Integrated Design Report - Edinburgh Music School
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Transcript of Integrated Design Report - Edinburgh Music School
1
Donal J HardyYr 4
050007429
INTEGRATED DESIGN REPORT
INSTITUTE OF CONTEMPORARY MUSIC AND
PERFORMANCE
KINGS STABLES ROAD
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CONTENTS
Introduction
Integrated design
Appendices (A) Unit Groupwork Site (B) Site analysis /masterplanning (C) Brief (D) Precedent (E) Design development/process (F) Technology (G) MP+L
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Introduction
Located in Edinburgh, the site that will be the premises for
this years Integrated design project is on a length of road
that, through our investigation into the area, has been
coined the ‘dirty mile’. (see appendices A). From a number
of possible sites along this study area, the first site was
chosen for a number of reasons.
In the area of Edinburgh there are no purpose built facili-
ties to the teaching of contemporary music and performance.
The facilities in the wider area are mainly focused on
teaching children from primary through secondary educa-
tion. While facilities that are focused on the education
of adults are located in the university and are somewhat
closed from the general public.
Edinburgh has a rich and vibrant contemporary music, how-
ever, it is laden with the classical music image. While
Glasgow has a number of contemporary music facilities that
teach innovative technology and composition. Edinburgh is
lacking and requires a purpose built facility that encour-
ages public participation and promotion of contemporary
music in Edinburgh.
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The study area itself has a strong music presence with
Grassmarket and Cowgate having many locations with small
venues in which music thrives. However, with many of these
being the locations of bars and clubs, it may not be the
best location for an education facility, however with the
first site having such an inspirational setting in close
proximity to the castle, It would we an ideal location for
a educational and creative institution of a series of which
that could make of a Masterplan.
The site on Kings Stables Road is adjacent to the castle
and currently is the location of a multi-story car park. As
a prominent city centre location next to Edinburgh’s most
recognisable landmarks it has great potential to something
more. A challenge that will be taken on through this design
project and investigation.
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The Underbelly�������������������������������������
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SITE ACCESS
This site has a number of directions from which it can be approached. The main access for the public
who will be using the proposed music school and film school on the site will be along castle Terrace.
To promote the sites connection to the landscaped area of Princes Gardens as well as the pedestrian
route that is exits onto Kings Stables Road, this will be made into a pedestrian zone allowing for some
soft landscaping to move onto the master plan strategy. So how are the buildings serviced? This could
have been achieved by using the pedestrian areas as an access point for delivery vehicles etc. However,
this would have meant that the service areas are in full view on what could be the most desirable area
the schemes. As a result a service road is run along the back of the site allowing for all buildings
on the site to be services without any disturbance to the pedestrian zone.
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CHURCH BUILDINGS. Two of many land-
marks that puncture the Edinburgh
skyline
EDINBURGH CASTLE: Key historical
momument. Important internation-
ally as well as nationally.
COUNCIL OFFICES: 70’s office block
with limited architectural merit.
EDINBURGH NEW TOWN: Part of world
heritage site has strong grid sys-
tem.
EDINBURGH OLD TOWN: Kings Stables
road at the begining of ‘Dirty
Mile’ retains some of the qualities
of the old town.
PRINCES STREET GARDENS: Historical-
ly, the site formed part of these
gardens before multi-storey carpark
was constructed
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SITE CONTEXT
The site of Kings Stables road is situated in quite an awk-
ward position. It located at the junction of 3 very dif-
ferent conditions, The strong grid of the new town to the
south, the green landscaping of Princes St gardens and it
the site itself has much of the same character that is high-
light though the study area and the old town of Edinburgh.
Not to mention the dominance that the castle has over the
site. A proposal that would fit into the new town urban gain
would be unsuitable as it would be ignoring the parkland and
old town. A Proposal using the old town as influence would
be ignoring the new town and the gardens. What is required
from the site is an independent response to its context. The
proposal must be able to stand alone as having a character
of its own and site within its context. With regard to the
sensitivity of building adjacent to a world heritage monu-
ment, this approach is given license by the buildings that
are in the immediate area, In particular there is a block
of council offices (marked in red) alongside the site that
is in equal proximity to the castle. This a 10 storey 70’s
office block with questionable architectural merit. With
this in mind, a proposal that may be ‘tall’ is acceptable
provided that it remains in proportion to the scale of its
context.
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INITIAL DESIGN IDEAS
The scheme has gone through a number of changes in concept
and organisation before arriving at the solution as dem-
onstrated in this report. See Appendices E
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SITE MASTERPLANNING
Left: thumb nail images of master plannig responses. A num-
ber of these were done and the masterplan developed through
out the design process.
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SITE RESPONSE/ STRATEGY
Taking all the key factors into account, the strategy for dealing with a site comprises of a number of key
moves. The geometry of the adjacent new town grid will be retained by keeping the vistas from these streets
free from building (yellow band), There will be three building on the site that sits on a ‘plinth’ that will
mediate between Castle Terrace and Kings Stables Road. All three buildings that make up the strategy are of
an educational function or institution. To the north end a community arts centre, the middle a school for
contemporary music and performance and the south end of the site a Edinburgh Film School, all of which are
connected by pedestrian route along the site (marked in red). These buildings are stepped along the site
around this main route to create a number of different spaces between the buildings along Castle Terrace.
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View: Castle TerraceSite model
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SITE RESPONSE/ STRATEGY
In addition to the general massing of the site, other issues were taken into consideration with regards to
the general site strategy. In order to emphasis that these 3 building on the site are part of an over all
educational complex, as a result they share an overriding architectural language that consist of multiple
vertical members and rhythm. This is an appropriate strategy as this allows for uniform style that can be
applied across the site easily while allowing for relative freedom to design the internal program of each
individual scheme. See elevation below
As all the schemes on the site are using the axial route to orientate around, so too have the entrances
to each of the buildings. See diagram to the right.
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SITE RESPONSE/ STRATEGY
The shared architectural language does not stop at just the rhythmic treatment of the facades. By splitting
them up into a top, middle and bottom type arrangement it will reinforced the visual connection between them.
On the lower levels the spacing of the vertical elements/ columns is wider and creates a colonnade type ar-
rangement. Encouraging public interaction with the buildings, the upper levels are then split into a middle
and top, with the top piece being the lighter and the middle grounding the buildings to their surroundings.
Other aspects of the site strategy include the sharing of plant facilities. In particular between the music
and film schools that have larger volume spaces (such as lecture theatres and cinemas) that are not neces-
sarily used all the time.
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INTEGRATED DESIGN
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Programme Organisation
The organisation of the buildings
program has been set out from an
early stage. The subterranean ser-
vice along the back of the site
allows for the direct servicing of
the main public areas of the build-
ing such as the venue and the café/
bar/ restaurant areas. All of the
back of house accommodation re-
quired for this accommodation will
be located on a plinth on which
all servicing will be arranged. The
main public spaces of the building
such as the venue and the lecture
theatre’s do not require access to
sun light so locating them on the
lower levels is a key move. With
all the large volume accommodation
being located and organised in the
lower levels, all that is left is
the private school cellular accom-
modation such as the studio spaces
and class rooms. These are stacked
to form a ‘tower’ type element that
externally appears to sit indepen-
dently on a plinth.
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The Diagram
While the diagram to the left shows the
scheme at a different orientation. The
basic principles of the diagram remain
constant in the finished scheme. The
building will accommodate a number of
different aspects.
Firstly the master plan re-
flects an connection between all 3
buildings on the site (red arrow). Of
these three buildings the music school
is the middle. As a result the build
will be neither starting nor terminat-
ing this route, it will feed into and
draw from it. The route moves under
and into the main public spaces of the
scheme. The main venue will be open di-
rectly onto the route to and will have
no solid walls or partitions. This is
to encourage spontaneous performance
by people who may be using other fa-
cilities such as the café/bar which
occupies the same space,
As the master plan also dic-
tates, the buildings will act as ob-
ject buildings that sit on a plinth
created along the site. In the case of
the music school, the private cellular
accommodation is stacked into a light
weight ‘tower’ like element. This sits
in contrast to the public accommoda-
tion that will appear much heavier as
the subterranean aspect of the scheme.
As the tower element site independent
of the plinth, the street edge of cas-
tle terrace is addressed by a heavy
element that appears to be part of this
plinth that ‘floats’ and accommodates
the library and IT suite required for
the private school.
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VENUE: A SPACE TO PERFORM
One of the driving concept of the music school is the idea that music and perfor-
mance come hand in hand and it is very much part of the day to day activity of
the school. Those who use the school facilities will be individuals who are not
afraid of performing and are likely willing to perform whenever possible. As a
result the main public venue of the building has been opened up and become part
of the same space that is the café/bar as well as the main route that connects
all educational facilities on the master plan. To encourage the venue as being
a space that could be more readily occupied, a visual connection to the park is
made by glazing the back wall of the venue. There will be no fixed seating in
the venue also as it forms part of the main route so this would be inappropri-
ate, In addition to this it encourages people to use the space in a more free
way. If someone would prefer to perform on a step, they may do so.
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Cork school off music:
Studio
Cork school off music:
Acoustic Wall Panel
Design Agenda
As a school of contemporary music and performance, the main design
agenda is focused around creating spaces that are spaces for the
users of the building that will inspire and promote creativity. To
bring light back into the practise spaces and make a connection to
exterior. In the pursuit of acoustically and environmentally per-
fect spaces can result in studio spaces that are not particularly
inspirational. Left shows how the pursuit of this has resulted in
the having small slit windows that are not open-able and the ad-
dition of acoustic panels to create flexible acoustics and sounds
separation.
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Plan: Level -2
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CIRCULATION
The main vertical circula-
tion of the building is done
by a stair that carves its
way through the ‘boring’
cellular space. The spaces
created by this stair mov-
ing though the building act
as break out spaces for the
studio and classrooms be-
tween lessons. By having
the stair open it allows for
visual connections between
floors and gives the ‘tower’
a unified feel, rather than a
tower block with each floor
being treated independently
from another. In ad-
dition to this, there is a
protected fire core to the
north corner of the build-
ing. However as the scheme
is 7 stories high there is
a fire regulations require-
ment for a second means of
escape. Therefore, the main
circulation stair, while it
may be an open stair. Fire
engineering may be used to
propose that this stair is
used as a second means of
escape.
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Design sketches:
Circulation
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FIRE ENGINEERING
With a completely open stair act-
ing as a second means of escape,
it is proposed that fire engi-
neering could be used to make the
open stair viable as and escape
route as the tower itself is an
area of low fire risk and its
occupancy is relatively low at
approximately 180 people at full
capacity. The primary system em-
ployed in the stair way is a smoke
extract system that will be acti-
vated in the event of an alarm.
In addition, on each floor there
are fire doors, that are normal-
ly held open by electro magnets,
that close to make each the area
around each open stair a lobby.
See Appendix F for complete fire
strategy report
LEVEL 04
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Plan: Level -1
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/ SUSTAINABILITY
The main overriding material that is evident
throughout the building is its concrete frame. The
reason for which is primarily for its aesthetic
qualities that could not be achieved though using
steel or other construction methods. However, con-
crete is a material that has a high embodied energy
in its manufacture and might not readily be con-
siders as a sustainable material for construction.
However, the design of the building addresses the
issue of sustainability in a number of different
ways.
Firstly, to help address the issue of the
concrete, Much of the building is divided up into
repeated structural members, This allow for the
formwork that is use during its construction can
be re used repeatedly on other parts of the scheme.
Plant, located in the shared block between
the music and film school there is plant that ser-
vices all the lecture theatres/cinemas and venues
on the low levels of the two schemes. The shar-
ing of plant and facilities allows for a reduced
amount of plant for the same amount of facilities.
The orientation of the building on the site
also helps with the sustainability criteria as it
aligns itself with the prevailing wind. Thereby
reducing the amount of wind turbulance around the
building, in addition this a south facing atrium
and small width allows for natural ventilation
either by stack effect or by single side
Site plan : Building orientation
key to its environmental strategy
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Plan: Level 00
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MAIN ENTRANCE
The main entrance and re-
ception to the building is
the first occasion where
the user is made aware of
the public route through
the site. As a member of
the public you walk over
the axial route and view
it from a higher vantage
point before moving around
and down to connect with
the route and use the fa-
cilities.
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Plan: Level 01
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Plan: Level 01
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Plan: Level 02
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LIBRARY- ‘THE ARM’
DETAIL CONSTRUCTION SECTION
Detail Section 1:25
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Plan: Level 03
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STRUCTURAL STRATEGY
A predominantly light weight
structure, the tower of cellu-
lar accommodation is made up of
narrow Glass reinforced concrete
columns of only 150mm in width
and 800mm deep at a spacing of
1400mm around the edge of the
floor plates. This frees up the
floor plate areas for freedom
when planning each floor. Each
column supports the floors via a
500mm deep concrete beam spanning
at maximum 14m. This structural
system is made rigid a reinforced
concrete escape core running the
entire height of the building.
This structural systemn is used
throughout the building and is
not merely a structural solution.
It informs both aesthetic and en-
vironemtal strategy.
The concrete columns sup-
porting the library are carryed
down into the public levels on
-2 and helps to define the axial
route through the site.
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Plan: Level 04
37
STRUCTURAL STRATEGY
Externaly the uniformaty of the struc-
tural grid is ever present as it wraps
around the building. The appearance of
this facade will change depending on
where you observe it from and as you
move around or past it.
The cellular accomodation in of
the building can be easily identified
by two aspects of the design from the
exterior. For breakout and circula-
tion space the glazing is located on
the inner edge of the column while
studio and classroom spaces push the
glazing to the outter face of the col-
umns.
In addition to this, the cellu-
lar accomodation of the tower of stu-
dios and classrooms inform how this
facade appears depending on how the
spaces are being used. Between each of
the columns in these studios are tim-
ber panel shutters, that can be opened
or closed giving the facade an ever
changing dynamic appearance.
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Plan: Level 05
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STUDIOS / CLASSROOMS
While the timber panel shutters give the external
façade a dynamic appearance externally, internally
they serve a more practical purpose. They are used
to control any solar glare that may effect the spac-
es (particularly on the south facing facades). In
addition, these panels may be used to give a level
of control of sound within the space by covering the
hard glass surface that reflects sound.
Artificial lighting within the cellular ac-
commodation is achieved by a simple light fitting
between each beam spanning the room directed so
that light is reflected off the underside of the
exposed concrete slab.
Section1:50
Detail A Section - 1:20
Detail B Section - 1:20
Detail C Plan - 1:20
Section
1:50
Deta
il A
Se
ctio
n -
1:20
Deta
il B
Se
ctio
n -
1:20
Deta
il C
Pl
an -
1:2
0
40
Plan: Level 06
41
Ventilation Strategy
The orientation of the atrium in
the building allows for the stack
effect to take place. Throughout
the day the air in the atrium is
heated and rises to the top and
is exhausted through vents that
are electrically controlled. This
in turn pulls air in from the
classrooms and studio spaces (see
plan) and ventilating all areas
of the building. Other method
of ventilation were considered
though the design process includ-
ing double skin façade method.
(See appendix E). The use of a
double skin facade was regected
from teh design for two reasons.
It was decided that the potential
gain of a complex double skin fa-
cade system on a building witha
footprint width of only 14m would
be minimal as well as being an
un nessisary expensive system for
a scheme of this scale. See Ap-
pendix F for full environmental
strategy report
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Plan: Level 07
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Plan: Level 05
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Plan: Level 05