Feasibility Report by Chandni Kavaiya

An Indian Cultural Centre & Street ThEATre

The conversion of a central building to help preserve, encourage and propagate the teaching and understanding of the Indian culture. Feasibility Report

Chandni Kavaiya

November 2014

CONTENT PREFACE 02

SECTION 1 Introduction

PERSONAL RATIONALE 03 PROJECT BRIEF - AIMS & OBJECTIVES 04

SECTION 2 Site Analysis

SITE LOCATION & CONNECTIONS SITE ACCESS LAND USE SITE HISTORY BUILDING ANALYSIS SITE PHOTOS VIEWS FROM SITE INTERIOR PHOTOS EXISTING PLANS EXISTING ELEVATIONS

SECTION 3 Precedent Studies

KILDEN PERFORMING ARTS CENTRE, NORWAY KONAN WARD CULTURAL CENTRE, JAPAN THE OLD VIC TUNNELS, LONDON DISHOOM, LONDON IMLI STREET, LONDON

23 24 25 26 27 28 29 30 31 32 33

SECTION 4 Related Research

INDIAN CULTURAL CENTRES IN LEICESTER PERFORMING ARTS SPACES IN LEICESTER INDIAN RESTAURANTS IN LEICESTER DEMOGRAPHICS - STATISTICAL RESEARCH DEMOGRAPHICS - RESEARCH ANALYSIS FACADE - JOHN LEWIS, LEICESTER INTERIOR SPACES - THE COTTON MILLS FLEXIBLE SPACES ADAPTABLE SPACES - THEATRE SEATING ADAPTABLE SPACES - PARTITION WALLS RESEARCH CONCLUSIONS

05 06 07 08 09 SECTION 5 10 11 Conclusions 12 34 CONCEPTUAL PROGRAM 15 35 MOOD BOARD 17 36 CONCEPT IMAGERY 37 FACADE DEVELOPMENT 38 FACADE - INITIAL CONCEPT MODEL 40 FACADE - FINAL CONCEPT MODEL 18 41 EXTENDING THE FACADE 19 42 INTERIOR CONCEPT SKETCHES 20 44 INTERIOR CONCEPT MODEL 21 45 SPACE PLANNING 22 46 MATERIALITY 47 DESIGN DIRECTION 48

SECTION 6 Bibliography

â&#x20AC;&#x153;India is not, as people keep calling it, an underdeveloped country, but rather, in the context of its history and cultural heritage, a highly developed one in an advanced state of decay.â&#x20AC;? - Shashi Tharoor

SECTION 1 INTRODUCTION

PERSONAL RATIONALE PROJECT BRIEF - AIMS & OBJECTIVES

03 04

LEARNING

COMMUNITY

PERFORMANCE

ACTIVISM

CIVIC ENGAGEMENT

PERSONAL RATIONALE Being a young Indian living in the UK, I believe that there is a need for the youth to be more in touch with the Indian culture and heritage. I don’t believe that there is anything wrong with becoming more assimilated with the Western culture but one of the world’s oldest and most diverse culture is being ignored.

India is a varied country, and different regions have their own distinct cultures, language, food and the arts. Much of which isn’t being brought to the forefront of our increasingly ‘Western’ lives. While Chicken Tikka Masala sure is tasty and popular, it’s not an accurate representation of what Indian food really is. And while Bollywood is full to the brim with an epic concoction of song and dance, there is much more to performance that India has to offer. I believe that if elements of the Indian culture were to be showcased on an accessible and contemporary platform, the Indian youth would be more willing to partake and enjoy the experience.

PROJECT BRIEF HYPOTHESIS

PROJECT AIMS

FEASIBILITY OBJECTIVES

If cultural centres were better designed and didn’t resemble a council estate or a school hall then people, particularly the youth, would be more willing to attend. They should have a unique selling point as they are essentially ‘selling’ and promoting a culture to an audience. Many cultural centres nowadays rely on the services they offer to do most of the promoting for them. However, the design of the environment can either assist in further promoting or could force people to stray further away. Cultural centres need to adapt to the 21st century in terms of design and consumer needs.

To design a cultural centre that is an exciting, upcoming destination in itself, that will encourage users to engage with one another and make connections.

To analyse and discuss the ways in which existing cultural centres and restaurants have succeeded (or not) in bringing the community together.

To create a space where the youth can practice dance, music and other forms of art in a peaceful environment.

To identify and assess a site through appropriate site analysis.

To design a restaurant within the centre which explores the street food of Mumbai, encompassing elements of a street kitchen within the space. To create a contextually responsive environment and provide a stimulating and educating experience to all users.

To analyse location, demographics and statistical data on cultural centres in Leicester. To identify ways in which a design can incorporate contextually responsive elements. To propose design solutions through an outline design.

To incorporate inclusive design, ensuring everyone can access the facilities equally.

SECTION 2 SITE ANALYSIS

SITE LOCATION & CONNECTIONS SITE ACCESS LAND USE SITE HISTORY BUILDING ANALYSIS SITE PHOTOS VIEWS FROM SITE INTERIOR PHOTOS EXISTING PLANS EXISTING ELEVATIONS

05 06 07 08 09 10 11 12 15 16

THE SITE SITE LOCATION

SITE CONNECTIONS

SITE ACCESS Access to the site is from the A50 (Northgate Street). The A50 is a main route connecting the M1, M69, both inner and outer ring roads directly in and out of the city centre. The site is well served by public transport with there being a local bus stop directly opposite that operates the main bus routes in and out of the city centre. 2-4 Frog Island is a 10-minute walk from St. Margaret’s Bus Station. Leicester Railway Station is a 20-minute walk away. However, there is a bus route direct from the Railway Station to Frog Island that runs every 10 minutes. The site consists of 5 parking spaces. In addition to this there are a further 14 spaces available at 6 Frog Island. Should there be a need for more spaces, customers can be directed to the Highcross multi-storey car park, which is a 5-minute walk away.

Google Maps, 2014

The site location is next to the Grand Union Canal. For this reason, the flood risk of this area is ‘Moderate’ according to the Environment Agency. The chance of flooding is between 0.5% and 1.3%. There are no signs of previous watermark or flood damage. Should a flood risk arise, water levels can be managed by opening a controlled amount of the lock. (Stayfree Music Ltd, 2009).

Vehicular Access Car Parks

Disabled Access to the building is via a designated disabled drop off point to the right of the building, which is directly accessible from the outside. There is adequate space for wheelchair users to navigate their way from the street onto the canal pathway located next to the site. There is also space at the side of the building for bikes.

Bus Stops Pedestrian Access Green Areas

Digimap, 2014 Site address: 2-4 Frog Island, Leicester LE3 5AG. It is located within an inner city area of Frog Island and lies between the River Soar and the Grand Union Canal. Adjacent to the Woodgate area to the north and Northgates to the south, the site is located on the A50 leading towards the city centre. It is currently being used as a live music venue and bar by Stayfree Music (Wikipedia, 2014). The site is located within the Waterside Regeneration Area (Leicester City Council, 2009). The land uses for this area are residential and commercial uses utilizing existing structures. As you come off the A50 and onto Frog Island, there is a sudden change in atmosphere, primarily due to the presence of the canal. The commotion of the main road soon turns into an oasis of calm. From time to time, this is interrupted by the sound of drilling and the smell of burning metal from the manufacturers located to the rear of the site. As one walks further away from the site along the canal pathway, you catch glimpses of forgotten buildings resonating Leicester’s manufacturing past.

Digimap, 2014 & Author’s own annotation Problems with the site: - Evident safety issues at rear of premises due to proximity to the canal. - Very few car parking spaces - Narrow vehicular access - Main road location could mean traffic issues - Building is quite indistinct therefore would be hard to notice. - Noise pollution from adjacent manufacturers. Positives: - Dramatic buildings under different lighting effects create some thing surreal. - Rural tranquility in the heart of the city - The sound of water creates a serene atmosphere amongst the industrial buildings.

Suncalc.net, 2014 Looking back towards the site, there seems to be a great potential of creating a ‘pedestrian experience’, of approaching something magnificent towering above the canal. Use of the wall facing towards the canal as a façade extending outwards, would take advantage of this south-facing wall for maximum natural light.

THE SITE SITE ACCESS

ALTERNATE ACCESS TO CAR PARK

DISABLED ACCESS

Noise

NO VEHICULAR ACCES

CANAL PATHWAY

CITY CENTRE

‘THE PEDESTRIAN EXPERIENCE’

The map above includes features such as the surrounding roads. This gives an idea of circulation on the site as well as parking and vehicular access. The next two maps deal with environmental issues such as acoustics and sun paths. The noisiest areas are from the A50 and the manufacturing warehouse at the rear end of the site. These will have to be appropriately addressed. The last map highlights views from the site. The diagram also highlights the existing buildings that will affect the views, so orientation of windows will need to be carefully considered.

Sun Path

Views Site Location in Great Britain Site Location in Leicester Google Earth, 2014

Site Location in Frog Island

Google Maps, 2014 & Author’s own annotation

THE SITE LAND USE

Documenting a journey along the canal approaching the rear of the site. Authorâ&#x20AC;&#x2122;s own images, 2014

2-4 Frog Island

Ash Sakula Architects, 2011

The A50 (Northgate Street) is primarily made up of warehouses and derelict land with some buildings being used as retail spaces. Most of the land is being used as warehouses on the approach to the site from John Lewis in the city centre. There are plenty of open spaces, which are composed mainly of private car parks. Some of the buildings, especially the ones in close proximity to the site, are dilapidated and there is a derelict space of land opposite the site. Most of the buildings do nothing for this area, which has great potential as it is in the vicinity of the canal and its picturesque surrounding areas. The proposed building should make more use of the rear end of the site, making it a focal point for those taking the route along the River Soar.

THE SITE SITE HISTORY

Frog Island during the Medieval and Victorian Time

Valuable Heritage Buildings Ash Sakula Architects, 2011

The construction of the Grand Union Canal in the 1790s, during Victorian Leicester, linked Leicester to London and Birmingham and by 1832 the railway had arrived in Leicester. By the 1860s, Leicester had gained a direct rail link to London (St Pancras) with the completion of the Midland Main Line. These advances in transport encouraged industrialisation. Factories began to appear, particularly along the canal and the River Soar. A large proportion of the population of Leicester was employed in trade and commerce. The cityâ&#x20AC;&#x2122;s new factories and workshops rose steadily. Hosiery, textiles and footwear became major industrial employers (adaptableneighbourhoods.com, 2011). Frog Island was home to many prominent factories and was a hub of manufacturing through the first and second world wars. There was good communication links due to the canal and the Great Central Railway used to plough through Frog Island. Many of the buildings were owned by A.R. Donisthorpe and used as Dyeing and Spinning Mills in 1892. The area declined rapidly with the loss of Leicesterâ&#x20AC;&#x2122;s industrial base since the 1970s (adaptableneighbourhoods.com, 2011). Most of these buildings still remain. In 1995, 2-4 Frog Island housed David Mason Textiles, a hosiery manufacturer. Presently, it is being used as a live music venue.

British Library Online, 1892

www.le.ac.uk, 2014

THE SITE BUILDING ANALYSIS

The building consists of an exposed steel structure. A beam can be seen running across the rear façade of the building and the framework is seen in the interior spaces. The building skin is made up of brick and the roof is made of slate tiles. The interior walls are made up of a partition system and the floors seem to be concrete poured in situ. Jthoover.com, 2012

Concrete floors poured in situ

Slate roof tiles

Author’s own image, 2014

Steel structure

09 Author’s own image, 2014

THE SITE SITE PHOTOS

Existing main entrance at rear

Facade overlooking the A50

Disabled Access Authorâ&#x20AC;&#x2122;s own images, 2014

THE SITE VIEWS FROM SITE

Author’s own images, 2014 Digimap, 2014

THE SITE INTERIOR PHOTOS

Main Venue Area

Rehearsal Room Authorâ&#x20AC;&#x2122;s own images, 2014

Attic

The building is currently being used by Stayfree Music as a live music venue, bar and 9 rehearsal rooms. There are also 2 residential rooms located on the top floor overlooking the canal. The basement and ground floors are fairly congested with narrow corridors and small rehearsal rooms. Eliminating interior walls can create larger spaces. This will ensure maximum natural light reaches all areas. Currently, many rooms are free from any daylight. What is particularly interesting is the view from the attic spaces down onto the canal. The design should take further advantage of this view and extend the windows or protrude the faĂ§ade out onto the canal.

THE SITE EXISTING PLANS

Ground Floor Scale 1:100

THE SITE EXISTING PLANS

First Floor Scale 1:100

THE SITE EXISTING PLANS

Second Floor Scale 1:100

Third Floor (Attic) Scale 1:100

THE SITE

EXISTING ELEVATIONS

South Facing Elevation Scale 1:100

North Facing Elevation Scale 1:100

THE SITE

EXISTING ELEVATIONS

West Facing Elevation Scale 1:100

East Facing Elevation Scale 1:100

SECTION 3

PRECEDENT STUDIES

KILDEN PERFORMING ARTS CENTRE, NORWAY KONAN WARD CULTURAL CENTRE, JAPAN THE OLD VIC TUNNELS, LONDON DISHOOM, LONDON IMLI STREET, LONDON

18 19 20 21 22

PRECEDENT STUDY 1 KILDEN PERFORMING ARTS CENTRE, NORWAY ALA ARCHITECTS

The projects seems to be designed from one viewpoint. It is just the facade that is the most interesting. Other than that it is merely a box. The building only seems to work if you stand in front of it. There also arenâ&#x20AC;&#x2122;t many interesting interlocking spaces within the building. It all seems to fall flat apart from the dramatic facade.

Hufton & Crow, 2012

This Performing Arts Centre in Norway houses a concert hall, theatre, multipurpose hall and rehearsal spaces (dezeen.com, 2012). It overlooks a canal and the roof is cantilevered over the water creating magnificent reflections. The glass facade looks almost invisible, leaving the wooden wall to take up most of the attention. The curved wall pierces through the glass pointing out towards the sky quite aggressively. There is a sense of drama upon arrival at the building. In comparison to the exterior, which is almost fluid and organic, the interior spaces are quite angular and rigid. The folded dark walls are made of sharply detailed metal sheets. The luminous lighting almost makes the space look and feel like a nightclub. The interior spaces could have been made to reflect the exterior in a more appealing way. The fluid shapes should have been brought into the interior. The electrifying colours seem to do nothing for the space and clash with one another. Although the way in which the timber is set against a dark backdrop in the auditorium works really well

PRECEDENT STUDY 2 NIIGATA CITY KONAN WARD CULTURAL CENTRE CHIAKI ARAI URBAN AND ARCHITECTURE DESIGN

The spaces are almost pod-like. Different pods for different activities all connected via a central corridor. Full-length glass windows allow for a subtle transition between the inside and out.

Archdaily, 2014

This cultural centre is composed of a multipurpose theatre, library, museum and community centre. All four zones are connected via a circulation corridor. Movable sliding walls are installed which means that separated rooms can be connected as one to maximise the limited spaces (archdaily.com, 2012). There are also more private rooms for individual music practice. These are organised vertically on top of one another. The theatre walls are punctuated with circles which add light, promote sound diffusion or add sound absorption. They are implemented both for interior design and acoustical reasons. Another form of adaptable design in the hall is the stage where the depth is configurable. So, it can be moved up or down depending on the type of performance. This cultural centre serves many purposes, but the main one seems to be that of a performance space. All spaces are linked through a central corridor which is an element I find particularly interesting.

PRECEDENT STUDY 3 THE OLD VIC TUNNELS, LONDON

The Old Vic Tunnels was an underground arts venue and performance space under Waterloo Station. It opened in 2009 and closed in 2013, having showcased numerous performances and installations. It was then acquired by The House Of Vans and is currently being used as an indoor skate park, arts venue, gallery, cinema and cafe. There have also been various pop-up restaurants such as Bubbledogs, a gourmet street food restaurant which only serves hot dogs and champagne. The restaurant is a stark contrast to the rest of the spaces. The lavish dining combined with rustic interiors echoes the type of food they serve. An unusual combination but perhaps that is why it works. The design of the tunnels is particularly interesting as one gets an idea of what used to be. The interior spaces haven’t been changed drastically but this is what makes the space so unique. The walls are left bare, clad in brick and the arched ceilings are wrapped in corrugated sheets of metal. The lighting does the job of separating and distinguishing different spaces. Rachel Steven, 2014 This cinema room is an interesting space as it seems quite informal. It could be used as a lounge area during the evenings which then could easily be transformed into a lecture theatre on more formal occasions by replacing the low cushioned seating with chairs.

Rachel Steven, 2014

thoroughlymodernmilly.com, 2011 William Skidelsky, 2012

This corridor is used as an art gallery, a space for exhibitions and installations. The boards are set on wheels which means that they can easily be removed or used as partitions which makes this space very adaptable. Rachel Steven, 2014

“I had no idea that such a huge, quirky space was underneath London Waterloo station and am still amazed that it was disused for so long! It is a really adaptable, flexible space which has a great atmosphere, great acoustics, and great capacity.” -Rebecca Wilson 20

PRECEDENT STUDY 4 DISHOOM, LONDON AFRODITI KRASSA

Dishoom is a contemporary Indian street food restaurant located in Covent Garden. It breaks past typical Indian restaurant stereotypes. Afroditi Krassa drew from Bombay’s rich past to design interiors that are elegant and sophisticated yet encompass the quirky charm of Bombay and its people. It truly reflects the history of the city pushing aside any preconceptions of Indian dining. A strict, monochromatic colour palette has been used throughout; combined with retro portraits and pop imagery. It embraces the overlooked beauty of everyday India. Having visited the cafe myself, I believe that there is an old school Indian charm in this place. This is also reflected in the food which is served. The atmosphere is incredibly relaxed and laid back, a far cry from the pretentious eateries located within the surrounding area of this cafe. It does well to promote the Indian culture by showcasing old Indian artefacts and photographs.

Afroditi Krassa, 2012

“Plastered with family snaps, the vibrant, quirky and kitsch décor of this all-day Bombay Café is the perfect complement to its yummy Indian street food… Charming service and economical prices keep it busy and buzzing.” - Zagat Guide 2013 21

PRECEDENT STUDY 5 IMLI STREET B3 DESIGNERS

Imli Street is a contemporary Indian street food restaurant in Soho, London. The design encompasses exposed brickwork, poured concrete walls, a centralised feature bar and zonal seating. The use of rustic oak timber and industrial style lighting evoke the rawness of a street scene. What is interesting is the use of long tables as this would encourage diners to interact with one another. The centralised bar is an interesting feature as it creates a focal point within the space. The use of something similar, as perhaps an open kitchen, would be interesting as diners could circulate around the space and interact with the chef. I will also take inspiration from the muted colour palate and raw textures.

Richard Clayman, 2013

SECTION 4 RELATED RESEARCH

23 24 25 26 27 28 29 30 31 32 33

THE CITY

INDIAN CULTURAL CENTRES IN LEICESTER The Swaminarayan Temple is one such temple out of many in Leicester which takes an active role in promoting the Indian culture to the youth. One way in which they do this is through personal development programmes. The aim is to help young adults lead a value-based, God centric life. Leicester is the first city in Britain where the ethnic minority is the majority. Because of this, it has a recent history rich with events that celebrate heritage and culture. Examples of these are Diwali Celebrations on Melton Road and the Sikh Nagar Kirtan which goes through the city centre. These existing events and the demographics of the Asian community in Leicester makes this a very fitting proposal.

Leicester is probably one of the most diverse and multicultural cities in Europe. The presence of an entire road, known as the â&#x20AC;&#x2DC;Golden Mileâ&#x20AC;&#x2122;, dedicated to the Asian community in Leicester is proof of the multiculturalism which exists. Although there are many religious temples and centres, there seems to be a lack of any Indian cultural spaces which encourages and promotes the teaching and understanding of the Indian art and culture to the youth. There are numerous temples with community centres, however, these seem to be mere add-ons to the temple and not an institution itself. As with each new generation, cultural heritage becomes less important. Although there is nothing wrong with becoming more assimilated with the Western culture, the youth are taking less interest in their roots and traditions. This may partly be due to the lack of opportunities to connect in the area. As the map shows, there are many Hindu temples in Leicester but not many which promote the Indian culture and heritage. Google Maps, 2014

Leicester Mercury, 2014

THE CITY

PERFORMING ARTS SPACES IN LEICESTER

Google Maps, 2014

bhavan.net, 2014

Incorporating a performing arts space within the cultural centre will encourage the youth to showcase their talent to an audience. They will have the necessary space to organise shows and events to promote the Indian culture. This space within the cultural centre could also be used by visiting artists to put on performances in a theatrical environment. This type of space is lacking, in Leicester, for the Indian community. There are a few theatres based around the city centre, however, nothing that specifically caters for the Indian community. An Indian cultural centre based in London is the Bharatiya Vidya Bhavan. It aims to preserve, encourage and propagate the teaching and understanding of Indian art and culture as an integral part of the culture of the United Kingdom. The building is a renovated church which consists of an auditorium, art gallery, rehearsal hall, dance studios, library, canteen and guest rooms. Some 100 performances are given each year on the premises. The space that is the most fascinating is the auditorium as it has kept the existing brick walls of the church which adds to its overall charm. The other spaces, however, have nothing particularly interesting about them. The library looks as though it belongs in a school. This would not motivate the youth. The art gallery is another area which could have incorporated an interesting design element as it is quite a large space. For my final design proposal, I want to make the building look less like a school with separate areas for different activities and more of a space which will encourage the youth to engage with one another.

THE CITY

INDIAN RESTAURANTS IN LEICESTER

Google Maps, 2014 During the late 1960s, there was a high influx of Indian immigrants from Kenya due to Idi Aminâ&#x20AC;&#x2122;s Africanization policy. As a result, from 1968-1978, Leicester received more than 20,000 displaced East African Asians, more than anywhere else in the country. This later saw the emergence of South Asian settlements in Leicester such as Melton Road and Belgrave (bbc.co.uk, 2005). These locations are now home to numerous Indian restaurants. However, many of these restaurants are westernized and do not serve food which reflects traditional cooking in India. The menus and palates are crafted to cater to the British population. There is a lack of traditional street food restaurants in Leicester. A Google search resulted in only one restaurant which was dedicated solely to Indian street food. People identify and explore cultures through food. It can essentially be a way to celebrate heritage. So, it is important to get down to the basics of Indian cooking to further promote it to the youth. Authorâ&#x20AC;&#x2122;s own images, 2014

DEMOGRAPHICS

This map of Leicester shows the percentage of residents of Hindu faith. A fairly high number of them (72%-84%) are located within the northern region of the city, in the Belgrave area.

STATISTICAL RESEARCH 93%

Design affects experience

82%

Tickets are too expensive

56%

Prefer culture specific shows

“More powerful storytelling.”

52%

“Theatre can adapt to different cultures.”

Prefer theatre over cinema

51%

Entertainment over education

“Audience feels closer to the performers.” “Theatre can address social issues.” “More of an experience, appreciate the live performance.” Quotes from surveyed audience

Survey analysing theatre experience in the Asian community Conducted by author, 2014

56% say that they would prefer culture specific shows which they can relate to. This is one of the main aims of my cultural centre. This statistic supports the issue of the Asian community in Leicester feeling neglected in terms of the vision for the future of the city. Personally, I feel that cultural centres should have more of a unique selling point and should sell an experience. Many have just been designed to tackle basic issues of lack of space for people to utilise. I feel that if the community is to come together, the centre should offer an experience and not just a space. Through conducting a survey about people’s

theatre experiences, it was found out that 60% of all participants visit the theatre only once a year. This may be due to theatre prices as 83% thought ticket prices are too expensive and felt that going to the cinema was cheaper and more convenient. Cinemas seem to be more local and easily accessible compared to theatres, which many people only tend to go on special occasions, perhaps once or twice a year. A way in which this stereotype can be broken would be to educate and involve young people in theatre. Children as young as 5 years are taken to the cinema however, this can’t quite be said for theatres.

“The planners and architects in the city haven’t taken on board the fact that there is a critical mass in this city of Asians and African-Caribbeans. This is going to have a huge impact on recreational, retail and social life in Leicester.” - Karen Chouhan (Chair - Peepul Centre)

2001

As these pie charts show, the Asian population has drastically increased from 7% in 2001 to 23.8% 2011, according to Leicester City Council. This radical change means that the council need to adapt to this in terms of retail and leisure as well as other aspects. Author’s own diagrams, 2014

2011

“I feel that I am very visible but absolutely and completely invisible in terms of the vision of the city.” - Pawlett Brookes (Peepul Centre) 26

DEMOGRAPHICS RESEARCH ANALYSIS

The Peepul Centre was the vision of five Asian women who felt that Leicester had nothing for them. It is an Asian and African-Caribbean cultural centre hosting events and workshops for the local communities. However, planners did not feature it in the regeneration scheme and were in fact concentrating on the landmark Curve Theatre (BBC Clips, 2009). It is designed by New York architect Rafael Vinoly, costing £60 million. However, the problem which was found from a survey that I conducted is that many Asians hardly come to formal theatres like this. 60% of those surveyed only visit the theatre once a year. This statistic is backed up by this statement from the chairperson of the Peepul Centre, Karen Chouhan, who says, “the council will find it difficult to attract Asians to The Curve Theatre. The only way they would come is if the performance is suited to their needs. The centre would have to connect with the things that are important to them. For example, Indian Independence day celebrations.” However, it can also be argued that 52% of participants surveyed actually prefer theatre over cinema. Reasons given were, ‘more powerful storytelling’, ‘theatre can adapt to different cultures’ and ‘can address social issues’. Conclusions which can be drawn from this survey is that theatre just needs to be adapted to suit the Asian culture. They don’t want to spend a great deal of money on watching West End performances but rather want something local which they can relate to in terms of music, dance and festivals. The Peepul centre seems to have too many things going on and all the spaces seem to clash with one another. The gym is in close proximity to the Indian restaurant and so this may detract customers from dining here. The facade of brightly coloured windows do not do the space any justice and neither do they represent the Asian or African-Caribbean communities. During the day, the building looks much like a council estate. This is not an image a community centre would want to portray.

alwaysthankgod, 2009

The Peepul Centre

The Curve Theatre

FACADE

JOHN LEWIS, LEICESTER This department store was designed by Foreign Office Architects. It was completed in 2008 and spans a total area of 34 000m2 (farshidmoussavi.com, 2011). The intricate facade draws upon the rich history of Leicester and its textile manufacturing past. The pattern which wraps around the exterior of the building was found from the John Lewis textile archive. The Architects explain, this fabric effect was to give the building’s bulk a “layered transparency”. This pattern also seems to draw on the city’s Asian population as it could be interpreted as a play on traditional Indian decoration on fabric. It is an achievement to clad a building on such a vast scale in this intricate decorative pattern and still look appealing. There is a danger of it looking crude however the consistency and seam free pattern makes it work. “The double-skinned facade required two layers of net curtains in order to limit transparency, and the trick here was to line up exactly the same pattern on inside and outside layers. This creates a dual effect so that, when facing the facade head on, you can look straight through the gaps in the pattern, but when looking at an oblique angle, the two layers of patterns are offset and block your vision. So when you are inside the shop, you are offered liberating views out, but as the patterned facade starts at first floor level, views in from the outside are obscured. The two layers of obscure patterning also provide the practical benefit of sun-shading.” (Martin Spring, 2008) This clever trick could be adapted for the facade of my building. Due to the building being south facing, it is essential to create something that would provide shade for when the sun is directly opposite.

Pedro Kok, 2014

Alireza Behpour, 2012

Leicestermercury.co.uk, 2013

Alireza Behpour, 2012

architecturaldigest.com, 2014

walkingarchitecture.co.uk, 2013

heartlandborders.com, 2014

detail-online.com, 2012

dezeen.com, 2014

These particular examples of patterned glass facades are incredibly eye-catching and create fascinating shadows in the interior spaces. This is something which I am hoping to capture in my final design. This type of facade would maximise light coming into the building and the space would appear to look larger. The facade which particularly interests me is the one found on detail-online. com of a shopping centre with a ‘garden facade’ in Brisbane. It consists of a layer which was laser cut from a stainless steel sheet and hand folded to provide depth, a second layer was water-jet cut from an aluminium sheet that is coloured using powder coating. Layer three is a composite aluminium panel of abstract geometric patterns. It is all fixed together with various frames and grills between the layers (detail-online.com,2012). The construction of this facade provides a great deal of inspiration to achieve a similar effect.

INTERIOR SPACES THE COTTON MILLS

Adam and Charles Black, 1914

archdaily, 2011

sunhimang, 2012

As with the facade, for the interior spaces, inspiration will be taken from Frog Islandâ&#x20AC;&#x2122;s history of the textile industry and cotton mills. Pipes and machinery lined the factories and yarn stretched across in continuous rows. This idea could be used as a way to subtly separate the different areas in venue but at the same time it would not block off or isolate any spaces. These images reference the textile industry, specifically cotton mills in the past, much like the ones in Frog Island. The aim is to create a contextually responsive environment. For this reason, the interior should be dominated by remnants from the past. Such as, pipes, industrial style lighting and the subtle use of string to reflect the cotton mills. The atmosphere is to be created through muted reflections and perplexing shadows. The spaces should have their individuality but be tied together by the use of thread-work. The interiors should tune in with its surroundings and historical significance.

Manchester Evening News

James Hide, 1954

archdaily, 2014

Manchester Evening News

FLEXIBLE SPACES PROUD ARCHIVIST CAFE, LONDON STUDIO TILT

“A home of conversation, conviviality and stimulation, a thriving cultural & entertainment hub at the heart of the community.” - The Proud Archivist

This cafe is located along London’s Haggerston Basin, facing Regent’s Canal. Studio Tilt designed a flexible space that would accommodate both catering and exhibition functions. They specialise in adaptable spaces, where a restaurant turns into a bar, then an exhibition and then a venue. The studio used specific materials to define different zones and balance privacy with openness (dezeen.com, 2014). Much like the site in Frog Island, this cafe also overlooks a canal pathway and is flooded with light by double-height windows. This would be ideal for my building as it would increase the amount of natural light coming in, creating an illusion of a bigger space. In the ground floor restaurant, black-stained wood on the floor is used to contrast the bar in spruce ply, which is stained white. It is interesting to see how materiality has been used to divide the spaces up into various zones. I like the openness of the spaces as it encourages interaction and conversation. The top floor offers a much more secluded experience, which is perfect for private exhibitions and events. A double-height library wall on the east side provides the cultural venue a constantly evolving backdrop of books, photography and exhibitions. The events space is defined by black linoleum on the floor. It is a much more practical space in comparison to the rustic materials of the restaurant and cafe. The design studio have injected contemporary design into it by adding bespoke plywood tables and Eames dining chairs. The combination of different materials works together in harmony to create a contemporary look. The way in which the venue is designed to be constantly evolving is something which could be injected into the design of the cultural centre.

The Proud Archivist, 2014

Light Room - Exhibition Space

ADAPTABLE SPACES THEATRE SEATING

Another option is to have a retractable tiered seating system. The tiers would retract to provide a flat floor option. However, having seen many designs of this system, it is not particularly aesthetically pleasing and requires time for the system to be put away. Another option is having the audience seated on three heights of chair on a flat floor. A negative aspect of this is that the lowest chair may not particularly be comfortable, especially for the elderly, and so this is not an appropriate option.

theatreplan.co.uk, 2011

Retractable Tiered Seating audiencesystems.com

Seating being rotated under floor level theatreplan.co.uk, 2011

Stacking chairs theatreplan.co.uk, 2011

theatreplan.co.uk, 2011

This performance space can change its form from end-stage to partial or full flat-floor by mechanisms. Each row of seats is an elevator and to change the format, it is lifted in turn and the seats are rotated to hang vertically underneath the floor (theatreplan. co.uk, 2011). This is an ingenious idea as it saves time and energy of physically stacking and lifting seats before every performance. This mechanism would be highly efficient for the cultural centre as it will be a constantly evolving space which will require different settings throughout the day, for example, when rehearsals are taking place it would be best to have a fully flat floor.

ADAPTABLE SPACES PARTITION WALLS

A dining room..

Sliding partitions make flexible interiors

Turns into a study area Fastcodesign.com Sliding walls can provide a huge amount of flexibility and adaptability to a space. By incorporating sliding doors into a design, it can open up smaller spaces to create larger ones allowing various activities to take place. It can also allow spaces to merge together, creating a continuous flow of circulation. This particular example of a small apartment which turns into a home office illustrates how sliding walls have been used effectively to create more space. Services can be tucked into an aluminum bar in the ceiling structure to make it easier to change the floor plan as needed (gizmag.com). In the cultural centre, sliding partitions can be used on an impromptu or daily basis, for example when a bigger rehearsal space is needed in the student centre, the walls can be opened up to create a larger space. The partition walls can be designed as moveable cupboards. They can transform the layout from a single to space to multiple rooms.

RESEARCH TYPES OF CIRCULATION

Horizontal Circulation

Vertical Circulation The two different types of circulation within a space are horizontal and vertical. Horizontal includes ramps and walkways which leads a user from one place to another along a similar level. Vertical circulation allows a user to travel across different floors. With horizontal circulation there is a certain flow which cannot necessarily be achieved with vertical circulation. For this reason, my building should make more use of horizontal circulation.

RESEARCH CONCLUSIONS Through research and analysis it can be seen which elements need to be included into the design of the spaces. In terms of the requirements of the space, there needs to be an emphasis on the community. Therefore, it would be ideal to have more public spaces as opposed to private. The only types of private spaces needed would be classrooms and rehearsal rooms. Other than that all other spaces should be easily accessible to the public. The paths will need to form a highly connected pedestrian network for easy circulation and flow throughout the entire building. Unconstrained circulation will ultimately lead to close physical proximity and the mingling of people. There is a requirement of an atrium of some sort where the public would congregate and then disperse into the different areas of the building. The meshing of spaces would mean there is a gradual transition from one space to the next and would blur the boundaries of each area. Accessibility is vital for all users as they will be of all ages, backgrounds and abilities. Inclusivity is an important factor which needs to be taken into account in terms of circulation. In terms of the design, the historical elements which will be used throughout the building is of great importance to create a contextually responsive environment. Materials will have to be carefully selected to reflect the concept. The materials should also reflect the type of space the user is entering. This would help to distinguish between the different areas. Having said that, there should be a recurring theme which ties the entire building together. The restaurant should be designed to be an adaptable space which can easily be transformed or partly transformed into a cafe for use during the daytime. This can be done through the use of separators which enable the space to be flexible and multifunctional. The Kilden Performing Arts Centre in Norway provided much inspiration. The way in which the curved wall pierces through the glass is a particularly interesting element which can be incorporated into the design . As are The Old Vic Tunnels in London. There is a rustic charm about the interiors, something which could work very well in the venue.

SECTION 5 CONCLUSIONS

CONCEPTUAL PROGRAM MOOD BOARD CONCEPT IMAGERY FACADE DEVELOPMENT FACADE - INITIAL CONCEPT MODEL FACADE - FINAL CONCEPT MODEL EXTENDING THE FACADE INTERIOR CONCEPT SKETCHES INTERIOR CONCEPT MODEL SPACE PLANNING MATERIALITY DESIGN DIRECTION

34 35 36 37 38 40 41 42 44 45 46 47

CONCEPT DEVELOPMENT CONCEPTUAL PROGRAM & HORIZONTAL SPACE PLANNING

This program is based on the premise that the youth should gain a positive outlook on the Indian culture through different experiences. The youth could be significantly involved in the student centre, rehearsing for shows or attending workshops but could also just spend time in the cafe or bar area interacting with community members and participating in activities. A large space should be dedicated to the congregation area as this will form the central circulation space and will ultimately aid in the mingling of people. The movement diagram shows how users are likely to move within the spaces and from one space to the next. It is likely that many users will only come to the restaurant for an evening meal, therefore, to ensure convenience, it is important for the restaurant to have direct access from the outside. Upon entering the venue, visitors are greeted by a wall which displays the current events. Those visiting can enter the main circulation space which branches out into the different areas. There is also the option at the venueâ&#x20AC;&#x2122;s entrance to access the restaurant space. The mezzanine extending out towards the canal holds the main restaurant with an area which also looks over the double-height performance space. This can be used as a space for private dining. The layout of the building will be further refined during the course of the design process.

STUDENT CENTRE Rehearsal Rooms Classrooms Dance Studios

Main entrance leads to the congregation space

PERFORMANCE SPACE Multi use space for theatre performances, talks and lectures

CONGREGATION Atrium Bar Area Circulation space

SERVICES Toilets Offices

Conceptual Program & Movement Diagram Authorâ&#x20AC;&#x2122;s own diagram

Cafe

RESTAURANT

Option to enter straight to the restaurant, avoiding the other areas of the venue

CONCEPT DEVELOPMENT MOOD BOARD

CONCEPT DEVELOPMENT CONCEPT IMAGERY

After looking into the history of the site at Frog Island, it was found that by the mid-twentieth century there were several large mills present here, which manufactured clothing, spun wool and made machinery (mainly for the production of textiles). There has been a history of cotton imports from India to Britain during the second half of the 17th century. Having looked at the John Lewis building in Leicester, which also took inspiration from the textile history in Leicester, it would be interesting to view this from a different angle. The concept imagery zooms into cotton fibres and has a closer look at the various patterns it creates. This could be used as a facade for the building or even to subtly separate out the different areas in the interior space.

scientificamerican.com

MESH

Katie Lewis, 2009

NETWORK

paperproject.org

topdesignmag.com

thenewhoneyshade.com

LAYERS

Maggie Ayres

FIBROUS

INTERLOCKING

CONCEPT DEVELOPMENT FACADE DEVELOPMENT

Translucent Transparent Solid

Solid Transparent Translucent

These concept images explore ways in which a microscopic image of cotton fibres can be used to create an abstract facade. The fibres have been simplified down to create geometric patterns. The negative spaces are then filled in with segments of the original image. Three areas have been identified in the image of the microscopic fibres, which are solid, transparent and translucent. These have then been transferred into the final images to create an interesting and abstract facade which bares qualities of the initial image. A tiled facade with these made out of glass would create geometric shadows inside and dynamic reflections over the canal. Authorâ&#x20AC;&#x2122;s own images

CONCEPT DEVELOPMENT FACADE - INITIAL CONCEPT MODEL

This concept model is an attempt at representing the concept sketch of the facade in model form. The model successfully plays with light and visualises the way in which shadows and reflections will be cast. The figure placed in the image really captures the intention of drowning the interior spaces with this pattern. However, the patterns created do not mesh or interlock with one another the way in which cotton fibres do. This model does not completely support the initial concept therefore the model will need to be developed further.

Authorâ&#x20AC;&#x2122;s own images

CONCEPT DEVELOPMENT FACADE - FINAL CONCEPT MODEL

This model develops on from the initial concept model by integrating interlocking shapes and shadows to create a layered effect. It illustrates how shadows will be formed from the joins in the interior and how reflections will be cast on the canal. The form of this model could also be used to inform the ways in which the facade will be extended as this model has quite an interesting structure. It looks as though it is pierced through a surface, much like the facade of the Kilden Performing Arts Centre in Norway. Authorâ&#x20AC;&#x2122;s own images

CONCEPT DEVELOPMENT FACADE - FINAL CONCEPT MODEL

This image illustrates how users can look out over the canal from the protruding facade and the serene atmosphere it will create. Authorâ&#x20AC;&#x2122;s own images

CONCEPT DEVELOPMENT EXTENDING THE FACADE

These studies explore ways in which the facade could extrude out towards the canal. The aim was to create a geometric space which would absorb as much natural light as possible. The most successful studies are the ones which complement and work in harmony with the existing building.

This facade looks as though it has been bolted onto the side of the building and although it would absorb a high amount of light, it is not particularly interesting design wise.

This is an interesting one as there are three extruded blocks which could provide dynamic interior spaces.

This is one of my favourites as the geometries seem to work in harmony with the building and the facade protrudes out towards the canal which means that users will have a better view of the surrounding area.

Authorâ&#x20AC;&#x2122;s own images

CONCEPT DEVELOPMENT INTERIOR CONCEPT SKETCHES

Central circulation space Authorâ&#x20AC;&#x2122;s own drawings

Cafe

These quick concept sketches take inspiration from Frog Islandâ&#x20AC;&#x2122;s history of the textile industry and cotton mills. The sketches do not directly represent what the designed spaces will look like but subtly reference the use of layers of string, creating a journey though the space. The image bordering the page is an interesting one as it is an abstract representation of the concept. This, again, shows how layers of string will overlap creating a mesh and interlock with one another to create a network.

Performance Space

CONCEPT DEVELOPMENT INTERIOR CONCEPT MODEL

Authorâ&#x20AC;&#x2122;s own images This concept model illustrates the way in which the string will run the entire way through the building, unifying all the spaces but subtly separating them. The dynamic shadows and patterns it has created is particularly interesting and there is a sense of motion throughout the entire model. This has been achieved through the use of different coloured thread, both light and dark which has given it a 3D effect. The dark thread adds a touch of warmth to the space whilst the light thread emphasises the natural light.

CONCEPT DEVELOPMENT INTERIOR CONCEPT MODEL

Author’s own images

CONCEPT DEVELOPMENT SPACE PLANNING

These diagrams show the potential uses of the spaces within the building. The main premise behind this space planning is to ensure spaces overlap and interlock with one another.

W/C

Stairs

Cafe

Ground Floor

First Floor

RESTAURANT/CAFE CONGREGATION SPACE PERFORMANCE SPACE Authorâ&#x20AC;&#x2122;s own diagrams Not to scale

STUDENT AREAS Second Floor Not to scale

MATERIALITY

INITIAL IDEA OF MATERIALS & PRODUCTS

Exposed copper piping reflect the Industrial Revolution and the textile mills in Frog Island. This could be used through the cafe and restaurant areas. The use of copper can also be applied to the staircase balustrade and handrails. Black linoleum flooring in the performance space will give it the practicality and durability that it needs. Whilst providing a contemporary touch. This classic factory style lighting will provide the space with rustic charm reminiscent of the Industrial Revolution. Dotted around a few areas, it will accentuate the theme running through the entire venue.

remodelista.com, 2014

String can be a way to separate spaces without the use of walls. This would open up the venue and allow more light into the small and cramped spaces.

colourflooring.co.uk

Black stained wood flooring would provide a warmth in the restaurant area which would be very much out in the open, over the canal. It would also provide a distinction between the restaurant and other areas of the venue.

homylicious.com, 2013

phys.vt.edu, 2010

idreamhomez,2014

DESIGN DIRECTION To develop the concept into an effective design solution, it will be essential to look into the following: -

Adaptability and connection between spaces to ensure there is a highly connected pedestrian network for easy circulation and flow throughout the entire building.

The facilities of the space. How many rehearsal rooms, classrooms and offices will be needed?

Ensuring that there is an emphasis on public space as the aim of the venue is to educate and unite.

Further explore ways in which the facade could be extended and achieve harmony in the geometries of the exterior.

The construction methods behind extensions as this may have an effect on the design of the restaurant.

Research soundproofing as the performance space will need to be sound proofed to ensure there are no disturbances in the other spaces of the venue and the surrounding local area.

Further research ways in which the restaurant can be made to be an adaptable space, incorporating the essence of a street kitchen.

Ways in which to make the building as accessible as possible.

BIBLIOGRAPHY SOURCE LIST: Websites

Adaptableneighbourhoods.com, (2014). Site |. [online] Available at: http://adaptableneighbourhoods.com/waterside/site/ [Accessed 22 Oct. 2014]. Afroditi.com, (2014). Brand & Restaurant Design « AfroditiKrassaBranding | Restaurant Design | Retail Design | Hospitality Design | Hotel Design | Furniture Design | itsu | cafe rouge | dishoom | oriel | tablet | coco di mama. [online] Available at: http://www.afroditi. com/work/dishoom/ [Accessed 22 Oct. 2014]. Building Design, (2013). Imli Street Restaurant, Soho by B3 Designers. [online] Available at: http://www.bdonline.co.uk/imli-street-restaurant-soho-by-b3-designers/5058428.article [Accessed 17 Nov. 2014]. Bbc.co.uk, (2014). BBC - Leicester - Asian Life - A history of Leicester. [online] Available at: http://www.bbc.co.uk/leicester/content/ articles/2005/10/10/al_leicester_backgrounder_feature.shtml [Accessed 22 Oct. 2014]. Creativereview.co.uk, (2014). Creative Review - The House of Vans opens in London’s Old Vic Tunnels. [online] Available at: http:// www.creativereview.co.uk/cr-blog/2014/august/house-of-vans [Accessed 22 Oct. 2014]. Dezeen, (2012). Kilden performing arts centre by ALA Architects. [online] Available at: http://www.dezeen.com/2012/03/30/ kilden-performing-arts-centreby-ala-architects/ [Accessed 22 Oct. 2014]. Dezeen, (2014). Studio Tilt creates flexible interior for Proud Archivist cafe. [online] Available at: http://www.dezeen. com/2014/08/30/proud-archivist-studio-tilt-cafe-cultural-venue-coffee-house-london/ [Accessed 22 Oct. 2014]. Etherington, R. (2008). CaixaForum Madrid by Herzog & de Meuron. [online] Dezeen. Available at: http://www.dezeen. com/2008/05/22/caixaforum-madrid-by-herzog-de-meuron/ [Accessed 22 Oct. 2014]. Facebook, (2014). Peepul Centre. [online] Available at: https:// www.facebook.com/PeepulCentre/photos_stream?tab=photos_ albums [Accessed 24 Oct. 2014].

http://www.bhavan.net/hire-a-facility/other-facilities [Accessed 24 Oct. 2014]. Prospectmagazine.co.uk, (2014). Today’s specials | Prospect Magazine. [online] Available at: http://www.prospectmagazine.co.uk/ life/london-restaurants-street-food-bubbledogs [Accessed 24 Oct. 2014].

Government Publications Leicester City Council, (2009). Planning. Leicester: Stayfree Music Ltd., p.Single. Videos A futuristic performing arts centre in Leicester. (2009). [video] Leicester: Maxwell Hutchinson.

The architecture and design blog, (2014). Steel stencils for light: Wintergarden façade, Brisbane, Australia by Studio 505.. [online] Available at: http://www.detail-online.com/daily/steel-stencils-for-light-wintergarden-facade-brisbane-australia-by-studio-550-5612/ [Accessed 24 Oct. 2014]. Thoroughlymodernmilly.com, (2011). The Minotaur, Old Vic Tunnels, London Restaurant Festival - Thoroughly Modern Milly. [online] Available at: http://www.thoroughlymodernmilly. com/2011/10/the-minotaur-old-vic-tunnels-london-restaurant-festival/ [Accessed 24 Oct. 2014]. User, S. (2014). Other Facilities. [online] Bhavan. Available at: http://www.bhavan.net/hire-a-facility/other-facilities [Accessed 24 Oct. 2014]. Wikipedia, (2014). Frog Island, Leicester. [online] Available at: http://en.wikipedia.org/wiki/Frog_Island,_Leicester#Leisure_ and_culture [Accessed 23 Oct. 2014]. Theatreplan.co.uk, (2014). Theatreplan: theatre consultants. [online] Available at: http://www.theatreplan.co.uk [Accessed 20 Nov. 2014]. Co.Design, (2014). Co.Design | business + design. [online] Available at: http://www.fastcodesign.com [Accessed 20 Nov. 2014]. Workflow.arts.ac.uk, (2014). [online] Available at: http://workflow. arts.ac.uk/artefact/file/download.php?file=263166&view=41558 [Accessed 20 Nov. 2014]. The architecture and design blog, (2014). Steel stencils for light: Wintergarden façade, Brisbane, Australia by Studio 505.. [online] Available at: http://www.detail-online.com/daily/steel-stencils-for-light-wintergarden-facade-brisbane-australia-by-studio-550-5612/ [Accessed 20 Nov. 2014].

BIBLIOGRAPHY SOURCE LIST: Images 02

Hemantshringy.blogspot.co.uk, (2014). Work: Incredible 08 India Campaign. [online] Available at: http://hemant shringy.blogspot.co.uk/2012/07/incredible-india-cam paign.html [Accessed 10 Nov. 2014]. 13 Danceclassonline.in, (2014). Bharatnatyam dance classes | Learn Bharatnatyam dance online | Bharatnatyam dance teachers. [online] Available at: http://www.danceclasson 17 line.in/Bharatnatyam-dance-Lessons-online-school-danc ing-classes.php [Accessed 10 Nov. 2014].

Adaptableneighbourhoods.com, (2014). [online] Available at: http://adaptableneighbourhoods.com/waterside/ [Accessed 23 Oct. 2014].

Funoon, (2014). anoushka shankar Archives - Funoon. [onl ine] Available at: http://funoon.co.uk/tag/anoushka-shan 18 kar/ [Accessed 10 Nov. 2014].

Arthouse, N. (2012). INDIAN ARTISTS OF YESTERYEAR. [Blog] NuGa Arthouse.

28 Etherington, R. (2008). CaixaForum Madrid by Herzog & de Meuron. [online] Dezeen. Available at: http://www.dezeen. com/2008/05/22/caixaforum-madrid-by-herzog-de-meuron/ [Accessed 25 Oct. 2014]. 28

19 05

Google.co.uk, (2014). 2-4 Frog Island, Leicester LE3 5AG - Google Maps. [online] Available at: https://www.google. co.uk/maps/place/2-4+Frog+Island,+Leicester+LE3+5AG /@52.6411979,-1.1429686,17z/data=!3m1!4b1!4m2!3m1! 1s0x487760e480864d21:0x1334b70df1f2ab25 [Accessed 21 23 Oct. 2014]. Digimap.edina.ac.uk, (2014). Digimap Home Page. [on line] Available at: http://digimap.edina.ac.uk/digimap/ home [Accessed 23 Oct. 2014].

Adaptableneighbourhoods.com, (2014). [online] Available at: http://adaptableneighbourhoods.com/waterside/ [Ac cessed 23 Oct. 2014]. 26 Bl.uk, (2014). Insurance Plan of Leicester: sheet 16-2. [on line] Available at: http://www.bl.uk/onlinegallery/online ex/firemaps/england/eastmidlands/mapsu145ubu11u9uf 016ru2.html [Accessed 23 Oct. 2014].

Walkingarchitecture.co.uk, (2014). Walking Architecture: East Midlands. [online] Available at: http://walkingarchitecture. co.uk/eastmidlands/building.php?id=53 [Accessed 27 Oct. 2014].

Google Maps, (2014). Hindu temple near Leicester. [online] Available at: https://www.google.co.uk/maps/search/hindu+temple+leicester/@52.6360771,-1.1311002,12z/data=!3m1!4b1 [Accessed 27 Oct. 2014].

Creativereview.co.uk, (2014). Creative Review - The House of Vans opens in London’s Old Vic Tunnels. [online] Available at: http://www.creativereview.co.uk/cr-blog/2014/august/house-ofvans [Accessed 25 Oct. 2014].

24 Google Earth. (2014). Google Inc.

28 Dezeen, (2012). Kilden performing arts centre by ALA Architects. [online] Available at: http://www.dezeen.com/2012/03/30/ kilden-performing-arts-centreby-ala-architects/ [Accessed 25 Oct. 2014].

Clayman, R. (2013). Imli Street - London | Restaurant Review | The Arbuturian. [online] Arbuturian.com. Available at: http://www. arbuturian.com/food/restaurants/london/imli-street [Accessed 25 Oct. 2014].

Leicester Mercury, (2013). John Lewis boss says city store attracts Christmas custom. [online] Available at: http://www. leicestermercury.co.uk/John-Lewis-boss-says-city-store-attracts/story-20065523-detail/story.html [Accessed 27 Oct. 2014].

Leicester City Council, (2009). Planning. Leicester: Stayfree Music Ltd., p.Single.

22 Suncalc.net, (2014). SunCalc sun position and sun light phases calculator. [online] Available at: http://sun calc. net/#/51.508,-0.125,2/2014.11.10/22:46 [Accessed 23 Oct. 2014].

User, S. (2014). Other Facilities. [online] Bhavan. Available at: http://www.bhavan.net/hire-a-facility/other-facilities [Accessed 27 Oct. 2014].

Anon, (2014). [online] Available at: http://ombuarchitecture. tumblr.com/post/69870430285/harpa-concert-hall-reykjaviko-iceland-by [Accessed 27 Oct. 2014]. Watermeadbusinesspark.co.uk, (2014). Watermead Business Park - Local Area - Highcross Leicester. [online] Available at: http://www.watermeadbusinesspark.co.uk/localarea/highcross.php?cat_id=15&scat_id=38 [Accessed 27 Oct. 2014]. ArchDaily, (2012). Danial / Reza Sayadian + Sara Kalantary. [online] Available at: http://www.archdaily.com/285131/danial-reza-sayadian-sara-kalantary/?utm_source=dlvr.it&utm_medium=twitter [Accessed 27 Oct. 2014]. Architectural Digest, (2014). University of Aberdeen New Library : The Most Spectacular Libraries Around the World. [online] Available at: http://www.architecturaldigest.com/ architecture/2013-11/most-beautiful-libraries-trinity-college-mushashino-bodleian-sainte-genevieve-slideshow_ slideshow_University-of-Aberdeen-New-Library_5 [Accessed 27 Oct. 2014]. Howarth, D. (2014). Simon Heijdens creates “kaleidoscope of light” at London gallery. [online] Dezeen. Available at: http:// www.dezeen.com/2014/09/22/simon-heijdens-creates-moving-kaleidoscope-of-light-at-london-gallery/?utm_medium=email&utm_campaign=Daily+Dezeen+Digest&utm_ content=Daily+Dezeen+Digest+CID_8064c20a4d21623b1baa8b9aefff7c52&utm_source=Dezeen+Mail [Accessed 27 Oct. 2014].

BIBLIOGRAPHY SOURCE LIST: Images 28

The architecture and design blog, (2014). Steel stencils for light: Wintergarden faรงade, Brisbane, Australia by Studio 505.. [online] Available at: http://www.detail-online.com/ daily/steel-stencils-for-light-wintergarden-facade-brisbaneaustralia-by-studio-550-5612/ [Accessed 27 Oct. 2014].

ArchDaily, (2014). Birdsong Cafe / Studio Eight Twentythree. [online] Available at: http://www.archdaily. com/482008/birdsong-cafe-studio-eight-twentythree/ [Accessed 27 Oct. 2014]. ArchDaily, (2011). Eco Pavilion 2011 / MMX. [online] Available at: http://www.archdaily.com/123775/eco-pavilion2011-mmx/ [Accessed 27 Oct. 2014].

designboom | architecture & design magazine, (2014). chiharu shiota: stairway at kunsthalle zu kiel - designboom | architecture & design magazine. [online] Available at: http://www.designboom.com/art/chiharu-shiota-stairway-at-kunsthalle-zu-kiel/ [Accessed 27 Oct. 2014].

Proud Archivist, (2014). Venue Booking. [online] Available at: http://www.theproudarchivist.co.uk/venue-booking/terrace/ [Accessed 27 Oct. 2014].

Maggieayres.co.uk, (2014). Furrow by Maggie Ayres | Mixed Media Artist | Textile Art. [online] Available at: http://maggieayres.co.uk/gallery/furrow.htm [Accessed 28 Oct. 2014].

Thenewhoneyshade.com, (2014). [online] Available at: http://www.thenewhoneyshade.com/wp-content/uploads/2012/06/Cotton-II1.jpg [Accessed 28 Oct. 2014].

Hanway, b. (2014). A London Cafe Takes a Shine to Cop per: Remodelista. [online] Remodelista. Available at: http:// www.remodelista.com/posts/restaurant-visit-twistinarchitecture-trade-london [Accessed 30 Oct. 2014].

Homylicious.com, (2013). Fumed and Carbonised Dark Oak Wood Floors with Stained Oak : House Design Ideas. [online] Available at: http://homylicious.com/elegant-40black-hard-wood-floors/fumed-and-carbonised-dark-oakwood-floors-with-stained-oak/ [Accessed 30 Oct. 2014].

Scientificamerican.com, (2014). Petite Pictures: The 20 Microscopic Photo Competition Prizewinners. [online] Available at: http://www.scientificamerican.com/slideshow/ small-world-microscope-photography/ [Accessed 28 Oct. 2014].

Phys.vt.edu, (2014). STRING/NOT STRING: Fiber Arts Responds to String TheoryMarch 18-24, 2010Gallery of Images. [online] Available at: http://www.phys.vt.edu/art/stringnotstring/www.phys.vt.edu_art_stringnotstring_/Home. html [Accessed 30 Oct. 2014].

Colourflooring.co.uk, (2014). The Colour Flooring Company. [online] Available at: http://www.colourflooring.co.uk/ collections/all-flooring/products/black [Accessed 30 Oct. 2014].

Paperproject.org, (2014). The Paper Project - Gallery Image. [online] Available at: http://paperproject.org/semgallery/semgallery1a.html [Accessed 28 Oct. 2014].

Urbancottageindustries.com, (2014). Metal shades | Galvanised Coolicon shade | Factorylux. [online] Available at: http://www.urbancottageindustries.com/historic-lighting/ enamel-shades/metal-light-shades-galvanised-coolicon [Accessed 30 Oct. 2014].

Idreamhomez.com, (2014). Commercial Industrial Pendant Lighting Handmade in San Francisco: Fab Finds for your Interior Space | Dream Homes Decoration. [online] Available at: http://www.idreamhomez.com/commercial-industrial-pendant-lighting-handmade-in-san-francisco-fab-finds-for-your-interior-space.html [Accessed 30 Oct. 2014].

Lewis, K., Lewis, K. and profile, V. (2009). What Katie Did: Fashion, Art and Science. [online] Watkatiedid.blogspot.co.uk. Available at: http://watkatiedid.blogspot. co.uk/2009/11/fashion-art-and-science.html [Accessed 28 Oct. 2014]. Top Design Magazine - Web Design and Digital Content, (2011). 25 Amazing Electron Microscope Images - Top Design Magazine - Web Design and Digital Content. [online] Available at: http://www.topdesignmag.com/25-amazing-electron-microscope-images/ [Accessed 28 Oct. 2014].