Designed in 1825 by William Burn, the Scottish National Gallery of Modern Art was originally known as the John Watson School. It was intended to function as an institution for fatherless children. However, it was opened as the Scottish National Gallery of Modern Art in August 1960 at Inverleith House, before moving to its current location on Belford Road, Edinburgh in 1984. [1] The gallery is located in a large building neoclassical and was adapted in many ways to suit its new purpose, allowing larger and brighter rooms to display temporary and permanent collections. Burn was open to a number of styles throughout his designs and is responsible for the design and input of many important churches, castles and public buildings. He also influenced a number of architects who trained under him throughout his career and was considered a master of many styles.[2] In order to truly analyze the building, it is important to consider a number of factors such as the location of the building and its contribution to the building itself. Also the style of the buildings and its consistency with neoclassicism. And finally the life and career of its designer William Burn. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an Original Essay First, you need to address the style of the building itself. The exterior of the building has very obvious neoclassical features incorporating the classical influences typical of ancient Greece. One of the most important features is the main entrance, with its bold Greek Doric-style pillars. This gives the building its bold and imposing image on approach. The building also emphasizes its flatter, bolder qualities in relation to the masses of sculptural volumes, exemplified by its minimal but prominent frost surrounding the exterior. (Figure 1) The vastness of the building alone screams Greek Revival, creating a strong neoclassical image. . During the process of adapting the school building into a library, the exterior of the building changed little, as it was already a suitable candidate for this purpose. A large number of large windows allowed light to flow inside, meaning there would be no problems with any form of display inside. The interior also reflects its neoclassical features. The original interior design of the building contained some stereotypical neoclassical features, but the building's original function created a contrast inside. The rooms were of course large, with high ceilings and lots of light cast through the large windows, providing an immense feeling of freedom. Yet they lacked the typical elegant gels and draping ribbons usually associated with neoclassical interior design. Instead, the interior exuded a sense of discipline, with cold, hard elements reflecting the building's purpose. Of course, during its transformation since 1984, [3] the interior of the Burn building has undergone many adaptations and revisions to suit its new occupancy. It's now a picture of modern design with varnished hardwood floors, minimalist furniture and calm white walls. The minimalist design is typical of modern art galleries and really allows you to focus on the art itself. Its most recent renovation by Alison Architecture placed emphasis on the main foyer space. The room was cleared of all furniture and electrical wires before being painted white. The objective was to introducea new form of design in the room. Presentation of furniture in rolled and shiny steel, pure finish.[4] This shows the true transformation of the building. The interior design of the Scottish National Gallery of Modern Art is no longer intended to reflect the style of the building, but the styles of the art within it. Burn's design plan also reflects many of the typical features of the style. The length of the building is emphasized by the long straight corridors running parallel to each other throughout the building. The plan also emphasizes the true scale of the rooms. This explains why the building has performed so well in its past and present functions. Its huge rooms and radiant light allow a mass of modern art to be properly displayed, but the building is art in itself. Another key aspect to consider when analyzing the Scottish National Gallery of Modern Art is its location, both old and new. Previously the gallery was located at Inverleith House in Edinburgh. Initially this place was considered a great location. There was plenty of open space around the gallery, allowing a sense of freedom within its grounds. However, the building remained quite central to the city itself, located not far from Edinburgh Castle. However, in 1984 the decision was made that it was time for a change of venue. This is also its current location on Belford Road, Edinburgh. (Figure 2) This was a prime location for the building's needs. By creating easier access for members of the public to tour the building, some were concerned that reducing the size of the surrounding lots would impact the building's effect. But it seems that this is not a problem. Still surrounded by lots of grass and trees, there was a large open space. There was even room for a pond center, fashioned into three elegant sections that, from above and below, reflect the modern art found there (Figure 3). Of course, having the right location is essential to the function of the gallery. There had to be space for such a grandiose building to flourish while remaining accessible. This also made sense in view of its previous purpose as the John Watson Institution, as it was intended to serve as a full-time residence for a large majority of the boys who attended there. The large open field created more than enough space for the boys to keep busy in their free time and play sports. A final important factor to consider is the career of designer William Burn and his influences. Burn was responsible for a number of diverse designs during his career, such as George Watson's College, the Edinburgh Academy and Inverness Castle. He has a diverse list of designs and styles under his belt. He dipped in and out of styles in his work, for example he spent time designing Gothic churches early in his career, and even houses in the Jacobean Revival style.[5] Yet at the same time he had an obvious enthusiasm for the neoclassical and the Greek revival. He is considered a master of a number of styles. Burn was also responsible for the design and renovation of over six hundred country houses during his career.[6] But among all his architectural achievements, the Scottish National Gallery of Modern Art is undoubtedly one of his most famous and striking creations. The building not only served as a refuge for some of Edinburgh's youth in need, but also as a revolutionary venue for a new appreciation of art, with the art of the building itself worthy of admiration . Burn also influenced a number,.