Unity Theatre Design Proposals 2015 by Matthew Linley

ARTS COUNCIL ENGLAND CAPITAL GRANT APPLICATION

DESIGN PROPOSAL

Client: Job: Document:

Unity Theatre 213_Unity Theatre Feasibility Report Arts Council England Capital Grant Application

DOCUMENT INFORMATION

CLIENT: PROJECT DOCUMENT: STAGE: DATE: STATUS: REVISION:

Unity Theatre 213_Unity Theatre Feasibility Report Arts Council England Capital Grant Application RIBA STAGE 2: FEASIBILITY REPORT 08/10/2015 FOR INFORMATION REV 0 (08/10/2015)

K2 Architects carry the following accrediations:

CONTENTS DOCUMENT PREPARED BY: K2 ARCHITECTS LTD.

EXECUTIVE SUMMARY �� 5 INTRODUCTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 LIVERPOOL & CULTURE �� 9 LOCATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 THE THEATRE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 EXISTING GROUND ��14 EXISTING FIRST. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 EXISTING SECOND. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 EXISTING THIRD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 OBSTACLES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 THE PROPOSAL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 PROPOSED GROUND ��22 PROPOSED FIRST. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 PROPOSED SECOND ��24 PROPOSED THIRD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25 THE JOURNEY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 ENTRANCE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 CAFE / BAR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 THE THEATRES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 SUSTAINABILITY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 COSTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 PROGRAMME. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 CONTACT US. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 APPENDIX CURRICULUM VITAE ��43 APPENDIX 2 ARCHITECTURAL DRAWINGS ��45

EXECUTIVE SUMMARY KEVIN HORTON, ARCHITECT DIRECTOR - K2 ARCHITECTS

Unity Theatre is and has been a significant and well respected performing arts venue in the heart of Liverpool for over 85 years. They are committed to exploring exciting emerging, challenging and creative modes of expression that their larger more commercially driven neighbours consider too risky to take on. This ethos combined with the relatively modest size of their operation within a residential side street off the main drag has become their USP. The family atmosphere, strong commitment to engage with the local community and social causes alongside their passion for experimental theatre has securely positioned Unity as a key part of the cityâ&#x20AC;&#x2122;s cultural offer. Whilst the operation of the building is sustainable to an extent and popular with theatregoers, it is abundantly apparent that the buildings physicality is not allowing the management to operate the theatre to its maximum potential and that there are a number of significant obstacles that need to be overcome to help the theatre ensure long term sustainability. We were approached in the summer of 2015 by the theatres management team to help them understand how they could improve their financial resiliance by modifying the building. This would enhance audience experience, increase frequency of performances and drive up revenue in all areas of the business enabling the organisation to continue delivering high quality theatre programme. Our response deals with these obstacles practically and effectively, creating a significantly improved operational offer. To ensure that a thorough investigation was carried out and that solutions were practical and realisable within the boundaries of the funding proposal, K2 have assembled a core team of specialists to provide advice on costs, structures, building services and acoustic control. This report is the outcome of these investigations which we firmly believe offers the theatre some truly exciting opportunities to enhance the audience experience for their community ,and a new generation of theatregoers, thereby ensuring the long term sustainability of what is genuinely a unique experience in the cityâ&#x20AC;&#x2122;s cultural offer.

INTRODUCTION MATTHEW LINLEY, ARTISTIC DIRECTOR & CEO - UNITY THEATRE CHRIS BLISS, CHAIRMAN OF THE BOARD - UNITY THEATRE

This is an exciting time for the Unity, and for Liverpool. As an organisation we have been going through a period of significant change. Changes in leadership are feeding into changes to how we programme, how we work and how we collaborate. Those changes are bringing a new energy and dynamism to the work of the Unity, and its unique role across the city, region and indeed nationally. It’s leading to new thinking about the way we programme, the way the various strands of our work integrate and how we relate to the City and Greater North. In short how we can deliver more great art to more people without compromising our programming integrity. We want Unity to be exploring what it means to be a 21st Century theatre. We think of Unity as place for our artists and audiences to dream, to imagine new futures, new ways of doing. Reconnecting to our political (with a small p) past, working with writers and alternative theatre makers, supporting new talent, collaborating widely, switching on to digital, being family friendly are all key themes for us. Located just off the dynamic and vibrant Hope Street – half way between two Cathedrals, and surrounded by Universities, cultural organisations and hosts of creative SMEs – our building is very special, with a rich legacy upon which to build. But we also know it could do more for us, for our artists and our audiences. And in these times of austerity, we know that we need to ensure the organisations long term resilience by strengthening our business plan, improving our environmental sustainability, the diversity of our offer and increasing our earned income potential. We took these challenges to the team at K2 – a Liverpool based architects practice whose brand values and ethos very much reflected our own. They have worked dynamically with us and our stakeholders to create this scheme. It’s a scheme which has incredible potential and one that excites us all. We’d like to put on record our thanks to K2, its consultant team, the team and board at Unity, our stakeholders including Arts Council England and Liverpool City Council for their continued support and guidance, to Lee Corner of LAC Ltd and the hub for their professional guidance, Arrup, Emma King and Graham Devlin for various pre feasibility reports and all those people who have helped us develop this proposal in whatever way, however small. Unity Theatre gratefully acknowledge funding from Arts Council England and Liverpool City Council. We’re proud to be presenting this proposal to you.

LIVERPOOL & CULTURE A CITY OF FIRSTS

‘Culture to me is the rocket fuel for Liverpool’s continuing regeneration’ Joe Anderson, Mayor of Liverpool

Liverpool is a making city, a producing city, a can do city. A city where great art is made, delivered and consumed..... all year round. It’s a place where everyone who lives and visits has the opportunity to enjoy, take part in and create the city’s culture. Arts, culture and heritage organisations have led and shaped Liverpool’s renaissance, building on the success of European Capital of Culture in 2008 creating and delivering a collective vision for a creative city. Liverpool’s strong infrastructure of internationally recognised cultural assets includes 7 theatres, more galleries and national museums than any other city in the United Kingdom outside of London (including National Museums Liverpool, The Tate, FACT and the Walker Art Gallery) and over 2800 listed buildings! There is, too, a growing and diverse ecology of small to medium cultural organisations (many of whom are connected to Unity) who have made the city their home –creating new work in Liverpool and around the country. This vibrant cultural sector is of critical importance to the city’s economic and social prosperity. The city is not just an important centre for culture in the North West, but also across the Greater North, the UK and internationally. Taken as a whole its an offer which continually surprises, delights and inspires – making Liverpool a distinctive global city.

5. 3. 6.

LOCATION HOPE STREET AND HOPE PLACE

With more Georgian buildings than Bath this beautiful district stretches from Liverpool Cathedral, along the aptly named Hope Street, to the Metropolitan Cathedral of Christ the King and is home to the Liverpool Philharmonic Hall, Unity Theatre and Everyman Theatre plus many of the city’s best eateries including 60 Hope Street and the London Carriage Works. It is also part of the Rodney Street conservation area which maintains high standards of design quality throughout the area. In 2012 Hope Street was awarded ‘The Great Street Award at the National Urbanism Awards’. Hope Place connects Hope Street with Pilgrim Street and is defined by a large number of Georgian town houses anchored together by the London Carriage Works Restaurant on the corner of Hope Street. All the houses on Hope Place are Grade II listed. The theatre itself is situated approximately halfway down the street in a former Synagogue that has, since 1980, undergone a series of refurbishments and alterations.

1. Unity Theatre, Hope Place 2. Pilgrim Public House, Pilgrim Street 3. The London Carriage Works, Hope Street 4. The Philharmonic Dining Rooms, Hope Street / Hardman Street (Grade II Listed) 5. Philharmonic Hall, Hope Street (Grade II Listed) 6. Ego Restaurant, Hope Street

THE THEATRE THEN AND NOW

The Unity name is one of the last reminders of a national theatre movement that played an important role in the theatrical and political life of the country. Merseyside Left Theatre was formed in the 1930s and became Merseyside Unity Theatre in 1944. From the start the company was radical and experimental, however, unlike many Unity Theatres, the Merseyside group staged classics alongside contemporary left wing theatre. Nationally the Unity Theatre movement, along with many theatre clubs, started to disappear with the abolition of licensing in the 1960s as mainstream theatres met the demand for radical theatre. Merseyside Unity Theatre however survived into the early 1980s. One of their last initiatives was to convert a former synagogue on Hope Street from a photographic studio into their new theatre venue. Merseyside Unity Theatre ended in the mid 1980s. However the theatre was already well established under the Hope Place Community Association management and it continued to expand as a base for professional touring theatre, later becoming unitytheatre. Linking both organisations was Graham Frood who joined Merseyside Left Theatre in the 1930s. Graham continued his involvement with unity until his death in 2003. In 1994 unitytheatre received funding from the Arts Council of England for development: A Foundation for Sport and the Arts award and £1.6m from the Arts Council of England Lottery panel and the Government Office of Merseyside. The refurbishment was completed in August 1998. 2010 saw Unity’s 30th birthday at Hope Place and still is one of the best loved theatres in Liverpool and has won the Best Performing Venue award at the Mersey Partnership Tourism Awards. Unity Theatre is Liverpool’s small-scale theatre with big ambitions. Their work is challenging, innovative, risky and unusual. Their mission is to increase the quality and quantity of the performing arts available on Merseyside by encouraging creativity, participation, innovation and diversity. In September 2015 K2 Architects were tasked with developing a solution to a number of mounting problems with the building infrastructure. We began this commission with a fitness test of the existing building.

GROUND EXISTING FLOOR ANALYSIS

14. 13. 12. 10.

11. 5.

9. 8.

15.

4. 1. 2.

Staff/Administration

Public Space

Theatre Space

Back of House

WC’s

Entrance Route

Storage

Circulation

Fire Escape

1. Level Access Ramp

9. Lift

2. Entrance Foyer

10. Disabled WC

3. Public Stair/Now Compliant Emergency Exit

11. Wet Room

4. Box Office

12. Dressing Room

5. Auditorium

13. Dressing Room

6. Store

14. Stairs & Emergency Exit

7. Stairs & Emergency Exit

15. Corridor

8. Cleaners Store 3.

Ground Floor public access via the ramp on the left edge of the Foyer creates a confusing and unclear route into the building due to the fire door on the right side that is seemingly also an entrance on first visit. The small entrance Foyer offers very little space for the capacity of the building and has unclear routes to the lift and WC’s (located along small corridor leading to the back of house) and ‘Unity 2’ (located on the second floor using the stairs on the right of the Foyer). The position and size of the Box Office creates issues with public flow through the Foyer as the queue for the booth blocks the only public entrance. The Ground Floor Auditorium or ‘Unity 1’, the larger of the two theatre spaces, with seating for 144 customers, currently suffers with sound issues from the theatre space above creating problems with performances running in both theatres at once. The private back of house area holds two large dressing rooms and a wet room, this area functions well in its current layout and requires no real changes.

FIRST EXISTING FLOOR ANALYSIS

11. 10. 9.

12.

8. 7. 6. 5.

Staff/Administration

Public Space

Back of House

WC’s

Theatre Space

Storage

1. Bar/Foyer

9. Female WC

2. Bar

10. Male WC

3. Corridor

11. Stairs & Emergency Exit

4. Stairs & Emergency Exit

12. Tech Box

Circulation

5. Stairs & Emergency Exit

6. Store 7. Lift

8. Disabled WC The First Floor Bar/Foyer area suffers from a number of issues, mainly concerned with space and access. Customers have to either move up through the tiered seating and exit through the small doors at the back of the theatre, or go back into the Entrance Foyer and up the stairs to access the Bar causing a build-up of people on one of the main emergency escape routes. The Bar Seating Area feel claustrophobic due to unnecessary columns in the centre of the space and two ‘peekaboo’ voids in the floor slab which also compromise floor space. The Bar itself has a very small serving area creating a build-up of customers in the area reserved for seating and also blocking the corridor leading to the lift and WC’s. These issues often mean customers stay in their seats during intermissions as they have no space to move freely around the building. The large male and female toilets at the Back of House work well and would require very little work

SECOND

15. 12.

EXISTING FLOOR ANALYSIS

14.

11.

13.

10. 9. 8.

2. 3. 4.

Staff/Administration

Public Space

Back of House

WC’s

Theatre Space

Storage

1. Stairs & Emergency Exit

9. Lift

2. Office

10. Disabled WC

3. Breakout Space

11. Office

4. Office

12. Kitchen

5. Stairs/Corridor

13. Dressing Room

6. Auditorium

14. WC

7. Store

15. Dressing Room

Circulation

8. WC’s The Second Floor suffers from a lack of clear access routes, the Auditorium or ‘Unity 2’ that seats 90 customers, can be entered through two doors, one to the rear right of the seating that can be accessed from the right hand stair case and one to the left in front of the seating. The rear right entrance means customers must pass through the Breakout space to access the WC’s and Lift, passing through a rather redundant looking breakout space. The use of the entrance to the left side during a show would mean crossing the performance space itself and having to, again, cross through the Breakout Space to access the public stair. The two offices and Breakout Space lack proper ventilation and often over heat due to the large glazing that has no openings or natural ventilation methods.

THIRD

EXISTING FLOOR ANALYSIS

Staff/Administration

Public Space

Back of House

WCâ&#x20AC;&#x2122;s

Theatre Space

Storage

Circulation

1. Stairs & Emergency Exit 2. Office 3. Lift 4. Tech Box

The Third Floor offers very little floor space only housing the Tech Box for the Auditorium and the larger staff Office. Owing to the lack of enough office space elsewhere in the current layout, the office suffers from over-crowding.

OBSTACLES DOCUMENT PREPARED BY: K2 ARCHITECTS LTD.

Upon arrival at the theatre the first issue is the unclear and confusing access to the building, with the disabled Ground Floor public access via the ramp on the left edge of the Foyer creates a confusing and unclear route into the building due to the fire door on the right side that is seemingly also an entrance on first visit. The small entrance Foyer offers very little space for the capacity of the building and has unclear routes to the lift and WC’s (located along small corridor leading to the back of house) and ‘Unity 2’ (located on the second floor using the stairs on the right of the Foyer). (1) The position and size of the Ticket Booth creates issues with public flow through the Foyer as the queue for the booth blocks the only public entrance. (2) The Ground Floor Auditorium or ‘Unity 1’, the larger of the two theatre spaces, with seating for 144 customers, currently suffers with sound issues from the theatre space above creating problems with performances running in both theatres at once The First Floor Bar/Foyer area suffers from a number of issues, mainly concerned with space and access. Customers have to either move up through the tiered seating and exit through the small doors at the back of the theatre, or go back into the Entrance Foyer and up the stairs to access the Bar causing a build-up of people on one of the main emergency escape routes. The Bar Seating Area feel claustrophobic due to unnecessary columns in the centre of the space and two ‘peekaboo’ voids in the floor slab which also compromise floor space (3). The Bar itself has a very small serving area creating a build-up of customers in the area reserved for seating and also blocking the corridor leading to the lift and WC’s. (4) These issues often mean customers stay in their seats during intermissions as they have no space to move freely around the building The Second Floor also suffers from a lack of clear access routes, the Auditorium or ‘Unity 2’ that seats 90 customers, can be entered through two doors, one to the rear right of the seating that can be accessed from the right hand stair case and one to the left in front of the seating. (5) The rear right entrance means customers must pass through the Breakout space to access the WC’s and Lift, passing through a rather redundant looking breakout space. The use of the entrance to the left side during a show would mean crossing the performance space itself and having to, again, cross through the Breakout Space to access the public stair. The two offices and Breakout Space lack proper ventilation and often over heat due to the large glazing that has no openings or natural ventilation methods.

THE PROPOSAL DOCUMENT PREPARED BY: K2 ARCHITECTS LTD. Unity Theatre has a unique position within Liverpool’s Arts and Culture scene. Our proposals will create a much enhanced audience experience, from the point of arrival in Hope Place through the café/bar area to the performance itself. By creating these enhancements we will secure the sustainable future of one of the cities most loved cultural landmarks. The following sections of this document are aimed at guiding you through this audience experience and how we will deliver it. Starting with a brief overview of the physical proposals, we go on to explore our aspirations for the ‘look and feel’ of the design as it redevelops itself for a generation XY audience. Then we explore the experience of arrival at the theatre and how we will enhance its accessibility for all , enhance its street image and create a more inviting and legible entrance into new ground floor café bar. We explain how and why we have chosen to focus our efforts on improving the front of house experience and how we will to maximise revenue generation from incidental sales and the surrounding daytime economy. The theatres themselves are well equipped and excellent in the layout of their designbutare undersold by the current front of house experience – with one exception. Acoustics between the two theatres is poor and prevents them from operating simultaneously. We explain our strategy for overcoming this obstacle to revenue generation. Environmental efficiency is an important aspect of our proposals. The audience comfort in the front of house is currently poor and our proposals, whilst low tech in their response are designed to significantly improve the audience experience. This will be backed up by a yearlong programme of monitoring to help the theatre improve on their energy efficiency targets. Our cost consultant has provided a cost plan describing how we will deliver our aspirations within the required budget, while the project programme identifies how we will target deliverables and fit construction around the theatres performance seasons.

GROUND PROPOSED FLOOR ANALYSIS

14. 13. 12. 10.

15.

11. 5.

8. 4.

6. 1.

Theatre Space

Back of House

WC’s

Entrance Route

Storage

Circulation

Fire Escape

1. Level Access Ramp

9. Lift

2. Entrance Foyer/Bar/Cafe

10. Disabled WC

3. Bar/Box Office

11. Wet Room

4. Store

12. Dressing Room

5. Auditorium

13. Dressing Room

6. Store

14. Stairs & Emergency Exit

7. Stairs & Emergency Exit

15. Corridor

Ground Floor main access is now rerouted through new power assisted sliding double doors located in the front face of the glass atrium. The Level Access Ramp to the left will be kept as an emergency exit only and the entrance to the right side will be closed off and turned into an outdoor seating area. These moves will help clarify the route and access into the building for the public. With a new street level entrance located at the front of the Foyer a small DDA platform lift has been added to allow for easy wheelchair access. The Foyer area refurbished into a Bar/Box Office area with Cafe seating to bring a new use to the space during the day. The Foyer has been made larger with the removal of the existing Ticket Booth. By opening up the space the approach to the Lift and WC’s becomes more accessible and identifiable.

The existing stairs to the right of Foyer have been identified by Building Control as unnecessary and have been removed to create more space for a Bar/Box Office area serving the foyer/café and as acting as a passive observation security line for the building. The removal of the stairs allows for a much larger holding area to be created more suited for the buildings capacity.

Public Space

8. Cleaners Store

Staff/Administration

The existing stairs to the left will now become the main access route to Unity 2 as well as acting as an emergency escape route. By opening up into the Foyer it will make the route to Unity 2 from the entrance very clear for first time visitors. In emergency situations, fire shutters will create a secure environment for escape.

FIRST PROPOSED FLOOR ANALYSIS

10. 9.

Public Space

Back of House

WCâ&#x20AC;&#x2122;s

Theatre Space

Storage

Circulation

11.

7. 6. 5.

Staff/Administration

1. Bar/Foyer

9. Male WC

2. Bar

10. Stairs & Emergency Exit

3. Corridor

11. Tech Box

4. Stairs & Emergency Exit

5. Store

6. Lift 1.

7. Disabled WC

8. Female WC

The existing First Floor Bar has been enlarged to better suit the capacity of the building via a number of moves. The two existing voids have been filled in and the columns and archways removed to create more floor space. The Bar is to be furnished with tables and benches that can be moved and organised to accommodate the use of the space for a public bar, or for family friendly activities, workshops,private events and community meetings.

The removal of the right side stairs to the first floor allows for the bar to be moved from its existing position and repositioned in the old stair location. This creates space for a much larger seating area within the bar and will reduce congestion issues during show intervals.

The at top of the stairs to the left side we propose a small foyer leading into the bar area as well as the corridor leading to the WCâ&#x20AC;&#x2122;s allowing an easier route to navigate through the building.

SECOND

15. 12.

13.

11. 10.

PROPOSED FLOOR ANALYSIS

14.

4. 1.

Staff/Administration

Public Space

Back of House

WC’s

Theatre Space

Storage

1. Stairs & Emergency Exit

9. WC’s

2. Store

10. WC’s

3. Office

11. Kitchen

4. Corridor

12. Dressing Room

5. Store

13. WC

6. Auditorium

14. Dressing Room

7. Lift

15. Stairs & Emergency Exit

Circulation

8. Disabled WC’s

The old under used breakout space is to be transformed into the main office, holding up to twelve staff members. This large office would also have enough space for admin storage and reprographics. The large glass window will also have alterations made to allow for natural ventilation into the space. With the addition of the new corridor behind the office to access Unity 2 it will create a clear divide between the public and private realm. This new large office allows for more store space to be created in the neighbouring room.

The new corridor lobby area leading off from the stairs creates an easy and clear route to either Unity 2’s entrance or the lift and WC’s making public movement through the second floor as simple as possible for first time visitors.

The refurbished stairs end on the Second Floor this helps create a clear route to Unity 2 and stops any chance of the public accidentally go up to the private realm of the Third Floor.

THIRD

PROPOSED FLOOR ANALYSIS

2. 3.

Staff/Administration

Public Space

Back of House

WCâ&#x20AC;&#x2122;s

Theatre Space

Storage

Circulation

1. Stairs & Emergency Exit 2. Office 3. Lift 4. Tech Box

The Third Floor is to recieve very little change as it is in working order. With the addition of the new larger office on the Second Floor is will allow the office on the Third Floor to become lettable space.

THE JOURNEY A NEW BRAND, A NEW IDENTITY

Unity Theatre is currently undergoing a re-brand to enable it to appeal to a new generation of theatre-goers. The current look and feel of the front of house is somewhat haphazard and off message. The theatres audience comes from a broad demographic of all kinds of ages and culture. However it is clear from our own investigation that the majority of the audience are Generation X & Y and in other words under 50. When the theatre was last fitted out it was designed to appeal to a baby boomer generation who sought out a different style of experience. It is fair to say that since then the theatre has evolved into a kind of confusing hybrid of modern and dated styles. Put simply the newer generations are seeking out a more authentic existence based on brands that they can identify with their own personal values. The older generation X seeks out individuality whilst the younger generation Y align themselves with products and experiences that most match their outlook on life. How this manifests itself as an interior design style can be seen in the surrounding independent bars and restaurants of the cultural quarter. Each has their own interpretation of a simplistic deconstructed style that is designed to reinforce an attitude of personal experience rather than materialism. For Unity to succeed, particularly as a daytime economy offer, it must align itself with this new style of interior design. Our design proposals seek to draw inspiration from the creative, spontaneity and social radicalism of Unityâ&#x20AC;&#x2122;s theatre offer. It therefore makes sense to approach this challenge with a simple pallet of natural low tech materials and designs, as our cgiâ&#x20AC;&#x2122;s illustrate, rather than the polished look that it has had in the past (and which sits somewhat incongruously with their actual outlook).

ACCESSIBILITY ACCESS FOR ALL

Accessibility for all is a critical aspect of ensuring that our design proposals are fit for purpose. . For the building and organisation to be truly successful it needs to address physical, psychological and socio-ecconomic issues. As part of the initial information gathering period, we conducted an accessibility audit that covered all these areas identifying the theatres current strengths and weaknesses One of the core problems with access into the building is legibility. Standing outside the building it is unclear which of the two doors either side of the glass atrium is the main entrance. It is in fact the one to the left as you look at the building which is accessed by a wheelchair ramp (the other is a fire escape). We have identified that by modern standards this ramp is unfit for purpose and falls significantly short of standards in a number of ways. However following consultation with accessibility groups, we have retained the ramp as an assisted means of emergency escape for wheelchair users. We would advise that the ramp cannot be adapted to meet the requirements of the Equality Act 2010 and that in an alternative level access into the building is required to meet todayâ&#x20AC;&#x2122;s standards. From the outside looking in, the main problem lies in the fact that you donâ&#x20AC;&#x2122;t know it is a theatre. Strategies for overcoming this in terms of signage will be developed during detail design, however connectivity needs to be improved at a psychological level. We will do this by creating a new level access at the front of the building leading directly onto the street. This will create a new distinctive main entrance into the building which can be used by both wheelchair and able bodied visitors. The new front entrance be formed by providing a set of power assisted double doors in the existing front face of the atrium wall in a way that makes access to the building easily identifiable to approaching visitors. To address the change in level between the theatres ground floor and the street the ground floor will be cut back internally to provide a level access entrance lobby. Stepped access and a platform lift will be provided from the lobby to the main ground floor cafĂŠ area. Internally the new open plan arrangement facilitates better movement for wheelchairs and better more identifiable access to the disabled lift, WC & auditoriums. An induction loop will be provided at the bar area for advice, ticket sales and ordering of refreshments. An improved signage strategy will be developed as part of the detailed design. The design team are looking forward to working alongside actor, comedian and access advisor Laurence Clark who has agreed to work with both the Unity and the design team to ensure the effectiveness of the scheme, and to help us make operational improvements to ensure the venues accessibility to all. Laurence will work with us through to the completion of the project (including work on signage connected to the rebrand), review plans and the work as the scheme progresses.

CAFE / BAR COMMERCIAL VIABILITY

In 1998 when refreshment bar was relocated to the first floor of Unity there was an instant loss of income. In the first operating year, sales dropped by £10k (£16k in real terms). Today the offer is limited to the first floor and is poor by modern standards. Having researched the surrounding theatre offer it is clear that there is a significant opportunity to improve the theatres annual revenue by improving the front of house offer. Our strategy proposes to replace the current fragmented visitor experience with a seamless and integrated one that not only encourages revenue generation, but proves to be a delightful and enjoyable place to spend time. It was decided that the long term strategy could be to offer the ground floor bar as a café concession, so that people are encouraged to use the building during the day for work and socialising, thereby enabling further engagement with the local community. The existing front of house is a fussy and complicated layout. The ground floor holding area feels cramped and a little out of scale with the rest of the building. There is a dedicated ticket office that creates a bottle neck around the entrance. Toilets are difficult to find, as is access to Unity 2 at the first floor either by stair or lift. At first floor, there are similar sensations of claustrophobia and orientation brought on by headroom issues caused by the existing structure (this is in spite of the fully glazed wall offering views of the street). The only opportunity for refreshment is from a small serving hatch at first floor. Our proposals aim to declutter the front of house and refurbish it into an inviting spacious bar area. At ground floor we will achieve this by removing the ticket office and an existing staircase (which is not compliant or necessary for fire escape). The stair will be replaced by a large bar where tickets and refreshments can be sold simultaneously. The existing fire stair will be opened up to the bar area and enhanced to create an inviting and legible route up to Unity 2. The holding area in front of Unity 2 will undergo the same treatment. WC’s and accessible lifts will be easily identifiable and accessible from the bar areas with minimal assistance.

THE THEATRES ACOUSTIC SEPERATION

Unity has two excellent well equipped auditoriums stacked on top of each other. However the level of sound insulation between the two spaces is reportedly poor with noise from impacts in Unity 2 (e.g. chairs being dragged) being audible in the theatre space below. Historically this has prevented the theatre operating the two auditoriums for performances simultaneously. The problem appears to lie with stage area and the performance itself rather than the theatre goers moving to and from their seats. Clearly this represents a significant missed opportunity to enable the increased revenue generation attained by operating both theatres at the same time. Reparation of this problem will be a significant step towards improving long term sustainability of Unity Theatre. In order to do this we will commission a specialist acoustician to carry out on-site noise testing and prepare a criteria report. Tests to the sound insulation performance of the wall/floor ceiling construction would be assessed to establish what additional treatment would be required to mitigate the sound issue. Acoustic analysis is complex work which will need to be carried out during the detailed design stage of the process. At this stage the cost consultant has allowed a provisional sum to cover the costs of testing and remediation. An acoustician has visually surveyed the building a proposed a suitable methodology for addressing the challenge and which will be implemented at RIBA Work Stage 4 prior to detailed design. Other than this single issue of noise transference between the theatres, we do not propose to make any alterations to the layout of the theatres as they are adequately fit for purpose and have a well-considered layout. As we have already explained, the challenges to improving user experience mainly lie with the front of house and not the auditoria.

SUSTAINABILITY BRIAN WHITEHEAD - CLANCY CONSULTING

Our approach to sustainability is to improve the ambient experience of the front of house areas. The atrium currently creates a greenhouse experience for theatre goers, being too hot in summer and too cold in winter. Our building services response is one of improving user comfort through simple but effective measures. Brise Soleil and natural openable windows will improve ventilation in the summer while heat recovery systems will warm the building in winter. This will be backed up with a yearlong programme of energy monitoring that will offer the theatre live recommendations on maintaining and improving energy efficiency. Our proposals recommend that a mixed mode ventilation system be installed to the main areas, with modifications to the low pressure hot water heating installation. Heat gains through the glazed facade are to be reduced by the installation of Brise Soleil and the incorporation of opening windows/louvres which will be under the control of the occupants allow them to vary the degree of ventilation to the space during warmer periods. During colder periods reliance on the use of opening windows will be removed by the incorporation of a mechanical ventilation heat recovery system (MVHR). This will ventilate the space and recover heat to minimising potential for cold drafts. The incorporation of natural ventilation and MVHR system will removing reliance on less sustainable comfort cooling and heating. Within the refurbished areas heating will be provided by feature radiators. Each radiator will be provided with Thermostatic control to match the output to the space temperature.Water appliances to amended areas will be installed with low flow/timed control to minimise water consumption. Throughout the areas being changed, lighting systems will be amended using high efficiency fittings. Fittings will be selected to match the aesthetic feel being created but will be selected using LED fittings or other high lumen output services. Control of lighting installations will be considered and automatic controls installed as appropriate to the area being served. Energy consumption information is available for the existing theatre, once the scheme is developed energy usage will be monitored and compared to identify the change in energy consumption and carbon emissions. Display Energy Certificates (DEC) will be produced for the current building and after (one year in use) the redeveloped scheme. Examination of the â&#x20AC;&#x153;before and afterâ&#x20AC;? of the DECâ&#x20AC;&#x2122;s will identify the change in asset rating and carbon emissions and provide further recommendations on maintaining and improving energy efficiency.

COSTS THE BOTTOM LINE

Cost Consultants Todd & Ledson have reviewed the proposals contained in this document and identified and overall construction cost excluding VAT of ÂŁ525k. All costs include contractors overheads, profit, project design team fees, fixed furniture and equipment, risk of 4.6% and inflation of 2.2% to account for work starting in summer 2016. Costs are based on the project having being developed to a level of detail expected for Work Stage 2 of the RIBA Plan of Work 2013. The cost plan will be subject to evolution as the project evolves. However for the purposes of this document we are demonstrating that our proposals are concomitant with the Project Teams budgetary aspirations.

PROGRAMME WHEN, WHERE AND HOW

The project programme (PP) illustrated left, has been split into two charts to help illustrate the significant body of work that has been carried out prior to this funding application. The funding submission date of 09/10/15 represents completion of RIBA Work Stage 2 (Concept Design). There will now be a hiatus, while the team awaits a decision on funding with the exception that an application will be made for pre-planning advice and necessary investigative survey works will be procured in time for March 2016. Approval of Arts Council funding on 29/02/16 will trigger a 12 week period of detailed design and preparation of tender documentation followed by a 6.5 week tender and evaluation period ensuring mobilisation of the contractor on 06/07/16. During this period all planning and building regulation approvals will have been secured. Central to any contractorâ&#x20AC;&#x2122;s delivery strategy will be the ability to operate within the theatres summer shut down period (which roughly aligns with the University summer break of mid-June to mid-September). The PP is designed to ensure that as much core building work will be carried out during this period as possible so that disruption to the theatres autumn operations is mitigated as much as possible. A further benefit of operating within this period will be that the auditoria will be available for the contractor to use as a base for storage of materials, thereby significantly reducing their overhead costs for the project and allowing more to be spent on the theatre itself. Critical to success of the theatres operational strategy will be its ability to open in September. Construction phasing sequences will be considered to ensure that all core building works have been carried out and that the lower ground front of house and auditoria are ready for sectional completion and handover in mid-September 2016. The upper floor will be ready for handover and fully operational by late October 2016.

APPENDIX 1 - CURRICULUM VITAE

THE TEAM BACKGROUND INFORMATION AND THE WIDER TEAM

K2 Architects is an established and successful architectural practice based in Liverpool. We employ 10 full time staff who together have delivered more that £44m of built projects since the practice was formed in 2010. K2 operates a highly constructive culture that is designed to encourage our team to work to their full potential, resulting in high levels of motivation, satisfaction, teamwork, service quality and sustainable business growth. We value quality over quantity and creativity over conformity. Through our ISO 9001 quality management and Investors in People Accreditation we continually monitor, challenge and inspire our team towards higher levels of performance and personal development. We firmly believe in a collaborative approach to project delivery. Our practice has made a conscious effort to create strategies, policies and structures that break down barriers to natural collaboration and establish a cooperative work culture. These goals and values have been institutionalized within our organisation. This allows us to undertake work with our clients with a sense of shared purpose and direction that is attentive and responsive to the environment in which you appoint to us to operate within and where each individual depends on and is accountable the others, mitigating risk to the overall project and producing first class results. K2 firmly believe that the collaborative based service that we offer gives our clients not only a successful end product, delivered on time and on budget, but also that the process that we apply in getting there are a hugely enjoyable and rewarding experience for everyone involved.

Kevin Horton RIBA Architect Director BA (HONS) DIP. ARCH MA

Robert Jones Project Architect BA (HONS) PG. DIP.

LEAD CONSULTANT

ARCHITECTS

Education: Dip Arch, De Montfort University BA (Hons), Architecture, University of Huddersfield

Professional Institutions : Member of the Royal Institute of British Architects Member of Architects Registration Board

Kevin began working in architectural practice in 1989 rising to the position of senior project architect for a large international firm of architects developing and delivering projects in excess of £80m in value. During this time Kevin has acquired several design awards up to European level and has been shortlisted at International level. Kevin’s experience has given him a sophisticated understanding of building design which he successfully applied to the design and management of some of the most complex technical challenges faced on the RIBA Stirling Prize Shortlisted Liverpool One Development. Kevin will hold overall responsibility for the delivery and contractual implementation of the Unity Theatre refurbishment. He will lead multi-stakeholder user group engagement and wider consultation. Through a collaborative approach he will consider sustainability alongside the wider social, economic and environmental factors. He will deliver a functional sustainable buildings that take in to consideration economic constraints without compromising attractiveness of design.

Education: Dip Arch, Liverpool John Moores University

BA (Hons), Architecture, Liverpool John Moores University

Professional Institutions: Graduate member of the Royal Institute of British Architects

Robert is a knowledgeable designer with experience in a wide range of building sectors. He is confident and professional when liaising with clients and contractors. He is considered ambitious, hard-working, wellorganised and an adaptive team player. Robert has typically worked on medium sized design projects from feasibility to construction. He has experienced in delivering both public and private projects using both P21 and JCT contracts He has a wealth of experience in the commercial sector and has contributed to a number projects, from the large design team that delivered the first RIBA Sterling Prize Masterplan nomination, Liverpool One, to a small design team for Liverpool’s Shanghai World Expo Pavilion. Rob will provide support for the director by leading the day to day management of the project and co-ordinate the design team. Rob has developed an excellent reputation for project management of projects that entail strict budgeting and tight timescales through his work on K2’s Primary School Capital Works Programme where for the 2014-15 school year he coordinated the delivery of five schools totaling £10m in value.

Phil Hughes Technical Director BSc (HONS)

Brain Whitehead MCIBSE Divisional Director BSc (HONS) CEng

Darren Yates MCRIS Associate Director BSc (HONS)

Miles Wooley MIOA Director BSc (HONS)

SUB-CONSULTANT

STRUCTURAL ENGINEER

MECHANICAL & ELECTRICAL ENGINEER

QUANTITY SURVEYOR

ACOUSTICIAN

Education: Bachelor of Engineering, University of

Education: CEng, Chartered Engineer BREEAM

Professional Institutions: Member of Institution of

Professional Institutions: Member of the Chartered

Phil is responsible for the successful delivery of all Civil & Structural Engineering projects within the Liverpool office and has extensive experience in national and international projects in all major building sectors. He is also responsible for the implementation of the Curtins ‘Let’s Get It Right’ Integrated Management System and will assist in the identification of business growth strategies within the company.

Brian Whitehead is the Divisional Director responsible for the Building Services Department in the

Liverpool BEng(Hons), Civil Engineering, University of Liverpool Structural Engineers Member of Engineering Council

Curtins Consulting is a leading independent consulting engineers having specialised in building structure for over 50 years. They have worked on several theatres including Hampstead Theatre London, Theatre Severn in Shrewsbury and the refurbishment of Torch Theatre in Milford Haven where they refitted the auditorium providing a new foyer, offices, bar and art gallery. Phil will lead all structural and civil engineering aspects of the project from inception through to completion including all technical studies and design information and specifications.

Assessor & Accredited Professional CIBSE Low Carbon Consultant Institute of Building Services Engineers (MCIBSE)

Liverpool office and BREEAM throughout the company. He has a broad background associated with both Mechanical and Electrical Building Services installations gained over 33 years. He has been involved with Mechanical and Electrical design specification, contract management and BREEAM assessments for a wide variety of projects. Through his involvement with previous and current projects that have required modern and forward thinking in the adoption of new technologies in construction techniques to achieve targets for sustainability, energy efficiency and occupancy comfort, clients will receive advice that is at the forefront of current best practice. Brians role on the project will be to implement a building services strategy that will enhance the sustainability value of all refurbished areas within the theatre. His team will provide all building services design advice, specifications and drawings for integration into the overall design. This will include a yearlong post occupancy energy use monitoring programme designed to encourage the theatres operational team to adopt energy efficient practices.

Education:

BSc (Hons) Quantity Surveying, Liverpool John Moores University

Education: PG Dip (IOA), Architectural Acoustics &

Professional Institutions: Member of the Royal

Professional Institutions:Member of Institute of

Darren is an experienced quantity surveyor in a range of sectors including retail, leisure, food and hotels and has practiced with Todd and Ledson for over 17 years. During this time he has gained a sophisticated understanding of managing construction budgets through close co-operation with Project Managers, Architects and other team members to deliver effective results.

Miles is Principal Acoustics Consultant and Director at Environoise Consulting Limited. He has 15 years of experience in the noise and vibration field and provides acoustic consultancy for industrial, environmental and architectural projects. His main passion and experience base is in architectural acoustics which he has applied to projects all over the world.

Institute of Chartered Surveyors (MRICS)

Darren’s role of this project will be to provide information that enables the design team to control costs and keep the project within budget. Throughout the design phase, Darren will produce costs plans that break down costs for each design element so that the design team can manage their own expectations as well as the clients. Darren will prepare all the documentation required to tender to project to prospective contractors and evaluate their proposals. If tender returns are higher than expected, the he will play a part in leading the value engineering process. He will also manage the valuation and cost elements of the building contract.

Noise Control, University of Salford

Acoustics Director of Association of Noise Consultants

Since May 2013 Miles has sat as a director on the Association of Noise Consultants board with the aim of promoting the interests and ambitions of the ANC and all its member companies. For the project, Miles will undertake a series of noise and reverberation surveys to determine the causes of noise transmittance between the two auditoria. Subject to the outcomes of his investigations he will offer technical design methodologies and construction details for mitigating sound transmission.

APPENDIX 2 - ARCHITECTURAL DRAWINGS

Compton House School Lane 18 Liverpool L1 3BT Office| 0151 706 9560 www.k2architects.co.uk