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Edinburgh Festival Theatre

Part 2 Project 2003
Gary Owen
Caitlyn Manicom
 Manchester School of Architecture Manchester | UK
I am interested in the role of digital technologies in architecture. Not only in the way that they are used in the programming of spaces, but also how design media can help us explore forms that represent the dynamism of such technologies.

By adopting these technologies in conception and performance a clear link is established between the form and its method of generation, and the buildings mode of operation. It is by doing this that we can celebrate the potential that developments in such technologies are now bringing to architecture. Digital environments can be seen as a tool and material.

Gary Owen
Caitlyn Manicom

The project for a festival theatre in Edinburgh demonstrates an oustanding capability in the contextual and typological generation of a concept delivering dynamic programmatic competence.Conceptual acuity is sustained through articulate and refined realisation studies acknowledged by the award of joint first prize in the international competition for theatre sponsored by OISTAT. The truly `animate form` developed from a process of abstract translation mediates and absorbs the existing context into a flow of diurnal and seasonal events that challenges and extends the accepted boundaries of instrumental competence in architecture. A timely echo of the continuing influence of Cedric Price on the creative imagination.
Tutor(s)
2003
LOCATION SITE PLAN: the festival theatre is situated in the heart of Edinburgh on a currently vacant site. It draws on the uses of surrounding areas in an attempt to strengthen the concept of a street performing theatre.
LANDSCAPE INTERVENTION: in order to create a snapshot of the site at a moment in time I recorded the sound waves around the perimeter and using the wave properties produced a series of interventions and landscaped elements.
SOUND FORM: The sound waves were applied to a control form of a cube to see how it could distort through a process of animation.
FORM DEVELOPMENT: after looking at the cube I used a series of planes running in three dimensions so that the end model could be extracted into horizontal and vertical elements.
COMPETITION SHEET 1: the theatre was submitted in an international open competition for theatre design run by OISTAT. I was awarded first prize in june of this year.
COMPETITION SHEET 2: the theatre is capable of moving along track on the site to provide a variation in theatre types from a closed 400-seat theatre to podiums of 100seats for solo performers, or an open air arena for a larger city event.
COMPETITION SHEET 3: the “animate” form of the theatre is produced through a process of animation. The form is dynamic in both its appearance, and in the literal sense in its mode of operation.
COMPETITION SHEET 4: a view of the theatre working as an open air event shows how the building utilizes digital technologies to create the environment. Its mode of operation reflects the technologies that were used in it conception.
REAR VIEW: a static element houses all of the services for the theatre. Its structure differs from the moving elements (primarily) concrete, but retains the “animate” appearance to exaggerate the difference between “animate” and moving objects.
SEATING RIG: each of the individual moving seating elements houses lighting and sound equipment to serve the smaller stage that extends from its base.
STAGE VIEW: as the seating rigs come together the form an sheltered central stage. This shape deliberately forms a non sealed environment so the performance has the feeling of a street performance with people gathering round to watch.
PANORAMIC: this view shows the central stage and the arrangement of the individual seating rigs, indication their motion. It was one of the final exhibition pieces in the school end of year show.
MASTER PLAN: additional to the theatre was a box office that would be used to serve all the surrounding events. Reflecting on the initial interventions on the site it provides an elevated walkway between two popular areas in the city, past the site
BOX OFFICE PLANS:entering the box office at the higher level you pass a series of advertising points for people to stand with flyers. You then proceed to the lower level bar area which address Bristo Sq. to the front.
BOX OFFICE LEVATIONS:
BOX OFFICE SECTIONS:
BOX OFFICE IMAGES:
ELEVATIONS 1: shows the theatre in its different state with the ox office in the background infront of McEwan hall, another venue fir the festival.
ELEVATIONS 2: shows the long elevation of the box office with the theatre in the distance. The walkway takes you from two main pedestrian areas passing several performance places along the way. It also forms a bus stop to locate it.
PROJECT VIEW: this final image shows the project in its entirety with the box office in the foreground meandering through the city into the distatnce.
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