Professional Studies Report: The Hepworth Gallery, Wakefield

THE HEPWORTH GALLERY, WAKEFIELD DAVID CHIPPERFIELD ARCHITECTS Professional Study Report: PS1

Lauren Di Pietro 33308831

Group Mel Backhouse Ben Courtney Sam Spence Adam Hegab

Project Description

3 4

Design Concept and Concerns Site and Location

6 7

Wakefield Regeneration Masterplan

Part 1: Design and Access Statement 1.1: Design

1.1.1 Use 1.1.2 Amount

1.1.5 Landscaping

10 11 13

1.1.6 Appearance, Materials and Construction

14

1.1.7 BIM

23

1.2.1 Vehicular and Transport Links

24 29

1.1.3 Layout 1.1.4 Scale

1.2: Access

8 9

1.2.2 Inclusive Access

Part 2: Health and Safety Analysis 2.1: Saftey in Design and Construction

2.1.1 Health and Saftey 2.1.2 Construction Law 2.1.4 Minimising Risk in Design

37 39

3.1 Introduction to Planning

41

2.1.3 Minimising Risk in Construction

Part 3: Planning Statement 3.1 Planning Guidelines

3.1.1 National Planning Policy Framework 3.1.2 UDP Local development Framework 3.1.3 Local Planning Policy 3.2 Building Response to Planning Guidelines

31 36

3.2.1 Building Response to UDP/LDF

42 43 45 51

Part 4: Financial Analysis 4.1 Finance and Costing

4.1.1 Finance

Part 5: Critical Conclusion

4.1.2 Costing for Construction 5.1.1: Design 5.1.2: Access 5.1.3: Saftey in Design and Construction

5.1.4: Building Response to Planning Guidelines 5.1.5: Finance and Costing

Appendix References & Bibliography

53 54 56 60 61 62 63 64 65

Image on cover personal photography Image of Hepworth

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Project Description Hepworth Gallery Mission Statement: “make world-class art more accessible in the Yorkshire region and beyond.”

The Hepworth Gallery in Wakefield was planned to replace Wakefield Art Gallery.

Wakefield Art Gallery opened in 1934 on Wentworth Terrace. By 1980 the gallery was found to be inadequate for user requirements as it was inaccessible in its location, and rooms were too small for functions. There was no cafe, shop or space for social functions. In 1996 Wakefield Council began to promote strategies for a new gallery. David Chipperfield was commissioned for the project, beating schemes from David Adjaye, Zaha Hadid, Kengo Kuma, and many other big names, as he was seen as having an understanding of the existing art collections on a human scale, which he expressed through his design and quality of the space and light sequence between the gallery spaces.

The building is the result of a unique combination of two English spatial intellects. Barbara Hepworth’s work is characterised by an extreme refinement of form, sensibility of material and tenacity of purpose. As well as the work of Henry Moore. The building that David Chipperfield has designed to house Hepworth’s work combines tough formal precision with a playful organicism that exactly compliments Hepworth’s indomitable spirit as a pioneering female sculptor.

The Hepworth Gallery in Wakefield is the relocation and expansion of the cities existing art gallery to the conservation area at the headland of the river Calder.

Located on the banks of the River Calder on an ex industrial site in the city, the sculptured form of the Hepworth Gallery mirrors the work displayed within.

Between 2011-2012 512,000 visited the gallery free of charge.

25,000 people took part in the Hepworth Gallery’s learning programme.

The Hepworth Gallery promotes art through education and learning activities, community projects, contemporary and historical exhibition programmes and a nationally important collection.

Client: Wakefield City Council Architect: David Chipperfield Value: £35 million Project development started: 2003 Start on site: 2007 Construction Completion: 2011, and opened to the public 21st May 2011.

Gross internal floor area: 5232m2, making it the largest purpose built exhibition space outside of London.

Structural Engineer: Ramboll UK Registered charity number: 1138117

Location Plan

Personal photography Image of Hepworth

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Design Concepts and Concerns Wakefield council asked for "an exceptionally high quality and inspiring building which will become synonymous with the City of Wakefield." creating international significance and a landmark building within its context.

The design was developed around the internal composition of the spaces.

The aim of designing the Hepworth Gallery was to create a scultural form to reiterate the art housed within. The whole design development was based on creating a sculptural form throughout all spaces of the building. The geometrically shaped building was designed to look like one monolithic appearance, not broken down and over-panalised, despite the materiality of the building. The jaunty roofline aims to echo the neighbouring jumble of pitched warehouse profiles, easily viewed when arriving to the gallery by train.

Following the design priority of agreeing with the contextual buildings in the surrounding area, the sheer facade of the Hepworth Gallery plunges into the waterfront like the neighbouring mills, reminisccent to Chipperfield of Venetian Palazzos rising out of the lagoon - an image many societies associate with beauty.

The development of the roof pitches required adjusting pitches and heights through a series of volumetric moulding on a large scale until the spatial sequence worked. Due to the pitch of the roofs the low area of one space had to match the high area of another. If the internal spaces were too large it would have created an over industrial feel, however if the spaces were too small the gallery would have not had enough of an impact.

Chipperfield’s concept sketch

Chipperfield’s concept sketch

Chipperfield’s concept sketch

Artist interpretation of the Hepworth Gallery

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Design Concepts and Concerns For the divide of the internal gallery spaces, Chipperfield explains that there are two ways to do this; 1. create a box, the exterior shell, and then divide them up to create fluidity of the spaces; 2. create volumes of the internal spaces and then push them together, allowing curators frames and spaces to play with. the latter is how the Hepworth gallery was created, creating a dynamic of spaces.

The gallery spaces are deined within the building as separate entities, made of rooms but expressed as volumes, and then aggregated together in a picturesque composition. This creates the conceptual parti of the building allowing a dynamic to be set up between the interior and exterior; the spaces within the building push out to form the walls, and the walls in turn push in to form the spaces. the exhibition spaces respond to the objects situated within the spaces with their sculptural qualities.

Chipperfield’s concept model

The irregular angles and fractured massing of the building made the design development tricky, but achieved all aspects of the design concept.

The final scheme expresses ten interlocking roof pieces which rise and fall with subtle variation. All roofs have no more than 1.5m difference corner to corner.

Chipperfield’s concept image

The manipulation of the spaces became a scupltural process within itself through the design development of the Hepworth Gallery as the external volume expresses the internal spaces.

Chipperfield’s concept image

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Site and Location of the Hepworth Gallery Approximately 1km away from Wakefield city centre, an industrial town in West Yorkshire, UK. Grid Reference: SE337199 Located on the banks of the river Calder on an ex industrial site in Wakefield. The long neglected site of Victorian industry is home to the woollen mills on which the town made its fortune, therefore crucially important to create the gallery in a sympathetic way to a site with such historical significance to the area.

The building attemoted to create something on site with a certain authority that can only be placed here, as if it couldn't be any where else.

The Hepworth Gallery has been designed in such a way that it is visible from every vantage point in Wakefield. The site faces all directions, and can therefore be approached from all sides, shaping the design of the building to accomodate all 'five facades' as described by Chipperfield.

The location of the building on Wakefield Waterfront allows it to exploit new forms of renwable energy using the flow of the river as a cooling system for the building.

Yorkshire was a fertile ground for a sensibility of form that comes out of an historic collective engagement with the earth. This gallery in Wakefield is blessed with an extraordinary site at the confluence of two canals, it will become a place of pilgrimage for all lovers of sculpture and now with the Henry Moore Institute in Leeds, and the Yorkshire Sculpture Park, this will certainly be a place of inspiration for all in the future.

Site and location plan

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Masterplan scheme of Wakefield Regeneration The Hepworth Gallery acts as a catalyst of the 4 hectare waterfront regeneration scheme of Wakefield.

The gallery will attract visitors and investment for the area.

The Hepworth Gallery became part of the master plan scheme in 1997.

The sections of development for the masterplan include: The Phoenix and Rutland Mill complex Navigation Warehouse which will be converted into office spaces preserving the historic Wharf building and providing three floors of offices above two ground floor levels of residential and leisure units overlooking the River Calder Hebble Wharf 58 one and two bed apartments and studios with basement parking overlooking the lock and the River calder The Island being renovated into a commercial outlet The Hepworth gallery occupying the most prominant site of the waterfront facing the city centre The master plan will bring a new cultural dimension to Wakefield Waterfront revitalising this historic site providing high quality living, office and riverside leisure accomodation and activities.

Wakefield Waterfront Regeneration master plan

Wakefield Waterfront Regeneration master plan

Improvements are being made to public spaces, new and refurbished buildings, formal gardens and the restoration of grade ll listed buildings such as the Calder and Hebble warehouses.

The masterplan for the regeneration of Wakefield Waterfront has been designed by architect firm Faulkner Browns, and is a sensive proposal of restoration and addition to this derelect site. The area will be tranformed into a mixed use urban quarter. Wakefield Waterfront is seen as the new southern gateway to Wakefield City Centre.

Personal photography - master plan of gallery

The masterplan for the Hepworth gallery includes a new pedestrian footbridge over the River Calder as well as a dedicated car park for the gallery.

A coach drop off point located on thornes lane is also part of the masterplan scheme for the gallery.

Planning permission for the 50,000m2 ÂŁ100 million regeneration of Wakefield Waterfront was granted in 2004, with planning permission for the Hepworth Gallery, including the foot bridge and car park, granted soon after in 2005.

The master plan scheme has posed considerable challenges for the designs, such as flood risk factors, highways constraints, site assembly issues, the sensitivity of the context through the design, and complex public sector funding support requirements.

Personal photography - Hepworth car park

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1.1 Design 1.1.1 Use All social functions of the building operate around the central lobby on ground floor level as visitors enter - the shop, cafe and learning centres - creating a daily relationship with the community.

The uses to be accommodated within the scheme are as follows • 10 exhibition rooms - on level 2 • 4 learning studios – on level 1 (street level) • Auditorium – on level 1 • Archive – on level 1 • Café and shop - (Use class A3) - on level 1 • Services – on level 0 1. Lobby 2. Lift 1 - Services lift for artwork 3. Lift 2 - Public use lift 4. Stairs 5. Fresh Air Exhaust 6. Kitchen 7. Cafe 8. Gallery shop 9. Multifunctional room 10. Central Reception 11. Main entrance 12. Learning and access rooms 13. Picnic area 14. Meeting room 15. W/C 16. Open-plan office 17. Office 18. Archive and study area 19. Heavy-medium equiptment 20. Storage 21. Staff room 22. Display preperation 23. Picture hanging area 24. Art route 25. Unframed works on paper 26. Loading bay

Ground floor plan

Within the past six months, some of the galleries have been named in recognition of major donors of the gallery.

Gallery 4 has been named WOLFSON GALLERY after The Wolfson Foundation.

Gallery 6 houses a flexible partion walls which separates the gallery into two sections. The first section has been named the WESTERN GALLERY after The Garfield Weston Foundation. The second section is named the AUDREY AND STANLEY BURTON GALLERY after The Audrey and Stanley Burton Charitable Trust.

First floor plan

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1.1 Design 1.1.2 Amount As the building is entirely cast out of insitu concrete, the whole construction took place on site.

The pedestrian footbridge is made of precast steel sonstruction that was made in three parts off-site and then welded together on site to complete the structure.

Basement: Plant Room

Basement: Water Treatment Room

Ground Floor: Cafe/Kitchen

Ground Floor: Gift Shop

First Floor: Gallery Spaces

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1.1 Design 1.1.3 Layout Level 0 - The basement level accessed via the stairway in the central core of the Hepworth building. It contains the Water Treatment room and Plant Room whilst acting as a flood defence to the surrounding area.

This levels primary function is to house the plant that treats the waste water from the building. Its artificially lit and mechanically ventilated. A non-habitable area so noise pollution from the adjacent machinery is not a problem. The room and the entire basement is acoustically insulated to reduce adverse sound transmission to the floors above.

Level 1 (street level) - Access from the main Town Centre via a walkway bridge crossing over the River Calder Level 1 contains the reception, cafĂŠ, gift shop, learning area, modern museum, office space, storage and main stairwell.

The north face of the building offers the learning area, reception, gift shop and cafĂŠ atmospheric framed views on ground level over the River Calder.

The spaces of each individual area vary in size and proportion, the office space and storage equates to the majority of floor space at the most least accessible point of entrance to the building facing the A61 motorway.

Level 2 - Upper level, access to exhibition galleries.

Level 2 houses the work of Barbara Hepworth. There are 10 permanent galleries that require constant north light for viewing the sculptures and a certain level of security.

The space has natural lighting from windows and artificial lighting for the art work.

The temperatures are mechanically controlled and are maintained at a constant level.

Private: Public:

Ground floor plan

First floor plan

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1.1 Design 1.1.4 Scale The building is generously scaled on it’s site. Approached across an elegant bridge, the gallery works beautifully in its gritty canal basin context, suggesting it belongs at the same time something rather special.

Its scale changes as you approach and enter it, with spaces such as the shop, cafe, education room and offices on the ground floor radiating out from the entrance space.

The trapezoidal galleries, each differing in shape and size, make the upper floor.

They all have clear roofs pitched on their long axis taking the building up to around 12 metres, the gallery spaces receive much of their light through skylights positioned parallel to the highest wall of each room.

They are partially screened by a projecting ceiling, and so controlled by louvres that filters daylight down the walls but never affects any exhibition directly.

Six of the 10 galleries also have a picture window, so that the visitor is at no point isolated from the drama of the surroundings and has a clear view of the play of the waters of the weir.

The configuration results in a building that has no obvious nor dominant facade, yet it hugs the water’s edge and relates critically, in scale, to the industrial buildings which surround it. The situation over the weir allows the walls to drop sharpley down to the water, but also, inevitably, required flood protection, so that the sheet piling on which the walls rest benefits the whole site.

All images of Hepworth schowing interior and exterior scale

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1.1 Design 1.1.4 Scale The building is formed from a conglomeration of differently sized trapezoidal blocks, responding to the scale and rooflines of the surrounding small scale industrial buildings. The precise grouping of these blocks establishes a redefined bank along the River's informal edge. Sloped roofs and different heights articulate the individual blocks while manipulating the new Gallery's combined roofline to funnel natural light through roof-lights, back to the galleries inside.

The interior gallery spaces range from 7m high to 2.5m chambers due to the pitch f the roofs.

The internal picture windows also create a sense of scale from a human perspective.

The Gross External Area of the proposed gallery is 5,232 sqm The scheme provides 2500sqm of gross gallery space (first floor), which accommodates 10 exhibition rooms of approx. 250sqm each room, but ranging in sizes.

Plant Room and Water Treatment Room uses equate to the entire floor space of the basement level.

CafĂŠ and Shop uses equate to 1200 sqm of floor space on street level (ground level) Private Office uses equate to 624sqm on ground floor.

Learning Studio uses equate to 500 sqm The scheme has a total gross internal floorspace of approx. 15500sqm The site area is approx.20,204 sqm.

Ground floor plan -scale (m)

First floor plan -scale (m)

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1.1 Design 1.1.5 Landscaping One of Wakefields most valuable assets is its historic and distinctive skyline.

Strategic views of the skyline within central Wakefield will be protected and maintained, and where possible enhanced. The building does not obstruct views of the spires and towers of All Saints Cathedral, Wakefield Town Hall, St Johns Church and Wakefield County Hall.

The site chosen for the new museum is outlined by a bend in the river Calder, where it makes a headland, overlooking a weir.

East of the site, several 18th and 19thcentury warehouses nearby recall the town’s importance as a link in river and canal transport routes. Some of these are being reinstated and through the master plans to redevelop this part of Wakefield.

The site is also overlooked by two bridges: a modern motorway filter beside a 14thcentury stone one with a chantry chapel, one of Wakefield’s salient monuments; and the new pedestrian footbridge designed and built for the Hepworth Gallery.

The chapel’s once picturesquely ruined charm was restored out of it by George Gilbert Scott in the mid-19th century, though it was painted before that by JMW Turner, whose watercolour can be seen in a room from which the bridge itself is also visible.

The gallery site was for some time vacant and inaccessible, so the opening of the Hepworth Wakefield was bound to transform the whole typography of this district.

The internal layout reflects the external landscape of the building. The educational spaces on the ground floor have been placed to frame views of the playground, part of the external landscaping of the gallery designed by David Chipperfield, in order to create this relationship between external and internal. The views created through the picture windows placed in the gallery constantly connect the viewer back to the surroundings, supplementing the physical experience of space. The windows are described as the humanising element of the architecture, creating a wider understanding of context and a sense of where we are, as well as creating a sense of protection contrasted with exposure to the surroundings.

The Hepworth Gallery reacted imaginatively to its waterfront setting appearing to rise from the water, whilst complementing the scale of the surrounding buildings.

The external works comprise hard landscaping, soft landscaping and retaining walls. The hard landscaped surfaces are constructed in granite setts and the walls fair-faced in-situ concrete, without pigment.

Image of hepworth as viewed from train

Concept master plan model

Aireal photography - master plan of gallery

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1.1 Design 1.1.6 Appearance, Materials and Construction The site before construction began in 2003.

Work on basement excavation begins.

Basement and piles conplete.

External walls begin to be erected.

Work continues on external walls.

Windows and door openings formed.

Work on external walls continues.

First floor slab installed. (flat slab, T-beam slab or post tensioned concrete)

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1.1 Design Work continues on external walls.

Steel roof trusses lowered onto roof.

Work continues on wall openings and roof.

External footbridge is craned in.

Glazing installed.

Precast concrete roof slabs installed.

Walls completed.

Roof trusses installed.

Bridge and main building engineered and constructed simultaneously.

Building complete.

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1.1 Design 1.1.6 Appearance, Materials and Construction Form The form of the building will comprise of ten intersecting trapezoidal pre-cast concrete volumes, together forming ten gallery spaces, an auditorium, archive cafe and shop, all clad with a load-bearing facade of pigmented in-situ cast concrete.

The roof shall complete the unified look of the building, treated with a grey concrete application to complete the monolithic form. Constructed on a promontory of the river, the new gallery was designed to stand partly in the water facing a nearby weir and act as a flood defence, with the self-compacting concrete perimeter walls thick and strongly reinforced. The intention of the architect is to create a smooth, continuous finish that allows the natural material qualities to give character to the overall appearance.

Concrete is an inherently strong, robust material, which has associations with solidity and permanence. Casting the concrete on site means that it is possible to create walls and roofs that emphasise the sculptural quality of the building. Adding pigment creates an unfamiliar appearance, which seeks to make the façade equally interesting whether it is viewed from close up or from a distance.

Personal photography - Image of Hepworth

Personal photography - Pedestrian Foorbridge

Roof Precast and in situ concrete sandwich roof construction. A double skin system improves tensile strength of the concrete and creates cavity for insulation.

Lightweight trusses support the weight of the concrete roof. Support brise soleil system and support gypsum fibre board for internal ceiling. PFC members tie the trusses laterally. Trusses fix to concrete walls via cast- in brackets.

Floor Reinforced in situ concrete floor.

Composite material – no additional lateral bracing required.

Personal photography - Picture window

Walls 300mm reinforced concrete load bearing external wall with an aesthetically enhanced finish. All external wall consist of self-compacting concrete with limestone aggregate and pigment. The walls are finished with a clear anti dust sealant.

Windows Windows are anodised aluminium mullion fixed to wall with M10 x 100mm concrete anchor bolts. Isolators connect window to mullion. The anti-bandit glass is designed to significantly increase the amount of time it would take for an intruder to penetrate the glass. It consists of two piles of glass bonded together by one thick layer of plastic in the middle.

This glazing system is required due to the function of the building and its valuable contents.

Insulation on the exposed corners of each mullion prevents cold from bridging.

The window installation is completed by an application of black silicone over the gaskets, sealing and waterproofing the joints.

Chipperfield’s concept model

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1.1 Design 1.1.6 Appearance, Materials and Construction Monolithic in appearance, the building facades and roofs are constructed with reinforced pigmented concrete. The walls are supported on piled foundations, with a water resistant concrete basement. The elevations are fair-faced concrete and are treated with combined anti-graffiti and water sealant to protect the building facades. The roofs are supported on a system of pre-cast concrete planks and secondary steel trusses, which are fixed to the inside of the concrete walls.

External windows, doors, roof-lights and louvre are flush with the external facades, which are insulated internally. There is a large air intake louvre on the east elevation of block 3. The basement contains all mechanical and services plant equipment and there is a smaller plant on the top of roof 10, which is the main access to all roofs. The roof 10 plant area contains areas of louvred elevation for extract air from the basement and ventilation of the small lift shaft.

Image of Hepworth

In Situ Concrete Construction In situ concrete construction allows a bespoke and unique finish when achieving complex geometric shapes.

This was therefore very important for the construction of the Hepworth Gallery.

The advantages of in-situ concrete are: flexibility in site based processes complex forms can be readily achieved all scale structure can be completed it is a locally based industry within the UK large volumes of concrete can be safely pumped in one pour formwork to hold the concrete in place while it sets can be re-used there are a wide range of finishes available with in-situ concrete it allows the integration of details and services concrete can be post tensioned to make it stronger the ability to create monolithic structures by leaving the concrete reinforcement exposed between pours of concrete to allow the next section of reinforcement to be attatched.

One of the primary advantages of in-situ concrete construction is it’s simplicity to produce monolithic structures; one of the key design principles in the Hepworth Gallery building was to be designed as one monolithis appearence, with a composite form. and seamless joint, as not too overpanalise the building. The design principle is to put things together, and not have the building appear to be broken down.

This creates the realisation of the design concept in 3D qualities with the exterior walls and the roof as an integral part of this too to achieve the overall shape and form of the building.

In-situ concrete was the obvious material choice in order to achieve all of these design principles, with both the exterior walls and roof in the same material, continueing the surface of the walls onto the pitched roof.

Image of Hepworth

Image of Hepworth

Image of Hepworth

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1.1 Design 1.1.6 Appearance, Materials and Construction The 300mm thick monolithic walls are made from pigmented in-situ self compacting concrete, and are designed to resevoir standard to protect from the River Calder, as the building sits into this.

To further re-inforce the structure, 20mm rebars have been placed at 150mm centres running in both directions across the faces of the building. The thickness of the walls carries all of the services in order to simplify the construction of the floor slabs.

The colour of the finished concrete is controlled by both the mix and the casting method. In the case of the Hepworth Gallery, a pigment was used to control the colour of the finish. The concrete pigment used was called “Hepworth Brown�, a faint purpleish-grey hue, and specially formulated for the design of this building.

The rugged finish of the concrete exterior aims to fit perfectly in its industrial setting.

The interior lobby is lined with a dark grey pigmented MDF set to 2.1 datum. this aims to give a plinth-like classical weight to the entrance sequence, and the mottled irregular surface echoes the exterior finish.

Interior walls

Flooring slab

Concrete materiality is a critisism in the Hepworth Gallery, especially situated next to water as this will eventually change the appearence through aging and weathering.

400mm Conrete floor slab.

To avoid cold bridging the in situ floor slabs are separated from the walls by 40mm thick insulation.

Interior walls The interior walls of the building are finished with 18mm Fermacell lining with a 250mm cavity between them and the external concrete walls to allow the services to run along the walls.

Steel trusses have been used to support the vast weight of the concrete roof.

Welded brackets attatch the ends of the trusses to a plate, embedded into the insitu concrete wall, using resin anchor bolts.

Trusses provide bracing and prevent lateral movement.

The building is made of 10 double height trapezoidal concrete boxes each with unique mono-pitch roofs, and therefore provides a vast mass on site, thus making it essential for steel reinforcements within the concrete structure.

Steel roof trusses

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1.1 Design 1.1.6 Appearance, Materials and Construction Lighting as a material.

Chipperfield describes light as a key building material throughout the gallery.

The sources of light are important, and aim to render the 3D quality of the sculptures housed within.

Natural lighting.

Natural lighting is brought into the gallery through recessed slots in the ceiling at the edges of the room bringing in direct light onto the walls.

Working details of roof lighting

Natural roof lights contain small aluminium blades that rotate and turn to control the amount of natural light entering the space. This is done on a motorized solar shading technique.

Computer based predictions of annual exposure calculated by light mapping tools is the software design by Arup lighting specialists that programs these motorized blades to control the lighting.

The natural light entering the gallery spaces is only subtle, and progresses deeper into the gallery space dependent on the position of the aluminium blades.

Roof light positions

The interior walls are lined with Fermacell Gypsum fibre board which contains subtle reflective qualities, therefore allowing the light to be reflected around the room.

Lighting as a material.

Chipperfield describes light as a key building material throughout the gallery.

The sources of light are important, and aim to render the 3D quality of the sculptures housed within.

Artificial lighting Most of the lighting in the building is hidden ceiling lighting. One of the main aims was to keep the variation of lighting to a minimum to allow for easier maintence within the building, The building contains Strip lighting Wall mounted lighting Spot lighting Suspended lighting The main lighting in the gallery spaces is halogen spot lights which sit in ceiling tracks and are slightly suspended from the ceiling. Each of the ceiling tracks fits the unique shape of each gallery, and these allow for easy manipulation of lighting and great flexibility which is important to the artwork within.

Diagonal line shows position of spot lighting

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1.1 Design 1.1.6 Appearance, Materials and Construction Lighting as a material.

Chipperfield describes light as a key building material throughout the gallery.

The sources of light are important, and aim to render the 3D quality of the sculptures housed within.

Artificial lighting Most of the lighting in the building is hidden ceiling lighting. One of the main aims was to keep the variation of lighting to a minimum to allow for easier maintence within the building, The building contains Strip lighting Wall mounted lighting Spot lighting Suspended lighting the main lighting in the gallery spaces is halogen spot lights which sit in ceiling tracks and are slightly suspended from the ceiling. Each of the ceiling tracks fits the unique shape of each gallery, and these allow for easy manipulation of lighting and great flexibility which is important to the artwork within.

Spot lighting in gallery

Spot lighting in gallery

Spot lighting

Strip lighting

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Section showing lighting

Section showing lighting

Section showing lighting

Aireal view of roof lighting

Glazing details The large glazing windows aim to create picture windows within the gallery. They provide carefully framed views out, connecting the user to the external landscape of the building.

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1.1 Design 1.1.6 Appearance, Materials and Construction Water as a material The Hepworth Gallery is set into the water on oe of its facades. This is key to Chipperfield’s design to plunge the facade into the water like the neighbouring buildings, similar to Venetian Palazzos rising out of the lagoon.

The contractor for the building of the Hepworth gallery was Laing O’Rourke.

They created a cofferdam of steel piles erected in the river 4m from the facade of the building, in order to build directly onto the bank. However, this part of the design construction was the most difficult to achieve, and through this process, the cofferdam was breached twice in the first three months of construction and washed everything away. Admirably however, the program of building was only set back by two weeks!

It would have been easier in the building process to set the building back from the water’s edge, however the relationship of the building to the water was key in Chipperfield’s design concept, and he felt that setting the building back would have left a margin of land that meant nothing to the design. Chipperfield explained through his design concept that water can change things in the aesthetic qualities of the building, and therefore he wanted to lay the building into the water like the other industrial buildings in the area. this allows the gallery to form part of the waterfront bank and use the water as part of the building materials in effect.

Personal photography - How water relates to the building

Personal photography - How water relates to the building

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1.1 Design 1.1.7 BIM in the design and construction of the Hepworth Building Information modelling (BIM) generates and manages information about a building during its lifecycle, from concept to lifespan. BIM uses 3D CAD software packages, including AutoCAD, Revit, ArchiCAD and many others in order to aid designing of buildings and landscape.

BIM has many time and cost benefits of designing.

Components from BIM are generated from a national library with embedded information about a product, creating a more efficient method to deliver information and eliminate waste.

BIM allows information to be entered once, and reused as many times as is necessary.

Screen shot of BIM in the Hepworth design

Advantages of BIM: • early cost certainty • reduced delivery costs • reduced operational costs • green performace • reduced risk • predictable planning • eliminates problems in construction • prototyping building in detail • modualise components • improved productivity • saves money • clash detection • greater accuracy and efficiency Whitby Bird & Partners Ltd. are a structural engineering consultancy who have used BIM to aid the design and construction of the Hepworth Gallery in Wakefield.

Services they provided for the Hepworth included: • structural engineering • building service planning • facade construction • fire safety • infastructure • geotechnical consulting • sustainability issues • environmental assessment • access routes • steel bridge construction • bridge design Using 2D cad data and 3D BIM technologies were fully integrated in orde to design a complete building. All models were worked on collaberatively in order to achieve the final result.

Screen shot of BIM in the Hepworth design

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1.2: Access 1.2.1 Vehicular and Transport Links The building’s entrance is located on the west side, taking advantage of this strong connection and the views over the river.

The footbridge and terrace are the key elements for pedestrian access.

The footbridge and terrace strongly tie the city and master plan together, while access along the south of the Gallery allows pedestrians to come to the Gallery and riverfront from the railway station.

It was key through the design principles and concept that the gallery must be an integration, not only within the Wakefield Waterfront Regeneration scheme, but also provide an integration with the centre of the city.

This is achieved through the new car park connecting major roads to the gallery, as well as the pedestrian footbridge.

CENTRAL WAKEFIELD AREA ACTION PLAN - Adopted 17 June 2009

PLAN No. 2 ROAD HIERARCHY Wakefield Council Local Development Framework

Emerald Ring - to carry traffic around the City Primary streets for access within Emerald Ring Bus and restricted access only

Based upon the Ordnance Survey material with the permission of Ordnance Survey on behalf of the Controller of Her Majesty’s Stationery Office. © Crown copyright.

Unauthorised reproduction infringes Crown Copyright and may lead to prosecution or civil proceedings. No further copies may be made. WMDC LA 100019574

Scale:

N.T.S

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1.2: Access 1.2.1 Vehicular and Transport Links General Access The ground floor level of the Gallery is +25m level - around 1m above ground level at the south of the site and 2m above the garden and the Watermill. The main external terraces are set at this level with ramps connecting the watermill, gallery entrance and the footbridge.

Access for wheelchairs, buggies and ambulant disabled visitors is to be provided via a series of gently sloping ramps between garden and terrace and by a further ramp on the opposite side of the river. The bridge is for pedestrian use only, and not for cycling (though cyclists can dismount and push bikes across).

The main car parking for the Gallery will be located across the river off Thornes Lane. Provision is made for 91 standard car parking spaces including 12 staff parking spaces and 18 cycle spaces.

A drop-off point for both coaches and cars is provided. Visitors, whether parking or being dropped-off, will then reach the gallery via the footbridge. Five disabled car parking bays and a further 21 cycle spaces are located on the Gallery site on the south side of the building.

Access map available at the Hepworth gallery

Personal photography - Pedestrian footbridge

Personal photography - Car park

Personal photography - Signage for the gallery

Personal photography - Access ramp

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1.2: Access 1.2.1 Vehicular and Transport Links • The M1 is situated to the west of the Hepworth Gallery and the centre of Wakefield.

• The motorway links Wakefield to the rest of the country.

• The centre of Wakefield is directly linked to the M1 by the subsidiary A1209.

• The journey takes approximately 5 minutes by car from the slip road into the city center, where parking to access the Hepworth on foot is available.

• There are 7 public car parks spread around the centre of Wakefield.

However some of these are located on the south side of the river.

• The Hepworth opened its own car park as part of the master plan scheme for the Gallery, allowing the gallery to be more accessible to the public.

• The car park is a pay and display car park, all monies made from this go towards continuous improvement of the gallery.

Mon - Sun 9am-6pm £4.50 maximum 5 hour stay Mon-Sun 6pm-9am £2 flat rate

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• ARRIVAbus operate a circular bus route around the city center.

• The nearest stop to the Hepworth Gallery is located 300 meters to the north.

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1.2: Access 1.2.1 Vehicular and Transport Links • The main train station in Wakefield, Wakefield Westgate, is directly linked to the city of Leeds.

• The journey time from Leeds Rail Station to Wakefield Westgate is 12 minutes. Then the journey time from Wakefield Westgate to the Hepworth Gallery is approximately 5 minutes on foot.

• The second train station in Wakefield, Wakefield Kirkgate, is also directly linked to Leeds city centre and connects to the Hepworth Gallery via the free city bus service, or a 20 minute walk on foot.

• The train link to Leeds Rail Station also provides access to the Hepworth Gallery from other major cities such as: London, Manchester, Liverpool, York and Newcastle.

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• The Hepworth Gallery is accessable from the centre of Wakefield on foot.

The journey time is approximately 15 minutes.

• Pedestrian access to the gallery is via a footbridge located to the north east of the site.

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• To conclude, the site is easily accessible on foot and has good road and rail links.

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1.2: Access 1.2.1 Vehicular and Transport Links Deliveries access and fire safety access.

Fire assembly points around the external facade allow, in the event of a fire, for engines to access the building safely and quickly.

Deliveries access is located at the opposite side of the site to the pedestrian access and building entrance for privacy and public safety.

Delivery vans/trucks can easily access this area via a small one way street off of the main road located next to the Hepworth, not accessible to the public.

Personal photography - Deliveries and staff access

Deliveries and staff access

Personal photography - Fire engine access/ fire egress

Deliveries and staff access on map

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1.2: Access 1.2.2 Inclusive Access Large entrance allows for a large amount of people, as well as the disabled to enter the gallery with ease.

Large internal space for grouping and movement through different areas of the gallery.

Stairs to the first floor allow for access.

Lift allows access to the first floor for disabled access.

Double entrance doors allow for more circulation and disabled access.

Flat floor allowing for ease of circulation for access.

Continuous circulation allows for movement through the gallery spaces.

An enternal ramp located next to the disabled car park allows for wheelchair access to the gallery’s main entrance.

Access: Ground Floor

Access: First Floor

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1.2: Access 1.2.2 Inclusive Access Doorways between gallery spaces are laid out to create a raised anticipation of the next space, and are positioned to allow glimpses of what is awaiting.

The visitor is led through a sequence of spaces, arranged to draw people around the building and gallery spaces in a particular way.

The views created by the doorways create a dynamic between rooms in order to display a sequence of work that is not fractured, echoeing the monolithic appearance of the exterior facade.

All social functions on the ground floor lie off of the main lobby.

Personal diagram - How the galleries link together

Personal photography - Doorway

Personal diagram - Social functions off of main lobby

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2.1: Saftey in Design and Construction 2.1.1 Health and Saftey The Health and Safety Executive is a nondepartmental public organisation, created by the Health and Safety at Work Act 1974.

It is responsible for managing and monitoring risks in health, safety and welfare as well as conducting research into occupational risks.

Areas of Regulation include: Agriculture Air transport Armed forces Catering and hospitality Construction industries Crown establishments Chemical manufacture and storage industries Professional diving Dockwork Education sector e.g. schools Engineering sector Entertainment and leisure industry Fire service Food and drink manufacture Footwear and leather industries Haulage Health Services e.g. hospitals Gas supply and installation; Gas Safe Register Laundries and dry-cleaning Mining Motor vehicle repair Nuclear installations; Nuclear Installations Inspectorate (aka NII) Office work Offshore Oil and Gas Installations Paper and board manufacturing industry Pesticides Police force Printing industries Public services The quarry industry Recycling and waste management industries Textiles industries

HSE campaign poster

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2.1: Saftey in Design and Construction 2.1.1 Health and Saftey There are many concerns of health and safety within the construction industry. some of these are listed below.

Site organisation This is the need to create a safe construction site for all workers through careful planning and organisation Slips, trips and falls should be assessed and minimised where possible. Materials and tools should be properly stored when not in use to minimise obstruction and avoid falls.

Work at height to reduce falls, and provide safe measures for working at height.

Structural stability To prevent accidents of unstable roofing etc which somebody can fall through, or can fall onto somebody.

Cranes All lifting operations must be properly planned and carried out in a safe manner.

Electricity Work safely with power supplies Fire Fire safety is not just important in building design, but in construction too, to look out for combusting materials, or electrical fires etc.

Mobile plant and vehicles operate and control properly to avoid accidents Demolition must be carefully planned and organised to ensure maximum safety.

Working at Height Regulations 2005 (WAHR) Working at height causes around 50-60 deaths per year.

There is no minimum height requirement for working at height. There is always a need to control risk of falling: • on scaffold • mobile erected platform • dipping road tanker • working on top of a container • working in trees • ladders • shaft/chimney To protect from working at height: • Avoid if possible • Use existing safe place of work • Provide equipment to prevent falls • Mitigate distances/consequences of falls • Instruct, train and supervise • Use of guard rails • PPE • Fall arrest equipement such as harnesses, safety nets and air bags.

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2.1: Saftey in Design and Construction 2.1.1 Health and Saftey Health related illness through working on construction sites Harmful Substances.

Materials and substances can be harmful to health if inhaled, swallowed or exposed to.

Some examples of these can be paints, solder fumes or waste.

There can be short term affects, such as dizziness, or long term affects such as cancer or long term lung disese, and can even result in death.

Some health related illnesses can be caused by the way in which we carry out our work as well.

Some of the more harmful substances and health related risks within use in the construction industry include: Asbestos Carbon Monoxide Manual handling and musculoskeletal disorders Dermatitis Respiratory disease Noise Work related stress Hand-arm vibration Law and legislation are in place in order to reduce and manage the risks associated with causing ill health at work. The Control of Substances Hazardous to Health Regulations (COSHH) means that; all hazards and harmful substances within the workplace should be identified; risk assessments must be made to decide how these may affect workers; putting measures in place to protects against the harm; provide health surveillance where needed; provide information, instruction and training to workers on how to manage the risk.

RIDDOR - Reporting of Injuries, Diseases and Dangerous Occurrences Regulations 1995 The RIDDOR regulations puts duties on employers to report serious workplace accidents, occupational diseases and specified dangerous occurrences.

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2.1: Saftey in Design and Construction 2.1.1 Health and Saftey Employers Liability Act It is a legal requirement for employers to have liability insurance.

Duty of Care Act Employers must; provide a safe place of work, including access and egress; provide safe plant and equipment; provide a safe system of work; provide safe and competent fellow employees; provide adequate supervision, information, instruction and training.

Negligence is a lack of reasonable care or conduct which can result in injury, damage or financial loss.

The Construction (Design and Management) Regulations 2007 (CDM).

Everyone involved on site work has health and safety responsibilities.

Client: • must ensure suitable management arrangement • allow sufficient time and resources • provide pre-construction information Designer: • eliminate hazards • reduce risk through design • provide information of all risks Contractors: • plan, manage and monitor work • provide competent employees • provide sufficient training and information to employees • comply with H&S regulations • ensure adequate welfare facilities are available for employees All: • ensure own competence • co-operation and co-ordination with all • comply with H&S regulations • report obvious risks • account for principles of prevention in planning and construction The construction industry had the second most deaths in 2009-2010.

Service industries = 422 Construction = 46 Agriculture = 45 Manufacturing = 25

Personal photography - H&S on site

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2.1: Saftey in Design and Construction 2.1.1 Health and Saftey The construction industry had the second most deaths in 2009-2010.

Service industries = 422 Construction = 46 Agriculture = 45 Manufacturing = 25 2006/07 Injury: 12372 Deaths: 79 2007/08 Injury: 12603 Deaths: 72 2008/09 Injury: 11316 Deaths: 52 2009/10 Injury: 9293 Deaths: 42 HSE are an organisation who act on behalf of Health & Safety regulation.

In 2010 HSE carried out spot checks on 2014 construction sites. Of these 691 enforcement notices were issued, and 359 were instructed to stop work immediately due to unsafe working environments.

HSE idetified the main causes of fatalities: • falling from fragile roofs/roof heights • falling from ladders/scaffolds • struck by excavations/fork-lift trucks/ dumper trucks • overturning vehicles • crushed by collapsing structures All jobs involving working at height must be identified and properly planned with appropriate controls.

• All equipment must be correctly installed, maintained and operated • Construction sites must be well organised, avoiding trips and falls • Stairs/walkways free of obstruction • Work areas clear of unnecessary materials/waste • Workfore aware of risk control measures • Security in place for protection and to avoid intruders who may injure themselves There are two sub-divisions of law that apply to Health and Safety.

Criminal Law Dealt with in the Magistrates Court Rules and behaviour laid down by government created through acts of parliment.

Imposed on people for the protection of people. e.g Road and Traffic Act Health and Safety at Work Act Civil Law Dealt with through County Court Disputes between individuals or indivisuals and companies.

Concerned with liability and the extent of liability.

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2.1: Saftey in Design and Construction 2.1.2 Construction Law Architects must comply with law and regulations when designing buildings for construction.

The Localism Act 2011 introduced a number of changes to the planning system, including transferring decisions on major infrastructure projects from the Infrastructure Planning Commission to ministers.

Planning Act 2008.

Private Law deals with: • Contract • Torts (relating to property) • Family • Property Public Law dedals with: • Crime • Constitutional • Administrative European Communities Act 1972 European community law overrides English Law County Court Single judge on civil cases Crown Court Criminal acts e.g murder High Court Queens bench division dealing with common law technology and construction court is part of this (TCC) dealig with professional negligence Court of Appeal Permission required to determine prospect of success This can formulate new laws for the future House of Lords Law Lords Supreme Court Constitutional reform Act 2005 Statute creates new law e.g Law of Property Act 1925.

Trespassing is a common law broken within the construction industry.

Forms of trespassing include: • unauthorised entry • placing things on land • tunnelling/mining • oversailing e.g cranes Cranes were used within the construction of the Hepworth Gallery, and therefore these laws and rights must be adheared to in order to build legally.

Diagram of law hierarchy

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2.1: Saftey in Design and Construction 2.1.3 Minimising Risk in Construction The use of cranes in construction - with relation to the Hepworth gallery The lifting operation of materials on site must be properly prepared and planned.

If a crane is to be used, it must be fully up to date with all test certificates and fully checked before use.

Risk assessments are needed to ascertain weight, size and shape of the materials to be lifted, as well as detailed analysis on the final resting place of the load.

A written plan for completing the lift should be drafted and a competent person appointed to supervise the operation. each crane must be properly designed and constructed, as well as well maintained, and operate in accordance with the safe system of work.

A certificate is issued by the crane manufacturer, specific to each crane, giving details of its safe working load, which is never to be exceeded. This is also marked on the crane’s structure.

Care must be taken to avoid shock loading the crane under high stresses, and the load must be properly shackled and all eyebolts tightened before the lift is performed.

There is a liason with the police and local authorities over issues of oversailing, and whether any roads or nearby highways must be closed as a result of this for safety.

The crane is sited to ensure that there are minimal people around, and areas are given advanced warnings about the use of a crane on site.

The basic principles for the safe operation for cranes ensure that the driver must: • inspect the crane fully before use • check all tests and inspections are up to date • check that tyre pressures are correct • ensure loads are not left suspended when the crane is not in use • before the lift ensure that no persons are around • loads should never be carried over people • good visibility and communication • lift vertically only • travel the load as close to ground as possible • switch off power when unattended • adequate space for installation • ensure the correct PPE is worn • audiable warnings issued when lift is in progress

Cranes in Hepworth construction

Cranes in Hepworth construction

Cranes in Hepworth construction

Cranes in Hepworth construction

Cranes were used in the construction of the Hepworth Gallery, in particular for the installation of the roof structure and the pedestrian footbridge. Due to the close proximity of the road nearby the site, the cranes were located to the opposite side of site, and all safety measures mentioned above were adheared to for safe construction.

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2.1: Saftey in Design and Construction 2.1.3 Minimising Risk in Construction • Most of the waterfront area is located within flood zone 3a.

• Constructing immediately onto the rivers bank required a temporary protection boarding with a handrail.

• Temporary works were installed as the concrete was poured on site. This requires extensive calculations and specific equipment to be used sensitive to the sites location.

• The tolerance level of the concrete’s quality is 40% higher than British Standard requirements A coffer dam – a ten-metre sheet pile three metres above the river – was constructed to the highest previously recorded level.

This was a new construction technique for the gallery, building higher than ever before.

Personal photography - H&S risk

Image of cofferdam in construction

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2.1: Saftey in Design and Construction 2.1.4 Minimising Risk in Design Architects Advice Roof access WARNING: Operatives MUST ONLY work on the roof in ‘good weather conditions’.

Access to the roof is via a fixed ladder accessible from the first floor landing adjacent to the service lift. This provides access to the roof over the central stair and landing (block 10).

From this roof a series of fixed ladders and latchways provide safe access to the perimeter of the roofs, roof-lights and abseiling anchor locations.

The external panes of windows will all be cleaned from outside. At ground floor where accessible they will be cleaned by long pole system or suitable mobile access platform. All other windows will be cleaned by abseiling from the roof.

At locations where windows are above the river additional abseiling points are provided on the roof to allow for rescue in case of injury or illness.

The louvre blades are removable to allow access to the underside of the roof-light.

The external panes of roof-lights are cleaned from the roof using the safety latchway system. Roof-lights have toughened /laminated glass to prevent falling through.

Under no circumstances should holes be drilled in concrete facades without prior consultation, as this will compromise water resistance of structure with potential for damage to reinforcement.

The internal panes of windows should be cleaned from inside the building using an extended squeegee for the higher panes.

The opening windows are top hung and restricted to 100mm opening for safety.

There are no opening windows on the first floor.

Aireal view of roof

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2.1: Saftey in Design and Construction 2.1.4 Minimising Risk in Design CDM Risk Report for the Hepworth Gallery Wakefield.

• It was noted that as you walk up to the main gallery steps, some of the reinforced concrete walls around the building are quite angular with corners which could allow the potential for a person to hurt themselves should they inadvertently trip around the step areas possibly hitting their heads onto some of the corners. Some form of detailing should be considered that might trim such corners to alleviate this situation.

• Some of the windows to the northern elevations of the gallery facing the willow trees and weir obviously will need to be cleaned from time to time.

Access to the window over looking the willow trees can be accessed successfully from under the bridge by the flat grassed area. The window here can be reached for cleaning by carbon fibre graphite water fed pole. However, the windows to the northern elevations of the gallery, looking directly onto the river can only be cleaned by rope access technicians and this again has been previously well documented for the reader with procedures in place for allowing both vertical & upward evacuation as necessary. However we do not anticipate that these windows will need cleaning more than once a year and our Client is aware of this need & life cycle costs of this procedure.

• Landscape Package currently omitted, presently low lying areas by wear are not adequately protected by fencing, barriers, trees & shrubs etc for these areas to be opened up for the publics use.

• River Cooling needs cleaning out on a regular basis as the filters keep getting clogged up with leaf debris in the water cooling inlet chamber. A further survey & remedial works needs to be undertaken to sort this problem out to stop a ongoing maintenance headache for the Client.

• Currently there is no flood monitoring system in place to activate the flood barrier in times of flood. The choice is either hard wire or wireless link – this issue needs to be brought to a close either way.

• We understand that the Air raid shelter that was discovered during early excavation works still needs to be filled in either with concrete or earth to stop children etc from gaining entry.

• All items relating to future maintenance activities including various window cleaning access strategies & those for lamp changing & gallery hanging etc will need to be developed & included where necessary.

Source from CDM Residual Risk Assessment - See Appendix

Personal photography - angualr cornered concrete wall

Personal photography - windows need cleaning

Personal photography - windows need cleaning

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3.1 Planning Guidelines 3.1 Introduction to Planning Planning is to ensure that building development and land use is allocated in the public interest with economic, sustainable and environmental intentions by the metropolitan district, who are seen to represent the community.

Sustainable development is the development that meets the needs of today without comprimising the needs of future generations.

Planning began in the industrial revolution in order to provide adequate housing based on public health acts and reduce slums.

1944 saw the very first planning acts where local authorities began to have control, and people had to submit planning applications.

System of regulation 1. make application 2. goes to appointed team of officers of development management 3. goes to commitee 4. refusal or approval 5. right to appeal to government Planning applications must be determined in accordance with the statutory development plan, unless material considerations indicate otherwise.

Preparation on plan = SURVEY ANALYSIS PLAN Plans take into account: • population projection • birth rates • death rates • divorce rates • marriage rates These can all be indicators to how land use is needed in the local area.

Plans allocate the best areas for housing, commercial development, retail etc.

On paper and illustration of a plan, there must be an understanding of the site, evidence of thought, iterations looked at and final design justification.

Development management is a legal requirement.

The site must be visited, policies consulted, specialist inputs and an informed judgement made as to whether a planning application may be granted or refused.

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3.1 Planning Guidelines 3.1.1 National Planning Policy Framework The National Planning Policy Framework sets out the government’s planning policies for England.

The Framework is an important part of the government’s reforms to make the planning system less complex easier to understand.

The Framework sets out planning policies for England and how they are expected to be applied.

It provides guidance for local planning authorities and decision-takers, both in drawing up plans and making decisions about planning applications.

“The purpose of planning is to help achieve sustainable development.

Sustainable means ensuring that better lives for ourselves don’t mean worse lives for future generations.

Development means growth. We must accommodate the new ways by which we will earn our living in a competitive world.

We must house a rising population, which is living longer and wants to make new choices. We must respond to the changes that new technologies offer us. Our lives, and the places in which we live them, can be better, but they will certainly be worse if things stagnate.

Sustainable development is about change for the better, and not only in our built environment.”

-Rt Hon Greg Clark MP Minister for Planning The NPPF contains three main strands running through it: ECONOMIC SOCIAL ENVIRONMENTAL

https://www.gov.uk/government/uploads/system/uploads/attachment_data/ file/6077/2116950.pdf

See Appendix Item

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3.1 Planning Guidelines 3.1.2 UDP Local development Framework A UDP = Unitary Development Plan UDPs and plans aim to secure the most efficient and effective use of land in the public interest.

This is a land use development plan prepared by the metropolitan district. A UDP can be equivalent to a structural plan or local plan. A UDP may also contain and combine elements of policy from structural and local plans, and can also cover minerals and waste plans. The criteria based policies of the UDP are used at all stages of construction. A structural plan sets out key policies for strategic planning.

These are usually broad terms of general policie, however this type of plan takes into consideration National and Regional policies for planning. A local plan contains more detailed policy for a specific area, including specific sites. Minerals and waste local plans may also be prepared for areas.

UDPs provide the community with policie and proposals for the future development and land use of the area, and identify areas suitable for housing, industry, retail etc.

The Town and Country Planning Act 1990 The framework of land use in Britan is largely provided by the town and country planning system.

Code of Practice This ensures that the public are kept informed and up to date of planning permissions decisions.

When a UDP or local plan is prepared it is a legal requirement to publish an advertisement in at least one local newspaper circulating in the area for at lease two successive weeks.

Copies of the plan are also available to the public in local public libraries as well, and must be highlighted that this is the case.

The public ca dispute a planning application on the grounds of privacy and overlooking, causing a drop in house prices, external lighting may be intrusive, overshadowing can create loss of daylighting.

Detailed policies framed in local plans include: • housing requirements • green belts • conservation of natural and built • economy • transport facilities • mineral working and protection of resources • waste disposal • land reclaimation and use • tourism/leisure/sport/recreation • energy generation and renewable Planning control is the process of managing the development of land and buildings in order to save the best of our heritage, improve the infastructure and create a civilised existance.

Details of proposals and architect drawings can be found at the local planning authority office.

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3.1 Planning Guidelines 3.1.3 Local Planning Policy UDP for Wakefield is available at Wakefield Town Hall, Wood Street, Wakefield.

The art gallery will occupy a prominent position overlooking the River Calder with views of the city centre and will feature the collection of Wakefield born Barbara Hepworth, an internationally renowned sculptor, as well as the districts historic and contemporary art collections. The project also involves the restoration of a number of historic industrial buildings, including the eighteenth century grade II* listed Calder and Hebble Navigation Warehouse, and grade II listed Phoenic Mill and Rutland Mills. This specific part of the waterfront where the gallery is situated is identified as being suitable for landmark buildings/development under Policy CW9.

Given that a substantial part of the waterfront is designated within a conservation area and includes several notable listed buildings, new development (including refurbishments and environmental improvements) must be of a very high standard in terms of design and the quality of materials.

The site lies within the Wakefield Waterfront Conservation Area, which contains a number of nationally and regionally significant industrial buildings including the Calder and Hebble Navigation Warehouse, Phoenix Mill and Rutland Mills.

A Grade II listed Watermill is located on the headland site, adjacent to the new gallery. Although currently in very poor condition, its vernacular brick architecture, domestic scale and informal relationship with the river edge contrast with the largerscale, more formal stone architecture of the other listed industrial buildings on the waterfront.

Of particular historical interest, the watermill contains the remains of a timber waterwheel and other machinery which survive as an early example of industrial water power.

Visible to the East of the Headland is the medieval Chantry Chapel and Bridge dating from 1342.

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3.1 Planning Guidelines 3.1.3 Local Planning Policy Previous Land Use The site was previously occupied by a number of multi storey buildings constructed from a mix of materials, either in industrial use or left vacant or derelict.

A Grade II listed watermill exists on the headland site.

An existing air raid shelter remains underground located to the south of the building adjacent to Tootle Street.

Please refer to Environmental Management Risk Strategy (EMRS) May 2006 and the Ramboll Environmental Verification Report October 2008, which identify the environmental risks of the site from contaminated made ground and ground gas.

Planning Restrictions The project underwent three stages of planning.

The initial full planning application was issued in November 2004 and full planning permission was granted, with conditions, in January 2005. In late 2005 amendments were made to the approved scheme and were accepted.

The project was redesigned when tender returns exceeded the budget in 2006 and the alterations changed the project from the original approved scheme. These were issued under an approval of reserved matters to the approved outline planning application.

Permission for this was granted in May 2007.

The area in front of the building was maintained as a public space to satisfy the Council who intend to make environmental improvements in the vicinity of the River Calder which runs in front of the building and in a covered culvert.

The development is subject to strict controls on noise from both plant and activity by the users and reference to conditions 9, 10 and 11 to the Appeal Decision should be made prior to any future changes to the plant or commencement of activities which might increase the noise level.

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3.1 Planning Guidelines 3.1.3 Local Planning Policy Unitary Development Plan - UDP Policy CW 1 Emerald Ring - Restriction of Traffic The Emerald Ring as shown on the proposals map (Plan No. 1 - Proposals) will be created to complete the existing inner ring road by linking Bell Street to Marsh Way with a one-way gyratory system and by giving priority to pedestrians and cyclists within it.

Traffic will be restricted on the following roads : • Wood Street • Westgate • Kirkgate • Marygate • Northgate • Bull Ring • Smyth Street • George Street • Union Street • Brook Street • Lower Warrengate

Policy CW 3 Number and Location of Car Parks The total number of public car parks will be reduced and replaced with a smaller number of larger facilities.

Long-stay car parks will be located around/ outside the Emerald Ring with good accessibility to the city centre.

Short-stay car parking will be located within the Emerald Ring.

Around 1500 new car parking spaces will be needed to meet the forecast shortfall within central Wakefield from 2010 onwards. The majority of these spaces will be long stay facilities.

In the case of residential development, car parks within the Development Sites and Special Policy Areas must be located underground or at ground level so as to secure safety and reduce the built footprint of the development.

Development of Pedestrian and Cycle Routes Proposals for development on sites that include cycle or pedestrian routes must: • Ensure that the cycle or pedestrian route is incorporated and designed into the scheme; and either build the route or make a financial contribution towards the provision of the route.

• The policies CW 1 and 3 these may of had implications on the design of the building.

• Accessiblity seems to be a key part of the design of the building, as it is situated on one of the main roads which was being developed at the time.

• Accessibility for both vehicles and pedestrians is an essential, part of the policy CW 3, and the design of the Hepworth. Which had to abide to this policy, which in turn affect the design of the gallery.

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CENTRAL WAKEFIELD AREA ACTION PLAN - Adopted 17 June 2009

PLAN No. 3 PEDESTRIAN & CYCLE ROUTES Wakefield Council Local Development Framework

Emerald Ring - to carry traffic around the City

Proposed Pedestrian Routes

Transport Nodes 1. Bus Station 2. Westgate Train Station 3. Kirkgate Train Station

Proposed Cycle Routes

Based upon the Ordnance Survey material with the permission of Ordnance Survey on behalf of the Controller of Her Majesty’s Stationery Office. © Crown copyright.

Unauthorised reproduction infringes Crown Copyright and may lead to prosecution or civil proceedings. No further copies may be made. WMDC LA 100019574

Scale:

N.T.S

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3.1 Planning Guidelines 3.1.3 Local Planning Policy Policy CW 5 Vistas Key vistas of the spires and towers and other historic civic buildings within central Wakefield will be protected, maintained and where possible enhanced. Will not allow proposals for development (including signage and advertisements etc) that would obstruct or detract from important vistas within the city centre, especially the following (as shown on Plan No.5 Landmarks, Vistas and Views): • The civic buildings viewed up Wood Street.

• Wakefield Town Hall viewed from George Yard and Crown Yard.

• All Saints Cathedral viewed from Bread Street.

• The cathedral viewed from Wood Street.

• The cathedral and precinct viewed from Little Westgate.

• The cathedral and precinct viewed from Lower Kirkgate.

Policy CW 8 The following sites/locations as shown on the proposals map have potential for landmark buildings/developments: • Junction of Marsh Way and Northgate; • Junction of Marsh Way, Peterson Road and Kirkgate; • Chantry Bridge/junction of A61 (Barnsley Road)and A638 (Doncaster Road); • Junction of Denby Dale Road and Ings Road; • Junction of Westgate and Quebec Street; • Junction of Stanley Road and the Emerald Ring.

Landmark development must be of exceptional design quality and use the best quality materials.

They must also create active street frontages and provide strong links to the public realm and footpath/pedestrian network.

Proposals for landmark development must also be accompanied by the following information: An assessment of the townscape setting out how the proposal will contribute to the urban form and character of the city and the built environment. This must include a thorough analysis of the siting and design of the building and its potential effects on both the immediate and surrounding context, including the built form, streetscape, waterways and the distinctive topography of the city; architectural models and three dimensional drawings to illustrate how the proposal will appear in the streetscape and how it will relate to other structures and landmarks, such as public spaces, and how the building will shape the city’s skyline.

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3.1 Planning Guidelines 3.1.3 Local Planning Policy Policies CW 5 and 8 show that the location of the building is situated in a development area, which suggests what the building has to be built for.

It is also situated in a possible landmark zone, which suggest the importance and the impact the building must have.

The building also can not detract or obstruct the views from existing landmark, which is a restriction of height and possibly the general form of the building.

These policies also suggest how important it is, for Wakefield and its development, the accessibility of the new developments and how they are incorporated into the existing context.

Personal photography - listed buildings next to Hepworth

Policy CW 9 Public Realm New development within central Wakefield will be required to make: A positive contribution to the public realm by virtue of its siting, design and materials; and a financial contribution towards public realm improvements subject to the thresholds set out in the Developer Contributions Supplementary Planning Document and local priorities.

Masterplan scheme

Policy CW 21 The Waterfront The Waterfront Special Policy Area as defined on the proposals map (Plan No. 1 - Proposals) will be redeveloped into a vibrant mixed use quarter which exploits its riverside location close to the city centre and its architectural and industrial heritage.

Development within this area that has a waterfront edge should provide public access and incorporate mooring points wherever possible and maximise the potential of the water space to enhance the tourist, leisure and recreational facilities.

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3.1 Planning Guidelines 3.1.3 Local Planning Policy Flood risk is a significant issue in this area.

In these areas, we will also allow small scale retail or leisure uses such as bars, cafes and restaurants to serve the daily needs of local residents.

All development proposals must be accompanied by a flood risk assessment which should address: The retention of existing flow paths for all sources of flooding.

The retention of space for water to be safely stored and managed.

Floor levels.

The provision of a place of safety accessible to all users of the site; and the implications for emergency planning procedures.

Specific areas of the Special Policy Area will be developed for the following uses: The ‘core waterfront area’ will be suitable for offices, cultural, residential and leisure uses.

Land to the south of Wakefield Lock, including Belle Isle and land between the River Calder and the western side of Portobello Road, will be suitable for residential development.

Land to the east of A638 Doncaster Road will be suitable for offices and leisure uses.

Land alongside Doncaster Road will be suitable for office, business and some leisure uses.

Land to the south of Fall Ings will be suitable for office, business and some leisure uses.

Stennard Island will be suitable for offices and business uses.

Land to the north of Chantry Bridge will be suitable for offices, business and small scale retail and leisure uses.

The Hepworth in relation to water

The Hepworth in relation to water

The Hepworth in relation to water

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3.1 Planning Guidelines 3.1.3 Local Planning Policy

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

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Policy CW 9 demands that the development has to contribute towards the improvement of the public realm. Which implies the building has to be for the public and for public use, suggesting the building’s function has to be.

Policy CW 21 is the most relevant to the Hepworth. The policy gives the an indication of what the building should do for the location - Development within this area that has a waterfront edge should provide public access and incorporate mooring points wherever possible and maximise the potential of the water space to enhance the tourist, leisure and recreational facilities.

Since the building is being developed in a flood risk area it must therefore incorporate this into the construction of the building - Flood risk is a significant issue in this area. All development proposals must be accompanied by a flood risk assessment which should address: • The retention of existing flow paths for all sources of flooding.

• The retention of space for water to be safely stored and managed.

• Floor levels.

• The provision of a place of safety accessible to all users of the site; and the implications for emergency planning procedures.

 

         

                                                        

                                                                                                                                                                  

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            



 

      

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   

  

  

   

 

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 

 

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3.2 Building Response to Planning Guidelines 3.2.1 Building Response to UDP/LDF Response to UDP • The UDP is also in place to guide the conservation and regeneration improvement activity in Wakefield.

• The master plan that the Hepworth Gallery was a part of included a Grade 2 listed water mill which will be conserved to provide interpretation of the history of the mill and waterfront and create managed workspace. The restoration and conservation of a number of fine historic structures such as the 18th century Grade 2 listed navigation warehouse, Grade 2 listed Phonix and Rutland Mills complex was also completed.

• As part of the regeneration of the waterfront the scheme includes a new pedestrian bridge over the River Calder, to improve linkages between Waterfront Wakefield and Wakefield City Centre, together with a dedicated car park and coach drop off point on Thomas Lane.

Response to planning policy CW21: • The River Calder, running to the north of the Hepworth Gallery presents a significant flood risk to the lower lying land located to the south of the wier.

• The land, highlighted in orange, previously acted as an overspill when water flowed over the side of the wier.

• Flooding the A61 and the surrounding buildings.

• In response to the issue of flooding on the site, the gallery was designed to stand partially submerged in the river, facing the nearby wier and act as a flood defence, redirecting the water away from the area liable to flooding and back down the River Calder.

• The perimeter walls of the gallery are made from heavily reinforced, self compacting concrete. Enabling the building to remain durable against the violent force of flood waters.

• The building redirects the flow of flood water away from its original path through the site, becoming a barrier to prevent the A61 and the surrounding area from flooding.

• In compliance with policy 21 all mooring points originally situated on the north bank of the River Calder have been retained, the public access via the walkway has been raised as it does interrupt the original moorings.

Personal photography - listed buildings next to Hepworth

Masterplan scheme

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3.2 Building Response to Planning Guidelines 3.2.1 Building Response to UDP/LDF Response to planning policy CW9: • Policy 9 states that the project must make a positive contribution to the public realm as well as improvements set out in the developments contributions supplementary planning document.

• The document states that developments must contribute to physical infrastructure such as roads and pathways as well as community facilities such as health and leisure.

• The gallery has responded to community requirements and become a focal point for the community, as well as fostering local development in a number of ways.

• The gallery offers a young peoples programme to young people aged between 14-25 and offers a range of workshops, talks and evening and weekend events.

• The Hepworth, Wakefield is a destination for school visits and provides unique opportunities for learning across the curriculum from primary school through to post 16 education.

• Led by experienced artists their programme will help visitors with visual impairments, hearing impairments and learning disabilities, explore the gallery’s collection.

Response to planning policy CW5: • Key vistas of the spires and towers and other historic civic buildings within central Wakefield have not been interrupted by the Hepworth Gallery.

• It could also be argued that accordance to planning policy CW8 the gallery’s distinctive design has enhanced the cities skyline and become a landmark by providing strong links to the public realm.

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4.1 Finance and Costing 4.1.1 Finance The Hepworth Gallery Wakefield’s client is Wakefield City Council.

The funding for the building has come from funders and donors, matched with council capital.

Contributors to the creation of the gallery: Founding Partners Wakefield Council The Hepworth Estate Major Funders Arts Council England (£5 million) Heritage Lottery Fund (£5 million) Funders European Regional Development fund Homes + Communities Agency Yorkshire Forward Major Donors Audrey + Stanley Burton Charitable Trust Friends of Wakefield Art Galleries and Museums (WDAF) Garfield Weston Foundation The Headley Trust The Wolfson Foundation Donors Esmee Fairbaim Foundation Sir George Martin Trust Henry Moore Foundation Kirby Laing Foundaion Lord St Oswald Sairrah Wainwright Charity Sir Segmund Warburg’s Voluntary Settlement Supporters Sir Richard Dalton Stephen Gouldin Kenneth Hargreaves Trust John Lewis Partnership Simon + Midge Palley Rt. Revd Stephen Platten Kate Taylor The Hepworth Gallery obtained £18 million through funding from the above, which was then matched by council capital in order to fund the building at a total of £35 million.

Within the past six months, some of the galleries have been named in recognition of major donors of the gallery.

Gallery 4 has been named WOLFSON GALLERY after The Wolfson Foundation.

Gallery 6 houses a flexible partion walls which separates the gallery into two sections. The first section has been named the WESTERN GALLERY after The Garfield Weston Foundation. The second section is named the AUDREY AND STANLEY BURTON GALLERY after The Audrey and Stanley Burton Charitable Trust.

• The car park built as part of the gallery’s master plan continues to fund the gallery.

Mon - Sun 9am-6pm £4.50 maximum 5 hour stay Mon-Sun 6pm-9am £2 flat rate

Plan of gallery spaces

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4.1 Finance and Costing 4.1.2 Costing for Construction A Break down of Construction costs consists of many aspects within building design.

The total cost of construction typically ranges from £13,000,000 to £15,000,000.

The total cost of a building is the materials + labour costs.

By using a basic cost model we can determine the areas of cost through construction.

• Facilitating works • Substructure • Frame • Roof • External walls • Windows and external doors • Internal walls and partitions • Internal doors • Wall, floor and ceiling finishes • Fittings and furnishings • Space heating and air conditioning • Electrical installations • Fire and lightning protection • Communication, security and control systems • Builder’s work in connection with services • Main contractor’s preliminaries • Main contractor’s overheads and profit • Contingencies/ Contingency

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4.1 Finance and Costing 4.1.2 Costing for Construction • The Gross Internal Floor Area (GIFA) for the Hepworth Gallery is 5232m2.

• The final total for the Hepworth Gallery was £35 million.

• This means that the total cost per square metre of the gallery is: £35000000 ________

=

£6689.60 per m2

5232m2 Before construction started, the team spent a year on value engineering – research and trial-and-error work to find the £2.5 million in savings the client needed.

“We worked closely with the client and designers to get round some of the technical issues and get the costs down. We trawled the market for alternative products that wouldn’t compromise quality and helped refine the details to achieve cost-effective buildable solutions.”

-Laing O’Rourke, Engineers for the Hepworth Gallery The building was originally budgeted at £26 million, however after the building underwent a year of pre-construction value engineering, permission was granted for the building to cost a total of £35 million as it would be a beneficial factor in the Wakefield master plan scheme for the regeneration of Wakefield Waterfront.

David Chipperfield’s concept included a vision of a high quality mirror finish to the exterior facade of the building.

For this Chipperfield wanted to use polished pre cast concrete panels for the materiality of the building.

However, following a budget review and value engineering, it was found that pigmented self compacting in-situ concrete would be a viable alternative, creating a similar bespoke appearance, and must cheaper to construct.

Pre-cast concrete panels (including installation, lining and fixings) at 7.5m wide, 0.15m thick and storey-height (3m) cost around £210-270 per square metre.

This would mean that for the 5232m2 Hepworth Gallery these pre-cast concrete panels would cost £1,098,720-£1,412,640.

However, for the design of the Hepworth Gallery 0.3m thick panels would be needed, and this cost would be doubled for the two storey building.

Instead, in-situ concrete walls at 0.3m thickness (required for the Hepworth Gallery) cost £145-190 per metre squared, making the total cost for the Hepworth construction £758,640-£994,080 per storey, much cheaper for construction.

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Part 5: Critical Conclusion 5.1.1: Design Response to 1.1.1 Use The building is completely fit for purpose as a gallery space, partly as this was the function of the design. The Hepworth is a purpose built gallery, and therefore every design concern and concept adheares to the best possible way to achieve the optimum gallery spaces.

Chipperfield has kept this fully in mind when designing the gallery.

I did notice whilst I was visiting the gallery that I don’t think the design of the WC services have been well thought out, however this may not be down to architectural design, as it is more a case of interior furniture and fittings. The hand dryer for the female toilets has been placed just behind the main entrance door, meaning that this can create a health and safety hazard for the people using the hand dryer, in case the door may hit them.

It is clear that the focus of the building has been on the gallery spaces, and not necessarily the WCs, however this is understandable for the use and purpose of the building.

Response to 1.1.2 Amount The whole building was constructed on site, however it is impossible fabricate insitu concrete off site.

Pre cast concrete panels were looked into as an alternative, however these were more exoensive, even taking into account the labour costs.

It is therefore acceptable for this type of construction to be done.

The pedestrian footbridge was made as three prefabricated components, as it is 50m long, and then welded together on site, due to the steel construction of this.

This required pinpoint-precision manoeuvring, with the bridge parts and cranes shoehorned into a small area with literally millimetres separating them, but this was acieved successfully and completed quickly.

WC design

Footbridge

Response to 1.1.3 Layout The gallery, as part of the master plan scheme for Wakefield Waterfront regeneration, also acts as a catalyst within the community. This is clearly reflected through the layout of the ground floor plan. The central lobby is the main entrance threshold for all visitors. All social functions then surround this initial threshold for the community. The rear of the building is where all of the private spaces are housed, away from the public social spaces. This plan works very well for the social functions. All gallery spaces are then situated on the first floor, laid out in a particular sequence to lead the visitor around. Chipperfield has always kept the user in mind throughout the design of the Hepworth gallery, making him the best architect for the design, bringing a humanistic approach to architecture.

Social Functions

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Part 5: Critical Conclusion 5.1.1: Design Response to 1.1.4 Scale The scale of the building works really well in order to relate to it’s surrounding context. On first approach the building looks conpletely out of place, rising and falling in it’s roofline, as well as cast solidly out of concrete, however after exploration of the concept behind the design, it is clear to see that the buildig belongs in the setting it is in.

It was incredably important to the scheme to be sympathetic to the site as the Hepworth is built on such an important part of Wakefield’s industrial history. I think that Chipperfield has achieved this well, constantly being sympathetic to the surrounding listed buildings as well.

Response to 1.1.5 Landscaping The site of the Hepworth Gallery is of massive importance to the gallery, and to Wakefield. The £100 million Wakefield Waterfront Regeneration master plan scheme is evidence of this. The picturesque views surrounding the site, drawn and painted by numerous artists from the loacl area, have not been ignored by Chipperfield. Instead they have almost been exploited. The clever use of floor to ceiling picture windows frame the views within the gallery, creating art out of them, as well as connecting the viewer to the beautiful landscape.

The landscaping of the children’s playground to the rear of the building also connects the community to the gallery, as well as create play as well as learning for children through the functions of the building in connection to the landscaping.

The landscaping also played a huge role in the access to the gallery, in order to create links with the gallery and the city centre.

-See 5.1.2.

Hepworth in Landscape

Response to 1.1.7 BIM BIM is fast becoming a prioeity through all design in the UK. By 2016 the government aim to make BIM fully mandate on all public buildings. This would have included the Hepworth. The use of BIM through the design of the Hepworth Gallery has allowed for ease of many aspects of the design, however BIM could have been used in the construction of the in situ concrete, especially as tolerances and new construction methods were being trialled.

Although the building of the Hepworth did achieve all construction tolerances, using BIM to aid this process may have created a faster and more efficient process for building.

Picture windows

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Part 5: Critical Conclusion 5.1.1: Design Response to 1.1.6 Appearance, Materials and Construction The structure’s unique and bespoke form means there are few identical angles and almost no right angles and therfore required a purpose made joinery shop to be set up for construction on site.

Flooring had to be laid to tolerance levels beyond those inherent in the product and never achieved before. It also had to be joint-free, produced in a single pour, to the exact pigment. In a design first for the UK, the four-metre-high, two-metrewide entrance doors are overclad in sheet metal and hung like moveable steel walls.

The 3.8-metre-high internal wooden doors separating each gallery space are so large that no UK presses could cater for the specification, so they had to be imported from Canada.

The gallery walls float 40 millimetres above the floor, so hidden supports had to be constructed. Because the gallery is built into the river, the walls had to be reinforced to almost reservoir standard.

The Hepworth also neglected many passive heating and cooling technologies, as windows can’t be opened for safety reasons above the water, the same cannot be said for its mechanical technologies.

The bespoke ‘water source’ heat pump/ exchange system was a relatively untried technology at the time of conception and seems to work extremely well, with 2 small gas fired boilers to heat the water and air only being needed in times of emergency.

All ducting and ventilation is also housed in the basement or hidden in partition walls to keep the internal public spaces looking pristine. However, should one of the ducts inside the walls fail, the entire wall would need to be deconstructed in order to gain access to the duct, making this expensive to maintain in the future maybe. All services run through the walls to allow the floors to be cast as one piece in in-situ concrete, as the walls are, however this means that they may be more difficult to access for maintenance.

Due to the specialist pigmentation of the concrete, ageing can create a new character with time. Whether this was the intention of Chipperfield is not publicised, or whether the issue was overlooked to create this gallery solely for present purposes, without much thought into the future lifespan of the building.

Concrete as a material can create quite a permanenceas a building, but with the bespoke and intrinsic shape of the Hepworth Gallery, this may make the building unsuitable for the future as it may be difficult to re-adapt the building to another function if it needs to.

Concrete construction

Concrete construction

Concrete construction

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Part 5: Critical Conclusion 5.1.1: Design Response to 1.1.6 Appearance, Materials and Construction When I first went to the Hepworth I was also a little confused as to the choice of concrete. the building is to house and commemorate the work of Barbara Hepworth, however she worked in bronze, wood, plaster and stone. The building could have been more sympathetic to her trade materials. I have since drawn the conclusion that concrete has been used to make the building stand out, as well as drawing the parallel between Hepworth’s castings, and casting of in-situ concrete.

Concrete pigment = “Hepworth Brown” - specialist for Hepworth Gallery, however lighter than intended for the final design, compared to patch applied to mock up walls. This could be due to the curing time of the concrete within the formwork as this can affect the colour of the concrete.

Longer = Darker.

This is a design fault due to such a bespoke design from Chipperfield, but one that is not noticed by visitors and would not affect the final design of the building at all.

If anything makes the building more unique.

Nothing had been done on that scale before, to those standards, with in situ concrete, which is admirable, and must be commendated.

Hepworth’s casts

Hepworth’s casts

Hepworth’s casts and concrete building

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Part 5: Critical Conclusion 5.1.2: Access Response to 1.2.1 Vehicular and Transport Links The footbridge and terrace strongly tie the city and master plan together, while access along the south of the Gallery allows pedestrians to come to the Gallery and riverfront from the railway station.

It was key through the design principles and concept that the gallery must be an integration, not only within the Wakefield Waterfront Regeneration scheme, but also provide an integration with the centre of the city.

This is achieved through the new car park connecting major roads to the gallery, as well as the pedestrian footbridge.

The gallery has been designed with great transport links around it such as the railway stations, the main road and the car park built purposely for the gallery to provide road links with the gallery.

Wakefield city centre also operates a free city bus service, which now runs to the Hepworth gallery, stopping also at both railway stations in Wakefield.

The separation for staff access and deliveries access from the main entrance and the opposite side to the pedestrian footbridge has also been well designed by Chipperfield.

1.2.2 Inclusive Access Access is available for all people regardless of age, ability or ethinicity. The one main entrance brings together the community into the central lobby space, surrounded by social functions for the community.

The design of the gallery spaces to draw people around has also been well designed and thought out through the design concept.

Pedestrian footbridge

It is clear why Chipperfield was the chosen architect for the project through his insight into the workings of the gallery space through a humanistic element.

Doorway to gallery

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Part 5: Critical Conclusion 5.1.3: Saftey in Design and Construction Response to 2.1.2 Construction Law All construction laws and building regulations have been successfully adheared to through the design and build of the Hepworth Gallery. Changes to design and construction were made adequately throughout the process in order to comply with law.

Response to 2.1.3 Minimising Risk in Construction Through the construction plans and procedures were carefully thought out by the architects and engineers to ensure maximum safety on site. there were no reports of safety breaches o site throughout the construction of the gallery.

The cranes used through the construction were managed and operated safely, and the location of these was properly planned to ensure safety on site.

Response to 2.1.4 Minimising Risk in Design The CDM Residual Risk Assessment was properly recorded and all aspects highlighted on the report as potential risks in the design of he gallery were planned and re-designed before the opening to the public.

The gallery feels like a safe environment to be in, and warning signs are given when risks could not be avoided.

In particular there is a warning sign indicating the risk of the water.

H&S risk before

H&S risk after

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Part 5: Critical Conclusion Response to 5.1.4: Building Response to Planning Guidelines Planning permission was granted for applications associated with the Hepworth Gallery.

No objections or refusals were made.

The building responds greatly to the surrounding listed buildings, ensuring these were not damaged through the construction of the Gallery. “The total number of public car parks will be reduced and replaced with a smaller number of larger facilities.�

Although the Hepworth does not directly relate to the policy highlighted above, to reduce smaller car parks and replace with larger facilities, the car park for the gallery was constructed, not only to provide a connection with the city centre, which is important through the scheme and narrative, but also to provide additional funding to allow visitors to have free admission into the gallery, and aid the gallery in being able to run as a business.

This is therefore not a problem that it breaches this part of the planning policy.

The gallery has met the needs of land use within this area, as it has been planned as a development site, and the Wakefield Waterfront regeneration scheme aims to create this, with the Hepworth Gallery as part of this.

The gallery also lies on planned pedestrian and cycle routes, allowing the gallery to become more connected with the rest of the city.

The locationof the building is situated on a development area.

It is also situated in a possible landmark zone, which suggests the importance and the impact the building must have.

The building also can not detract or obstruct the views from existing landmark, which is a restriction of height and possibly the general form of the building, which the building fully adheares to.

The Hepworth Gallery has extensively taken into account all flood risks, and has built according to these. All walls in contact with the water have been built to resevoir standard.

The master plan that the Hepworth Gallery was a part of included a Grade 2 listed water mill which will be conserved.

As part of the regeneration of the waterfront the scheme includes a new pedestrian bridge over the River Calder, to improve linkages between Waterfront Wakefield and Wakefield City Centre, together with a dedicated car park and coach drop off point on Thomas Lane.

Personal photography - Car park

Personal photography - Signage for the gallery

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Part 5: Critical Conclusion Response to 5.1.5: Finance and Costing The funding generated for the scheme of the gallery was a staggering amount at ÂŁ18 million.

The Hepworth was granted the maximum funding from both Arts Council England, and The Heritage Lottery Fund.

I think that the design of the gallery is beautiful and bespoke as a piece of architecture, however it has been created using usique construction methods, unique materials, and unique tolerances, and I believe that this may have been unnecessary, as the same concepts could have been achieved using standard methods and materials for a much cheaper price.

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Appendix

1st December 2009 RESIDUAL RISK REPORT & REGISTER Compiled by CDM Project Safety Ltd

1. It was noted that due to the recession many of the old red brick buildings off Tootal Street have still to be renovated and so could pose various risks if the public were to park down this particular side street, especially around the existing car parking areas where contractors currently park. As here the majority of the building’s are quite dilapidated with broken windows and sloping roofs with slates that are either missing or slipping and therefore could pose a hazard to the visitors of the art gallery.

2. It was noted that as you walk up to the main gallery steps, some of the reinforced concrete walls around the building are quite angular with corners which could allow the potential for a person to hurt themselves should they inadvertently trip around the step areas possibly hitting their heads onto some of the corners. Some form of detailing should be considered that might trim such corners to alleviate this situation.

3. The Water Mill by the side of the Hepworth adjacent to the river is currently left in an a very bad condition with its surrounding areas on the river flood plain. Currently the Mill is in a very dilapidated state with different sections of the Mill having been hoarded off with part of the roof covered over with visqueen protection, tied down with guide ropes ties attached to sand filled builder’s bags thereby counteracting wind uplift. As the Mill is in such a dilapidated condition and even though measures have been put in place to hoard around the various building elevations, from a safety point of view, the mill is very vulnerable to break in or arson attack by young persons.

Various window and door orifices have been covered over with plywood board, but this could be easily breached by the determined person to gain unauthorised access inside. Although we could not gain access inside Mill on the day of writing this report, we understand that the condition inside is again very dilapidated with floorboards sitting on rotten joists and although a certain amount of remedial work has been carried out to cover various areas over, it is still probable that if persons were to gain entry at night time, then in the dark conditions it would be possible for injury to occur from falling & tripping onto old machinery parts etc. Therefore remedial measures must be undertaken alongside those purely to try and protect the Mill from the elements. It is therefore essential that further hoarding measures with heras fencing etc is undertake to make this building as secure as possible until a time when it can be successfully renovated sometime in the future. We did also notice as we walked around the Mill that there were a number of holes in the sides of the brickwork, which in our opinion are large enough to allow access into the building by teenagers. These therefore need to be covered over as part of the remedial works. We also would like to stress that along with further boarding and heras fence protection that good signage is also critical in securing this building from unauthorised entry.

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4. To gain access from the Mill level back up to the Hepworth level one needs to negotiate the side steps. These steps which are currently barriered off need to be dealt with correctly before the gallery opens, as it is possible that older or younger persons could end up falling down the differing levels of steps. This needs to be done by utilising appropriate balustrading & handrail sections. Also on the flood protection walls there are a couple of cupboards without doors that currently allow access into the metered supplies. This situation could result in either damage to the metres or even the possibility of electrocution.

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5. We noticed that the far end of the bridge is unlikely to be fully finished in time for the opening and believe that further works are still needed to areas of the bridge to make partial access safe. Firstly we noticed some of the plyboard flooring used to cover up the void areas between the new bridge and the existing walkway is causing a trip hazard which needs to be addressed.

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6. Some of the windows to the northern elevations of the gallery facing the willow trees and weir obviously will need to be cleaned from time to time. Access to the window over looking the willow trees can be accessed successfully from under the bridge by the flat grassed area. The window here can be reached for cleaning by carbon fibre graphite water fed pole. However, the windows to the northern elevations of the gallery, looking directly onto the river can only be cleaned by rope access technicians and this again has been previously well documented for the reader with procedures in place for allowing both vertical & upward evacuation as necessary. However we do not anticipate that these windows will need cleaning more than once a year and our Client is aware of this need & life cycle costs of this procedure.

7. It is felt that the concrete wall to the bridge site of the Hepworth elevations will be easy climbable by teenagers allowing them to gain access onto the mainly flat banking areas which then become quite steep before dropping off down to the waters edge. Again it is felt that teenagers could either gain access off the main road bridge by jumping up onto the concrete wall and then down the other side. Therefore some additional fencing around these areas should be considered to prevent climbing. This should be fully considered under the future landscaping package.

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8. The loading bay in the gallery currently has no form of moveable barrier protection to protect the user from a fall from height when a vehicle is not in the unloading position, therefore some form of barrier access protection needs to be considered and fitted.

9. It is proposed that various light fittings to the various roof recesses are accessed by either light scaffold tower and or small cherry picker. The use of large step ladders should not be considered suitable for the changing of such fittings.

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10. Inside the gallery are various riser cupboards which allow access into various items of infrastructure. The design team has allowed the majority of these areas to be accessed safely by the fitting of access doors that should be kept open at each side allowing for cross flow ventilation whilst any maintenance operatives are working inside. A strict permit to work system should be employed with such items of work.

11. In the basement it was noticed that many copper pipes were running across the floor to various floor drains. Such pipework must be considered to be a trip hazard and some further thought therefore needs to be given over to this aspect. It was seen that some areas had boxes over the various pipework arrangements. If this is to be the decided method of dealing with this, then all the boxes could do with highlighting in yellow fluorescent paint.

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12. Gantry access has been fitted to allow access to the fire dampers located approx. 3 to 4 metres above ground level & although this has been done retrospectively, generally speaking the various gantry access stairs & platform areas does allow reasonable access by an able bodied person to the fire damper access hatches as required. However, some changes will be needed to make this situation acceptable.

After negotiating some of the ladder access points a number of light fittings remain in the way which could catch out the typical user and needs to be raised higher on the steel rods. It is also possible that when a person is descending from this ladder as a typical example that the maintenance operative could bang his arm or leg on top of the other stairs adjacent. The top of these ladders should be lightly padded to stop such an injury from occurring.

13. Again to add weight to what the Building Control Officer has stated we agree that better signage should be produced to the various walls indicating the best way out to the user in an emergency situation and suggest that such signage should be luminescent.

14. Other wider issues discussed at the various design team meetings include the following residual risk items. Could all Consultants review this list please.

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

Landscape Package currently omitted, presently low lying areas by wear are not adequately protected by fencing, barriers, trees & shrubs etc for these areas to be opened up for the publics use.



River Cooling needs cleaning out on a regular basis as the filters keep getting clogged up with leaf debris in the water cooling inlet chamber. A further survey & remedial works needs to be undertaken to sort this problem out to stop a ongoing maintenance headache for the Client.

Currently there is no flood monitoring system in place to activate the flood barrier in times of flood. The choice is either hard wire or wireless link – this issue needs to be brought to a close either way.

It has been noted that the barrier that was put up by Laing’s has been removed by the Highways Department to protect pavement areas on Thornes Lane.

Further control of this area needs to instigated by Wakefield Council.

The electrical cupboard next door to the café in the Hepworth has some access issues, further controls need to put in place to deal with this issue.

DDA colour & texture issues, some items are still outstanding.

Plant room escape signage needs to be developed & fitted to allow better escape options.

We understand that the Air raid shelter that was discovered during early excavation works still needs to be filled in either with concrete or earth to stop children etc from gaining entry.

It needs to be noted that in the Health & Safety File that the bridge has been post tensioned & so will now hold substantial stored energy due to the post tensioning of the wires that needs to be controlled when demolition finally takes place in the future.

All items relating to future maintenance activities including various window cleaning access strategies & those for lamp changing & gallery hanging etc will need to be developed & included where necessary.

      



Conclusion We hope our thoughts here expressed, along with others given on the residual risk register fully informs our mutual Client - Wakefield Council of what further remedial works & actions might be necessary prior to fully bringing this art gallery into full public use.

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PROPOSED

CENTRAL WAKEFIELD AREA ACTION PLAN - Adopted 17 June 2009

PLAN No. 5 LANDMARKS, VISTAS & VIEWS Wakefield Council Local Development Framework

Potential Landmark Areas

Important Views

Key Spires

Transport Stations (inc. proposed)

Vistas Based upon the Ordnance Survey material with the permission of Ordnance Survey on behalf of the Controller of Her Majesty’s Stationery Office. © Crown copyright.

Unauthorised reproduction infringes Crown Copyright and may lead to prosecution or civil proceedings. No further copies may be made. WMDC LA 100019574

Scale:

N.T.S

1

2

3

CENTRAL WAKEFIELD AREA ACTION PLAN - Adopted 17 June 2009

PLAN No. 3 PEDESTRIAN & CYCLE ROUTES Wakefield Council Local Development Framework

Emerald Ring - to carry traffic around the City

Proposed Pedestrian Routes

Transport Nodes 1. Bus Station 2. Westgate Train Station 3. Kirkgate Train Station

Proposed Cycle Routes

Based upon the Ordnance Survey material with the permission of Ordnance Survey on behalf of the Controller of Her Majesty’s Stationery Office. © Crown copyright.

Unauthorised reproduction infringes Crown Copyright and may lead to prosecution or civil proceedings. No further copies may be made. WMDC LA 100019574

Scale:

N.T.S

CENTRAL WAKEFIELD AREA ACTION PLAN - Adopted 17 June 2009

PLAN No. 2 ROAD HIERARCHY Wakefield Council Local Development Framework

Emerald Ring - to carry traffic around the City Primary streets for access within Emerald Ring Bus and restricted access only

Based upon the Ordnance Survey material with the permission of Ordnance Survey on behalf of the Controller of Her Majesty’s Stationery Office. © Crown copyright.

Unauthorised reproduction infringes Crown Copyright and may lead to prosecution or civil proceedings. No further copies may be made. WMDC LA 100019574

Scale:

N.T.S

65

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