The Living Theatre - MArch Project 2

THE LIVING THEATRE Sam Walters and Matthew Wreglesworth

PERSONAL REFLECTION Looking back on PS2, I am very satisfied with our final proposal. I feel it works especially well as a reuse project as it is so intrinsically linked to the existing site and would not work as a new build project. The building relates to the history of the Newman Passage and surrounding area of Fitzrovia with a legible concept from micro to macro scale, in line the ethos of Atelier U.S.E. The intensive week was a great way to start this project and kickstart conceptual thought. Our team suffered slightly due to its large size as we struggled to refine our ideas, however, our installation proposal was interesting and acted as a solid foundation for our project.

Myself and Sam worked well as a team with few, if any, disagreements throughout the process. The most testing time of the project was during Sam’s time in Cuba, where poor internet meant our communication was very limited for three weeks.

The design development stalled somewhat at first due to the inability to make shared decisions, but this improved as time went on. On top of this, the increased workload of the dissertation and ‘events’ resulted in a somewhat demanding semester.

This has been a challenging period, but overall, I believe we have produced a strong project.

CREATIVE AND CULTURAL HISTORY

Newman Arms 23 Rathbone Street

Peeping Tom (1970) George Orwell - Nineteen Eighty Four; “The Proles Pub” (1949)

The area surrounding Newman Passage is culturally significant for a variety of the arts. Many renowned writers, musicians and designers have worked in the area at some point and in some cases the architecture has served as an inspiration to them.

Archigram 10 Newman Passage

First office (1970)

Most of this creativity will have gone unnoticed to the everyday Londoner, unless they actively sought it out.

Fitzroy Tavern

What is interesting to note about the activity in this area is that it would be unknown to those directly involved - a secret world of creativity below the surface.

16 Charlotte Street

- Charles Dickens - Virginia Woolf

The UFO Club (1966-67)

This was the main idea behind our intensive week installation proposal, in which people are rewarded for showing curiosity about the area of Fitzrovia, by being given an insight into its creative and hidden history.

31 Tottenham Court Road

- Pink Floyd as resident musicians

The Marguis of Granby 2 Rathbone Street

Dylan Thomas

25 Rathbone Place The Wheatsheaf

Communist Soup Kitchen 20 Newman Passage

Cooperative Kitchen for Communist Refugees (1848-1880)

“Byron at The Black Horse” 6 Rathbone Place

(Karl Marx Speech) 75 Newman Street

Johann Christian Bach (1773)

70 Newman Street

Johann Peter Salomon - Violinist & Impresario (1815)

Dissenter Place of Worship 65 Newman Street

Richard Caddick - Hebraist & Preacher

Archigram

George Orwell

Pink Floyd

INSTALLATION PROPOSAL

Our proposal will replace the current installation with a film about the history of Newman Passage projected on to a distorted screen. The image becomes clear when viewed from within the passage, rewarding the viewer for being curious.

Front - Fragmented

Front - Blurred

PLEASE NOTE Due to the flexible nature of the final proposal, all visualisations will show an example production of George Orwell’s 1984. This was chosen due to the history of Fitzrovia - an area in which Orwell used to write. The Newman Arms is also said to have inspired the proletarian pub within the novel.

Rear - Flat

Rear - Clear Image

REWARDING CURIOSITY - INSTALLATION

Distorted images can be seen from the end of the passageway creating intrigue.

The projection stops when the viewer gets close to the installation, triggered by motion sensors.

When the viewer looks from the rear of the projection screen a clear image is presented to them.

REWARDING CURIOSITY - IMMERSIVE THEATRE Leading on from the intensive week installation which focused on hidden creativity and ‘rewarding curiosity’, we chose to look into theatre as a programmatic way of representing these themes. Immersive theatre specifically is an art form which rewards curiosity. The more an audience member explores, the more they get in return.

Perhaps a theatre in Newman Passage could be an incubator for new experimental theatre, hidden from the mainstream West End, yet in close proximity.

SITE IN RELATION TO LONDON THEATRES This map below shows the location of Newman passage in relation to London’s established theatres. The dense area to the South East of the site is the ‘West End’ and is just a short walk away.

It is also notable that The Royal Academy of Dramatic Art (RADA), one of the oldest and most prestigious drama schools in the UK, is less than 10 minutes away by foot.

On the fringes of the West End and a stones throw from RADA, Newman Passage is an ideal location for hosting a style of theatre which currently lies on the fringes of the main stream.

Venue Types, Capacity and Rental Price

RADA

Newman Passage

London Theatres

The AA

London Set Builders

SITE ANALYSIS AT ALL SCALES Ra

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The site has two main access points. The route leading from Newman Street connects to the street and is wide enough to fit one lane of traffic. Access from Rathbone Place is strictly limited to pedestrians.

It is also possible to access Rathbone place through the rear of the Buro Happold Office, indicated on the diagram with a dotted line. This is an external passageway, making it suitable for an escape route from the office.

March 21st 12.00

March 21st 15.00

June 21st 12.00

June 21st 15.00

It is clear from solar studies that the passage is heavily overshadowed by the surrounding buildings.

Any areas which should benefit from evening summer sun should be positioned to the North and East of the site.

Solar Analysis

Goodge Street

Tottenham Court Road Oxford Circus Building Usage around Site

Routes from Public Transport

WRITING THE BRIEF - IMMERSIVE THEATRE

LIVING THEATRE

BREAKING THE FOURTH WALL

THE THIRD, SECOND AND FIRST WALLS...

Immersive theatre rewards people for their curiosity. There is rarely a strict linear narrative to a production, allowing for audiences to explore the performance naturally. It is often the case that some parts of a show are not immediately obvious to participants. Therefore the greater their curiosity, the richer their experience.

Felix Barrett, the founder of immersive theatre company Punchdrunk, describes his work as ‘breaking the fourth wall’. As opposed to a traditional theatre production where there is a distinct threshold between audience and performer, immersive productions dissolve this barrier, bringing those watching into the performance.

The next barriers to break within theatre are the third, second and first walls, in which the theatre and our everyday lives blur.

This was the basis for our theatre proposal in Newman Passage, a theatre production which begins as soon as you step off the tube. What we are describing as ‘living theatre’ will involve living in the theatre over night in which eating, drinking and sleeping all become parts of the performance.

HOTEL TRADITIONAL THEATRE

RESTAURANT

THEATRE

BAR

IMMERSIVE THEATRE

To create a fully immersive theatre for all audience members, all front of house staff and security will be in character to blend in to the world of the performance.

LIVING THEATRE

LEVELS OF IMMERSIVENESS Weekend Stay Restaurant Bar Performance Newman Passage is full of character and lends itself to productions set in certain time periods or geographical locations. This is important to bear in mind whilst designing the theatre as it is important not to detract from its unique charm.

It is also important to allow for productions which are set in contrasting locations - flexibility is key.

Different types of ticket would be available for the same performance, for example a person with a weekend stay ticket will witness additional plot points adding further richness to the production.

The greater the time spent within the performance, the more immersed an audience member will become in the world in which the production is set.

Alston, A. (2016). Beyond immersive theatre: aesthetics, politics and productive participation. Palgrave Macmillan, London.

Biggin, R. (2017). Immersive theatre and audience experience. Springer Berlin Heidelberg, New York, NY. Machon, J. (2013). Immersive theatres: intimacy and immediacy in contemporary performance. Palgrave Macmillan, Houndmills, Basingstoke, Hampshire.

THE NEED FOR FLEXIBILITY The main building is targeted at immersive theatre. However, these performances are incredibly complicated and intricate, needing extensive planning and therefore, long periods between shows. Peter Higgin from London’s Punchdrunk theatre company explains: “The beauty of our work, and others like it, is that it is surprising and needs to remain so, so it can’t be every day and ubiquitous. That can mean long waits between shows”. (Gardner, 2018) As a response to this, the theatre is set up for multiple events, many of which can happen simultaneously. Using seating stored below the stage, the two main performance spaces can be set up to host more traditional performances, or without seats for standing concerts.

The performance spaces can also be transformed into large open spaces, making them suitable for conferences or events such as weddings. At first it may seem that uses such as this may be at odds with the creativity of immersive theatre, however, profit from hosting these events during the periods between shows can be put towards more experimental events.

LIVING THEATRE

HOTEL

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BAR

During the time between living theatre events, the elements are broken down into its constituent parts. This results in a flexible theatre venue in close proximity to a bar, restaurant and hotel.

Capacity of 162

Gardner, L. (2018). ‘Is immersive theatre growing up or growing too big, too quickly?’ The Stage. [Online] Available at: https://www.thestage.co.uk/features/2018/immersive-theatre-growing-growing-big-quickly/

DESIGN CONCEPTS AND PROGRAMME REQUIREMENTS

ABILITY TO EXPLORE

VANTAGE POINTS

It is rare for immersive theatre to have a linear narrative. It is important to be able to explore freely, making multiple circulation paths favourable.

Linking to the ability to explore, vantage points are important for orientation within the theatre, as well as offering opportunities for alternative staging and viewing.

(non-linear narrative)

BACKSTAGE AREAS Backstage areas are needed to allow for costume changes and allow actors respite from performances which last the weekend.

By occupying buildings on all corners of the site, the whole passageway becomes a theatre. Performance spaces will occupy the highlighted buildings as well as the external areas of the passageway which connects them.

RANGING SCALES OF PERFORMANCE SPACES Creating a range of spaces is key to creating a dynamic theatre piece. One-on-one performance make for a personal experience. Large spaces offer opportunists for spectacular moments and impressive sets.

WORKSHOP

PRODUCTION OFFICES

Having the facilities to build scenery on site will be easier logistically, as well as allowing a close relationship between production designers, set builders, directors and other people working within the theatre.

Including all the administration areas within the building allows all disciplines to work alongside each other.

Biggin, R. (2017). Immersive theatre and audience experience. Springer Berlin Heidelberg, New York, NY. Hardy, H. (2006). Building type basics for performing arts facilities, Building type basics series. John Wiley & Sons, Hoboken, N.J.

STAGING CONCEPTS

MORE THAN A FLY TOWER

An important part of the designs development came through the construction of diagrammatic models. The models to the left explore three alternative ways of staging theatre which were all developed and included in the final proposal in some form.

Moving Audience

Moving Stage

Standard Fly Tower

Spaces are stacked parallel to the fly tower allowing for transition between the spaces. This allows for multiple types of staging.

Amphitheatre Style Auditorium Informal Seating/Standing Around Stage

Plan View

A tiered walkway structure allows the audience to surround performers in an amphitheatre style or vice versa. The structure can also be used as additional performance space when the audience is on the floor.

Tower as Circulation

Tower for Staging

The study of designing for alternative staging helped the development of a fly tower which would give directors complete freedom when designing for both immersive and traditional theatre performances.

Performers Above Audience

Audience Above Performers

Having a net or transparent structure creates a completely new way of viewing a performance, inspired by the German Pavilion at the 2017 Venice Art Biennale (See Bibliography).

Appleton, I. (2008). Buildings for the performing arts: a design and development guide, 2. ed. ed. Architectural press, Amsterdam.

Hardy, H. (2006). Building type basics for performing arts facilities, Building type basics series. John Wiley & Sons, Hoboken, N.J.

The fly tower can act in the traditional sense, bringing in scenery for traditional theatre productions. However, when the performance space is used for immersive theatre events it transforms into vertical circulation and viewing platforms. As well as, this the moving stage can allow for compartmentalisation of the building, dividing space in to a mixture of scale performances On top of this, it can be used to move a platform between various levels acting as either a stage or seating area. It can also be dropped to create a pit in the theatre floor.

PROGRAMME AND LAYOUT LIVING THEATRE During an immersive theatre performance, almost all of the facilities become available for the production.

Hotel rooms become accommodation for guests with living theatre tickets. Restaurants and bars still function as such, but remain within the world of the performance which is taking place.

Bars/Cafe/Restaurant

Hotel

Performance Spaces

Connecting Walkways

Workshop

Administration, Back of House & Circulation

The workshop, administration and back of house spaces are the only areas which will not be accessed by the public. As will storage and kitchen areas.

Hotel rooms can be set aside for use by actors during long-duration performances, in this situation these double as changing rooms.

FLEXIBLE VENUE Between immersive theatre performances the complex is broken down into its constituent parts which can be used separately.

The bar and restaurant spaces will be used for pre and post-show refreshments. The hotel can also be used by theatre goers but is not limited to this.

PERFORMANCE NET A retractable net is fitted above Newman Passage, attached to the main theatre building. This gives directors even more opportunities for creative staging.

When the net is not required, it can be pushed towards the adjacent building.

A collapsible handrail can be folded up and down depending on the location of the net.

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LOCATION PLAN

Off Site Interventions The red dotted lines indicate the Google Maps suggested routes to the theatre from the three nearest tube stations.

Goodge Street

The theatre performance begins as soon as audience members step off the tube. Along these routes, small interventions introduce the theatre goer to the upcoming performance.

All interventions could be rented to advertisers between productions to bring in additional funds.

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A newspaper stand with publications from the world of the performance.

An actor sat outside a bar who sparks conversation with audience members.

Tottenham Court Road Oxford

Street

Oxford Circus A poster from the world of the performance by the side of the street.

Rooftop View

CONNECTING WALKWAYS The use of external walkways address several design issues.

1. During immersive theatre performances, the walkways connect the three theatre buildings together.

2. They also provide additional performance spaces as well as serving as a vantage point for viewing performances taking place on the floor of Newman Passage.

3. The walkways are at a sufficiently high level to take advantage of sunlight, especially in the evenings during summer months. The high density of the surrounding buildings means the passageway is almost always in shadow.

Ability to Explore (non-linear narrative)

Vantage Points

Ranging Scales of Performance Spaces

4. The walkways also fulfil technical requirements, acting as a key part of the schemes retrofitting methodology. See p28 for more detail.

ROOF PLAN

Basement

Ground Floor

1. Plant Room 2. Storage Level

1. Plant Room 2. Circulation 3. Storage (double height) 4. Male W.C. 5. Disabled W.C. 6. Female W.C.

First Floor 7. Backstage 8. Primary Performance Space 9. Pop-up Bar 10. Workshop Storage 11. Workshop 12. Circulation/Performance Space

1. Storage 2. Group Changing Room 3. Changing Room 4. Walkway 5. Workshop 6. Circulation

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Second Floor 1. Circulation 2. Male W.C. 3. Disabled W.C. 4. Female W.C. 5. Backstage

Third Floor 6. Walkway 7.Secondary Performance Space 8. Food Preparation 9. Cafe 10. Circulation

1. Circulation 2. Production Office 3. Meeting Room 4. Storage 5. Light/Sound 6. Toilets

Roof Plan 7. Rooftop Performance Space 8. Walkways 9. Kitchen 10. Retractable Performance Net 11. Circulation 0

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Basement 1. Storage 2. Circulation 3. Lounge/Performance Space 4. Male W.C. 5. Female W.C.

Second Floor

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Third Floor

1. Reception 2. Bar 3. Lounge/Performance Space 4. Newman Arms Pub

1. Guest Bedroom 2. Performer Bedroom 3. Rooftop Walkway/ Performance Space 4. Private Lounge/ Performance Space

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Roof Plan

1. Lounge/Performance Space 2. Dressing Room 3. Rooftop Walkway/Performance Space 4. Dining Area 5. Prep Area 6. Kitchen

1. Private Roof Terrace/ Performance Space 2. Rooftop Walkway/ Performance Space

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Rooftop View

LEVELS OF ACCESS

The theatre is designed to allow for different types of immersive theatre experiences.

The section below shows how this might be divided.

Basic tickets have access to everywhere in the main theatre building, plus access to the Newman Arms and the first two levels of 26 Newman Street. This allows audience members to see all main performances as well as access to food and drink within the world of the production.

Weekend ticket holders have access to bedrooms as well as additional performance spaces in 26 Newman Street. Premium ticket holders have access to bedrooms above the Newman Arms as well as a private performance space and roof terrace. Within these spaces, audience members will have extra interaction with actors allowing for additional plot points to be revealed. This adds to the richness of the performances and an all together more immersive experience.

Section AA

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Basic Ticket (Day/Evening)

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Premium Weekend Ticket

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STRATEGY FOR RE-USE Remodelling and Renovation 17 NEWMAN STREET DEMOLITION SECTION (assumed) The main performance space and back of house areas is currently the office of engineering firm Buro Happold. This will be subject to extensive remodelling with the removal of several floors and the addition of an extra floor at the front of the building.

The removal of the intermediate floor allows for a generous performance space, whilst the shelling of the pitched roof part of the building allows for the installation of a fly tower to service the performance space. Although the ground floor is below the level of Newman Passage, a further 2m will be excavated to allow for the below-stage basement.

EXISTING BUILDINGS

RENOVATION (and minor remodelling) The Newman Arms and 26 Newman Street will be subject to only minor internal alterations.

The Newman Arms is currently closed, and will be re-opened to function exactly how it was when it was last in use. The floors above the pub are currently private residential property which will only require minor internal alterations to transform its use into short term guest accommodation.

POST DEMOLITION

INTERVENTION

26 Newman Street will be subject to slightly more internal alterations as the lower floors will change from an office/showroom to bar and performance spaces. The upper levels of this building, as with the Newman Arms, are currently used for private residential accommodation and will need only minor internal alterations to adapt this for hotel use.

As it was not possible to find working drawings of the Buro Happold office, it was only possible to create assumed plans and sections. As the building is being shelled of all internal elements, this is not an issue.

7-9 RATHBONE STREET DEMOLITION PLANS The long, thin building adjoining this will host the workshop and cafe. The internal stair shaft will be removed and slab in-filled to create an open floor plan for the cafe area and a large workshop. The top floor of this is currently the office space for marketing firm ‘The & Partnership’ along with toilets. Food preparation areas are added along with rooftop extension for kitchen facilities.

The lower two levels of this building currently house the plant room and will not be altered internally when transformed into the workshop. The large double height ventilation area will simply be converted into a rolling shutter for the removal of large pieces of scenery. For this reason the building remains largely the same in section.

The only external alteration to these two buildings will be on the 1st floor of 26 Newman Street. This involves the adaptation of an existing window into a door to allow access to rooftop walkways. Besides this small change, the internal renovations of these two buildings will go unnoticed externally.

Brooker, G., Stone, S. (2004). Rereadings: interior architecture and the design principles of remodelling existing buildings. RIBA Enterprises, London.

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DETAILED DESIGN

1. Existing Wall and Roof Structure 2. Retrofitted panel door, replacing existing window 3. 150mm grate 4. 12mm patinated steel floor panel, profiled surface 5. 150mm bearing bar 6. Moving stage 7. Sika single ply membrane 8. 100mm Kingspan rigid insulation 9. 125mm concrete slab 10. Existing brickwork 11. Steel beam, with inlaid rail system 1 12. Folding door

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1. Existing roof structure 2. Sika single ply membrane 3. 12mm patinated steel floor panel, perforated 4. 150mm bearing bar 5. Weep hole 6. Existing brickwork taken down and rebuilt 7. Damp proof membrane installed between existing brickwork 8. Stone coping 9. Lead welted joint, attached by steel clip 10. Steel clip attaching Metsec SFS framing 11. 12mm patinated steel panel

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12. 25x25mm timber batten 13. 10mm Siniat carrier board 14. 50x130mm Metsec SFS frame 15. 130mm Kingspan rigid insulation 16. 10mm Siniat carrier board 17. 25x25mm timber batten 18. 12mm plasterboard 19. 18mm plywood 20. Treated timber firrings 21. Waterproof membrane 22. Hidden gutter detail 23. Downpipe 24. Steel clip attaching Metsec SFS framing 25. Weir detail 26. Overflow chute 27. Existing window 28. Contemporary spiral staircase extension 29. Patinated steel ring beam

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MATERIALITY Patinated Steel

RETROFITTING METHODOLOGIES Rooftop Walkways On top of functioning conceptually, the walkways also fulfil technical requirements. Due to the fact that they are light additions to the passageway, the walkways can be removed if the buildings function changes in the future. This means that the Newman Arms and 26 Newman Street can be returned to their original use when separated from the theatre scheme.

Consistent materiality throughout all scales

Patinated steel was chosen as the main tectonic element for the scheme as its dark brown colour and rough texture complimented the existing brickwork in Newman Passage, whilst maintaining a visual contrast between old and new.

The consistent use of this material throughout the project reinforces the connection between all parts of the theatre, confirming to the audience that wherever the material is present, the performance is ongoing.

Formed by a chemical reaction between steel and zinc, the surface is a non-reflective, dark brown, heavily textured finish.

Demountable If needed, the walkways can be removed, restoring the rooftops to their previous appearance.

Patinated Steel

Rooftop Elevation

Newman Passage Brickwork

Materiality Beyond Newman Passage

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As mentioned previously, the performance spills beyond Newman Passage and into the surrounding streets.

These small interventions will have the same materiality as the theatre, confirming to the audience that everything is connected

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Spreading Load

Mitigating Drainage

Loads exerted onto the walkways will transfer forces through existing load bearing walls. This removes the need for any additional structure on rooftops.

Rainwater will filter through the mesh walkways making use of the drainage systems already in place within the buildings they are situated above.

DETAILED DESIGN

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Folding door Retractable rope net Zinc capping Bespoke rope rail detail 37.5x45mm timber joist Collapsible balustrade 150mm patinated steel grate Hidden gutter detail 12mm patinated steel floor panel, profiled surface 150mm patinated steel grate 60mm screed Existing brickwork Sika single ply membrane 150mm existing concrete slab 150mm existing insulation

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102.5x185mm steel beam 57.5mm additional Kingspan rigid insulation 12mm plasterboard 102.5x150mm steel cross beam Door winch 50x100mm timber joist Bespoke steel member Bespoke door hinge 12mm patinated steel panel 80mm Kingspan rigid insulation 50x80mm steel supports Bespoke door hinge Winch cable attachment 12mm stainless steel winch cable Door roller track

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DESIGN TO OPTIMISE DAYLIGHT

PASSIVE VENTILATION

Newman passage is in a high density environment meaning that the passageway is shaded for much of the year.

The external areas (rooftops and walkways) are positioned to benefit as much as possible from natural light entering the passage. This should be most beneficial for summer evenings.

However, to reduce the reliance on this form of ventilation and to reduce running costs, the building is designed to optimise passive ventilation.

External spaces positioned to the North-East of Newman Passage benefit greatly from the evening sun.

March 21st 12:00

June 21st 12:00

Due to the high volumes of people who will be present within the main performance areas, mechanical ventilation will be required for climate control.

September 21st 12:00

December 21st 12:00 Air is heated by occupants and during daytime, this is supplemented by heat from the sun.

Air is further heated by stage lighting, helping to drive buoyancy.

March 21st 15:00

June 21st 15:00

September 21st 15:00

December 21st 15:00

INTERNAL DAYLIGHTING

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1 During the daytime, this part of the building will only be used for circulation. Despite the daylight study showing that these spaces will be over-lit, this is not an issue as it is a transient space. It is most likely that this space will be used at night during immersive theatre performances making solar gain unimportant.

2 Before adaptation, the main area of the workshop was poorly lit due to the large double height rolling door. To address this issue, a steel rolling door will be used which includes strips of transparent acrylic. This allows daylighting without excessive solar gains.

It is also crucial to keep the windows clear to allow audience members to see into these spaces - in line with the concept of rewarding curiosity and sparking peoples interest to explore.

3 The rooftop kitchen area originally had no daylight as this is not generally a requirement for back of house areas. As it is possible to add a window here, the decision was made to include one to create a nicer working environment.

Blinds will be fitted to the windows for times when performances happen during the day.

4 A roof light was added above the main circulation space to make for a more pleasant daytime environment.

5 This part of the building contains many of the service areas and back of house such as toilets, backstage, dressing rooms & sound desks which do not require natural lighting. The production offices and meeting rooms are located on the upper floor so that people in these area have a pleasant working environment.

6 Due to the nature of the building, natural lighting is not required in the majority of the building. For this reason, the daylight modelling data from Sefaira is rather skewed and should be approached with caution. The daylight analysis however is useful.

The part indicated as ‘6’ shows how a small amount of light from the roof access windows will spill down into the fly tower during the day. For this reason, these windows will be fitted with blackout curtains to ensure that light does not interfere with daytime performances.

The charts to the left give an estimation of the C02 usage, energy use and energy costs for the building. Again, this is interesting for speculative analysis, however the integrity of this data is questionable due to the simplicity of the model used.

Passive ventilation through the main performance space and the fly tower may help reduce the annual running costs of the building.

www.ribaplanofwork.com

The RIBA Plan of Work 2013 organises the process of briefing, designing, constructing, maintaining, operating and using building projects into a number of key stages. The content of stages may vary or overlap to suit specific project requirements. The RIBA Plan of Work 2013 should be used solely as guidance for the preparation of detailed professional services contracts and building contracts.

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Strategic Definition

Preparation and Brief

Concept Design

Developed Design

Technical Design

Construction

Handover and Close Out

In Use

Core Objectives

Identify client’s Business Case and Strategic Brief and other core project requirements.

Develop Project Objectives , including Quality Objectives and Project Outcomes , Sustainability Aspirations , Project Budget , other parameters or constraints and develop Initial Project Brief .

Undertake Feasibility Studies and review of Site Information .

Prepare Concept Design , including outline proposals for structural design, building services systems, outline specifications and preliminary Cost Information along with relevant Project Strategies in accordance with Design Programme . Agree alterations to brief and issue Final Project Brief .

Prepare Developed Design , including coordinated and updated proposals for structural design, building services systems, outline specifications, Cost Information and Project Strategies in accordance with Design Programme .

Prepare Technical Design in accordance with Design Responsibility Matrix and Project Strategies to include all architectural, structural and building services information, specialist subcontractor design and specifications, in accordance with Design Programme .

Offsite manufacturing and onsite Construction in accordance with Construction Programme and resolution of Design Queries from site as they arise.

Handover of building and conclusion of Building Contract .

Undertake In Use services in accordance with Schedule of Services .

Procurement

Initial considerations for assembling the project team.

Prepare Project Roles Table and Contractual Tree and continue assembling the project team.

Administration of Building Contract , including regular site inspections and review of progress.

Conclude administration of Building Contract .

Stages

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Programme

Establish Project Programme

. Review Project Programme

The procurement strategy does not fundamentally alter the progression of the design or the level of detail prepared at a given stage. However, Information Exchanges will vary depending on the selected procurement route and Building Contract . A bespoke RIBA Plan of Work 2013 will set out the specific tendering and procurement activities that will occur at each stage in relation to the chosen procurement route. .

Review Project Programme

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The procurement route may dictate the Project Programme and may result in certain stages overlapping or being undertaken concurrently. A bespoke RIBA Plan of Work 2013 will clarify the stage overlaps. The Project Programme will set out the specific stage dates and detailed programme durations.

*Variable task bar

Pre-application discussions.

Pre-application discussions.

Suggested Key Support Tasks

Establish the project team and assess core programme requirements Identify a business strategy through discussions with the client.

Review site information, assessing key parameters and constraints. Undertake feasibility studies and develop initial project brief Continue to assemble project team.

Preparation of concept design in conjunction with relevant structural design and building services outline proposals.

Agree and issue Final Project Brief.

Coordinated developed design including updated structural and building services proposals Provision of cost information and project strategies.

Preparation of technical design package providing detailed construction information. To include all architectural, structual and services information alongside subcontractor s ecifications.

Realisation of building construc- Conclusion of the building tion on site including off-site contract and handover of the manufacturing and on-site building to the client. construction in accordance with the agreed construction. This includes the demolition.

Review of project performance including post-occupancy evaluation.

UK Government Information Exchanges

Not required.

Required.

Required.

Required.

Not required.

Not required.

As required.

(Town) Planning

Planning applications are typically made using the Stage 3 output.

A bespoke RIBA Plan of Work 2013 will identify when the planning application is to be made.

*Variable task bar

*Variable task bar

– in creating a bespoke project or practice specific RIBA Plan of Work 2013 via www.ribaplanofwork.com a specific bar is selected from a number of options.

Required.

© RIBA

CONSTRUCTION SEQUENCE

PT

The work on the Newman Arms and 26 Newman street will happen alongside this, due to finish earlier. Once complete, the buildings can be utilised with any profit being fed into the theatre.

26 NEWMAN STREET NEWMAN ARMS

The majority of the construction time will go into the remodelling of the main performance space. This is due to the large amount of demolition which will take place, and the structural reinforcement which will be needed following this.

17 NEWMAN STREET

PROJECT TIMELINE

Project Management

Building Survey

Demolition and Excavation

Super Structure

Services Installation & Finishes

Full structural survey to deduce future structural requirements Site dilapidation survey – existing structures / infrastructure.

Site set-up – construction services + welfare, power / water / telecoms.

Protected areas – photographic survey.

Site strip – removal of internal walls and floors, roll sub base (stone) internally where needed as a construction surface.

Removal of fixtures for refurbishment.

Install additional services - duct work / drainage.

Site excavation below main performance space.

Structural works, - Steel structure takes loads where structure is removed.

Cast in-situ floor slab infills.

Masonry internal wall construction.

Construct primary super structure.

Install secondary super structure components – insulation, waterproof membranes, external finishes / cladding, angles, steel rails, fixings Building watertight

Services installation and finishes First fix services – water, power, comms, gas Finishes – walls / floors / ceilings Second fix services – light fittings / switches / sockets Decoration / furniture Test and commission Handover

PROVIDING FOR HIGH CAPACITY EVENTS - BUILDING REGULATIONS Toilets

Escape

Despite the main use of the building being for immersive theatre, between the productions, the performance spaces can be rented out for a variety of events.

All areas above 11m are provided with a secondary means of escape. (Part B - p43, 4.5)

For events such as concerts the venue capacity will drastically increase. This means that the building must provide services for much higher volumes of people.

Two protected stairs are provided (Part B - P31, 2.49), both in-line with Part B. The main evacuation route has a clear width of 1800mm providing for the evacuation of 510 people (Part B - p46, Table 7). This is sufficient for the evacuation of the secondary performance space whilst at maximum capacity along with people in the back of house spaces and on the roof.

Below shows how the toilet requirements comply with British Standard 6465-1:2006+A1:2009 – Sanitary Installations for events with a density of 2 people per square metre.

The secondary staircase has a clear width of 1200mm and therefore can provide additional evacuation for an additional 330 people. This will mainly be used for people in the cafe/restaurant area and on the rooftop.

As the neither stair exceeds a clear width of 1800mm, a central handrail is not required.

Ground Floor

Total area: 200m2 Density: 2 people m2 Capacity: 400

First Floor

Total area: 150m2 Density: 2 people m2 Capacity: 300

As all staircases can be ventilated externally, there is no need for a pressurised system.

The horizontal escape distances do not exceed 32m, in line with Part B, Table 2 (Limitations of Travel Distance) for a building of recreation: seating in rows - where travel is possible in more than one direction.

Stairs Main Performance Space Concert Layout

Male Required WC: 2 Urinal: 5 Sink: 3 Female WC: Sink:

11 7

Secondary Performance Space Concert Layout

Provided 3.5 5 4 11.5 7

Male Required WC: 2 Urinal: 4 Sink: 3 Female WC: Sink:

9 6

Provided 2.5 4 3 9.5 6

British Standards Institution (2009). BS ISO 6465-1:2006. Sanitary Installations. London. British Standards Institution.

All stairs within the theatre are general access stairs: Risers: min 150mm, max 170mm Achieved: 155mm Going: min 250mm, max 400mm Achieved: 300mm (Part K - p5, 1.3) Max risers before landing: 12 Achieved: 7 (Part K - p10, 1.18) All handrails are designed in line with Part K: 900 - 1000mm above stair pitch Distance from wall: 50 - 75mm

Achieved: 1000mm Achieved: 50mm

All handrails feature a 300mm extension at the top and bottom of the stair.

KEY REFERENCES AND BIBLIOGRAPHY

Origin Architects, Printing Factory Theatre, 2014 Beijing, China

Assemble, The Cineroleum, 2010 London, UK

Studio Arthur Casas & Atelier Marko Brajovic, Brazilian Pavilion, 2015 Milan Expo, Italy

Lina Bo Bardi & Edson Elito, Teatro Oficina, 1958 São Paulo, Brazil

Anne Imhof, Faust, German Pavilion, 2017 Venice Art Biennale, Italy

BAM Studio, Diesel Flagship Store, 2014 Chicago, USA

Punchdrunk Theatre Company,Various, 2000 London, UK

Secret Cinema,Various, 2007London, UK

Books: Alston, A. (2016). Beyond immersive theatre: aesthetics, politics and productive participation. Palgrave Macmillan, London.

Appleton, I. (2008). Buildings for the performing arts: a design and development guide, 2. ed. ed. Architectural press, Amsterdam.

Biggin, R. (2017). Immersive theatre and audience experience. Springer Berlin Heidelberg, New York, NY. Brooker, G., Stone, S. (2004). Rereadings: interior architecture and the design principles of remodelling existing buildings. RIBA Enterprises, London.

Frank, T. (1997). The conquest of cool: business culture, counterculture, and the rise of hip consumerism. University of Chicago Press, Chicago.

Gardner, L. (2018). ‘Is immersive theatre growing up or growing too big, too quickly?’ The Stage. [Online] Available at: https://www.thestage.co.uk/features/2018/immersive-theatre-growing-growing-big-quickly/ Guthrie, T., Southern, R., Kenny, S., Joseph, S. (1969). Actor and architect. Manchester.

Hardy, H. (2006). Building type basics for performing arts facilities, Building type basics series. John Wiley & Sons, Hoboken, N.J. Heath, J., Potter, A. (2006). The rebel sell: how the counterculture became consumer culture. Capstone, Chichester.

Machon, J. (2013). Immersive theatres: intimacy and immediacy in contemporary performance. Palgrave Macmillan, Houndmills, Basingstoke, Hampshire.

Miles, B. ( 2011). In the seventies: adventures in the counter-culture. Serpent’s Tail, London.

Nelson, E. (1989). The British counter-culture, 1966 - 73: a study of the underground press. Macmillan, Basingstoke.

White, G.D. (2001). ‘Digging for Apples: Reappraising the Influence of Situationist Theory on Theatre Practice in the English Counterculture’. Theatre Survey - The Journal of the American Society for Theatre Research; Cambridge, England 42, 177–190.