Designed in 1825 by William Burn, the Scottish National Gallery of Modern Art was originally known as the John Watson School. It was supposed to function as an institution for fatherless children. However it opened as the Scottish National Gallery of Modern Art in August 1960 in Inverleith House, before moving to its current location in Belford Road, Edinburgh in 1984. [1] The Gallery is housed in a large neoclassical building and has been adapted in many ways to suit its new purpose, allowing for larger, brighter rooms to display both temporary and permanent collections. Burn was open to a range of styles in all his designs and is responsible for designing and contributing to many churches, castles and major 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] To truly analyze the building, it is important to take into account a number of factors such as the location of the building and its contribution to the building itself. Even the style of the buildings and how consistent it appears 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 Shouldn't Be Banned"? Get an Original Essay First, you need to address the style of the building itself. The exterior of the building has some very obvious neoclassical features that incorporate the typical classical influences of ancient Greece. One of the most notable features is the main entrance, with its bold Greek Doric-style pillars. This gives the building its bold and imposing image when approached. The building also emphasizes its more planar and bold qualities as opposed to the masses of sculptural volumes, shown in its minimal yet prominent appearance surrounding the exterior. (Figure 1) The enormous scale of the building alone screams Greek Revival, creating a strong neoclassical image. In the process of adapting the building from a school to a library there were few changes to the exterior of the building, as it was already a fit-for-purpose candidate. A large number of large windows allowed light to flow in, meaning there would be no problems with any form of exposure inside. The interior also reflected its neoclassical features. The building's original interior design contained some stereotypical neoclassical features, but the building's original purpose created a contrast within. The rooms were obviously large with high ceilings with lots of light cast from the large windows with a huge sense of spacious freedom. However, it lacked the typical elegant friezes and draped ribbons usually associated with neoclassical interior design. The interior instead had a sense of discipline, with cold, hard features that reflected the building's purpose. Naturally during its transformation since 1984, [3] the interior of the Burn building has undergone many adaptations and revisions to suit its new occupancy. Now it's a modern design picture with painted wood 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. The most recent renovation by Alison Architecture focused on the main foyer space. The room was stripped of all furniture and electrical wires before being painted white. This is to introduce a new form of design within the room. Introducing wrapped steel furniture and luster, pure finish.[4] This shows the real transformation the building has had. The interior design of theScottish 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 also reflects many of the typical characteristics of the style. The length of the building is emphasized by the long, straight corridors that run parallel to each other throughout the building. The plan also emphasizes the actual scale of the rooms. It explains why the building has functioned so well in both its past and present purposes. Its huge rooms and bright light allow for 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. The gallery was previously located at Inverleith House in Edinburgh. This was initially seen as an excellent position. There was plenty of open space to surround the gallery, allowing for a sense of freedom within its grounds. Yet the building was still quite central to the city itself, located not too far from Edinburgh Castle. However, in 1984 the decision was made that it was time to move. This is also its current location on Belford Road, Edinburgh. (Figure 2) This was a prime location for the building's purpose. By creating easier access for the public to tour the building, some were concerned that scaling the surrounding land would affect the building's effect. But it would seem that this is not a problem. Still surrounded by a large amount of open grass and trees was a large open space. There was also space for a central pond, divided into three elegant sections which, from both above and ground level, reflect the modern art within (Figure 3). Having the right location is obviously critical to the purpose of the gallery. There had to be space for such an impressive building to thrive, whilst remaining accessible. This also made sense in terms of its previous purpose as the John Watson Institution, as it was intended as a full-time residence for the vast majority of boys who attended it. The large open ground created more than enough space for the boys to occupy in their free time and for sport. A final important factor to take into consideration is the career of designer William Burn and his influences. Burn was responsible for many different projects in his career, such as George Watson's College, Edinburgh Academy and Inverness Castle. It has a diverse list of designs and styles to its name. He moved in and out of styles in his work, for example, in his earlier career he spent time designing Gothic churches and even neo-Jacobean style houses.[5] Yet at the same time he had a clear enthusiasm for the neoclassical, the Greek Revival. He is credited as a master of numerous styles. Burn was also responsible for the design and renovation of over six hundred country houses in his career [6]. But of all his architectural achievements, the Scottish National Gallery of Modern Art is undoubtedly one of his most famous and impactful projects. The building not only served as a refuge for some of Edinburgh's needy youth, but as a revolutionary site of a new appreciation for art, the art of the building itself worthy of admiration. Burn also influenced numerous architects he trained. Those like David Bryce who would design influential buildings such as the Edinburgh Surgical Hospital in 1853. The architectural influences that Burn made during his lifetime helped transform Edinburgh into the city it is today. It trained eight young and prosperous architects, all of whom went on to design buildings in and around Edinburgh, both important and,.