NEW VISIONS CRAMOND Urban Strategies and Landscape Ideas for Cramond, River Almond and Environs
Work developed by the Students in the School of Architecture and Landscape Architecture Cramond and Barnton Community Council
Students
MSc Urban Design & Strategies Masters in Landscape Architecture 1 MSc in Landscape Architecture (BA1 and BA2) Staff
Tahl Kaminer Tiago Torres-Campos Thomas Oles Elinor Scarth Elise Campbell Lucas Nightingale Andy Hillhouse Victoria Claire Bernie We would like to thank 2
Cramond & Barnton Community Council Cramond Heritage Trust Cramond Association Friends of River Almond Almond Neighbourhood Partnership West Edinburgh Council And in particular, we would like to thank Andrew Mather Peter Scott Ian Williamson John Dods
Booklet produced by Tiago Torres-Campos and Elinor Scarth. All the visual and written work in this booklet are property of the students in Landscape Architecture, ESALA, ECA, The University of Edinburgh.
All the work is reproduced with permission from the authors. All rights reserved.
2015. Edinburgh, Scotland
NEW VISIONS CRAMOND Urban Strategies and Landscape Ideas for Cramond, River Almond and Environs
Work developed by the Students in the School of Architecture and Landscape Architecture Cramond and Barnton Community Council
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Contents
Context
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Introduction
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Park Design & Management 4
A parkland at the cityscale Group work:
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Uncertainty of Interfaces The way leading into Cramond Choose your History Hand on History Water remediation Flux is Blur Estuary Park Play? Revealing Sound through Cramond
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Introduction
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Exposure & Enclosure Time & History Weather & Agens of erosion Water & Tides Transitions & Limits Scale
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Walled gardens and woodland Car park and woodland slope River Almond Walkway Foreshore
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Design: Space, Function & Planning
Group work:
Areas of intervention:
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Context
From January until April 2015, students and staff in three courses at the Edinburgh School of Architecture and Landscape Architecture (University of Edinburgh) have focused their attention on the far western edge of the Edinburgh waterfront, which includes Cramond, Barnton, the River Almond and environs. This exhibition is the result of many good ideas, collaborations, workshops and certainly a lot of effort. In the landscape architecture programme students focused their attention on the historical centre, which sits at the mouth of the River Almond, a place with considerable archeological importance that was once home to important fishing communities and today exists as a flourishing community.
The village still retains much of this earlier character, which when combined with its easy access to both the city centre and airport has lately attracted some of Edinburgh’s wealthiest residents. Considering that the village is not only interesting to estate agents, we scoped the value of its surroundings in terms of history, larger social and cultural dynamics, ecological and biophysical value. The series of projects you may see in this booklet focus on the work developed by the students in landscape architecture. They demonstrate a wide range of conceptual, strategic and design approaches that one might take when reading this place at different scales and from different points of view (from urban strategy, to intervention and to design detail).
These disparate endeavours by a diverse group of students range from the hands-on, practical and pragmatic to the idealistic and fantastical. Their excursions into alternatives to the contemporary Cramond provide, hopefully, a basis for discussion and debate regarding what is warranted, what is desired, and what could be achieved in this historic and beautiful area at the edge of the city.
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Park Design & Management
The Park Design & Management course, attempts to question the meaning and contemporary pertinence of a park in Cramond and its strategic value within the wider context of the Edinburgh and Lothians region and the Firth of Forth. In practical terms this means undersatnding the inherent existing qualities of Cramond and acknowledging the differences in wealth, power, and access that mark this ecology. The course deeply considers how (or whether) these differences can be redressed or another understanding of the landscape can be acheived through the design of the things we call ‘parks.’ The students open responses to these lines of questioning has revealed key themes which could be developed. The brief of this studio was a comprehensive parks proposal for Cramond village and its surroundings. Research themes and enquiry included: • What is a 21st Century Park?
• What is and how do we experience the cultural and historical heritage of Cramond? • What is the existing landscape value? • What is the ecological value?
• How may we develop new strategies for experiencing Cramond and reveal new perspectives? • How might we work with the dynamic condition of the landscape?
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Cramond A parkland at the scale of the city?
In order to structure their approaches to this brief, students formed design working groups around one of three overarching studio themes—interface, flux, and history.
These themes should not be thought of as separate ‘thought silos’ but rather as adjacent doors leading into the same room. This visibility and palpability of these dynamic themes in Cramond raises many interesting moral and ethical questions when it comes to designing a ‘park.’ And, as expected, these themes overlapped and interpenetrated as designs developed.
INTERFACE Cramond is a landscape of edges and meetings. It is a place where land meets water, river meets firth, city meets countryside (and, considering its proximity to the airport, world). It is also a democratic and public landscape, one where rich and poor, old and young, pink and brown voluntarily assemble in close proximity to one another, and in turn meet (or collide with) the people who call Cramond home. The combination of all these ‘interfaces’ makes this place unique and unrepeatable, even as it is. It also invests the Cramond landscape with two important characteristics of great urban parks: different types of environments and different types of people. HISTORY Cramond is an ancient place of ‘productive collisions’, a landscape shaped by thousands of years of more or less continuous human occupation. It is a place where multiple accreted landscape are unusually palpable and insistent and where, almost at every turn, one encounters some material evidence of our own place in history, of the humus in human. Everywhere one is reminded that we build our worlds and tell our stories on the rubble of past ages. This visibility and palpability of something called ‘history’ (really just the sum total of stories to which some ‘we’ gives credence) in Cramond raises many interesting moral and ethical questions when it comes to designing a ‘park.’
FLUX We live at a time of great uncertainty, the ancient idea that whatever our hopes, whatever our designs, ‘all is flux.’ As a key concept in landscape architecture, flux— the notion that every form is in fact a process— is among the most powerful operational tools of this discipline. And Cramond is arguably a dramatic illustration of this premise, especially with its fluvial dynamics, from the complex hydrology to the diurnal rhythms of the tides forming the backdrop of the social routines of the seasons.
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Section AA
Section BB
Section CC
Kit Bowen Harrie Carr Emma Henderson Cameron Fong
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Uncertainty of Interfaces
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This project concerns itself with Cramond’s relationship with its wider context. It seeks to develop a farther-reaching sand dune system, a environment that is prone to constant change and flux. The project responds to the paradox that Cramond lacks a prominent link with the greater Edinburgh region; yet, there is an intense centre of activity focused in the village.
The aim is that the development of a sand dune system would, with time, provide a new platform for amenities, functions and travel. It would also enhance the ecological importance of the area, which is already of significance, along with blurring the divide that exists between sea and land. The intention is that people will feel actively engaged with the sea, as currently, despite the beauty of the Forth, there is a lack of connectivity and interaction. The idea of the psammosere would work in 2 ways; firstly, spreading in a conventional sense, with a series of groynes providing a backbone for the dunes to develop. The success of the embryonic dune that exists close to the Cramond causeway would be replicated along the coastline. These groynes also help to engage the public with the sea, and with time, encourage usage of the new dune systems.
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Existing vehicle route to Cramond
Existing Car Park
Cramond P a r k Pedestrian Only
Proposed vehicle route to Cramond
Proposed car park
The way leading into Cramond Syreen Monshi Olya Panchovska Valerie Tsang Shu Zhu
Proposed bus stop
Proposed pedestrian route into Cramond
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This project concerns itself with the arrival to Cramond and the pedestrian experience. By completely reorganising the visitors approach, it is possible to highly choreograph the arrival experience.
This project offers a new arrival to Cramond by relocating the car park and creating an estimated 50 more parking spaces. An additional bus stop extending the Lothian Bus service number 37 is also proposed in order to provide an additional public transport point of arrival. A new path makes the connection through a variety of landscape features. The project takes into account the wider context, the woodland areas, the open fields with panoramic views, the existing car park and the visual links to the Firth of Forth Strategically placed shelter structures are located along the path presenting the best scenic views. According to this proposal the existing car park would be closed and transformed into a prairie garden. This is a cost- effective and aesthetically pleasing solution could be achieved within a short timeframe. As well as leaving the ruins lying beneath the ground in this area untouched and protected.
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Choose your History Bingqing Chen Noviani Kesuma Mao Qianzheng Jing Wang Ariana Stoyanova
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This design proposal is about creating experiences while maximizing the richness of the history and the landscape of Cramond. 5 unique walks have been designed relating Cramond’s history a wide range of visitors.
Second World War Walk, Ancient People Walk, Historical Building Walk, Geological History Walk, Roman Walk.
Props (costumes/specimens) would be made available for some of the walks and audio narratives have been scripted and recorded for the 5 walk experiences. These would be made available to visitors on headsets and via downloadable podcasts.
The proposal allows walkers to experience past lives in Cramond while exposing Cramond’s history to a full variety of visitors.
Dowie’s Mill Cramond Old Bridge
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Niddry Mill
The Crossing
The Bothy
Hand on History Hannah Alderton Harry John Batten Greg Bryce Sara Notfors Zi Peng Peter Sharp
A Hand on History is about the manipulation of historical spaces; reinvigorating and bringing them forward into present day use. When arriving in an environment we begin to establish ourselves within it making sense of the present from the past. We seek connection through visible indicators such as military and industrial ruins of Cramond. Our connections are made through a multitude of experiences through the reading of the physical landscape and it’s on-going use. Cramond Old Bridge - A deck would be built to provide a better position to overlook the river. It would be composed of larch timber decking and the form would mirror the arches of Cramond Old Bridge.
Dowie’s Mill - This is the site of a former island caused by the diversion of the river for industrial purposes. The design is dictated by the footprint of this island creating a series of islets within the woodland, which is thinned around them. Niddry Mill - Representing a vestige of the Scottish steel industry the lines of trees reflect the high degree of past human intervention and emphasise the ruin. Prunus spinosa has been selected as a compact specimen tree for its year round interest and resilience
The crossing - The harbour side design is based around the historic ferry crossing that existed until 2001. By the addition of a new bridge we reinstate the connection with the wider landscape; this links into the current footpath network increasing movement opportunities.
The Bothy - The journey culminates at the most remote point of Cramond island. Here a ruined defensive structure will be converted into a retreat sheltering people from the harsh nature of the environment. This bothy will act as a live reference library providing visitors and locals with the opportunity to share their memories of Cramond and serving as a present day archive.
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Water Remediation Jingyi Jiang A Mc Carthy Ruoqi Sun Chung Yan Tam Ki Tong
Cramond is water. The water that runs through and surrounds it energizes it, and as a result, it is a landscape in flux. It contains the clash of sea and land, the collision of man and nature, the merging of landscape and urbanism. Drumond Sands reveals to us the constant changing of the tides.
Finding a solution to issues concerning sewage, drainage, and pollution – the effects of humans on the landscape – are central to Cramond and the River Almond. How can we preserve the characteristics already present in the River Almond and harvest them to produce a resilient place for people and the environment now and in the future? We need design solutions that accentuate the environment that will create a resilient River Almond system to adapt to uncertainty and to the ebb and flow of nature. We will look to nature for lessons in how, in a complex world, each part works together in harmony.
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Park The park has three access points from the existing groin and waterfront. This is a more playful area composed of winding concrete paths, marine biodiversity and artificial rock pools with concrete foundations. Much like a real rock pool, these pools will change on a daily basis as the tide rises and falls. We want to create an environment that is family friendly and unique to Cramond in emphasising existing elements of this estuary.
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25m
50m
The park has three access points from the existing groin and waterfront. This is a more playful area composed of winding concrete paths, marine biodiversity and artificial rock pools with concrete foundations. Much like a real rock pool, these pools will change on a daily basis as the tide rises and falls. We want to create an environment that is family friendly and unique to Cramond in emphasising existing elements of this estuary.
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50m
Jetty
Crossing
Jetty
The crossing will act as a bridge at times of low tide connecting Cramond to the opposite river bank. It will also be constructed of concrete and allow for the free movement of river water to flow into the estuary. This is the moment in the proposal where the transition between the playful meandering paths of the park becomes the singluar, isolated line of the jetty.
The 300 meter long jetty which punctures the estuary provokes a sense of isolation within the vast landscape, emphasised by the narrow 1.5 meter path. A solitary concrete bench is provided a the jetty’s tip allowing people to enjoy an intimate, sublime moment with the landscape presented before them.
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Park
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Crossing
The crossing will act as a bridge at times of low tide connecting Cramond to the opposite river bank. It will also be constructed of concrete and allow for the free movement of river water to flow into the estuary. This is the moment in the proposal where the transition between the playful meandering paths of the park becomes the singluar, isolated line of the jetty.
The 300 meter long jetty which punctures the estuary provokes a sense of isolation within the vast landscape, emphasised by the narrow 1.5 meter path. A solitary concrete bench is provided a the jetty’s tip allowing people to enjoy an intimate, sublime moment with the landscape presented before them.
100m
New Visions for Cramond FLUX IS BLUR.
Design: space, function and planning
CONFLICT
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Year 25_ Low Tide
Year 25_ High Tide
TEXTURE FRAME
Play vs isolation: dissolving lines of the park in rising tide Year 25_ Low Tide Tide
Year 25_ High Tide
Y Bian, A Grudgings, Q Huang, L Taylor
Tide
Y Bian, A Grudgings, Q Huang, L Taylor Section through from opposite riverbank to Cramond
Seaweed development
Year 0
Year 5
“The firm line of land’s edge is a gross simplification in
Year 25
Year 100
New Visions for Cramond FLUX IS BLUR.
Flux is Blur
CONFLICT
Yaguang Bian Adam Grudgings Qiwen Huang Leo Taylor
TEXTURE FRAME
New Visions for Cramond
Play vs isolation: dissolving lines of the park in rising tide “The firm line of land’s edge is a gross simplification in a fluid world where land and water are not separable... woven intricately in a complex and temporal depth”
FLUX IS BLUR.
Desig
SOAK - Anuradha Mathur, Dilip In order to take full advantage of Cramond’s landscape, integrating the built form with its natural surroundings, we chose to design in the estuary of the river Almond. The estuary is a place, which is vital to Cramond’s identity. The intention is to blur the boundaries between land and sea.
Section through from opposite riverbank to Cramond
Park
amond
sa nd se ate ng
Design: space, function and planning
Seaweed development
0 The park has three access pointsYear from the existing groin and waterfront. This is a Year 5 more playful area composed of winding concrete paths, marine biodiversity and artificial rock pools with concrete foundations. Much like a real rock pool, these pools will change on a daily basis as the tide rises and falls. We want to create “The firm line offamily land’s edge a gross simplification an environment that is friendly andis unique to Cramond in emphasisingin existingland elements of this estuary. a fluid world where and water are not separable...
The proposed park will be submerged under high tide waters for half the day and will be revealed as a public park at low tide. This designed landscape is composed Crossing Jetty of three segments: the park, the crossing and the jetty.
woven intricately in a complex and temporal depth” SOAK- Anuradha Mathur, Dilip
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25m
50m
100m
In order to take full advantage of Cramond’s landscape, integrating the built form with its natural surroundings, we chose to design in the estuary of the river Almond. The estuary is a place which is vital to Cramond’s identity however is neglected and labeled ‘too dangerous’ by locals. Our agenda, on the other hand was to find ways in which people could best experience the estuary, blurring the boundaries of what traditionally is defined as land or sea.
the park would be submerged under high tidal waters for half the day but be revealed as a public park at low tide. It is composed of three segments: the park, crossing and jetty helping to reinstate the estuary as an important and beautiful landscape in Cramond. It is a park which embraces juxtaposition in many ways: the cultivation of seaweed and marine biodiversity in artificial concrete rock pools will provide a safe and enjoyable space for young families to explore the estuary, a place which is currently seen as dangerous due to the estuary quicksand. In addition, the 300 meter long jetty which punctures the estuary provokes a sense of isolation within the vast landscape, emphasised by the narrow 1.5 meter path. A solitary concrete bench is provided a presented them. FLUX IS BLUR. the jetty’s tip allowing people to enjoy an intimate, sublime moment with the landscape Design: space,before function and planning
New Visions for Cramond
Flux is Blur is a proposal which challenges conventional ideas about park design, however it was important to us that the park functions on a more grounded level as a place for people. Our intervention is not merely about statement making but about facilitating a need for people to experience the estuary in Cramond, and by doing so blurring it’s defined boundaries in realisation that “land and water are not separable”.
CONFLICT TEXTURE FRAME
Play vs isolation: dissolving lines of the park in rising tide
Crossing
Y Bian, A Grudgings, Q Huang, L Taylor The crossing will act as a bridge at times of low tide connecting Cramond to
the opposite river bank. It will also be constructed of concrete and allow for the free movement of river water to flow into the estuary. This is the moment in the proposal where the transition between the playful meandering paths of the park becomes the singluar, isolated line of the jetty.
Section through from opposite riverbank to Cramond
Year 25 Year 100 The crossing will act as a bridge at times of low tide connecting Cramond to the opposite river bank. It will also be constructed of concrete and allow for the free movement of river water to flow into the estuary. This is the moment in the proposal where the transition between the playful meandering paths of the park becomes the singluar, isolated line of the jetty.
The 300 meter isolation within A solitary concre an intimate, su
The park has three access points from the existing groin and waterfront. This is intended as a playful Design: space, function and planning area composed of winding concrete paths, marine biodiversity and artificial rock pools constructed with concrete foundations.
The crossing will act as a bridge at times of low tide connecting Cramond to the opposite river bank. It will also be constructed of concrete and allow for the free movement of river water to flow into the estuary. The proposed 300 meter long jetty, which punctures the estuary provokes a sense of isolation within the vast landscape, emphasised by the narrow 1.5 meter path. A solitary concrete bench is provided a the jetty’s tip allowing people to enjoy an intimate, sublime moment with the landscape presented before them. Conflict, texture, frame
Jetty
The 300 meter long jetty which punctures the estuary provokes a sense of isolation within the vast landscape, emphasised by the narrow 1.5 meter path. A solitary concrete bench is provided a the jetty’s tip allowing people to enjoy an intimate, sublime moment with the landscape presented before them.
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Estuary Park Jean-Francois Krebs
Cramond’s heart can be identified as the foreshore. Analysing visitor movement through the village reveals that pedestrian circulation is dysfunctional. There are issues related to visitors finding their way to the village and the foreshore from public transport drop off points. In addition circulation itineraries, which have traditionally and intuitively follow the coastline, are blocked due to the impasse of the river Almond crossing
Designing in an estuary requires very specific attention and consideration of constraints. Ecologically it is a crucial area because it is a very specific habitat: the salt level of water fluctuates between low in the river and high at high tide. We are able to identify marine flora and fauna adapted to the estuarine conditions. Transforming this sensitive area will require consultaions with the respective governing bodies and environmental protection areas. The daily rhythm of tide (intermittent) and the rhythm of tide over one hundred +years (evolutive).
Firstly concerning ourselves with the daily tide fluctuations. At high tide the proposed park, is inaccessible, one is not able to imagine the park and garden lurking beneath the tidal waters. The daily rhythm of the tides is responsible of the constant change of appearance of the proposed landscape. Sometimes very wet and shiny, the sand is soaked, the paths are shiny, seaweeds offer shimmering colours. On a sunny day, when it dries up a little bit, the scent of seaweeds is stronger, the texture of the soil is different, and people who explore the park will be less likely to have mud stains on there shoes. In the scale of a hundred years, the action of the tide and the sea water is also very important, even though it seems more subtle at first glance. We can see the amazing textures of the existing weathered concrete blocks. These man made materials soon becomes part of the sea, when shells and seaweeds start to colonise the forms. The salt and the movement of the waves also deeply alters the materials.
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A musical journey - site analysis
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Play - the recomposed score
Exisiting site
Project proposals
Project proposals
Play?
Rosie Cranmer Pippa Farr Morbheinn Mcallister Bobbie Nicol Martha Stephens This highly exploratory project has been initiated through a number of lines of questioning: - A journey can never be experienced in the exact same way twice.
- As time passes, things are constantly changing. Sometimes we cannot see the changes, but if we look closely enough, we can find them. - Landscapes can be experienced at different speeds. Varying motion can also effect the experience of a journey.
- Music is a way of expressing emotions, it is personal and unique. Listening to a piece of music, which has been composed from the experience of a landscape, allows listeners to feel almost inside the journey, as if they are experiencing it themselves.
Within this project development a musical score has been composed, which represents and informs the experience and design for of the River Almond Walkway. Five strategic moments or movements have been proposed. Each moment has been strategically chosen according to the existing atmospheres and landforms. These sequences are defined as DETACH, EXPLORE, CONQUER, STIMULATE, and ACCEPT The project aims to enhance the existing River Almond Walkway.
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Revealing Sound through Cramond Claudia Wickse Barrow Elise Collard Amandine George Katerina Ivanova Emma Thompson
This proposal pinpoints five major sounds that form the foundation of the soundscape of Cramond: the interface between river and the estuary, vegetation, passing airplanes, people and the wind. However these sounds are not necessarily being noticed or appreciated. The concept here proposes that the soundscape turns a space into a place, therefore it should be celebrated; there are no ‘good’ or ‘bad’ sounds, every noise be it generic or site specific contributes to the formation of genius loci and the experience of a place. This proposal develops five different ways to manipulate the existing sound conditions in order to construct the new proposed soundscape for Cramond.
The sound of brackish interface was hardly noticeable therefore the project proposes to ELEVATE. In some areas of Cramond vegetation is scarce and the proposal is to INTENSIFY. The sound of aeroplanes could be considered controversial – certainly disliked by most people it still contributes substantially to the soundscape of Cramond; for that reason the design proposes to CONTRAST this sound.
The promenade is a central and popular area, the sound of gushing water passing under the promenade is muted and isolated the project MULTIPLY’s this sound in a way which would encourage people not only to notice but also interact with the soundscape of Cramond. Strong winds and high levels of exposure are very characteristic of the Cramond soundscape; by TRANSFORMING the soundscape that the harsh weather conditions create the project seeks to influence the experience of the place and perhaps encourage a better connection between man and nature.
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Design: Space, Function & Planning
Following a very similar method to the projects developed in the Park Design & Management course, in Design: Space, Function & Planning, students also focused their approach on specific areas in the village, which became experimental grounds for innovative design solutions and landscape ideas.
In the beginning of the project, the students developed intensive fieldwork, supported by visits to Cramond of distinct nature. In some, they experienced the site’s conditions—landscape, weather, topography, relation to the river and sea—, in others they conducted more specific analysis of certain aspects or dimensions— measuring, surveying, taking samples. Although developed individually, this fist part of the work conducted the students towards a second important stage of the project, to be developed in groups. At this point, students were assigned to groups according to their own interests—historical evolution, weather and climatic conditions, landscape dynamics, scale, exposure and enclosure. In the following pages one may see a summary of their analitycal work in groups. The third, and perhaps most representative stage of the project was again developed mostly individually. After focusing on a specific topic of interest, the students were subsequently to focus on an area of interest.
The most important areas that deserved our focus were the waterfront and the dune system (classified as a Site of Specific Scientific Interest), the River Almond walkway, the sloped woodland that makes the transition between the existing car park and the Kirk and finally the walled gardens behind the Kirk Halls. In the final part of this booklet, one may see some of the most meaningful design decisions the students took and further developed.
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Exposure & Enclosure Alan MacInnes Jennifer Fauster Norman Villeroux
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Time & History
Cherry Chen Leao Pang Jock Breckenridge Stina Skjerdal
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Sand dune erosion - cyclic construction and destruction Woodland erosion Rock erosion Human induced erosion
Weather & Agents of erosion Audrey Chan Jasmine Fan Matthew Sharkey Sam Pritchett
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Water & Tides Bel Wilson Evie Harper Gladys Han Luca Toth
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Transitions & Limits Emma Herbert Ella Tober Flora Robertson Usaid Tariq
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1:50,000 The copper wires illustrate views along the journey to Cramond.
1:5,000 Each journey made with a different mean of transport is analysed in more depth by visually displaying the views.
Scale
Alex Pugh Anabelle Silver-Setchfield Ignacio Gubianas Jack Summerhayes
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Areas of Intervention
After developing their analytical work in groups, students individually focused on one more specific area to further develop their ideas. We defined four areas in Cramond. These areas were selected not only for their interest, variety and complexity but also due to the potential they demonstrated for change and improvement.
The selection of the four distinct zones also responded, to a certain extent, to the wishes, desires and concerns of the local population in Cramond.
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Walled gardens and woodland Car park and woodland slope River Almond Walkway Foreshore
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Walled gardens
A journey by Stina Skjerdal Summary
Some ideas to maintain the woodland
Cramond has been through many eras and the succession of these becomes evident in the ruins spread around the village. The ruins provide us with layers upon layers of history that are part of what makes Cramond’s identity. An identity that embraces all sides of the past. the present and the future.
2. Walled garden: The walls that enclose this garden should be rebuilt to prevent from total ruin. The ivy growing on the wall should be removed or, at least controlled so it does not completely destroy the wall any further. Trees, shrubs and herbaceous planting need to be pruned regularly to keep them from overgrow, and the meadow areas must be regularly cut.
The first thing that struck me about Cramond was the interaction between manmade structures and natural elements. This is not a place purely created by humans; it is a place shaped through thousands of years of impact from the Firth of Forth, the constant stream of the River Almond, the howling wind, the warm sun and the slow growing vegetation.
The area I have chosen for my design is where the old main street used to be. This is where the focus of the village once lay, before it was shifted towards west.
My project aims to redesign what I consider to be one of the main access points to the village. A journey that reflects the identity of Cramond, a journey that will bring joy and wonder.
This will be the visitors’ first encounter with the place, and their experience of Cramond will build upon this journey.
1. Entrance from the road: This area must be kept as an open and grassy space. The grass needs to be cut regularly and the shrubs and trees along the woodland edge must be pruned. As the trees along the path mature and grow old they can be selectively cut and replaced by the same species or, in case of invasives, by other, more adequate species.
3. Entrance from the residential area: The plants on the slope separating the residential area from the woodland are mainly grass and wildflowers. Maintenance of the wildflowers requires regular mowing and weed control. By doing this we allow the more desirable species to grow and flourish and reduce the number of unwanted species. Any shrub or tree growth should be kept away from the slope as well as the small space around the foot of the steps. 4. Viewpoint: On the north-eastern edge of the woodland the trees should be kept from becoming denser,. This is desirable if we wish to secure an open space to allow for good views of the Firth of Forth. New saplings should be removed to prevent dense tree growth. The timber seating area needs to be cleaned and oiled regularly to prevent them from rotting. 5. Mound and woodland: The woodland consist of
many different species, the most common being the scots pine, ash, sycamore and oak. Other species such as willow, Prunus avium, Rhamnus, ivy and rhododendron are also present. To prevent nonnative species such as sycamore, ivy and rhododendron from becoming too dominant should be controlled or even removed.
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Walled gardens
Reflective pools by Evie Harper Summary
Water plays a key part in the character of Cramond: it gives its unique feeling of serenity and attracts people from all over the country. I have chosen to play on this theme of water, by bringing it other areas, where currently water does not play a major structural role. Because Cramond’s foreshore is overused (thus threatening some significant ecosystems), it is my intention to attract people away from the focal point, or at least to provide them with suitable and pleasant alternatives. My project focused on the importance of water and the way it tends to behave: its fluidity and dynamics, its ripples, its reflections.
The walled gardens are already a popular area in Cramond. They are sheltered, have nice microclimatic conditions and the playground seems to attract parents with children. I believe my proposal with interactive and reflective water can further attract people from different ages.
My design proposes two reflective shallow pools with different characteristics. The first is in the walled garden, immediately adjacent to the one currently with the playground. It emerged out of a reaction to the confined and heavy walls and brings a modern clean-cut feel to the now underused and overgrown area. By proposing a manicured planting scheme with small bushes, herbatious plants and herbs, the walled garden becomes wider, allowing the pool to capture light and reflect the unique Scottish sky. The second pool is proposed in the dense woodland, in the area close to the existing mound. My idea here is that the pool is able to reflect the dense tree canopies, while also giving the impression that the mound is an island.
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Sloped woodland and car parking A journey by Emma Herbert
About the path
Summary
Above, three stone motifs can be seen; the two on the edges are quite contrasting and are aesthetically mixed in the middle picture.
My main design decision was to enhance topogography on site to maximise a sense of journey through the woodland, thus capturing the highlights of what is already there—the art work of names such as Ronal Rae, the ruins, views of the water and the Roman bath house. This coudl be achieved by carefully controlling
For the beginning of the path, and in bigger slabs, I propose the use of basalt (on the left). Basalt, a volcanic rock carved to a square. This igneous rock is dense, with the specific gravity: 2.8 kgN. It is also aphanitic (meaning that the grains are not detectible with naked eye) and it is less prone to erosion than the rock on the right, sandstone.
Futher along the path, and in smaller units, I propose sandstome (on the right). Sandstone is sedimentary rock formed by the eroded deposits which are compressed. Sedimentary rocks form bedding structures, often on top of igneous or metamorphic rocks (the third kind or rock). As the picturre suggests, sandtone is more prone to erosian than the basalt and therefore appears with rounded edges. It is also less dense with a specific densite of w2.2 kgN.
Whatever the type, rock is always a dense and heavy material, which can affect the stability of the raised path. Above is a detail of potential dimensions for the different slabs along the path. To compensate the weight of the rock, I propose the plantation of resistant shrubs that will cope with it and prevent it from collapsing in time.
My project started with a fascination for views on ridges. Local inspirations were such as Swinyard Hill with it’s woodland ridge path.
the design of the rocky path and the growth and development of the existing vegetation.
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Sloped woodland and car parking A new designed car park by Ignacio Gubianas Summary
The design is characterized by a set of terraces along the slope that allow the visitor to enjoy views of the surroundings. The first terraces exists immediately adjacent to the waterfront. The second one is over the ruins of the roman bath. The third one is situated under the existing ruins standing in the middle of the slope (which in my proposal should be restored and possibly converted into a new museum). The fourth terrace lies immediately adjacent to the tower. Detail of the solution for the retaining walls
From the ruins I propose three pathways across the woods leading to different and historically or socially relevant elements in this part of Cramond: the tower, the Kirk halls and the ruins of the roman fort.
In my project, the existing car park represents mainly an aesthetic problem. My design proposal seeks to rearrange its layout, and give it a new, more pleasing pavement, made of cobble stones and reinforced grass. This solution brings softer qualities to the car park itself, while allowing the free movement of people and car. Detail of the new pavement in the car park
I also propose a restricted car access on weekends and during the busy times in Summer.
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Sloped woodland and car parking Ideas for maintenance by Alan MacInnes
Summary
These three sections show distinct phases of woodland rehabilitation. The present situation is a monoculture dominated by ivy, resulting in a decaying woodland with little amenity value. The vision of a coastal parkland linking sea, sand, promenade, woodland and kirk requires pedestrian movement through this area. The first phase deals with unwanted species – ivy and sycamore saplings; • Disposal – plant material should be removed from the area or burned on site, woody material chipped and used to enhance paths. • Rehabilitation – once an area is cleared it should be mulched and planting or allow natural regeneration. • Community awareness – area must be regularly monitored and saplings removed early. • Follow up – regular visual inspection, monitor results of control. Creating ‘new’ woodlands can be approached in two ways • Natural regeneration – local genotypes maintained, more natural process, limits opportunity. • Planting – predictable, can enhance natural regeneration. Key operations ; • Plant selection – visual impact, species suitability, repletion. • Preparing site – remove weeds, add organic matter. • Planting – consider timing and spacing (cooperation and competition factors). • Fertilising – optional • Weeding – requires during establishment of young plants.
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Sloped woodland and car parking The ruins as gardens by Ella Tober Summary
The first visit to Cramond highlighted the relationship between what appeared to be man-made elements and what we perceive as natural elements. What was interesting was looking at what happened when these factors met. To do this we broke down the factors into Hard and Soft elements, analysing the transitions between Hard/ Hard, Soft/Soft and Hard/Soft. From this we concluded that when Hard and Soft elements meet, potential areas for design are created. Garden 1: Flower Ruin
Garden 2: Fern Ruin
Garden 2: Butterfly Ruin
Therefore, I chose the area of the Slope as it contains many transitions between Hard and Soft elements. For example, the water front to the promenade, the promenade to the first slope and the car park to the woods. Although there are many transitions in this area, the relationships amongst them are very abrupt. And so my initial concept would be to form a smoother transition from the roman ruins, through the woodland and the car park, out to the water front.
From the Roman ruins, the journey will take you through the dense woodland opening up at the ruins containing a walk through vertical garden. The vegetation will gradually become less dense as you walk through the car park through the organic forms, which manipulate the way that people walk so that they are guided to the point where the view is finally opened up to them. At this point there will be areas for visitors to sit and enjoy the view. Creating an interesting attractive space both the residents and the visitors can enjoy without destroying Cramond’s Peacefulness. Therefore, finding a balance between Private and Public.
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River Almond Walkway A new river experience by Bel Wilson Summary
The River Almond Walkway: a hidden treasure within Cramond.
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The river experience at present is underused but has vast potential. The dense surroundings of woodland is comforting and, when combined with a range of water energy, provides an ecological, multi-sensual experience.
Weaknesses of the pathway are varied but changeable. The fact that it even exists isn’t obvious enough. From a personal experience, it felt like I almost stumbled upon the walkway, rather than going to Cramond also to enjoy the river experience. Access to the parth is either from much further up the Almond or from the foreshore. The material of the walkway limits the range of users able to use the path, cyclists and pram access is limited in wet muddy conditions. At present it seems the walkway lacks an interactive platform between water and people.
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My design aims to direct people’s movement with the direction of the Almond’s flow, from their arrival at Cramond either by bus, bike or car down to the pavilion on the foreshore. As proved in our anaylitical stage, water has the power to alter how someone experiences the landscape. With this in mind, my design proposal wishes to break the barrier between people and water, thus allowing them to interact. The addition of the boardwalk will allow people to feel closer to the water by peering onto the channel while the steps at the boathouse will alow the physical contact. 1
1: New entrance point from the main road and down the slope 2: Steps in front of the boathouse 3: Boarwalk closer to the water level 4: Pavillion
The Pavillion placed in the beginning of the waterfront will act as the final destination, mirroring the movement of the water and allowing a time for reflection on Cramond’s natural beauty.
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Foreshore
Dwelling in the dunes by Jennifer Fauster Summary
The principle of ‘building with nature’ will be fully exploited to strengthen the Cramond foreshore, defending a new chapter in the history of the area. Opting for a sandy and dynamic solution instead of fixed or hardscape approach creates opportunities to simultaneously strengthen the village, enhance and embrace the qualities of the natural environment and bolster recreational activities.
The design draws on the strength of the Cramond Village, the exposed and fragile ecosystem. The tranquility, nature and clear access to the beach are defining features of this place. This intervention begins a new chapter in the narrative of the landscape. By connecting the village with the beach and putting the focus on the embrionic dunes a new understanding of fragile ecosystems will be created. A place with varied topography, overgrown with native vegetation, complete with young drifting dunes, dune valleys and a beach that varies in width. This new landscape is designed in a manner consistent with the existing embrionic dunes and will feature dune development over the years. The proposed solution meets the dual goals of environmental quality and recreation. The linkage inbetween the village will be strengthen through a new pathwaysystem and a re-location of the amenities. ‘The roundabout’ becomes a new functional space as arriving and gathering point. Structural elements encourage humans to start ‘inhabitating’ the dunes without destroying the fragile environments. The design language of the shelter ties in with the surrounding dune environment and provides enclosed areas to rest in this open and vast space. A timber platform encourages the pedestrian flow rather towards the two shelters and the beach, then to the dunes systems. Pedestrian movement is also controlled through topography and highly resilient planting.
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Ecology of the embryonic dunes in Cramond
Foreshore
Dwelling in the dunes by Jennifer Fauster Dune profiling and stabilisation
Synthetic mesh: creates wide, shallow and flat topographies for backdunes
Brushwood: creates steeper dunes with irregularities due to variation in brushwood density for foredunes
An important ecosystem
People typically have a difficult time understanding change over time, particularly with respect to the dynamic systems endemic to coastal areas. Being human in our time, however, is learning to understand, appreciate, live, and engage in such changes, and dynamic design canfacilitate this goal. Coastal regions are in constant flux given the intensity of environmental and social flows of people, animals, sand, wind, and water. While residents of these regions typically accept these characteristics as part of their daily life, communities often do not fully understand the dynamic processes behind these natural flows, and consequently resist them. Lastly, a better understanding of local, dynamic systems can be encouraged through sitespecific design. Site qualities are evoked and distilled through the planting and creation of native plant communities and habitats. A native collection unique to an area will gain greater respect in a community than a standard, placeless design.
The formation and rehabilitation of a functional dune system is essential to the design proposal. Dunes characteristically have leeward and windward sides. As natural buffers, dunes provide moments of enclosure in a community typically subject to extreme exposure. Planting native grasses, specifically Ammophila arenaria, will facilitate dune formation and island stabilization and help to create a series of natural outdoor rooms/ microclimates. Synthetic material: Wyretex, reinforced fabric of ultra-violet and acid resistant polypropylen and galvanised steel wire
Brushwood: Dutch fencing system, 300-450mm apart
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2015