An Accumulative Landscape

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an accumulative landscape

jonathan foulger

an accumulative landscape

an accumulative landscape combined thesis report Jonathan Foulger 180207844

Studio Palace of Reason Tutor: Jo Sharples

SSoA - MArch Year 6

ARC583: Design Manifesto 27th January 2020 ARC584: Environment + Technology 7th February 2020 ARC565: Management + Practice 28th February 2020

report overview 11

design manifesto

introduction 17 critical framework 33 material context 55 situated condition 79 proposal 95 next steps 131 management

environment + technology 133 user + programme 145 procurement + risk 165 concluding summary 183 bibliography 189 figures 195 appendix 199

report overview

The urban landscape can be understood as an accumulative activity, whereby through ‘historic accretion’ a city can derive its value and meaning.1 This stance is the inspiration for this design thesis, and alongside considers how Aldo Rossi’s idea of the stable urban artefact may persist within an accumulative landscape. This is a process which balances the act of reconstruction alongside a considered reflection of the existing. This thesis seeks to explore and understand what this may mean within a contemporary urban context, and looks to produce an architectural proposition which is neither traditionalist or modern, but looks to examine how architecture sits within a genealogy and can represent the time it exists within. This document outlines the foundational investigations which comprise the formulation of an architectural proposal. It is divided into three main sections which each chart the development of concurrent strands of inquiry.

1  Bovenbouw Architectuur, Living the Exotic Everyday (Antwerp: Flanders Architecture Institute, 2019) p.148.

The first section, a manifesto, records the initial development of a programme respondent to the found urban condition. This is underpinned by a critical framework which defines the approach and stance of the author alongside a thorough exploration into the existing site. The second section outlines an approach to the environment and the considerations for technology within a climate emergency. Finally, the third section explores the client requirements and the resultant approach this brings to procurement and risk. These arise from the management of architectural practice. These sections, while developed as separate reports, have been integrated fully into this one document. To highlight the reciprocal nature and holistic understanding of the topic and the design process, they are presented without interruption to highlight the succession of development. An appendix of additional work has been included to draw attention to several pieces of supportive work that have been carried out alongside the development of this report.

introduction

greater manchester

united kingdom

central manchester

stockport borough

greater manchester

river goyt river tame stockport town centre river mersey

stockport borough

This thesis seeks to explore how the city may act as an evolving construct. Through an understanding of memory, identity and culture of a place, an investigation through speculation will be conducted to see how new layers of the city may be accumulated. This will be done through studying Stockport, a town defined by textile and hatting trades which now stand threadbare. The passing of utopian visions of modernist thinking and a thriving mid-century shopping period have left shops desolate and empty, inviting urban centres to rethink their purpose. Through re-contextualising and celebrating fragments of the Stockport’s past alongside an awareness of the future, the resultant project will explore the evolution of the typology of the department store by examining the value of objects and processes through the action of accumulation.

stockport

Stockport is a town with a history dating back to the 13th century. The town features a diverse range of existing architecture and heritage leftover from a tumultuous history. This thesis will utilise a methodology which involves in depth investigation and understanding of site, allowing for a proposal to develop out of the research.

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fig 2.

Key locations within Stockport’s urban centre.

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fig 3. Location of Stockport town centre within the wider urban area, with the project site highlighted.

Introduction

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fig 4. Churchill College and 6a architects’ Cowan Court. While referencing scale and morphology, the distinction in material use means that the new court stands on its own through observing, and refining.

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fig 5. New developments such as Eddington in North West Cambirdge bring a distinctive form that is dissimilar and challenges the morphological form of the city.

previous research

A line of inquiry will develop upon the research begun in the author’s dissertation ‘Knowing From The Inside’.2 The excerpt from the study as quoted below outlines the ongoing stance by which the design inquiry will be formulated: “Viewing vernacular architecture is an ‘ever-evolving product’ of culture,3 where tradition has guided and defined the design process arising from iterative processes helps to place these projects into a genealogy. Developing upon this is not a ‘new vernacular’ but rather a continued process that gives greater priority to way people can engage with buildings by their essence and application within particular technologies of the time.4” Findings from this research helped to correctly understand and develop on from what the vernacular represents in a given place through engagement with the same ‘objective circumstances’5 that have historically defined a place, bringing much greater emphasis on morphology and awareness of the materials.

Use of materials 'at hand' to the maker Consideration of local morphologies and scale

Relatable and human

Acting as the everyday 'background'

Use of sustainable practices

Vernacular Genealogy

Self-evident: without artifice

Participation with objective circumstances Respondant to attitudes of today

2   Foulger. J, Knowing From The Inside (Unpublished dissertation, The University of Sheffield, 2019) 3  Nash. C, Contemporary Vernacular Design (London: RIBA Publishing, 2016) p.15. 4  Ibid. 5  Richardson. V, New Vernacular Architecture (New York: Watson-Guptill Publications, 2001), p.15.

introduction

foundations

Continued development into the author’s personal architectural approach will be a focus within the formulation of this project. Research and developing representation methods has consistently been a strength within previous academic work, and something which will be continued to be explored.

Existing themes to explore further Engagement with ‘essence’ of place

BA1: Foundations in architecture

People, place, tectonics

Wider site strategy Socio-political

BA2: Infrastructure + Wellbeing

Relationship between architecture and the landscape

Local economies Changing nature of a city Embedded Tectonics

BA3: Re[de]fined Vernacular

Architecture with meaning and poetry from a deep understanding of a topographic and cultural situation.

Ritual + Tradition

Sustainable Construction Exg buildings History

MArch1: Arrival City

The social, political and environmental impacts of migration on our cities.

MArch2: The Palace of Reason

Additional themes to explore further

Perception of urban centres Everyday life

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fig 6. Drawings as a research method and design tool. The images are taken from the author’s third and fifth year design projects and represent an important stage into developing a personal attitude into site, programme, precedent and making.

introduction

thesis themes

In response to the previous work, this thesis seeks to research and understand what brings meaning to the next generation of architecture through how architecture and the wider city can act as an ever-evolving construct. What we build today will be left as a trace in the future, much like how the architecture of the past remains a memory today. Within this are opportunities of discovery within the urban realm, traces of the past and markers for the future. Through looking at the ideas of bricolage in a contemporary context,6 a process of making whereby signs and heterogeneous objects can ‘unlock’ a project will be undertaken.7 Much like the approach taken by 6a Architects, ‘time is not a general framework that calls for the continuity of tradition, as it does with the conservationists, or for the discontinuities of revolutionaries, as it did for Modernists’.8 In response to this, the question this thesis poses is:

How might architecture act as a barometer for the time and place it exists within? As explored by Edward Hopper (fig 08), the setting by which a building sits may change with time. The subjects present in Hopper’s work are ‘parts of the whole scene rather than in leading roles’,9 and the environment they exist within are as important as they are, suggesting that the simplest of meals are dependent upon differentiated, discordant and ambient conditions embedded within the structures of the vicinity.10

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fig 7. Crunk truss to box frame represented an important step in structural evolution. How might the structure and morphology of architecture evolve?

6 Whereby one uses a variety of materials and items at hand to make something new 7  Scalbert. I, 6a Architects, Never Modern (Zürich: Park Books, 2013) p.110. 8  Ibid, p.155. 9  Goodrich. L, Edward Hopper (New York: Abrandale Press, 1983) p.69, quoted in Leatherbarrow. D, Architecture Oriented Otherwise (New York: Princeton Architectural Press, 2009) p.134. 10  Leatherbarrow, 2009, p.134.

introduction

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fig 8. ‘Tables For Ladies’ by Edward Hopper highlighting the interplay of differentiated elements within a particular condition. A logic which can be transferred to the placement of a building within a wider urban situation.

Research Themes

The city as an evolving construct

Markers to the future

Bricolage

The exotic everyday: artefacts of human culture

Traces of the past

Microcosms and opportunities of discovery

introduction

working methods

The first six weeks of the studio were structured around a series of briefs focused on developing a collective understanding of Stockport and embedding the processes of making within the context of the studio themes. A focus on theory through reading was introduced early on.

Research: Study Groups Topology + Geography

Brief 01 Understanding Stockport Initial visit to Stockport + meeting with council

Architectural Landmarks + Typology

Reading: The Architecture of the City Aldo Rossi

Trade routes + Historic spatial development Cultural Markers, Entertainment + Community Changing figure Ground: Vacancy + Opportunity

Group making: A tapestry for a town

Studio session + discussion Reading: Italian Thoughts Alison + Peter Smithson

Meeting in Stockport:

Reading City Structures Florian Beigel + Philip Christou

Brief 02 A Public Room Group design sites

Cross-studio review

Reading

Underbank

Royal Oak Yard

Reading A Factory as it Might Be William Morris

Merseyway

The Third Industrial Revolution Jeremy Rifkin

Pre-thesis review

Manifesto

Combined Thesis Report

introduction

Personal Methodology

Drawing + analysing precedent

Photography + photo essay

Walking the city + personal experience

Learning through drawing

Historic analysis

Perceptions and recorded experiences

Studio Methodology

Making at 1 :1

Giving purpose to ‘worthless’ material

Thorough understanding of the existing

introduction

Key texts have been referenced within the formulation of this thesis. Some of these are texts previously used and others specifically referenced for the study. A balance between theoretical and representational studies are used.

A history an analysis of historic architecture

An array of personal accounts relating to engamenet within civic architecture.

The process of photoessay and adpoting an alternative way of looking at the world. Research and relevant knowledge of the current condition of the high street and its future.

Drawing practice and understanding through highly detailed understanding of construction.

Reappraisal of contemporary theories of urban planning, looking to accommodate the insular and miniature.

introduction

A possibility of diverse practice with high responsiveness to surroundings

New radical approaches to modern and contemporary architecture.

How the act of making creates knowledge, builds environments and transforms life.

What makes a city? How should it be defined as it evolves? Not only how buildings function, but how it acts in the world.

Buildings as coincidences, resulting from collisions and near-misses.

Historic reference and knowledge of Stockport’s past.

The rules and form of the city’s construction within its neglect and destruction.

developing a thesis inquiry based on research and theory

critical framework

critical framework

the palace of reason

The studio agenda presented an approach for working within the urban realm that seeks to draw from and cherish the wealth that is found within existing building stock. The approach of reuse and repurpose is aimed to create new ‘monuments for urban life’ through reimagining what is of value within our urban centres.11 As expanded upon in the studio introduction:

‘Urban centres of many northern towns have suffered sequential blows at the hand of deindustrialisation and the rise of the internet shopper. In their wake the silently pillaged centres are left forlorn for lack of purpose […] It poses a huge question of our time - what will become of our urban town centres, what is their reason for being?’12

The approach of the studio ties back to the themes of questions of the thesis. How does the emptiness engulfing our urban centres create a new environment and datum by which a new generation of architecture can respond?

11  Sharples. J, Palace of Reason: Stockport Town Centre (The University of Sheffield, 2019) 12  Ibid.

Studio Themes

Heritage of urban typologies

Antidote to emptiness

Wealth of existing building stock

Salvaged material use

Frugality

Redundancy

critical framework

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fig 11. The ‘Palazzo Della Ragione’ in Padua which gives namesake to the studio. Through its history, the building adapted it’s form and changed its function, and is able to accommodate a plurality of uses.

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fig 12. The Palazzo as analysed by Aldo Rossi in The Architecture of the City.

decline of the high street

Once the beating hearts of communities, the future of the high street has had a sense of trepidation in the recent past. The 2008 financial crash and the rise of internet retailing have resulted in uncertainty, where in the past 10 years, footfall has reduced by 17%, vacancy rates risen to 30% in some places and more than 400 retailers have gone out of business.13 There is concern of reaching a tipping point, where the town centre no longer becomes a feature of the economic landscape.14 Streets acts as a key connective tissue within the lives that inhabit urban centres. While it may seem inevitable that high streets as we currently know them will change, it is necessary to understand the importance that they mean to cities. As stated by Deyan Sudjic: ‘Streets are the means by which cities grow and flourish, but also what can cause them to sicken and die is their vitality is threatened’.15

13  Millington. S, Ntounis. N, Parker. C, Quin. S, Roberts. G, Steadman. C, ‘High Street 2030: Achieving Change’, The Institute of Place Management, December 2018, p.1, available: < https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_ data/file/767529/High_Street_2030-Achieving_Change.pdf > [accessed 9 Jan 2020]. 14  Ibid. 15  Sudjic. D, The Language of Cities (London: Penguin, 2017) p.71. 16  Jetuah. D, ’High Street exits remain at historic high as openings slump to lowest levels on record- What now for retailers?’ [Internet] PWC, 10 Apr 2019, available: < https:// www.pwc.co.uk/press-room/press-releases/High-street-exits-remain-at-historichigh-as-openings-slump-to-lowest-levels-on-record.html > [accessed 9 Jan 2020].

critical framework

National High Street Vacancy In 2015 Stockport was the emptiest high street in the UK with a 27.7% average vacancy. While it has marginally improved since then, there is still a noticeable emptiness that remains in many urban centres, especially in the North West.

In 2018:

Scotland 14.0%

5,833 store closures 3,372 shops opened

N. East 15.0%

At a deficit of 2,481 14 N. West 17.1%

Stockton-on-tees 27.4%

Bradford 26.8%

Blackpool 27.5%

Yorkshire 13.9%

Drewsbury 27.6%

Hull 24.2%

Stockport 27.7% Warrington 24.0% Walsall 26.0%

4.3% 3.6%

1.5%

1.2%

1.3%

2.3%

1.4%

4.2%

4.4%

High Street

Retail Park

2.8%

5.5%

Wolverhampton 25.3%

> 3 years

Wales 14.9%

2 - 3 years

Grimsby 27.5%

E. Mid 12.9%

Birmingham 23.8%

East 11.1%

W. Mid 14.6%

1 - 2 years

S. East 11.1%

< 1 year

S. West 11.2%

Shopping Centre

Vacancy rates by retail location - UK 2018

Stockport Regional Competition trafford centre

manchester city centre

10 min train

20 min drive

The vacancy in Stockport’s town centre may have resulted from the regional competition. Easy access to Manchester’s bustling retail scene and other nearby offerings means many go elsewhere, resulting in Stockport’s footfall falling.

M

60

heaton moor stockport town centre cheadle

hazel grove

john lewis

critical framework

Both the Conservative government and the Labour Party have spoken about the ‘crisis at hand’ with the high street, where solutions focusing on continued investment and new plans to encourage people to visit urban centres.17 Despite large investment backing by the government, there has been limited success in revitalising through the current approaches.18 Rowan Moore suggests that a more significant direction is needed:

‘The resulting voids will be of the scale of those left by the closure of docks and factories, with the difference that those left by retail will often be in the centres of towns and cities.’ 19 Hammond sets out ÂŁ1.5bn high street regeneration plan

But experts say business rates help for small retailers is ‘tinkering around the edges’ Mon 29 Oct 2018 20.51 GMT

Despite the focus on upholding urban centres with an emphasis remaining on retail, there may be an alternative approach which allows for the emptiness to be repurposed and a new function cansets be out derived. The very nature of high streets was their centrality Hammond ÂŁ1.5bn high street which allowed people to plan walk to them, and returning to a more local based economy regeneration Hammond sets out ÂŁ1.5bn high street will be critical for a low-carbon future.20 But experts say business rates help for small retailers is ‘tinkering around the edges’

regeneration plan

Mon 29 Oct 2018 20.51 GMT

But experts say business rates help for small retailers is

‘tinkering around the edges’ Mon 29 Oct 2018 20.51 GMT

Hammond sets out ÂŁ1.5bn high street regeneration plan

But experts say business rates help for small retailers is ‘tinkering around the edges’

Mon 29 Oct 2018 20.51 GMT

The vanishing high street - 38 big brands that have all disappeared

 � ���  ­

The vanishing high street - 38 big brands that have all disappeared

 � ���  ­

The vanishing high street - 38 big UK: Secure fordisappeared Town Centres & High brands thatFuture have all

Streets Needs Wide Reforms

February 21, 2019  � A report published by the Housing, Communities and Local Government Committee has found that dated policies and an unfair tax regime must ���  ­ be reformed to create an environment that will allow high streets and town centres to flourish in the future.

UK: Secure Future for Town Centres & High Streets [Internet] Needs Wide 17  Wood. Z,The ‘Can Labour’s five-point plan rescue Britain’s high streets?’ TheReforms vanishing high street 38 big UK: Secure Future for Town Centres & High February 21, 2019 Guardian, 29brands Sept 2018, available: < https://www.theguardian.com/business/2018/ that have disappeared Streets Needs Wideall Reforms A report published by the Housing, Communities and Local Government sep/29/labour-five-point-plan-rescue-britain-high-street > [accessed 9 Jan 2020]. Committee has found that dated policies and an unfair tax regime must February 21, 2019

be reformed to create an environment that will allow high streets and 18  Moore. R, ‘Afterpublished the retail what and next forGovernment the high street?’ [Internet] The Guardain, A report by theapocalypse, Housing, Communities Local town centres to flourish in the future.  Â? Committee has found that dated policies and an unfair tax regime must 1 Dec 2018, available: < https://www.theguardian.com/society/2018/dec/01/everythingbe reformed to create an environment that will allow high streets and Â?Â?Â?  ­ must-go-what-next-for-the-high-street-new-retail-empty-shops > [accessed 9 Jan 2020]. town centres to flourish in the future.

19  Ibid.

20  RIBA, Silver Linings: Active Third Age and the City (2013) p.20, available: < https:// www.architecture.com/-/media/gathercontent/silver-linings/additional-documents/ silverliningstheactivethirdageandthecitypdf.pdf > [accessed 8 Jan 2020].

critical UK:framework Secure Future for Town Centres & High Streets Needs Wide Reforms February 21, 2019

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fig 17. The emptiness left within urban centres presents an opportunity for rethinking what occurs in inner-city life.

critical framework

The RIBA Silver linings report suggests a future where:

‘The most important exchanges are no longer those between retailer and consumer, but between different types of people, as monetary transactions recede behind social ones. […] In appearance the high street remains familiar […] the shops remain, but with much less shopping.’ 21

Research undertaken by the 2019 Live Project ‘Tomorrow’s High Street’ suggests that a sustained future for the high street will be made possible through using a series of key design interventions (fig 19).22

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fig 19. Summary of Tomorrow’s High Street Live Project findings as to a reorganisation and reuse of urban centres. with a focus on the accessibility, exploitability and management of the existing building stock and public space.

Linking the route

Unlocking vacant spaces

Living in the city

Explorable landscapes

Ownership & governance

A sustainable high street

21  Ibid. 22  Live Projects, ‘Tomorrow’s High Street’ [Internet] Sheffield School of Architecture, available: < http://www.liveprojects.org/2019/trashed/#panel-1 > [accessed 8 Jan 2020].

critical framework

Vacant

Vacant

Vacant

Vacant

Vacant

Vacant

Vacant

Vacant

Occupied Vacant Unknown

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fig 20. Vacancy within Stockport’s high streets. There is notable emptiness in the underbank area.

critical framework

the next monument

The future of Stockport as it stands is seen through an extensive redevelopment to the East of the town centre. The investment of £480m - £530m is expected to bring in 3,500 homes.23 The development is not dissimilar to the attitude in many redevelopment and regeneration schemes around the country, which as criticised by David Rudlin, are planned with the mindset where the development new urban quarters from the ground up has ‘dissolved’ the patterns of traditional towns and formed an immediate ‘climax state’.24 He states:

‘Did that beautiful English market town or city street where we started our journey go through a similar process before it reached its climax state? [...] Maybe planners need to understand that urban areas are grown, rather than wished into existence under their blue utopian skies.’ 25

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fig 22. The focus on the development is within and around the existing bus station to the west of the town centre.

23 Stockport Council, Stockport Town Centre West: Strategic Regeneration Framework, July 2019, p.19, available: < https://consultation.stockport.gov.uk/policy-performanceand-reform/strategic-regeneration-framework-stockport-town-ce/user_uploads/ m80147_190717_master_consultationdoc_print_lowres.pdf > [accessed 15 Jan 2020]. 24 Rudlin. D, Why is Britain so bad at planning cities? [Internet] The Guardian, 11 April 2019, available: < https://www.theguardian.com/cities/2019/apr/11/ why-are-we-so-bad-at-planning-cities > [accessed 15 Jan 2020]. 25 Ibid.

critical framework

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fig 23. The proposed development consists of residential blocks in a ‘pseudomdernist’ style.

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fig 24. Recent developments have not been received well by the architectural press.

'Soulless leisure shed' in Stockport wins Carbuncle Cup £45m Redrock development voted worst architectural eyesore of past year Mattha Busby @matthabusby Wed 5 Sep 2018

Redrock Stockport opened in November last year as part of a wider regeneration project. Photograph: Building Design

A leisure complex in Stockport town centre has been voted Britain’s worst new building after judges scorned it as a “sad metaphor for our failing high streets”.

accumulation in the urban landscape

Reflecting upon the proposals put forward for Stockport’s future, this thesis looks to identify an alternate route for the next stage of urbanism. The process of repurposing and adapting existing forms for new functions will be explored, drawing from Aldo Rossi’s The Architecture of the City. Rossi outlines that architecture itself is apart of a much wider structure, where the city is seen as a complex man-made object which grows over time.26 This is coupled with urban artefacts which act as limited aspects of the city and constitute their own history and form.27

‘This relationship between the locus and the citizenry then becomes the city’s predominant image, both of architecture and of landscape, and as certain artefacts become part of the memory, new ones emerge. In this entirely positive sense great ideas flow through the history of the city and give shape to it.’ 28

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fig 26. Aldo Rossi’s drawings suggest an array of different forms and architecture which have developed through time.

26  Rossi. A, The Architecture of the City (Cambridge: MIT Press, 1984) p.29. 27  Ibid. 28  Ibid, p.130.

critical framework

Rossi’s idea of the stable urban artefact existing within an accumulative landscape balances the reconstruction with reflection of the existing. This could be seen as the continued layering of cities as ‘historic accretion’ which lend the city its value and meaning.29 Similarly, Colin Rowe and Fred Koetter in Collage City criticise the object-oriented approach present since the mid 20th century. The influence seen in Stockport is evident between the historic market square and underbank with the modernist Merseyway. The existing city can be seen as a ‘complex jigsaw’ where new buildings and urban fragments are added over time.30 Similar to this is bricolage which traditionally has referred to what is ‘given’ in a particular situation, by which the maker draws from an ‘inventory’ of material at hand. The process of adapting the act of bricolage work within the context of today’s architecture is described by Irénée Scalbert:

‘The architect-bricoleur sniffs around, he rummages through old things, through materials and artefacts as well as ideas and concepts. He interrogates objects that constitute his treasury, seeking to discover what each of them could signify.’ 31

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fig 27. Stockport’s form is composed of a variety of different elements which comprise a complex jigsaw.

29  Bovenbouw Architectuur, Living the Exotic Everyday (Antwerp: Flanders Architecture Institute, 2019) p.148 30  Ibid, p.150. 31  Scalbert, 2013, p.110.

critical framework

Accumulation and Destruction in Stockport

critical framework

critical framework

detachment from the urban landscape

A prevalent condition of our increasingly digital worlds has resulted in a detachment with the experience of existing within a city. New urban spaces are made possible, and the ability to get lost in a street is fast becoming a thing of the past.32 An effect of digital technology is that it may lead to a possibility of an ‘environmental blindness’ which detach one from the wider urban realm. ‘There is an aspect of situational surprise — of continual discovery and rewarded curiosity — that is different from the calculated and algorithmic stimulus of the digital feed, and that can be achieved with perspectival, material, and formal effects.’33

32 Sudjic, 2016, pp. 84-85. 33 Feuerman. W, ‘Consciousness and distraction in the digital age’ [Internet] The CCD, 15 Oct 2018 available: < https://www.theccd.org/articles/ consciousness-and-distraction-digital-age > [accessed 25 Jan 2020].

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fig 29. In response to accidents involving roads and smartphones, new traffic lights are being installed to assist voluntary disability, much like tactile paving is used to help those visually impaired.

critical framework

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fig 30. The Subway by George Tooker (1950) depicting the alienation that came following mass transit in New York

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fig 31. Much of the alienation within the way cities are experienced comes from the reliance on phones for navigation.

critical framework

2030

An awareness of the climate emergency will also form a foundational aspect of the project. With the RIBA declaring a 2030 climate challenge,34 there is a critical necessity to design for how buildings and high streets will need to adapt and reinvent themselves for this future. Alongside this is an outline and action plan by the UK government to take immediate steps to ensure that by 2030 high streets are flourishing and have not disappeared altogether.35 The report acknowledges that ‘Local intervention, while essential, needs to be accompanied by further action by central government and at local level, as well as by retailers and landlords’.36 It is clear that a reform of how the governing bodies interact with local communities, retailers and landlords is required.

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fig 32. The two key reports issued by RIBA and the Government outlining 2030 as a turning point for an approach to how architecture is built and the survival of the high street.

34 RIBA, RIBA 2030 Climate Challenge [Internet] available: < https://www.architecture.com/-/ media/files/Climate-action/RIBA-2030-Climate-Challenge.pdf > [accessed 23 Jan 2020]. 35 Housing, Communities and Local Government Committee, High streets and town centres in 2030 [Internet] (London: The Stationery Office, 2019), available: < https://publications. parliament.uk/pa/cm201719/cmselect/cmcomloc/1010/1010.pdf > [accessed 26 Jan 2020]. 36 Ibid, p.3.

critical framework

• Facilitate sustainable living by optimising on the inherent qualities of high streets. Improve walkability and accessibility to public transport. Support the co-location of homes, jobs, amenities and services to create a greater local focus. • Promote the adaptation, refurbishment, and reuse of existing buildings to conserve embodied energy stored in the existing building fabric and improve energy performance. • Mitigate the urban heat island effect by planting more trees, creating green spaces in and around high streets and town centres and introducing more shaded areas. • Promote healthy streets guidance for public realm design. • Within major restructuring and regeneration schemes, demonstrate proactive response, considering wind, solar orientation, natural light, shading, and flooding. • Local policy for town centre designations could expand to set ambitious standards around limiting waste and promoting reuse. For example, single use plastics could be restricted, supporting one of the Mayor’s key ambitions. • Provide training for businesses and the public on how to reduce waste and promote reuse. • The proximity and critical mass offered by high streets could be optimised to facilitate a culture of mending, ethical trade, exchange, re-use, recycling and upcycling. • Promote waste consolidation for businesses, such as preferred supplier schemes in order to reduce vehicle trips, streamline services and improve recycling rates.

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fig 33. An outline set by the Mayor of London to help meet the challenge of creating a more sustainable urban centre.

critical framework

critical framework

In response to the critical framework outlined previously, this project will be framed as a sustainable urban development strategy: one that grows out of what is present, adjusting to changing circumstances through time. The proposal will be formulated as a programme which encourages spaces to linger within urban centres, bringing respite, variety and excitement to day to day life and combat the environmental disconnect created by the digital age. It questions what can and should a city provide that in itself responds to societal currents and it’s necessary evolution? Set in 2030, a turning point for both the future of the high street and the climate emergency, the project will focus on the creation of close networks which will become increasingly necessary in a future dependent on reduced carbon emissions. A return to village based community and localised production will be at the forefront.

critical framework

understanding and analysing the existing fabric of stockport

material context

material context

a glorious epic

The town of Stockport has encountered a varied past which Peter Arrowsmith describes as a ‘glorious epic’ whereby it rose from obscurity to become one of the leading textile centres of the industrial revolution.37 Trade and industry allowed the town to thrive and develop from small market town to industrial machine to today where much of the history which formed it now stands threadbare. The formation of the town can be indebted to its original location as the most easterly crossing point over the River Mersey (fig 33). Here, a hamlet developed on the steep red coloured rock faces.38 Since then, there has been remarkable change evident in the urban fabric, with a patchwork of different development over different times and architectural landscape to match. The fitting together of old and new is indebted to the changing image of how Stockport has been perceived (figs 34 & 35).

37  Arrowsmith. P, Stockport: A History (Stockport: Stockport Metropolitan Borough Council, 1997) p.3. 38  Gerry in Places, ‘Stockport: the past in the present’ [Internet] 30th July 2012, available: < https://gerryco23.wordpress.com/2012/07/30/ stockport-the-past-in-the-present/ > [accessed 6 Jan 2020]

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fig 34. The historic Roman road between Buxton and Manchester defined Stockport’s location

me rs

ey

manchester

riv

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liverpool widnes

stockport

wilderspool

northwich

chester

material context

macclesfield

middlewich

chesterton

buxton

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fig 35. Stockport market place circa 1850. The market historically defined the settlement, where it received it’s charter in 1290.

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fig 36. ‘Industrial Landscape’ by L. S. Lowry depicting the urban life of a generalised North West of England during the mid 20th century, in part referencing Stockport. The industrial revolution transformed the image of the town.

material context

material context

Stockport Today

material context

material context

a tapestry for a town

The group task of producing a series of tapestries helped to develop an understanding of Stockport’s identity and complex material history. Their delicate nature and process of making signified the act of taking something of little value and inscribing a complexity upon it. This aspect of cautious material use and careful transformation helps to solidify the studio attitudes into the methodology and process of the thesis.

↑

fig 37. Silk mills were a defining part of Stockport’s development. The weaving and transformation of material can be compared to the making of the tapestry.

patchwork city Urban development in Stockport can be traced back to the mid 19th century, where alongside the Industrial Revolution it rapidly expanded to meet the needs of the changing populus.

material context

pre 1846

1888 - 1903

1922 - 1969

1846 - 1888

1903 - 1922

1969 - present

The change in urban fabric presents a complex patchwork of pieces of urbanity which trace back to different times. This returns back to Rossi’s description of or urban artefacts within the city: a complex man-made object which grows over time.39

39 Rossi, 1984, p.29.

material context

epochs of urbanism Within this rapid development and change in Stockport, monuments to progress have marked the way forwards during a series of epochs which indicate the prevalent ideology and mindset of a time. Social ideals in times past are not static, and it is expected that a new epoch will soon come into the fore. Anthropologist Tim Ingold states that the process of making in relation to social currents is done with foresight coming from ‘looking where you are going, not to fix an endpoint.’ 40

40  Ingold. T, Making (Oxon: Routledge, 2013), pp.68-69.

1200 - 1800

material context

1800 - 1940

First water powered cotton mill

Market hall built

1800

Light bombing in WW2

1900 The industrial revolution

First silk mill

1940 - 2000

Viaduct built

2000 Modernism

Developer Urbanism

Merseyway opens

2000 - Present

material context

material context

↑

fig 44. Portwood, 1946. The cooling tower was a dominating figure on the urban skyline.

The changing patterns of Stockport can be seen to have developed under monuments which were built through time and can be seen as representing the dominant social currents. While most remain, some have been demolished and exist merely as a memory in photographs, such as the Portwood cooling tower.

material context

1850

egerton mill

+

throstle grove mill

+

+

mersey mills grove mills

+

+

adlington square mill

+

st. peters gate mill

+

material context

+

vernon bridge mill

urban destruction 1970

mersey square

merseyway

material context

material context

urban form today

Stockport’s urban form today is remarkably separated between the historic town centre and Merseyway shopping centre. The primary high streets are disparate in their placement, with separated routes offering a variety of urban offering.

01 St. Mary’s Church 02 Covered Market 03 St Petersgate Bridge 04 Three Shire’s Pub 05 Underbank Hall 06 Plaza Cinema 07 Merseyway

material context

urban palette

Stockport’s urban palette presents a variety of found material which composes the array of urban spaces. There are a number of buildings, places and situations which transcend through time resulting from the objective circumstances present. This palette offers opportunity for necessary engagement with Stockport on a material and morphological level.

Urban Intrusion The meeting of architectures old and new, where the contrasting nature of the periods creates a stark and sudden intrusion. What remains from the industrial era has been juxtaposed by new forms.

Ruin Tied with its changing past and the recent vacancy in the high street, Stockport features ruins on a number of level. Their fragmentary nature presents opportunity for revitalising the urban centre.

Monument An enduring and lasting element of an era gone by. Some represent a manifestation to the core idea of the city, others as symbolic form, extenuated by topography.

Pattern Pattern is featured in Stockport in both a material application and a morphological. The visual nature of tessellation creates a variety of playful and vibrant streetscapes.

Microcosm Introverted and isolated spaces with a purpose to serve. They have been necessary to the development of Stockport, with its programmatic ambiguity allowing function to change over time.

Street in the Sky Due to the noticeable topography, a distinct urban landscape has developed based on navigating the highs and lows of the terrain. Bridges create a noticeable drama that is carried through across eras.

material context

the next [alternative] monument

In response to the material context of Stockport and immediate vacancy left over by the declining high street, this project looks to develop a new outcome for the future development of its urban centre. What monument could define Stockport’s next epoch? In contrast to the development plans set out to the council, the project seeks to establish a methodology that works with the existing fabric and stitches together the voids left unused. A new monument that exists between the Merseyway and historic centre will present the next stage in the evolution of the city as an evolving construct, while also in itself presenting a process of change within itself. As such, the design aspirations and site location in response to the material context are as follows:

A Barometer Develop an architecture that reflects the changing nature of urban centres and in itself develops concurrently.

A Bridge Provides both a link between the Merseyway and Underbank, while enabling access for all to form a bridge for the social gap.

material context

An Occupied Ruin Provides spaces which utilise existing voids and fragments present in Stockport.

A Monument Creates a unique destination which redefines the use of urban centres distinct of its retail offer. A new monument to serve urban life.

material context

High Street Underused Yard and Surface Car Park

↑

Location of chosen site

fig 55. The resultant urban blocks create a dense fortification between the disparate high streets. Breaking down these barriers will allow for a more unified urban centre.

material context

The location for this new monument will be at a crosspoint between two main high streets. The current trajectory of these paths is a disparate array of pedestrian access routes. Alongside this is to select a location which presently goes underused, and makes use of the many surface car parks and yard areas which occupy a large amount of Stockport’s urban area. Stockport Council are currently undergoing a process of buying building stock throughout the town centre such as the Merseyway and other used and vacant structures. This project will be framed within the continuum that the council will continue to purchase stock for adaptive reuse, and will act as the main client body.

↑

fig 56. The building stock owned by the council. There is an increasing quantity which use still remains uncertain.

material context

narrowing focus into a particular location to situate the project

situated condition

situated condition

situated condition

situated condition

site

The site for this project will be Royal Oak Yard which sits to the back of both Great Underbank and Little Underbank. The location of the site represents a pinch point between Merseyway and the historic town centre.

01 Royal Oak Yard 02 Great Underbank 03 St Petersgate Bridge 04 Car Park 05 Car Park (Former site of Astor Cinema) 06 High Bank Side 07 Merseyway

situated condition

There is great historic change present at the site. Once home to an array of buildings and the Astor Cinema, the remnants of these lost buildings are seen through site fragments and traces of their presence, now occupied by surface car parking.

situated condition

situated condition

interstitial space

The site consists of a number of space variants, with a an enclosed yard forming a central spine to the rear of the Little Underbank High Street.

situated condition

situated condition

situated condition

There are a number of design challenges which are present at the site. With a unique array of found material and a changing height difference, the project will look to explore the possibility that these aspects may bring.

Vertical Circulation

Attitude to Demolition

Building on a Cliff

Crossing the Road

situated condition

An Attitude to Demolition

situated condition

situated condition

tunnel networks

Across Stockport there are a number of tunnel networks created during the Second World War and are the largest of their kind in the UK. Today, most go unused, with a small portion used as an exhibit. The tunnel network extends to Royal Oak Yard, where it meets the culverted historic Tin Brook which feeds into the Mersey.

fig 73.

↑ Yard.

Access to the tunnels at Royal Oak

↑

fig 74. Tin Brook historically ran adjacent to the site and now represents a hidden world with potential for repurpose.

↑

fig 75. The location of the tunnels across Stockport, with the site indicated.

situated condition

expanding upon the thesis inquiry and chosen site to formulate a proposition

situated condition

proposal

proposal

premise Through recontextualising and celebrating fragments of Stockport’s identity, returning to the aims set out in the chapter ‘Critical Framework’ the project looks to develop a new monument to serve urban life that exists as a changing artefact of human culture and embraces the transience present. The experience of moving through an urban centre is in itself an exciting activity, one which has been diluted in the digital age:

‘Navigating a city is a bit like negotiating a way through a library. Randomly stacked shelves mean that their contents are lost to us, or reveal themselves only through random encounters, but some form of categorization gives us the chance to explore in a purposeful way’ 41

As such, a series of spaces for enjoying and participating within inner cities that recaptures the excitement of passing through an array of spaces which will comprise of:

Spaces of Economies

Spaces of Intrigue

Spaces of Production

Spaces of Detachment

Spaces of Spectacle

41 Sudjic, 2016, p.75.

proposal

The monotony of everyday life: going from A to B

Transitionary spaces

A more unified urban experience

proposal

01

03

02

05

proposal

04

Spectacle & Intrigue in the 19th and 20th Centuries

08

06

07

09

01 The Crystal Palace 02 John Rylands Library 03 John Rylands Library 04 Corliss Steam Engine 05 Gorton Public Washrooms 06 Miller Cinema 07 Selfridges Department Store 08 Theatre Royal and Opera House, Stockport 09 Manchester Bath House

proposal

architectural intent The proposed architectural language will focus around a series of introverted and extroverted spaces. This may be seen through a series of interconnected spaces of varying functions; an extension of what currently exists within Stockport, where the filled voids will create a secondary high street. There will be the focus of layering material, light and sculptural form to define an intrigue and spectacle which continues the experience of Stockport’s present condition. Drawing inspiration from typologies of past which create spectacle and intrigue, the project will draw from the ideas of the Great Exhibition at the Crystal Palace where the impressive architecture and display of exciting exhibits informed the architecture of retail centres today.

↑

fig 87.

The Crystal Palace in 1851.

proposal

Composed Forms The layering of architectural form to continue the process of an everchanging organism.

Theatricality The interplay between extroverted and introverted spaces. The procession between these may dictate a narrative through exploration

Connected Volumes Links between multiple architectural fragments. As the building evolves, new volumes and connections can be made.

Tunnels Working with the tunnels present at the site, a greater extension may be possible through digging within the rock and forming a series of unique spaces.

proposal

an evolved typology

The legacy to the Great Exhibition and the Crystal Palace can be seen through the typology of the department stores. It helps to understand how modern shopping habits developed and may have been the precursor for the focus of inner city as destinations for shopping. In department stores, the exploration and discovery of new wares become popular following the industrial revolution in the 19th century ‘as the confluence of conspicuous consumption, a refuge, a paradise and a microcosm of contemporary production.’ 42

42  Heathcote. E, ‘Going Down? What the future holds for the department store’ [Internet] Financial Times, 22nd August 2018, availible: < https://www.ft.com/ content/9971a05e-a16f-11e8-b196-da9d6c239ca8 > [accessed15 Dec 2019] 2019]

1800s

1900s

2000s

proposal

proposal

The worlds within worlds that are present within Department stores offer an array of experiences and items to sample. Much like as one samples the display of a gallery.

Ground floor within Selfridges

Selfridges within London

Display within the Accessory Hall

proposal

Accessory Hall within the ground floor

The change in fashions, social currents and ideology could be witnessed in the shop displays, and their form is in part indebted by Selfridges in London which opened in 1909, and was ‘shaped [as] an ambitious Beaux Arts classical palace – or indeed museum – of a building’.43 During the 20th century, this idea of a department store continued to evolve within this mindset. The museumification was made clear by Andy Warhol, who stated: ‘all department stores will become museums and all museums will become department stores’. 44 Today, while traditional department stores much like the rest of the high street are struggling they can act as barometers for times gone by representing a ‘snapshot of current trends in fashion, design, household goods and gadgets.’45

↑

fig 94. Il Fondaco dei Tedeschi by OMA in Venice representing a new generation of department stores which are curated rather than stocked.

43  Glancey. J ‘A History of the Department Store’ [Internet] BBC Culture, 26th

March 2015, available: < http://www.bbc.co.uk/culture/bespoke/story/20150326a-history-of-the-department-store/index.html > [accessed 8 Jan 2020].

44  Heathcote, ‘Going Down? What the future holds for the department store’ 45  Glancey, ‘A History of the Department Store’

proposal

an [alternative] department store

Thus, the question arises of how might a building exist that offers a renewed purpose that the department store originally posed? This is identified as a place that exists as a microcosm and space for exploration within the city centre. One that allows people to detach and engage within the impermanence of the city and monotony of day to day life and exist within a space which reflects the changing nature of the urban realm that is a snapshot of its time. How can the department store be viewed as an infrastructure, and itself be resilient to the changes across time, and itself adapt and transmute to present a response to the prevalent ideology of both architectural and societal currents? As such, the notion accumulation is adopted on three scales to formulate the form and function of a building:

The accumulation of urban form The accumulation of architecture The accumulation of wares

showroom

showroom

the department store

finishing room

finishing room

the department store

theatre

order + delivery

food production

distribution

accommodation

energy

social welfare

social welfare

financial management

financial management

1900s

proposal

2000s?

↑

fig 96. There is much more to the department store than just shopping. An alternative version of the typology will look to reverse what it means to display.

↑

fig 97. The programme of the proposed project will consist of a number of enduring typologies which in themselves may adapt and change through time, with an infrastructure which holds the form together and enables it’s existence.

machinery halls

arcades

spectacle winter garden

factory workshop

bath house

production

detachment

energy

reflection space

‘department store’

theatre

library

intrigue

urban farm

economies

cloister

studio

retail colonnade

gallery

business spaces

market

proposal

an accumulative building

A series of precedent studies will act as a key design methodology to formulate a programme composed of existing functions and experiences. One of the most notable architects of the 19th century was John Soane, whose eponymous museum represents how a museum can evolve and grow through time. The items on display were placed in such a way that one could browse and experience them as if one were to browse the wares in a shop. The collection would accumulate over time, and objects rearranged to ‘enhance their poetic qualities’.46

01 Picture Room 02 Colonnade 03 Drawing Office 04 Crypt

46 ‘Our History’ [Internet] Sir John Soane Museum London, available: < https://www.soane.org/about/our-history > [accessed 15 Dec 2019].

proposal

Spectacle

↑

fig 99. The museum developed over time and took over the neighbouring houses to account for Soane’s increasing collection.

proposal

a department store as a museum

6a Architects’ blue mountain school presents an example of a building where the distinction between store and museum becomes increasingly vague, and as such presents itself as a microcosm of individual wares and expression.

‘Blue Mountain School is one of a kind too, a place of experience and imagination. A little bit precious, yes, but somewhere to slow things down and savour the ultimate luxury that is neither expensive fashion or fancy food but time to linger.’ 47

47  Roux. C, ’Blue Mountain School: Shoreditch’s next big thing?’

[Internet] The Telegraph, 14 April 2018, available: < https://www. telegraph.co.uk/luxury/drinking-and-dining/nuno-mendes-did-nextshoreditchs-blue-mountain-school/ > [accessed 10 Jan 2020]

proposal

Economies

01 Archive 02 Vertical circulation 03 Dining room 04 Shopfront 05 Gallery

proposal

a space of detachment

Granby Winter Garden by Assemble represents an example of inner city detachment with it’s ‘secret indoor garden’. With a mixture of artists residence, events space and communal area its intent is to “nurture creative practice in the area”.48 Repurposing of the existing housing helps to create a unique space behind a modest facade, where an enjoyable civic space can provide respite to people in the local area.

01 Winter Garden 02 Event Space 03 Artist’s Residence

48 Crook. L, ‘Assemble transforms two derelict terrace houses into Granby Winter Garden’ [Internet] Dezeen, 26 April 2019,< https://www.dezeen.com/2019/04/26/ assemble-granby-winter-garden-architecture-liverpool/ > [accessed 23 Jan 2020].

proposal

Detachment

proposal

an urban microcosm

Palas Cinema by Tom de Paor comprises a unique array of internal architectural forms which in their intricate nature create a series of microcosms that in themselves act as a mediator between street and cinema. The tight network of staircases form and intriguing and maze-like experience of visiting the building. A unique space that extends from the street:

‘the staircases are an extension of the street, to wrap around the tempered rooms within.’ 49

49  ‘Palas: A conversation between Tom de Paor and Patrick

Lynch’ in Journal of Civic Architecture, Issue 01, 2018, p.13.

proposal

Intrigue

01 Box Office 02 Bar 03 Screen 04 Staircase

proposal

inner city production

The multi-purpose energy centre by Morris+Company offers an example of how localised power sources are increasingly being built within localities of residential neighbourhoods. A theatricality is created where the machinery within is visible to pedestrians who may witness it in operation. The building allows for the recent Elephant Park development to go climate positive within 7 years of its completion.50

01 Cooling tower 02 Combined heat and power boilers 03 Community space

50 Dunton. J, ‘Duggan Morris’ Elephant & Castle energy centre wins planning’ [Internet] Architect’s Journal, 8 Oct 2015, available: < https://www.architectsjournal.co.uk/news/ duggan-morris-elephant-and-castle-energy-centre-wins-planning/8690053.article >

proposal

Prodiction

proposal

production meets display

A programme is formulated which draws from the process of examining the function and spatial layout of precedent. The [alternative] department store is framed as a place where production and display can meet. This is not intended as something which is static, but rather the changing nature of produce into the future and the array of cultural artefacts which accumulate. From this, an inquiry will develop regarding the value of items and how material culture adapts in a future where waste reduces, materials becomes scarce and networks become closer. An initial investigation into the possible programmatic elements which may be contained are outlined as: Production

Display

Power

Theatre

Energy in the future will continue to become a sacred resource when aiming for a carbon zero future. Creating closer networks of power generation may become more common in urban centres.

Local theatre companies may put on impromptu performances as an act of display. The transient nature of drama may act as a marker for reflecting on the nature of day to day life.

Food

Gallery

Food production may become an ‘edible public realm’, whereby growing spaces becomes as a civic resource. Urban farming for sustainable local networks will be sought to connect people with production.

The nature of what constitutes a museum will be examined, with both made items and artworks placed on display. The array of items will be composed and juxtaposed through contrasting arrangements.

Finishing

Produce

Finalising the trajectory of an item through careful and skilful craftsmanship. Spaces of polyvalence will be offered to allow for internal rooms to change function over time.

Items produced both in the building and around Stockport may be brought together. These may comprise of everyday objects, food or intriguing wares.

Re-Use

Showroom

Waste within urban centres will continue to become a pressing issue in terms of how to deal with its accumulation. In what way might the reuse be a part of the re-evaluation of value?

A place for local designers and makers to make their presence in Stockport known, sell their ideas and develop their creations further.

Manufacturing

Garden

Changing the way manufacturing works is an aspect especially important within a civic economy.

A display of nature within the urban centre will create a space of inner city detachment that allows for a holistic existence within the city.

proposal

proposal

Propositional Development

Access

proposal

Internal circulation

Cross-site flow

The development of an architecture that enables the transition into the yard space may unlock a hidden world that exists behind the facade of the shopfronts.

Existing site

Composed form

Vertical and horizonal motion

proposal

timeline

The proposal is conceived as a building that over time grows and builds upon itself. Through developing a narrative where users come and the programme develops, the form of the building can become an ever-complex piece of urbanism as it accumulates upon itself. The collaging of precedents has been used as a method of indicating a proposed form.

2020 Vacant shops are adapted and reused by small businesses and local makers. Small work spaces and winter gardens are created within the existing buildings. Extensions are made to the rear and small adaptations made.

proposal

The project will begin following an initiative by the UK Government. An alternative ‘future high street fund’ will support urban centres across the country to adapt and reuse vacant building stock. The local council will take the initiatives set by the government, and begin to coordinate new architectural structures from developers, local businesses and community groups.

2025 The extensions expand into Royal Oak Yard, where an intersitual structure forms a connective tissue between a display hall and making rooms.

proposal

2030 Expansions continue, and an adaptive theatre is built along with a new clean energy plant. A transition to a low carbon future is underway. The expansion into the tunnels begins which extends the reach and access.

proposal

2040 The accumulation continues, large, grand spaces continue to be built alongside smaller, more intimate rooms which interconnect.

proposal

An initial approach to massing has been undertaken to create an awareness of scale and the impact that a development might have on the surrounding context.

Theatrics

Framing views

proposal

An addition to the ‘jumble’

Reutilising the existing and creating distinct entrances

proposal

spatial intent Inquiry into the intent of proposed spaces will be drawn from the author’s personal experience. As shown are photographs recording the exploration undertaken by the author to inform an emotional experience of space.

Spectacle

proposal

Economies

Intrigue

Detachment

proposal

next steps

proposal

This manifesto has outlined the beginnings of the year long inquiry which will form the design thesis. Moving onward, the following studies into Environment + Technology and Management, Practice + Law will assist in further developing site understanding, an approach to sustainable construction and a greater awareness of site challenges and the client requirements. Following this, diving into the process of design will begin, focusing first at individual spaces and experimenting with spatial design initially removed from context. Structure, materials and the composition of form will be developed. An expanded strategy to the wider context of Stockport will allow for the narrative and contextual response to be enriched through an expansive understanding. The stated programme will be developed further, and a particular point in time selected to contextualise the constructed situation.

proposal

defining a technology approach rooted in the consideration of environmental factors

environment + technology

environment + technology

an approach to technology

As outlined below, this project is underpinned by a series of personal technology interests and studio technology themes. These all feed into the themes for a general project approach which will guide the development and approach taken in the thesis which considers the impact on people, place and tectonics.

Studio

Personal

Continuity and Change

Knowing From the Inside

Adaptation and Reuse of Existing

Vernacular Genealogy

Utilising and reforming ‘useless’ found material in unique and novel ways.

Architecture that comes from a knowingness of place, local morphology and a use of materials ‘at hand’. Honesty in Materials

Design for Polyvalence An awareness that buildings will change function through time, and designing for this transition to be made.

A self-evident approach to material application and celebration of the physical characteristics they bring.

Localised Networks

Embedded Tectonics The activation of emotions through the placement of a spatial material language.

Developing more closely linked networks within communities to mitigate carbon emissions from transport and materials.

People

Place

Social Sustainability How can investment within urban centres encourage and create ownership that sustains its purpose and existence? Places to encourage personal and town-wide production will sustain new networks while also encourage people to make better use of local networks. Much like Waugh Thistleton’s building for Vistoe (fig 133), the building may adapt and change, while also offering a wide variety of different spaces for manufacture.

Adaptable Places How can both existing and new buildings be adapted over time to accommodate new uses, social currents and climate requirements? Design with enough change in mind will mean thoughtful adaptation to built fabric may be possible. A number of precedents have been explored for this, notably projects by Architecten De Vylder Vinck Taillieu (fig 132) who reutilise and adapt existing built stock to bring exciting and different forms.

environment + technology

Tectonics Bricolage How can the project develop an approach to sustainability where architecture is composed from the materials ‘at hand’ to the maker? Bringing together reused materials and adapted parts of the site may work in creating architecturally unique places while also promoting a minimal embodied carbon. Much like Neville Holt Opera by Witherford Watson Mann (fig 131) .

↑

fig 131 Witherford Watson Mann Neville Hold Opera

↑

fig 132 Caritas Architecten De Vylder Vinck Taillie

↑ fig 133 Vistoe -

Waugh Thistleton

environment + technology

A series of primary sustainable design precepts have been selected to develop a project strategy which is fundamentally rooted in the design of healthy buildings. Maximise efficient natural daylight The chosen site is presently restricted in many places to external walls, and as such will need to utilise skylights in order to achieve a recommended daylight factor of 5% to achieve a good level of daylighting without requiring electric lighting.51 To achieve an acceptable vertical sky component in certain parts of the site, then angling windows to the sky, increasing floor to ceiling heights and reflecting daylight with nearby obstructions will be necessary.52 A perceived effect of rooflights is that of energy loss due to the limited insulation, but on buildings occupied only during daytime, such as this one, the passive solar gain results in virtually no effect on heating costs.53 A sense of theatricality will be a design aspiration for the internal spaces, and utilising daylight through vertical shafts will activate and enhance the quality of indoor spaces, making them more enjoyable to explore.

Design for comfort The variety of spatial offerings within the building will require a range of systems in place to ensure it is an opportune place to seek respite within Stockport’s urban centre and adequate provisions of thermal, visual, acoustic, humidity, ventilation levels will be required. Inadequate spaces may lead to thermal stress, and it is important to provide a space which remains comfortable for all. In 2080 Stockport could have a summer climate similar to that today of Lyon in South France,54 and it is important to design with that potential climate in mind and how what is built today will cope then. Passive measures will be employed whenever possible, such as a good cross-site ventilation path, high ceilings and exposed thermal mass.55 Parts of this project will contain a theatre and art gallery, and in those cases HVAC systems will need to be in place to adequately temper those environments. Plant space for air handling units will be provided on roofs and will work in isolation from passive strategies in the rest of the building. 51 Pelsmakers. S, Environmental Design Pocketbook (London: RIBA Publishing, 2012) p.145. 52 Ibid, p.68. 53 Xtralight, Designing With Daylight [Internet] available: < https://www.xtralite.co.uk/storage/ uploads/documents/2019/08/0589f614f5cf9c6726ae427974d04d42.pdf > [accessed 1 Feb 2020] 54 Pelsmakers, p.40. 55 Ibid, p.139.

environment + technology

Transform waste into new resources The process of adaptive reuse will be a key design consideration for choosing and identifying unique materials to construct the building from. Examples of this can be seen in 6a Architects’ Cowan Court which uses recycled railway sleepers, and Granby Workshop’s process of recasting waste from demolition into a unique terrazzo.56 This will work into the project typology of the department store making and recreating high value items from those of lesser value. This process will become evident in the physical built narrative of the building, where waste material will be brought in which may be reused and become part of new buildings throughout Stockport to invite chance and variation. Sourcing reclaimed materials will ensure that materials have a second life, but the caveat of additional labour will increase costs.57

Provide barrier free environments for all The proposed building will accommodate a number of public and civic uses, and therefore it is paramount that it remains accessible to people of all ages and ability. A significant design challenge will be how to provide vertical circulation between either side of the site which will involve traversing a 16m change in elevation, which through design could become something of a spectacle. Alongside this, the building will seek to emanate a welcoming and positive outlook to the town and not portray an sense of exclusivity through its architecture. To rekindle the act of perusing and browsing will mean that accessibility for this act will need to be considered, and to promote a sense of openness. This may be done through winter gardens.

Design for lean construction, repair, re-use, flexibility and disassembly

A significant aspect of the project’s lifespan is to consider how it will continue into the future, and change and adapt in response to the general societal current. As such, the spatial design and layout of the building will look to design for adaptability and change wherever possible. Parts will be designed with specificity in mind, such as greenhouses for urban farming and specificity equipped spaces for energy generation, whereas others will promote a programmatic ambiguity, whereby they can easily be adapted and changed for new uses and users to ensure the sustained life cycle of the building. This will allow for the building to adapt for needs of community and ensuring that it can cope with whatever future challenges arise. Finishes will be minimal at first and fabric easy to adapt. 55 ‘10 Houses of Cairns Street’ [Internet] Granby Workshop, available: < https://granbyworkshop.co.uk/ projects/10-houses/> [accessed 5 Feb 2020] 57

56 Pesmakers, 2012, p.175.

environment + technology

site specific technology issues

With a focus of this project being how it can suitably and carefully fit within the existing context of Stockport, a selection of key site specific issues for an architectural response have been outlined. Site Geology 29 m Bunter Pebble Beds

A recognisable feature of both Stockport and the project site of Royal Oak Yard is the prominence of a distinctive red rock, which comprises a mixture of mudstone and sandstone from the Collyhurst, Manchester Marls and Chester formations (fig 143).

Manchester Marl

Alongside this, a series of bore holes through Stockport reveal a distinct layering of rock type between sandstone and mudstone (fig 141).58 Knowing the make-up of the ground conditions will be necessary when installing a ground-source heat pump, which cannot function in chalky ground.

Lowe

r Stoc kp Ma rl ort

83 m

79 m

Chester Formation - Sandstone Etruia Formation - Sandstone + Mudstone Wilmslow Sandstone Formation - Sandstone Pennine Lower Coal Measures - Mudstone + Siltstone

151 m

fig 141. Bore holes taken near the site in Stockport.

↑

fig 142. Example of the sandstone found at Royal Oak Yard.

↑

Manchester Marls Foundation - Mudstone

158 m

Collyhurst Sandstone

58 Taylor, B. Price R. Trotter F. The geology of the Country around Stockport and Knutsford (Memoir of the Geological Survey, 1963) pp. 20–22.

Collyhurst Formation - Sandstone

27 m

Stockport Congolmerate

Royal Oak Yard has gone through a significant amount of transformation since 1850, where buildings once straddled the cliff face (fig 144). Today these areas are surface car parks, and it is expected that remnants of brick, foundations and other building material will remain in the ground.

↑

31 m

fig 143. Bedrock geology of Stockport Borough 175 m

Existing Building Conditions

This project will utilise adapt much of the existing building stock that is present on site, with selective demolition /adaptation on a portion of the existing stock. Generally, the buildings frontage to Little Underbank are in good quality, whereas buildings to the rear are in a much worse condition and have little to offer in terms of spatial or architectural potential. As outlined below, the removed buildings will either be demolished entirely, or stripped back to their floor plates to allow for an adaptive reuse of the structure. There is one locally listed building and one grade II on the site, along with the grade II listed St Petersgate Bridge, and as such these buildings will receive careful consideration. Vacant

nt

ca Va

Vacant

nt

ca Va

Little U nderban

k

nd tU

k

an

erb

nt

ca Va

St Petersgate

ea Gr

Royal Oak Yard

nk Side

High Ba

Listed building Building retained / unaltered Building removed / significantly altered Building altered internally Existing vegetation

nt

Va ca

↑

fig 144. Map of Royal Oak Yard circa 1850. Very few of the original buildings remain today.

environment + technology

Wind

The predominant wind direction to Stockport is westerly,59 which for the site means that a large portion of will experience high wind due to the exposed nature of High Bank Side. For orienting the proposed building, it will be best to skew the layout 15-30° from the prevalent direction.60

Daylighting Analysis

Given the site’s tight and sunken nature, it will be especially important to ensure that the proposal will provide adequate daylight into the spaces occupying the ground floor. As shown in the solar radiation analysis below, the site receives a good amount of sunlight for most of the year, which is thanks to the tiered nature of the topography. The south facing rooftops receive constant amounts of sunlight through the year, and would be a suitable location for photovoltaics. Daylight studies shown opposite show that the south (01) and west (02) portions of the site receives almost constant sunlight and would be the areas best suited for locating urban farms. Urban breaks will be utilised to allow light into the proposal. 59 ‘Wind Rose for Stockport’ [Internet] Meteoblue, available: < https://www.meteoblue.com/ en/weather/archive/windrose/stockport_united-kingdom_2636882 > [accessed 7 Feb 2020] 60 Pelsmakers, 2012, p.62.

0

December

June

October

April

environment + technology

138

276

12pm

6pm

Winter Solstice

Summer Solstice

Spring Equinox

9am

Vertical Sky Component

The measure given by the vertical sky component is useful for understanding whether a window receives adequate daylight. It is recommended that it should be as close to 40° as possible.61 The existing site meets the angle, which is unusual for urban areas, but with new construction it will be necessary to ensure that the proposed design continues to meet the recommended levels. This may be done through angling the window to the sky, increasing floor to ceiling heights and the height of the window.62

2m datum

61 Pelsmakers, 2012, p.68

51° 39°

62 Ibid.

22°

68°

2m datum

environment + technology

energy + adaptation strategy

This project is partly framed as a place where production meets display within alternative urban development strategy, which in part will contain facilities for the production of energy to support Stockport’s urban centre to reduce dependence on the national grid.63 The scale by which to serve energy at this time is uncertain, but a number of measures may be implemented at a range of scales:

Combined Heat + Power

Ground-Source Heat Pump

Photovoltaics

Passive Measures

A biomass macro CHP [01] may be suitable as a part of the project, as is it particularly suited to urban areas.64 The energy will be able to sustain the building and also support the surrounding urban area, with a transition into the future of a more localised system of low carbon energy production.

A GSHP [02] would provide hot water for heating the proposal, and located throughout the site in various locations. This may be viable if a macro CHP is not chosen.

As shown previously, there is potential for PV cells to be suitably implemented within the site, as long as urban breaks [03] are placed within the scheme to allow adequate sunlight.

Passive measures for heating and cooling will be made implemented wherever possible. Along with recycled brick, concrete and stone from the site, a low carbon concrete will be selectively used throughout the proposal and exposed manufactured timber to effectively capture heat during the day and dispel during the night.

Pumps could be located at either side of the site to allow for the heating of multiple volumes which comprise the building.

Large areas of storage for biomass fuel and a hot water store will also be necessary, along with adequate delivery space. As systems develop, wood pellets may become a more viable option for the future, and require much less storage space.

Ventilation Due to the changing topography of site, the south portion would be suitable for placing a wind catcher [04] for passive ventilation to make best use of wind from the westerly direction.

62 See p.112 of manifesto. 63 Pelsmakers, 2015, pp. 348-349. 64 ‘Thermal Mass’ [Internet] Green Building Design, available: < http://www. greenspec.co.uk/building-design/thermal-mass/ > [accessed 6 Feb 2020]

environment + technology

As parts of the building will be open to the outdoor environment, it will be ensured that any thermal mass will be located within [05] insulated building envelopes.65

↑

fig 152

fig 151

↑

↑

fig 153

↑

fig 154

Increase in Rainfall

Increase in Temperature

Site Adaptation

An estimated summer rainfall increase of up to 26% by 2080 could be expected for Stockport,66 and as such it will be necessary to account for this.

Louvres and solar shading may be installed into existing windows to mitigate the effects of overheating within internal spaces. To accommodate for this, windows will open inward.

Additional trees will be included around the site to provide gradual shading into the future. Winter gardens within the scheme will include trees, which in the summer will provide natural shade and in the winter allow light into the spaces below. These may extend in or out of the building (fig 151).

SUDs will be installed throughout external spaces, which can provide water storage in the event of flooding. A green roof will function both as a location for urban farming (fig 153), while also allowing for a suitable method for harvesting rainwater. The water will be used for plant irrigation in the urban farms.

Deep reveals will also be incorporated into the design to allow for lower winter sunlight to enter the internal spaces and reduce the impact of the higher summer sun. These may be expanded in the future, like the Norwich Enterprise Centre (fig 154).

The building will endeavour to be the next stage in an accumulation of architecture (fig 152), and as such will focus on adaptability as much as is possible. 65 Pelsmakers, 2012, p.125.

environment + technology

outlining client requirements and whole-life costing to develop an approach to project management

client + programme

client + programme

programme and users

The programme as outlined in the manifesto is identified as the next generation of what the department store represents. Conceived as a place where production meets display, the idea which underpins the proposed building is met with the notions presented in Compendium for the Civic Economy, outlined as:67

State + Public Services

Value-Driven Private Sector

An establishment of the principle of cocreation between producers and users for public goods and services.

Social opportunity and ecological concerns underpinning the operation and proliferation of a hybrid business model.

Innovative Working Practice

Cultural Co-Creation

Utilising social networks, collaboration tools and creative approaches for self-organision in both global and local connections.

In both the physical and digital space through the third sector and ad-hoc groups.

In response to this, the redefinition of the department store within the project context is necessary to separate the typology from the connotations that the word ‘store’ brings. The project will hinge on this understanding that allows for spaces of production and display to exist within the programme that provides a universal system of goods provision for a decentralised population:

The Department Store: pluriform and multi-purpose

Large retail establishment with an extensive assortment in variety public goods, services and materials

and range of goods, organised into separate departments. All apart of

network

departments are housed under the same roof to facilitate

the sharing, displaying, goods production and contemporary creation items of necessity 68

buying, customer service, merchandising, and control. between the scales of both town and individual.

67 00:/, Compendium for the Civic Economy, (London: 00:/, 2011) p.11. available: < https://issuu.com/ architecture00/docs/compendium_for_the_civic_economy_publ > [accessed 17 Feb 2020] 68 Webfinance, ‘Department Store’ [Internet] Business Dictionary, available: < http://www. businessdictionary.com/definition/department-store.html > [accessed 17 Feb 2020]

The co-operation between both the government and actors at a local level will form the primary client body. This is initiated from the 2019 document issued by the House of Commons stating the necessity of collaboration for the high streets survival:

‘Achieving the large-scale structural change needed will require an intervention led by the local authority, using all its powers and backed by cross-sector collaboration. However, given the financial pressure faced by local authorities, central government funding will be needed for this, as well as significant private sector investment.’ 69 The first stage of the initiative will form the foundations for future developments across Stockport. This will be with the intent to form a sustainable redevelopment of the high street allowing for it to facilitate a localised economy.

individual goods

clothing

manufacturing / fabrication

crafted items

power

retail display

processes of making

display

production

food

↑

art gallery

theatre / events

food

town-wide service

fig 155. The interplay of goods and services between the scales of individual and town will form the primary programmatic elements

69 Housing, Communities and Local Government Committee, High streets and town centres in 2030 [Internet] (London: The Stationery Office, 2019), available: < https://publications. parliament.uk/pa/cm201719/cmselect/cmcomloc/1010/1010.pdf > [accessed 18 Feb 2020] p3..

client + programme

The accumulation of these programmatic elements will form a part of the city that acts as a piece of permeable pluifrom urbanism. Much like historic typologies which act as urban enclaves (figs 157-159), the building will sustain and support itself through programmes insular to itself. Similar to City Gate by Serigson Bates architects (fig 160), the building will differ from typologies shown as inspiration in that it will be open and continuous to the city.70 The relevance for this approach is outlined as:

‘The idea of the pluriform city seems more current than ever. Society was still homogeneous 50 years ago; today highly divergent modes of life and culture are all seeking a place within our cities. [...] This calls for a city with differences of its own, distinctive parts in which likeminded people can find one another, connected to the greater whole.’ 71 As such the stakeholder base for the project will be wide and diverse to accommodate this openness of programme. What follows is a discussion with the client outlining the initial stages of design and procurement.

fig 157. St Gilles Citadel, Tripoli

↑↑ ↑↑

↑

fig 156. Monasteries offer the inspiration in developing a formalistic and programmatic approach to the project, where it is conceived as a series of continued developing programmes which assist in building a self-contained supportive environment.

fig 158. Groot Begijnhof, Leuven fig 159. Trinity College, Cambridge fig 160. City Gate, Brussels

70 Fulcher. M, ‘Sergison Bates wins huge €100m Brussels job’ [Internet] Architect’s Journal, 02 Oct 2019, available: < https://www.architectsjournal.co.uk/news/sergisonbates-wins-huge-100m-brussels-job/10044640.article > [accessed 19 Feb 2020]. 71 ‘DASH #05 – The Urban Enclave’ [Internet] DASH, 01 Jul 2011, available: < http:// dash-journal.com/dash-nr-05-the-urban-enclave/ > [accessed 19 Feb 2020].

client + programme

Upper Deck Studio Cllr Elise Wilson Leader of Stockport Council c/o Town Hall Edward Street Stockport, SK1 3XE

241 Merseyway Stockport Greater Manchester SK1 1QH

Dear Cllr Wilson, We are delighted to have be appointed as lead architect in this exciting project. Following the initial brief as outlined by yourselves, Andy Burnham and the Future High Streets Commission following the policy setup by the Ministry of Housing, Communities and Local Government, we have begun working on an outline strategy to approach both the programme, management and future life cycle of the project. This is in direct response to your statement that we must consider both how retail may intersect with ‘green space, leisure, arts and culture, health and social care services to create space that is the intersection of human life and activity’.72 We have already begun identifying a number of stakeholders for the project who will act as the initial users for the building. These are local to Stockport and the Greater Manchester region, and have joined early into the design process. While the proposed building will comprise a series of generic and specific spaces, we intend to begin designing the project with these users in mind. A number of local Stockport businesses have signed up including Rhode Island Coffee, Penipride Clothing and Fablab Manchester, who will occupy a number of the larger spaces to begin with. We anticipate that there will be four main user groups: yourselves as the Building asset owner, an operations and management company, the independent businesses and traders who use the building day-to day and the general public. While from the outset the council will act as the BAO, it may be viable down the line to transfer ownership of parts of the building through a Community Asset Transfer (CAT) for local, social and environmental benefit.73 Granted the success of the building, hopefully a thriving community group may be better suited for the management of the project once it has found its feet later in its life.

Best regards, Jonathan Foulger ARB RIBA Project Architect

72 People & Places, ‘High streets and town centres in 2030 report’ [Internet] People & Places, 21 Feb 2019, available: < https://people-places.net/high-streetsand-town-centres-in-2030-report-published/ > [accessed 25 Feb 2020. 73 ‘Ownership and management of assets’ [Internet] Locality: The Power of Community, 10 April 2018, available: https://locality.org.uk/services-tools/support-for-community-organisations/ ownership-and-management-of-land-and-buildings/ > [accessed 25 Feb 2020].

client + programme

Project Inception

Client Group

Government Bodies

Palace of Reason

A Department of Stockport Borough Council

Robert Jenrick MP Secretary of State

Andy Burnham Mayor of Greater Manchester

Cllr Elise Wilson Leader of Stockport Council

A new council department founded to oversee the development and management of the proposal.

Following the success of Tš Pawb in Wrexham, the owners intend now to expand operations into Stockport, with their expertise driving the design of the scheme as a community resource.

Business Improvement District already setup to improve the town centre’s offering through choice, marketing and opportunities to do business.

Users + Management

Building Asset Owner Stockport council will act as the BAO, who following the project completion will lease out parts of the building.

Operations and Management The operations of the building will be undertaken primarily by a company setup from the existing Merseyway management company to facilitate the users. Elements of the building will be managed by specific users, such as the urban farms and CHP for the production of public goods, and will operate independently.

Traders + Users The operations of the building will be undertaken by a company specifically setup to facilitate and manage the users and production of public goods.

General Public The general public will be able to visit the building during standard opening hours. Some parts of the building, including the community space and theatre space will open later, and

specific access routes will be considered to ensure passage during these times avoids parts of the building.

client + programme

Il Fondaco dei Tedeschi

Ty Pawb

Department store

Administration Building with Rooftop Greenhouse

Urban farm

Sir John Soane’s Museum

Museum

client + programme

Cultural community resource

Elephant Park Energy Centre

Inner city CHP energy centre

Tangram

Shop + accommodation

MAD Brussels

Cultural / workspace

Blue Mountain School

Shop, restaurant + gallery

More prescriptive

Less prescriptive

Prescriptive

Standard Solutions Based on past experience

Too much prescription may stifle innovation

Too much innovation may result in loss of a ‘solid foundation’

Performance

Non-standard Solutions Innovative

Less performance

Briefs with more prescriptive basis are likely to have a high degree of standardisation.

More performance

Briefs for specialist projects often have fewer precedents to base the brief on.

↑

fig 161. Finding the optimum balance between prescription and performance within the brief is necessary when designing a unique and exciting building. Adapted from: Blyth, Worthington, 2001, p.76.

↑

fig 162. Precedent examples of specialist projects by which this project will be based upon. These will inform the spatial layout as specified by the client, and ensure a good balance between prescriptive and performative based design.

The programme intends to bring together a series of different elements which are specialist and unique for this project. A difficulty with this is the lack of specific precedent to base this from, which Blyth and Worthington outline as a ‘performance’ based solution (fig 161).74 In order to appropriately understand the extent of the spatial requirements of the programme, a series of precedents have been examined (fig 162) to understand the appropriate floor areas typically taken up by similar programmes.

74 Blyth. A, Worthington. J, Managing the Brief for Better Design (London: Spon Press, 2001)

client + programme

Individual Production Public Disaply [Spectacle+ Economies] Urban Escapes [Detachment]

Workspace 60m2

Workspace 60m2

Coffee Roaster 200m2

Display 40m2

Display 40m2

Workspace 60m2

Workspace

Workspace

50m2

50m2

Clothes Manufacturer 200m2

Display 40m2

Experimental Theatre / Exhibit Space 210m2

Store 60m2

Furniture Maker 200m2

Display 40m2

Display 40m2

Plant 60m2

Display 40m2

Winter Garden 60m2

130m2

Store 60m2

The primary public element will be a series of display spaces and exhibit spaces to encourage intrigue and spectacle. Ad-hoc productions may utilise this space and a space for private renting. Total: 960m2 + 30% circulation

A key element will be the provision of new green and outdoor spaces for relaxation. These will be interspersed throughout the building. Total: 150 m2 internal 380 m2 external

Courtyard 120m2

Winter Garden 40m2

Winter Garden 50m2

Testing Greenhouse 140m2

Town-wide Production [Intrigue + Production]

Total: 1,040m2 + 30% circulation

WCs 60m2

Rentable Space

Exhibit / Showroom 300m2

Courtyard 260m2

Individual production areas will comprise smaller spaces for individual businesses to setup and produce items for localised distribution. The first to occupy the space will be 3 medium sized businesses already present in Stockport, and 5 small artists / makers looking to expand.

WCs 40m2

Urban Farm Greenhouse 400m2 Plant 60m2

Production Hall 300m2

Salvage Showroom 130m2

Depository 80m2

Food Store 80m2

The town-wide production will offer a more permanent base for self-sufficient town wide produce. These will all be available for visitors to see and engage with, but not necessarily enter due to their specialist nature. Total: 1,350m2 + 30% circulation internal 300 m2 external

Store 120m2

Goods Yard 300m2

Plant 60m2

Total: 4,070 (5,141m2 with circulation)

client + programme

The programmatic development of the project will be split over four main spatial frameworks (outlined opposite), focused on responding to the separate elements of the brief. A key aspect of the proposal will be the circulation and visibility between these frameworks, and it is expected they will overlap and mix with one another rather than being designed as separated volumes. The build fabric will be split over three main parts of the site: the existing high street buildings (phase 1), Royal Oak Yard (phase 2), and the car park on the former site of the Astor Cinema (phase 3). With the mix of different spatial requirements and architectural construction ranging from retrofit, new build and tunnelling, and will be spread over three main phases. As discussed later in this report, a unique contract and procurement route will be selected to account for this variety of performance based architecture.

Phase 1 retrofit

Phase 2

Phase 3

Note: massing is indicative and does not necessitate to the final built form.

Phase 1 new build

client + programme

benchmarking

To correctly understand the costing for the project, a series of precedent examples have been studied in order to adequately benchmark. These projects have primarily been chosen in relation to programme and facilities, and some involve working with existing buildings. It is expected that a proposed structure is 15-20% of overall construction cost,75 and as such can be added or removed within the estimation.

↑

Here East - Hawkins Brown

↑

Education, workshop - New build Completed: 2018 Floor area: 6,200 m2 Total cost: £10M Cost per m2: £1,612

Feilden Fowles’ Studio, London - Feilden Fowles Workspace- New Build Completed: 2016 Floor area: 133 m2 Total cost: £180,000 Cost per m2: £1,353 [£1,485 in 2020]

Gotham Greens, New York

Granby Winter Garden, Liverpool Assemble Winter Garden Completed: 2019 Floor area: 150 m2 Total cost: £300,000 Cost per m2: £2,500

75 Schmid. K, Construction Estimating: A Step-by-Step Guide to a Successful Estimate (New York: Momentum Press 2011)

client + programme

↑

↑

Urban Agriculture Completed: 2019 Floor area: 10,220 m2 Total cost: $12.5M (£9.7M) Cost per m2: $1,225 (£950)

↑ Ty Pawb, Wrexham - Featherstone Young Arts and culture, Retail - Retrofit Completed: Apr 2018 Floor area: 3,705m2 Total cost: £4.3M Cost per m2: £1,160 Procurement: Design and Build

↑ Victoria Gate, Leeds - Acme Retail - New Build Completed: Oct 2016 Floor area: 26,000m2 Total cost: £164M Cost per m2: £6,310 [£6,920 in 2020] Procurement: Design and Build

Sala Beckett, Barcelona - Flores + Prats Theatre, Culture - Retrofit Completed: 2016 Floor area: 2,932 m2 Total cost: €3.2M (£2.7M) Cost per m2: €1090 (£920) [£1,010 in 2020]

↑ ↑ MAD Brussels, Brussels - Rotor Arts and culture, Retail Completed: 2017 Floor area: 3,097 m2 Total cost: €4.7M (£3.9M) Cost per m2: €1,150 (£1,260) [£1,335 in 2020]

client + programme

Following the process of benchmarking, a base capital cost for the project can be reached to begin discussions and be used as a design tool. This will naturally change as the project progresses, but is necessary to establish a hierarchy of importance for the different spaces within the building.

Workspace - Newbuild

Feilden Fowels’ Studio

£1,485

600

£891,000

Workspace - Retrofit

Ty Pawb

£1,160

280

£324,800

Display

MAD Brussels

£1,335

240

£320,400

Showroom

Victoria Gate

£6,920

500

£3,460,000

Production Hall

Here East

£1,612

430

£693,160

Experimental Theatre

Sala Beckett

£1,212

210

£254,520

Urban Agriculture

Gotham Greens

£950

550

£522,500

Winter Garden

Granby Winter Garden

£2,500

120

£300,000 Total £6,766,380

+30% circulation & ancillary at average £1,000

£2.9M

Total +10% contingency

£10.6M

Capital cost funding and operation and maintenance funding are a key aspect of the procurement and future life-cycle of the building. Potential sources for these are outlined below:

Capital Funding

client + programme

Operational Funding

Upper Deck Studio Cllr Elise Wilson Leader of Stockport Council c/o Town Hall Edward Street Stockport, SK1 3XE

241 Merseyway Stockport Greater Manchester SK1 1QH

Dear Cllr Wilson, Following out meeting yesterday, we have begun to outline a potential whole-life cost for the project. As we discussed, this figure comprises a whole range of costs in addition to just the initial construction, and in our design we are conscious to reduce the overall running costs of the building later into its life. An estimated construction cost based on benchmarking similar is included, which would need verification of a cost consultant who will assist in confirming a detailed cost plan which will include and exclude particular costs, such as professional fees, VAT etc. Life-cycle costing measures the cost performance beyond the construction work and is used to facilitate choices to identify where alternative means exist that may help the you achieve your objectives. This may include the initial costs alongside subsequent operational costs, and allows alternatives to be compared at a similar basis.76 Operational costs will form a large portion of the life-cycle costing, and in particular the urban farms will pose an economic model which should be necessary in sustaining its processes.

Best regards, Jonathan Foulger ARB RIBA Project Architect

76 RCIS, Life Cycle Costing (London: RCIS, 2016) p.3.

client + programme

life cycle costing

Project specific approaches will ensure the most effective management of how well a building will perform later in life. Steward Brand outlines the six ‘shearing layers’ whereby it is always tearing itself apart (fig 167),77 and can be used in reference to LCC. The key considerations are as follows:78

Whole Life Cost

Non-construction

Construction

Renewal

Life Cycle Cost

Income

Maintenance

Operation

External

End of Life

Occupancy

Construction Includes the development costs, professional fees, third party costs, materials and construction. An early on approach to design which considers the adaptability and change of use is integral to the project, where a programmatic ambiguity is suggested for the design of spaces.79 With the intent being that the project will be as low carbon as possible, care will be taken through extraction, transportation and manufacture.80

Maintenance The cost of periodic maintenance, component replacement and continued specified functional performance. Brand suggests that the longevity of buildings is often determined by how well they can ‘absorb’ new service technology’.81 This is a design consideration which when implemented would ensure that minimal cost is spent later within the building’s life to update services.

77 Brand. S, How Buildings Learn (London: Pheonix, 1994) p.13. 78 RCIS, 2016, pp. 6-7. 79 See Manifesto p.114. 80 Pelsmakers. S, Envirnmental Design Pocketbook (London: RIBA Publishing, 2012) p.172. 81 Brand, 1994, p.19.

client + programme

Stuff Day-to-day

Space Plan 5-7 years

Services

10-15 years

Skin

25 years

Structure

50-75 years

Site

Timeless

↑

fig 167. The lifespan of a building will vary based on the different components it is comprised of. Adapted from ‘Shearing Layers of Change’ by Brand. S.

Occupancy + Occupants The management costs for the property, such as energy, rent, waste management, local taxes, cleaning etc. A Brand suggests that approximately 30% of building operating costs is energy, and significant savings can be made for designing appropriately for reducing energy loss.82 As stated previously,83 passive measures for heating and ventilation will be employed whenever possible within the scheme to allow a reduced operating cost.

End of Life Disposal and demolition of the property towards the end of its lifecycle. A building lifespan is typically 60 years, and for it to last longer will result in a higher construction cost, though in reality buildings can be used and maintained for longer than the design life.84

82 Brand, 1994, p.190. 83 See Environment + Technology Report, pp.136-137 82 Pelsmakers, 2012, p.172.

client + programme

One aspect of the programme where life-cycle costs to be specifically considered is choosing to install urban agriculture within the scheme. The gradual benefits of doing so respond to the growing impact that climate change may bring, and the requirement to adapt how we consume and grow to mitigate this:

‘as climate change brings dramatic weather changes, controlled-environment agriculture allows for constant conditions regardless of weather patterns. As time goes on vertical farms and greenhouses will increasingly grow greater sums of our produce both domestically and across the world.’ 85 An aspect to consider in regard to whole-life and life-cycle costing is choosing between hydroponic greenhouses or vertical farming to achieve the same product. As outlined below, the initial setup cost of urban farms is considerably higher, but requires much less floor area to achieve the same produced output. Choosing between the two will require a significantly different upfront payment. These factors are worth baring in mind at the strategic planning, as would make a considerable difference for the life-cycle of the building. Facility Size Construction Costs Cost per m2 Depreciation rate by years Annual Depreciation Annual Production Annual Depreciation / kg of production Total Full-Time Staff Assumed Staff Salary Total Annual Staff Costs Total People Costs / Production Other Grow Costs Total Grow Costs / Pound Estimated Transport Cost / kg Delivered cost / kg

Greenhouse Vertical Farm 26,000 6,410 m2 m2 £14,200,000 £30,230,000 £545 £4,715

Conventional Farm

15 15 £950,000 £2,020,000 910,000 910,000 kg kg £1.05 £2.20 55 58 £35,000 £35,000 £1,925,000 £2,030,000 £2.12 £2.23 £0.33 £0.33 £1.18 £1.22 £0.15 £0.15 £2.38 £3.57

Note: units converted from USD to GBP, lb to kg and sq ft to m2

↑

fig 169. Economic differences between greenhouses and vertical farms. Adapted from: Tasgal. P, The Economics of Local Vertical and Greenhouse Farming Are Getting Competitive’

85 Tasgal. P, ‘The Economics of Local Vertical and Greenhouse Farming Are Getting Competitive’ [Internet], AGN, 3 April 2019, available: https://agfundernews.com/the-economics-of-localvertical-and-greenhouse-farming-are-getting-competitive.html > [accessed 27 Feb 2020].

client + programme

£1.12

↑

fig 170. Visually, choosing greenhouses help mirror historic botanical gardens, and bring greenery back into Stockport’s centre; a quality which it is desperately lacking.

↑

fig 171. Vertical urban farms are typically hidden away and lack the engagement of the final consumers.

client + programme

responding to client needs through suggesting a procurement route and outlining the associated risks

procurement + risk

procurement + risk

Time

Quality

Time

Cost

Quality

Management

Time

Cost

Quality

Design & Build

Cost

Traditional

C2

cost

C1

2

3

4

5

C3

Q3

0

1

T1

qu

e

Project Contract profile Management Contract profile

T3 Criteria

C2 Certainty over contract price C3 Best value for money overall T1 Earliest possible start on site

time

T2 Certainty over contract duration T3 Shortest possible contract period Q1 Top quality, minimum maintenance

quality

Q2 Sensitive design, control by employer C3 Contractor can assume detailed design

procurement + risk

Q1 01

C1 Lowest possible capital expenditure

cost

Q2

ali

tim

ty

T2

02 03

04 05

Upper Deck Studio Cllr Elise Wilson Leader of Stockport Council c/o Town Hall Edward Street Stockport, SK1 3XE

241 Merseyway Stockport Greater Manchester SK1 1QH

Dear Cllr Wilson, Following my previous letter, I have outlined my advice regarding our recommended procurement route and contract choice. Due to the complexity of the programmatic requirements proposed within the scheme and the phased approach across the site, we suggest that a management contract would be best suited for the project. Compared to traditional and D&B, management is generally best for quality and cost, where time becomes less of an issue. While this arrangement will bring a greater level of risk and demands a degree of highly specialised expertise and experience in setting up and managing operations, the council has the available resources and expertise for setting up this contract correctly and should help mitigate the risk. The contract means that work may begin very soon on site, and a greater degree of flexibility during the design process. We should ensure there is a high degree of confidence and trust from the beginning, and as such certain aspects regarding the final contract cost will likely be unknown at the start of the project.86 It is likely to be the prime cost of the construction, plus a fee for a management contractor.87 As head of the client body, you should begin the process by appointing a management contractor soon to help assist the design team. Their knowledge and expertise during the initial stages of the project will assist in setting up the process at its inception, and they will remain involved throughout the project.88 This arrangement will mean that the client will assume a major role in directing the project, and will retain the administrative and design control. We hope to begin the first stage of developing the existing building stock on Little Underbank soon, and this contract will ensure that we can begin quickly with building works, while other parts of the project are still in the detailed design stage. This allows us to have a considerable degree of flexibility on design matters. 89 Please see attached a series of diagrams and additional comments outlining the process of this contract route and the potential risks that come with this. Best regards, Jonathan Foulger ARB RIBA Project Architect

86 Clamp. H, Cox. S, Lupton. S, Which Contract?, Fourth Edition (London: RIBA Publishing, 2007) pp.37-38. 87 JCT, ‘Management Building Contract’ [Internet] JCT, 15 Nov 2011, < https://corporate. jctltd.co.uk/products/management-building-contract/ > [accessed 26 Feb 2020]. 88 Clamp, Cox, Lupton, 2007, pp.37-38. 89 Ibid.

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The purpose of choosing a management contract over a traditional contract split over several phases is due to the complexity and multitude of different built elements which will comprise this project. Splitting these parts over separate traditional contracts which each suit that phase of work best would mean extra logistics in switching of contractors, resulting in potentially a disjointed final product. With a management contract, often it is not possible to prepare full design information before work begins on site. In the case of detailed design of a sophisticated or innovative nature will have components designed by specialists throughout the course of the construction, which will be delivered in separate packages of work.90 As this project being publicly funding, it is required that when selecting a contractor there is an open advertisement for tendering. This is apart of an EU directive where contracts over €5.17 million (approx. £4.3 million), much like this project, are invited and awarded to select technical and financial competent contractors.91 With Brexit still creating uncertainty about the future of this directive, it is assumed at this point that an open advertisement will still be required.

Works Packages Demolition

Foundations

Ground works

Joinery

Furniture

Landscaping

Concrete

Cladding

Hydroponics

Workshop facilities

M&E

Contract Type

Risk Client

Contractor

Design and Build Traditional Lump Sum Traditional Measurement Management Contracting

↑

fig 173. Contract choice can represent significant differences between who holds the risk. Adapted from Champ, Cox, Lupton.

90 JCT, ‘Management Building Contract’ [Internet] JCT, 15 Nov 2011, < https://corporate. jctltd.co.uk/products/management-building-contract/ > [accessed 26 Feb 2020]. 91 Chappel. D, The Architect in Practice (London: Wiley, 2015) pp. 395-396.

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Client: Stockport Borough Council

Client Representative

Collateral Agreements

Management Contract Contract for services

Management + Coordination

Management Contractor

Works Contract Works Contractors

Design Team

Consultation Team

Works Contractor

Architect

Planning Consultant

Works Contractor

MEP Engineer

Approved Inspector

Works Contractor

Structural Engineer

Health & Saftey

Quantity Surveyor

Fire Consultant

Landscape Architect

Cost Consultant

Sub-contractor Nominated Suppliers

Contractual Relationship Information Flow

↑

fig 174. The client retains contractual relationship between all involved parties during the stages of work. Allowing the management contractor to remain in the process the whole way through, and oversee and consolidate the different voices into a coherent building, and gives more control over the successive phases of work.

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project phasing

Works on management building contracts are carried out in separate works packages and design is often completed parallel to site activity. This allows for a greater degree of flexibility and more control for the employer over design.92 For this project, the building will be delivered in three main stages of completion (see previous diagram p, with an aim to gradually deliver and open the separate parts of the project throughout the construction, which is made possible thanks to the management contract choice. As detailed design will still be occurring during construction, there is an overlap of work stages throughout.

Stage 01 Existing building renovation + fit out The first stage will be to rework the existing vacant built fabric on the high streets to convert into small workspaces for small businesses alongside, the stripping back of the 3 existing buildings to be converted into entrance halls. This will include repair and refurbishment of the structure, partial demolition and performance upgrades for insulation, windows and sustainable construction methods wherever possible.

Stage 02 Showroom + medium workspace construction Following a site wide ground works and foundations contract, the most challenging portion of the construction will begin concurrently and following the first stage. This will involve building on the cliff face and within the tight spaces below. Leaving the space for phase 3 empty for site coordination and logistics will assist.

Stage 03 Urban Farm + production hall construction Following stage 2, the land behind will now be open for constructing final stage of the build will be the urban farms and production hall, which in their own case will comprise 2 distinct and unique fit-outs. It is recommended that the structural and architectural design be conducted by the same contractor as stage 2 to ensure a consistency and clarity of the design, with specialist contractors brought in to complete the more specific works

92 JCT, ‘Management Building Contract’.

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↑

Stage 02

↑

Stage 01

Stage 03

Appointment of contractor

↑

↑

First users move in

Showroom and medium workspaces open

Urban farms and production hall open

Appraisal and strategic briefing (stage 0-1) Outline and detailed proposals (stage 3-4) Production information and coordination works Tender action and adjustments (stage 5) Strip out + salvage

Continued handover

+ close out (stage 6-7)

Existing building rennovation Entrance halls constrution Ground works

Tunnel expansion and additional excavation

Foundations for new build Contstruction of structure Showroom + workspace fit-out Contstruction of structure Urban Farm fit-out

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Memorandum TO: Tarquin Weslington FROM: Jonathan Foulger SUBJECT: CDM & risks Hi Tarquin, Following the setup of the contract, we may now begin to explore the sitespecific risks that will impact the design process. To help understand these, I have put together a matrix to assist us in planning the time frame by which we will need to consider these risks (see opposite). The phased nature of the project will mean that some of these are still some time away, but it will be necessary to make note of them now. Alongside this, I have includes an approach to CDM, and how we incorporate inclusive design and accessibility within the project. As the principle designer for the project we have an important role to ensure how health and safety risks are managed through the project.93 As such we should begin to consider these aspects within the pre-contruction phase as early as possible and how they will impact the design. As such we can eliminate any foreseeable health and safety risks.94 The client will need to appoint a planning supervisor and ensure that any contractor and project supervisor they appoint are competent and adequately resourced to deal with health and safety problems.95 As you know, there is a cliff which intersects the site, and accessibility between the high and low points is a significant design challenge. I’ve copied you an exchange with the client outlining our initial plans with how we may deal with this. Have a good weekend. Best, Jonny

93 Health and Safty Executive, ‘Principal designers: roles and responsibilities’ [Internet] HSE, available: < https://www.hse.gov.uk/construction/ cdm/2015/principal-designers.htm > [accessed 22 Feb 2020] 94 Ibid. 95 HSE, Health and safety in construction (HSE Books, 2006) pp.119-121

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issue

impact of issue

mitigation strategy

Access across the site

There is a significant change in height across the site which if not assessed and designed correctly then may result in discrimination.

Provide suitable access to all part of the building and facilities for people of all abilities. Develop innovative and exciting modes of vertical circulation which improve the experience of visiting the building.

Develop a design strategy early on into the project, and consider access to all parts of the building.

Subsurface geological and geotechnical conditions

There is a complex series of tunnels below part of the site, potential antiquities and remnants of historic foundations. An unexpected geological or ground condition may derail the project be a considerable margin.

Ensure a thorough ground investigation is completed and undertaken. The client should provide adequate site investigation reports if available.

During tender stage, with enough time and opportunity to undertake investigation, especially if reports are inadequate.

Public Confidence

The project will be viewed in many different ways by people of different walks of life. How it is perceived will impact its success and community support. Lack of good and timely communications and spreading of rumours may lead to the public lacking confidence in the project.

stage of project

Concentrate on good communication and coordination. Advertise and celebrate progression and milestones. Engage members of the public through engagement events and sharing design throughout to gain support and foster ownership.

Project Schedule

With the management contract as the chosen procurement route, the exact project schedule and timings will be uncertain to begin. As such it may be difficult to plan ahead and unexpected delays may arise.

When it is known, have a clear project schedule and logistics supply plan with enough time to do all the key steps.

Working with existing buildings

Multiple risks including life safety, property protection, unstable structures, asbestos contaminants.

Extensive survey of existing fabric, appropriate measures taken for safeguarding and protection of retained fabric.

Experience of Contractors and Sub Contractors

This project has a number of moving parts, and as such multiple contractors will be involved. It is necessary to ensure all chosen works contractors have the suitable experience

Pre-qualification of all Contractors and subcontractors.

Potentially an extremely hazardous process, where walls of tunnels may fall in, foundations of adjacent building may be disturbed and damage to underground services.

Battering sides of tunnels at an appropriate angle.

Excavation and working with tunnel networks

The possible uncovering of antiquities could halt the project indefinitely while archaeologists work on site.

Both the Contractor and the Sub Contractors must follow sound administrative practices.

Provision of safe access into the excavation. Pumps installed to remove any water in event of a flood.

As early as possible and continued throughout. An initial occupation of the finished parts of the building will allow the public to witness it come to life.

When the individual tender packages are completed, then specific timings can be made certain.

As early on as possible

Before sub-contractors are appointed

Take detailed intrusive survey of ground works before, with detailed drawings issued of service location.

No digging within 0.5m of services or other tunnels.

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construction (design + management)

The key risks present on site are outlined as such: 01 Asbestos or other contaminants A large part of the project will include re appropriating the existing building stock on site. As such, a detailed site and asbestos survey will be completed to record all cases of asbestos on site. A delicate deconstruction process will be undertaken to ensure neighbouring buildings are not damaged, and any dust, debris and contaminants are carefully removed. 02 Overhead power lines and underground services There is a network of tunnels which are included within the site boundary. Care will be needed when building on the ground above where these tunnels are located. A detailed survey of the tunnels and their proximity will be conducted. Any foundations for buildings located above the tunnels will be considered. These are intended to be used by the project for access, and as such the process of excavation will need to be carefully considered. 03 Unusual ground conditions The cliff face that intersects the site presents a design challenge which will have to be mitigated. Historic records reveal several buildings previously located on the edge of the cliff, and remains of their foundations are expected to be found when excavating. When working with this ground condition, great care will be taken with extra precautionary measures. A number of trees are located on site, and root systems will be carefully noted. 04 Public rights of way across the site The existing road through the site will be decommissioned as a part of the project and adapted to become a pedestrianised route. Their present purpose is to provide access to the numerous car parks on the site, which will be removed as a part of the project. 05 Nearby schools, footpaths, roads or railways The adjacent high streets will remain in use, and adequate site fencing erected. Works will be restricted to the construction site with minimal disruption to the surroundings. 06 Other activities going on at the site Neighbouring buildings will continue to be used, with access via Royal Oak Yard rerouted to other entrances.

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Retain floorplates Demolished Adjacent buildings Uneven ground conditions

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Upper Deck Studio Cllr Elise Wilson Leader of Stockport Council c/o Town Hall Edward Street Stockport, SK1 3XE

241 Merseyway, Stockport, Greater Manchester, SK1 1QH

Dear Cllr Wilson, Following our recent survey of the site, we have now begun to consider how best to approach access into and through the prosed building. As you are aware, there is a significant change in topography through the site, and as such will require an innovative and exciting solution how to navigate this. Please find attached our initial study into the options for how best to create an experience that is inclusive and nondiscriminatory. This can be understood as ‘the design and composition of an environment so that it can be accessed, understood and used to the greatest extent possible by all people, regardless of their age, size, ability or disability’.96 Inclusive design strategies to begin considering now include signage/ way-finding, lighting, visual contrast, controls and door furniture, and materials.97 Our intent is to create a spectacle from the act of vertical circulation. Referencing historic examples (fig 183 + fig 184) which have negated extreme topography while also becoming an attraction in their own right in inner city environments. We intend to use these as inspiration to enhance the experience of rising above Stockport’s landscape and draw people in. Alongside this, we hope to incorporate the mechanics of the lift within the wider operational systems of the building, and utilise greywater to power the motion of the transit, much like historic funicular railways.

Best, Jonathan Foulger ARB RIBA Project Architect

96 Centre for Excellence in Universal Design, Building for Everyone: A Universal Design Approach - Vertical Circulation (Dublin) p.66. available: < http://universaldesign.ie/BuiltEnvironment/Building-for-Everyone/3-Vertical-Circulation.pdf > [accessed 24 Feb 2020] 97 Littlefield. D, Metric Handbook, Fourth Edition (Oxon: Routledge, 2012) Section 42, part 1.2.

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↑

fig 181.

↑

fig 182.

fig 183.

↑

↑

fig 184.

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fig 185. example of a water powered funicular railway.

01 02 03 04 05

Water intake Storage tank Pipe to funicular tank Water inlet Counterweight tank

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In response to this, design strategies outlined by CABE98 and universal design philosophy99 can be used as a basis for spatial and architectural design:

People at the heart of the design process. Acknowledges diversity and difference. Offers choice where a single design solution cannot accommodate all users. Provides for flexibility in use. Provides buildings and environments that are convenient and enjoyable to use for everyone.

Equitable Use Flexibility in Use Simple and Intuitive Use Perceptible Information Tolerance for Error Low Physical Effort Size and Space for Approach and Use

In exploring vertical circulation specifically, Part M of the building regulations state the optimal solution of vertical access is a passenger lift which is ‘the most suitable means of vertical access and should be provided wherever possible. However [...] it may not be possible to install the type and size of passenger lift that would be suitable for use by all, and other options may need to be considered.’ 100 Understanding demographics, frequency of use, changeovers and visitor times are necessary in order to adequately allow for all those with disability are able to reach their destination at a similar time.101 It is estimated that approximately 20% of the UK population have rights under the DDA,102 and understanding demographics are useful to predict the number of people who rely on lift access.

Youth [0-15] 56,300 (19.4%) 0.5% above UK average Stockport Population 291,000 [as of 2019] 58,200 estimated with disability

Working Age [16-64] 177,000 (60.8%) 2.1% below UK average Elderly [65+] 57,600 (19.8%) 1.6% above UK average

98 CABE, The principles of inclusive design (London: CABE, 2006). 99 ‘The 7 Principles’ [Internet] Universal Design Authority, 25 Oct 2008, available: < http:// universaldesign.ie/What-is-Universal-Design/The-7-Principles/ > [accessed 24 Feb 2020] 100 Building Regulations, Access to and Use of Buildings: Volume 2 - Buildings Other than Dwellings, 2015 Edition, p.32, available: < https://assets.publishing.service.gov.uk/government/uploads/system/ uploads/attachment_data/file/441786/BR_PDF_AD_M2_2015.pdf > [accessed 27 Feb 2020]. 101 Simpson. J, ‘What are the Considerations When Installing Mechanical Vertical Access Solutions?’ [Internet] RIBA, 15 March 2015, available: < http://www. architecture.com/RIBA/Professionalsupport/Researchandinnovation/Assets/Files/ ConsiderationsforVerticalAccess-JaneSimpson.pdf > [accessed 27 Feb 2020] 102 Littlefield, 2012, Section 42, part 2.1.

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fig 186. Creating a lift core as a distinct volume may create a distinct architectural form which is derived from purpose. minimum m2 per person

peak potential footfall

space

area

Showroom

500

1

500

Workspace

620

9.3

67

Production Hall

430

10

43

Theatre / meeting

210

0.46

456

Display

240

5.8

42

Urban Farm

400

30

13 Total:

1,121

An estimated peak footfall figure can be calculated based on the outlined areas and minimum space standards, which suggest approximately 220 people of a disability may be in the building at most, and will assist in anticipating frequency and density of use. Design considerations to bare in mind are103:

- Sufficient space to enter and leave. - Where only one lift is installed, what happens in the event of failure and how would this service be provided? - Have a strategy formulated to ensure safe evacuation for disabled people. - Ensure detail, tonal contrast, mirrors, voice and tactile symbols meet requirements. - Locate passenger lift adjacent to an accessible flight of stairs. - Keep to recommended minimum internal dimensions of 1800mm x 1800mm. 103 Simpson, RIBA

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The site wide approach to vertical circulation will be enacted through a strategy focused around two lift cores, one to the north of the site, and one at the centre which will utilise the existing tunnel networks. The experience of these will look and feel distinct, and their contrasting nature will provide unique environments. To facilitate these cores, a series of raised walkways and strategic ramps will network around the site. Within this framework, simplicity is key to create a clear accessable, and inclusive environment.

Connecting bridge Exterior promendade Connecting bridges

Platform lift 1:20 ramped access

Primary ‘feature’ vertical circulation

Goods Yard

Showroom

Passenger + goods lift utilising existing tunnels

Access passage to main showroom

Courtyard

Primary ‘feature’ vertical circulation

Goods Yard

Courtyard

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Passenger + goods lift core Tunnel access

Unloading 5m2

Goods + Art Lift 15m2

↑

fig 187. The spatial requirments for the transit of art and goods within a building can be siginificant, and spatial planning is necessary to ensure the successful logistics. Example: Tate St. Ives.

Goods + Art Lift 15m2

Loading bay + workshop 50m2

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concluding summary

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This project thus far has sought to engage with the subtleties of place within their own individual, contemporary context. Since the completing the design manifesto, elements of the project have naturally progressed further through continued development into the programmatic and architectural elements. As explored within the management report, the aim of this project is to develop a piece of permeable pluifrom urbanism; one which sustains it’s own existence in a future that anticipates a localised, low carbon economy. The integration of Architecture 00’s Compendium for the Civic Economy has assisted in framing this stance, especially through an ‘establishment of the principle of co-creation between producers and users for public goods and services’.104 This summarises the purpose for the project’s foundation; as a place for co-production and display. With reimagining the typological aspects of a department store, the reintroduction of spaces of intrigue, detachment and spectacle will form a new exciting public experience within the desolate centre of Stockport today.

104  00:/, Compendium for the Civic Economy, (London: 00:/, 2011) p.11. available: < https://issuu.com/ architecture00/docs/compendium_for_the_civic_economy_publ > [accessed 17 Feb 2020].

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This document has accreted a number of strands of inquiry and design development, which should inform an enriched and considered architectural proposal. It has been critical not to view these strands as separate pieces of work, and as such all feed into aspects to consider within design. This approach naturally mirrors how the architect practices within a professional context. They must coordinate and bring together many different strands of information and design guidance: all which constitute individual challenges and processes of integration into a greater whole. The next stage of this project will be to utilise and develop further upon these strands. This includes a continuing critical inquiry, returning to site to further engage and understand from the found conditions, interrogation and research into programmatic requirements, pushing the established personal technology approach to create an environmentally coherent and sustainable proposition, and integrating accessibility considerations with stakeholder requirements early on to allow for a holistic proposal.

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Exposure to an approach of reuse and considered design within architecture was made particularly clear during the study trip to London, Dunkirk, Lille, Brussels and Ghent. The contemporary yet individual stances taken by architects such as Assemble, 6a architects, advvt, Rotor, Lacaton & Vassal, Sergison Bates and Caruso St John have been inspiring and thought provoking. Many of the projects worked with how to balance creative reuse with unique architectural statements to create a coherence. This is a quality that this thesis project aspires to share. To conclude this document will be a return to the approach given at the beginning of the manifesto: where architecture may be viewed as an ‘everevolving product’ of culture,105 whereby tradition has guided and defined the design process arising from iterative process that places a project into a genealogy. Ultimately, the ‘accumulative landscape’ that arises from this project aims to build and progress upon the varied and rich heritage on display in Stockport; a new layer of accretion that recognises layers of the past and anticipates the markers to the future.

105  Nash. C, Contemporary Vernacular Design (London: RIBA Publishing, 2016) p.15.

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figures

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figures All images by author or Studio Palace of Reason, unless stated below: Manifesto Fig 08: < https://www.metmuseum.org/art/collection/search/487695 > [accessed 27 Jan 2020] Fig 11: < https://www.nonarchitecture.eu/2020/01/16/incessant-meaning-thoughts-dwelling-permanence/ > [accessed 27 Jan 2020] Fig 19: < http://www.liveprojects.org/2019/__trashed/ > [accessed 27 Jan 2020] Fig 22 + 25: < https://www.manchestereveningnews.co.uk/news/greater-manchester-news/town-centreregeneration-masterplan-puts-16903567 > [accessed 27 Jan 2020] Fig 26: < https://www.slideshare.net/hollan12/aldo-rossi-and-the-architecture-of-the-city > [accessed 27 Jan 2020] Fig 29: < https://www.dezeen.com/2016/07/28/movie-buro-north-ground-level-traffic-lights-prevent-pedestrianaccidents-video/ > [accessed 27 Jan 2020] Fig 30: < https://www.nytimes.com/2011/03/29/arts/design/george-tooker-painter-capturing-modern-anxietiesdies-at-90.html > [accessed 27 Jan 2020] Fig 32: < < https://www.architecture.com/-/media/files/Climate-action/RIBA-2030-Climate-Challenge.pdf > [accessed 27 Jan 2020] Fig 34: < https://gerryco23.wordpress.com/2012/07/30/stockport-the-past-in-the-present/ > [accessed 27 Jan 2020] Fig 35: < https://www.tate.org.uk/art/artworks/lowry-industrial-landscape-t00111 > [accessed 27 Jan 2020] Fig 36: < https://www.gettyimages.co.uk/detail/news-photo/two-young-spinners-at-the-catawba-cotton-mill-innewton-news-photo/640485649 > [accessed 27 Jan 2020] Figs 44, 45, 46 + 63: < http://old.stockport.gov.uk/sia > [accessed 27 Jan 2020] Figs 43 + 61: < https://britainfromabove.org.uk/en search?keywords=stockport&country=global&year=all&view=grid&page=1 > [accessed 27 Jan 2020] Fig 73: < http://www.snakeoil-urbex.co.uk/0045/ > [accessed 27 Jan 2020] Fig 76: < https://www.thesocialhistorian.com/leisure-historical-britain/ > [accessed 27 Jan 2020] Fig 77: < https://www.amazon.com/Exhibited-Philadephia-Centennial-Exhibition-Engraving/dp/B07CCKRFHY > [accessed 27 Jan 2020] Fig 78: < http://www.arthurlloyd.co.uk/StockportTheatres.htm > [accessed 27 Jan 2020] Fig 79: < https://cinemamonolith.wordpress.com/1940-1949/ > [accessed 27 Jan 2020] Figs 80+81: < https://www.manchestereveningnews.co.uk/news/nostalgia/gallery/nostalgia-john-rylands-librarybuilt-11281698 > [accessed 27 Jan 2020] Fig 85: < http://elizabethmacneal.com/the-doll-factory > [accessed 27 Jan 2020] Figs 88, 89 + 90: < http://www.bbc.co.uk/culture/bespoke/story/20150326-a-history-of-the-department-store/index. html > [accessed 27 Jan 2020] Fig 92: < https://www.dezeen.com/2016/06/07/oma-completes-restoration-venice-fondaco-dei-tedeschidepartment-store/ > [accessed 27 Jan 2020] Fig 96 + 97: < http://alanwilliamsphotography.com/upshot/the-soane-museumlincoln-inn-field-2/ > [accessed 27 Jan 2020] Fig 98: < https://www.flickr.com/photos/146095643@N07/29253049248 > [accessed 27 Jan 2020] Fig 99: < https://www.telegraph.co.uk/luxury/drinking-and-dining/nuno-mendes-did-next-shoreditchs-bluemountain-school/> [accessed 27 Jan 2020] Fig 100: < https://readcereal.com/blue-mountain-school/ > [accessed 27 Jan 2020] Fig 102 + 103: < https://www.dezeen.com/2019/04/26/assemble-granby-winter-garden-architecture-liverpool/ > [accessed 27 Jan 2020]Fig 106: < https://www.wallpaper.com/architecture/picture-palas-galway-de-paor-architectsireland > [accessed 27 Jan 2020] Fig 107: < http://editphoto.net/work-section/palas-cinema-tom-de-paor-architects-galway/palasgalway-15/ > [accessed 27 Jan 2020]

figures

Environment + Technology Fig 131: < http://www.wwmarchitects.co.uk/projects/nevill-holt > [accessed 30 Jan 2020] Fig 132: < https://www.archdaily.com/871034/pc-caritas-architecten-de-vylder-vinck-taillieu/5913b106e58ece7092 00021d-pc-caritas-architecten-de-vylder-vinck-taillieu-photo?next_project=no > [accessed 31 Jan 2020] Fig 133: http://waughthistleton.com/vitsoe/ [accessed 1 Feb 2020] Fig 134: http://kvadratinterwoven.com/a-sense-of-theatre [Accessed 1 Feb 2020] Fig 135: < http://www.6a.co.uk/projects/more/photography-studio-for-juergen-teller > [accessed 1 Feb 2020] Fig 136: < https://granbyworkshop.co.uk/ > [Accessed 1 Feb 2020] Fig 138: < https://66.media.tumblr.com/8e3f0a39627ef34b3424d7c8889446f6/tumblr_pr901f6bhF1sdwotzo3_1280. jpg > [Accessed 1 Feb 2020] Fig 139: < https://misfitsarchitecture.com/naked-house-ommx-architects-architecture-residential_dezeen_2364_ col_2-852x1324/> [accessed 5 Feb 2020] Fig 151: < https://www.architectsjournal.co.uk/news/architypes-thatch-clad-enterprise-centre-named-uks-bestoffice/10012445.article > [accessed 7 Feb 2020] Fig 152: < https://static01.nyt.com/images/2018/10/31/arts/31rootops-1/merlin_144673629_88cac911-5145-4958a6d9-886fabf52da5-articleLarge.jpg?quality=75&auto=webp&disable=upscale > [accessed 5 Feb 2020] Fig 153: < https://images.adsttc.com/media/images/56fa/6568/e58e/ce8f/e400/004d/large_jpg/8353_008. jpg?1459250514 > [accessed 7 Feb 2020] Management + Practice Fig 156: < https://www.pinterest.dk/pin/196469602478701330/ > [accessed 28 feb 2020] Fig 165: < https://www.dezeen.com/2018/03/13/hawkins-brown-bartlett-school-architecture-university-collegelondon-queen-elizabeth-olympic-park-uk/ > < http://www.architecturetoday.co.uk/ty-pawb/ > < https://www. feildenfowles.co.uk/feilden-fowles-studio/ > < https://www.agritecture.com/blog/tag/Gotham+Greens > < https:// www.osram.com/ds/knowledge/victoria-gate/index.jsp > [accessed 17 Feb 2020] Fig 170: < https://www.pinterest.com/pin/691161874036851631/ > + < https://www.foodbev.com/news/urban-\ Fig 171: < https://www.theguardian.com/environment/2019/feb/10/urban-farming-feeding-cities-of-the-future > [accessed 28 Feb 2020] Fig 176: < https://www.archdaily.com/796423/tangram-architecten-de-vylder-vinck-taillieu > [accessed 28 Feb 2020] Fig 177: < https://afasiaarchzine.com/2019/08/03-barozzi-veiga/ > [accessed 28 Feb 2020] Fig 178: < https://www.archdaily.com/927862/administration-building-with-rooftop-greenhouse-kuehn-malvezzi > [accessed 28 Feb 2020] Fig 179: < http://waughthistleton.com/vitsoe/ > [accessed 28 Feb 2020] Fig 183: < https://upload.wikimedia.org/wikipedia/commons/d/d7/Santa_Justa_Lift_-_ Lisbon_%2826878630542%29.jpg?uselang=en-gb > [accessed 25 Feb 2020] Fig 184: < https://st4.depositphotos.com/1005632/20094/i/1600/depositphotos_200942314-stock-photo-may-2018budapest-hungary-famous.jpg >[accessed 25 Feb 2020] Fig 186: < https://www.archdaily.com/575429/spotlight-lina-bo-bardi > [accessed 28 Feb 2020] Appendix Assemble: < https://www.instagram.com/p/BsJqKklh2kG/?utm_source=ig_share_sheet&igshid=1hcdmfi12q8nc > [accessed 1 March 2020] Portland Works: < https://www.owenrichards.co.uk/tietzschguitars > [accessed 23 Feb 2020] Ty Pawb: < https://www.theguardian.com/artanddesign/2018/sep/01/ty-pawb-review-art-gallery-everybodyshouse-wrexham-market#img-2 > [accessed 23 Feb 2020] Rotor: < https://kleinerevolutie.org/2016/12/16/afval-rotor-dc/ > [accessed 23 Feb 2020]

figures

appendix

appendix

appendix a: a public room

The second brief that was undertaken during the initial stages of the design process involved designing a public room installation as a group utilising a forgotten space within Stockport’s urban centre. The site of Royal Oak Yard involved installing a temporary theatre within the backlands of the high street. The proposal was intended to act as a marker within the urban landscape; a monument, signal and waypoint by which the public could interact and engage with. The materials would comprise a scaffold structure, utilising the found green fabric which adorns the cliff face on site.

appendix

appendix

appendix b: business precedents Ty Pawb Outlined as one of the members of the client group within the management report, Ty Pawb in Wrexham is a cultural and arts community centre which presents a model of involvement by which this thesis seeks to build upon.

Shop unit

Public space

Performance

Offices

Gallery

Studio

Market hall

appendix

Portland Works Portland Works in Sheffield is able to be used as a reference for how much and what sort of space is best allocated for the individual production element of the programme. The project re-contextualises the processes of making which are intertwined with Sheffield’s history, and by using the same spaces for a renewed programme brings meaning back to the building and area. Stockport’s heritage is much the same, and a similar process of renewal through making is suited for a programmatic element. The business model of Portland Works will be used as reference through the project and integrated within the wider aspect of the programme.

Heavy Workshop

Artist’s Studios

Mid Workshop

Musicians

Display

Fab Lab

40m

2

60m2

30m2

50m

2

90m2

90m2

180m2

appendix

75m2

Salvage Yard - Rotor DC

To be used in reference to the end of a material’s life cycle, the salvage yards setup by Rotor present an example of a different and unique showroom which brings elements salvaged from buildings, which are saved from the end of their life. The yard was visited during the February 2020 studio study trip to Brussels The status of these items have ‘formally [been] identified as useful objects, these materials now exist in a liminal space awaiting a new purposes in new places.’106 By working with the government in Brussels, Rotor hope to steer obstacles and allow this typology to thrive. The yard presents a challenge to designers to work with recycled and found materials.

106 Isabelle, ‘Rotor DC in Vilvoorde’ [Internet] Kleine Revolutie, 15 Dec 2016, available: < https://kleinerevolutie.org/2016/12/16/afval-rotor-dc/ > [accessed 23 Feb 2020].

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