A Carved Warren

The project focuses on an approach defined by “Reorder”, in which, studio tutors selected 3 existing structural frames from buildings present on the site. These frames had to remain; however the existing material, programme and layout were required to be altered. The existing envelope material could be completely disposed of or, reused to form a new architectural idea. My personal approach focused on reusing the existing frame and circulation spaces, however introducing new material, primarily locally sourced and low impact (stone & timber) to influence my design approach when “reordering” the existing frame. Hence the project challenges the current buildings civic status and programmatic intentions and how the building can mediate the two, which it currently does not. Therefore, the project is not necessarily about “reuse” rather, it is an emphasis of understanding how to work within an existing parameter, whilst exploring the potentials of harnessing locally sourced material and reusability of what already exists. It is therefore intended to given both place, building and material an extended life, physically, technically and symbolically.

The Reordering of “Block C” of Summerhall Edinburgh is intended to allow for collaboration across university, apprenticeship and technical colleges by providing a series of making, working, exhibition and discussion spaces. The ground floor of the building contains various sizes of internal & external workshops intended for heavier, “dirtier” work, with the surrounding buildings being used for storage of material and a semi public courtyard for ease of transportation and material delivery. The first floor contains a series of “clean” discussion and studio spaces, alongside an exhibition wing. The connection of the 2 is emphasised by cutting the existing floor to form internal light wells. The tower sat adjacent to the building is reconfigured to contain accommodation for those who are external to the university use the facility.

The civic presence of the building is re-orded by defining a new street entrance and public courtyard which leads users into the building. By removing the existing railings and engaging the space between itself and adjacent tower the building is opened up physically and visually.

Plans

Sections

1:50 Technical Section

Elevations

Intended to play a compositional “game”, the north façade is intended to not reveal the existing structural rhythm, providing an intriguing civic frontage. Acting as a stone skin, it draws the user round, from the street elevation to the entrance itself, placed adjacent to a new public courtyard. The south façade is more open, both to enable a programmatic change of external workshops and exhibition spaces (hence the wide openings to move items from workshop to gallery), but also to invite the rear courtyard into the building via a subtle threshold of a stone colonnade

South Elevation Unfolded

The new programme dictates that “dirty “working spaces, placed on the ground floor should allow for both internal and external work. The first floor, reserved for “clean” working - is connected via light wells cut into the existing floor plate which aids in providing light down to the workshops on the first floor. The tectonic language of both zones is reflected by their programme, the heavy hard wearing brick masonry in the ground floor workshops is contrasted with the timber lined spaces above. Internal meeting spaces are defined by hanging timber lanterns. Hence, this forms a duel working space, one which expresses both steretomic and filigree acts to tectonic application

Gradual Section Cuts

The approach to using stone for this building mixes both using existing stone and taking advantage of Scottish stone suppliers, to form a new civic and aesthetic approach to the existing frame.
Existing Ashlar is reused, being cut, repositioned and composited to form load bearing blocks. This is achieved by rotating the existing ashlar 90 degrees or bonding 2 blocks together to form a 300mm depth. On the north facade The existing is used to express window and door jambs, as wells as providing datum lines in between sections of new sandstone blocks. The South façade sees the existing ashlar used for drip details, providing small protrusions to mitigate surface water runoff. Both facades reuse the existing stone lintels.

New stone is used to provide a further layer of durability and permanence. The stone is specified to be thick enough (300mm) such that it has more adaptability in being reused in the future. Using undressed stone, such as blocks which express saw chatter, drill marks, and surfaces defects are prioritised to allow for the quarry to minimise the potential wastage from each block of raw material (typically around 10 – 15 tonnes of stone per drill cycle). Hence, small defects found in any individual block are not rejected, but celebrated, providing the structural integrity of the stone is acceptable. Ensuring each block is modular (300mm square and less than 900mm equal in length) allows the manufacturing process of each block to be not only replicable, but also to maximise the usable stone from the raw quarried block. From a geological standpoint, this is achievable as this size suits the makeup and bedding of Darney Quarry (meaning 300mm square typically has a higher yield out of a single quarried block). From a manufacturing perspective, this is achieved as the blocks can be more accurately cut, due to this size allowing for both primary and secondary sawing processes to be fully utilised. The primary sawing sets a thickness of 300mm, with the secondary defining the squaring and length of each block, via 2 passes of the saw, meaning more of the raw material can machined accurately, and the saws themselves can be set to produce a repeatable unit, making their manufacture more efficient.

The reusability of the stone us further enhanced by allowing the block to be thicker, meaning it can be cut down for different jobs, if mistakes in the manufacturing process deem the whole block to be insufficient. Therefore, this not only makes the process sustainable in mitigating waste, but reduces the overall cost through a modular system which does not require an extensive finishing process

Timber linings fill the first floor, made up of disassemble cassette configurations, delivered prefabricated and assembled on site. The timber lanterns suspended from the existing trusses and braced by a new timber structure, all using C16 specified by James Jones. The sizes are all standard, hence the manufacturing process does not need to become bespoke for the timber itself. Structurally, the use of flitch plates and ties allow the timber to be used for more challenging tensile purposes and for each element to be taken apart, helping assembly and re-assembly. The use of Cassette walls, also designed for re-assembly, allow for the internal programme of the building to be efficiently altered. Their composition allows for the walls to be constructed and transported by hand, useful as this intervention requires access via stairs. The structural composition of each wall is intended to mitigate the use of fixed connection between each element, and for the timber to be of standard lengths and thickness’s.

Summerhall, located on the south east corner of the Meadows, Edinburgh, currently resides as an arts centre, comprising of several independent businesses and studios. Containing 6 principle building zones and 2 courtyards, summerhall contains layers of urban fabric from the late 1800’s, mid 1900’s and, the latest of these developments, found in the 1980’s. The main building, distinctive of its classically ordered facade, was constructed to be house Edinburgh Universities veterinary school , with the subsequently build buildings of block B,C and D, added to accommodate further laboratories. Contextually, the site is positioned with the potential to engage more with the city than at present. Historically, the northern elevation of the site confronted this, containing shop fronts and 2 churches, only one of which still remains. The surrounding community of Newington is historically one of industry, once containing engineering works, train depots and printmakers. Hence, in reading the site as a whole, connecting the surrounding contexts historical significance and present city engagement, is fundamental in developing a specific attitude to reorder.