CIVIC RE-USE: profitable and productive reuse of vacant heritage buildings
A report prepared by Stephanie Mills and Barry Shaw Based on the proceedings from a workshop held on 05 February 2013 at 77 Cowcross Street London EC1M 6EL
With thanks to all participants and contributors
CIVIC RE-USE: profitable and productive reuse of vacant heritage buildings Introduction Previous generations saw civic buildings as the physical and symbolic centre of local society. Today these highly visible structures are no longer able to fulfil their original role and a cash strapped public sector needs to find sustainable new uses for these spaces. On Tuesday afternoon 05 February 2013, Changing Chelmsford CIC and the Urban Design Group jointly hosted a workshop in London on the theme of ‘Civic Re-‐use: Profitable and productive reuse of vacant heritage buildings’. The underlying impetus for the workshop was a current call by Essex County Council for ‘expressions of interest’ in the adaptive reuse of Shire Hall in Chelmsford and a wider enquiry about how others have found a range of alternative uses that not only retain these kinds of buildings but bring them back into viable, economic, community use. The event brought together an invited audience of a dozen strategic thinkers, politicians and experienced professionals to discuss the factors that need to be considered to successfully adapt and revitalise these buildings: • Kat Bridge – Artistic Programme Manager, Greenwich Dance • Greg Cooper – Cultural Development Manager, Ipswich Borough Council • Nick Ewbank – Director, Nick Ewbank Associates • Kay Hughes – Director, KHAA • Robert Huxford – Director, Urban Design Group • Hana Loftus – Director, HAT Projects • Jeremy Lucas – Councillor and Cabinet Member, Essex County Council • John Lyall – Director, Lyall Bills & Young • Stephanie Mills – Director, Cite Design Ltd • Malcolm Noble – Chair, Changing Chelmsford CIC • Barry Shaw – Director, Changing Chelmsford CIC and Independent adviser on regeneration, conservation and urban design • John Worthington – Director, Academy of Urbanism / Changing Chelmsford CIC The format of the afternoon was a series of short propositional presentations by six of the participants with associated debate concerning challenges and opportunities, unlocking mechanisms and pointers for ensuring future viability of (formerly) vacant heritage buildings.
Civic Reuse
2
Setting the context: unlocking Chelm sford’s potential
Barry Shaw set the context for the discussion by illustrating how Chelmsford – and indeed the County -‐ has historically been characterised by images of Shire Hall with the Cathedral in the background. He posed the associated questions whether this landmark building is still an appropriate symbol for this newly constituted city, and if so, how might its adaptive reuse help shape the future culture of Chelmsford’s constituent institutions, businesses and communities?
In showing the relationship between the Shire Hall and the Cathedral, he proposed more could be made to improve their adjacency while also highlighting that the architectural character of Shire Hall -‐ now Grade 2* listed building -‐ and that of the interior rooms. It was originally designed as a large town house with the meeting and entertaining spaces appropriate to a building at the centre of its society. The addition of two magistrates courts, police cells and other additions and changes changed the character and functionality of the building. This now poses Civic Reuse
its own particular challenges and opportunities in considering its future use. The context was then widened to Heritage Triangle, a strategic site in the city centre bounded by three iconic landmarks – Shire Hall, the Anne Knight and Marconi buildings -‐ all currently vacant but in the process of reinvention. The redesign of New Street, a symbol of 20th C industrial and technological innovation, could help shape fledgling city identity as it connects Anglia Ruskin University’s Rivermead Campus with Shire Hall and Tindal Square, providing an opportunity for the creation of ‘Graduation Way’, a processional route bordered by a number of emerging, unique city quarters.
He concluded by proposing Shire Hall should symbolise the new city (in essence a small city or city-‐town) by promoting innovation, by extending partnership working and communicating a shared vision.
3
Creative and cultural urban regeneration Nick Ewbank drew lessons for Chelmsford from the Quarterhouse arts and business centre) and his experience as a leading authority on creative initiatives such as the successful Folkestone and cultural urban regeneration by focussing on (Arts) Triennial and other festivals, he Folkestone and Exeter. encapsulated how, since 2001 Folkestone has consistently been at the forefront of culture and education led regeneration in smaller UK towns. Folkestone has simultaneously established and sustained a successful creative industries cluster within an innovative Creative Quarter. The vehicle for this is a philanthropically backed regeneration charity, The Creative Foundation, which has unlocked access to other funding sources and fostered new privates businesses, further leveraging economic benefits for the town. He began with a brief history of Folkestone Town Hall which was built in 1860 on the site of Cistern House. When Folkestone Town Council was abolished in 1974, the building became a police station and by 1980 it was converted to retail use. Two decades later, the building lay largely vacant, in the hands of Receivers. In 2012, ownership came full circle when the Town Council purchased the building for its own use, while retaining a small, existing first floor cinema. A cautionary tale when considering the sustainable reuse of landmark civic buildings?
Illustrating key redevelopments of vacant buildings (including The Wedge building for Screen South, the University Centre Folkestone,
Civic Reuse
Moving on to the Exeter, Nick described how a gradual partnership based transformation of the former Exeter Technical University & Extension College building (founded 1893) into Exeter & Devon Arts Centre (1984-‐1998) and eventually into Exeter Phoenix (incorporating a new theatre, bar/café, galleries, media centre and associated education and public spaces) filled a cultural vacuum becoming a vital lynchpin in the City. Today it run as a registered charity with less than 15% of its annual income from funding bodies – the balance coming from ticket sales, commercial activities and fundraising. In this case the City and the County Councils and the Regional Arts Board worked together to found and nurture a new cultural organisation for Exeter.
4
Arts based projects: creative m odels for tow n halls Hana Loftus of Colchester architecture practice HAT Projects contributed research insights and practical experience gleaned from an enterprising and participatory approach to arts and community based transformation of former town halls.
informed ‘PLAYGROUNDING’ as a creative and economical way to develop and transform spaces within the physical fabric of the building.
In 1965 Battersea Town Hall was threatened with demolition due to council restructuring. A successful campaign to have it Grade 2 listed was achieved five year later and by 1974 the building had become a council-‐run arts centre. Core funding from the Arts Council England (ACE) and the London Borough of Wandsworth in 1979 enabled it to become the independently run Battersea Arts Centre (BAC). In 2007-‐8 when maintenance costs for the building threatened its Council funding, an asset transfer was agreed under a 125 year lease whereby BAC would have a 10 year rent free period in exchange for funding the necessary repairs. This has been achieved through a phased series of grants from the Heritage Lottery Fund, ACE, Big Lottery Fund and others to enable its continued development. BAC has developed and implemented a number of innovations. One of these is ‘SCRATCH’ – a concept for developing new works by emerging artists and performers. The concept has also
Civic Reuse
Artists are involved as an integral part of the process utilising site specific interventions on a variety of timeframes. BAC is also a community hub offering education, community services and advice sessions. It is collaborating with the Transition movement on its sustainability strategy thus extending its partnership based approach.
5
other activities. Being a very large building, physical works are phased and ‘opportunistically funded’ via small grants from ACE and others. Some spaces have clear potential and need very little work, but all spaces are useful to artists and this can make a financial contribution. There is limited scope to alter the building exterior but small changes (cleaning, lighting, signage, opening up disused entrances and windows) make a big difference. Like BAC, Shoreditch Town Hall also became redundant in 1965 due to council restructuring. It was briefly used as a boxing venue and night club. In 1998 the building was put on English Heritage’s Buildings at Risk Register. This precipitated the formation of the Shoreditch Town Hall Trust (STHT) which, in 2002 was granted a 99 year lease by the London Borough of Hackney. In the early stages (2002-‐4) STHT cross funded the initial phase of its works from the sales proceeds of an empty site to the rear. It has been unsubsidised ever since, generating revenue as a venue for hire.
The Trust is now evolving a more focussed entrepreneurial model as a development hub for artists, cross funded from corporate hires and Civic Reuse
The organisation innovates in other ways. It does not directly commission or produce works, rather working in collaboration with a new generation of arts companies who do not want their own dedicated physical base – preferring to remain agile (e.g. High Tide, Paines Plough and even more established companies like the Almeida). Hana summarised some lessons for similar projects: • Work closely with listed building officers and English Heritage to understand where the ‘red line’ is drawn during the feasibility phase. This should inform what uses are then proposed, rather than working from the use to the building. • Develop a ‘toolkit of opportunities’ that can be implemented when the opportunity arises – e.g. funding, partnership. • Be opportunistic and light-‐footed: do the minimum necessary to the building as this creates more exciting spaces that attract more exciting occupants. • Allow tenants / partners to customise their own spaces at their own cost on the understanding that all physical interventions are to be temporary. • Entrepreneurial models can be both creative and financially viable: they can be tested on a short-‐term basis prior to finding a more permanent solution. 6
The im portance of social netw orks: a collaborative approach to shared spaces As with Changing Chelmsford, NEA has worked on building partnerships and extending social networks that span the public, private and third sectors to inspire a greater sense of community and common purpose. The development of a 3,400 m2 Hastings Hub in the former Observer building is intended to bring together a number of creative organisations, agencies, businesses and individuals in providing a locus for social and economic regeneration in the immediate locality, within the town and the region. This people-‐centred and collaborative approach resonates some of the many ideas generated by the early Changing Chelmsford workshops and Stephanie Mills spoke of her research into social aspirations for Shire Hall including the desire for innovation (new ways of making best use of it to become a community asset that encourages available capacity via people, place, process) synergies and shared spaces with a mix of uses illustrated with a comparison between the while fostering next generation of cultural Hastings Observer Hub and Shire Hall based on leadership in the city and beyond. her experience as a former project curator and founding member of the Changing Chelmsford initiative and via her on-‐going collaboration with Nick Ewbank Associates (NEA) in Hastings (as consultants to the Hastings Trust) and other coastal towns. Hastings is a deprived seaside town with a culturally rich creative ecology, whereas Chelmsford is a relatively prosperous, newly formed city (somewhat in the shadow of London) trying to express itself culturally. Each place has a number of key heritage buildings in their respective centres seeking new uses and sustainable futures. These structures symbolise notable individuals, organisations and endeavours that underpin the rich narrative history and identity of the place in which they are situated. In the case of Hastings these are St Mary-‐in-‐the Castle, the White Rock Baths and the 1920s Observer former newspaper building whereas in Chelmsford these are the Marconi 1912 former headquarters building, the Anne Knight building and Shire Hall. All face different challenges and require new approaches variously having been the subject of property speculation, financial collapse and unimplemented planning approvals leading to dereliction and urban decay – as well as the threat of demolition in some cases. Civic Reuse
An example cited as inspiration for Shire Hall is the Lloyd Hotel and Cultural Embassy in the Eastern Docklands area of Amsterdam. This national monument was built in 1921 by a shipping line as accommodation for seamen. At various times in its lifespan the building has housed temporary immigrants, prisoners and was colonised by an artists’ collective before being refurbished and converted to a hotel in 2004. It commercial viability is underpinned by a bar/restaurant with 117 distinctive rooms of various shapes and sizes as a 1 to 5 star hotel encapsulated in one building. Its Cultural Embassy arranges events, showings and presentations of Dutch culture throughout the building, while forming links between guests, the arts and artists of Amsterdam.
7
Architect as catalyst John Lyall argued the role of the ‘architect as catalyst’ and presented projects realised in Leeds, Perth (Scotland) and Ipswich as examples.
These included persuading a developer to undertake the restoration of the former Leeds Corn Exchange (a Grade 1 listed building) and its conversion into a successful commercial hub -‐ with bars, cafes, restaurants and boutiques shops. The basement level was opened to the main volume with new staircases added to allow access to all levels. Located within the city centre, the Corn Exchange also spurred the regeneration of the surrounding neighbourhood now known at the Exchange Quarter – a sympathetic blend of old buildings with modern interventions and a vibrant mix of uses.
Civic Reuse
He went on to talk of their proposals for the adaptation and reuse of Perth City Hall, a prominently sited civic building (vacant since 2005) opposite the Grade A listed St John’s Kirk. The design proposes a large glazed opening in the rear façade of City Hall in order to provide a better relationship with the Kirk (perhaps a model for Shire Hall). However, in late 2011 Perth and Kinross Council decided they were minded to approve the demolition of City Hall (which they own) to create an open public square. As a Category B-‐listed building the application was referred to Historic Scotland to determine and was subsequently refused.
John then spoke a bout projects completed or under way for the regeneration of the Ipswich Waterfront, including the Tolley Brewery and the Jerwood DanceHouse a home and venue for DanceEast that supports regionally based dance artists, dance workers, teachers and students. The Red Shoe Appeal was a fundraising campaign that secured the £8.9 million needed to build the venue. Its opening in 2009 coincided with the launch of the first BA (Hons) for Dance in the Community at University Campus Suffolk. This joint initiative with the University will help the development of a critical mass for dance in the future. The DanceHouse has also bought some of the world's greatest dance companies to the area.
8
U nlocking potential through dance Kat Bridge, Artistic Programme Manager of ensure that everyone has access to high quality Greenwich Dance spoke about the history of the dance activities. organisation and its base for the past 20 years -‐ The Borough Hall, Greenwich. Greenwich Dance was set up in 1993 to provide a meeting place for professional dance artists and the local community. It is a registered Charity and receives regular funding from both Arts Council England and the London Borough of Greenwich. It initially persuaded the local authority to reallocate the grant that was used to safeguard and maintain the closed building, to instead enable Greenwich Dance to use the funds to keep it open. It is one of a network of organisations in the UK who wish to develop and support the careers of professional dancers and to promote dance for all. These include Dance UK, Foundation for Community Dance, London Thames Gateway Dance Partnership and the National Dance Network. The organisation also recently made a successful application to a new funding programme created by the British Council to nurture partnerships and encourage collaboration between artists and arts organisations in the UK and south east Europe.
Its home is the (former) Borough Hall, a Grade II listed building that provides rehearsal, teaching and administrative space. It an artist-‐centred dance space with a strong local identity. The organisation also promotes and delivers a range of activities throughout Greenwich and beyond in a range of venues including schools, community spaces and sheltered housing to
Civic Reuse
Its programme of numerous dance forms offers courses and classes ranging from professional dance artists, social dance events, tea dances, cabarets, varied dance classes for adults, older people, children and young people as well as providing affordable spaces for hire. Kat said what they do in The Borough Hall is ‘not inspired by the building, but prescribed by it’.
9
U rban design contentions and ground rules Robert Huxford, Director of the Urban Design Chelmsford is not exempt from this as Tindal Group added some contentions and ground rules Square by Shire Hall ‘was turned into something for further consideration. that looks like part of spaghetti junction’. This trend may have been exacerbated by 1980s Contentions 1: negative image management theory. Efficiency related to large open plan offices that are now being discredited City or Town Halls are the symbols of the local as background noise is shown to impair worker town and an indicator of its pride, status and performance. Organisations should focus on dynamism -‐ irrespective of whether or not they their business (‘stick to their knitting’) -‐ rather remain the actual Town or City Hall. A poorly than become facilities managers it is better to used and maintained buildings of this type will rent space in a building that someone else damage that reputation and present the town as manages. This approach fails to factor in the failing, rather than ambitious and successful. reputation and goodwill that attends an exemplary Town or City Hall. Many of these (former) civic buildings are poorly used and maintained, suffering from Ground rules ‘institutional neglect syndrome’ as evidenced by: -‐ Ugly surface wiring in interior rooms and The Town or City Hall must be well maintained corridors – thoughtlessly installed. and presented. Only open the parts that are well -‐ Excess signage, Gross fire exit signs, maintained. The Town or City Hall should ideally pointless notices -‐ interior design buzz. Activities need to be organised to achieve undertaken by Risk Assessment. this. Use the Town or City Hall as a focus for local -‐ Fluorescent lighting with poor colour democracy and the long term future. rendering. -‐ 1960s suspended ceilings. As a second issue is the tolerance of poorly -‐ Spartan feel -‐ absence of activity, underused maintained buildings in the built environment, or empty rooms. even in the City of London. S215 orders give The overall impression is one of emptiness or councils powers to deal with this, but they are few people, casting a feeling of gloom and powers, not duties. I think they should become despondency not only about the Town or City a duty. Councils are obliged to clear litter refuse Hall, but unfortunately about the town or city and detritus, by virtue of the Environmental generally. Protection Act 1980 and the associated Code of Practice on Litter and Refuse; but not buildings They also compare unfavourably with the or land which adversely affect the amenity of an maintenance of commercial leisure or retail area. Far from there being a policy of zero facilities which sell on the basis of reputation as tolerance of neglect and abandonment, many well as the better charity shops which are also councils condone or even practice neglect and worthy of note. abandonment of the land and buildings which they hold. Contention 2: lack of clarity over ownership Citing the broken window theory, the impact this Generally, damage has been caused by an ‘out of has on crime and disorder, and perceived crime, town’ approach to local government, land use particularly as perceived by women, the issue and transport planning. This is because out-‐of-‐ touches on the Equality Act 2010, and the crime town local government ceases to be a and disorder duty. ‘stakeholder’ in the town. The focus shifts to the highway network as the majority of staff will Finally is the VAT issue, zero rated for new build, have to use it to get to work. 20 per cent for work on existing buildings, and Movement of traffic becomes the over-‐arching listed buildings as from October 2012. design imperative for the town or city centre.
Civic Reuse
10
In conclusion: The seminar focused on a range of buildings of a type similar to Chelmsford Shire Hall that had all adopted successful new uses. Adaption techniques can be categorised in a number of ways: 1) Adaption of physical assets • The existing building was maintained in more or less its original form and a range of uses found that were suited to the physical spaces. These uses included the arts, with dance and theatre space fitting particularly well into the larger spaces. • The existing building was changed physically, and often dramatically, to enable different uses, especially retail and business. This approach was typically architect led, and resulted in a change of use, although one that retained listed status and public access. 2) Finding suitable uses • Many of the examples discussed ended up with a set of uses that took time to evolve. This approach was typified by flexible and adaptive management and supportive landowner. The arts were a major occupier initially but other uses encouraged and there was evidence of new commercial and entrepreneurial uses evolving. • All the successful examples secured a suitably high profile use, becoming theatre, dance or arts centres, in a way that was appropriate to the civic tradition of the building. • All the examples were recognised for their strategic approach. 3) Funding • Most of the models were self-‐funding, having successfully raised funding that covered the management of the building, adaption to new use and in some cases were on full maintenance leases. Lottery funding was much in evidence. Some were managed by charities. Some ended up being privately owned. 4) Transition to new role • Political drive, support and understanding was critical. • The relationship with an evolving town centre was a common theme. • The time scale required was of the order of ten years to establish a viable model. • All the successful examples were people driven and successful because of determined leadership. • There was evidence of a catalytic effect arising from the introduction of new uses often aimed at young people.
Civic Reuse
11
Pointers for Shire H all • Shire Hall should be viewed as a catalyst project representing the newly emerging city and the region. Its symbolic value extends beyond Chelmsford. It should retain/sustain a civic focus bringing people into the city centre for more than shopping. • The project should be ‘people driven’ rather than purely building or location driven. The focus should be on dialogue to identify what people want or need the spaces for. This is probably best achieved through a flexible, collaborative /partnership based approach of testing, adapting and evolving a strategy for a sustainable future for the building. The benefits and impacts of the strategy should be measured not only in financial terms. • The S106 money from the redevelopment of the Marconi site should be channelled towards the refurbishment / adaptive reuse of Shire Hall and to generate initiatives between these key sites. • The cultural identity of Shire Hall should be imaginatively exploited in shaping its future with the definition of ‘culture’ being rich and inclusive. This is an opportunity to address a perceived cultural deficit in Chelmsford – in doing so it will contribute towards an enhanced sense of city-‐ness. • It is important to work with the architecture (and its Listing) to establish what is possible. The beauty of Shire Hall’s unusual rooms and spaces is that artists view all types of space as a creative opportunity rather than as an obstacle. • This project is about more than what goes on in the building. It is an opportunity to establish connections – physical, virtual, social, cultural – within the immediate precincts, the city centre, the region and beyond. It requires political leadership, partnership and a clear vision to unlock its potential. W ith thanks to all participants and contributors_ Stephanie M ills and Barry Shaw 13 February 2013
Civic Reuse
12