A Centre of Didactic Making - Design Report by Ross Robson

Centre for Didactic Making Design Report Ross Robson 10 - 5 - 2021

Introduction

This design report is documenting the processes and studies undertaken in the design of a ‘centre of didactic making’ situated within Dundee’s vibrant and creative West End. The project aims to re-instate the lost heritage of industrial making and crafting to the city centre and combine these qualitive features with a social and community focused hub on Perth Road. The expression of new and the old is present with the use of the existing characteristic warehouse building and its inherent qualities. Proposing contemporary architecture alongside to offer the most effective programmatic strategy and initiating a dialogue between the city’s heritage of ‘making’ and opportunity the future holds for Dundee as a UNESCO City of Design. The project invites visitors to consider what ‘making’ means to them and to explore the vast variety of crafts and skills present within the local communities expressed through multitudes of volumetric and visual connections accommodated by the architectural moves.

Figure 1: Isometric Section in Context

Contents

- Critical Reflection - 6 - Brief Development - 8 - Site Analysis - 24 - Design Development - 70 - Contact - 160 - List of Figures - 162 - References - 166 Appendix - Precedent Studies - 168 - Management Practice + Law - 204 - BTM - The Tactility of Space - 214 - BTM - Drawing to Find Out - 224

Critical Reflection Architecture as a vehicle of Didacticism; this project seeks to explore the methods and principles that could inform desirable qualities from a centre of making, learning and community engagement. The process of ‘making’ has several interpretations yet all with a similar sense of purpose and potential. Dundee has a theatrical past filled with industry and making, from linen and flax mills to jute and the boom of the local textiles industry, Dundee was at the forefront of global production throughout the 1800’s. This era was all based around hands-on production, workers were skilled and machines basic but precise - fully constructed and maintained by hand. These elements have been in decline through modern times, with a complete shift of Dundee’s prominent industry overseas. This architecture wants to bring the ideas and concepts of making back into the city of Dundee and back into the local community. There is a certain theatricality about the hustle and bustle of industry and making – the didactic elements of learning by seeing and engaging with crafts or skills, expressed poetically through Maurice Broomfield’s photography of post-war Britain. Expression of this quality has since been lost, but there is an underlying cultural appreciation of the ‘making’ that used to take place all across the city, and specifically in the Roseangle and West End areas – that used to house a vast amount of the working/making population. However, there has been emerging creative cultures within Dundee recently with great success and interest – a great example of this new culture is the success of ‘Dundee Contemporary Arts’ designed by Richard Murphy Architects (see precedent chapter), providing spaces for activity across a variety of interests from film to printmaking. The DCA creates and engaging common ground for different communities, similar to the aims of this project in which the new culture of creatives and technological manufacturing is merged with the history and tradition of the making activities and industry that once dominated the area. In a parallel sense the merging of cultures comes with the juxtaposition between new and old. A contrast that can bring great quality and richness to architecture and space. This is a feature of expression within the project, utilising part of the existing warehouse building that has stood since the early 1900’s with a beautiful brick wall on the West that has been adapted and built up over time – producing an incredible array of textures, materials and sense of history. This brick wall makes up only a portion of the architecture however it acts to inform

the development of both the site and the programme strategy. Slotting a newly fabricated steel structure inboard to the brick but leaving it exposed internally around the entire building as a method of expressing the structure and tectonics the architecture is becoming. The joints and marks of the hands who assembled it on site with precision and skill as a didactic moment of expression to what the building physically is made from but more importantly what the architecture discusses and explores. Employing new materials and techniques to draw attention to how we now make and assemble elements – stating the brick wall is where we came from – and the sophisticated steel and metal work as where we are now. Within combination of these two elements is housed the centre of making, learning and engaging with this discussion of which the poetic expression and theatrics is crucial to the success of the architecture. Achieved by using precision, detail and material in a manner to create intentional ‘moments’ within and externally to the spaces, to provoke interest and be studied by visitors and passers-by alike, with a unique opportunity present down the narrow lanes that flank the site to the East and West. Use of the existing brickwork also creates a parallel between the made and the manufactured – the clay cricks being produced in a very different sense to the modern steel joints. However, they share some qualities of marks and ghosts of production and makers, the design proposal is using this as a platform to form an expressive and intellectual architectural language. Pairing the above elements with an architectural strategy that proposes adaptability of spaces and how they are used/interacted with and the aims of fully engaging the community amongst the buildings programme and intentions creates a harmony of didacticism and function. Extending the public realm into the building with a fully activated entry level with the aim of using gallery spaces to draw in visitors to journey through the art of ‘making’ – each of these elements are reinforced with materiality and celebration of the building joints, marks and scars of the people who designed, constructed, and use the architecture. Each internal space amongst the elements that form the building has visual and volumetric connections to each other as well as the context to fully emphasise the public engagement, with no corridors and views to the variety of exciting activities and practices operating and learning within the centre. With the aim of bringing back the qualities of making in every interpretation amongst a social, didactic, and poetical collection of spaces and atmospheres.

Brief Development

Conceptual Development - 10 Cultural Context + Evolving a Brief - 12 Schedule of Accomodation - 14 Building Occupancy - 15 Main Entry Space - 16 Make Hall - 18 Studio + Breakout Workspaces - 20 Making Yard - 22

Figure 2: Dundee, 1965 Looking South East towards Tay Road Bridge

Conceptual Development

In response to the ‘(RE)Make+’ brief, I developed certain interests and elements that the project aims to explore. Stemming from a fascination with old Dundee and the industrial heritage that used to be the backbone of the city. The concept of making, production and export from Dundee is all but lost as the industry was moved overseas and the local economies diversified, changing the built environment of the city drastically as warehouses were eventually abandoned and demolished. This introduced the concept of didacticism, and learning by showing, by doing – expressing the old and the new both in terms of material qualities but also programmatically. Adopting accommodation for old crafts and new technologies side by side, heavily influenced by the cultural heritage of the city and raw functionality of the old mills and industrial hubs. Synthesising technology, industry, heritage, and opportunity of learning with the human elements that have been lost over the past century with industry being pushed out of the city centre, isolated on the outskirts. The concept aims to evolve these qualities and provide space to express their worth and return them to the more social parts of the city, where they can be witnessed, enjoyed, and celebrated.

“Didactic” Intended for instruction; instructive: didactic poetry.

“Old and New” A refined expression of materiality and form with the objection to initiate discussion surrounding the juxtaposition of “Old and New” in both the material and immaterial

“Cultural Heritage” “Cultural heritage is the legacy of cultural resources and intangible attributes of a group or society that is inherited from past generations. Not all legacies of past generations are “heritage”, rather heritage is a product of selection by society” Logan, William S

“Function” The poetics of architecture remain fastened to function, in the fullest sense of that valuefreighted word. John Tuomey

“Technology” The application of scientific knowledge for practical purposes, especially in industry.

“Humanity” The quality of being humane; benevolence. Learning concerned with human culture, especially literature, history, art, music, and philosophy.

Cultural Context These images represent the cultural material elements that the project respond to, a Dundee that is almost unrecognisable in the modern day. Maurice Broomfield’s industrial photography further emphasised the theatrical qualities of making and industry, the hustle and bustle, dramatic movements and joins between machines and humans extracting material elements, simply put – making things. The top two images of Dundee are mirrored with the bottom two, the mills that were the backbone – to the V&A as a symbol of the city’s future. The looms and machines being worked with inside – replaced by new technologies. A constant trade between the made and the manufactured perhaps? The project takes these contexts into account and initiates the discussion around what these images might be replaced with in another centuries time? and what lies in the future of ‘making’.

Evolving a Brief A ‘make’ centre on Perth Road - the heart of Dundee’s West End. A collaborative and engaging hub of practicing, learning, teaching and celebrating the vibrant and theatrical arts of making inspired by Dundee’s strong industrial heritage. The multi-use and adaptable programme spaces provide the physical and cultural facilities to reinstate the lost traditions of physical, material making and crafting to further develop the creative industries. Dundee being the only UNESCO City of Design in the UK the brief seeks to accommodate the future of making, with its growing influence on local communities and cultures.

Figure 3 : Old Dundee Mills

Figure 4 : Inside Jute Mill

Figure 5 : Maurice Broomfield Industrial Photography

Figure 6 : Conceptual Model

Figure 7 : V&A Dundee - UNESCO City of Design

Figure 8 : What is the future of ‘making’ ?

Schedule of Accomodation

Adaptable Studio Units Breakout Workspaces Cafe/Bar CAD Studio External Terrace Gallery/Exhibition Space General Workshop Kitchen Machining Workshop Making Hall Making Yard Meeting Room (adaptable) Shop Staff Office Technician Break Room

Building Occupancy

Area m2

Occupancy Load Factor

Occupancy Capacity

Adaptable Studio Units (x3)

Breakout Workspaces

150

Cafe/Bar

170

CAD Studio

External Terrace

Gallery/Exhibition Space

128

General Workshop

Kitchen

Machining Workshop

125

Making Hall

300

Meeting Room (adaptable)

Staff Office

Technician Break Room

Public Spectator Space

167

0.5

334

Total

1381

809

Main Entry Space

Figure 9 : Entry Level Plan Diagram

Light Visually legible connections to building programme + circulation. Open and welcoming The main entry space is the first direct interaction with the building, strategically it should have good visibility to each of the elements that make up the building programme allowing visitors to immediately orientate themselves.

Figure 10 : Glasgow School of Art Reid Building - Steven Holl

Figure 11 : GSA Reid Building - Steven Holl

Figure 12 : Dundee Contemporary Arts - Richard Murphy

Figure 13: Edinburgh Printmakers - Page Park

Make Hall

Figure 14 : Lower Level Plan Diagram

Central core space Direct access to external yard Direct access to secondary more highly serviced workshops Tall section height to accommodate large fabrications/sculptures to be assembled Void connection to primary public level The primary and largest programmatic space of the project, acting as the hub within the workshop level connecting the yard to the circulation spaces, shared facilities and amenities. A space that is easily adaptable and flexible with high occupancy capacity for a variety of use cases – classes, large scale fabrication, assembly, 3D printing and laser cutting, etc

Figure 15 : Studios - GSA Reid Building

Figure 16: Edinburgh Printmakers - Page Park

Figure 17 : Sculpture Studio, Modus Studio + El Dorado

Figure 18 : RCA Dyson + Woo, Haworth Tompkins

Studio + Breakout Workspaces

Figure 19 : Upper Level Plan Diagram

Adaptable use spaces North diffused light Studio can be opened to flow into breakout workspaces or closed off The concept behind the studios and breakout spaces is that the studios can be rented or booked by individual artists or creatives whilst the breakout workspaces can be utilised by members of the centre or as subspaces when it is not suitable to be working solely from the workshops

Figure 20 : Kingston School of Art, Haworth Tompkins

Figure 21 : RCA Dyson + Woo, Haworth Tompkins

Figure 22 : Kingston School of Art, Haworth Tompkins

Figure 23 : Studios - GSA Reid Building

Making Yard

Figure 24 : Lower Level Plan Diagram

Provide easy service/delivery access for the building through make hall Accommodate external workspace when required The making yard will be easily viewed from different points within the building adding to the connection of the making processes and the public social spaces but will also add great practicality to the buildings overall functional capabilities.

Figure 25 : Artist Workshop, Carmoady Groake

Figure 26 : Anthony Gormley Studio, David Chipperfield

Figure 27: Edinburgh Sculpture Workshop, Sutherland Hussy

Figure 28 : Edinburgh Sculpture Workshop, Sutherland Hussy

Site Analysis

- Dundee - 26 - Plan of Dundee - 28 - Context of the City 30 - Roseangle - 32 - Industrial History - 34 - Initial Site Response - 36 - Site History - 42 - Historic Buildings - 44 - Roseangle Vistas 46 - Breakdown of the Site - 48 - Movement Through Site - 56 - Regional Sections 58 - Streetscape - 60 - Existing Condition - 62 - Context Breakdown - 66 - Materiality - 68

Figure 29 : Aerial Sketch of Roseangle

Dundee

Dundee a city defined by rapid Industrial Growth, decline and cultural rebirth as a UNESCO City of Design with the world leading V&A museum at the heart of its Rebranding and waterfront development. Unique in its location and scale, situated on a South facing slope leading down to the Banks of the River Tay with panoramic views reaching across to Fife. Only 150,000 inhabitants call Dundee home, it is a city that feels small and who’s residents can go to Primary, Secondary school and University all on the same street.

Figure 30 : Old Textile Factory, Dundee

Figure 31 : Plan of Dundee

Context of the City

32 .

33.

34.

35.

36.

37.

38.

Figures :

32. Industry pushed out of the city centre over past century 33. Proposal aims to return industrial skills to city centre as an enabler to small scale and creative industries 34. Express local heritage of industry, recognising where Dundee came from 35. Designing for the future of making in a UNESCO City of Design, a creative globally connected and integrated Dundee 36. Form publicly engaged didactic hub of making and creativity in Dundee’s West End 37. Accommodate for passing of skills within local communities outwith formal educational institutions 38. A celebration of making - open to all

Figure 39 : Cultural and programmatic links to proposal + Perth Road Site N

.Verdant Works Museum

.Dundee + Angus College

.Flour Mill Workspace

.V + A Design Museum

.Waters Edge

.Dundee Contemporary Arts

.Dundee Make Space

.McManus Galleries

.Wasps Studios

.Cox’s Stack

.West Ward Works Development

.Tay Road Bridge

.Duncan and Jordanstone College of Art + Design

.Tay Rail Bridge .Dundee Airport

.Univeristy of Dundee

Roseangle

West End Lanes Conservation Area Roseangle first industry was Agriculture, serf’s maintained their small farmland plots overlooking the Tay. Overtime, the expansion of Dundee’s Harbour following the industrial revolution drastically changed the urban fabric of Roseangle; now the heart of the cities Mill Industries. The merchants Built grand villas along with views to the Tay, workers lived in multiple occupancy tenement blocks beside large Mills whose decorated chimneys defined the Dundee’s industrial skyline. As industry increased wealthier inhabitants relocated to quitter and less polluted areas of Dundee such as Broughty Ferry and Strathmartine.

1:10000 N Figure 40 : Roseangle Regional Plan with West End Lanes Conservation Area

Industrial History

Dundee’s industrial decline began in the aftermath of the second world war. After losing much of its Jute and Jam industry, the city began to look in new directions on how to reinvent itself. The mills of the city employed upwards of 55,000 people and was responsible for the cities population skyrocketing to 160,000 at the beginning of the 20th century. It was during the financial crisis between 1920 and 1930 that the cities industry began to take a hit. The global recession led to less demand for the goods produced in the cities factories and an emerging cheap labour force in India led to much of the cities industry moving overseas. The city was still home to many well-known north American companies such as Timex and Coca Cola but during the 1970’s with much of the cities post-war growth on the decline many of these industries

also began to move abroad. Much of the cities heritage left during the 1970’s and the city saw its population drastically decrease as workers began to move elsewhere. The city tried to reinvent itself in many ways including destroying many of the chimneys that once dominated the city’s skyline and produced much of its wealth. The 90’s saw the Discovery an exploring ship return to its home on the banks of the river Tay and the city began to look towards transforming itself into a post-industrial tourist destination with a focus on its waterfront and harbour. The few chimneys that remain in the city serve as a reminder of a Dundee that once was, A vibrant city known for its tough citizens and electric atmosphere, A city planted firmly on the global stage.

Figure 41: Old Photo of Dundee from Across the Tay

Figure 42: Current Photo of Dundee from Across the Tay

41.

42.

Initial Site Response

2 sites were appraised as having potential for the project, site A on the North edge of Perth Road and site B to the South, both presenting opportunities and constraints. Site A occupies a mostly vacant plot with the community fridge and a public car park, with a large fall held in with a high retaining wall, featuring university gardens on the North edge. Site B currently housing a car garage in an warehouse dating back to the early 1900’s on the South side of Perth Road extending into Roseangle and the West End Lanes conservation area.

Site A

Site B

1:2500 N

Figure 43 : Site Appraisals Plan

Site A

Opportunities

Challenges

slope/level change

mature trees

south facing Perth Road frontage, good for social spaces + interaction + main entry

overshadowing from surrounding buildings + trees

dual access - north upper access - south Perth Road access

sub-optimum side service access points

large area to work with

less existing forms tou utilise as guidance/ opportunity

creation of a generous public space

less direct sunlight

north service access - separation

retaining walls around car park

south facing cafe on Perth Road

development would relocating car park ?

involve

removing/

underground spaces into the level change less existing conditions to consider

north lit spaces would be detached from Perth Road frontage - less elements as a draw through the site

address exisitng allotments consideration of exisitng allotments more space for generous central organisation space and voids large area of land

north light : back of site upper secondary access gallery

ing

main space

ain

ret

workshops

dio

stu

lls

ove rsh

public space

prevailing wind

trees

Figure 44 : Site A Appraisal Diagram

cafe

Site B Chosen Site to Develop

Opportunities

Challenges

north light on orientation onto Perth Road

linear site - limits spatial arangements

direct south light to back of site

proximity + potential dominance over Roseangle

views out to south

existing brickwork location on site

side access opportunities : pedestrianswest + service-east

obscure basement level changes address to Perth Road

sloping site level + level change floor heights direct Roseangle integration existing building

maintaining/improving elements

character of existing material

consideration of history

not overshadowed

narrow access from lanes on east + west

potential for large building intervention

onlooking gardens gardens/windows

linear form and efficiency of space site history + age site layout suitable for service + served orientation

character

and

private

existing

residential

road access to yard

north

nto Perth

llery o light : ga

Road service access yard

make hall service access

bar

prevailing wind

external seating

views out good sunlight

Figure 45: Site A Appraisal Diagram

190, Perth Road Site History

A selection of maps showing the development of the Roseangle region of Dundee and immediate context of the site. The industrial heritage and character of the site has developed over the past 100+ years that an iteration of the current warehouse has stood on the site. The presence of the yard throughout its operational lifetime influenced the design development of the making yard. Functioning as a vital access point and external working space as necessary to the contemporary programme as it has been throughout the buildings history.

1860’s

1900’s 42

1920’s

1950’s

Current Figures 46 - 50 : Historic Map Data of Site Region

Historic Buildings

Roseangle was shaped by its large mills and heavy industries the scars of the decline are evident, in its current urban fabric. The historic edge wraps around Roseangle with few full streets containing the original characteristic remaining. Its streetscape now consist of the original historic buildings among scattered pockets of housing developed through the decades.

Figure 51: Roseangle Plan of Historic Buildings

Roseangle Vistas The Roseangle area of Dundee is known for its lanes and views out towards the Tay as you walk along Perth Road.

Figure 52: Roseangle Vista Photos

Figure 53: Roseangle Plan of Vistas

Breakdown of Site - Wall

Figure 54 : Roseangle Plan Breaking Down of Walls

Breakdown of Site - Lanes

1. Seafield Road 2. Westfield Lane 3. Westfield Place 4. Greenfield Place 5. Mcvicar’s Lane

Figure 55 : Roseangle Plan Breaking Down of Lanes

Breakdown of Site - Road

Figure 56 : Roseangle Plan Breaking Down of Roads

Breakdown of Site - Terrace

Figure 57 : Roseangle Plan Breaking Down Terrace Blocks

Movement Through Site

“An ordinary day on an ordinary street. Pedestrians pass on the sidewalks. Children play near front doors, people sit on benches and steps, the postman makes his rounds with the mail, two passers-by greet on the sidewalk…” Jan Gehl, Life between buildings – using public space. According to Gehl, walking is primarily a type of transportation, in a way to circulate a space. however, it also contributes informal and uncomplicated chances for being present in the public environment. With Dundee’s ever-growing population of people consisting of students, employees and tourism, it is probable that ‘social activities’ are often by foot as a way of transportation. As Perth road being the main road for social gatherings and interactions, consisting of cafes, bars, student university, local stores, churches etc. pedestrian movement along Perth road is the liveliest. The lanes of Perth road to Roseangle creates an easier route for pedestrians to move around. Linear lanes offer vistas right through to the Tay providing a direct route to Roseangle. We

approach the site (Westfield lane) either from the top of the street which is Perth road or from the street of Roseangle. The most interesting approach to the site would be from Perth road as it accompanies a linear journey where variation of spaces, such as passing by spaces, passing through spaces and spaces where it terminates are experienced. linking back to the framework of the wall, walking through the site provides the feeling of the wall directing the journey rather than the main focal point from A to B. The site provides transport of cars and bicycles from Perth road to Roseangle; however, it is occasional that other transportation than foot circulates the site as it is a single-track road and therefore the vehicles which enters the site are owned by locals within those areas.

Figure 58 : Pedestrian Movement

Figure 59 : Vehicular Movement

Regional Sections 1:2000

Figure 60 : Regional Section West

Figure 61 : Regional Section East

Site

Streetscape

existing site

Figure 62 : Streetscape Sections 60

Figure 63: Streetscape Section Plan

Existing Condition

Level -1 1:500 N

Retained Elements

Figure 64-65 : Existing Plans

Level 0

North Elevation - Perth Road 1:500

West Elevation - Westfield Lane Retained Elements

East Elevation - Westfield Place

Figure 66-68 : Existing Elevations

Existing Condition II

N Figure 69: 1:1000 Existing Site Plan

Figure 70 - 73 : Existing Condition Photos

Context Breakdown

1 - ground floor commercial -residential above 2 - commercial 3- residential

A - brick B - stone C - render D - grey cladding E - metal roof F - slate roof G - white painted brick H - render

14000

8700

5000

6500

2300

3 A

1 B

4400 B

4000

H B

10m

0 5m

Figure 74 : Reading of the Context

1 B

Materiality

In the initial stages of visiting the site, the materiality and its contribution to the character and tactility of Perth Road and the West End Lanes was immediately obvious and a key factor to consider throughout the design stages. The primary element of intertest was the Westfield Lane elevation constructed of a variety of brick and stone textures. A great representation of the heritage within the site and typical of Roseangle being constructed across a long time with different materials and techniques all present within this single wall. The majority of the West Elevation to be retained in order to preserve this character and express the join between new and old, acknowledging the history and heritage as part of the contemporary proposal.

Figure 75 : Context Material Collage

Figure 76 : Sketch of Existing Site + Context

Design Development

- Fine Art Influences - 72 - Architectural Theory - 78 - Sketch Designs - 84 - Scheme Diagrams - 96 - Developing a Section Diagram - 100 - Make Hall - 102 - Public Entry Level - 106 - Service Wall/Blocks - 108 - Voids + Volumetric Connections - 110 - Model Development - 112 - Exploring Alternative Roof Forms - 114 - Flip Orientation Test Exercise - 116 - Scheme Design Review - 118 - Studio Natural Lighting - 122 - Architectural Language Development - 124 - Structural Grid - 126 - Test Renders - 128 - Gallery Window Study - 130 - Folded Elements - 132 - Facade Development - 134 - Facade Outcome - 136 - Exploded Structure - 138 - Detail Development - 140 - Details - 142 - Technical Cross Section - 144 - Integrating Structure - 148 - Ventilation Services - 150 - Fire Strategy - 152 - Acoustics - 154 - Roof + Massing Development - 156 70

The Art of Iteration

Throughout the design development process the proposal varied massively as a result of the exhaustive iterative studies and explorations were carried out meticulously considering each element of the architectural proposal both individually and as a whole. These processes allowed the design to move forward intellectually, informed of reasoning behind key moves and following specific strategic objectives as set out by iterative diagrams. A snapshot of which is articulated within this section of the report to further the understanding and narrative of the design decisions as they have been explored and unearthed from within the conceptual theories, influences and aims that were established at the outset. Methodically utilising sketches, hand drawings, physical models, 3D computer generated models, programme concepts and contextual readings/responses the project grew in sophistication. Eventually reducing elements to simple and legible diagrammatic concepts, to be developed simultaneously in the material presence of Perth Road and Roseangle.

Figures 77 - 79 : Existing Condition

Richard Serra

‘Equal’ - 2015 - The Museum of Modern art “If your interested in the invention of form you have to understand where it came from, how it developed, how people put things together” “the virtual denies tactility, it denies your physical presence and relationships other than a lighted screen” - Richard Serra Serra’s interest in form making and material presence interested me with regards to the industrial nature of this projects research. The industrial scale of which ‘Equal’ was forged yet with such a high degree of precision is fascinating, the feeling and atmosphere this conveys to the viewer purely through physicality as a feature that has been considered throughout the architectural design of the making centre. The material perfections and imperfections equally present, with their story of fabrication and mass, weight, texture command the room and offer visitors a chance to interpret industrial making in whatever way they feel. A qualitive feature that has influenced the programme of this project as well as design intentions and decisions.

Figure 80 - 81: Richard Serra ‘Equal’ , 2015, Museum of Modern Art

Anna Airy

Airy’s paintings convey a hustle, bustle and theatricality at one of the heights of industry. The raw elements being processed and fabricated, with material and immaterial qualities articulated through the colours and volumetrics possessed by the paintings were a great influence and interest throughout this project. The capture of movement and activity resembles how the make centre might be seen in the eye of the public.

Figure 82 : Anna Airy, A Shell Forge at a National Projectile Factory, Hackney Marshes, London, 1918

Figure 83: Women Working in a Gas Retort House: South Metropolitan Gas Company, London

Maurice Broomfield

In designing this centre with a focus around making and its didactic qualities the different crafts and processes of making have become of great interest to me, particularly looking back in history to consider how they were conducted in the height of Dundee’s industrial boom. Broomfield’s photography captures this fascination beautifully, the theatricality and dramatic poetry I have come to see in these physical and skilled processes is conveyed immediately. The images harness qualities the architecture is aiming to embody and reinstate to contemporary making, and engage the public and local communities to discover and interact with this forgotten way of life.

Figure 84: Maurice Broomfield Industrial Photography ‘32’

Figure 85 : Maurice Broomfield Industrial Photography ‘5’

Architecture, Craft and Culture - John Tuomey

The poetics of architecture remain fastened to function, in the fullest sense of that value-freighted word. - pg 11 John Tuomey Function, an ever important term in the world of architecture and design, yet in the light of making and craft it seems of more relevance. Making is an action, in this scheme and in the history of industry that has intrigued me so deeply it is generally concerned with producing forms that carry certain function. This link between function and poetics by John Tuomey speaks of architectures value within society, as compared to other art forms – architecture relies on function. Pragmatic functionality is at the forefront of this design proposal , Tuomey’s theory emphasises how the poetics of making lie within its raw functionality and it would be of great success to utilise this expression within the projects design and intentions. Starting by ensuring the designed programme is enabled to its entirety by the architecture as a primary principle of the design process. Perhaps not exactly of equal value but very close behind is to extract the poetics that are tied to these very functions, to not do so would do a disservice to the beauty and qualities present within the concept of making that the scheme is adopting throughout.

Figure 86: Concrete Sea Pool, Belmullet, Co Mayo

Steven Holl - Parallax

“As a detail of a lamp merges with a steel handrail, which in turn mergest with the horizontl sunlight of a large space, individual elements blur and the overall enmeshed experience approaches the strange and the transcendendent. The architectural synthesis of foreground, middle ground, and distant view, together with all the subjective qualities of material and light, form the basis of complete perception. The expression of the originating idea is a fusion of the subjective and objective. The conceptual logic that drives a design is linked to its ultimate perception.” Parallax, Steven Holl Enmeshed Experience 56-67 The integration and synthesis of elements discussed in ‘Parallax’ has similar values to the intentions of the making centre. Combining elements to provide this overall experience, in the proposals case joining the new with the old to become one yet also expressing said join and the heritage and qualities associated with it. Dundee’s industrial history in making is to become part of the perception of the architectural experience. Open to interpretation the fully engaged public level provides a basis for these ideas, skills, crafts and interests to be explored by visitors to the centre and local communities.

Figure 87: Detail at “Y” House. Steel channel’s intentional gap against distant horizon.

Collage City - Rowe and Koetter

Colin Rowe and Fred Koetter’s theories around urban planning and architecture with regards to the benefits that would be seen if a city becomes a ‘Collage City’ where a synthesis of new and old is present and planned successfully. On the urban scale this is adopted by the make centre proposal in combining Roseangle, the West End and Perth Road with a large scale development that would have significant potential on an urban/regional scale. Providing a stronger link to the heritage of the area with contemporary design and further activating the hub that is the fast developing Perth Road, which in turn acts as a gateway to lots of Dundee’s lost heritage and qualities that can be found in the Roseangle region.

Figure 88: Cover drawing - “Collage City”

Sketch Design Stages 1

Central Gallery Circulation Sketch design 1 initially experimented with the concept that a primary circulation and gallery space could occupy the core of the building with the make spaces opening off from it and the rest of the programme (bar/ café, studios etc) continuing above. This was lacking in public engagement except for the fact that there was the potential for views into the main making hall straight from Perth Road.

make hall

Yard

workshops Figure 89-91: Sketch Designs 1

Level 0

gallery

studio

kitchen

bar

Level +1

goods lift

Level +2

Sketch Design Stages 2

East West Workshops This layout adopted the workshops to be organised running across the site which allowed for a circulation segment to run all the way North > South with a potential gallery space on Perth Road. The disadvantage of this design however was that it did not allow for a considerable yard space which would bring the designs functionality into question, as service access would not be easy and would likely block Westfield Place if HGV’s had to unload or park there.

make hall

CNC

workshop breakout/ service

Figure 92-93: Sketch Designs 2

Level 0

gallery CAD studio

viewing gallery

bar

kitchen

breakout workspace

terrace Level +1

Level +2

Sketch Design Stages 3

Full Length Yard Adopting a full length yard created the opportunity for the building to engage the different spaces via this external method although the long and narrow layout would have compromised the effectiveness. The advantage however being that each of the workshop spaces has easy and direct access to external working areas or for deliveries and services to be accessed. The yard also had good connections to the Perth Road and gallery/main entry spaces.

gallery

yard Make hall

workshop

service workshop

Level 0

gallery

yard below

gallery

external Level +1

kitchen

Figure 94-95: Sketch Designs 3

Sketch Design Stages 4

Make Hall on East Positioning the making hall on the East utilises the yard space of the existing building, however this is likely to become rather shaded with a new proposal of more than a single storey, which would detract from the quality of workspace provided. The layout also adopts the principle that maybe not every workshop needs direct access to the yard if it can be achieved through the open plan and adaptable making hall – a principle taken forward to the outcome design. There is also the potential lack of legibility within the volumetric connections due to the overlapping nature of the layout.

gallery office

yard

CNC

workshop

make

goods lift

Figure 96-98: Sketch Designs 4 Level 0

class

CAD

gallery

function

kitchen

studios

breakout

cafe terrace Level +1

Level +2

Sketch Design Stages 5

Perth Road Vertical Gallery Organising the scheme around a gallery across several levels on the North edge as to back onto Perth Road was an interesting sketch design, it also allows a generous yard albeit on the North-East side. It felt this could integrate the gallery and making elements and engage the different levels of the building for more movement. However this detracted from the public/private splitting of the programme and could become illegible.

gallery/entry

make hall

yard

workshop

goods lift

Figure 99-101: Sketch Designs 5

Level 0

gallery

studios

bar/cafe kitchen

Level +1

services

breakout workspace

Level +2

Sketch Design taken forward

Sketch Design Taken Forward The design chosen to take forward positioned the yard to the south, allowing for direct sunlight on any external workspaces, and organised the workshops to be on the lower ground level. This allowed the Perth Road level to house the gallery and bar/café with an optimised public engagement strategy. Voids allow the connection to the making spaces, and the café looks down over the yard, with studios and quieter more private spaces located another floor up from the public level.

Figure 102-105: Sketch Designs 6

office

gallery

goods lift

cafe

yard below

Figure 106-109: Sketch Designs Taken Forward Level 0

WC CNC studio class make hall workshop

breakout workspace

making yard

Level -1

Level +1

Scheme Diagrams I Ideals

This set of strategic diagrams were developed throughout the early design phases. Curated to capture and explore core principles that informed the design, identified as important to the programme and brief response. Figure 110-113: Scheme Diagrams I

studio. cad. workspace. meeting g a l l e r y .

b a r .

v o i d

workshops. making hall. making yard Publicly Engaged Entry Level

Programme Distribution

Extending the Public Realm

Legibility and Spatial Relationships

Scheme Diagrams II Proposal Strategy

This set of diagrams represents the proposals key design moves necessary to achieve the ideals set out on the previous page. The ‘Elements + Vistas’ concept was influenced by the organisation of Roseangle which is itself essentially a collection of elements and vistas providing legibility and a journey through the region. With the folding elements representing physical masses being folded in to the proposal but also the different programme and historic elements being folded into one, this re-initiating the discussion with the lanes that flank the East and West of the site. The punctured service walls evolves the ‘elements’ to house building services as well as service spaces across the 3 levels. Maintaining external access and serving the served primary acess internally. Figure 114-117 : Scheme Diagrams II

100

Elements + Vistas

Folding the Elements

Punctured Service Wall

Draw Between Yards

Developing a Section Diagram

Initial section studies exploring the height at the early design phases and how the scheme may want to step down to account for the fall in the site and the scale within the Roseangle context. It was clear from this study that the scheme would do well to capitalise on the diffused north light in the gallery spaces and studios, whilst the south light and views out can be exploited for the more social spaces and yard to the south of the design. Voids piercing through the central core occupied by the make spaces.

Figure 118-121: Sectional Development Sketches

102

Make Hall

The make hall being the largest space both in plan and volumetrically means it is a core driver of the building diagram. Throughout development it has shifted around to experiment what was the most suitable way for it to sit within the site, this was important as almost every other space is organised around the making hall. Initially it was hoped to sit to the North East as to capture diffused lighting and have direct service access, however as the plan became more resolved it was clear that taking up the South West edge made more sense as to allow the service block to run up the East side. The bar/ café extend over the top enclosing it as the central hub of the building but not limiting the floor area with the public level and void.

Perth Road

north lit gallery frontage to proposal on Perth Road gallery spaces

making spaces as the core of building Journey and draw trhough the plan

make spaces

social spaces to south for sunlight and views across the Tay

social spaces N

104

Figure 122: Spatial Orientation Diagram

Figure 122-126: Make Hall Development Sketches

Figure 127: Making Hall

106

Public Entry Level

The public entry level is a key design move, extending the realm of Perth Road out into the site. Maintaining all the public elements of the proposal on this level would form the most engaging building. Views across this main level were important to ensure spatial legibility and orientation, whilst expressing the making spaces in the most accessible way possible. The gallery making up the street edge encourages an interest to draw people in, whilst the views across to the café and void down to the making hall celebrate the buildings key principles from the outset. Circulating around the main void to the bar/café allowed the service blocks to be efficient and organised whilst maintaining the connection between the circulation and social spaces to the main making space. A central accommodation stair fits into this narrative, allowing public vertical circulation to take place within central void.

Figure 128: Publicly Engaged Entry Level

108

Figure 129 - 132: Public Entry Level Development Sketches

Service Wall/Blocks

The introduction of the two main service space to the North West and South East allowed optimal lighting and engagement with context to be achieved, addressing Perth Road with the gallery, and capturing sunlight to the South. The concept of then ‘puncturing’ these blocks to house vistas and organise stair cores etc further developed this diagram. In conjunction with the structural grid these features organised the served and service spaces in cores that could rise throughout the building and result in an efficient and clear use of space. The lateral views to the lanes and clear central void acting to not enclose the building fully on any side, maintaining views and orientation to the Roseangle context at all times.

diffused north light into gallery activated public edge onto street

south sunlight in + views out

Figure 133 : Elements + Vistas

110

Figure 134 : Punctured Service Wall

Figure 135-138: Service Organisation Development Sketches

Figure 139: Upper Floor Studio Block

Voids + Volumetric Connections

Development sketches show the volumetric and void connections present throughout the entire design process and continuous refinement through iteration eventually opened the void through all three levels to push the building concept even further.

Figure 140: Make Void Early Sketch

112

Figure 141: Development Sketch Section

Figure 142 - 143: Development Perspective Sections

Model Development

1:200 model used to physically model the spaces and orientations of the design as a tool to develop the ‘front’ and ‘back’ edges. The sketch model provided a feel for the design and allowed fast development of the brick North and South stair cores as well as expelling many different options for how to articulate the entry and gallery spaces.

114

Figure 144-149: 1:200 Model Sketch Overlays

Exploring Alternative Roof Forms

The design is always questioned throughout the development phases, there is no exception to this. An industrial pitch language had been adopted from initial stages however it was no longer the most pragmatic choice. However before eventually adopting a flat roof language the use of pitches to mediate the form down the site was explored. This posed potential for a more dynamic form whilst maintaining pitched rooflights across the entire top floor which ultimately proved to be obsolete. The ability to drop a half level proved to cause more issues than it solved as it broke up the top floor too much and overall reduction of the massing was a better route to sit into the context more comfortably.

116

Figure 150-153: Alternate Roof Form Sketches

Flip Orientation Test Exercise

Flipping the orientation early in the design process provided useful insight as to test the project objectives are being achieved in the best manner. Exploring the volumetric connections was interesting and showed potential with a very clear circulation spine. The proportions of the site however dictated the other orientation to be more suited, contextually the roof pitch and gable form sat too prominent for the sensitivity of the conservation area. The existing gable did adopt this form however because of the scale of the proposed programme this becomes uncomfortable in the context.

118

Figure 154 - 155: Flip Orientation Study

Scheme Design Review 5-3-21

Primary feedback and observations

-Further rationalisation of the upper floor is required -Roof needs developed to become more appropriate response to -What is happening in plan -How does the building become one again ? -External façade language needs developed

Figure 156: Perth Road Frontage Scheme Design Review Hand Drawing

120

Figure 157-159: Scheme Design Review Floorplans

Figure 160: Scheme Design Review Long Section

Scheme Design Review 5-3-21

Figure 161: Scheme Design Review Perspective Hand Drawing

122

Figure 161-164: Serial Vision

Studio Natural Lighting

Initially the studios on the upper floor received diffused natural lighting through typical North facing pitched rooflights. As the language of the project developed it became more appropriate to adopt flat roof skylights, with wall apertures to match, connecting to form glazed box type elements within the studios. This allowed light in and views out, further connecting the proposal with the street and lane context whilst aiding the rhythm of the new façade above the existing brick datum line.

124

Figure 165-167: Studio Natural Lighting Sketches

Perth Road + Architectural Language Development

Evolving the brick datum with metal upper façade language in conjunction with the roof responding to the plan suggested the best iteration was to adopt a flat roof language. This slightly reduced the massing of the proposal but crucially allowed a grid and rhythm system to be developed to inform the apertures, façade details and work with the structural grid and internal planning to create holistic and coherent design. The grid façade system that aligned with the 5 metre structural bays informed the focal corner window used to light the gallery naturally whilst expressing externally the large internal space – the street level deep opening in brick allow views into the gallery and activity encouraging visitors to enter and follow their interest. Housed within the stair core is a small exhibition space where snippets can be displayed of what lies within the building, sitting prominently on Perth Road to attract attention.

126

Figure 168-171: Perth Road Frontage Development Sketches

Structural Grid

Figure 172: Make Void

128

1:500

Figure 173: Structural Grid Overlay

Test Renders

Creating test drawings of the different spaces and views to analyse how the proposal is taking shape 3 dimensionally within the context from the perspective of both building users and the passing public. In context the design still appeared slightly overscaled, this was addressed in the following design stages. Materiality is a key part to this proposal and creating these views allows that to be experienced and adapted accordingly, the red steel had a promising aesthetic and effect on the raw industrial feel of the structural system. The interiors felt slightly cold but this was still early for final imagery, the spatial qualities were effectively conveyed and this aided with further detailed design stages, especially in the make hall.

Figure 174: Studio Test Render

Figure 175: Gallery Test Render 130

Figure 176-177: Make Hall Test Render

Figure 178: Perth Road Looking East Test Render

Gallery Window Study

The North gallery window sits prominently on the Perth Road, expressing clearly the gallery/ exhibition volume housed within the front edge of the building. Rendering this element in context as a study to develop how the language of the building might change or break the ‘rules’ for a focal point. Raising the brick datum, extending the window above the parapet roof line or a combination of both all impact the discussion between the street and gallery. In the end the gallery window did not extend above the rest of the building but pulled in slightly to create a depth and relief whilst using the façade rhythm to dictate the glazing sizes and repetition.

Figure 179: Perth Road Looking West 132

Figure 180-182: Gallery Corner Window Studies

Folded Elements

The folded elements conceptual model was derived from the masses of the building and how they might shift and fold into each other to allow the architectural spaces to exist in between these folds. The discussion with the lanes being present by vistas through the folded gaps, the main entry is presented within the folds between one of the service blocks and the gallery for example. The folds however also represent at the conceptual level how the different cultural contexts and heritages are folding together and interlocking to form the architectural intention of bringing the qualities of industry and making back to the creative hub that is the West End of Dundee.

Figure 183 : Folding the Elements

134

Figure 184-185: Conceptual Model

Facade Development

The key move for the façade and elevational treatment was to establish a datum line which followed the existing brick level with the new metal façade existing above. This is another rule which is broken by the stair cores to form an impression on Perth Road and resemble the existing gable at the South onto the yard. Adding more rhythm and depth to the galvanised steel façade system provide more aesthetic qualities but also conveyed the join between the made and the manufactured. With technology housed within the make centre used to produce the upper façade, building from the foundation of bricks metaphorically compared to building on the industrial heritage of Dundee. The façade is fixed back to the primary structural steel frame with the wall build-up outside the frame so the steel is exposed internally as part of expressing the join and industry narrative.

Figure 186: Development Facade Detail 136

Figure 187: Sketch Part Facade

Figure 188: Westfield Place Perspective Sketch

Figure 189: Development Part Elevation

Facade Outcome 1.

5. 1:100 6.

138

1. Mechanical ventilation above kitchen worktop 2. Artificial lighting 3. Mechanical extraction 4. CNC Router 5. Retaining wall to engineers specification 6. Foundations to engineers specification

Figure 190: 1:50 Facade Detail

Brick datum line

Figure 191: Part Elevation

Figure 192: Westfield Place Render

1:100

Exploded Structure

A - Zinc sheets - Vapour barrier - waterproof membrane B - Steel battens C - Rigid insulation - 350mm D - Pre-cast concrete roof slabs - 250mm E - Pre-cast concrete floor slabs - 250mm F - Steel flashing G - Steel ‘I’ beam - 600mm H - Galvanised steel cladding sheets I - Steel angle fixing brackets J - Horizontal steel fixing batten K - Welded steel louvres

F A B C D G

H I

J K

140

Figure 193: Exploded Part Facade

Metal upper facade system fixed back to primary steel frame

Structural steel frame - ‘I’ Beams + paired ‘C’ section columns

New brick elements

Pre-cast concrete floor slabs spanning 5 metre structural bays

Steel columns inserted inside retained brickwork Retained brick elements as external envelope at basement level - gable cut down to form yard wall

Figure 194: Exploded Structure Assembly

Detail Development

Early material and detail development was regarding the pitched roof language, the diagrammatic envelope build-up below shows the concept of the existing brick datum line with steel frame internal supporting a lightweight metal cladding system vaulted by industrial pitched rooflights above. This developed through iteration, the principles however were maintained – to express the join internal and external. This comes in the form of the primary steel frame sitting inside of the wall build-up to be expressed internally and the detail of the gap/overhang between the brick datum and metal façade that has been present since the early phases. Whilst the industrial pitches were not carried through the roof lighting concept was but through a central version above the main void, detailed to span between the structural grid and pre-cast concrete roof panels.

Figure 195: Initial Structure Diagram 142

Figure 196: Detail Development Sketches

Details 1:50

Figure 197: Studio Detail

1. Zinc sheets - Vapour barrier - waterproof membrane 2. Steel battens 3. Rigid insulation - 350mm 4. Pre-cast concrete roof slabs - 250mm 5. Opening window for ventilation 6. Blackout roller blind 7. Triple glazing north facing studio windows 8. Primary steel ‘I’ beams - 600mm 9. Artificial lighting 144

10.

11. 12. 13. 14. 15. 16.

18.

Figure 198: Floor + Wall Detail

10. Existing masonry constructionv 11. Metal wall ties - 450mm centres 12. Cavity gap - 50mm 13. Rigid insulation - 300mm 14. Internal wall finish - timber panel for accoustics - 80mm 15. Screed with underfloor heating pipes - 75mm 16. In-situ concrete floor slab - 300mm 17. Foundations to engineers specification 18. 75mm polished concrete floor finish

17.

Technical Cross Section 1:100

Figure 199: Technical Cross Section

146

Didactic Making

148

Figure 200: Make Void

Figure 9 :

Integrating Structure

Figure 201: Upper Level Plan Diagram

Figure 202: Bar + Column Axonometric

A - Bar B- Welded steel shelf units C - Artificial lighting integrated into column structure D - Primary structural steel column E - Angle bracket fixing shelfs to column

150

B C D

Figure 203: Column Integration Detail

1:20

Ventilation Services

Stack ventilation aided by mechanical srevices running throughout. Underfloor heating serves full building Windows open for individual spaces to control ventilation

Figure 204: Ventilation Diagram 152

LIFT

GOODS LIFT

LIFT LIFT

GOODS GOODSLIFT LIFT

service riser [not to scale] individual machine extraction point ventilation ducts

plant room direct external access

Figure 205: Mechanical Ventilation Ductwork Diagrams

Fire Strategy

The fire strategy for the scheme is based around two separate fire stairs at the North West and South East, each stair is compartmented with direct external exits. This allows the escape distances for two routes of escape to be met as the central public circulation stair is not a safe fire escape route within the regulations. Within the proposal there is void openings in the floors, on the upper level the main void is glazed so no more consideration of fire escape is required – on the same floor the voids to the North have space so that escape can be made without coming within 4.5 metres to the floor openings. Glazed screens are specified where this is not possible with the option of fire curtains if further fire safety precaution is advisable by the fire protection engineer. Within the entry level it is always possible to escape away from the void to either the South fire stair down into the yard or directly out the main entrance or North West fire exit.

16.5m

24m

20m

Figure 206-208: Fire Strategy Plans 154

open void

LIFT

glazed void 4.5m 24.5m

glazed void

22.5m

16.5m

17m

GOODS LIFT

Acoustics

The volumetric connections between the void and main making space is a key part of the buildings identity. A side effect of this is the potential noise issues, this is accounted for in several ways. Firstly - The connection to making spaces is integral to the proposals success, and it is not claiming to be a quiet peaceful coffee spot - the purpose is to get visitors involved and excited. Secondly - Most of the disruptive or loud machinery is located within either the separate machining workshop, or general workshop. These are closed off from the central void intentionnaly to prevent noise pollution throughout the building. The main making hall features quieter equipment and acts as a hub of assembly fed by the secondary workshop spaces. Thirdly - Sound dampening panels on the public level are featured within the internal walls to absorb the worst of noise pollution on the main public level. With a adaptable perforated screen between the cafe space and the main making hall.

156

Sound dampening panel Figure 209: Acoustics Strategy Diagram

Roof + Massing Development

Early in the design process the adoption of the industrial pitch language was effective, however as the design evolved it became apparent this was no longer the most successful move. The overall mass and scale of the proposal reduced over time as plans and sections became more rigorous and efficient, compared to the existing pitched roof there is significant scale to the design yet in its final form it has stepped, pushed, and pulled to an appropriate mass and form in response to the context and programme. The flat roof language supports these design moves, primarily in using a single main skylight for lighting the central void as opposed to a series of pitched skylights that don’t inform to the plan diagram, that lies beneath.

158

Figure 210 - 215: Massing Development from Existing

Contact

Ross Robson University of Dundee rfrobson@dundee.ac.uk ross.robson25@gmail.com

@ross.r.arch

160

Tutor Rowan Mackinnon-Pryde

Year Head Neil Cruickshank

Technology Consultant Joseph Thurrot

List of Figures

Figure 1: Robson, R. (2021). Isometric Section in Context

Figure 15 : Studios - GSA Reid Building [online] Available at: https://

Figure 2: Dundee, 1965 Looking South East towards Tay Road Bridge

www.dezeen.com/2014/03/06/glasgow-school-of-art-reid-buildingsteven-holl/ [Accessed on 10/05/21]

[online] Available at: https://canmore.org.uk/collection/645918 [Accessed on 10/05/21]

Figure 16: Edinburgh Printmakers - Page Park [online] Available at :

Figure 3 : Old Dundee Mills [online] Available at: https://www.

https://pagepark.co.uk/project/architecture/edinburgh-printmakers/ [Accessed on 10/05/21]

thecourier.co.uk/fp/news/local/dundee/284153/seeking-public-helpcelebrate-history-dundee-jute-industry/ [Accessed on 10/05/21]

Figure 17 : Sculpture Studio, Modus Studio + El Dorado [online]

Figure 4 : Inside Jute Mill [online] Available at: https://www.

Available at : https://www.archdaily.com/885316/sculpture-studiomodus-studio-plus-el-dorado [Accessed on 10/05/21]

eveningtelegraph.co.uk/2014/11/12/how-dundee-lost-the-battle-forjute/ [Accessed on 10/05/21]

Figure 18 : RCA Dyson + Woo, Haworth Tompkins [online] Available

Figure 5 : Maurice Broomfield Industrial Photography [online]

at : https://www.archdaily.com/777773/royal-college-of-art-woobuilding-haworth-tompkins [Accessed on 10/05/21]

Available at: https://mauricebroomfield.photography/buy-prints/ template-rknd9 [Accessed on 10/05/21]

Figure 19 : Robson, R. (2021). Upper Level Plan Diagram

Figure 6 : Robson, R. (2021). Conceptual Model Photograph

Figure 20 : Kingston School of Art, Haworth Tompkins [online]

Figure 7 : V&A Dundee - UNESCO City of Design [online] Available

Available at : https://www.haworthtompkins.com/work/kingstonschool-of-art [Accessed on 10/05/21]

at: https://www.vam.ac.uk/dundee/info/members-exhibition-booking [Accessed on 10/05/21]

Figure 21 : RCA Dyson + Woo, Haworth Tompkins [online] Available

Figure 8 : What is the Future of ‘Making’ ? [online] Available at:

at : https://www.archdaily.com/777773/royal-college-of-art-woobuilding-haworth-tompkins [Accessed on 10/05/21]

https://filament2print.com/gb/blog/67_laser-cutting-3d-printing.html [Accessed on 10/05/21]

Figure 22 : Kingston School of Art, Haworth Tompkins [online] Figure 9 : Robson, R. (2021). Entry Level Plan Diagram

Available at : https://www.haworthtompkins.com/work/kingstonschool-of-art [Accessed on 10/05/21]

Figure 10 : GSA Reid Building - Steven Holl [online] Available at: https://www.dezeen.com/2014/03/06/glasgow-school-of-art-reidbuilding-steven-holl/ [Accessed on 10/05/21]

Figure 11 : GSA Reid Building - Steven Holl [online] Available at: https://www.dezeen.com/2014/03/06/glasgow-school-of-art-reidbuilding-steven-holl/ [Accessed on 10/05/21]

Figure 12 : Dundee Contemporary Arts - Richard Murphy [online] Available at :https://www.richardmurphyarchitects.com/DundeeContemporary-Arts [Accessed on 10/05/21]

Figure 13: Edinburgh Printmakers - Page Park [online] Available at : https://pagepark.co.uk/project/architecture/edinburgh-printmakers/ [Accessed on 10/05/21]

Figure 14 : Robson, R. (2021). Lower Level Plan Diagram

162

Figure 23 : Studios - GSA Reid Building [online] Available at: https:// www.dezeen.com/2014/03/06/glasgow-school-of-art-reid-buildingsteven-holl/ [Accessed on 10/05/21]

Figure 24 : Robson, R. (2021). Lower Level Plan Diagram Figure 25 : Artist Workshop, Carmoady Groake [online] Available at: https://www.dezeen.com/2012/02/17/artist-workshop-by-carmodygroarke/#:~:text=Carmody%20Groarke%20designed%20this%20 new,duty%20processes%20to%20finish%20sculptures. [Accessed on 10/05/21]

Figure 26 : Anthony Gormley Studio, David Chipperfield [online] Available at: https://davidchipperfield.com/project/gormley_ studio#:~:text=The%20studio%20of%20the%20English,amid%20 warehouses%20and%20rail%20yards.&text=A%20former%20 Turner%20Prize%20winner,as%20installations%20around%20the%20 world. [Accessed on 10/05/21]

Figure 27: Edinburgh Sculpture Workshop, Sutherland Hussy

Figure 43 : Robson, R. (2021). Site Appraisals Plan

[online] Available at: https://www.royalscottishacademy.org/artistopportunities/residencies-for-scotland/edinburgh-sculpture-workshop/ [Accessed on 10/05/21]

Figure 44 : Robson, R. (2021). Site A Appraisal Diagram Figure 45: Robson, R. (2021). Site A Appraisal Diagram

Figure 28 : Robson, R. (2021). Photograph. Edinburgh Sculpture Workshop, Sutherland Hussy

Figures 46 - 50 : Historic Map Data of Site Region [online] Available at: https://digimap.edina.ac.uk/ [Accessed on 10/05/21]

Figure 29 : Robson, R. (2021). Aerial Sketch of Roseangle Figure 30 : Old Textile Factory, Dundee [online] Available at: https://

Figure 51: Roseangle Plan of Historic Buildings - Groupwork,

tour-scotland-photographs.blogspot.com/2017_12_03_archive.html [Accessed on 10/05/21]

Westfield Lane Contextual Study

Figure 52: Roseangle Vista Photos - Groupwork, Westfield Lane Figure 31 : Robson, R. (2021). Plan of Dundee

Contextual Study

Figure 32: Robson, R. (2021). Industry pushed out of the city centre

Figure 53: Roseangle Plan of Vistas - Groupwork, Westfield Lane

over past century

Contextual Study

Figure 33: Robson, R. (2021). Proposal aims to return industrial skills

Figure 54 : Roseangle Plan Breaking Down of Walls – Groupwork,

to city centre as an enabler to small scale and creative industries

Westfield Lane Contextual Study

Figure 34: Robson, R. (2021). Express local heritage of industry,

Figure 55 : Roseangle Plan Breaking Down of Lanes – Groupwork,

recognising where Dundee came from

Westfield Lane Contextual Study

Figure 35: Robson, R. (2021). Designing for the future of making in a

Figure 56 : Roseangle Plan Breaking Down of Roads - Groupwork,

UNESCO City of Design, a creative globally connected and integrated Dundee

Westfield Lane Contextual Study

Figure 57 : Roseangle Plan Breaking Down Terrace Blocks – Figure 36: Robson, R. (2021). Form publicly engaged didactic hub of

Groupwork, Westfield Lane Contextual Study

making and creativity in Dundee’s West End

Figure 58 : Pedestrian Movement – Groupwork, Westfield Lane Figure 37: Robson, R. (2021). Accommodate for passing of skills

Contextual Study

within local communities outwith formal educational institutions

Figure 59 : Vehicular Movement - Groupwork, Westfield Lane Figure 38: Robson, R. (2021). A celebration of making - open to all

Contextual Study

Figure 39 : Robson, R. (2021). Cultural and programmatic links to

Figure 60 : Regional Section West - Groupwork, Westfield Lane

proposal + Perth Road Site

Contextual Study

Figure 40 : Robson, R. (2021). Roseangle Regional Plan with West

Figure 61 : Regional Section East – Groupwork, Westfield Lane

End Lanes Conservation Area

Contextual Study

Figure 41: Old Photo of Dundee from Across the Tay – Groupwork,

Figure 62 : Streetscape Sections - Groupwork, Westfield Lane

Westfield Lane Contextual Study

Contextual Study

Figure 42: Current Photo of Dundee from Across the Tay -

Figure 63: Robson, R. (2021). Streetscape Section Plan, Westfield

Groupwork, Westfield Lane Contextual Study

Lane Contextual Study

List of Figures

Figure 64-65 : Robson, R. (2021). Existing Plans

Figure 88: Robson, R. (2021). Cover drawing - “Collage City”

Figure 66-68 : Robson, R. (2021). Existing Elevations

[online] Available at: https://tigran-khachatryan.medium.com/ architectural-context-part-5-colin-rowe-fred-koetter-cb7952e9e87c [Accessed on 10/05/21]

Figure 69: Robson, R. (2021). 1:1000 Existing Site Plan

Figure 92-93: Robson, R. (2021). Sketch Designs 2

Figure 70 - 73 : Robson, R. (2021). Existing Condition Photos

Figure 94-95: Robson, R. (2021). Sketch Designs 3

Figure 74 : Robson, R. (2021). Reading of the Context

Figure 96-98: Robson, R. (2021). Sketch Designs 4

Figure 75 : Robson, R. (2021). Context Material Collage

Figure 99-101: Robson, R. (2021). Sketch Designs 5

Figure 76 : Robson, R. (2021). Sketch of Existing Site + Context

Figure 102-105: Robson, R. (2021). Sketch Designs 6

Figures 77 - 79 : Robson, R. (2021). Existing Condition

Figure 106-109: Robson, R. (2021). Sketch Designs Taken Forward

Figure 80 - 81: Richard Serra ‘Equal’, 2015, Museum of Modern

Figure 110-113: Robson, R. (2021). Scheme Diagrams I

Art [online] Available at: https://www.moma.org/collection/ works/193590 [Accessed on 10/05/21]

Figure 114-117 : Robson, R. (2021). Scheme Diagrams II

Figure 82: Anna Airy, A Shell Forge at a National Projectile Factory,

Figure 118-121: Robson, R. (2021). Sectional Development

Hackney Marshes, London, 1918 [online] Available at: http:// gurneyjourney.blogspot.com/2019/02/anna-airys-industrial-art.html [Accessed on 10/05/21]

Sketches

Figure 83: Women Working in a Gas Retort House: South

Figure 122-126: Robson, R. (2021). Make Hall Development

Metropolitan Gas Company, London Anna Airy (1882–1964) [online] Available at: http://gurneyjourney. blogspot.com/2019/02/anna-airys-industrial-art.html [Accessed on 10/05/21]

Sketches

Figure 84: Maurice Broomfield Industrial Photography ‘32’ [online]

Figure 122: Robson, R. (2021). Spatial Orientation Diagram

Figure 127: Robson, R. (2021). Making Hall Figure 128: Robson, R. (2021). Publicly Engaged Entry Level

Available at: https://mauricebroomfield.photography/buy-prints/ template-rknd9 [Accessed on 10/05/21]

Figure 129 - 132: Robson, R. (2021). Public Entry Level

Figure 85: Maurice Broomfield Industrial Photography ‘5’ [online]

Figure 133 : Robson, R. (2021). Elements + Vistas

Available at: https://mauricebroomfield.photography/buy-prints/ template-rknd9 [Accessed on 10/05/21]

Figure 134 : Robson, R. (2021). Punctured Service Wall

Figure 86 : Concrete Sea Pool, Belmullet, Co Mayo [online] Available at: http://anthonyhaughey.com/projects/the-edge-ofeurope/ [Accessed on 10/05/21]

Figure 87: Detail at “Y” House. Steel channel’s intentional gap against distant horizon. Holl, S. (2000) Parallax, p 60.

Figure 89-91: Robson, R. (2021). Sketch Designs 1 164

Development Sketches

Figure 135-138: Robson, R. (2021). Service Organisation Development Sketches

Figure 139: Robson, R. (2021). Upper Floor Studio Block Figure 140: Robson, R. (2021). Make Void Early Sketch Figure 141: Robson, R. (2021). Development Sketch Section

Figure 142 - 143: Robson, R. (2021). Development Perspective

Figure 186: Robson, R. (2021). Development Facade Detail

Sections

Figure 187: Robson, R. (2021). Sketch Part Facade Figure 144-149: Robson, R. (2021). 1:200 Model Sketch Overlays Figure 188: Robson, R. (2021). Westfield Place Perspective Sketch Figure 150-153: Robson, R. (2021). Alternate Roof Form Sketches Figure 189: Robson, R. (2021). Development Part Elevation Figure 154 - 155: Robson, R. (2021). Flip Orientation Study Figure 190: Robson, R. (2021). 1:50 Facade Detail Figure 156: Robson, R. (2021). Perth Road Frontage Scheme Design Review Hand Drawing

Figure 191: Robson, R. (2021). Part Elevation

Figure 157-159: Robson, R. (2021). Scheme Design Review

Figure 192: Robson, R. (2021). Westfield Place Render

Floorplans

Figure 160: Robson, R. (2021). Scheme Design Review Long Section Figure 161: Robson, R. (2021). Scheme Design Review Perspective

Figure 193: Robson, R. (2021). Exploded Part Facade Figure 194: Robson, R. (2021). Exploded Structure Assembly

Hand Drawing

Figure 195: Robson, R. (2021). Initial Structure Diagram

Figure 161-164: Robson, R. (2021). Serial Vision

Figure 196: Robson, R. (2021). Detail Development Sketches

Figure 165-167: Robson, R. (2021). Studio Natural Lighting

Figure 197: Robson, R. (2021). Studio Detail

Sketches

Figure 168-171: Robson, R. (2021). Perth Road Frontage

Figure 198: Robson, R. (2021). Floor + Wall Detail

Development Sketches

Figure 199: Robson, R. (2021). Technical Cross Section

Figure 172: Robson, R. (2021). Make Void

Figure 200: Robson, R. (2021). Make Void

Figure 173: Robson, R. (2021). Structural Grid Overlay

Figure 201: Robson, R. (2021). Upper Level Plan Diagram

Figure 174: Robson, R. (2021). Studio Test Render

Figure 202: Robson, R. (2021). Bar + Column Axonometric

Figure 175: Robson, R. (2021). Gallery Test Render

Figure 203: Robson, R. (2021). Column Integration Detail

Figure 176-177: Robson, R. (2021). Make Hall Test Render

Figure 204: Robson, R. (2021). Ventilation Diagram

Figure 178: Robson, R. (2021). Perth Road Looking East Test Render

Figure 205: Robson, R. (2021). Mechanical Ventilation Ductwork

Figure 179: Robson, R. (2021). Perth Road Looking West Figure 180-182: Robson, R. (2021). Gallery Corner Window Studies Figure 183 : Robson, R. (2021). Folding the Elements Figure 184-185: Robson, R. (2021). Conceptual Model

Diagrams

Figure 206-208: Robson, R. (2021). Fire Strategy Plans Figure 209: Robson, R. (2021). Acoustics Strategy Diagram Figure 210 - 215: Robson, R. (2021). Massing Development from Existing

References

Gehl, J. (2011) Life Between Buildings. Washington: Island Press. Holl, S. (2000) Parallax. Basel: Birkhauser Rowe, C. and Koetter, F. (1978) Collage City. Cambridge: MIT Press Tuomey, T. (2004) Architecture Craft and Culture. Cork: Gandon Editions. The Museum of Modern Art (2015). Richard Serra: Equal | ARTIST STORIES. Available at: https://www.youtube.com/ watch?v=ML1BkhqKo1Q&t=41s (Accessed: 10/05/21)

166

Centre for Didactic Making Precedent Studies Ross Robson 10 - 5 - 2021

168

Dundee Contemporary Arts Richard Murphy Architects, Dundee -1997

Figure 1: DCA Entry Space

Figure 2: Circulation and connection throughout the building plan and variety of functions and users 170

Figure 3: Allowing positive public space in front of the building, allows a break in the streetscape and space to ‘breath’

Figure 4: Articulation on the streetscape - creating a draw and point of public interest

Figure 5: DCA West Approach Sketch

Figure 6: Legibility and relationships between spaces

Figure 7: Adaptable use studios/gallery 172

Figure 8: Internal Street

Figure 9: Bar as the Heart

Figure 10: Back of House

Edinburgh Printmakers Page Park, Edinburgh -2019

To take forward : Utilising and expressing existing brickwork to create a strong sense of character. Internally expressed steel work within large open volume of the print hall. Adopting a contemporary architectural language within a historic building to reinstate its qualities and characteristics.

Figure 11: Edinburgh Printmakers, Print Studio 174

Figure 12: Edinburgh Printmakers Interaction + Engagement Sketch

Figure 13: Edinburgh Printmakers Main Entry

Edinburgh Sculpture Workshop Sutherland Hussy Harris, Edinburgh - Phase 1 - 2012, Phase 2 - 2015

To take forward : Raw insustrial atmosphere and materiality. Publicly engaged making spaces with external programme as a draw into the buildings activities. Programme design

Figure 14: Edinburgh Sculpture Workshop, View Into ‘Creative Laboratories’

Figure 15: Publicly engaged spaces 176

Figure 16: External Workspaces

Figure 17: ESW Aerial Sketch

Figure 18: Public Views Sketch Section

Gormley Studio David Chipperfield Architects, London - 2003

To take forward : Volumetric connections between circulation and programme spaces Use of the section diagram to ahcive optimal lighting conditions for studiosand workspaces to the North and South views and sun for the social spaces

Figure 19: Yard Elevation, Anthony Gormley Studio

178

Figure 20: Simple and Refined Industrial Character

Figure 21: Structural Bays With Steel Frame To Span Over Large Workspaces Efficiently

Figure 22: Expressed Structural Steel

GSA Reid Building Steven Holl, Glasgow - 2003

Figure 23: North Lit Studios, GSA

180

Figure 24: Sketch Sectional DIagram Showing Volumetric Relationships

Figure 25: Central Circulation Void, GSA Reid Building

RCA Dyson + Woo Haworth Tompkins, London - 2015

To take forward : Industrial making atmosphere Organisation around central making hall with voids and circulation Connection and legibility between different making spaces

Figure 26: Plan Organisation Around Voids to Make Spaces

182

Figure 27: Machining Hall

Figure 28: Machining Hall

Figure 29: Public Entry Space

RCA Painting School Haworth Tompkins, London - 2009

To take forward : Brick datum condition, with contemporary alterations to break the language as a focal point. Pragmatic response to retrofitting a brick warehouse building. Lightweight metal facade above existing masonry construction as a contrast and expression of old to new.

Figure 30: Existing Brickwork with New Metal Upper Facade

184

Figure 31: Studio with Rooflights

Figure 32: RCA Painting School Long Section

Figure 33: External Sketch Highlighting Existing Brick Datum

Anish Kapoor Studio Caseyfierro Architects, London - 2011

To take forward : Influence on how an architectural language can emerge from a brick form to create large contemporary apertures for flooding spaces with natural light. Consideration of the precisions and detail of the join and contrast between the new windows and existing brickwork.

Figure 34: External Sketch, Brickwork Material + Immaterial Connections

186

Figure 35-36: External Brick Form of Kapoor Studio

Newport Street Gallery Caruso St John, London - 2015

To take forward : Industrial influences on art and making, the adaption of brick warehouse typology for public use. Joins between exsiting brickwork and new proposal and the contrast of larger appertures to provide views in and out, engagng the urban realm to the buildings internals.

Figure 37: External Relationship Sketch

188

Figure 38-40: Newport Street Gallery External Photos

Kolumba Museum Peter Zumthor, Koln - 2007

To take forward : Sensitivity and consideration to the existing brick condition. Contrast and join of new and old as a key part of the buildings narrative.

Figure 41: Overlay Sketch Kolumba Material Joins

190

Figure 42-43: Kolumba Museum External Photographs

LSE Saw See Hock Student Centre O’Donnell + Tuomey, London - 2015

To take forward : Contemporary use of brick within context of rich heritage of masonry construction. Open public circulation without corridors to encourage conversation and interaction between building users. Organisation around void spaces for volumetric connections as a strategy for spatial legibility.

Figure 44: Void Connections Plan Diagram 192

Figure 45-46: External Photographs, LSE Saw See Hock Student Centre

Storefront for Art and Architecture Steven Holl, New York - 1992

Figure 47: Adaptable Shopfront Devices

194

Figure 48: Adaptable and Engaging Plan

Figure 49-50: Internal/External Storefront Images

Figure 51: Storefront Elevation Photograph

David Brownlow Theatre Jonathan Tuckey Design, Berkshire - 2020

To take forward : Cladding system, depth, relief and rhythm articulated by panels that form the external envelope. Expression of the shadow joints and fixings that hint as to how the cladding is secured to the building.

196

Figure 52-53: David Brownlow Theatre Cladding System

Kunsthaus Museum David Chipperfield Architects, Zurich - 2020

Figure 54: Kunsthaus Facade Diagram

198

Figure 55-56: Kunsthaus Museum External Photographs

Figure 57: Kunsthaus Museum Long Section

UCC Student Hub O’Donnell + Tuomey, Cork - 2020

To take forward : Facade Rhythm as a contrast to the historic existing building. Framed glazing system to create large openings within the structural grid.

200

Figure 58: UCC Student Hub Facade System

Figure 59-60: UCC Student Hub Elevations

List of Figures

Figure 1: DCA Entry Space [online] Available at: https://www.

Figure 15: Robson, R. (2021). Publicly engaged spaces

richardmurphyarchitects.com/Dundee-Contemporary-Arts [Accessed on 10/05/21]

Figure 16: Robson, R. (2021). External Workspaces

Figure 2: Robson, R. (2021). Circulation and connection throughout

Figure 17: Robson, R. (2021). ESW Aerial Sketch

the building plan and variety of functions and users

Figure 18: Robson, R. (2021). Public Views Sketch Section Figure 4: Robson, R. (2021). Articulation on the streetscape - creating a draw and point of public interest.

Figure 3: Robson, R. (2021). Allowing positive public space in front of the building, allows a break in the streetscape and space to ‘breath’

Figure 4: Robson, R. (2021). Articulation on the streetscape -

Figure 19: Yard Elevation, Anthony Gormley Studio by Chipperfield [online] Available at: https://davidchipperfield.com/project/gormley_ studio#:~:text=The%20studio%20of%20the%20English,amid%20 warehouses%20and%20rail%20yards.&text=A%20former%20 Turner%20Prize%20winner,as%20installations%20around%20the%20 world. [Accessed on 10/05/21]

creating a draw and point of public interest.

Figure 20: Robson, R. (2021). Simple and Refined Industrial Figure 5: Robson, R. (2021). DCA West Approach Sketch

Character

Figure 6: Robson, R. (2021). Legibility and relationships between

Figure 21: Robson, R. (2021). Structural Bays With Steel Frame To

spaces

Span Over Large Workspaces Efficiently

Figure 7: Robson, R. (2021). Adaptable use studios/gallery

Figure 22: Robson, R. (2021). Expressed Structural Steel

Figure 8: Robson, R. (2021). Internal Street

Figure 23: North Lit Studios, GSA [online] Available at: https://www.

Figure 9: Robson, R. (2021). Bar as the Heart

dezeen.com/2014/03/06/glasgow-school-of-art-reid-building-stevenholl/ [Accessed on 10/05/21]

Figure 10: Robson, R. (2021). Back of House

Figure 24: Robson, R. (2021). Sketch Sectional Diagram Showing Volumetric Relationships

Figure 11: Edinburgh Printmakers - Page Park, Print Studio [online] Available at: https://pagepark.co.uk/project/architecture/edinburghprintmakers/ [Accessed on 10/05/21]

Figure 25: Central Circulation Void, GSA Reid Building [online] Available at: https://www.dezeen.com/2014/03/06/glasgow-schoolof-art-reid-building-steven-holl/ [Accessed on 10/05/21]

Figure 12: Robson, R. (2021). Edinburgh Printmakers Interaction + Engagement Sketch

Figure 26: Robson, R. (2021). Plan Organisation Around Voids to Make Spaces

Figure 13: Edinburgh Printmakers Main Entry [online] Available at: https://pagepark.co.uk/project/architecture/edinburgh-printmakers/ [Accessed on 10/05/21]

Figure 27: Machining Hall [online] Available at : https://www. archdaily.com/777773/royal-college-of-art-woo-building-haworthtompkins [Accessed on 10/05/21]

Figure 14: Edinburgh Sculpture Workshop, View Into ‘Creative Laboratories’ [online] Available at: https://www.royalscottishacademy. org/artist-opportunities/residencies-for-scotland/edinburgh-sculptureworkshop/ [Accessed on 10/05/21] 202

Figure 28: Machining Hall [online] Available at : https://www. archdaily.com/777773/royal-college-of-art-woo-building-haworthtompkins [Accessed on 10/05/21]

Figure 29: Public Entry Space [online] Available at : https://www.

Figure 47: Robson, R. (2021). Adaptable Shopfront Devices

archdaily.com/777773/royal-college-of-art-woo-building-haworthtompkins [Accessed on 10/05/21]

Figure 48: Robson, R. (2021). Adaptable and Engaging Plan

Figure 30: Existing Brickwork with New Metal Upper Façade [online]

Figure 49-50: Internal/External Storefront Images [online] Available

Available at : https://www.haworthtompkins.com/work/rca-paintingschool [Accessed on 10/05/21]

at : https://www.stevenholl.com/projects/storefront-for-art-andarchitecture [Accessed on 10/05/21]

Figure 31: Studio with Rooflights [online] Available at : https://

Figure 51: Storefront Elevation Photograph Images [online]

www.haworthtompkins.com/work/rca-painting-school [Accessed on 10/05/21]

Available at : https://en.wikipedia.org/wiki/Storefront_for_Art_and_ Architecture#/media/File:Storefront_for_Art_and_Architecture.jpg [Accessed on 10/05/21]

Figure 32: RCA Painting School Long Section[online] Available

Figure 52-53: David Brownlow Theatre Cladding System [online]

at : https://www.haworthtompkins.com/work/rca-painting-school [Accessed on 10/05/21]

Available at : https://jonathantuckey.com/work/horris-hill-theatre/ [Accessed on 10/05/21]

Figure 33: Robson, R. (2021). External Sketch Highlighting Existing

Figure 54: Robson, R. (2021). Kunsthaus Facade Diagram

Brick Datum

Figure 55-56: Kunsthaus Museum External Photograph [online] Figure 34: Robson, R. (2021). External Sketch, Brickwork Material + Immaterial Connections

Available at : https://davidchipperfield.com/project/kunsthaus_zurich [Accessed on 10/05/21]

Figure 35-36: External Brick Form of Kapoor Studio [online]

Figure 57: Kunsthaus Museum Long Section [online] Available at :

Available at : https://www.archdaily.com/786255/anish-kapoorstudio-i-caseyfierro-architects?ad_medium=gallery [Accessed on 10/05/21]

https://davidchipperfield.com/project/kunsthaus_zurich [Accessed on 10/05/21]

Figure 58: UCC Student Hub Facade System [online] Available at Figure 37: Robson, R. (2021). External Relationship Sketch

:https://odonnell-tuomey.ie/student-hub-ucc [Accessed on 10/05/21]

Figure 38-40: Newport Street Gallery External Photos [online]

Figure 59-60: UCC Student Hub Elevations [online] Available at

Available at : https://carusostjohn.com/projects/newport-streetgallery/ [Accessed on 10/05/21]

:https://odonnell-tuomey.ie/student-hub-ucc [Accessed on 10/05/21]

Figure 41: Robson, R. (2021). Overlay Sketch Kolumba Material Joins

Figure 42-43: Kolumba Museum External Photographs [online] Available at : https://www.archdaily.com/72192/kolumba-musuempeter-zumthor [Accessed on 10/05/21]

Figure 44: Robson, R. (2021). Void Connections Plan Diagram Figure 45-46: External Photographs, LSE Saw See Hock Student Centre [online] Available at : https://odonnell-tuomey.ie/londonschool-of-economics-student-centre [Accessed on 10/05/21]

Management Practice and Law

204

Overall Concept Design + Planning Issues

River Tay

West End Lanes Conservation Area + Proposal Site

Proposal

In the modern world our society has become detached from the processes and arts of making, crafting, designing, and fabricating – all of which are responsible for forming the very world around us and the objects/elements we interact with daily. Taking inspiration from the industrial heritage of Dundee this proposal aims to re-introduce a didactic expression of the various techniques and qualities that articulate the process of making. Based on the concept of visually and atmospherically creating a ‘theatre of making’ with the aim of providing maximum community engagement as a place to gather, learn, and nurture the creative/making cultures of Dundee. The proposal synthesises a diverse programme of functional workshops, learning/ working spaces, a bar/café and gallery. Each with a focus on publicly engaged space to encourage full integration into the Perth Road artery as well as the cultural, social and physical contexts of the wider community and UNESCO City of Design – Dundee.

Site

The site is located on the South side of Perth Road, within the “West End Lanes Conservation Area” (highlighted above) with two considerably smaller scale lanes running down the East and West of the site. Currently there is an existing warehouse building on site – serving as a Kwik Fit garage. The site as stated in the Conservation Area Appraisal has a strong industrial heritage, with many factories having been located in the Roseangle area throughout history as well as the main residential area for the workers. The site is unique in its character of Westfield Lane, and Westfield Place defining the boundary with a strong sense of place and history as the almost primarily pedestrian routes run South from Perth Road towards Magladen Green and the Tay. The proposal has carefully considered maintaining the character of the lanes and considered how to add more interaction to the site which as exisiting is only in discussion with the Perth Road frontage. The fall of the site down towards the South is also a key factor in sitting appropriately in the context as scale and heights become exaggerated as the building form pulls away from Perth Road, this has been developed and tested over the

Existing Building

metres

206

The exisiting brick warehouse has a variety of features that create a strong sense of character and certain restrictions/challenges that have informed the design process throughout. The warehouse that has appeared on OS maps since the 1900’s features a primary level extending from Perth Road and an existing basement level below. On the Westfield Lane elevation the use of brick has been left exposed and added to with different combinations of brick and mortar styles, and some stone work in places – this collage of different materiality’s that has evolved overtime has a strong sense of place and the proposal focuses on maintain this elevation and its beautiful varieties and character it brings to the site and context. The Westfield Place elevation (West) has been adapted with more modern techniques which is therefore less desirable for retrofitting – however the existing use as a service access to the basement level has informed a similar strategy within the new proposal.

Ross Robson

Publicly engaged entry level

studio. cad. workspace. meeting g a l l e r y.

b a r.

Programme Distribution

v o i d .

w or ks h ops . mak ing h a l l . m a ki n g y a r d .

Vertical + Volumetric Relationships

Elements + Vistas

Punctured Service Walls

Folding the Elements - Lane Narrative

01 / 04

Technical Design, Building Warrant and Integrated Environmental Strategy

PRE-CAST CONCRETE ROOF SLABS

STEEL ‘I’ BEAMS

STEEL COLUMNS

PRE-CAST CONCRETE FLOOR SLABS

Structure The proposals plan is based on a structural grid that is adapted where necessary to allow for dynamics and connections between spaces. A structural steel frame will be inserted within the boundary of the existing Westfield Lane elevation, using I beams and doubled ‘C’ section columns to support a system of pre-cast concrete floor slabs spanning the 5 metre structural bays. With a screed layer above housing underfloor heating and a concrete floor finish.

BRICK DATUM LEVEL 208

02 / 04 open void

Fire Strategy The fire strategy for the scheme is based around two separate fire stairs at the North West and South East, each stair is compartmented with direct external exits. This allows the escape distances for two routes of escape to be met as the central public circulation stair is not a safe fire escape route within the regulations. Within the proposal there is void openings in the floors, on the upper level the main void is glazed so no more consideration of fire escape is required – on the same floor the voids to the North have space so that escape can be made without coming within 4.5 metres to the floor openings and glazed screens are specified where this is not possible with the option of fire curtains if further fire safety precaution is advisable by the fire protection engineer. Within the entry level it is always possible to escape away from the void to either the South fire stair down into the yard or directly out the main entrance or North West fire exit.

LIFT

glazed void

GOODS LIFT

4.5m

24.5m

glazed void

22.5m

B C

D E F G

Environment The design incorporates lots of natural lighting through large apertures, particularly to the north for diffused studio and gallery lighting but when necessary, artificial lighting is provided by hanging lights to the same level as the exposed steel beams, with service channels cast into the pre-cast concrete floor slabs. Mechanical ventilation is run throughout the highly serviced areas such as workshops or kitchen spaces – this is fixed amongst the structural beams above the datum of the artificial lighting. Natural ventilation is provided with vents opening at the top of the main voids skylight to allow hot air to be released and vents bring in colder fresh air lower down to allow stack ventilation to take place within the central space. Assisted by mechanical ventilation where necessary through ducts leading back to the plant room on the basement level where the most intense ventilation requirements are situated. A - Ventilation unit above worktop in break area B - Artificial lighting hung below C - Facade gutter system D - Mechanical ventilation above CNC router

E - Artificial lighting to light machines + workspaces F - CNC Router G - Retaining Wall H - Foundations to structural engineers specification on structural grid lines

Health + Safety

250mm going

300mm

167mm risers

1:50

External Making Ya

Drawings showing stair + bannisters adhering to relevant guidelines stipulated by current Scottish building regulations.

1100mm

1:25 210

03 / 04 Plant Room with direct external access for ease of maintenance throughout buildings use. Access is on Westfield Place a one way street heading South, this lane is most suitable ‘back’ access to the proposal whilst Perth Road frontage is the main entrance and Westfield Lane is unsuitable for most vehicles. Westfield Place also provides access for the making yard, where most deliveries can be made easily out the way of the main public circulation.

Plant Room Direct External Access

Westfield Place Access

ard

Construction Design Management - CDM New CDM regulations were established in 2015 to improve the health and safety standards and reduce risk whilst construction was on-site as well as the users of the building. Knowledge of these regulations are integrated into the design process in regards to safe maintenance of the building once constructed and considering how the building can be constructed safely and efficiently on this specific site, without taking health and safety shortcuts.

Client In following guidance from the CDM regulations the client must appoint a Principle Designer before any design commences and notify HSE (The Health and Safety Executive). They must also ensure suitable arrangements for services and amenities on site, including toilets and changing facilities for workers throughout the construction process.

Principle Designer The principle designer (PD) is responsible for preparing the pre-constructions health and safety file, and must clarify the responsibilities of the client and ensure they are aware of their role and have all the positions appointed that are required. Pre-construction and throughout the PD should work to oversee all processes and seek to eliminate risks on the construction site.

Cost Relate to Design BUILDING TYPE – HIGH Featuring a relatively large scale public building typology this will occur more expenses than that of a smaller scale counterpart, with greater square meters, more sophisticated building services required, more amenities and harder wearing public finishes for durability against higher volumes of people. The variety of functions and spaces within the programme will add complexity and cost to the project with more specialist features likely to occur.

TOPOGRAPHY – HIGH Perth Road is the primary and entry level to the proposal, however the site slopes down from this level towards the South. This will incur extra expenses within the retaining wall details that will have to be developed to accommodate the newly proposed structural steel frame to the site. Relevant safety precautions will be taken during the construction of the retaining wall adding time and expense to the project.

VENTILATION SERVICES – HIGH A variety of ventilation services are required for the different spaces, the workshops and assembly spaces of which have a high and sophisticated service requirement. Certain machinery will also utilise specific ventilation methods which will increase cost. There are several large volume connecting spaces throughout the design which require more considered and detailed ventilation strategies which will also increase cost to achieve this outcome successfully without over-reliance on bulky and expensive mechanical ventilation methods.

CONSERVATION AREA – MODERATE The site being located within the boundary of the ‘West End Lanes Conservation Area’ will induce extra precaution throughout the design and construction process. Planning will require more attention and extra care will be taken to not disrupt the conservation area throughout the construction process. This will involve being respectful of the lanes and not damaging them with heavy machinery or materials, and not detracting from the qualitive nature and character the conservation area has been established to maintain.

STRUCTURE – MODERATE A steel frame makes up entirely the primary structure, using economical ‘I’ sections for beams and doubled up ‘C’ sections to form columns. The beams are very standard so economical in terms of performance and cost, the joined columns will have slightly more craft and detail involved however still not a particularly expensive system. Pre-cast concrete floor slabs are repeated so are also economical.

ACCESS – MODERATE Site access is provided to the North at Perth Road and East down Westfield Place – Westfield Lane is generally not suitable for construction vehicle or material supply access however less intrusive handwork would likely be able to take place with the relevant precautions in place. Utilising the space in the existing yard area to the North will be sufficient until the making yard is constructed to the South after which it will allow a base for the construction materials, services, amenities and access to operate from.

HEATING – HIGH The proposal has several large volume spaces to heat using an underfloor heating system, however cost will be reduced by utilising several large apertures to the south for solar gain in conjunction with the thermal mass of the concrete slabs. GEOMETRY – MODERATE The project geometry is based on a 5 metre spanning grid, with deviations from this grid at specific points it is kept within repeating bay structure which aids the reduction of cost. The cladding and façade system is also rectilinear along with almost all of the geometry present within the building, keeping elements simple and not overcomplicated.

212

EXISTING STRUCTURE – MODERATE Saving the existing West elevation will save costs in the terms that it is acting as the rainscreen layer for that section of the development. Demolition and adaptation of the other elements of the existing warehouse may be more expensive as extra time and precaution will need to be taken.

DETAIL – HIGH Whilst expressing lots of details as part of the concept of didacticism leaves them exposed and slightly easier to construct, this also means that most joins between materials, windows, bannisters etc must be considered in detail in order to reflect the architectural language and concept. This would add cost as time required for extensive design of the details would be demanding and the quality of material would need to be higher considering the amount of elements left uncovered and expressed throughout the scheme. Large glazing systems will be used amongst the structural frame with careful detailing and craftsmanship to not hinder the architectural intentions, this will add substantial quality to the design and increase the connection and discussion with the flanking lanes, however this detailing will come at a slightly higher cost.

Co-Professionals and Business Models

04 / 04

THE DESIGN TEAM

BUSINESS MODEL

ARCHITECT The Architect will typically lead the design team and advise the client on the necessary professionals that are needed throughout the project. The Architect will primarily be responsible for the design and planning stages but will collaborate throughout the detail design and construction processes.

PRIVATE LIMITED COMPANY The structure of the practice would likely adhere to a Private Limited Liability Company, with a board of directors. This proposal being a public building of medium scale it would require large studio team with experience in designing non-residential public buildings.

STRUCTURAL ENGINEER Consults with the design team regarding the structural systems, testing and advising throughout the design and planning stages. They may advise to aid the economics of the projects structure but primarily there to ensure the structure is sufficient for the loads and uses of the building. MECHANICAL + ELECTRICAL ENGINEER Responsible for consulting and working with the Architect to design the building services, this is particularly relevant for this proposal as it features a variety of service levels required throughout. Including highly serviced and specialised areas such as the workshops and kitchen. The mechanical and electrical engineers will be able to aid resolving the most efficient and effective ways of ventilating the building and aiding in the design process to enable more natural ventilation strategies. FIRE PROTECTION ENGINEER The fire strategy will be advised on by this engineer and ensured that the design follows all relevant regulations, this will be particularly important regarding the higher risk workshop areas and the voids featured throughout the proposal. QUANTITY SURVEYOR The QS will calculate and cost up the materials of the project, this will ensure a realistic budget is set and worked towards – they can also advise on where it may be possible to adapt material expenditures to make the building more economical if required. CONSTRUCTION MANAGER Leads and controls the employed team of contractors who will be constructing the building. Typically the contractors will be chosen by the client and then the construction manager will take responsibility of the organisation throughout the building process. This may be slightly different if the client chooses a management contractor who would then sub-contract out and oversee specific parts of the construction stage.

Board of Directors There would be a founding director(s) who started the company and then a further board of directors appointed to run the company. ASSOCIATES Associates, typically architects but they may also be other consultants or professions within the construction industry with different experiences and expertise. Often associate architects will have an area of specialty but will be involved across all stages of a project. SENIOR ARCHITECTS Fully qualified senior architects will be responsible for a team of staff below them, will work on project proposals and be involved in the entire design process. PROJECT ARCHITECTS A project architect, usually a senior architect will be appointed for the project and see it through all the RIBA stages of work 1-7. ARCHITECTURAL ASSISTANTS Part 1 and part 2 architectural assistants will aid the office in regards to completing models, drawings and offer input to design meetings or reviews. Being less qualified they will typically work on more menial tasks within the studio team. Office Managers + Administrative Assistants Receptionist, assistants, accountants, studio managers, all members of the company who take responsibility of tasks out with the designing of buildings but incredibly important to ensure the practice can smoothly and focus on the architecture.

BTM - The Tactility of Space

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Generic Model

Project findings + takeaways This exercise explored the effects of materiality within architectural space and atmosphere. Studying different combinations of material finishes within the key space of the proposal (make hall void) to understand what material language might be most appropriate and suit the objectives of the space. Exploring the utilitarianism of the steel structure and concrete panels showed the extreme of what this language could express, the main takeaway however was that this showed promising results but needed refinement to create the right feeling space for the public to have lots of engagement with. Expressing brick internally had an aesthetic quality however rationally it made less sense to construct the internal walls, also with the retained external brick how would that language transcend internally? Would the internal brick want to replicate the existing, this may be less effective as a perfect match would be near impossible? This led to the use of concrete internally as it was more pragmatic and allowed a clean precise aesthetic creating a contrast to the external brick and internal steel frame.

Internal Walls

dark concrete

board marked concrete

brick

dark timber panel

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light timber plank

white plaster finish

horizontal timber finish

Ceilings

light concrete

light timber planks

white plaster

brick

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Floors

light concrete

timber planks

stone slabs

Structure

white painted steel

black painted steel

red painted steel

corten steel

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Bannsiters

black painted steel + concrete panels

timber + concrete

red painted steel + mesh

Compositions

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Between Thinking and Making Groupwork ‘Drawing to Find Out’

Casa das Histórias Paula Rego by Eduardo Souto de Moura

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Ross Robson

Chloe Barker

Helen Stout

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A Centre of Didactic Making - Design Report

Articles inside

Critical Reflection