Design Report 2014

CAMBRIDGE The Cerebral and The Lyrical

Cambridge Poetry and Playwrights Society

Library and Theatre Integrated Design Report

2013/2014

Jessica Little

“I find Cambridge an asylum,in every sense of the word.�

A.E Housman 1935

1

Overview >>page 5The Textured city >>page7 Brief>>page19, Stacks in the section>>page 87, Cambridge thresholds>>pag97,

2

Contents

5

Overview

7

Mapping Project

9

The City of Cambridge

19

Brief

21

Programme of accommodation

25

Library and theatre typologies

35

The Site

51

Theatre Design

65

Library Design

75

The Stacks

87

Structure

95

Cambridge Thresholds

105

3

Fire strategy

4

P R O J E C T O V E R V I E W

71 The- City -

The Site -

-

-

The Brief -

-

-

-

5

Located in south-east England Extremely flat topography punctuated by the River Cam Developed almost solely as a University City Knowledge based Industry spawned by the university Tourist destination due to historical preservation Excellent pedestrian and bike network Located west of the green belt surrounding the historical city centre Site is disjointed from both the historical core to the east and the main faculty campus to the south Historical buildings and protected gardens are almost lost amongst a jumble of other buildings.

Opportunity for reconnection via existing route running north-south through centre of site

“The Cerebral” Taking the form of a Library and “The Lyrical” Taking the form of a Theatre Providing a Centre for Poetry and Spoken word performance Connecting with the history of Cambridge and creating a cultural destination within the site Providing a venue for the major poetry and playwright conferences Shaping a recreational destination for people already using the facilities around the site Introverted activities vs. Extroverted activities

6

Mapping Cambridge Materials delineate the built world and are the tool through which architects thoughts become reality. Moving through city streets we constantly and subliminally perceive some else’s conscious material choices. Materials innately embody values beyond the purely visual realm, we impart upon them our own memories and perceptions.

The city of Cambridge is steeped in history and although much of this is perceived through the associations with the ancient university the actual surfaces of the city take on their own sense of time. The historical core is rich with textures that express this embodied memory.

In the map to the left I have extracted the dominant groups of patterns and textures that make up certain areas of Cambridge and laid them out, side by side. The materials are taken out of their established application to reconsider their perceived value next to one another. The micro textures that make up the cities surfaces are distorted into a patchwork across the page. Tracing over a printed map I heavily pressed the markings into the paper underneath, permanently scarring the surface. By free handing each mark, I impressed upon the piece a sense of humanness, of craft and an embodied sense of time.

I wanted to echo the humanness of the stone and brick buildings that make up Cambridge, each block within a wall has an innate sense that it had to be placed there by someone.

The units that make up the buildings are read as small parts of the whole surface. By carving every brick individually into the paper I left remnants of the process of fabrication, imperfections, such as exist in the real surfaces of Cambridge. As I rolled ink over the page, these protruding patterns were revealed. Similarly to the decay of building materials over time, some details were lost in this process and remain unseen and imperceptible upon the page. The map shows a character of Cambridge observable without denoting any specific buildings.

7

8

The city of Cambridge is located about 60 miles south of London on the river Cam. Cambridge is most widely known and associated with Cambridge university and in fact the development of the urban infrastructure has revolved around the University itself.

It has a high quality  of life and is a popular tourist attraction due to the historical nature of the university town. The quality of the built environment and countryside in Cambridge and South Cambridgeshire are critical to the continued quality of life and place. These physical features are complemented by the qual ity of services and facilities, and educational, cultural and leisure opportunities.

Existing planning policies and strategies place a strong emphasis on maintaining and enhancing these existing special qualities of the area. Provision of green infrastructure and a high quality public realm are key elements.

 





9

10

The effect of the rivers flood planes on the urban environment





Site location of projects





11

12

Edge Conditions There is a clear distinction between the solid built edges of the historical core blocks and the softer less defined blocks outside of that. Away from the centre the urban edges are often defined by trees and vegetation rather than solid built walls

13

Street sections The streets in the historical core tend to be built high and close, as you move further and further away from the centre the edges tend to relax and open out into much wider vistas 14

Street sections concerning the area immediately adjacent to the site

15

16

The University The city is long established as a home of education and this has become the main industry of Cambridge, an industry of knowledge.

Occupying a cental location within the city, the University of Cambridge is divided into colleges.

Colleges tend to be self governing and own the land on which they are built. They provide accommodation and support to their respective members whilst the teaching and research is organised by the various faculties of the university.

17

18

B R I E F

A place for poetry in the city of academia.

The brief accounts for 2 seperate building projects taking the form of The Cerebral, a library ,and The Lyrical, a Theatre.

Cambridge has a long standing tradition of Poetry and can be credited with many poet laureates including, most notably perhaps, William Wordsworth who attended St Johns college.

The City is home to several large poetry and creative writing conferences every year and whilst there are many theatre and lecture facilitates used for these, there is no significant home for poetry in Cambridge.

This relationship between Cambridge and the spoken word has become the central theme of the Library and the Theatre facilities of this project.

The Cambridgeshire Arts development strategy specifically dives nurture the historical traditions of Cambridge. The introduction of a poetry and spoken word centre in the city very much complies with this drive to reinvigorate the public realm with a sense of history and place.

19

20

Theatre

Auditorium to seat 300 people with balcony level 350m2

Library

Brief- Program of accommodation Poetry stacks, reading desks 250m2

Backstage accommodation, dressing rooms, practice space, stores

Archived Books collection

400m2

75m2

Reception, foyer space, bar plus standing room, stores

Play manuscript stacks, study space

250m2

150m2

Admin offices, staff room, stores, WCs

Journals and workspace

300m2

150m2 Audio Video suite, store 50m2 Reception, book lending, seating areas, WCs, stores 100m2 Admin, offices, stores 75m2 Main book storage, book processing, plant 150m2

Shared Functions

Cafe, Kitchen, Store

Seminar suite, Exhibition space, stores

250m2

150m2

Societies classroom and workspace 75m2 Circulation space approx 20% 300m2 Total approximate area of Theatre

Circulation space approx 20% 250m2 Total approximate area of Library 1500m2

2000m2

21

22

Existing Poerty Venues and Societies Redell Olsen Current Poetry Fellow at the English Faculty

Pembroke Poetry Society Meetings twice a term, no official venue

No official venue but runs workshops and classes (public) across university rooms.

Chameleon creative writers network.

Host events across cambridge, no official venues.

St. Lukes Church Centre Used by Cambridge Poetry Group Church hall, monthy meeting and readings.

The Boathouse, pub Used by CB1 Poetry Function Room, Weekly readings No disabled access.

ADC Theatre Used by WordFest Bi annual event, black box theatre, 220 person capacity.

Winstanley Lecture Theatre Used by CCCP and Wordfest Lecture Theatre, Annual, large scale event.

Anglia Ruskin Student Union Used by students

Bar setting, used very occasional for open mic type nights.

The Michael House Cafe Used by CB1 Poetry Restaurant setting, Regular readings and open mic events

CB2 cafe Used by CB1 Poetry Cafe setting, occasional readings and open mic events

CB1 cafe Used by CB1 Poetry Small Internet Cafe, Weekly open mic readings.

23

24

Poetry Libraries The Scottish Poetry Library, Malcolm Fraser Architects Entrance Steps serving as performance space

The poetry foundation, John Ronan Architects.

Timber lined walls denote bookshelves and wrap around the public spaces.

25

26

Relationship between stack and study space.

Model studies

27

28

29

30

Theatre Typology study The Victorian Music Hall

Wilton’s music hall, London Architect unknown. Restored in 2007

Music halls originated from public houses and cafes of 18th century London where men met to eat, drink and do business. Performers sang songs whilst the audience ate, drank and joined in. By the 1830s taverns had rooms devoted to musical clubs. They presented Saturday evening Singsongs and Free and Easies. These became so popular that entertainment was put on two or three times a week.

The music hall typology is an excellent set up for a spoken word persformace theatre. It allows for intimacy between the actor and the audience whilst at the same time being flexible enough to allow for multiple events. It has a community feel and is almost reminiscent of the community centre rather than an alien auditorium.

31

32

PRODUCED BY AN AUTODESK EDUCATIONAL PRO

Flexible Theatre space for poetry and spoken word.

Proscenium stage Plays, spoken word, music 240 seated capacity 180 lower 50 balcony

Small proscenium stage Spoken word performance 370 seated capacity 260 lower 50 balcony

Thrust stage Plays, informal performance 210 seated capacity 150 lower 60 balcony

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

The dimensions of the auditorium are fixed at <20m long and <15m wide to allow for spectators to be able to see the facial expressions of those on stage. This is an essential element in the enjoyment of poetic performance.

Cabaret dinner seating Music, spoken word, events 130 seated capacity 100 lower 30 balcony

33

34

The site Located just west of River Cam the site seems to occupy an odd transition between the historical core of Cambridge and the newer developments to the north west of the city.

Probably one of the most prominent features of the site is the Cambridge University library. The library is a national deposit facility so houses every book printed. Despite the obvious significance of the library its surroundings tell a different tale and are mainly made up of road and car parking.

To the south of the site lies the University Sidgwick site.

This area is formed by an Allies and Morrison masterplan and houses buildings from many famous architects such as Norma Foster and James Stirling. Unfortunately the masterplans stops short of reaching the library and the two areas are very disconnected.

35

36

The site

37

38

Existing Condition

Significant buildings and buildings for potential demolishment(red).

Site Strategy

Main Vehicle routes (blue) and pedestrian and bike access (green)

Continuing the elevations of important buildings

Protected Gardens, Burrels Field and Kings college fellows garden

Area most suitable for project development

Maintaining primary and secondary connections

39

40

Shared entrances from main route Relocating car parks away from significant entrances

Maintaining courtyard typology

41

Future potential for development

42

Giving the Hostel a garden.

Located centrally on the site is Kingâ&#x20AC;&#x2122;s college hostel which functions as accommodation for students. Currently most of the rooms look out onto a car park so by placing an enclosed garden in such a way, both the new scheme and this existing building are benefitted.

43

44

Reconnecting with the masterplan The Allies and Morrison masterplan stops just short of the wider site so by continuing the geometries and routes up into the site it should re establish a more formal walkway between the library and the newer development.

45

46

Creating a civic space The library is a very well used facility but its surroundings mean that the space around it just used to circulate to and from the front doors.

As a highly significant building it is currently overlooked. There is ample opportunity here to create a public square.

47

48

Library and Theatre massing.

Strengthening the route through to the library by continuing the geometries of the existing buildings. Creating a public square with the theatre and a private garden with the library

49

50

Theatre Design

51

52

Theatre model By protruding the dual auditoriums upwards beyond the rest of the mass, they become beacons which indicate the public nature of the building to a wider area. Private functions wrap the two auditoriums and enclose the site whilst more open public functions face out onto the courtyard. The courtyard becomes the threshold of the building from the main circulation passed it. People enter into the courtyard first and then into the building.

53

54

1:200 Ground Floor

Theatre Ground Floor plan showing public square defined by existing library edge and new building.

55

First floor the wrapping of the private functions as protection for the auditoriums continues thought the levels.

56

East elevation of theatre shows relationship of new building height to the library wings. Below, massing used to define the public square

57

58

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Sections through the auditorium. Long section shows backstage spill out to double height practise space

59

60

Auditorium atmosphere

61

62

First floor bar area allows for extensive views up and down the entire site strengthening the connection between the current disjointed areas.

63

64

Library Design

65

66

Views out to garden and passive surveillance of spaces

Winter sun allowed to heat spaces which are shaded in summer

Site Massing.

The private spaces and auxiliary functions wrap around the main lighter spaces

Stacks nestled deep in the section, oriented north south to provide best sunlight protection

Parti section showing main design drives 67

68

New building and existing structures creating an enclosed garden

69

Linear circulation lies perpendicular to site foot and bike traffic 70

Clare College Theatre entrance

Listed Garden boundary

Existing trees and Windows

Existing tree and access

Roof plan

71

Geometries dictating the plan

72

Key section showing all study and stack spaces and connection to garden

73

1:100 Section a_a

74

The Stacks

75

76

Journal Stacks at lowest point of section. Liveliest work space with connection to outdoor performance space. Group noise mediated by surveillance of above levels

77

78

Main poetry connection located with most immediate access from entrance. Main circulation route runs though past the stacks. Reading lecterns mean someone would quickly look at the book they were considering but this is not specifically a study space.

79

80

Previous archived books tucked deepest into section in the lost easily controlled environment. Each room is doored off from the main collection and would have either a keycard system or coded entrance to provide most security against potential damage.

81

82

Play Manuscript collection.

Located surrounding individual study booths. Highest point on the section prides most privacy. Dropped ceiling and north light mean that the space offers a more intimate setting than the large open study spaces.

83

84

Roof light brings light into centre of section and also provides clear definition between framed and solid aspects

Slotting the stacks and study spaces into the stereotomic portion of the section to provide greatest control and protection of the books.

85

Tectonic glulam frame drops into the heavy base to provide light and airy spaces for study that offer connection to the adjoining garden 86

Individual study booth model, the concrete structure creates a sense of protection whilst the timber cladding which lines it provides better acoustic qualities and makes the spaces seem more intimate without being over powering 87

Timber boxes inhabit the in situ concrete

88

Glulam framed structure is encased by in situ concrete ends

89

Load bearing elements (red). The structural grid mirrors the layout of the stacks providing legibility in browsing the collection 90

Servicing risers connect from plant room on lower ground floor 91

Dropped timber slatted ceilings provide space for acoustic insulation and servicing 92

Underfloor heating through circulation areas only to avoid heat getting trapped under desks, concrete slab provides good thermal mass to regulate the temperature and humidity of the books

Archived books kept at a constant heat and humidity by a fully mechanical circulating air system

Mechanical system to prevent book damage, low level air supplies and high level extracts to maintain the cleanest air. Heat recovery unit to provide warm water for the staff kitchen and bathrooms

The dropped timber ceiling and stacks in the in situ concrete structure

93

Heating and ventilation

94

Cambridge Thresholds

95

96

The colonnade

Trinity college court

97

A long standing tradition exists in Cambridge of colonnade walkways. I have utilised the colonnade in my design both to reference this tradition and to provide separation between the outdoor performance space and the study spaces inside. By using the columns to seperate the space, there is little visual interruption in the view from the workspace to the enclosed garden whilst still maintaining some quietness and privacy.

The colonnade also serves as an excellent covered reading seat, the space inbetween the columns raised up so as to create a seat.

98

99

100

Pinhole Entrances Often the long brick streets of Cambridge are punctuated with tiny doors and passageways seemingly disproportionate to the scale of the building. The poetry library is to be a quite and fairly introverted building so it seemed suitable for the entrance to be of a modest, Cambridge scale

St Johns college building entrance

Entrance elevation

101

102

Inside Outside Inside In order to seperate the potentially noisy seminar suite and the quite library spaces the seminar room is pulled out away from the rest of the building so that in order to enter it one must leave the library and walk outside (although under a roof) to go back inside.

This is another threshold condition that occurs many times in the historical Cambridge colleges.

Wren library inside to outside

Inside

Outside Inside

103

104

Fire Strategy

105

106

Fig.1 Direct escapes to outside and places of refuge.

Protected cores joining all levels. (drawings 1:200 at A1) Fig.1 Direct escapes to outside and places of refuge.

Protected cores joining all levels. (drawings 1:200 at A1)

Points of escape to outside from ground floor and half levels

Points of escape to outside from ground floor and half levels

Areas of safety on ffirst floor, 2 protected fire stairs and roof terrace Areas of safety on ffirst floor, 2 included

protected fire stairs and roof terrace included

45m

45m

Length of building overall requires there to be more than one point of escape from each level

Length of building overall requires there to be more than one point of escape from each level

107

Acess into protected cores from each level or directly to outside

Acess into protected cores from each level or directly to outside

108

Fig. 2- Horizontal Travel distance (1:200 at A1)

All areas except storage rooms offer escape in more than one direction (only shortest direction indicated).

Maxium possible travel distance as shown is 26m, all other travel distances are shorter.

Esape to safe areas offered in more than one direction except storage rooms (shortest distance indicated). Maximum travel distance shown above is 22m, all other distances are shorter.

5m 7m

5.5m 15.5m

109

4m

11m

110

Fig. 3 Places of refuge (not to scale)

Fig. 3 Places of refuge (not to scale)

1

1

2

2

2. First Floor escape, enclosed staircase with fire resistant walls (red dotted line). Refuge point for disabled users 900mm by 1400mm positioned so as not to interfer with stair escape route. Stair width 1500mm with stair risers 160mm and treads 300mm.

3

2. First Floor escape, enclosed staircase with fire resistant walls (red dotted line). Refuge point for disabled users 900mm by 1400mm positioned so as not to interfer with stair escape route. Stair width 1500mm with stair risers 160mm and treads 300mm.

3

4

4

4. Ground floor and half level escape. Protected atrium with fire resistant lining (red dotted line). Refuge point for disabled users situated on landing in position so as to not interfer with stair evacuation. Door swings of fire doors positioned in such a way so as to aid circulation and not obstruct stair circulation. Stairs 1500mm wide with 160mm risers and 300mm treads.

111

1. First Floor escape, enclosed staircase with fire resistant walls (red dotted line). Accessed via roof terrace which also acts as a point of refuge for disabled users. Stair width, 1200mm with risers at 180mm and treads 260mm

3. Escape from half level protected fire stair with fire resistant materials (red dotted lines) and fire doors (red solid lines) refuge point dimensions 900mm by 1400mm, position so as not to impeed stair circulation.

Door swings directed to ease circulation and not to obstruct other people coming down the stairs. Stair width 1200mm with risers of 180mm and treads at

4. Ground floor and half level escape. Protected atrium with fire resistant lining (red dotted line). Refuge point for disabled users situated on landing in position so as to not interfer with stair evacuation. Door swings of fire doors positioned in such a way so as to aid circulation and not obstruct stair circulation. Stairs 1500mm wide with 160mm risers and 300mm treads.

112

113