Architecture in Context Dissertation - J.Raj [2014] by JRaj_64

ACKNOWLEDGEMENTS

I would like to give special thanks to my Dissertation Supervisor, Richard Dundas, for his time, enthusiasm and his extreme efforts to keep my progress strong and steady through out the research project. Secondly, I would like to show complete gratitude to the Nottingham Council Library and the staff members who gave me a strong push in my development in primary and secondary research. They helped me achieve a stronger position in writing up my essay. Another thanks goes to Mr. Simon Davison who took the time to give me possible resources on behalf Caruso St John Architects who helped me gain the needed information by the practice. A final acknowledgment goes to my classmates and everyone who took part in answering my questionnaires to have a complete set of primary research. Thank You.

STATEMENT OF OWNERSHIP

I confirm that the work in this document is solely of my production, except where it is correctly referenced. The copyright of this dissertation rests with Nottingham Trent University.

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CONTENTS Acknowledgements

Statement of Ownership

Table of Contents

List of Figures

4-‐5

Abstract

Methodology

Introduction

Chapter One: Architect + Background

9-‐11

Chapter Two: The Concept & the Early Stages

12-‐14

Chapter Three: The Site & its Context

15-‐17

Chapter Four: Process of the Build At the Beginning Initial Designs & Controversy Designs Developed & Improved Delayed Progression Slowly Nearing CompletionChapter Five: Financial Issues

18-‐24 18 19 20 21 24

Chapter Five: Financial Issues

25-‐26

Chapter Six: Completion & Use Opening Night The Building Public & Opening Reviews

27-‐32 27 29 30

Chapter Seven: Perceptions Architecture Students Perspectives Local Users & Public Perspectives Local Art Community’s Perspectives Architects Perspectives

33-‐36 33 34 34 35

Conclusion

37-‐38

Appendix I – Architectural Drawings

39-‐45

Appendix II – Questionnaires

46-‐49

Appendix III – Questionnaire Response Summaries

50-‐57

Appendix IV – Project Evaluation

Appendix V – Ethical Clearance Form

Bibliography

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LIST OF FIGURES

FRONT COVER IMAGE – Nottingham Contemporary photo (Photoshop-‐edited myself) [Source: http://worldeventyoungartists.com/venue/nottingham-‐contemporary]

Figure: 1.1 – The New Art Gallery, Walsall [Source: http://www.thenewartgallerywalsall.org.uk]

Figure: 3.1 – Photo of Nottingham Contemporary on Garner’s Hill [Source: http://www.dezeen.com/2009/11/16/nottingham-‐contemporary-‐by-‐ caruso-‐st-‐john-‐architects/]

Figure: 3.2 – Site Plan of Nottingham Contemporary [Source: Kieran Long, ‘Arts & Crafts’. The Architects' Journal (London, UK: 12th November 2009), Volume 230, Issue 17, pp.25]

Figure: 4.1 – First Visual Proposal of CCan revealed by Nottingham Evening Post [Source: Nottingham Evening Post 2 April.2005]

Figure: 4.2 – Visual of developed design for Nottingham Contemporary [Source: Nottingham Evening Post 21 February 2005]

Figure: 4.3 – Photo from Nottingham Evening Post of first look at the construction of the Galley. [Source: Nottingham Evening Post 19 February 2008]

Figure: 4.4 – Lace Concrete Pattern in production [Source: http://www.e-‐architect.co.uk/england/nottingham-‐arts-‐centre]

Figure: 6.1 – Evening Photo of Nottingham Contemporary [Source: http://www.dezeen.com/2009/11/16/nottingham-‐contemporary-‐by-‐ caruso-‐st-‐john-‐architects/]

Figure: 6.2 – Entrance of the new Contemporary Gallery [Source: http://www.dezeen.com/2009/11/16/nottingham-‐contemporary-‐by-‐ caruso-‐st-‐john-‐architects/]

Figure: 6.3 – Visual of the completed Nottingham Contemporary Gallery [Source: http://www.dezeen.com/2009/11/16/nottingham-‐contemporary-‐by-‐ caruso-‐st-‐john-‐architects/]

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Figure: 6.4 – Interior photo of gallery space with fluorescent lighting [Source: http://www.dezeen.com/2009/11/16/nottingham-‐contemporary-‐by-‐ caruso-‐st-‐john-‐architects/]

Figure: 6.5 – Photo of Garner’s Hill steps down to Cliff Road [Source: http://www.dezeen.com/2009/11/16/nottingham-‐contemporary-‐by-‐ caruso-‐st-‐john-‐architects/]

Figure: C.1 – Final Visual of Nottingham Contemporary by Caruso St John [Source: http://www.e-‐architect.co.uk/england/nottingham-‐arts-‐centre]

Figure: A1.1 – Sub Basement Floor Plan of Nottingham Contemporary by Caruso St John

Figure: A1.2 – Basement Floor Plan of Nottingham Contemporary by Caruso St John

Figure: A1.3 – Ground Floor Plan of Nottingham Contemporary by Caruso St John

Figure: A1.4 – Section AA of Nottingham Contemporary by Caruso St John

Figure: A1.5 – Section CC of Nottingham Contemporary by Caruso St John

Figure: A1.6 – Section FF of Nottingham Contemporary by Caruso St John

Figure: A1.7 – East Elevation of Nottingham Contemporary by Caruso St John

Figure: A1.8 – South Elevation of Nottingham Contemporary by Caruso St John

Figure: A1.9 – West Elevation of Nottingham Contemporary by Caruso St John [Source for A1.1 -‐ A1.9: http://www.dezeen.com/2009/11/16/nottingham-‐contemporary -‐by-‐caruso-‐st-‐john-‐architects/]

Figure: A1.10 – Technical Detail Legend

Figure: A1.11 – Technical Detail in Section

Figure: A1.12 – Technical Detail in Plan [Source for A1.10 -‐ A1.12: Kieran Long, ‘Arts & Crafts’. The Architects' Journal (London, UK: 12th November 2009), Volume 230, Issue 17, pp.35]

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ABSTRACT

The research matter focuses on the design process of Adam Caruso of Caruso St John’s design development of the concept in respect to the site of designated for the Nottingham Contemporary by the Nottingham City Council. The title of this project contains various factors that need to be taken under consideration, if the research and analysis is to be efficient and accurate. These factors include the architect, the site, the concept, the context, the finance, the design process, the completion, the usage of the building and public perceptions of the end result. All factors contribute to the success or failures of the objectives and initiatives set out during the design process. This project is undertaken in the hope of understanding and learning if the architect succeeded in portraying and maintaining the original concept through out the design process and after completion. At the same time, with Garner’s Hill being a challenging site, to see if the Contemporary Gallery was prosperous in its context with public appreciation.

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METHODOLOGY

The method in which this project will be undertaken will be both in a chronological manner and in respect that all factors titled in every chapter add a particular value to the design process. Starting with understanding the Architect Adam Caruso of Caruso St John architects, explaining why Peter St John is not analysed equally. The site of Garner’s hill offers many challenges and historical prowess. Having knowledge of the site is significant as it shows an aptitude in exploring and justifying the end result of the Contemporary Gallery. The process of the build followed by financial issues will be studied through secondary research resources such as newspaper articles, architecture journals and other forms of media and literature. The process of the build is the strongest factor that clarifies the architects design process and conceptual design development. The financial issues of the project will be understood at the time why such issues are of importance. The relevance of it to the question in matter is due to finance also being an element of the RIBA design process in more than one stage. Issues in commission and production can affect the quality output and portrayal of the design. A chapter on the completion and use is written separately to indicate whether or not the end result was a success or not. The final chapter before the conclusion is a summary of the primary research undertaken for the project again in a chronological order to follow the same structure as the rest of the essay; showing how such research became vital in the development of analysis and concluded evaluation.

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INTRODUCTION Nottingham Contemporary is one of the most well known buildings of the City of Nottingham. It is an art museum situated on Garner’s Hill near Broadmarsh Shopping Centre. The title of this research project questions whether or not the architecture behind this contemporary museum was successful through its design process, and whether its original concept was maintained and portrayed in the final result of Nottingham Contemporary. Caruso St John is the practice behind the construction of the museum; Adam Caruso in particular -‐ a Senior Partner of the practice was the key architect of the Nottingham Contemporary. One would give an initial interpretation of the building itself at this point before the research is analysed, as it will add to the progress and result on a more personal level. Therefore, one’s initial response to the Contemporary could be somewhat negative, at first glance the façade in particular clashes with the calm site, and the grouping between gold and green does not combine well. However, the form and structure of the building is interesting, and the challenge of designing on site such as Garner's Hill must be appreciated. Referring back to the matter of the project, it is important to clarify the meaning and valued definition. The matter in question is whether or not the Contemporary Gallery and Adam Caruso have created an intervention on the site that has lived up to its expectation and use as well as its original design intentions.

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CHAPTER ONE: ARCHITECT & BACKGROUND The practice is Caruso St John the partnership of Adam Caruso and Peter St John. The two architects established their practice in 1990, obtaining an excellent international reputation within the public realm especially in designing contemporary architecture. The project that 'gave the practice its first public attention was the New Art Gallery based in Walsall (as show in Figure 1.1); a project that won an International competition in 1995' (Boudet, 2010: 34-‐45).1 At this early stage in their career, they were appreciated for their sensitivity to experience the context of the buildings they designed. Since then, the practice has extended their services with a broad range of projects in the public and private realms. The practice continues this with an interest ‘in the emotional and physical qualities of construction’ (Caruso St John, 2009).2 This particular architectural characteristic has developed a fascination for materials followed by an involvement in academic and office based research. Two particular projects Caruso St John accomplished being shortlisted with a prestigious award such as 'the Stirling Prize for both the New Art Gallery in Walsall (2000) and the Brick House in London (2006)' (Long, 2009: 22-‐35).3 Figure: 1.1 – The New Art Gallery, Walsall 1 2

Boudet, D. (2010) ' Nottingham Contemporary', Architecture Today (204):pp. 34-‐45. Caruso St John Architects (2009) 'Nottingham Contemporary' (Internet) Available at: http://www.carusostjohn.com/practice/overview, Accessed 22/01/14. Long, K. (2009) ' Arts & Crafts ', Architect's Journal 230(14):pp.22-‐35.

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Peter St John the other half of the practice and its architectural image, studied at the Bartlett School of Architecture, the University College of London, completing his Architectural Association in 1984, unlike his partner’s international beginnings. In the six years gap prior to collaborating with Adam Caruso, Peter St John worked for Richard Rogers, Dixon Jones and then Florian Beigel and Arup Associates. It is safe to assume that both Caruso and St John came to a decision to teach together at University of North London, as Peter St John was also taught there between 1990-‐2000. Many members of the staff including the partners are commendably involved in teaching at a large range of architecture schools. Both Adam Caruso and Peter St John have closely been 'involved in the design of all projects with one of the partners attending client meetings and leading the project together with an Architect Project Leader' (Long, 2009: 22-‐35).4 Hence, Adam Caruso is often referred to as the Architect for the Contemporary Project in Nottingham. He studied architecture in Canada at the McGill University located in Montreal. Prior to his partnership with Peter St John, Caruso also worked for Florian Beigel and Arup Associates. During the first decade of his collaboration with Peter St John, he taught at the University of North London from 1990-‐2000. He later became ‘a Professor of Architecture at the University of Bath from 2002-‐2005’ (Caruso St John, 2009).5 Dominic Bradbury, writer for the Telegraph Newspaper online, describes the two architects as being from two different backgrounds but 'have a common cause in their love of playful, vibrant buildings'. (Telegraph, 2008). 6 It is understood that together they have their own ‘pleasure principles’ such as ornamentation and decoration, texture and colour. Adam Caruso states, 'A building should be emotional. It can have an intellectual idea behind it but it is not supposed to be cerebral. There is a playful quality, a richness in our work'. (Caruso, in Telegraph, 2008). 7 This quote from the architect is interesting to remember as the research moves closer to the design intentions of the architect for Nottingham Contemporary. The two architects insist on architecture history as a creative source, and 4 5

Long, K. (2009) ' Arts & Crafts ', Architect's Journal 230(14): pp.22-‐35. Caruso St John Architects (2004) 'Nottingham Contemporary' (Internet) Available at: http://www.carusostjohn.com/practice/biography/caruso, Accessed 22/01/14. The Telegraph (2008) 'Caruso St John: the pleasure principles of architecture' (Internet) Available at: http://www.telegraph.co.uk/culture/art/3563010/Caruso-‐St-‐John-‐the-‐ pleasure-‐principles-‐of-‐architecture.html. Accessed 5/12/13. Ibid.

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embracing it as an importance rather than designing a novelty modernist element of architecture. Peter St John argues 'The new for its own sake seems to us both hopeless and pathetic, we prefer characterful ugliness to calculated perfection, aiming for a “richly associative” architecture that draws on the nature of its materials'. (Ursprung, 2008). 8 Caruso St John embrace external disciplines like art, design, literature and philosophy to enrich its practice. Will these disciplines and elements display within the architecture of Nottingham Contemporary Gallery? 8

Ursprung, P. (2008) Caruso St John: almost everything. Barcelona: Ediciones Polígrafa

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CHAPTER TWO: THE CONCEPT & EARLY STAGES From the early stages of when Adam Caruso presented in front of the Nottingham panel built of Council members, with just three simple A1 presentation boards and a sketchy cardboard crafted model, he convinced the board members of his repeatedly appreciated virtue of being sensitive and acknowledging of the history of the Garner’s Hill site. The initial concept, it cultivated from this idea of ‘Inside Out’ whilst Caruso St John’s design thesis was developed with the theme of ‘Forgotten Spaces’. The Nottingham City Council did not demand a specific concept or requirement; they only had two key objectives. The first of them being an acknowledgement and appreciation to the site. Garner’s Hill is notably a challenging and demanding site to work on, with its change in levels, having to respect Broadmarsh Shopping Centre as a standalone component of Nottingham City, the tramline service, and last but not least, the site being a central crossroad point between the Train Station and the City Centre. The second objective one would apprehend from research and current news, is that Nottingham City Council have had an agenda to create for the City a reputation and name, to be recognised and connected well on an International Level. It was very clear looking back through the various news articles that the Nottingham Contemporary project's key agenda was being able to call out to international artists and bring new contemporary art to the City. An example to take would be the current redevelopment of Nottingham Train Station. It is clear through Nottingham City Council’s marketing campaign of the project's initiative, one being connected on an International level. The Contemporary Project was one of the first in the early stages for Nottingham Council’s subtle growing agenda to making the city better known and associated on an International range. With this in mind there is no question to how Adam Caruso impressed the Board Members panel with his acknowledgements to the complicated site, with it being one objective close to their desires. The second vision being that Caruso St John creates a concept of their own, hence creating such an abstract yet interestingly developed concept. In 2009, when the Contemporary Gallery first opened, Adam Caruso gave a special post-‐modern type lecture, revealing the presentation he gave to the jury of Nottingham back in 2004. The council’s brief handed to them was 'very long, yet inspiring with the continuation of Nottingham’s legacy of Lace and N0443695

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Contemporary Art'. (Caruso, 2009).9 Following this, he displayed the ninety-‐ minute presentation that won him the design project. The crowd circled closer to view the images of inspiration, history and things the architect appreciated with contemporary art. Adam Caruso described the concept of “Inside Out” and how he developed it. It began with his thought of what the buildings were at the time and the image they should project to the City. There was a conflict between what the site needed and what the site allowed in terms of Contemporary. Whilst speaking of this, images of inspiration and themes were shown of his initial approach. Adam Caruso had a motivating creativeness brought up by 'late 60s group artists whose work really span of the visual arts, time based arts, autonomous whilst engaging with the City'. (Caruso, 2009). 10 A fascinating comparison between the edge of Lace Market and downtown New York was described whilst remarking on a conflict between what New York City wanted to be, and what it needed, with strong residence already in place. Caruso went on further talking about how he wanted to treat the site with the same respect as New York City and other locations including particularly Tokyo. Backtracking to the concept and design thesis, it was at this point in his lecture that he gave more attention to, explaining his approach to the project with a creative perspective. He demonstrated the art community's wishes on how it wanted to make this type of building, and the other spaces it had emanate importance. Hence his concept ‘Inside Out’/’Outside In’, with the design thesis focusing on how the building was with generalised spaces as levels go up and down. The design thesis was increasingly developed with respect to the old lace factories already embedded on the site, of which Caruso St John thought to be what gave it its specialness. These were the reasons for the two partners exploring the rest of the city and clarifying that their early intention in regards to the project was to respond positively to the topography, as the ‘ex-‐industrial’ use changes to a more industrial use. Adam Caruso promised 'The steps were to be improved allowed by the Building to integrate with the site'. (Caruso, 2009).11 The scale of the building would respond to the site, especially the South towards the Train Station. His final words in relevance to the design process were his proud initiative in the historic 'lace to be part of the building, going away from it then coming back to it more appropriately'. (Caruso, 2009).12 9 Caruso, Adam (2009) “Nottingham Contemporary.” Opening Night of Nottingham Contemporary. Nottingham Contemporary Gallery, Podcast Speech. 10 Caruso, Adam (2009) “Nottingham Contemporary.” Opening Night of Nottingham Contemporary. Nottingham Contemporary Gallery, Podcast Speech. 11 Ibid. 12 Ibid.

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As documented within the Nottingham Contemporary podcast, the initial stages and approach by Caruso St John, more particularly by Adam Caruso himself were; it is clear at this stage where and what the architect’s intentions were and what his attention was on. The concept is a creative abstract, clear and interesting and correlates strongly with the developing design thesis.

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CHAPTER THREE: THE SITE & ITS CONTEXT Garner’s Hill is located on the boarder of the City Centre. The Architects Journal describes the Contemporary Gallery as 'an unmistakeable landmark in the City' (Long, 2009: 22-‐35).13 Upon arrival at the City from the train station, it is a 'gateway, climbing the steep hill that leads up to the city’s commercial centre’ (Long, 2009: 22-‐35)14, on the border of the Lace Market near where all the old factories were once situated. The Lace Market is a grand yet sombre quarter formerly filled with warehouses and offices centering the heart of Nottingham’s Lace-‐finishing industry in the 19th century. The Gallery was built for a different reason, to celebrate and attract contemporary art on an International level. Figure: 3.1 – Photo of Nottingham Contemporary Figure: 3.2 – Site Plan of Nottingham on Garner’s Hill Contemporary Among respectable architecture practices including Zaha Hadid and Norman Foster Architects, Caruso St John won the competition in 2004 to build an institution to nourish an art scene and persuade artists to remain in the City. The site was a tricky one, the proposal to erect a sophistically designed building within this large slope of which is Garner’s Hill with 'a physical character of the site and of the architectural character of the warehouse buildings in the Lace Market’ (Long, 2009: 22-‐35).15 The extreme topography of the site is an obvious perception; there is a drop of thirteen meters from the gallery’s main entrance 13 14 15

Long, K. (2009) ' Arts & Crafts ', Architect's Journal 230(14): pp.22-‐35. Ibid. Long, K. (2009) ' Arts & Crafts ', Architect's Journal 230(14): pp.22-‐35.

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along High Pavement to the bottom of the site at Cliff Road. The west portion of the site merges into the City Centre through the Broadmarsh Shopping Centre, as the southern side is where the train station and River Trent is located. The site was previously an old railway cutting, which was once used to house large pipes serving the city district's heating system. It is the 'oldest site in the City, home to a Saxon fort, medieval Town Hall' (Nottingham Contemporary, 2009)16, as well as the Victorian railway cutting and surrounding. Nottingham Contemporary is one of the largest contemporary art institutes in the United Kingdom, at 3,000 square meters. Covered by a hundred thirty-‐two skylights within the four gallery spaces; performance and film space, learning room, study and finally the shop/café bar. Notably the building appears larger on the inside than the outside, even though the northern side set within the sandstone cliff along Cliff Road. The design of the building allows direct views into all the important spaces. Continuing to look at the outer parts of the building, the 'steps at the side of the building have recreated a historic right of way’ (Nottingham Contemporary, 2009) 17 , along the Old Saxon fort. Alex Farquharson, the Gallery director who was appointed in 2007 as a founder, states that Caruso St John 'designed a building that belongs unequivocally to this century, but one that emerged from and responds to its geological and historical context' (Farquharson, 2010:4-‐5).18 A major reason for the selection of Caruso St John architects, by the Nottingham Council Board Panel, was their 'sensitivity to the Garner’s Hill site'. (Nottingham Evening Post, 2004).19 The Nottingham Evening Post newspaper clarifies that, even though Adam Caruso reacted sympathetically towards the site, in truth it was the City Council who chose to place this new contemporary art museum on Garner’s Hill. Alan Dillon the project manager informs the evening post 'The problem with this project has been site ownership. If you like it is one of the few sites where you can put a new building like this. The project originally foundered because it was on a site, which we did not own. After two years the project fell through, so the council was nervous about going into discussions about another site which might fall through' (Nottingham Evening Post, 2004).20 16 Nottingham Contemporary (2009) Building Information Notes. 17

Nottingham Contemporary (2009) Building Information Notes. Farquharson, Alex. (2010) Now & Then: Histories of the present. Nottingham: Nottingham Contemporary. 19 Nottingham Evening Post 18 Sept.2004. 20 Ibid. 18

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The green space was dilapidated, used by the local drug users, whilst still being emotive, the environment had scattered pieces of litter and examples of graffiti vandalism. Unfortunately, even now the council has not made it priority to clean the area up, but can one assume the Contemporary Project was the first stepping-‐stone for that initiative? In 2005, Councillor Leon Unczur said 'The architect’s worked very hard with partners and I think he has a real understanding of the area and the history of it' (Nottingham Evening Post, 2005).21 21

Nottingham Evening Post 12 July.2005.

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CHAPTER FOUR: PROCESS OF THE BUILD AT THE BEGINNING The project started with a £13 million landmark proposal for the site on Garner’s Hill, funded by Nottingham City Council with the hope of the building being completed by early 2008. As previously mentioned, Caruso St John was unanimously chosen by the city panel of council members for the Visual Arts Centre (what it was called at the start of the project). Adam Caruso’s presentation with his associate was described at its early stages as infancy. The project was to be a building with the intention that it 'will accentuate the steep hill' (Nottingham Evening Post, 2004).22 The proposed scheme was to consist of exhibition galleries, studios, and education rooms, which were described as to be 'stacked like shelves'. 23 Although Caruso St John had not decided on a particular material for the exterior, Adam Caruso informed the board members that he would prefer a material that would 'shimmer in the daylight and windows at night, giving a complex and ethical presence'.24 Michael Williams, City Council director of Leisure and Community Services, tells the Nottingham Evening Post, 'Caruso St John were selected because of their track record, enthusiasm, for the project and their sensitivity in understanding of the site and how best to develop it for the people of Nottingham' (Nottingham Evening Post, 2004).25 Following the announcement of their commission by the City Council; Adam Caruso and his associate 'stood around a simple cardboard model of their proposal' (Nottingham Evening Post, 2004).26 The 'childlike cardboard model is apparently the only impression of Caruso St John plans for their Contemporary Visual Arts Centre (CLVA)'(Nottingham Evening Post, 2004). 27 Although the plans were described as a bit thin, with no detail on an architectural scale, the board members were still confident due the practice’s track record in designing public art centres such as the Walsall Gallery. Hardly known in the years prior to this meeting, Caruso St John leaped into the premier league of British Architects on the small basis of a small number acclaimed. 'Misgivings were privately voiced about the project, and not because of Caruso St John’s design, which 22 Nottingham Evening Post 9 Sept.2004. 23 Ibid. 24 Ibid. 25 Ibid. 26 Ibid. 27 Nottingham Evening Post 18 Sept.2004 N0443695

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would not be seen in full until it is submitted as a planning proposal' (Nottingham Evening Post, 2004)28, in the early 2005 after its planned hope to gain the green light from the Arts Council. Martin Gawaith, Executive Director of the Greater Nottingham partnership said, 'The new centre will create an arena where our own artists can generate new work and share space with the stars of the art world. It is bound to enhance Nottingham’s reputation, both nationally and internationally. That will help attract new companies and organisations to the area as well as boosting tourism' (Nottingham Evening Post, 2004).29 For example, the Walsall’s New Art Gallery, which cost £21 million, opened in 2000, has been credited with helping to reinvigorate the West Midlands town image. It is one of the most significant buildings to be created in the 1990s, with a collection of art by artists such as Monet, Picasso and Van Gough and attracting 250,000 visitors a year. With this in mind, the Nottingham City Council wanted to bring the same kind of fruitful benefits to its own City. INITIAL DESIGNS & CONTROVERSY By April 2005, the first images of Nottingham’s proposed £13 million Arts Centre were released for public view (see Figure 4.1), along with the planning application submitted for the expected landmark building on Garner’s Hill, with a decision expected early Summer 2005. The design reflected the industrial character of Lace Market. The City Council Leisure director said, 'The Centre of Contemporary Art Nottingham, will give a boost to the local economy and is part of the city’s far reaching ambitions on a national and international stage' (Nottingham Evening Post, 2005).30 During the start of April, in the same year, a mystery donor had pledged £500,000 towards the project; 'the benefactor whose cash will help plug a gap in funding for the £13 million project has demanded anonymity' (Nottingham Evening Post, 2005).31 This mystery donor took the first step in bridging the gap into the growing financial struggle for the project. The City Council describes this donor, as 'someone who has seen the project and think it is worthwhile' (Nottingham Evening Post, 2005). 32 Interestingly, the following week the Architects of Caruso St John released the first set of visuals of the landmark 28 29 30 31 32

Ibid. Ibid. Nottingham Evening Post 2 April.2005 Nottingham Evening Post 12 July.2005 Ibid.

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building in April, provoking criticisms, which came to be known as ‘Nottingham’s controversial new arts centre’. With this in mind, the councillors were set to decide whether or not to a grant planning permission for Adam Caruso’s new designs. The Commission for Architecture and Built Environment heavily praised Adam Caruso’s designs for the project, even though the English Heritage found it to be an inappropriate addition to Garner’s Hill. At this point in the process, Adam Caruso stepped forward and said, 'Having taken peoples views on board, we’ve looked at the design of the building and there’s been some changes to it, the building will be talked about, it’s interesting' (Nottingham Evening Post, 2005).33 Figure: 4.1 – First Visual Proposal of CCan revealed by Nottingham Evening Post DESIGNS DEVELOPED AND APPROVED The changes Caruso St John made included the cladding panels being more concave rather than flat and including more detail of the lace pattern cast into concrete (see Figure 4.2). Some windows have been made larger and others added to Middle Pavement and High Pavement sides. Adam Caruso did not seem to be affected by the criticisms of his latest project, stating, 'A design would continue to evolve – changes were made as part of normal project developments as well as complaints. We’re always developing designs, that won't stop until it is built. To make a Centre for Contemporary Art in Nottingham is in itself a controversial thing' (Nottingham Evening Post, 2005).34 33 Nottingham Evening Post 20 July.2005 34

Nottingham Evening Post 12 July.2005

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One would accept Adam Caruso has stepped up as an architect who has definitely shown nobility in this new league of architecture by gracefully not allowing criticisms to rock the development of the design process. Equally, one can accept that a contemporary art gallery would not come without its own bit of controversy, especially one with an ‘Inside Out/Outside In’ concept. Nottingham City Council and Caruso St John's wait ended on the 21st July 2005 when the plans for the iconic building were accepted. Work was ready to start the following year and expected to be opened in 2008. Funding continued to be a factor with £750,000 still lacking. Despite the general support for the scheme, some were still hesitant about the green cladding, unsure if it was the correct colour for the contemporary scheme. Figure: 4.2 – Visual of developed design for Nottingham Contemporary DELAYED PROGRESSION Very little news was heard throughout the remaining part of 2005 and all through 2006. By mid 2007, Nottingham Evening Post confirmed concrete foundations were being laid down. The new Director was the co-‐curator of the British Art Show the previous year. The practice promised at this stage, to 'deliver a high flying platform for international contemporary art on par with other prime examples, embedded with the concept of urban regeneration'

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(Nottingham Evening Post, 2007).35 In early 2008, the budget had gone up by £1 million, as the concrete panels were put in place ready to win over the doubters of the project, they witness the lace design being visible on the chosen façade construction. Nottingham Evening post writes, 'The 11 metre high panels unveiled for the first time are more than the plain concrete panels they were initially supposed to be, embossed with a Nottingham Lace design found in a Victorian time capsule buried in 1847' (Nottingham Evening Post, 2008)36 (See Figure 4.3) Figure: 4.3 – Photo from Nottingham Evening Post of first look at the construction of the Galley. The new director gave his word by stressing it will be 'An international art centre with a strong sense of local purpose. It is a very exciting that this beautiful design, such a strong link to the City, will

35 Nottingham Evening Post 25 May.2007 36 Nottingham Evening Post 19 February.2008 N0443695

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now have a new life in the international world of Contemporary Art' (Nottingham Evening Post, 2008).37 Figure: 4.4 – Lace Concrete Pattern in production With this strong statement given by the new addition to the Nottingham Contemporary project (as it was now named) Caruso St John informed the public critics that they drew up the design for the gallery only after studying the traditional lace market buildings (see Figure 4.4). One would agree, this new initiative, whether it is true or false, was always a key objective for the architects. It has definitely played a big part in retrieving some previously lost positive attention towards the project. By using something historically known to the people of Nottingham and the culture of Lace Market, Adam Caruso had made the smart choice of bringing something back to the City that would enhance the image of both his designs and Nottingham itself. It was a strong fortune for Caruso St John to find out about the Victorian time capsule buried at that point a hundred sixty-‐one years ago. Lead Architect Stephanie Webs said, 'When we chose the lace patterns, we did not know it had been buried in a time capsule by a Victorian. It was reserved for posterity, and it is very exciting it gets to be reused' (Nottingham Evening Post, 2008).38 37 Ibid. 38

Nottingham Evening Post 19 February.2008

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SLOWLY NEARING COMPLETION Following on from the middle of 2007, financial issues were going drastically, to a point that any news that followed in regards to the project was in reference to its financial predicament. By the middle of 2009, news of its upcoming opening was surfacing after being delayed continuously. The Nottingham Contemporary was set to open at a cost of more than £19million, whilst already being controversial for its external design. Although in 2005 the gallery aimed to 'attract 500,000 visitors a year and create 200 jobs’ (Nottingham Evening Post, 2005)39, the expectation was less than half that as the Nottingham Contemporary Gallery stated they had anticipated 'at least 200,000 visitors in the first year 40 alone' (Nottingham Evening Post, 2009).

While the new gold and green building, resting in the city’s most historic quarters was ready to open by the end of 2009, it 'did not win over the locals instantly, but it is anticipated that Nottingham Contemporary will be one of the best spaces for art in culture anywhere in Britain' (Nottingham Evening Post, 2009). 41 Alex Farquharson considered that controversy was inevitable for a public funded building and that it would take the people of Nottingham some time to accept the importance of the building as it fulfils its landmark purpose. He told the Nottingham Evening Post he believes 'Caruso St John has utilised the awkward space in the most effective way, they are very conscious of the immediate environment, the practice reflected it and responded to it without pandering to it' (Nottingham Evening Post, 2009).42 With the process of build comes to an end towards of 2009, Nottingham was preparing to welcome a new and innovative cultural resource, as the project developed from a budget of £14 million to nearly £20 million. 39 Nottingham Evening Post 2 April.2005 40 Nottingham Evening Post 9 July.2009 41 Nottingham Evening Post 31 Ocotober.2009. 42 Ibid. N0443695

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CHAPTER FIVE: FINANCIAL ISSUES The first indication of the financial desperation for the Contemporary project was in April 2005 after a mystery benefactor who saw great promise in the project pledged half a million pounds to plug a gap for the funding. From that point on, a push for a further £750,000 was made. The Arts council provisionally agreed to grant the project with £5million, after the early designs were revised in respect to the controversial feedback response. The following period after this stage, there was no heavy dependency or desperation in terms of a financial crisis. However, it arose again in 2008, the initial year of the scheduled opening. Nottingham Evening Post wrote, 'The question of financial value is particularly relevant in the case of Nottingham Contemporary’ (Nottingham Evening Post, 43 2005).

The National Lottery via the Arts Council for England contributed £5 million, whilst the European Regional Development Fund paid £3 million towards the Contemporary project. Nottingham City Council pledged £1 million; the East Midlands Development Agency and Greater Nottingham Partnership donated £2 million. Similarly £2 million funding came from the joint donation of ‘other sources’ and the mystery anonymous benefactor. The appointed Director for the Gallery said, 'The gallery will bring huge economic and social benefits to Nottingham and region. In the East Midlands tourism is worth roughly £4 billion to the regional economy' (Nottingham Evening Post, 2005). 44 By the end of the year, the cost of the project had increased by a further £4.5 million, as the project followed a rise of a £1 million in October 2008 due to delay. In December, it was informed that the Nottingham Contemporary project was now expected at £19.39 million, after the Council had already originally bestowed £1 million, but following this, it rose to a total of £5.25 million. It was reported that the Council used 'a refund in VAT expenditure to cover its share of the additional cost, while other contributors made additional contributions' (Nottingham Evening Post, 2008).45 Councillor David Trimble explained that the external funding covered the additional costs and insisted that the project was still worth the money it was turning out to cost. However, even at this stage, the 'scheme was still in need of £2 million, as it was searched through donations, 43 Nottingham Evening Post 28 May.2005. 44 Ibid. 45 Nottingham Evening Post 4 December.2008. N0443695

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businesses, individuals and known trusts' (Nottingham Evening Post, 2008).46 With heavy criticisms and questions bombarding the Nottingham representatives for the Contemporary project, the council admitted there were significant risk funds as 'difficulties with the site, including a steep gradient, works to support the cliff, the discovery of an unknown sewer and the remodelling the connection to the Broadmarsh Shopping Centre, are all reasons for the rebuilding delays' (Nottingham Evening Post, 2008).47 As the costs for fitting had also risen, an unimpressed Conservative Councillor sharply complained, 'It is a shocking project management, obviously when you go to do a risk analysis, it is worrying the council does not learn from its mistakes. There was the ice stadium, Old Market Square and now this'. (Nottingham Evening Post, 2008).48 By the end of 2008, Nottingham Evening Post newspaper reported the following facts: the total cost being £19.39 million, the East Midlands Development Agency having funded a total of £12 million, whilst previously stating Nottingham City Council’s new total being £5 million and other sources having donated £2 million. With the heavily costing and frantically funded project nearing completion the following year and set to open in December 2009, the overall financial report summarises the projects initial estimation being close to £14 million grew to close to £20 million between the years of 2004 and 2009. When discussing the project only in a financial term, one could clearly class it as a failure. However, would it be fair to class it so without taking into consideration its progress after completion? 46 47 48

Ibid. Ibid. Nottingham Evening Post 4 December.2008..

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CHAPTER SIX: COMPLETION & USE OPENING NIGHT Figure: 6.1 – Evening Photo of Nottingham Contemporary The night of the opening allowed Nottingham Contemporary to start making a true and honest name for itself. The interior of the building promised to be a spectacular space, equipped to accommodate international exhibitions, starting with David Hockney. This expectation generated anticipation throughout the whole world. The four-‐storey building has an area of 3,000 sqm and houses four galleries with one being a perfect square while the others being all different shapes. Adam Caruso made the most of any available natural light. Guests included the 'Sherriff of Nottingham Councillor L. Unczur, Lord Mayor Councillor Jeannie Packer, a group of local school children and six Evening Post readers' (Nottingham Evening Post, 2009).49 Once evening drew, the finishing touches were made and with the leadership of Alex Farquharson, the proud staff were finally able to open the glass doors and show off the £20 million building, with confidence that its controversial reputation would soon fade away. The Director wanted to make it very clear that 'the Gallery is free and he wants the people of 49 Nottingham Evening Post 3 November.2009 N0443695

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Nottingham to enjoy it' (Nottingham Evening Post, 2009).50 The Contemporary Gallery was built with the hope it will encourage young people to be engaged with art. Figure: 6.1 – Entrance of the new Figure: 6.2 – Visual of the completed

Contemporary Gallery

Nottingham Contemporary Gallery

The new gold and green building standing in one of the City’s most historic quarters opened after years of preparation and millions invested into it. Alex Farquharson encouraged that 'the building in many ways does relate to its environment – it is quite inspired by a lot of the 19th Century industrial architecture in the area' (Nottingham Evening Post, 2009).51 '290,000 people who walked through the doors of the Nottingham Contemporary Gallery in its first year is 45% more than what the Director was hoping for' (Nottingham Evening Post, 2009).52 The Contemporary has added the best part of £9 million to the City Centre’s economy. Director Farquharson informed that he has not hesitated 'In suggesting that they do show that challenging contemporary art is just as much part of the economic draw as a new office building, Nottingham Contemporary has the ability to make a difference' (Nottingham Evening Post, 2009).53 He also makes a justifiable bold statement in saying that Nottingham would not have been an underprivileged City, if it had not been brave enough to go through with the £20 million project. 50 Nottingham Evening Post 3 November.2009 51 Nottingham Evening Post 31 Ocotober.2009 52 Nottingham Evening Post 1 Decmber.2009 53 Ibid. N0443695

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THE BUILDING The triangular site with a set of grand open-‐air stairs located along the curving east wall manages the pedestrian transition, as shown in Figure 6.5. The building is situated with 'teaching spaces and offices along the outer wall and a basement café, but it can be viewed as a big warehouse with top-‐lit galleries, one 10m high, at the upper level, with a big 8m high space in the basement for performances' (Architecture Journal, 2006: 15).54In respect to the materials, which create the aesthetic atmosphere of the building, the precast concrete was chosen for its potential use in different colours as well as the ability to cast the famous Victorian Lace Pattern, unlike the originally chosen steel cladding. The flat roof is 'waterproofed by a liquid tanking system and then treated to a sedum extensive green roof' (Architecture Journal, 2006: 19).55 The green roof is part of the Caruso St John’s environmental strategy, attracting wildlife and being lightweight and self-‐sufficient. The roof light glazing, diffusing glass ensures even light is distributed with the correct intensity in the gallery spaces. The Oak Triboard floor panels were set up for its durability and flexibility whilst being aesthetically and technically appropriate for both visual and performance spaces. Finally Adam Caruso decided on fluorescent lighting in the galleries, giving a dimmable artificial lighting with low energy, (see Figure 6.4).

Figure: 6.3 – Interior photo of gallery space with fluorescent lighting Figure: 6.4 – Photo of Garner’s Hill steps down to Cliff Road

(2006) 'We Aren’t Really Into Aesthetic; We Are Interested In Forms'. Architecture Journal. pp15. 55 (2006) 'We Aren’t Really Into Aesthetic; We Are Interested In Forms'. Architecture Journal. pp19.

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Tom Dyckhoff of the Times describes the Contemporary gallery covered with green concrete as a piece of ‘anti-‐icon’. He spoke in regards to British Architecture, how whether or not projects are stalling, values were changing. In his article he started with a negative approach reasoning it with the idea that some prefer the ‘showbiz’ type of architecture. However, he informed the importance of subtle reference to the local environment, which is what Caruso St John wanted to achieve. Tom Dyckhoff wrote in his article, 'You don’t get more iconic than contemporary art galleries: the Centre Pompidou in Paris, Tate Modern in London and the Guggenheim in Bilbao' (Dyckhoff, 2009).56 He approved of Adam Caruso’s polite disdain to criticisms, whilst describing those buildings as 'They might feel shiny and new, but after five years buildings aren’t new anymore' (Dyckhoff, 2009).57 Adam Caruso explains that a building should be designed with the perception of how it would be viewed when it becomes old. Adam Caruso intention when designing the Contemporary gallery was for it to follow his design thesis of ‘Forgotten Spaces.’ He was expecting the gallery to one day be merged within the site and be found, for what it is, a landmark. Caruso St John is against the idea that one can put one of their buildings anywhere in the world. The practice believes their buildings should 'root and insinuate themselves into the site' (Dyckhoff, 2009).58 Tom Dyckhoff ends his review of the Gallery with the final note saying, 'The building feels as if it is going to age well, that it is going to develop a patina. So many recent British buildings look as if they have been knocked up like a shelving unit and wrapped in wallpaper. This one looks geological, as if its here for eternity' (Dyckhoff, 2009).59 PUBLIC AND OPENING REVIEWS In general terms of the public, the people of Nottingham and outside visitors to the city have had a greatly positive reaction post-‐opening, brushing off all previous controversial pessimism. Prior to the opening, Sir Nicholas Serota was 56 57 58 59

Dyckhoff, Tom. (2009), The Times: 14/11/09. Dyckhoff, Tom. (2009), The Times: 14/11/09 Ibid. Ibid

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given an exclusive peak inside the gallery by Director Farquharson and said, 'I think it is an exciting design, I’m convinced by the way it has changed from what seemed to be poor illustrations' (Nottingham Evening Post, 2009).60 Following the opening, some public exclaims were 'the gallery has a really good space, it's relaxed but friendly atmosphere' (Nottingham Evening Post, 2009).61, 'I like the style of the building, it's something different' (Nottingham Evening Post, 2009).62 And 'it’s amazing we have something like this in Nottingham' (Nottingham Evening Post, 2009) (Nottingham Evening Post, 2009).63. Public responses like these really do wash away the '50 letters of objection being received as well as 38 complaints of losing space' (Nottingham Evening Post, 2005).64 It was official; the Nottingham Contemporary was going to be known less for its controversy, and more for its achievement in bringing something special to the city of Nottingham. Within the month of opening, Nottingham Contemporary became an unmistakable landmark for the city. From its vantage points, Caruso’s design is evidently derived from the surrounding site. The laces on the finely made façade panels add realism as Adam Caruso brings back the Victorian capsuled lace. The practice’s 'intentions for the spaces and galleries inside was to mimic the quality of a found space' (Caruso, 2009:29). 65 Caruso writes, 'Our project set out to offer a wide inventory of interiors that have the variety and specificity of found space, within a new building' (Caruso, 2009:29). 66 The Architecture Journal gave its own professional review of the Gallery, stating that Nottingham Contemporary 'is architecture at a very high level' (Caruso, 2009:33).67, (see Final Drawings in Appendix I). Interestingly, instead of faulting it on its delay in construction, the journal commended the architect for getting the details right, giving the building a sense of finesse and quality with precision in exterior design, claiming the practice has delivered 'an uncompromising quality in its construction’ (Caruso, 2009:33).68 60 Nottingham Evening Post 9 July.2009 61 Nottingham Evening Post 16 November.2009 62 Nottingham Evening Post 3 November.2009 63 Ibid. 64 Nottingham Evening Post 25 July.2005 65 Caruso St John Architects (2009) 'Nottingham Contemporary, Nottingham'. Architecture 66 67

Journal. Pp.29. Ibid. Caruso St John Architects (2009) 'Nottingham Contemporary, Nottingham'. Architecture Journal. pp.33. Ibid.

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Comparing Nottingham Contemporary to the practice’s previous gallery in Walsall, the latter found it hard to be a landmark for its city, whereas the former has, with calmness. Can one truly justify the importance in architecture, of the interior over the exterior, or vice versa? In this case, Adam Caruso has done so with his concept ‘Inside Out/Outside In’ in a bold demeanour.

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CHAPTER SEVEN: PERCEPTIONS One way to judge the success of Nottingham Contemporary, both on its original intentions to create a landmark for the city and in its design concept, is to gain the perceptions and opinions of those in the local community. A selection of people within four main groups were approached for their views and opinions in order to ascertain a general outlook on the building itself (see Appendix I). During the stage of collecting this research, it was decided that a large amount of people was unnecessary for questioning as this paper caters to the perception of specific users and visitors. Collecting three responses from each type was sufficient to gather an overall perception of how the people of the most involved in the world/community of both Architecture and Art (see Appendix II). ARCHITECTURE STUDENT’S PERSPECTIVES It is important to question students, as they are examples of the future prospect of architecture. Their learning perspective is of matter in this subject, as the design process being a key stage in their learning. Out of three two gave a negative reflection towards the Contemporary Gallery, whilst only one had an overall positive response. These responses were summarised from the fact being that two students gave a negative review of the Contemporary Gallery, having not knowing the architect or his practice. Both students though classing the gallery, as success within the art community did not feel Adam Caruso had successfully achieved portraying his concept of ‘Found Space’ whilst fitting the building on the context of Garner’s Hill. However, the third student of the three who gave a continuous positive response to the gallery disagreed with the former two. This student did know of Caruso St John and the project they undertook of the Nottingham Council. In the eyes of the latter student, the concept was achieved and the building has been situated effectively in its context. What one can take from these students; is that it is easy enough to judge and criticise a piece of architecture without really understanding and having a greater knowledge. The site itself was challenging enough for Caruso St John. Two students responded mostly negatively due to the fact their very little understanding of the project or concept design. It is fair to say these student gave a prejudice response, whilst the third knowing the architects of the project was able to give a positive response by that simple knowledge. Overall three students gave their top perception in accordance to their knowledge and experience in the world of architecture. N0443695

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LOCAL USERS & PUBLIC’S PERSPECTIVES The Manager at ‘Pitcher and Piano’ and the Manager at the nearby ‘La Tasca” restaurant were each given a questionnaire. When visiting the Broadmarsh Shopping Centre, a copy of the questionnaire was given to the General Manager. In total, three managers at three key public buildings within the context of the Contemporary Gallery. If a building with a commercial value with a historical element is situated in the City Centre, that especially so close to a Shopping Centre, it automatically becomes a point of interest. Needless to say, Nottingham Contemporary fits this purpose and virtue; hence all three managers gave their professional appreciation to their respective businesses and agreed ardently. Although only one of the managers was around at the start of the project, the manager still expressed their excitement for possible business escalation. Interestingly however, whether or not two of the managers felt positive towards the gallery and its functional purpose, they did not agree to give the Nottingham Contemporary an iconic status, even if it was considered a point of interest in Nottingham. The managers who answered the questionnaires provided to them as representatives of the local public and users, they clarified the Contemporary Gallery having a strong positive and influential impact on their lives and businesses. One can ask how would this affect the design process? But surely the answer is simple, a building is designed to function in its context and add value to the site for both the users and the surrounding businesses, especially one so commercially valued like the Contemporary Gallery. It can be easily assumed that when visitors come to exhibit the gallery, they will think to explore and experience the surrounding area, e.g. a restaurant or a shopping centre. Thus the three managers have proved this analogy correct. Nottingham Contemporary in this case demonstrates to fit in its context. LOCAL ART COMMUNITY’S PERSPECTIVES The Nottingham Contemporary is a gallery, for artists to exhibit their work and for other artists to view also. One of the agendas of the project was to bring a new form of art to the city. Artists in their own right have their own insight to the development of a design. Therefore another set of questionnaires was created with the local art community in mind. As members of the local art community as either designers or other gallery representatives it was understandable they had a slight negative initial reaction N0443695

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to the announcement of the Contemporary project. However over time the artists have agreed that the gallery does pay tribute to the tribute to both contemporary art and this city itself, whilst serving its purpose in both the world of art and architecture. It was agreed that Garner’s Hill was the appropriate and fitting location for the Contemporary. All three artists as representatives of the local art community gave a positive yet critical response. So far between the students, local public and art community the Contemporary has been justified for fitting well within its context, however the concept still being left for validation. The representatives of the art community critically answered the questionnaires. This forward attitude is important to appreciate due to unlike others; the art community can give a valuable perspective post completion. The completion includes the use after the project has finished, with both still being a key factor of the design process for consideration. ARCHITECT’S PERSPECTIVES In terms of professional respect and perspective, three architects of Nottingham were questioned with questionnaires suited for their corresponding background. Two out of three concluded positively with the third negatively even though being an avid fan of Caruso St John’s architecture. In regards to the concept, out of all four groups questioned, the architects were able to critically analyse and share their perspectives, as expected. One of the architects who gave an overall positive reaction to the project, agreed that Adam Caruso’s concept ‘Found Space’ was successfully presented within the Nottingham Contemporary at the same time accepting his objective of giving the impression the gallery was always there, as it continues to merge within the site of Garner’s Hill. Fascinatingly the architect who gave a negative conclusion reflection the gallery, did however agree with the former architect in respect to the success of the concept being exhibited through its architecturally designed spaces and destined purpose on the site. The third architect of the three did not quite share the same response, however sympathising with Adam Caruso’s design initiative. The concept in this architects perspective was not as clearly emphasised, but appreciates that over time will be a victim to change. An architect can criticise another architect’s work both professionally and in respect to his or her own taste in design. All three architects rationally depicted whether or not Adam Caruso succeeded in portraying his original concept through the design process and post completion. It has been justified through primary research that the Nottingham Contemporary does fit within its context. Now also with the help of these three architects especially, the concept too has been analysed. The concepts success is in question in the current time, however N0443695

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Adam Caruso’s initiative was set through out time, as it becomes a merge in the site. Can one argue that the design objective in regards to the concept is still in motion? Nevertheless, one can state the concept is displayed, whether it has done successfully or timidly.

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CONCLUSION It has now been just over 5 years since the opening of Nottingham Contemporary, both the architect and the building have created both a name and image of themselves. Since 2009, Caruso St John has undertaken roughly thirty different projects. Within those thirty, eight of them have won awards, with Nottingham Contemporary project receiving two. In 2009, Caruso St John was awarded the RIBA Award, followed by the European Union Prize for Contemporary Architecture Mies van der Rohe Award in 2010. It is worth mentioning that the practice has been awarded multiple Contemporary Architecture awards for multiple projects. Taking into consideration the various perceptions of the Gallery, the beginning of its development to its later controversy, most will agree that it is the end result that matters. Despite all controversies and delays, the Nottingham Contemporary today has generated good revenue and has taken the first step in putting Nottingham on the bigger map, giving the city an International recognition. The current redevelopment of the train station is a clear evidential example of this. At the start of the project, a personal interpretation of the Nottingham Contemporary Gallery was given. After concluding the overall analysis and research, undertaking this project has given a better understanding and most importantly, appreciation of its design, purpose and end result. However, does this mean the Gallery has achieved what it set out to do? The initial response in the introduction made it clear that the façade design was not approved of, a statement which now would be agreed to be a prejudicial remark. It has been learnt that there was intentionally embroidered lace into the façade design among the green panel structures. The gold however, being an aesthetic choice by the architect, pays a gentle tribute to the old factories in the sites context. Similar to the initial judgement made, fellow colleagues have also given a negative impression, as two did not have a full knowledge of the Contemporary and its design. As well as the students' response, it was clear that there were a variety of criticisms as well as gratitude towards the gallery, its location and its use. In general, the primary research obtained through the questionnaires found a correlation between different people and the gallery. The process of build proved this also, with the practice paying a close appreciation and respect to the context of Garner’s Hill. Though with an interesting and creative concept one would find it hard to say it has fulfilled its N0443695

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purpose. At a perspective, the concept can be seen through the architectural drawings. Perhaps one can agree, just as the architects of Nottingham said, the gallery has done well, from its construction, the appreciation of the lace market history and its overall strong contemporary use. One can also argue just as Adam Caruso suggested, over time the gallery will appear as it if it was always there, belonging in its place on Garner’s Hill. In conclusion, during this research project, the design process of the Nottingham Contemporary Gallery has been deeply examined through analysis. It was established that the concept was received, however, not nearly as strongly when compared to the success of the building fitting well in its context. Despite the view of the public being mostly negative at the start of the project, it has transgressed into a positive one. The Nottingham Contemporary is not an iconic structure of architecture, but a true landmark to both the art community on an international level and to its home Nottingham city.

Figure: C1.1 – Final Visual of Nottingham Contemporary by Caruso St John

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APPENDIX I – ARCHITECTURAL DRAWINGS

Figure: A1.1 – Sub Basement Floor Plan of Nottingham Contemporary by Caruso St John

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Figure: A1.2 – Basement Floor Plan of Nottingham Contemporary by Caruso St John

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Figure: A1.3 – Ground Floor Plan of Nottingham Contemporary by Caruso St John

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Figure: A1.4 – Section AA of Nottingham Contemporary by Caruso St John

Figure: A1.5 – Section CC of Nottingham Contemporary by Caruso St John

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Figure: A1.6 – Section FF of Nottingham Contemporary by Caruso St John

Figure: A1.7 – East Elevation of Nottingham Contemporary by Caruso St John

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Figure: A1.8 – South Elevation of Nottingham Contemporary by Caruso St John

Figure: A1.9 – West Elevation of Nottingham Contemporary by Caruso St John

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Figure: A1.10 – Technical Detail Legend

Figure: A1.11 – Technical Detail in Section

Figure: A1.12 – Technical Detail in Plan

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APPENDIX II – QUESTIONNAIRES N0443695

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APPENDIX III – QUESTIONNAIRE RESPONSE SUMMARIES QUESTIONNAIRE FOR ARCHITECTURE STUDENTS Are you a fan of the architectural style of Nottingham Contemporary? N.V: I like the interior – in terms of materiality and atmosphere created especially in the room at the bottom (next to the cafe/bar). But I don't like the exterior, in terms of form and colour choice. S.I: Yes, because the contemporary uses an attractive simple style A.S: No. Have you /would you use the Nottingham Contemporary Gallery as a precedent study in the projects you undertake as an architecture student? N.V: Not really, if I researched more into the concept behind it and liked the raw idea then yes maybe, but apart from that no I wouldn't use it as a precedent S.I: I would use the gallery as a precedent because I have used similar techniques in my designs such as extrusion and cantilevered parts of my building out. A.S: No. Do you know of the Architect and Practice who designed the Gallery? N.V: No, I only know it was criticized for not fitting in with it's context – hence the lace print on the concrete S.I: Caruso St Johns architects A.S: No, I would have to look it up. Do you think it is true to say the Contemporary Gallery is an Iconic Landmark of Nottingham City? N.V: No, I don't really see it as an iconic landmark – other buildings such as The Council house, The Castle and St Mary's church are more landmarks to me S.I: It is an iconic structure but I’m not to sure about it being a landmark A.S: Definitely not. Something with more culture and history like the market square council building better suits the iconic description. N0443695

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Since you became a Student at Nottingham Trent University, how many times have you been to the Contemporary Gallery? N.V: I have been at least 3 or 4 times, all but one time for educational purposes (Cabaret, bus stop project in first year) S.I: 3 times A.S: Three times. With Caruso’s concept, “Found Space” creating a new space within one already found, do you feel the Gallery has achieved this concept whilst fitting into its context within Garners Hill? N.V: With regards to the concept – It doesn't seem like any different in terms of space according to any other art galleries I have visited. I think the civic space of the stairs and outdoor cafe /landscaping fit in with the context, thought I am not a fan of the exterior appearance. Having said this, The Contemporary seems like a popular gallery with many visitors, especially during events/ holidays. S.I: I think it has achieved this concept A.S: You could argue that it has, but I would argue that it if it has, then it has been done so poorly. It went through planning three times before it was accepted and that was because they added the lace-‐effect concrete façade as a last minute afterthought to get over the lack of context that the planning authorities were originally refusing.

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QUESTIONNAIRE FOR LOCAL USERS/PUBLIC Are you a fan of the architectural style of Nottingham Contemporary? P.P: Yes. L.T: Yes. B.M: Yes, nice open windows, good reception space Do you think the Gallery serves its purpose well? P.P: Yes. L.T: Yes. B.M: Yes What was your reaction at the start of the project and after the opening? P.P: N/A L.T: Very Positive brings lots of families in to the area. B.M: Personally, not around at the time of opening Do you think it is true to say the Contemporary Gallery is an Iconic Landmark of Nottingham City? P.P: Not noticeable. L.T: Yes. B.M: It could be more iconic in terms of design. It doesn’t have as many unique features as other landmark buildings. Since the opening of Nottingham Contemporary Gallery, has it affected your business/lifestyle in a positive way? P.P: Yes. L.T: Definitely had a positive impact. B.M: A good draw at the south side of the city which helps bring footfall to this end of the city and potentially impacts on footfall Is there a better location for such a Gallery in Nottingham you feel would have been more appropriate? P.P: No. L.T: No. B.M: For Broadmarsh, the location is ideal for us. N0443695

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QUESTIONNAIRE FOR ARCHITECTURAL PRACTICES

Are you a fan of the architectural style of Nottingham Contemporary? AM: Not especially, although it is certainly iconic within the context of Nottingham city centre. RD: Yes, although it took me some time. I wasn’t entirely sold on its external facades on the High Pavement junction. Also it appeared to take a significant amount of time for it to reach completion, so I associate the facades with an incomplete design. M.W: Yes, although it’s only really defined by its colour and cladding, the form is relatively non-‐descript. Do you follow the work of the designer, Caruso St John Architects? AM: Yes, avidly. RD: Yes. My housemate at University was a huge fan of the practice so they have always appeared on my radar. He was a huge fan of the Walsall Art Gallery so I took him to Nottingham Contemporary and he was severely disappointed. Exact reasons why, I can’t recollect. M.W: Not especially, although liked their work in Walsall What was your reaction at the start of the project and after the opening? AM: I wasn’t really aware of it as I was living in Birmingham for this time, however followed the development in its latter stages. I was excited, as any work by that firm is always exciting. RD: I have to say; I didn’t notice the start of the project. I generally don’t go down to that end of town. Since it’s been open, I have been there quite regularly for the events and the exhibitions, however I don’t see the exhibits nearly as much as I should do. I attended Adam Caruso’s original introduction to the building and his description of the design process and I wasn’t really convinced that his ideas and intentions were entirely successful. I’ve come to love the spaces although the downstairs hall still feels like a leisure centre. M.W: There was definitely intrigue when it started but other than that I didn’t pay much attention. When it opened, I was impressed. As an Architect, what would you say are the key pros and cons of the architectural design?

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AM: I feel the arrangement of the spaces is clumsy. They are dis-‐jointed with very little relationship to each other aside from materiality. The concrete formwork inside is of poor quality with zero consideration towards a final finish. The green concrete cladding is alluring though. RD: The concrete façade is such a wonderful detail. A design and craftsman real success story. To be fair, I feel this is down to the contractor rather than the designer, but I may be doing them a dis-‐service. Cons would be related to the ‘leisure centre’ as mentioned previously. I like the audacity of the green and gold combination. I like its form. It’s a perfect example of site-‐specific architecture. I can’t say very many negative things about it to be honest. M.W: Its location has created its strongest elements. IT has really fulfilled that previously dead space. Negative – colour! How often do you find yourself visiting & using the Contemporary Gallery? AM: Not often. Perhaps two or three times a year. RD: Not that often. The opening nights are a lot of fun, but the reasons for my non-‐ attendance have nothing to do with the facility and everything to do with my laziness and, probably, it’s location. The music events are pretty fantastic and the acoustic and lighting considerations are unrivalled in Nottingham. M.W: Each and every exhibition. It’s a great facility although not fan of the bar/cafe With Caruso’s concept, “Found Space” creating a new space within one already found, do you feel the Gallery has achieved this concept whilst fitting into its context within Garners Hill? AM: I do see that concept within its arrangement of the spaces. The main entrance hall is effective, as it appears as if it had an original purpose that has since been re-‐ appropriated. The location of the shop within the middle of that entrance hall confirms this. RD: Although I can see where Caruso’s going with the ‘Found Space’ principle, it really doesn’t wash with me. The spaces are clearly formed and designed as part of the overall approach to design. At one point this concept may have been prevalent, but costs and time constraints may have stifled this particular design approach. The context is excellent. Caruso had an intention, which was for the building to be unassuming and almost ‘blend’ into the area. Although on first visit, this is not true, after living with it for five years, it really seems to fit within the skyline and street-‐ scene very elegantly. M.W: Yes, I’d say so. It feels like its always been there. N0443695

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QUESTIONNAIRE FOR LOCAL ART COMMUNITY

What was your reaction at the start of the project and after the opening? B.C: I moved to Nottingham when NC was already opened. C.S: With the city lacking in green communal space, I was initially sad that they were going to build on the site, rather than landscape it. However I was really excited at the prospect of having a large contemporary gallery space within Nottingham and looked forward to it drawing people into the city. Also that it would be an unusual piece of architecture. Though I think at the start it came across as being a bit exclusive and they hadn’t appeared to do much homework with regard to who their market was with regard to the art communities in the city, this was quickly addressed. K.W: When the building was announced, I remember being overall intrigued and excited by the project. There were feelings of pessimism amongst other artists. Though when it was announced they were bringing in someone to run NC from outside Nottingham Do you feel the Gallery has achieved its purpose in regards to Art and Architecture? B.C: I think the gallery has achieved its purpose in regard to organising good shows and engaging with local and international public. In regard to the building I think it works fine, although in my opinion it could be a bit bigger. For instance, it could have a permanent learning room. C.S: I am not that well versed in architecture, and though I like it and the idea that it has a nod to the lace industry, I was perhaps hoping for something more shocking and I actually thought it was fairly conventional … but I am not sure if the general public shared this view. I love the internal space and the bare concrete and simple lines and I can’t imagine it not being there now. K.W: Yes-‐ they have created a space that can be viewed for a multiple of purposes In your opinion, does the Gallery pay tribute to both Contemporary Art and Nottingham City? B.C: I think the gallery shows good artworks and the Public Programme creates some opportunities for conversations and knowledge-‐exchange. I don't think the role of the gallery is to pay tribute to Nottingham City, not in this case, and not in others. C.S: Yes I think it does … it has its own agenda and needs to draw in people outside of Nottingham, but over the last 4 years I feel has become a very important centre for the Nottingham art scene. N0443695

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K.W: Yes, in as much as it is in Nottingham Do you think it is true to say the Contemporary Gallery is an Iconic Landmark of Nottingham City? B.C: For me it is an important landmark in Nottingham city, it is iconic in the sense that most of the population knows it, I think. I do hope that most of the population has been there, visiting the shows. C.S: Yes I think it has. K.W: No. not yet anyway Has the opening of Nottingham Contemporary Gallery affected your business at all? B.C: I do think that Nottingham Contemporary has contributed to my development has an artist working in Nottingham and apart from visiting the shows and I have attended screenings, talks and some courses. C.S: Initially, due to so much arts funding going into the project, the funds for keeping a number of smaller galleries in Nottingham open ran out and they had to close, including Bonnington Gallery, though now funded by NTU. However, over the years the graduates from NTU have raised their game filled the gap left, opening independent studios and gallery spaces. So in some way I think the Contemporary has forced a positive outcome and highlighted Nottingham’s vibrant art scene … which I think is general hidden to the non-‐creative industries and public. K.W: No Is there a better location for such a Gallery in Nottingham you feel would have been more appropriate? B.C: I haven't think about it. Anyway, I do like that it is in the city centre C.S: The space it is in is pretty appropriate with regard to local travel links and close to heritage sites and I like the severe difference with old against new. However I feel that the East side with Sneinton Market would also could have been a good area to draw business into. K.W: Maybe near the canal or river? Nottingham does not seem to know how to use those areas. N0443695

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POSITIVE OR NEGATIVE REACTION TO NTC: N. V: Mostly Negative S. I: Positive A. S: Negative POSITIVE OR NEGATIVE REACTION TO NTC: Pitcher & Piano: Very Positive La Tasca: Very Positive Broadmarsh Shopping Centre: Positive POSITIVE OR NEGATIVE REACTION TO NTC: AM: Negative but fan of Caruso St John Architecture R. D: Positive M. W: Positive POSITIVE OR NEGATIVE REACTION TO NTC: B. C: Very Positive C. S: Very Positive K. W: Positive

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APPENDIX IV – PROJECT EVALUATION

This research dissertation project ran for a span over 20 weeks. From the start of the project there was a definite idea to do a study based on three factors; design, concept development and architecture in Nottingham. Last year an essay on Le Corbusier was written and thoroughly enjoyed as it focused on a large scope of his work in a specific period of his architectural impact to the world. With this in mind, the decision of the project led to Adam Caruso’s influence to the city of Nottingham as per suggestion by the module leader. Following this a supervisor was allocated to work with for the majority of the research project. With the help and enthusiasm of the partnered supervisor, it was possible to polish up on a final title and begin the resesearch phase of the project. Overall, this project has been continuously stimulating as the research went deeper and deeper, the sources of knowledge expanded allowing the availabiliy of a varierty of information. With the help of members of the Nottingham Council Library the value of secondary research heightened whilst setting up the development in primary research. In conclusion, this research project on Adam Caruso’s design for Nottingham Contemporary Gallery has made the development in a design process more appreciative, especially in regards to having a better knowledge before judging a design on an opinionated level. This project has been appropriate for a research study, perhaps for a full-length dissertation essay a profounder understanding of the design process could be undertaken. It is learnt that a design must be judged on its merits and overcomed hurdles and finally whether it has created a broad-spectrum appeal for its purpose and its context.

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APPENDIX V – ETHICAL CLEARANCE FORM

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BIBLIOGRAPHY

BOOKS Boudet, D. (2010) ' Nottingham Contemporary', Architecture Today (204): pp. 34-‐ 45. Farquharson, Alex. (2010) Now & Then: Histories of the present. Nottingham: Nottingham Contemporary: pp. 4-‐5 Long, K. (2009) ' Arts & Crafts ', Architect's Journal 230(14): pp.22-‐35. Museums in Nottingham: Nottingham Castle, Nottingham Contemporary, Galleries of Justice. Nottingham: General Books LLC, (2010) Tunstall, G. (2000) Managing the building design process. 2006. Reprint. Oxford: Butterworth/Heinemann. Ursprung, P. (2008) Caruso St John: almost everything. Barcelona: Ediciones Polígrafa. EXTERNAL SOURCES Nottingham Contemporary (2009) Building Information Notes. Caruso, Adam (2009) “Nottingham Contemporary.” Opening Night of Nottingham Contemporary. Nottingham Contemporary Gallery, Podcast Speech. NEWSPAPER ARTICLES Dyckhoff, Tom. “Nottingham Contemporary”. The Times [London] 14. Nov. 2009 Nottingham Evening Post 09 September. 2004 Nottingham Evening Post 18 September. 2004 Nottingham Evening Post 02 April. 2005 Nottingham Evening Post 12 April. 2005 Nottingham Evening Post 20 April. 2005 Nottingham Evening Post 21 April. 2005 N0443695

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Nottingham Evening Post 25 May. 2007 Nottingham Evening Post 19 February. 2008 Nottingham Evening Post 28 May. 2008 Nottingham Evening Post 04 December. 2008 Nottingham Evening Post 09 July. 2009 Nottingham Evening Post 31 October. 2009 Nottingham Evening Post 03 November. 2009 Nottingham Evening Post 05 November. 2009 Nottingham Evening Post 16 November. 2009 Nottingham Evening Post 21 November. 2009 Nottingham Evening Post 01 December. 2009 WEBSITES "Adam Caruso on the Nottingham Contemporary art gallery." Architects' Journal. N.p., n.d. Web. 5 Nov. 2013. <http://www.architectsjournal.co.uk/news/daily-‐news/adam-‐caruso-‐ on-‐the-‐nottingham-‐contemporary-‐art-‐gallery/5210817.article>. "Architect speaks out over Nottingham Contemporary." Nottingham Post. N.p., n.d. Web. 2 Nov. 2013. <http://www.nottinghampost.com/Architect-‐ speaks-‐Nottingham-‐Contemporary/story-‐12249161-‐detail/story.html>. "Architecture: Build my gallery high." The Independent. Independent Digital News and Media, n.d. Web. 22 Nov. 2013. <http://www.independent.co.uk/arts-‐entertainment/architecture-‐build-‐ my-‐gallery-‐high-‐1156317.html>. "Caruso St John Architects." Caruso St John Architects. N.p., n.d. Web. 2 Nov. 2013. <http://www.carusostjohn.com/>. N0443695

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"Caruso St John Architects: Nottingham Contemporary Â |Â Architecture Today." Caruso St John Architects: Nottingham Contemporary Â |Â Architecture Today. N.p., n.d. Web. 6 Nov. 2014. <http://www.architecturetoday.co.uk/?p=2078>. "Caruso St John's Nottingham Contemporary Arts Centre (video)." Building Design. N.p., n.d. Web. 31 Oct. 2013. <http://www.bdonline.co.uk/home/bd-‐tv/caruso-‐st-‐johns-‐nottingham-‐ contemporary-‐arts-‐centre-‐(video)/3153699.article>. "Caruso St John: the pleasure principles of architecture." The Telegraph. Telegraph Media Group, 1 Dec. 2008. Web. 14 Nov. 2013. <http://www.telegraph.co.uk/culture/art/3563010/Caruso-‐St-‐John-‐ the-‐pleasure-‐principles-‐of-‐architecture.html>. "Dezeen." Dezeen Nottingham Contemporary by Caruso St John Architects Comments. N.p., n.d. Web. 18 Feb. 2014. <http://www.dezeen.com/2009/11/16/nottingham-‐contemporary-‐by-‐ caruso-‐st-‐john-‐architects/>. "Menu." earchitect. N.p., n.d. Web. 18 Feb. 2014. <http://www.e-‐ architect.co.uk/england/nottingham-‐arts-‐centre>. "Nottingham Contemporary." Nottingham Contemporary. N.p., n.d. Web. 2 Nov. 2013. <http://www.nottinghamcontemporary.org/>. "Nottingham Contemporary." (Nottingham, UK) Â« Caruso St John Architects. N.p., n.d. Web. 2 Nov. 2013. <http://www.carusostjohn.com/projects/nottingham-‐contemporary/>. "Nottingham Contemporary BBC News at Ten 12/02/10." YouTube. YouTube, 12 Feb. 2010. Web. 2 Nov. 2014. N0443695

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<http://www.youtube.com/watch?v=YQc84OxFqY8>. "Nottingham Contemporary Celebrates 3 Years." YouTube. YouTube, 15 Nov. 2012. Web. 2 Nov. 2013. <http://www.youtube.com/watch?v=Zl5Ajk7Af_g>. "Nottingham Contemporary Caruso St John." Nottingham Contemporary by Caruso St John. N.p., n.d. Web. 31 Oct. 2013. <http://www.arcspace.com/features/caruso-‐st-‐john/nottingham-‐ contemporary/>. " Nottingham Contemporary Lace Concrete.mov." YouTube. YouTube, 4 May. 2011. Web. 8 Nov. 2014. <http://www.youtube.com/watch?v=CxEvmcjxREk>. "The New Art Gallery Walsall." The New Art Gallery Walsall. N.p., n.d. Web. 19 Feb. 2014. <http://www.thenewartgallerywalsall.org.uk/>.

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