Contents 1.0 - Introduction................................1 1.0 - Foreward 1.1 - Kings Cross Development 2.0 - Pre Design.................................3 2.0 – Building before move 2.1 - The Site 2.2 - Need for a New Building 3.0 - Design Process..........................5 3.1 - Building the Brief 3.2 - Picking the Team 3.3 - Funding 3.4 - Concept 4.0 - Planning Permission..................9 5.0 - Materials....................................11 6.0 - Construction..............................14 6.1 - Structure 7.0 Engineering..................................18 7.1 - Construction Process 7.2 - East-West Link 7.3 - Heritage 7.4 - Ventilation 7.5 - Lighting 7.6 - Sustainability 7.7 - Health and Safety
8.0 - Completion........................30 9.0 - Post Occupancy Review...33 9.1 – Architect 9.2 - Client 10.0 - Final Analysis..................36 10.1 - Successes 10.2 - Problems 11.0 - Final Word.......................38 12.0 - References......................40 12.1 - Awards Won 12.2 - Documents Used 12.3 - Websites 12.4 - Interviews 12.5 - Images 13.0 - Appendix.........................45 6.1 - Structure
Central Saint Martins (CSM) is internationally known for the creative vigour of its students and staff. Designed by Stanton Williams Architects, its new building is home to the University of the Arts, London at the heart of London’s newest cultural corner King’s Cross Central.
1.1 Kings Cross Development The King’s Cross Central project is extremely important for the regeneration of the area. In December 2006 and then July 2008, planning permission was given for nearly 743,200m2 of mixed use development which would have a new postcode, London N1C. This development includes:- - - - -
25 office buildings on 455,000m2 of land 20 new urban streets 10 public congregation spaces Restoration and renovation of 20 key historic buildings Around 2000 new homes in new apartment blocks
Fig. 2 - King’s Cross Central Proposal
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Fig. 1 - CSM London Location
Prior to the completion of CSM’s new home, the Charing Cross Road building with its grimy windows, and cold and leaking studios built in 1939 was considered too small, too old and generally unfit for purpose for 4,150 students 72 years after it was built. They sought to solve this with a brand new £200 million campus uniting all the college’s activities in the same building for the first time.
2.1 The Site This transformation of 67 acres of abandoned brownfield land north of King’s Cross and St Pancras railway stations is one of the leading urban regeneration development projects in Europe.
2.2 Need for a New Building The new college needed a new Fig. 3 - The doors of CSM Charing Cross. location, and the Kings Cross development produced the perfect opportunity for expansion: - A spacious site with incredible potential - Key connections to and from both of the nearby train stations and mainland Europe. - The opportunity to develop a strong contemporary architectural response to the complex existing buildings on the derelict site. 4
3.1 Building the Brief Stanton Williams were declared winners of the design competition solving the brief in a exciting way and, with the help of the college’s tutors, set about designing a masterplan and new 32,000m2 campus for 5000 students inside and around an original Victorian Granary Building and two transit sheds on the King’s Cross site. Not surprisingly this project was considered a substantial commission for architects Stanton Williams. The main tasks for the build were considerable: - The re-housing of 1000 members of staff and 5000 new and old students from their old school. - Uniting all art subjects including performance, fashion, graphic, film and industrial design under a single roof. The project would ideally provide facilities and advanced technologies for the students of CSM during a very difficult period in this current economic climate.
3.2 Picking the Team Stanton Williams is an award-winning international architectural practice based in London. They have developed a consistent portfolio with a specialist focus on museums and art galleries in particular, as well as a wide range of projects demonstrating the firm’s over-arching objective of putting the user’s experience of space, light and materials at the forefront of the agenda. Paul Williams (director) was a fundamental player at the heart of most key decision-making throughout the process. 6
3.3 Funding It was calculated that it would cost a lot more to update the original Charing Cross Road building that to construct a whole new college. It wouldn’t be worthwhile going forward with this process due the time it would have taken to update the old building. The redevelopment of CSM cost in the region of £200 million which was in majority funded by the University of the Arts London in which CSM is a vital part. £100 million was borrowed and around £20,000 was raised through a funded system from famous fashion designers such as Alexander McQueen, Stella McCartney and others.
3.4 Concept The Granary Building built in 1851 is grade II listed. Inspiration for the building was quite straightforward. The Fig. 4 - Original hydraulic mechanism found on site building used to manage the storage and distribution of grain at the height of the Victorian industrial boom. The internal “street’ acts as a creative centre for the building, bringing together students from different courses and encouraging a social aspect to education. 7
The proposal had to be carefully thought through in order to modernize this building as well as keep its heritage intact. The original Granary shed was designed by Lewis Cubitt, who also designed Kings Cross station between 1851 and 1852. The Granary Building is of historic significance because of its scale and classical proportions. The six storey building is 55m in length and 31m in depth containing progressions through the building allowing easy goods transfer from horse and cart to wagons and canal boats by: chutes, loading points and even a series of trap doors. The juxtaposition of old and new in the detailing is celebrated in Stanton Williams’ design. Inspiration was taken from the sheer scale and technological ambition of the surrounding buildings the Victorian architectural setting in which it sits.
Fig. 5 - The eastern transit shed in the 19th Century
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Planning permission was granted by London Borough of Camden. “Securing the go ahead for CSM in April 2008 was a major step forward for the whole King’s Cross Central project” said Robert Evans, Director Developer for Argent.1 The National Government and the Major of London approved the site a couple of months later. Part of the site falls outside of Camden’s boundaries into the region of Islington and therefore separate planning permission was vital from Islington Council.
Fig. 6 - King’s Cross illustrative build out
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Robert Evans Interview 1/2/2013
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5.1 Materials Simple, tough materials are used throughout for a clean, coordinated feel – these include cast concrete walls and stair cores, simple metal balustrades, panels made from plywood for flexibility and unembellished glazing. Materials were chosen carefully so as to be as appropriate as possible for the listed industrial context: sensitive consideration led to the use of fair-faced concrete, robust metal panels and industrial cast glass. On the third floor level are timber ‘Glulam’ rafters and a steel frame that supports the new transit shed’s standing seam roof.
Fig. 7 - Glulam rafters in the fabric making studios.
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In the southern façade of the Granary Building, new glazed slot windows have been introduced.
Fig. 8 - Original brickwork exposed in one of the stair cores
The internal walls were cleaned using a non-abrasive pressure water technique, revealing the original colour and texture of the heritage brickwork. Stanton Williams’ architects wanted to enhance the original industrial features and language of the past and the design and palette used throughout convey this well. Practice director Paul Williams points out: “The extent to which you restore or conserve is always a fine balance – whether to soften the historic scars built up over time [which] reflect a memory of some architectural intervention… and on this project we feel they add a richness to the architectural composition.”2
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BD Online: Stanton Williams Interview
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Construction started in January 2008, and with this new members came to the team. By this point the team had grown to include: structural engineer, Scott Wilson, quantity surveyor, Davis Langdon, development advisor, ARGENT, and contractor, BAM construction limited.
6.1 Structure The covered street located within the University building is a central route/atrium that runs north-south along the line of the former Assembly Shed and is surrounded on either side predominantly by University studios and lecture spaces. BAM enclosed the street with the ethylene tetrafluoroethylene (ETFE) roof that is supported by primary steelwork. The ETFE roof covering provides an efficient, lightweight, waterproof enclosure which combines controllable light transmission together with thermal performance qualities which are substantially better than that provided by glazing.3 The internal street is regarded as outdoor space as the roof erodes when on fire leaving a ventilation area; this has become the heart of the university and acts as a perfect student meeting space, art display, catwalk, performance space and cafĂŠ area. The public has access
Fig. 9 - Internal Street lit up at night
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New UAL Press Pack 2011
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to the street when an events programme is implemented throughout the academic year. In order to facilitate the movement of students and staff between spaces on the eastern and western sides of the street, six concrete and steel ‘link’ bridges were constructed on site. Once the balustrades to these link bridges were placed, this allowed for the installation of a mosaic of tiny hardwood square flooring that covers the central street.
Fig. 10 - Central Saint Martins plan
A key feature of the design plays on the idea that approaching from three sides of the site, the new building known as the ‘street’ isn’t visible. This is due to the whole college being surrounded by the west and east transit sheds measuring 180m by 25m, and the beautiful main, cast-iron and timber Granary Building. 16
The college workshop spaces are housed in the eastern transit shed, while the Granary Building is now the library and administrative building. Forming the campus’s surrounding border, the new structure has been inserted within these existing façades with precision. Extensive refurbishment had to take place in order for this process to occur within the grade II listed building. The contractor BAM had to organise and plan to precision due to this build being a significant engineering challenge. One of the least agreeable contracts to use on a project like this is a twostage design and build project which had to be resolved during a strictseven week period.
Fig. 11 - Front view of CSM
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7.1 Construction Process Michael Beare of AKS Ward Lister Beare, the construction engineer for the new development, who is very experienced in the field of restoration, was a fundamental team member, who also worked on the restoration of St Pancras. Steel trusses on the transit sheds’ roofs had to be removed in order for the piling work for the new building to go ahead. “It gave us a lot of trouble, as the walls were effectively unsupported, sitting on corbelled foundations that ran as far as 6m down into the basement stables and at the original ground level of the site,” recalls Beare.4 Some existing walls were out of tolerance by as much as 80mm, which exceeded British Standards. The heritage walls were monitored for movement during construction of the new structure and helical tie bars were placed into the masonry adding to the overall strength. The transit shed roofs were reconstructed using timber “glulam timber beams”, rather than the obvious choice of steel, not only to reintroduce original materials into the build but to make sure they conformed with Part L of the current Building Regulations. Many of the blind arches that formed the original eastern transit shed were opened out to allow the sheds to become part of the new design, says Beare.5 4 5
Michael Beare Interview 24/11/2012 Michael Beare Interview 24/11/2012
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During construction, all brickwork that had been removed was re-used elsewhere on the site. Re-pointing the brickwork joints was a long process. Lime mortar to match the original point work was used and it was extremely important to monitor the wall loadings correctly during the 28-day strength and drying period.
Fig. 12 - Opening up the blind arches on the eastern transit shed
The restoration of the granary must have been an exciting project to work on due to its complex construction. Within the existing walls that taper from 1 metre thick at the bottom to 600mm at the top sits an intricate cast iron structure consisting of beams and columns in order to support the extremely heavy timber flooring system. This was designed to withstand heavy dead loads and therefore consist of 50mm thick floorboards and 300mm deep timber beams. Beare describes this as a “Sophisticated structure, there were even metal strips between every floorboard, stopping dust transferring through floors. We also discovered fine threaded rods running across the building below the floors, acting as ties for the walls, preventing them from bowing outwards.� 20
“In the end, we proved that the structure was so sophisticated, that each system was independent. Column heads went through floors, meaning the steel frame was an independent structure — whole sections of timber floor could be taken up without any negative effect. It was challenging, but a fascinating result, and a great demonstration of the Victorian engineers’ abilities.” Running the length of the building is a light filled atrium. To install the glass hydraulic lift within the framework, part of the northern façade had to be removed. In fact, from the beginning of the project the engineers needed to liaise with both English Heritage and Camden Council’s conservation department throughout the project. Jeff Carter, who is a design engineer at BAM construction, states that the negotiation processes with both of the conservation teams was programme driven. “There is always a challenge dealing with a listed building and all the conditions that surround it, especially in a seven-week period, there were countless challenges and it needed a full team of 12 to fully overcome them.”
Fig. 13 - WWII gun shots on the Granary Shed
Fig. 14 - Restored Granary Shed Windows
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Decisions such as cleaning the old Granary walls took days to decide upon. Many felt that the grime was part of the heritage and the building’s industrial past. Ewen Hunter, who is the contract manager at BAM construction, said: “Even machine gun bullets dating from the Second World War across some parts of the building have been kept.” Most of the windows in the Granary Building were in a bad state, although they couldn’t be fully replaced due to it being a heritage building; as many new enhanced performance fittings were integrated as possible without breaking any building regulations. New glazed spaces between both transit sheds and the Granary Building had to be designed in such a way as to minimise the loads bearing on the listed building. Spider fixings enabled this to work well and create a flawless finish.
7.2 East-West Link. A public congregation area has been created at the very centre of the CSM building. The eastwest link blends the old Granary and the new building together effortlessly. The route is 12 metres in length increasing at both ends to 22 metres wide. The solid section of the roof is supported by the new studios on either side. A slim ‘glass
Fig. 15 - East-West Link
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ribbon’ ties the roof to the Granary by resting in a metal-lined recess in the brickwork. Details such as these really pull the design together. Three 3.8 metre diameter roof windows allow daylight to penetrate into the public space below. These mirror the original turntables found at ground level.
7.3 Heritage
Engineers AKS Ward Lister Beare wanted to keep any added forces against the heritage walls to a minimum.6 The main building consists of a 150 metre long, reinforced concrete, framed structure. These structures have been pinned back, giving the old heritage walls added lateral stability. The architects Stanton Williams wanted to express the structure within the building so all new 450mm thick concrete walls represented their solidity.
7.4 Ventilation
Air conditioning and ventilation are designed on the basis of an upward displacement system. Displacement ventilation works by supplying tempered air to the base of a conditioned space and extracting the exhaust air at high level.7 Displacement ventilation has several benefits over a traditional mechanical system: 6 7
Michael Beare Interview 24/11/2012 New UAL Press Pack 2011
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Less air mixing means that the air quality is higher as the contaminants are “washed” out Air supplied at low level means that the air supply temperature can be higher than a conventional system, yet produces the same level of comfort. This means that there is more opportunity, compared to a conventional system, to provide “free cooling”. Free cooling is when the external air temperature is cold enough to allow the spaces to be cooled without the need for additional mechanical cooling; Allowing the air to increase in temperature as it rises through the space provides an additional cooling effect that does not require the use of a mechanical process. This reduces energy consumption. Extracting the waste air at the top of the space allows some of the heat gains to be extracted from the space without cooling them.
Fig. 16 - Displacement Ventilation - Indicative Section
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Fig. 17 - Air Distribution - Studio Buildings
Fig. 18 - Air Distribution - Eastern Transit Shed
7.5 Lighting
Natural day lighting within a building has become a major factor in the design of buildings especially in a working environment such as a college where most of its usage is during the day. If designed well, significant portions of energy usage can be saved. 25
In the CSM building, wall and roof lights provide natural lighting to the ground and first floor levels. At mezzanine level – the huge roof lights with upward views provide the day lighting. The lighting was designed in accordance with the current Part L of the building regulations. Where indicated below, the lighting installation complies with CIBSE LG7, British Council for Offices 2005 and approved statutory British and European standards including Building Regulations.8
7.6 Sustainability Making sure the new CSM building embodies the best practice in sustainable design, overcoming the problems of working with a listed industrial building and making sure the design lets the school adapt as much as possible in the years to come. The building and sustainable design strategy used throughout the building allowed the design to receive a BREEAM rating of ‘very good’.9
7.7 Health & Safety Whilst speaking to Niall Campbell Health and Safety advisor at CSM, various issues some more serious than others have arisen during the first term at the college.10
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New UAL Press Pack 2011 Niall Campbell Interview & Tour 2/11/2012 Niall Campbell Interview & Tour 2/11/2012
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- One main issue is the fact that every door in the building doesn’t fully close due to the air suction in the studios for example. The doors physically won’t shut unless pushed closed with force, which most students forget to do. If there were to be a unannounced fire inspection, CSM would be fined a substantial amount per door not fully closed.
Fig. 19 - Signs needed to remind students to close Fig. 20 - Corridors blocked by furniture studio doors
- Corridors in the studios are often left blocked causing problems in event of an evacuation. - Ventilation in the spray rooms is vital for regular users of the studios. In the painting and etching rooms the ventilation hoods are too high up and far away to be of any use as ventilators. In fact they blow the gases straight into the user. Fig. 21- Ventialtion hoods in painting and etching studios 27
- Toxic silicon fumes are emitted by use of the ventilation wall. - CSM is monitored by 33 security cameras monitored by security guards in the eastern transit shed. - Key card entry is required to enter all studios and is programmed by computer for the various entry statuses throughout the school.
Fig. 20 - Corridors blocked by furniture
- The roof terrace overlooking the eastern transit shed was to be used for hosting special events on. Due to a poor selection in flooring material, during the winter the floor gets too slippery and is therefore too dangerous for public use.
Fig. 21 - Roof Terrace
Fig. 22 - View to St. Pancras
- Balustrades have also been manufactured 20mm below the legal height. 28
- The quiet room/prayer room has been placed in the basement. It is aesthetically displeasing and an area students say they don’t use. Simple features like a symbol for the direction of Mecca have been forgotten. - In the bike storage area the ramps to access the main building has been designed at an uncomfortable 45 degree angle.
Fig. 22 - Steep ramp for bicycles
Fig. 23 - Bicycle Shed in the basement
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The brief was to create a building that, never looked finished inside a work in progress. The mismatched brickwork and steelwork of the original Grade-II listed Granary Building provides an interestingly beautiful contrast to the rawness and industrial materials of the new build. There is a fantastic sense of space when you walk through the barriers looking down the indoor street, which is 110 metres long and 15 metres wide, with 20 metres above your head. The translucent vaulted roof further adds to this sense of space. The flooring in the central atrium is a mosaic of tiny square hardwood blocks, and the atrium provides a meeting place for the many creatives who occupy the building. The central ‘street’ is flooded with natural light which bounces off the robust concrete walls.
Fig. 24 - Old versus New
Fig. 25 - Hardwood mosaic block flooring
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The building acts as a blank canvas, its flexibility allows each department to create its own identity. The walls are marked with the fragments of bold Victorian numbers to identify the original grain chutes that have been turned into windows. Although the studio spaces from the previous college in Holborn have been sacrificed for a larger workshop, the art of craft and making remains the beating heart of Central Saint Martins “A sense of history has been retained,” says Williams. “The way we refurbished the old buildings is to keep as many of the pulley systems, harnesses and winches as we could. When you walk through the building, you will be able to understand how it was used in 1851.”11
Fig. 26 & 27 - Old ornaments through the building adds character to the design
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BD Online: Stanton Williams Interview
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9.1 Architect “The energy will come from the students, tutors and the work. Our idea allows a type of architecture that inspires others, spaces that liberate and make visible the energy” Paul Williams Paul Williams enjoyed working with the students on this build: “They teach us so much with their enthusiasm, freshness and energy. I’m not sure we teach them anything!”12 CSM was an ambitious project. The key for Stanton Williams was flexibility and wanting to produce a stage for transformation between the two transit sheds, the Granary Building and the brand new extension. “Soft” walls added the possibility to demolish and reconfigure a room. The main idea of this building is the transformation. The fact that the building will never be finished is an exciting idea. It will change radically in the years to come. But by creating more shared space within the building is an unlikely move particularly in an educational building. They wanted to create less space that is in ownership of each department and more space to be used by all disciplines. “As architects, we’ve pulled back to allow students and staff to stamp their own identity on the building. So it’s a little raw. We think it’s up to the various departments here to test the potential of the building. It’s utterly unresolved in that sense,” said Paul Williams
9.2 Client Speaking to Piet Garrone, a third year Graphic Design Student, gave me a real insight into how the building actually works for the people using it daily. “Everyone knows it’s a beautiful building and I love coming to 12
BD Online: Stanton Williams Interview
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university here”. 13During the first year of using the building, the transition was a slow process and there were several delays and organisational issues that could only be considered as they were happening, but most students understood the difficulty of a completely smooth move. Ellie McDonald who is in her first year studying Mens Wear said “The staff worked hard to make everything run smoothly, it’s nice to go to a new building because it’s so annoying that our libraries are separate. The university has provided us with a building which won’t leak, the windows won’t fall out, lumps won’t fall down and nearly kill people and we are finally warm”.14 Professor Louise Wilson, legendary course director of MA fashion, believes the very grottiness of the Charing Cross Road building has helped drive her previous students to success. “You feel better than the corridor. In the new building you want to hide. There was never an issue whether or not we liked the new build - we were going regardless”.15 Khedidja Benniche, an architecture student, enjoys the exposed feeling; working on the balconies in the “street” is extremely motivating and inspiring. He said that by having your tutors and friends pass by constantly is different but nice although it can get very loud at times, maybe the architects overlooked this.16
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Piet Garrone Student Interview 24/08/12 Ellie McDonald Student Interview 24/08/12 The Independent: Louise Wilson Interview Central Saint Martins: Inside the art factory
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10.1 Successes The combination and detailing of the old and new has been carried out with precision. The building is beautiful and pristine, a joy to visit both inside and out due to the sensitive mix of materials; brickwork, steelwork and the new build’s industrial materials mean that there is a feeling of the rich narrative and industrial wealth of the building throughout. The internal street works well in bringing the school together and as a design statement about working with the historic buildings.
10.2 Problems Even though most of the design is of a constant high quality, there are, a couple of issues. Acoustically the “street” is poor; heavy rain makes a lot of noise and can be very distracting for those working in the large open space. The idea was for the building to be shaped by the students, but some parts seem unused and a waste of space. The charm of the old building, with a clear sign of using the school to its full potential is not seen as clearly in the CSM building due to strict Health and Safety and fire regulations. Students used to be able to build models in corridors and pin work up on the walls which can no longer be done due to the constant desire to keep the building pristine looking. The majority of the materials used are glass and concrete; the students seem to be the only life in the building and if it was built for them as an art school as it is supposed to be, they should be able to and want to live in it. “It is in the declared intentions of who planned this move to King’s Cross to bring us all together: does it reduce itself to a common canteen, big windows, and to a tangible emptiness all over?” The U Choose Collective The U Choose Collective is an open platform for debate and action 37
Central Saint Martins College of Arts and Design London, is without a doubt, a fantastically designed and constructed building. Even after much ongoing debate relating to the character of the building, I feel that, as a new building, it is a blank canvas and with time, as with many newly built buildings, it will begin to feel like the old School of Arts with a fresh feel. I think that, especially in London, the making of architecture requires a careful balance between new and old. The city’s history informs us on what must stay, what can be demolished, what’s tolerable and how these relate together. The University of the Arts Building is a perfect example of the fine balance between historical weight and contemporary context.
Word Count: 4262 (Excluding footnotes and captions)
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12.1 Awards Won 2013 Nominated for the European Union Prize for Contemporary Architecture Mies van der Rohe Award 2012 Concrete Society Award, Overall winner 2012 RIBA Award 2012 AJ100 Building of the Year 2012 BCI Award, Major Building Project of the Year 2012 New London Award, Education Category 2012 World Architecture Festival Award, World’s Best Higher Education and Research Building 2012 RICS Award, Regeneration 2012 Public Building of the Year, Building Awards 2012 AIA UK Award for Design Excellence 2012 Mayor’s Award for Planning Excellence 2012 World Architecture News Education Award 2012 AIT Award Top Ten Education Selection 2012 LABC National Building Excellence Awards, Best Education Development 2008 Commended, MIPIM Architectural Review Future Project Awards
12.2 Documents Used New UAL Press Pack 2011 The Eastern Goods Yard - Environmental Sustainability Plan Argent 2007 King’s Cross Central - Environmental Sustainability Strategy Argent 2004 King’s Cross Central - Energy Strategy & MEPH Approach UAL 2010 41
King’s Cross Central - Western Transit Shed 2010 King’s Cross Construction Newsletters 2008-2012
12.3 Websites http://www.stantonwilliams.com/projects/new-ual-campus-for-central-saintmartins-at-kings-cross/ http://www.architectsjournal.co.uk/buildings/central-st-martins-kings-crosslondon-by-stanton-williams/8622016.article http://www.guardian.co.uk/artanddesign/2011/dec/13/central-saint-martinsreview http://www.bdonline.co.uk/buildings/technical/central-saint-martins-by-stanton-williams/5012456.article http://www.construction-manager.co.uk//features/first-class-return/
12.4 Interviews Ellie McDonald Student Interview 24/08/12 - Mens Wear Student Piet Garrone Student Interview 24/08/12 - Graphic Design Student Niall Campbell Interview & Tour 2/11/2012 - Health and Safety advisor at CSM Michael Beare Interview 24/11/2012 - Engineers AKS Ward Lister Beare Robert Evans Interview 1/2/2013 - Director Developer for Argent
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12.5 Images 12.5 Images Title Image Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13
Granary Square, photo by John Sturrock New UAL Press Pack 2011 https://www.frieze.com/issue/article/history-lessons/ New UAL Press Pack 2011 New UAL Press Pack 2011 New UAL Press Pack 2011 King’s Cross Construction Newsletter 2010 New UAL Press Pack 2011 New UAL Press Pack 2011 New UAL Press Pack 2011 New UAL Press Pack 2011 New UAL Press Pack 2011 New UAL Press Pack 2011 New UAL Press Pack 2011
Fig. 1 Fig. 2 Fig. 3 Fig. 4 Fig. 5 Fig. 6 Fig. 7 Fig. 8 Fig. 9 Fig. 10
Google Maps edited by author New UAL Press Pack 2011 fashion.telegraph.co.uk King’s Cross Construction Newsletter 2009 http://www.kingscross.co.uk/img/1340 Miller Hare Daniela Reed - own photo Daniela Reed - own photo architypesource.com architypesource.com 43
Fig. 11 Fig. 12 Fig. 13 Fig. 14 Fig. 15 Fig. 16 Fig. 17 Fig. 18 Fig. 19 Fig. 20 Fig. 21 Fig. 22 Fig. 23 Fig. 24 Fig. 25 Fig. 26 Fig. 27
Daniela Reed - own photo Daniela Reed - own photo Daniela Reed - own photo Daniela Reed - own photo Daniela Reed - own photo Environmental Sustainability Plan Argent 2007 Environmental Sustainability Plan Argent 2007 Environmental Sustainability Plan Argent 2007 Daniela Reed - own photo Daniela Reed - own photo Daniela Reed - own photo Daniela Reed - own photo Daniela Reed - own photo Daniela Reed - own photo Daniela Reed - own photo Daniela Reed - own photo Daniela Reed - own photo
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