Application in Community
Application in Community was a individual investigative project (3rd year) looking at how colour is and can be applied into a community setting, specifically looking at a case study in my local community, East Craigs, Edinburgh.
Craigievar House, now known as 77 Craigmount Brae was the conversion and extension of a office space transformed into the residential accomdation consisting of 44 flats for Castle Rock Edinvar Housing Association Limited. The project produced a drastic change to the surrounding predominatily through the facade treatment. The extended wings shown below are coloured in chromatic Blue and Yellow and between thse wings the window in-fills have been presented as a transition of pigment between the two.
The significant change a question has been presented to what this project adds or subtracts from the local area? Part 1 of this investigation was to look to answer this question, reviewing the details of the building and expanding these on to the surrounding community
East Wing
West Wing
Before
After
Coloour Transition
Location
Craigievar House os located in the central area of East Craigs, Edinburgh. The location is a peculiar one for a office block as it is situated with in the middle of a housing estate with no other such similar office designs of this scale in the immediate vicinity. The only other office complex within the near by area is Hermiston Gate and Gogarbank business sectors which are three quarters of a mile away respectively.
Elevation Proposals
Having discussions with the Architecture Practice HTA Designs which were involved in designing the project, it interested me to investigate the the different colour palettes which had not been employed on to the facade to test these different arrangement to why they were not chosen. The colours which were thought of are presented.
i. All White ~ No
Reason being thereis the issue that an all white building potentially would attract graffiti work
ii. Autumnal Colours Red to Brown ~ No
The Autumnal arrangement was favourable however there was the fear that through time the brown tiles in particular can discolour rapidly and would appear off putting to the surroundings. Further to that the autumnal colours could have been seen as mistaken allegiane with Heart of Midlothian Football Club which was crucial not to do
iii. Natural Pale Colours ~ No
Issue of pale colours they can fade quite easily and introduce this association with graffiti works not being to dissimilar to white
iv. Blue to Yellow ~ Yes
Agreed with contractor, although the Architect knew it was risky, planning were happy to apply this into the design, seen as means of brightening up the building compared to the surrounding area.
Critical Review | 77 Craigmount Brae
After investigating this chromatic Blue to Yellow arrangement and discovering that the use of colour was no more than just a tool to brighten the area up, was slightly disconcerting and lacking in genuine connection to the surrounding environment. To just literally paint this old office with radiant colours appears to be completely pointless and express no understanding in colour theory but more so as a rush in contractual agreements. If this was to prevail in the surrounding community it would be futile, producing no useful result, only an anxious sense of impact. The sketches shown represent this imagine of housing in the local area, mirroring that of Craigmount Brae, in having these strange chromatic blocks of colour attached to them. Although understandably the colours from blue to yellow do not coincide with any Edinburgh sporting alliance that cannot be seen as an excuse to not connect with the surrounding community.
In parallel with this criticism the readings of John Ruskins Modern Painter highlights the issue of colour in how we deploy it into design stating,“The artist who sacrifices a truth of form in the pursuit of a truth of colour; sacrifices what is definite to what is uncertain, and is essential to what is accidental”.
This showcase there is this perception that colour is somewhat dangerous and for the vast majority of architectural schemes colour is not often considered at all as there is a lacking of knowledge and theory to what colour can bring to a given project.
Surrounding Context | Serial Vision
From the investigation carried out at Craigmount Brae it was apparent the project lacked in relating to the local context with no realised colour hypothesis; rather focusing on its own contractual requirements. Refecting on these findings I sought to carry out a personal analysis of the changes in the local area from the urban landscape to the rural environment not in terms of topographies yet in material, texture and colour differences. This ideology was brought to tuition through the study of Gordon Cullen The concise Townscape when he comments on bodily movement, “To Walk from one end of the plan to another, at a uniform pace, will provide a sequence of revelations which are suggested in the serial drawing... My drawings bear no relation to the place itself; I chose it because it seemed an evocative plan”.
The images shown to the right, manifest Cullen’s sequence of sketches capturing individual memories, when moving through spaces, of: texture, light, shade and volume. This idea of an “evocative plan” was most evident to myself in how I could walk through my local community, via the communal buildings and map my own memorable sequence through photography.
Evocative Plan
Following the concept of Cullen I took the walk though my community via the most sociable positions in the community such as the shops, doctors, dentist, etc, on to the nearby farmland. On my way I took a series of photos of the most poignant memories from that experience, cataloguing these by means of mapping as shown. The memories were not to reflect the landscape but to highlight a small remembrance of that moment by means of a snapshot which "bear[ed] no relation to place itself"
Environmental Positions | Texture
Breaking down there two environmental positions was poignant in defining key relations interms of which elements respond similarly to each other or that of similar heights. The pictures shown from top to bottom, highlight the textural changes in roofing compared to tree branches, gutter and plasters compared with leaves and berries, brick and stone loading bear structures compared with ground plants and then the differing ground conditions. We see there is a clear distinction not only in form but in textural character between these two halves with the urban conditions having this rough surface quality in contrast to the softness in the greenbelt.
Environmental Positions | Texture
Breaking down there two environmental positions was poignant in defining key relations interms of which elements respond similarly to each other or that of similar heights. The pictures shown from top to bottom, highlight the textural changes in roofing compared to tree branches, gutter and plasters compared with leaves and berries, brick and stone loading bear structures compared with ground plants and then the differing ground conditions. We see there is a clear distinction not only in form but in textural character between these two halves with the urban conditions having this rough surface quality in contrast to the softness in the greenbelt.
Evocative Plan | Mapping Colour
From obtaining these memories I exploreed the most predominant colour which was within the given images; recording there RGB colour code in via, colourground, and Adobe Kuler in case this spanned any further analysis.
From moving through the urban to the rural the results were very comprehensible in terms of environmental positions with the community territory showing this very grey experience compared to vibrant autumnal colours present in the greenbelt. Furthermore there was clear evidence that Craigmount Brae mirrored no resemblance to the urban or rural conditions in my walk, as shown.
Communal Buildings | Mapping
In parallel with analysing these separate territories conditions it was significant to establish were the most sociable places were in the the local context. The communal buildings chosen are as follows and are mapped accordingly. These communal areas were examined to review whether these key points in the community mirrored that of the grey residential housing or not.
Eastbank Church
East Craigs Community Centre
Mid Yoken Pub
East Craigs Dental Practice
Parkgrove & East Craigs Medical Practice
Shops
East Craigs Primary School
Community Buildings | Visual
The predominant communal buildings within the community are as shown, and mirror a similar thought process to that of the residential housing in conveying a wearisome, dull approach to colour and design. Only small uses of colour are present with this only being used for advertisement or signage. This reflects a lack of distinction from commercial to accommodation in how a newcomer to the area may find it arduous in searching for one of these entities.
i. Eastbank Church ii. East Criags Community Centre iii. Co-operative iv. East Craigs Primary School v. Mid Yoken Pub vi. East Craigs Dental Practice
vii. Parkgrove & East Craigs Medical Practice
Community Building | Surface Palette
Critically examing these particular communal building in breaking down there individual elements was used to investigate if there was a singular material colour which was trying to communicate some sense of place. The diagram below explores the process taken in dividing these element and analysing these as whole colours.
Roofing
Gutter
Facade
Window Frame
Singage
Brick
Mortar
Ground
Surrounding | Palette
After looking in depth at the materiality of the individual communal buildings and find there is a distinct lacking in identification. Stepping away from these surface materialises it was important to analysis the immediate vicinities including natural qualities such as trees, shrubs and plants and if they reflect a similar situation.
The centre of the circle represents the heart of the choose communal building and pivoting round the building at 30 degrees at eye level the strongest colour which stood out in that direction was documented. From the findings present there a clear lacking of indentity even with the inclusion of natural elements, this appears not to be enough and requires a more abstract colour approach in giving this community a place.
As we see in this example of the Co-operative shop the green colour appears to make a change in ideology, marking a connection to nature. However this cannot be seen as creating an identity of place within the community as this type of green signal can be witnessed anywhere as it is commercially driven brand/logo. To give a place a place has to carry a sort of individuality not present in any other society.
Spatial Compositions | Abstract
The concept on abstracting colour from the rural context emerged as an appropriate proposal however defining the spatial compositions for these notions was pivotal. Rather than define my own series of individual spaces I felt there had to be some form of categorisation of key moments which happen on the route to be defined in the local context. This is were I revisited the reading of Cullen in how he identified four conditions built into the urban fabric. These conditions in society are as follows with a brief explanation.
I. Deflection ~ Arises a place at the end of a street which is not been seen yet
II. Punctuation ~ Pattern or function of the street takes a change from place to place
III. Enclosure ~ Set apart from roads and traffic located in housing estates
IV. Narrows ~ Tight spaces in-between houses were only pedestrians can pass
These qualities specify the points we as human beings have to occupy, pass though in our daily life ,although we may not recognise or pay attention to these spaces they provoke a judgement on ourselves, good or bad. This terminology of identification was crucial in how to build a passage which can flow and define communal building to communal building on that route in the community.
Mapping Compostions | Locating
To specify key changes in the build environment, I took my walk again, to uncover these poignant moments to which the route takes a different position on bodily movement. These moments however from the original path, lead me on slightly new course yet ever point still followed to or fro a communal structure. The diagram present highlights the original route in red to the new route in blue with the images showcasing specific moments in which the situation physiologically transformed.
Deflection
“A variation on the closed vista is deflection, in which the object building is deflected away from the right angle, thus arousing the expectation that it is doing this to some purpose, i.e. that there is a place at the end of the street as yet unseen and of which this building forms a coherent part. This is invariably not so, but deflection arouses the thought.”
Punctuation
“If the vista seems like a complete sentence containing subject and predicate, the use of the word punctuation may clarify those demarcations of the enclosed phrase which this picture illustrates. In the continuing narrative of the street, function and pattern change from place to place; this should be acknowledged by some physical signal. The church, for instance being a particular building, interrupts the alignment of the street and so close one phase and conceals the next, so that pause is created.”
Enclosure
“The enclosure or interior open to the exterior and having free and direct access from one to the other is seen here as inaccessible place or room out of the main directional stream, and edd in which footsteps echo and the is lessened on intensity. Set apart from the hurly-burly of traffic, it yet has the advantage of commanding the scene from the position of safety and strength.”
Narrows
“The crowding together of buildings forms a pressure, an unavoidable nearness of detail, which is in direct contrast to the wide piazza, square or promenade, and by the use of such narrows it is possible to maintain enclosure without forbidding the passage of vehicles and pedestrians. In its own right narrowness has definite effect on the pedestrian, inducing a sense of unaccustomed constrictions and pressure”
Return to the rural palette | Definition
In defining the spaces in which were to be embarked on, giving each a meaning through an expression of colour, revisiting the rural palette was key. Subjectively I distinguished what potential colour would express and relate to the individual spaces chosen. Via the writings of Cullen - the highlighted quotes within the text in previous pages - pin point features in what defined expressions were generated. The colours taken from nature which were to be enforced on to the urban realm are purely a subjective opinion to what is suitable for the spaces reflected upon the community as a collective. Furthermore the identified colours will be applied into one of each set of spatial composition images to test these findings.
~ Deflection ~
“arourses the thought”
Thought as a tool which can lead people to spaces was particularly of interest and to what colour can act as the guide in generating passage. This turquoise colour would look to mirror the grey back drop yet advancing itself on to the urban environment as a land mark, whereby the next step is not visible, provoking the human mind to discover.
~ Punctuation ~
“Physical Signal”
A break in the street narrative, where by the user must stop evelaute there movement to pass through the space. Something pyhsical almost as a warning or sign which can guide the user through. On a personal level a phyical sign is assiaocated with red, however a chromatic red sign maybe witnessed as ‘no go’ area, where as the maroon colour taken from tree berries subtly relates to the brown brick/guttering but also defines a passenge through.
~ Enclosure ~
“point of safety”
The colour Green is reflected upon as a safe natural colour within universal psychology, however the green present here does not have an overbearing impact yet reflects tree branches in there seasonal state of change from summer to winter months. This concept of change is further relected upon in the enclosure case study where you come from a place of noise by means of traffic, transferring through to a place of tranquillity.
~ Narrows ~
“unaccustomed contrictions and pressure”
With narrows there was the option of a few differing strengths in yellow colours steaming from dying leaves, flowers and straw from the farmer fields. Narrows usually result in bodily restrictions whereby a user does not enjoy being in a pressurised space. To try and step away from this notion, the concept of adding a bright yellow will not only uplift the space in making it brighter but more welcoming, encouraging passage through rather than repelling it.
Conclusion
In Conclusion, It was clear from the diverse sets of analysis the urban area of East Craigs bares very little, if any, identity in colour patterns or schemes being extreme grey and dull. Upon the initial investigation of the new impact colours deployed through the redevelopment of Craigievar House at first glance this appears to install a new recognition to the community signifying a place within the local context. Yet when uncovering the methodology behind the design in getting contact with the architect it was evident that the colours used were no more than than agreements passed through by contractors as this had been seen as the most economical andd effective way in managing the previous cream pebble dash façades.
Drawing my attention away from the development in exploring the local context itself in viewing the disparity from the rural fields to the urban housing and how these conflicts could be possibly made into a hybrid via the control of colour. The community buildings were prefect clarifying points were people were most likely to congregate and how a theological colour route could be identified to produce key moments leading to these communal places. Through readings of Cullen in spatial composition and a person study of the colours - via digital technology such as Adobe Kuler - the urban context was broken down into a catalogue of poignant spatial moments flowing from communal building to communal building. In deploying the rural colour palette into the urban realm a physiological connection between the two domains was then generated to encourage or clarify users on a specific route. Although this exercise of deploying the different colours to respond to there individual urban condition was subjective, colour theory will always be this way as we all experience colour in divergent ways. On a final note it was useful to create a series of two dimensional and three dimensional models to form a sense of depth of space, however to feel the full impact if the colours work in there chosen context they would have to be deployed on to the spaces themselves.