Third Year, Semester 1 - Modicum Prepotency

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Cataloguing (in)Proximity- Group Research- Identifying Alliances- Initial Investigations

Chapter 1

Clarifying (in)Proximity- Fragments of Tantallon- Developing Alliances- Solidifying Narratives- Clarifying Drawing

Chapter 2

Texture of a Moment- Locating- Proposal Drawings- Physical Models- Scheme Renders

Chapter 3

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Modicum Prepotency

Contents

03 Chapter 1 Cataloguing (in)Proximity

In the preliminary research week, our group was tasked with looking into Mapping through the introductory text of James Corner’s chapter on Layering from The Agency of Mapping. What must fi rst be highlighted is the difference between maps and tracings. As modern mapping technologies evolved, we became more concerned with directly replicating everything on earth as if taken as a snapshot from above. These simply display measurable data, and are sterile and ineffective at attempting to creatively understand locations. This is because any location is hugely dynamic and multifaceted. Maps hold the potential for both describing and visualising the hidden, previously unseen site characteristics, providing even richer interpretations of site. Ian McHarg was a pioneer in mapping using layering to reveal hidden facts and dimensions about the site. “When these separate layers are overlaid together, a stratifi ed amalgam of relationships amongst parts appears.” (Agency of Mapping, James Corner). McHarg’s work was furthered by James Corner who developed a list of benefi ts to mapping with the layering theory:

- It reveals hidden landscapes of a site. - It allows said hidden landscapes to be viewed in a compelling way. - Creates images which are instructive as well as visually appealing due to the poetic form of representation. - Provides new associations and possibilities, even on exhausted sites. - The new associations can be exploited in the design process. - Creates images based upon facts of site (actuality)

In this way, maps are much more meaningful than depictions or representations. They are mental constructs and ideas which enable and effect change. By utilising them to visualise and describe hidden narratives, we set the stage for future work and infl uences. For example, the usual mapping conventions have been exhausted at Tantallon Castle. By using the layering technique, we can uncover attributes of the site and encourage possibility.

As a platform for exploring the other 5 research topics, the attributes of this type of analysis will be benefi cial. The way in which advocates of this type of mapping (Koolhaas, Eisemann, Tschumi etc) present ideas and research themes can be applied to our own investigations enabling them to surpass the traditional methods on site investigation during our visits to Tantallon Castle.

Group research completed with Isabel Sandeman, Ross Simpson, David Millar and Marc Little

The Agency of Mapping - James Corner

Mapping [Proximity]The Agency of Mapping - James Corner

Visual [Acuity]

Concerned with sight, vision and spatial understanding, visual acuity is clarity and completeness of vision and details. In the modern technological world, we use machines to record visual stimuli. However, this capturing of imagery yields greater potential for photodynamism, overcoming the traditional photographic ‘snapshot’ and allowing for fl uidity and illusion. Quinnell’s solargraph over 6 months to the left begins to tell richer stories and distils information to similar ends to James Corner’s work.

Spatial [Immersion]

Our spatial immersion is concerned with our perception and representation of what is real and the body’s response to that in terms of time and space. Installation art is one example of where this sense is challenged. Tomas Saraceno’s work, for example, explores the capacity of the body to explore and inhabit void, given tangibility through relationships and strands. It is this kind of deeper relationship, whereby the body both impacts and is impacted by architecture, which must be understood.

Duration [In Time]

We are all trvaelling through time, but to understand it and its implications to perception, we must defi ne and quantify it. Tiny moments can then be captured, compared and utilised. For example, Jan Dibbets artwork, shown to the left, obscures the individuality of time and allows you to read and percieve as if from a whole. From an historical perspective, time holds weight and power through collective experience and space. Time inevitably brings about change, which is also important in terms of heritage and willingness of change.

Historic Scotland [Heritage]

Historic Scotland is charged with safeguarding its built heritage and encouraging enjoyment and understanding. This is because our heritage has aesthetic, social and historical value, bridging the gap between the past and the present. By analysing heritage, we can gain additional levels of appreciation and knowledge which will allow us to better respend to the challenges of a historically-signifi cant site. Utilising the value and presence of the castle will result in a scheme which has a richer meaning.

Tantallon Castle [Territory]

The Castle was built in 1350 by the Douglas Clan, and was constantly in either their or the crown’s control until it was abandoned after Cromwell’s seige of 1650. The castle had to be rebuilt, repaired and redeveloped several times in its history after a series of seiges. There was also additional plans for a harbour which never came to fruition. It is built mainly from red sandstone, with the latest additions built from green mudstone. It has also been exten-sively weathered from the sea, winds and rain.

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Mapping / Acuity / Immersion / Duration / Heritage / Territory

Identifi cation of Alliances


Mapping / Acuity / Immersion / Duration / Heritage / Territory

Identifi cation of Alliances

(A/D/E/F) An Historians Perspective There is an implicit link between history and time at such a historically signifi cant site. An understanding of the two in relation to one another adds to the depth of knowledge. Display of that information through techniques like those used by Corner will allow the general public to more fully comprehend the history of the site; an aim of heritage. Additionally, by applying mapping over time, it adds a further dimension to the image, becoming a richer depiction of site information.

(A/C) Psychology of Space If spatial immersion concerns itself with the impact which space and void and consequence has on the body, then the mapping techniques which draw out new characteristics of site allow for a deeper level of interpretation. With the greater understanding which the mapping creates, our knowledge of the whole gives a new perspective on spatial perception.

(B/D/E/F) Ripples Periods of time when signifi cant events occurred which had a lasting outward effect on more than just Tantallon. Literal events which took place within the Castle territory have their own stories to tell, with heritage concerning itself with embracing and affecting the changes. This is an outward ripple of infl uence around key events, and with this comes a wider base for knowledge and understanding.

(D/E/F) An Archaeological View Based on facts, the archaeological approach to the site encompasses the raw information of the past. It is also interesting how speculation and narrative evolves on top of these facts in order to build up a clearer picture of the past which is very accessible to the general public.

(A/B/E) Importance of the Viewer Multifaceted elements and attributes can be released and exploited for the creative process. The clarity with which we see and perceive the territory alters with this knowledge. On the other hand, by using the mapping techniques, we can uncover truths which demonstrate the limitations of the current response to heritage.

(C/D) Regular Contact Changing perception with exposure. By fully investigating both duration and immersion, we will unconsciously be picking up a new perception of the spaces. Similarly, by stretching time, it will reveal other hidden time-based attributes of site which can be plotted and compared.

After visiting Tantallon Castle and many other historic sites, there is a developing hierarchy which exists in heritage. On one hand, the main aims are to future-proof monuments of the past so as to ensure their longevity. However, the many inevitable processes acting on it are impossible to stop. Focus, therefore, is placed on the signifi cant elements of a site; such as the main curtain wall at Tantallon. The tiniest fragments of the Castle are lost and forgotten as insignifi cant, and yet were part of that greater whole. They carry with them, therefore, the potential for interesting narratives and stories which can be extracted and explored. By shifting focus to the what is missing from the castle, and analysing the processes which caused them to be missing, it should reveal hidden facts which can be exploited in the design process.

Attitude towards Heritage

05 Chapter 1 Cataloguing (in)Proximity

Following on from these alliances, we visited the site for the fi rst time we initially reinforced my opinion that the perception of it would change when confronted with the massing of the castle itself. I had identifi ed a certain signifi cance from the missing pieces of the castle in my alliances which I then proceeded to explore in more detail by modelling and exploring the fl ux of construction and destruction and the different forms those processes took. I also explored other aspects of the site which I may have overlooked without a site visit. These included investigation into ma-teriality and colour as well as explora-tions of the grander territory.

Initial Steps


Rock and Coastline Fractals Construction/Destruction based on historical accounts, modelled in Skecthup

07 Chapter 2 Clarifying (in)Proximity

Clarifying (in)Proximity

- Fragments of Tantallon- Developing Alliances- Solidifying Narratives- Clarifying Drawing

Chapter 2


A part of history, indicative of the greater whole and playing its part. It is the cause of stories, indicating to history and creating a ripple of effects.

A Fragment In...

History

The process by which it came to be there impacts how we treat and respond to that piece. There is a developing hierarchy of fragments and the attempt to restore them.

Heritage

Referring back to moments in time and the associated events. When combined, the fragments create an amalgamated description of times.

Time

A thorough understanding of fragment results, due to the interconnected characteristic of fragments, in a build up of a general understanding of the whole.

Acuity

Greater detail beings with it a richer and more complete understanding. By immersing ourselves in that knowledge, we can gleam subtler infl uencing factors.

Immersion


The Signifi cance of Absent Fragments


“The architect is the storyteller, and the storyteller is the architect”

CJ Lim

Reconstructing Narratives


Archaeology, as a platform from which to analyse a historical site, offers up interesting methods of interpretation. James Corner takes similar cues from various processes. By presenting these in a simple, visually-appealing way, we canuncover some of the hidden landscapes the site has to offer and breath new life into exhausted sites. The analysis of tiny fragments brings about narratives through analysis. Looking back through the lifespan of a fragment and looking for tiny moments of infl uence or ripples through time reveals concealed facts and tales which can be exploited for my analysis. I can then use the analysis of that fragment to understand the grander scheme. Here, I have plotted a simulated collapse of the missing pieces of the castle. By plotting and analysing movements, we can begin to under-stand the hidden forces acting upon the castle. The absence of these pieces raises questions and suggest tiny moments in history in which interesting events occurred. These images begin to explore fragment distribution and castle massing.

Archaeology (and its potential for programmatic analysis of movement and distribution)



These movements and vectors distil movements. By focussing on one particular fragment and the journey it takes as it falls down the cliff, the depth and clarity of the narratives increases as processes are acted upon it. From raw stone blocks to cut stone and construction to weathering to destruction to being smoothed by the sea, the interesting tales bleed through with experiences.

(Physical Model - Stacked local red sandstone with etched backdrop highlighted by red sandstone dust)

Emerging Tales

Life-span of a Fragment

Fragment Weathering

Richness of Narrative

Clarity of Narrative

Smoothness


By casting the missing pieces it automatically offers a new level of understanding. Having a tangible object reinforces those pieces as physical artefacts. The pieces are arranged as found on site north-south and plotted in the same way in which archaeological fi nds are catalogued. This process brings order to the scatter so as to make comparisons much simpler.

(Physical Model - Plaster Cast Pieces at 1:200 on string distribution vectors)

Resolidifying Absent Pieces



It is always diffi cult to connect, on a human scale, to any centuries-old historical site. Heritage attempts to maintain a site for future generations to enjoy, but in doing so creates a disjointed hierarchy of elements which is hugely limiting in terms of completeness of understanding. This means that because concern is so high for the castle proper, other fragments of the castle are lost. By reuniting the lost fragments with the grander scheme, we can rediscover the “ghosts” of what is no longer there. The fact that there are missing pieces of the castle means that those pieces have a story to tell of their journey.

In archaeology, the tiniest discoveries are expanded into great narratives of site. Similarly, a fragment is a tiny piece both belong-ing to and indicative of the grander whole. Therefore, by analysing the castle as a whole through the eyes of the tiniest fragment, we can peel back the story of the castle to create and achieve a more complete understanding. We can then immerse ourselves in that understanding and treat our architecture as fulfi lling a similar role. The scheme therefore encourages greater depth of appreciation by being denotative of the greater whole.

17 Chapter 3 Texture of a Moment

Texture of the Moment

- Locating- Proposal Drawings- Physical Models- Scheme Renders

Chapter 3


Historic Scotland’s Castle’s Initiative attempts to use Scotland’s castle history to develop an awareness of heritage in a broader context. What is required is a development to aid in this increased awareness of heritage by creating a concentrated scholarly hub. The scheme will be an epicentre for knowledge about the sites which Historic Scotland encompasses and a complete archive from which research and learning can take place. Assisting in the formation of these spaces will be a series of emotive titles, each suggestive of a spatial premise:

- Reaching Heritage - Journey towards and anticipation of knowledge. - Vault of Tales - A complete archive of artefacts, books and journals. - Recounting Inquiry - Scholarly study space. - Memory Chambers - An exhibit of project work, communicating its work. - Dénouement - A cumulating experience which will encourage further study. - Support Infrastructure - Space to ensure adequate function.

The scheme should consist predominantly of private space in which detailed research and learning can take place. The majority of this space should be used as a complete archive of documents and artefacts. Scholarly study space would also be in this space as well as staff infrastructure. There should be ad-equate space to house and provide for up to 20 researchers as well as security, archive managers, cleaning and administrative staff. This would be separate from the public areas of the proposal where the space should be geared towards the emotive experience of any visitors to Tantallon Castle. It is essential that the journey and experience of the castle not be disrupted for the sake of the architecture. Instead, it is the proposal which must contribute to any experience of visiting this site, no matter of the purpose. The vault must provide space for many different physical artefacts, as well as different documents, including maps, tapestries, journals and books. The space will present these in a way such as to contribute to the scholarly activities which occur here.

It goes without saying that the usual considerations should be implemented so as to meet building regulations, with the design considering fi re exits, ventilation, light levels and disabled access.

Design Brief (Self-Written)


Locating Drawing (Pathway and Axis)


Historic Scotland Site Distribution Vectors and Groupings


Palaces at KirkwallBroch of GurnessBrough of BisnayHackness Martello TowerSkara BraeJarlshof Norse Settlement

Balvenie CastleCorgarff CastleDallas Dhu DistilleryElgin CathedralFort GeorgeHuntley CastleKildrummy CastleKinnaird Head Castle LighthouseSpynie PalaceTolquhon CastleUrquhart Castle

The Blackhouse, ArnolCalanais Standing StonesKisimul Castle

Arbroath AbbeyHuntingtower CastleEcho CastleLochleven CastleMeigle Sculpture MuseumSt. Serf’s ChurchSt. Vigeans Sculptured StonesStanley MillsEdzell Castle and Gardens

Argyll’s LodgingBonawe Historic FurnaceCastle Campbell and GardensDoune CastleDunblane CathedralDunstaffnage Castle and ChapelInchmahome PrioryIona Abbey and NunneryStirling CastleBlackness CastleCaimpapple HillCraigmillar CastleCrichton CastleDirleton Castle and GardensEdinburgh CastleLinlithgow PalaceSeton Collegiate ChurchTrinity House Maritime Museum

Aberdour Castle and GardensDunfermline AbbeyInchcolm Abbey and IslandSt Andrews CastleSt Andrews Cathedral

Bothwell CastleCraignethan CastleCrossraguel AbbeyDumbarton CastleDundonald CastleGlasgow CathedralNewark CastleRothesay CastleRowallan Castle

Caerlaverock CastleCardoness CastleDundrennan AbbeyGlenluce AbbeyMacLellan’s CastleNew Abbey Corn MillSweetheart AbbeyThreave CastleWhithorn Priory and Museum

Dryburgh CastleHermitage CastleJedburgh AbbeyMelrose AbbeySmailholm Tower

A Orkney and Shetland

B North and Grampian

C The Western Isles

D Perthshire and Kinross

G Glasgow, Clyde and Ayreshire

H Dumfries and Galloway

I Scottish Borders

F The Kingdom of Fife

E Central, Edinburgh and Lothians

Piece of Human Skull found at Skara Brae (12x8)

Pictish Brooch from Corgarff Castle (9x7)

Etchings taken from the Calancais Standing Stones (x2 12x20)

16th Century Pottery Fragments from Lochleven Castle (15x8)

Cromwellian Helmet from Edinburgh Castle (25x21)

A selection of embroidery found at Inchcolm Priory (x4 11x11)

Stone Urn from Dryburgh Castle (22x15)

Decorative Frieze from MacLellan’s Castle (28x28)

William Aiton’s Map of 1811 at Rowallan Castle (17x34)

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Site Plan (Cut Landscaping) 1:200


Top Floor and Context Plan (1:200)


Long Section through Casle - 1:200


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Rendered Perspective Cross Section

1. Central core containing the most precious/signifi cant artefacts2. Public upper fl oor (exhibition space)3a. Vault (objects/artefacts) 3b. Vault (maps/etchings/tapestries)3c. Vault (books/documents/journals)4. Central axis containing study space and staff infrastructure5. Dovecot6. Tantallon Castle

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3a. 3b. 3c.


Physical Model (Made at 1:200)


By analysing Tantallon through the eyes of one of its fragments, we were able to achieve a greater understanding of the whole and to pull out new insights into its narratives. The architecture creates a new epicentre or focus through which other information is gleamed. The impact of the fragments, there-fore, contribute to effective research by drawing upon the related knowledge brought to the site. This maquette aims to demonstrate the importance of the core, the fragment, through which further study is encouraged and achieved. The compasses spin around to point at the fragment as it is placed.

With/Without The Impact of fragment on focus

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Worm’s-eye exploded perspective drawing


This is an arrival/pathway which allows us to gain an appreciation and expectation for the architecture we are about to interact with. The new winding path allows all visitors to appreciate the presence of Tantallon. The transparent nature of the fi rst engagement with the architecture encourages through-travel which does not break the anticipation. This route takes you through that grander process before you interact with any details. The central core circulation rotates the axis of travel (from north-south to east-west) so as to highlight the change in interaction from public viewing to privately engaging with the heritage. By actively choosing to be turned by that core, you can dis-cover and explore the expanse of the lower space like the archaeologist.

- All visitors

Reaching Heritage

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The upper fl oor is entirely public space. Unobtrusive geometry encourages visitors to progress through and onwards with their reaching heritage journey. The central core protrudes upwards so that visitors have to be redirected around it. It is also highlighted by the glazed area and surrounding, staggered walls. This is the fi rst suggestion of the infl uence of that central space and of the greater knowledge which can be glimpsed from above. The open fl oor and wall space is then inhabited with other Castle’s Initiative projects. Whilst fl exible, the positioning of any exhibits can be constantly related back to the central core and the grander whole.

- All visitors- Total 84m2

Memory Chambers

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The expansive lower fl oor plays host to the complete archive of docu-ments and artefacts for the Castle’s Initiative. The space is laid out in order to gain an understanding of the grander scheme and to give an organic understanding to each arte-fact and their relative position. The archives are arranged geographically based on Historic Scotland’s preexist-ing subcategories. Depth of knowl-edge increases with distance from the central core (fragment). Also, the quantity of literative narrative increases. In other words, artefacts which may require interpretation are located closer to the central core, and explicit books and journals are located towards the outside. The west side relates to other Historic Scotland sites, and the east side relates to Tan-tallon itself as well as general Castle’s inititive documents.

- Researchers and archive staff- 800m2

Vault of Tales

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The spaces for study align themselves along this new axis. Inspired by Tantallon’s inhabited wall, they attempt to traverse the disparity between speculative research and raw statements of materiality. They become islands of study woven into the raw structural fabric the castle provides, soft timber enclosures placed within harder concrete niches. Study which takes place in these spaces is completed with the benefi t of being able to constantly refer back to the physicality in which the narratives are set.

- Researchers and Scholars- Total 125m2 for 20 study spaces (x6 20m2 for 2 researchers each) (x1 30m2 for groupwork - 8 people)

Recounting Inquiry


As you progress outwards, the complexity of the narrative increases. By employing a large area of glazing along with a curving landscape structure, the Dénouement is expressed as an encouragement and suggestion of the cumulation of knowledge. The bookshelves end, but with hopeful optimism about the potential for the narrative to continue onwards. The light fl ooding along these channels of learning, with the “endless” appearance to the landscaping will ensure this. As an experience, this is a theme which will resonate with occupants.

- All Researchers and Scholars- (Speculative) 120m2

Dénouement

Documents

Third Year, Semester 1 - Modicum Prepotency