and the light from the smaller light wells becomes more prominent. During this daytime the above has a larger role in the inhabitation of the space, with performances playing out in the public realm and passers by getting glimpses down into the depths of the space below. The underground space becomes more of a relaxing public space, providing a sheltered alternative to the harsh Scottish weather outside.
65
66 Night-time Gig Venue Axonometric Section AA 1:50
D07
D08
Temporal Membrane As Day Turns to Night
Lightwells & Adjacent Buildings Axonometric Section DD
1:50
A
s the evening progresses and the light from the large void no longer lights the space fully, the smaller frustum lightwells clustered around the performance space provide light down into the space. These create more specific patches of light that move around the space, signalling the transition into night, and provide glimpses out to the sky above. Despite being beneath the ground the space lets its inhabitants know what is going on in the outside world through views of the sky and manageable levels of weather entering in through the voids. At this time the nightlife of the lower street of the descent begins to start, with people starting to enter the bars along the Blair Street side of the network directly opposite. As the night progresses the space becomes a venue for gigs to play out and the sale of alcohol from the network below can commence through the integration of the bar with the railway system. Having both a raised seating and space for a standing audience makes the space versatile and accommodating to a multitude of performance styles. Lighting, smoke, and other effects common at gigs create a spectacle through the lightwells for the surface above. Where in the day the membrane of the street filters light and water down, at night it filters light and sound up to the world above. This preforms the important process of allowing ventilation of the hot air from a large audience out. This upwards air flow is fuelled and directed by the cooling nature and high specific heat capacity of the reflection pool at the back. This draws cool night air down to create a flow out of the lightwells opposite.
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68 Interconnected Spaces of South Bridge Axonometric Cut-Away View 1:50
D09
Project Conclusion Interconnected Infrastructure
T
he intervention merges its new materiality with the existing vaulted arches, while allowing them to stand out as a curated object, uncovered from their current underground hiding place. Revealing the mysteries of the vaults in this way, and allowing their spaces to be inhabited from the public realm, serves to reclaim their heritage to the public consciousness. The space becomes a museum of itself simply by being presented as a historical artefact for anyone to see. This act is not of demolition or destruction, but one of excavation, an archaeological process of revealing histories that requires a radical change to the existing to do so. It becomes an archive of information that is disseminated through the materiality itself. Discrete lines, influenced by the geological and topographical generators of the city, determine the excavation cuts used to expose this artefact. In doing so they create a landscape of human strata, becoming another layer in the palimpsest of Edinburgh’s built environment. This landscape brings forward the natural authority of Edinburgh’s unique formation that rejected in the construction of the South Bridge. This existing nightlife activity occurring beneath the ground is prevented and extrapolated through the provision of an industrial cyclical network of production and consumption. The scheme provides a series on interconnected spaces that serve to facilitate the different stages of this cycle, from the creation and distribution, to performance spaces and bars that rely on a culture born in alcohol consumption. Stereotomic and tectonic elements to these spaces define their unique characters based on the activity they accommodate. Creating relationships between the different spaces, however, brings the individual aspects to this network together as a whole inhabited landscape.
69