Bishops' Palace Music Centre Llandaff | MArch WSA

Bishop’s Palace Music Centre Claudia Petre WSA MArch 1

General informa on

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Project brief

Sustainability agenda / USP

The brief invites us to imagine a performing arts centre for Llandaff Cathedral School, the primary stakeholder and a secondary public face to create wider community benefits.

Llandaff Church School has an ongoing mo va on to expand its performing arts programme beyond the school walls and in doing so, provide a base for a more physically integrated rela onship within the community.

The proposal must be viable, given the historic se ng, offering long-term financial stability to be able to maintain its running and upkeep. The interven on should be a rac ve, innova ve and sustainable, rela ng to and enhancing the site and its heritage. It should allow the building to become an ac ve par cipant in the community.

The project takes sustainability as a key design driver, aiming to reduce the carbon footprint of materials used as well as the footprint of the lifecycle. Specifying locally sourced rammed earth together with glulam mber results in a significantly lower embodied and manufacture carbon footprint. High quality clay les might have a higher manufacture carbon emission due to the high temperatures of the ovens involved but they are very durable and can be reused at the end of a building’s lifecycle. Moreover, the use of locally collected reclaimed bricks is a great way to offset the carbon produced by other less sustainable materials, such as the concrete founda ons. Passive strategies that harness rainwater and electrical energy are u lised.

Project vision / USP

Stakeholders

Bishops’ Palace is a site with great historical importance, its fabric would be restored and enhanced, playing an ac ve role in the new building.

A learning space for the younger genera ons is envisioned, with a close link to history explained through storytelling and architecture. A café would act as a community hub for the adults, situated in a pleasant environment immersed in nature. The courtyard would become a community garden with various plant species to admire and study.

A performance space would be used for religious choir performances and would also be hired for events, becoming a community hub. This would generate good revenue that would be used for maintenance costs.

The council has suggested an Asset Transfer for a period of up to 100 years. A er the five years interim period in which the ‘Cathedral School Asset Guardians’ have been appointed to enable proposals to be developed, a community-stakeholder non-profit organisa on should be formed.

A new organisa on of Llandaff and Cardiff based residents would be formed in order to take ownership and management responsibility for the building and grounds. The board would have representa on from Friends of Llandaff Cathedral, Llandaff Cathedral Choral Society, Llandaff Cathedral Choral Society, VCS Cymru Chronicle Project.

Site Analysis Wider context The site in Llandaff is well connected to Cardiff city centre and to the sider area of South Wales. A bus journey from Cardiff Castle takes about 20 minutes while cycling takes only 15 minutes. On a nice day, Taff Trail offers a beau ful 40minute walk.

Cardiff Metropolitan University is located just 5 minutes walk away and the main campus of Cardiff University is 10 minutes by bike. Thus the scheme has the poten al to a ract more than the local community, the main user-group.

10 min cycling

23 min by bus to Heath

15 min walk

23 min by bus to city centre

TaƖ Trail 13 min cycling / 40 min walk to city centre

30 min cycling to Grangetown

Notable local architecture

Llandaff Cathedral - landmark 2

arches

vaults and tall gable roof

local materials pale e - les ; chimneys

blind walls

Site Analysis Local History Llandaff Cathedral and Llandaff Cathedral School have a ght rela onship, they bring the community together through religious events and musical performances.

Llandaff Cathedral School is the place of educa on for the boy chorister of the Cathedral Choir. It has a close link to Llandaff Cathedral, where they sing five choral services each week. The choir performs a great deal of music, some wri en centuries ago and other more contemporary works.

Llandaff Cathedral

Llandaff Cathedral Choir also has a busy schedule of concerts, broadcasts and recordings both at the cathedral and further afield.

Llandaff Cathedral School

Bishop’s Palace is a small, for fied structure erected on a plan similar to a rectangle measuring 52 by 40 meters. The defense was provided by a single circumference of the walls reinforced with three towers. There were mber and wa le and daub construc on houses standing in the inner yard.

Bishop’s Palace

The castle is a grade I listed building because of its importance as a medieval Bishop’s Castle that was probably first constructed by William de Broase during the thirteenth century, and is s ll remarkably well preserved.

historic walls s ll exis ng

Opportuni es & Constraints The main opportuni es iden fied are natural elements such as old trees, the lawn and the hedges whereas the historic fabric posses both great opportuni es and constraints due to its fragile state.

The level of degrada on of the historic walls might pose a risk in comple ng certain types of works close by. Before any construc on starts on the site, the founda on will need to be secured and strengthened using natural materials such as stone, earth and lime mortar that would not damage its fabric. Concrete will only be used in cri cal areas, underground, to create a structural link between the old fabric and the new. Further assessment is needed in order to create a detailed plan of ac on in this regard.

The exis ng walkway is an excellent star ng point for the design process because it could provide an enhanced experience of the place, an almost sacred, procession-like route through the garden, drawing people in and connec ng them through great design. possible half-sunked chamber : underground excava ons and assessment to be conducted.

- opportunity for spaces below ground that would reveal more of the historic fabric long vistas 3

nature taking over

valueable architectural details to be restored

poten al for re-construc on

Site Analysis

Llandaff neighbourhood

General info The site is to be found in a great loca on, at the heart of Llandaff neighbourhood.

Bishop’s Palace is open as a public garden for the community, being used as a recrea onal space for lunch breaks, dog walking and socializing. It also acts as a through-route for the children of the Cathedral School when going to perform at Llandaff cathedral. This aspect is a key driver for the project, the concept revolves around the idea of procession route.

User Group - local community

Llandaff Cathedral Primary School

Riverside Community Garden procession route

Pegasus Re rement Homes

Llandaff Cathedral Choir landscape view

Members of the community that would find pleasure in a ending choir and organ performances and other non-religious musical events in a beau ful space. The site would include a retail space that will generate revenue and would bring the historical ruin a second life. At the moment the gatehouse is closed and the inside is overgrown. The following proposal imagines a small café and a bookshop finding place inside the old walls.

The performance space would also be rented by hour for members of the community who wish to hold events that require a wider capacity. This would generate a steady income that would help with the running and maintenance costs. under-used in-between space between stone walls opportunity for a space dedicated to the local community that would func on on a daily basis

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pedestrian route

Site Analysis

Opportuni es & Constraints & Outcomes

Height is another constrain to be taken into considera on. The area is mainly formed out of 2 to 4 storey construc ons, 12 meters tall. However, the navel of Llandaff Cathedral raises up to 22 meters tall and its tower, up to 50 meters, giving it a dominance over the neighbourhood. In order to create a landmark on the site of Bishop’s Court, the height of the proposal could be raised in a sensible manner.

tree to be preserved

opportunity: greater connec on between garden and walkway

poten al for plan ng / rain-graden

opportunity & risk: make good walls and integrate them in the scheme

create more places for rest

create link to Llandaff Cathedral

Inten on collage

A er exploring the site opportuni es and constraints, the main design inten ons that resulted are: - follow the exis ng walls and preserve the shape of the courtyard, enhancing the garden.

- create a new building as a threshold between the public courtyard and the students’ quarter & Cathedral School.

- create a perimeter enclosure – cloister – that connects the main spaces – inspired from the procession walk that students use daily when performing in the Cathedral. This new space would offer the visitors a procession-like experience towards the auditorium.

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circular walkway - procession like route - to be enhanced

Site Analysis

Environmental context

Sunlight Studies

Wind Studies

Orienta on

enhancing the sunlight

passive ven la on opportunity

The site benefits from the proximity of the sports field surrounded by tall trees.

This offers a great opportunity for an exterior terrace facing the view.

The courtyard has a great poten al to become a walled garden, as it used to in the past.

Summer Sols ce 12 pm, June 21st

Prevailing Winds South - West

summer me is when Bishop’s Court is used the most

the built mass could sit on the South or South Western side to protect the garden from harsh winds and also benefit for passive ven la on

opportunity for outdoor summer ac vi es

Sprinq Equinox 12 pm, March 20th

Designed for Wind

Autumnal Equinox

opportunity for passive ven la on around the perimiter of the wall

12pm, September 23rd the courtyard benefits from direct sunlight all throughout the warm season opportunity for enhancing the beauty of the garden through plan ng

Winter Sols ce 12 pm, December 22nd

opportunity for a sun-lit space, thermal mass floor and walls - create a communal room, a gathering place great way of benefi ng from winter sunshine

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Wind-scapes opportunity to enhance the sound of the wind through architectural elements & complete the soundscape of melanchloic notes from concerts

Programme Sequence of spaces

Storyboard The proposed programme incorporates educa onal ac vi es as well as leisure and music-related. They are imagined for the use of the community and for private use of Cathedral School pupils. The performance space is where all the user groups meet for musical events.

The sequence of the main spaces is as follows:

learning about history - Gatehouse

bookshop - Gatehouse

cafeteria

walkway - courtyard / garden

recep on / ckets

rehersal space

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performance space

Precedent studies Learning from the past: Medieval courtyards

For fied yard / Perimiter arrangement

Cloister

Hierarchy

Harlech Castle, Wales, UK

Holy Cross Basilica, Florence, Italy

Bran Castle, Transylvania, Romania

Harlech Castle is a for fied structure that encloses a rectangular courtyard. The main spaces are arranged in a clear spa al sequence around the perimeter walls.

This type of spa al arrangement could be used on Bishop’s Palace due to its simplicity and ability to preserve the courtyard space in a similar format to its present one.

Holy Cross Basilica is a monas c ensemble made up of several religious buildings and courtyards. It acts as a community landmark for the city of Florence and a place to learn about the past.

The cloister wraps the courtyard and connects the main spaces of the ensemble, offering easy access and privacy.

A cloister-like space would bring together the previously men oned sequence of spaces in Bishop’s Palace.

Bran Castle is a for fied ensemble made up of a series of spaces with different func ons clearly expressed through the volumetric composi on.

A hierarchy of spaces can be read, with its bell tower as a dominant figure.

On our site, the performance space would take the role of a dominant volume due to its programma c importance.

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Central nave

Grundtvig Church, Peder Vilhelm Jensen-Klint

Typical of Chris an religious spaces, a main long nave dominates the plan. The height impacts the acous cs and creates long echo and deep tones.

Similarly, the proposed auditorium takes inspira on from religious architecture and aims to re-create the characteris c formal and solemn atmosphere.

Precedent study & interpreta on Learning from the past: Holy Cross Basilica cloister

Cloister - spa al arrangement & connec ons

Opportunity for cloister space

Proposed spa al arrangement

The plan of Holy Cross Basilica in Florence is composed of two cloister spaces that serve two courtyards. The main one is public and creates a visitors’ procession-like route to the chapel while the second one is private. connec on between cloisters

por co chapel entrance

The chapel is located opposite the main entrance and draws visitors in, ac ng as a way finding, marker building.

There are rooms opened to both courtyards.

This kind of spa al arrangement is both clear and efficient in terms of construc on and use. cloister 2 courtyard 2

Bishops’ Palace offers a great opportunity to experiment with a cloister connec ng spaces arranged around the perimeter walls.

courtyard 1 natural landscape

current path cloister 1

rooms served by both cloisters

visitors’ route / cloister

church linerar arrangement of spaces around the cloisters

courtyard

possible spaces served by cloister

main entrance through cloister connec on to under-used path

students’ route

Holy Cross Basilica, Florence, Italy

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site diagram

Precedent studies Old & New

Bude Barn celebrates the rich material patchwork of cob, stone, concrete and brick, keeping much of the exis ng fabric while inser ng a new loadbearing mber frame inside.

Delinea on between exis ng and proposed is clearly dis nguished, though in a subtle way, in the external faces of the building with the use of earth on top of stone walls. New openings through the old wall are framed with precast concrete surrounds, while the roof stands proud of the exis ng walls through a new clerestory.

Similarly to Bude Barn, the new addi on to Bishop’s Palace would have a lightweight mber roof that would rest on the heavy walls.

Astley Castle successfully integrates the existing walls in a subtle way, using visually similar materials – clay bricks.

The historic walls of Bishop’s Palace would take ac ve part in the new building mass, rammed earth would be used in order to create a strong link between old and new.

Rammed earth would perform in a similar manner to the brick addi ons of Astley Castle, complemen ng and comple ng the existing structure in order to revitalise the site.

following and respec ng the contour of the exis ng wall

the old brickwork is protected against further erosion

lightweight mber addi ons

concrete beams and posts have been added in order to avoid placing too much weight on the old walls

Bude Barn, Feilden Fowles Architects new & old - earth & cob stone detail

window surround details

The thick cob walls of Bude Barn offer some thermal mass, and combined with the insulated mber frame internally, creates a highly insulated building, shielded from external temperature fluctua ons. The whole site complex is heated using aground-source heat pump.

Due to their thickness reaching over 1.5 meters in some places, the historic stone walls of Bishop’s Palace might be sufficient to thermally insulate the space.

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Astley Castle wall makeup sec on & plan - detail

ground floor plan

The new walls are built out of brick on top of exis ng stone walls. In order to make sure the brick work would move like the medieval walls, diaphragm has been filled with rubble collected from the demoli on.

The historic walls are ed together by reinforced concrete lintels bu ressed by new brick piers protected by the new roof. This makes the walls structurally sound.

In order to gracefully integrate the historic walls of Bishop’s Palace in our design proposal, a discrete language must be created in order to highlight its value and beauty.

Construc on Precedents Rammed earth walls

earth skyscrapers - Shibam, Yemen

Gulm House, Aicher Ziviltechniker

Design intent Rammed earth is the preferred material because it uses local materials, produces li le waste and has low embodied energy.

Structure - rammed earth has proved to be suitable for loadbearing construc on - compressive strength is a maximum of 1MPa for un-stabilised rammed earth and 10MPa for stabilised rammed earth

Heavy and thick rammed earth walls make up the base of the construc on, in contrast to the lightweight mber structure of the roof. They intend to mimic the exis ng stone walls’ tectonic while complemen ng their appearance. The auditorium carves its space into the ground, bringing the deep roof closer to the Earth.

Pros - natural and readily available - dis nct appearance - low embodied energy - un-stabilised earth is reusable post-demoli on - helps regulate humidity - high thermal mass - air ght construc on achievable - modern methods are widely tried and tested overseas - Australia Cons - not all soil types are appropriate - longer than average construc on period - rela vely untested in UK climate - adding cement stabilisa on can compromise environmental creden als - high clay content can cause moisture movement - structures may need to accommodate this 11

Indoor Swimming Pool in Toro , Vier Arquitectos

Fire Safety & Efficiency - rammed earth can be classed as non-combus ble material (Table A6) - a 300mm wall is capable of providing fire resistance of at least 90 minutes - for thick rammed earth walls, thermal insula on might not be needed -rammed earth is hygroscopic; wherever walls are clad externally, cladding systems and finishes must be vapour-permeable to allow evapora on Rooted in Wales

earth and bamboo, Chiangmai Life Architects

Construc on requirements wide overhang to protect the earth wall against rainwater

concrete hunching offers extra support and protects the rammed earth wall

edge must be designed in order to protect against the blowback of water when using soffits wall thickness min. 300mm

Old Red Sandstone Quarried: Pembrokeshire

rebars suppor ng the roof, bringing the load down to a concrete founda on

rammed earth must not come in direct contact with the soil

New Red Sandstone Quarried: Monmouthshire, Glamorgan Pennant Sandstone Quarried: Glamorgan, Camarthenshire Carboniferous Limestone Quarried: Pembrokeshire, Gwynedd

layer of gravel to filter rainwater aggregate mix includes lime cement due to high humidity

Construc on Precedents Timber roof structure Tradi onal

Edges

Organic

Grid Frame

Wicker Pavilion, DJA Architects

Rode House, Pezo von Ellrichshausen

Tithe Barn, Bradford-on-Avon, UK

Deal Pier, Níall McLaughlin Architects

The Wicker Pavilion is designed using mber grid shell structure technique and cowered with tradi onal wicker baskets. The triangular mesh of the mber grid is assembled on the ground, then middle part is li ed at necessary height and then three corners are fixed to create final arched shape. Load bearing structure is made of pine tree planks 21 x 45 mm in 6 structural layers connected with bolts at crossing points.

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The structure is defined by the polar array of forty-five rigid frames. The en re construc on is made out of local mber. While walls and ceilings are clad with boards, a tradi onal thin wooden shingle covers the conic roof.

The roof trusses are all of the type known as raised crucks, in which the main parts are two curved mbers. It consists of 14 trusses connected by horizontal mbers: the wall plate on top of the stone walls and above them three levels of purlins, which are supported by curved braces. All this supports the ra ers, which take the 100 tons weight of the roof les. The lateral thrust of the main roof trusses is balanced by bu resses.

The building is an extrusion with repea ng bays of mber ribs.

The shape of the repeated sec on spans gracefully crea ng width through its can levered beams. The building edge has a permeable appearance allowing sunshine in while crea ng a sense of protec on.

The joint between ver cal elements (posts and walls) and the roof is emphasised through the use of diagonal elements ac ng as bu resses.

Atmospheric Intent Phase 3 exercise

Walled procession Ini al thougts - procession route to the performance space - visitor’s experience - emphasise the natural elements - eg. the sound of the rain on a copper roof - sinking in the ground, connec on to the earth, the vegeta on - res ng on the old walls, framing them, dialogue with the past - use natural materials such as rammed earth and mber - relate to the local architecture in use of materials and forms - embrace the past

Introverted

Skylight

Arrival

Tectonic

part covered procession walkway, view from the garden 13

Scheme development Method The massing studies have been developed together with design considera ons and technical imagina on.

Different op ons of suitable three dimensional structures have been explored in order to understand be er the impact of my propsal on site. Technical considera ons have been integral part of the process, from the choice of materials and building techniques to thinking about sustainability and efficiency of construc on.

Massing explora on 01

Massing explora on 02

Massing explora on 03

Massing explora on 04- Preferred op on

Pros - procession space from studios to auditorium - integrates the ruin walls

Pros - gateway to private space – clear separa on - studios have direct access to auditorium

Cons - the courtyard is too fragmented - might be too expensive to build two infrastructure grids – water pipes, drainage, electricity - lobby area too small - does not have a coherent spa al language

Pros - a clear sequence of internal spaces - efficient building of services - creates a threshold on external walk through route that engages with the public / fire escape

Cons - the courtyard is split in two – the smaller yard might become redundant - fragmented spa al arrangement - lobby and arrival spaces too small

Pros - clear sequence of spaces - preserves the courtyard layout - embraces the historical wall - creates clear routes through the site - efficient building of services - creates a threshold on external walk through route that engages with the public / fire escape

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Cons - the courtyard is split in two – the smaller yard might become redundant - external routes confusing and not well defined - lobby & arrival space too small

Cons - greater floor space will raise costs

Summary of response to brief & key moves

Response to brief requirements - generate revenue through commercial ac vi es – bookshop, café, performances - create a community space – café & garden - educa onal aspect – learn about the history, bookshop, music events - enhance the link between Llandaff Cathedral and school – a previously underused - space becomes an important addi on for their agenda - create performance space with a capacity of 60 seats - enhance the garden for the public benefit - restore and make good the historical fabric - create addi onal rehearsal studios for Cathedral School - use sustainable materials and renewable energy - relate to local architectural context and iden ty – materials and forms - create a landmark for contemporary Llandaff bringing the young and old genera on together

cafe

c

recep on

cloister auditorium

courtyard stage procession

Key moves - integrate the stone walls in the make-up of the new building - follow the exis ng walls and preserve the shape of the courtyard - the new building to create threshold between the public courtyard and the students’ quarter & Cathedral School - create a perimeter enclosure – cloister – that connects the main spaces - restore the gatehouse to hold educa onal ac vi es – a learning space and a bookshop - enhance the courtyard through plan ng - sequence of public spaces: gatehouse entrance – café – recep on – performance space

learn studio + tech

threshold/ ‘gatehouse’

threshold/ arrival bookshop space The Gatehouse studio

walkway

carpark

threshold

spaces diagram

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Design proposal Informed by technical & environmenal considera ons terrace 22 m2

café 76m2

wc 15m2 lobby 46m2

auditorium 145m2 60 seats

stage

walkway

walled garden

learn 25m2

The chosen spa al arrangement has a clear sequence of spaces arranged around the perimeter enclosure, integrating the historical wall. It preserves the courtyard layout to create a walled garden.

services 19m2

studio 30m2

bookshop 26m2

studio 68m2

route through

roof plan view

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ground floor plan 1:500

Environmental strategy

Ligh ng strategy

Thermal strategy

Ven la on strategy

Drainage & Water collec on stratey

North and North-East facing skylights provide so & cool light throughout the day with no direct sun that might cause overhea ng.

The plan ng space of the courtyard benefits from sunshine throughout the day, crea ng an op mum environment for various plant species to grow.

The large roof covered with natural clay les benefits from Southern exposure thus providing great thermal mass, reducing the costs of central hea ng. Its canopy also provides shade during the summer months shelter against natural elements during winter.

The spaces around the courtyard benefit from passive ven la on of the prevailing Southern winds. The shape of the double roof is thought in such a way to capture the wind blowing in the courtyard through the walkway. It allowing fresh air intake into spaces such as the auditorium through a series of ven la on sha s located above the walkway.

The sloping is able to very well channel the rainwater downwards, into a Sustainable Drainage System (SUDS) that would collect this water and store it in 3 underground water tanks.

Warm LED lights hidden from direct view light up the auditorium, café, lobby space, as well as the walkway at night with li le energe c consumpon. These spaces do not require high amounts of bright light, thus the en re site would have a cosy and invi ng atmosphere.

Similarly to the medieval construc on method of thick walls that provide thermal mass, the rammed earth wall has a thickness of 800mm and does not requite extra insula on.

The interior spaces are heated through an eco-friendly underfloor hea ng system that uses energy generated by a ground source heat-pump located beneath the courtyard.

The heat generated by the underfloor hea ng system would create an upwards flow of air.

Hot sir would be released at the top, through the mechanically controlled skylights.

Moreover, St Teilo’s Well would be re-ac vated and connected to the SUDS grid. The well would become a local a rac on again, restoring its historic significance.

The collected water would be used for irriga on and toilet flushing. This strategy is able to save money and energy in the long run despite the ini al investment costs.

openable skylight

Southern exposure

hidden LEDs St. Teilo’s Well

vents

toilets hidden LEDs

hidden LEDs rainwater collec on tank 01

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rainwater collec on tank 02 ground source heat-pump

underfloor hea ng

Fire & Acous c strategies Fire Safety

Acous c strategy

Government guidelines state that the general maximum distance to a fire exit should be 18m. However, this can be increased to around 25 m in low risk areas. There are no open fires on the premises as the café serves only beverages and snacks.

Rammed earth is a good sound insulator against outside noise coming in the auditorium and rehearsal studios. However, the design inten on is to allow musical tones from performances held in the auditorium to flood the courtyard. Similarly, the sounds ‘escaping’ from the rehearsal studios would make passers-by curious. This would not cause an issue with the neighbours as the proposed spaces are over 30m away from any dwelling. In order to create such an audi ve environment, sound enhancing devices would be used.

Rammed earth is a non-combus ble material and has excellent fire resistance. It is capable of retaining the spread of a possible fire. A 300mm thick rammed earth wall is able to provide up to 90 min protec on. The walls proposed have a 800mm thickness thus the protec on me could be at least up to 2 hours.

Natural clay les are non-combus ble too, having been ranked class A fire resistance. They could withstand the fire up to 4 hours.

Glulam retains its construc onal stability in a fire longer than many people think, making it an excellent material for bearing structures.

When in contact with flames, a carbon layer is formed which insulates against the heat. The fire then penetrates the wood with virtually constant rate – of about 0.5 - 1 mm per minute. The temperature in the unburned parts of a rough wooden structure remain unaffected, even during a prolonged and substan al fire.

Glulam elements retain their stability during a fire for up to 60 min.

An interes ng example is the gargoyle found in Parc de la Ciutadella in Barcelona. Apart from its well known func on of draining rain water away from the building, it also enhances and echoes the bell sounds of the nearby Military Church. A more in depth study of such devices ought to be undertaken at a later stage.

There are three zones based on acous c performance: zone 1 – as discussed above. zone 2 – needs extra insula on to retain the sound: the lobby might get noisy and interfere with a performance; the bookshop needs to be a quiet space for study. zone 3 – no need for acous c insula on as sounds will not interfere with any musical ac vity.

fire tested glulam

gargoyle, Ins tut Verdauger, Parc de la Ciutadella, Barcelona

zone 3

safe point 04 max. travel distance: 25m

zone 2

safe point 01 max. travel distance: 20 m current distances are over 18m, a fi h safe point should be considered in this loca on

zone 1 assembly point 03

safe point 02 max. travel distance: 15m assembly point 01

zone 3 zone 3

zone 2

zone 1 safe point 03 max. travel distance: 19m route through assembly point 02

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Materiality & Atmosphere Double shell

Weight

So ness

Emphasis

Galleries of the Royal Granary, Pablo Millan Studio

Design Intent A dark & heavy outer shell reflects predominant weather characteris cs and shelters a secret. Inside, a light and so interior takes refuge, welcoming sunshine and warmth.

The precious & formal interior of the auditorium would be clad in natural stone with warm shades.

The use of stone creates the desired echo for the performances.

The historical walls would be emphasised through ar ficial ligh ng hidden beneath the floor.

A patchwork of reclaimed stones would be used for the cloister space.

House of Giants, Iterare Architects

Marcelo Villada Or z

Kannikegården, Lundgaard & Tranberg Architects

Natural clay les of dark red shades, produced by Petersen Tegl would clad the exterior of the roof.

The rammed earth would be mixed with charcoal pigment to create a heavy appearance, in conversa on with the historical stone walls.

San Jose María Escrivá Church, Javier Sordo Madaleno Bringas

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Pavilion between Trees, Branch Studio

Technical Imagina on - Timber Frame Structure Strcutural strategy explora on / massing op on 02

Strcutural strategy explora on / massing op on 03

Drawing inspira on from the architecture of Gothic Cathedrals across UK and Europe, the aim of the technical imagina on exercise was to re-imagine a structure that would bring similar quali es to a space while adapted to present day requirements.

In the first phase (massing op on 02), the idea of Equilateral arches has been explored with mber elements, instead of stone. In the next phase (massing op on 03) the interior curved space has been concealed by a double gable roof that would open to the sky. A double shell roof has been achieved and further developed.

Auditorium view - ini al thoughts

Arched structure - ini al thoughts

Gothic 20 arches

Double roof - ini al thoughts

Double roof - 1:20 explora on

Technical Imagina on - Double Roof Structural Forces

Op on 1

Op on 2

- both the load of the curved piece and of the gable roog is taken by the rammed earth wall, with an extra mber support outside of the auditorium.

- the en re roof seems to float above the heavy walls.

- the thermal insula on needs to wrap the en re roof structure which can be problema c in terms of air gaps.

- the load of the curved piece is taken by the rammed earth wall; it also defines the interior of the auditorium.

- the roof is supported on a series of mber posts independent of the rammed earth, crea ng the cloister space the curved enclosure needs thermal insula on while the gable roof provides the weatherproofing its thickness can be reduced to create a floa ng lightweight appearance

While exploring different forms of the mber frame structure that would be suitable to cover the auditorium space and the walkway, precedents have been studied in order to be er understand the possible forces ac ng on such a structure.

A double framed roof would best perform if built as a series of sec on trusses that would offer extra strength. The inner arched elements would be able to offer some flexibility to the structure.

However they might have the tendency to push outwards due to its curved shape. The outer shell would need to be solid enough to counter act on this tendency, while the arches need to be firmly ed to the concrete founda on.

Dial Pier, Níall McLaughlin Architects

which shape would best cover the auditorium and the walkway?

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Tithe Barn, mber cruck structure

Technical Imagina on - Timber Frame Structure

Following the aim to create a hierarchical differen a on between spaces, three varia ons of double roof structure have emerged. The main one, the tallest, is covering the auditorium.

frame 01

frame 03

frame 02

frame 03

external canopies structural frame 01

A second height would be covering the threshold space between the courtyard and the Cathedral School yard. It is intended to mirror the Gatehouse in essence and height.

structural frame model, site view structural frame 02

A third height, the lowest is intended to create a more in mate space for the community café & lobby space and for the rehersal studios.

All three structures allow so light through skylights open to the North and North-East.

auditorium café & lobby

studios

All three structures create a walkway on the courtyard side in order to achieve a con nuous procession-like route around the site. structural frame 03 structural frame & roof model, site view

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threshold

Final construc on drawings - Double Roof Specifica ons / main elements Prefabricated mber sec ons by Ecocurves Ltd. : - Glulam mber arches 350 x 250 mm - Timber truss elements 75 x 75 mm - Timber purlins 250 x 150 mm - Glulam mber ra ers 250 x 150 mm Roof & Ceiling - Clay Tiles by Petersen Tegl - ‘Petersen Cover’ C36 dims 528 x 240 x 37 mm - Timber ba ens 35 x 25 mm - Plasterboard panels interior, white - Triple-glazed rooflight by Sterlingbuild

The double roof spans across the auditorium as well as the walkway space.

It is composed out of a series of locally assembled mber frames fixed through the rammed earth wall and the stone wall to a solid concrete slab founda on.Steel reinforcement bars have been proposed in order to preserve the integrity of historical wall as much as possible.

The inner arched elements define the shape of the auditorium, while the outer shell creates a strong presence that relates to local vernacular architecture.

Rammed Earth Wall - Steel flitch plate connected to in situ concrete hunching; RAL 7016 Anthracite Grey - Steel reinforcement bars, 25 mm - Pre-cast rammed earth panels (charcoal tone, aggregate mix with 7% lime cement binder) dims 4500 H x 3000 L x 800 W mm Floor - Granite floor les by ‘Diesepker & Co.’ – warm grey, GR173 - Concrete Screed 200mm underfloor hea ng - Cellulose insula on 150mm - Concrete slab founda on 250mm

strcutural digital model, slice of auditorium

External Walkway - Reclaimed bricks laid in herringbone pa ern - Sand bedding, 250mm - In-situ concrete founda on

sec 23 on through auditorium, 1:20

structural & roof make-up digital model, slice through auditorium

strcutural & roof make-up, exploded isometric view

Technical Imagina on - 1:5 Explora ons Furthermore, as part of the technical imagina on exercise, different connec ons have been explored at 1:5 scale in order to find the most appropriate and beau ful solu on.

Roof joints & skylight

24

Roof makeup & skylight

Roof & wall connec on

Lower connec ons

Final Construc on Drawings - 1:5 Studies Specifica ons

Roof & Ceiling

1:5 sec on sketch - roof makeup & skylight

15

1. Clay Tiles by Petersen Tegl ‘Petersen Cover’ C36 dims 528 x 240 x 37mm 2. Timber ba ens 35 x 25mm 3. Breather membrane 4. OSB board, 20 mm 5. Cellulose Insula on Board 200mm 6. Expanded Cork Insula ng Board 40mm 7. OSB board, 20 mm 8. Timber purlins 250 x 150mm 14 9. Timber truss; elements 75 x 75mm 10. Glulam mber arches 350 x 250mm 11. Glulam mber ra ers 250 x 150mm 12. Service gap, 200mm 13. Metallic brackets for suspended ceiling 14. Plasterboard panels, 12.5mm - Warm white, textured render 15. Flitch connec ons

10

9

13 1

8

2 12 15

1:5 sec on sketch - roof soffit & rammed earth wall connec on

3 6

4

7

5

16

8 17

Historic Wall 16. Steel flitch plate RAL 7016 Anthracite Grey 17. In-situ concrete hunching 18. Steel reinforcement bars, 25mm 19. Restored historic stone wall, 1200mm

1:5 sec on sketch - historic wall & roof

1:5 sec on sketch - rammed earth wall & founda on

25

18 11

19

1:5 sec on - historic wall & roof

Visualisa ons Site views - Day me

26

Visualisa ons Site views - Dusk & dawn views

27

Visualisa ons Pergola & Cafe

28

Visualisa ons Procession route & Auditorium - Day me views

29

Visualisa ons Auditorium - Night views

30

Visualisa ons Auditorium - Night views

31

Site logis cs - construc on phases On site

Procurement route

In order to ensure a safe environment and reduce risks thus avoiding delays, it is very important to prepare the site in advance, ensure unrestricted access for vehicles and install protec ve equipment for workers. The ruin walls need to be protected from any damage; a er being cleaned and secured, sensi ve elements will be covered for protec on.

Due to the reduced space on and around the site, construc on materials are to be collected in a Construc on Consolida on Centre (CCC) nearby. This allows for materials to be ferried on a ‘just in me’ basis as and when they are needed, keeping the site itself clear of obstacles and, consequently, much safer, reducing site traffic by

The procurement route chosen is design & build with a glulam specialist invited to tender for technical stages. This way, the risks are minimised, the design process is seamless and the construc on stages can commence earlier. The client would have a minimal impact on the design through this process, making the development more efficient and allowing a fully integrated team to work together on the project from the beginning.

Lifecycle costs loading and unloading bay for shipping vehicles

£85,183

total revenue per year bookshop

temporary closed access to public vehicles

soil improvement for plan ng; a er construc on works are over new opening to allow access for construc on works

£6,783

venue hiring

£20,000

performance cket sales café

£23,400 £35,000

£51,923

total wages per year

loading and unloading bay for shipping vehicles

café

£14,498

recep on & bookshop

£18,425

cleaning

£19,000 0

temporary closed access for school pupils and public

possible crane loca on

on site assembly of pre-fabricated components and mber structure area used for storing some construc on materials & constrcu on

20,000

100-year span costs These figures take into considera on employee salaries, water & electricity bills, cleaning costs and maintenance costs. All the sums are adjusted to an assumed 2% infla on.

site excava ons below ground to accommodate founda ons refurbishment of exis ng spaces within the historic walls parts of historic wall that might need making good exis ng trees that will be relocated

Construc on Timeline & Phasing Phase 1 winter 2021 Site setup - construc on& access routes - material storage - securing the site for workers - accommoda on for workers

32

Phase 2 spring 2021

Phase 3 spring summer 2021

Site prep Substructure - making good - material delivery ruin walls - foo ngs and - trees re-plan ng founda ons - basement - plant instalexcava on la on, SUDS & - foo ngs and heat pump, water founda ons collec on electrical grid

Phase 4 summerspring 2021/22 Superstructure - above ground works, installing the wall panels - assembling the double roof - can livered terrace

Phase 5 summer 2022 Roof - roof covering - skylights - internal floors - plan ng

Phase 6 autumn 2022

Scheduled opening date : 1st Dec. 2022

Installa ons - internal fit-out - tes ng of newly installed systems & commissioning - electrical

ini al construc on investment: £2,254,187 water bills: £68,638 energy bills: £2,987,103 repair & maintenance: £2,013,545 employee salaries: £4,810,922

40,000

60,000

80,000

Maintenance & repairs meline

100,000

Cost breakdown Precedent study Roof & landscape Wildfowl & Wetlands Centre, FCD Architects, Slimbridge

Auditorium Tara Theatre, Aedas Arts Team, London

Glulam structure Painshill Park, FCB Studios, Cobham

Refurbishes old buildings on site and incorporates them in the new fabric; great use of mber. Large projected roof, highest £/sqm price out of superstructure – about £127.3 /sqm out of superstructure costs of 549 £/sqm (25.4% out of total costs). Great emphasis on external works and lanscaping 44.1% out of total costs Use of passive strategies - observa on tower acts as a ‘chimney’ for passive ven la on, rainwater collec on on site – 12.5% investment.

Similar size auditorium - 100 seats + two rehearsal rooms, lobby space; built on exis ng Victorian structure.

Reclaimed bricks, mber, doors, auditorium sea ng etc. have been used including a cob stage floor.

High service costs due to the need to adapt an old building to modern day performance standards 40% of total costs.

Part-funded by the Na onal Lo ery. Simple and efficient single storey spa al arrangement includes a covered glulam walkway. Honest construc on with natural materials, superstructure 27% of total costs Natural ven la on, sustainable strategies – 22.9% out of total costs; quality finishes 7.9% - out of total - long las ng building.

ƐƵďƐƚƌƵĐƚƵƌĞ ƐƵƉĞƌƐƚƌƵĐƚƵƌĞ ĨŝŶŝƐŚĞƐ ĨŝƚƚŝŶŐƐ ĂŶĚ ĨƵƌŶŝƐŚĞƐ ƐĞƌǀŝĐĞƐ ĞdžƚĞƌŶĂů ǁŽƌŬƐ ƉƌĞůŝŵŝŶĂƌŝĞƐ ĐŽŶƚŝŶŐĞŶĐŝĞƐ ŽǀĞƌĂůů ĐŽƐƚ ͬ ƐƋŵ ƚŽƚĂů ĐŽƐƚ ĂƌĞĂ

33

άϵϰ͘ϲ άϱϰϵ͘ϭ άϭϬϲ͘ϳ άϮϮ͘ϯ άϮϳϭ͘ϵ άϵϱϰ͘Ϭ άϭϲϯ͘ϱ

άϭ͕ϲϯϬ͘ϭϬ

ϰ͘ϰϬй Ϯϱ͘ϰϬй ϰ͘ϵϬй ϭ͘ϬϬй ϭϮ͘ϱϬй ϰϰ͘ϭϬй ϳ͘ϱϬй

άϴϴϳ͘ϱ άϭ͕ϮϬϰ͘ϭ άϯϰϴ͘ϯ άϭϯϵ͘Ϭ άϮ͕ϱϯϲ͘Ϭ άϭϭϮ͘Ϭ άϭ͕Ϭϵϵ͘Ϭ

άϲ͕ϯϯϬ

άϲ͕ϰϱϱ͕Ϭϰϲ͘ϭϬ

άϮ͕ϴϵϳ͕ϰϬϴ

ďƵŝůƚ ŝŶ ϮϬϬϬ ϯ͕ϬϬϲ ƐƋŵ

ďƵŝůƚ ŝŶ ϮϬϭϲ ϰϵϯ ƐƋŵ

ϭϰ͘ϯϬй ϭϵ͘ϬϬй ϱ͘ϱϬй Ϯ͘ϮϬй ϰϬ͘ϭϬй ϭ͘ϴϬй ϭϳ͘ϰϬй

άϰϯϰ͘Ϭ άϴϱϬ͘Ϭ άϮϰϳ͘ϴ άϭϵϮ͘ϱ άϳϭϱ͘ϯ άϯϲϮ͘ϯ άϯϮϵ͘ϴ

Rammed Earth Oathall Community Centre, Michael Cook Associates, West Sussex

ϭϯ͘ϵϬй Ϯϳ͘ϮϬй ϳ͘ϵϬй ϲ͘ϭϬй ϮϮ͘ϵϬй ϭϭ͘ϲϬй ϭϬ͘ϱϬй

Low finishes costs indicates that the interior quality of design is poor - 3.9% of total costs.

Superstructure – high costs due to large surface and various wall & cladding materials used – concrete, rammed earth, bricks & aluminium panels - 39.8% of total costs.

Ɛ

άϮϳϬ͘ϳ άϭ͕ϱϬϰ͘Ϭ άϭϰϲ͘Ϭ άϭϯϴ͘Ϭ άϲϰϭ͘Ϭ άϰϱϬ͘Ϭ άϰϲϭ͘Ϭ άϭϲϳ͘Ϭ

άϯ͕ϭϯϰ͘ϱϬ

άϯ͕ϳϴϬ

άϮ͕Ϯϵϭ͕ϯϮϰ

άϯϲϯ͕ϳϭϳ͘ϮϬ

ďƵŝůƚ ŝŶ ϮϬϬϮ ϳϯϭ ƐƋŵ

ďƵŝůƚ ŝŶ ϮϬϭϬ ϭϭϳ ƐƋŵ

ϳ͘ϮϬй ϯϵ͘ϴϬй ϯ͘ϵϬй ϯ͘ϳϬй ϭϳй ϭϭ͘ϵϬй ϭϮ͘ϮϬй ϰ͘ϰϬй

Cost breakdown Proposal es mate Total GIA: Building cost £/m2: External works £/m2: External works cost: Total construc on cost: Design fees: Overall costs:

ůĞŵĞŶƚ

547 m2 £4,121 £620 £339,140 £2,254,187 £329,046 £2,583,233

ϭ ^ƵďƐƚƌƵĐƚƵƌĞ ĞdžĐĂǀĂƚŝŽŶ͕ ĞĂƌƚŚǁŽƌŬ ƐƵƉƉŽƌƚ͕ ƌĞŝŶĨŽƌĐĞŵĞŶƚ ŽĨ ĞdžŝƐƚŝŶŐ ǁĂůůƐ

Ini al funds Na onal Heritage Lo ery Fund: Cathedral School pledged funding:

up to £500,000 £1,000,000

Addi onal Funds substructure

The Tudor Trust: Arts-based Learning Fund: People and places grants: Anthem grant: The Landfill Disposals Tax Communi es Scheme:

£60,000 up to £400,000 up to £500,000 up to £750,000 up to £50,000

superstructure finishes fi ngs and furnishings services external works

To be noted that the project is exempt of 20% VAT due to building on Grade I lis ng site.

Maximum extra funding £1,580,000. This amounts to a maximum poten al budget of £3,330,000 for the en re scheme. However, the proposal takes into considera on the possibility of a lower sum being raised.

preliminaries con ngencies

Value for money by category Substructure A percentage of 8.5% has been allocated for the substructure as the site needs to be levelled in order to create a smooth transi on between spaces for disabled use. Moreover, the auditorium is sunken into the ground by 1500mm (accessed by ramp) while the other spaces including the walkway are sunken up to 700mm.

Superstructure The highest cost percentage is allocated for the superstructure, 44.2%, which includes the pre-fabricated rammed earth walls (10.7%) and the pre-fabricated glulam frames (22%) that create the roof shape. Glulam beams has a lifespan of over 100 years so this is an investment worth making. In order to come up with the most efficient solu on for the glulam elements, a glulam specialist consultant should be appointed.

Low costs for elements such as windows (1.2%) as the main means of illumina on is through the skylight which makes up about 2.5% out of total costs.

Finishes Reduced costs for finishes (4.3%) as most of the structural materials used are le exposed. However, floor finishes costs are higher (2.9%) as the public internal spaces (auditorium, lobby & café) are made of natural stone. The secondary spaces (toilets & storage) have exposed concrete floor while the rehearsal studios have natural mber floor.

Services Services amount to 4.7% due to the passive ven la on strategy used. A higher ini al investment will be used for the ‘green’ energy systems (SUDS & ground-source heat pump).

External works Include revitalisa on of the so landscape through plan ng and other landscape features. A cer fied landscape architect should be consulted with regards to best plant species and arrangements.

34

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ϭϱϱ ϵϱ ϵϴ

ϰ͘ϮϬй Ϯ͘ϲϬй Ϯ͘ϳϬй

άϴϰ͕ϳϴϱ άϱϭ͕ϵϲϱ άϱϯ͕ϲϬϲ

ϭϴϭϴ ϯϵϮ ϴϬϯ ϭϬϱ ϭϮϰ ϵϭ Ϯϲ ϳϳ ϳϱ ϱϳ ϲϴ

ϰϰ͘ϮϬй ϭϬ͘ϳϬй ϮϮй Ϯ͘ϵϬй ϯ͘ϰϬй Ϯ͘ϱϬй ϭ͘ϮϬй Ϯ͘ϭϬй Ϯ͘ϭϬй ϭ͘ϳϬй ϭ͘ϵϬй

άϵϵϰ͕ϰϰϲ άϮϭϰ͕ϰϮϰ άϰϯϵ͕Ϯϰϭ άϱϳ͕ϰϯϱ άϲϳ͕ϴϮϴ άϰϵ͕ϳϳϳ άϭϰ͕ϮϮϮ άϰϮ͕ϭϭϵ άϰϭ͕ϬϮϱ άϯϭ͕ϭϳϵ άϯϳ͕ϭϵϲ

ϯ &ŝŶŝƐŚĞƐ ǁĂůů ĨŝŶŝƐŚĞƐ ĨůŽŽƌ ĨŝŶŝƐŚĞƐ ĐĞŝůŝŶŐ ĨŝŶŝƐŚĞƐ

ϭϳϴ ϭϵ ϭϬϰ ϱϱ

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άϵϳ͕ϯϲϲ άϭϬ͕ϯϵϯ άϱϲ͕ϴϴϴ άϯϬ͕Ϭϴϱ

ϰ &ŝƚƚŝŶŐƐ Θ &ƵƌŶŝƐŚŝŶŐƐ

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ϱϭϭ ϰϴ ϯϱ ϭϰϮ ϲϭ ϳϴ ϮϮ ϯϮ ϭϵ ϳϰ

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άϮϳϵ͕ϱϭϳ άϮϲ͕Ϯϱϲ άϭϵ͕ϭϰϱ άϳϳ͕ϲϳϰ άϯϯ͕ϯϲϳ άϰϮ͕ϲϲϲ άϭϮ͕Ϭϯϰ άϭϳ͕ϱϬϰ άϭϬ͕ϯϵϯ άϰϬ͕ϰϳϴ

ϲ džƚĞƌŶĂů ǁŽƌŬƐ ƐŝƚĞ ƉƌĞƉĂƌĂƚŝŽŶ ĚƌĂŝŶĂŐĞ ƉĂǀŝŶŐ ƐŽĨƚ ůĂŶĚƐĐĂƉŝŶŐ ǁŽƌŬƐ ŽƵƚƐŝĚĞ ƐŝƚĞ

ϲϮϬ ϮϭϮ ϭϮϰ ϭϮϰ ϳϮ ϴϴ

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άϯϯϵ͕ϭϰϬ άϭϭϱ͕ϵϲϰ άϲϳ͕ϴϮϴ άϲϳ͕ϴϮϴ άϯϵ͕ϯϴϰ άϰϴ͕ϭϯϲ

ϳ WƌĞůŝŵŝŶĂƌŝĞƐ ϴ ŽŶƚŝŶŐĞŶĐŝĞƐ

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ĐŽŶĐƌĞƚĞ ĨŽƵŶĚĂƚŝŽŶƐ ĐŽŶĐƌĞƚĞ ƐůĂďƐ

Funding sources

ĐŽƐƚ ƉĞƌ ŵϮ

Ϯ ^ƵƉĞƌƐƚƌƵĐƚƵƌĞ ƌĂŵŵĞĚ ĞĂƌƚŚ ƉƌĞͲĐĂƐƚ ǁĂůůƐ ŐůƵůĂŵ ƚŝŵďĞƌ ĨƌĂŵĞƐ ŵĂŬĞ ŐŽŽĚ ŚŝƐƚŽƌŝĐ ǁĂůůƐ ƌŽŽĨ ƐŬLJůŝŐŚƚƐ ĞdžƚĞƌŶĂů ǁŝŶĚŽǁƐ ĞdžƚĞƌŶĂů ĚŽŽƌƐ ŝŶƚĞƌŶĂů ǁĂůůƐ ŝŶƚĞƌŶĂů ĚŽŽƌƐ ĐĂŶƚŝůŝǀĞƌĞĚ ƚĞƌƌĂĐĞ

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