K I R S T I E R E Y N O L D S

2ND YEAR: 2010 - 2011

M A T E R I A L I T Y|A REFLECTION OF SEQUENCE

UNIVERSITY OF EDINBURGH

CONTENTS

SITE SURVEY.................................................................................................................................................................................................................................................................PG 1

PARTII............................................................................................................................................................................................................................................................PG 2

DESIGN............................................................................................................................................................................................................................................PG 3 - 13

POBLENOU, BARCELONALocated in the heart of the 22@ district the Dance Centre would be in the middle of a huge and controversial development of Po-blenou. The aim of this redevelopment is to create green spaces and allow local and international business to co-operate which would improve social cohesion of this micro-city.

Map showing location of chimneys - Located within our site and throughout Barcelona are factory chimneys, a protected landmark which pays tribute to the old factory industry of Poblenou.

Site Block Chimneys located near our site Page 1

PARTII

I had started my design by taking references from the site. The theme of sequence became part of my partii after examining the repitition of building blocks as a result of the city’s historical grid. Initially the idea of sequence was to be included as a sequence of courtyards, the partii evolved into celebrating the sequence of movement, not only in dance routines but also around the site after a study of the movement of traffic and pedestrians showed that some roads and pavements were used more often than others and were also busier at certain times of the day.

People from all over the city have been wary of the 22@ development for fear of losing evidence of Catalan history and culture which was why the historical references formed part of my design. The chimney located on the site, along with others dotted around Poblenou, will always be a permanent feature due to governmental protection. I chose to celebrate the chimneys by making it the main focus of my design.

The dance centre is designed to be orientated towards the chimney, so it acts as a focal point and allows views of the chimney through circulation spaces and the principal studio. I chose brick to symbolise the performance spaces of the building to create a relationship between performance and history as the chimneys are made of brick. However each performance space has unique brick textured walls to show the difference in performance.The shape of the building is a result of a map which pinpoints chimneys located within Poblenou. I looked at different ways each chimney could be connected to another and from the shapes created, generated plans. The chimneys act as nodules and each nodule signifies change - material or direction.

Development Maquettes

Development sketches

Page 2

I wanted to create informal social spaces such as those on the ground floor to encourage interactions from people and movement through the building not only with dancers and the audience but also from visitors and those working near by.

The building is also set back from the chimney to create a green space where anybody, workers, dancers or those walking past, can sit, relax and enjoy the views. This would also encourage mingling between those who see Poblenou as a pla¬ce to work and those who live there.

Ground Floor 1:200 Page3

1st Floor 1:200 2nd Floor 1:200Page 4

2nd Floor 1:200Page 5

The idea of movement can be seen on the external facades through the use of materiality. Brick is used to show that the interior space is used for performances both formal and informal. While the circulation and public spaces have a repeated pattern of colours to symbolize movement. The colours for the facades were taken from traditional costumes used for the

traditional Catalan dance Sardana in order to pay homage to Spain’s traditional culture.

Section AA 1:200Page 6

Section BB 1:200Page 6 Page 7

North Elevation Page 8

West Elevation Page 9

Perspective Section 1:50 Page 10

Perspective Section 1:50 Page 11