academic portfolio Alexandra Bramhall | Stage Three Architectural Design
Alexandra Bramhall 160214206 Architectural Design ARC3001 Future City Studio 2019/2020 Stage Three Academic Portfolio
Tabl e o f C o n t e n t s Illustrative Reflective Report
Page
6
Charrette
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8
Primer
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12
Staging
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34
Case Study
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36
Realisation
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90
Thinking Through Making
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92
Synthesis
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134
Cultural Bibliography
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164
Reference List
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166
Appendix
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168
New Work
Other Module Work
ILLUSTRATIVE REFLECTIVE REPORT
Stage three has pushed me outside of my academic and personal comfort zone. This year has taught me to question everything I assume to know about my position in architecture and architecture’s place in the world. I chose the Future City brief for its studio and wider cultural ethos. In terms of the wider influence this studio accepts that architecture has a political and social compass as well as an artistic and aesthetic agenda. This is something I had started to explore in my dissertation research over the summer and have become much more familiar with throughout the year in my personal design work. My project this year is based in Liverpool. Liverpool is a city close to where I live that I have never really had the chance to explore until now. It has been the focus of both my dissertation and design module allowing me to truly investigate it as a place of architecture. A city that many including myself have been quick to write off and label stereotypically but one, I now know, holds such rich historical and cultural context that has informed design on an international scale. Analysing Liverpool as a site beyond its physical restraints has forced social and cultural issues to the forefront of my design. Rather than simply designing to look good, I can design to make a positive change and I am conscious of how important the design decisions I make are in impacting those around it. At the start of the year the studio brief declared a 9-5 working environment to encourage positive mental well-being. This is something I have maintained throughout the year and I have found that I am more
productive adopting a 9-5 schedule as persistent long hours can be counterproductive. This process helped me to work more efficiently it allowed me to reflect more and analyse the work I had been doing and where it was going each day which is something that I hadn’t appreciated in first or second year. At the start of the year we chose between three scenarios; my initial interest was ‘working in the city’ and developing a co-working strategy for local companies to combat the generic corporate businesses taking over the site, Liverpool’s creative quarter the Baltic Triangle. The more I visited the site and researched similar case studies I realised that ‘working in the city’ is interlinked with ‘a place for community’ and as the year has progressed this element has become equally if not more important to my design. The structure of this year has pushed me to constantly question my design intentions and how they are formed around theoretical and technical influences. My dissertation explores Liverpool’s architecture on the waterfront which enriched my understanding of my design’s wider site context. In my dissertation I focussed on the importance of analysing this site not only physically but temporally which goes hand in hand with the studio brief. Through this research the significance of site’s history was apparent and respecting that became a vital concept in my design however I felt I wanted to achieve this through modern materials and contemporary techniques. Theory into Practice allowed me to consider my design in a wider literary context the idea of a frieze to physically symbolise
the local community seemed like a spontaneous decision but after reading around the subject and examining ancient friezes it is an informed design decision architects have been making since the Parthenon. Across all three years I have really enjoyed technology and applying that to my project this year has made me consider the detailing of my building and how different people will use it. This is something I now see I did not adequately consider in my earlier work, but accessibility and inclusivity is a driving force that I was able to explore further in my technology module. Group work has been valuable to me this year. During Charrette week working with a mix of younger and older students was interesting as everyone has a different design experience and skills so communication was crucial. This is something I don’t experience as much when working with my own year. I enjoyed working in smaller studios within the year as we were able to grow alongside each other and help one another’s projects from start to finish. Throughout group tutorials I was able to see how other students handled a similar brief and get feedback from my peers as well as my tutors. I feel I have grown a lot this year academically and personally. I am beginning to understand the architect I want to be and the type of work I want to be a part of. Although there is still a lot to learn I am comfortable with the social and political statements I am making through my design and the positive outcomes architecture should achieve more consistently. Photographic Montage of My Year
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C h a r r e t t e ‘A city isn’t so unlike a person. They both have the marks to show they have many stories to tell. They see many faces. They tear things down and make new again.’ Rasmenia Massoud
The workshop ‘Surfaces and Silhouettes’ focussed on the city scale and the textures of the urban fabric within it. Going into the city and making rubbings of qualities using charcoal and paper in order to map Newcastle city centre. This charrette workshop encouraged me to look through the city as a whole and view each road and paving stone separately to consider its individual characteristic. Then bringing these characteristics together in collage to create an abstract representation of the city.
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Photographs from Charrette Week CHARRETTE | ACADEMIC PORTFOLIO | 10
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F u t u r e C i t y ‘Buildings should serve people, not the other way around.’ John Portman Our studio champions a ‘research-led focus, whereby our ideas are rigorously tested against relevant and appropriate building precedents materials technical considerations, and theoretical discussions. Fundamentally we accept that architecture is a political and social endeavour as much as it is an artistic aesthetic and technical pursuit.’ Our site challenges us to consider the urban and architectural ‘futures’ of the Baltic Triangle and inner-city of Liverpool. Branded as the so-called ‘creative quarter’, the triangle is a post-industrial site currently home to a mix of creative organisations, start-up businesses and independent commercial ventures. (Future City Brief)
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‘As an architect you design for the present, with an awareness of the past, for a future which is essentially unknown.’ Norman Foster Our Primer focussed on going beyond the framework, exploring the Baltic Triangle more critically and thinking more expansively about what its future could be.Throughout primer we worked both collectively on site in Liverpool and individually to investigate scenario-specific exemplar case studies. Initially visiting the site without an architectural agenda allowed me to analyse its character and the individuals that create it rather than simply the buildings they inhabit. For my primer exhibition I created a collage of portraits to map the existing working community. Not only did this create a human focus in my project it also allowed me to talk to people and gather a range of narratives about the Baltic Triangle. The exemplar I chose for primer turned out to be the most influential precedent I have studied this year. The Foundry is a building that reflects a positive working environment that grows within the core of a community. This inspired my community-driven coworking design.
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EXEMPLAR
(Architecture 00, 2019)
Exemplar Study
(Architecture 00, 2019) PRIMER | ACADEMIC PORTFOLIO | 16
Before visiting site we were divided into three groups; working, community and housing. In these groups we had to explore individual exemplar studies. The precedent I researched is called the Foundry it is a refurbished shoe polish factory in Vauxhall, London. This building has been transformed into a co-working hub for UK based companies that work within the social justice and human rights sector.
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EXEMPLAR
(The Foundry, 2019)
Architecture 00 (The Foundry, 2019)
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Architecture 00 established in 2005, is a firm that allows social designers and urban sociologists to collaborate with architects ensuring openness and sociability is at the centre of the firm’s designs. The practice believes in the importance of the exterior relationship to site not just the interior layout of their buildings. Sustainability and co-working is at the heart of their projects which is demonstrated in their headquarters, which is a co-working hub in Hackney.
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EXEMPLAR
Relief Drawn Site Plan 1:1250
(Architecture 00, 2019)
The Foundry
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Relief Drawn Site Plan 1:1250
The Foundry has a simple palette of materials that provide flexible spaces whilst maintaining a professional environment. The refurbishment of the old factory reflects the old industrial lifestyle but with more sustainable design and materials. The construction is MDF, plywood, buffed concrete and recycled carpet tiles. Old chimneys have also been re-purposed to provide a new ventilation system.
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EXEMPLAR
Demonstration
Workshop
Performance
Community Room Axonometric 1:50
Architects Section Showing Changing Ground Level
Relief Drawn Section/Elevation 1:100
The Foundry Architects Section Showing Vernacular Form (Dezeen, 2015) PRIMER | ACADEMIC PORTFOLIO | 22
In order to understand the space I redrew the plan and section using a relief method to interpret the hierarchy of space. The ground floor of this building is a community space with flexible rooms and the remaining floors are lettable units. The idea of flexibility and an open ground floor plan is something I have adapted in my own design.
(Dezeen, 2015)
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SITE
VISIT
COLOURFUL
BRICK
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CREATIVE
INDUSTRIAL
QUIET
CONSTRUCTION
Initial Site Visit Exploring Liverpool Before visiting the site we were given The Baltic Triangle Development Framework document that was created in 2017. It is a booklet that includes lots of generic mapping and data about the area. Our primer is about going ‘beyond the framework’ and looking at the site more analytically. In order to do this we took a group trip to the Baltic Triangle.
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SITE
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Exemplar Into Celebratory Piece
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(Individual links in reference list)
After investigating my exemplar; the Foundry, Architecture 00, I began to think about the types of office environments created by various industries. I researched other office spaces and companies such as WeWork and the environments they create. After reading a number of articles on WeWork I learnt that they provide hot-desking for any individual/group in any faculty, which although seems like a positive goal, many people complained that there was no privacy. Whereas in the Foundry example all of the companies have similar focuses so they can use the space to work efficiently alongside one another. There are many differences between Architecture 00 and WeWork but I wanted to investigate this idea of zone co-working ; mixed companies sharing office space all with the same aim or ethos. I began by mapping some of the existing businesses on site.
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CELEBRATORY
Abby, Constellations The Intersection Of Art Music Food And Drink
PIECE
Abby is one of the ten employees working in Constellations and she is really passionate about the work they do. She is a recently graduated student from Seattle. Constellations is a small business that puts the community before itself. It is a ‘blank canvas’; a changeable warehouse that can become whatever it needs to be. Unfortunately the land the building sits on has been bought by property developers intending to demolish the current building and replace it with a potential generic residential high-rise.
My celebratory piece is a display of fifteen individual portraits who work within the Baltic Triangle. Some of these individuals I contacted before seeing the site or their business others I found while I was visiting the site. Most of the businesses are new independent companies with lots of ambition. There is no hierarchy in deciding the order of these individuals, each image stands alone.
Danielle, Liverpool Vets Caring For Our City’s Pets Danielle is a veterinary surgeon who attended Liverpool University. Liverpool vets is her own practice she set up in order to offer a more personal and community driven pet care experience. Danielle is a really genuine woman who is very passionate about helping animals. Liverpool Vets won Pet Plan’s Vet of the Year Award 2019
Phil, Sentric Music Music Publishing The Sentric Way Phil is an ex-student of Liverpool University, originally from Durham. His love of Liverpool pulled him back to the city after graduating and he was fortunate enough to fall into a job he loved. Sentric Music is based in Elevator Studios on Parliament Street, it is a music publishing company. ‘We love music and our administration is second-to-none. We guarantee to provide you with a publishing deal that collects more royalties in music markets than any other set up.’ PRIMER
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PRIMER
SHOW
Photographs from Primer Exhibition PRIMER | ACADEMIC PORTFOLIO | 30
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CELEBRATORY
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‘I have always appreciated those who dare to experiment with materials and proportions.‘ Zaha Hadid Primer firstly taught me that a well-considered design can not only provide a strong work ethic within a building but also establish a valuable relationship between the local communities. After talking to individuals on site, I realised the damage corporate organisations are doing to smaller community driven operations like Constellations. This encouraged ‘giving back to the community’ to become a driving force through staging as I developed my project’s brief. I analysed the site physically, historically and socially through photography, mapping and literature choosing key words and phrases to describe the ideas that seemed important to my scheme. After unpicking these ideas I created a celebratory piece as a way of combining them all in one place. Reflecting on the work I did for staging and the review comments I felt I spent too much time developing my brief and researching the key ideas before forming this into a programme for the building. This is something I have spent a lot more time on since the review, analysing hows these ideas can create spaces moving into Realisation. My celebratory piece has also developed since the review as I continued to adopt the relief drawing style that I began in primer.
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C a s e s t u d y “It imparts an exceptional sense of well-being that runs from the public areas through the auditorium to back of house spaces of unusual quality.� Rowan Moore, The Observer For the case study project my group analysed the refurbishment of the Everyman Theatre in Liverpool. The two areas of the building I studied were site and atmosphere which became two key concepts within my own design. The Everyman case study influenced my personal design as it demonstrates how physically representing the local community can give residents ownership over the building. The architects were conscious of the rich history surrounding the site and incorporating a sense of togetherness. Showcasing the people of Liverpool on the main facade was a clever way to do this. This building is close to my own site and shares some of its community however the Everyman sits closer to the city centre than the Baltic Triangle. (Group work in appendix)
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Long Site Elevation
Wider Site Plan
The Everyman theatre is an urban building in the heart of Liverpool, north west England. According to the architect, one of the key concepts of its refurbishment was to maintain the ‘continuity and compactness of the original site’. It is situated at the top of Hope street, overlooked by the metropolitan cathedral. It occupies a total area of 4690m2.The theatre opens out to a busy road and is surrounded by eighteenth and nineteenth century buildings. The atmosphere of the site is lively and noisy as it is a dense area close to; Liverpool universities’ buildings, the metropolitan cathedral, Liverpool philharmonic hall and several eateries.
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St John The Evangelist Church1841
Hope Hall Cinema 1912
Everyman Theatre 1964
Everyman Theatre 2014
Site Plan With Closer Context
Overlapping 1950 Map And 2019 Map To Show Continuity
The Site’s History
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(Individual links in Appendix)
The history of the site is particularly important in the building’s design as it fits into the constraints of the former theatre. Originally the site was home to a church, St John’s the Evangelist. Shortly after becoming hope hall cinema and then the Everyman theatre in 1964. In 2000 Everyman and playhouse merged and in 2012 the building closed for two years reopening as the theatre we know today. Haworth Tompkins, the architects in charge of the refurbishment, showed a great deal of respect for the existing site, refusing to demolish any surrounding buildings. This restricted their design for example balcony sizes and the scale of the front of house area. They also recycled the red brick and timber from the former building so that the new design would share its surrounding materiality.
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Short Site Elevation
Photographs Of Site Relationship STAGING
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(Individual links in Appendix)
As a theatre the building must accommodate a lot of movement. The public entrance is off Hope Street bringing visitors into the foyer. Whereas service access is provided through the stage door on Arad Street, to the back of the structure. This allows larger props and sets to have direct access to the stage. The building faces west meaning it will receive sunlight throughout the afternoon. It is clear the architects have designed for this as they have metal shuttering to control daylight entering. As the building is entered on ground level it is accessible for all.
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AT M O S P H E R E
Entrance Collage Enticing Visitors
Approaching The Building From The Street
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Viewing The Street From Inside
The personal scale of the building creates a powerful relationship between people outside and inside of the building. The building’s entrance is understated allowing it to blend in with the street profile of its surrounding facades. At a street scale the facade also acts like a shop window to create a welcoming environment for passersby; giving them a glimpse of the interior activity enticing them in without ruining the interior atmosphere with a large amount of natural light.
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AT M O S P H E R E
Atmospheric Sectional Collage
Materiality Dictating The Ambiance
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The Everyman achieves their desired atmosphere through materiality and lighting. As you enter the building you are welcomed by a large space but rather than feeling overwhelmed, visitors are comforted, warmed and relaxed by; the warming red accent colour, dark wood decoration and black steel structural elements that create a calming impression. Red is a dynamic colour that can both relax and energise, which creates the perfect atmosphere for a theatre as an audience must be enticed and entertained. As the building is a theatre this environment must remain unchanged regardless of the time of day. This ambience is maintained through the exterior shuttering that prevents daylight affecting the mellow interior mood.
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AT M O S P H E R E
Sectional Collage Showing Ev1
Atmospheric Ev1
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Despite the primary atmosphere appealing to the visitors viewing the performances it is also important to understand different atmospheres created for different users. There are specific rehearsal rooms designed within the buildings form that create a vastly different environment in order to accommodate performers. For example ev1 which is bright and open and free from ornamentation to allow the performers to work without distraction. This room is also soundproofed which sets a tone of privacy allowing the actors to be as loud as necessary for their performance. The building accommodates for this soundproofed safe space by creating a box within a box to separate it from the rest of the building.
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Site Map 1:1250 STAGING
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WIDER SITE
IMMEDIATE SITE Liverpool City Centre 0.8 miles
Works
Housing Bakery
>
Site
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Warehouses
Queen’s Dock Commercial Centre
Queen’s Dock 0.3 miles
> >
Water Proximity
Building Heights
Access
The site’s closest dock is the Queen’s Dock that leads into the river Mersey.
The site is dense with a lot of low rise buildings. High rises are beginning to appear.
There are a lot of access routes around the site both vehicular and pedestrian.
Queen’s Dock
5+ storey
Car Park
Site
3-5 storey
Pedestrian & Vehicular Route
1-2 storey
Main Road
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Choosing the Site I visited the site for a second time, this time with an agenda for finding an appropriate site for my design. I chose this site as it was on a quieter road, and away from the busy centre of the Baltic Triangle. It was also adjacent to new residential buildings that would form the community that the building’s programme was designed for. The plot itself is an unused car park with a proposed new high rise being built. I would propose that my building will replace the generic high rise that is proposed and build more character into the surrounding area.
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C L I M AT E
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Summer 30 wet days
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Winter 35-40 wet days
Macro
Lows 0-2.5° January
High Rise Shadow
« Low Rise Shadows
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Highs 17-20° July
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Climate Maximum Sunlight
Maximum Sunlight
Morning Shadows STAGING
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Evening Shadows
England has a maritime climate due to it being an island. Liverpool is in the North West of England bordering the River Mersey that leads into the Atlantic Ocean. As it is close to the coast the temperature is higher than surrounding areas. Due to its decreasing industrialism there is more sunshine around Merseyside. The North West is well know for its amount of rainfall and the prevailing wind is from the West coming of the ocean. STAGING | ACADEMIC PORTFOLIO | 55
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Photographic Collage of Site
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My initial impression of the site is a quiet and dark place with few cars and people. As its a post industrial site there are a lot of pitched roofs and brick warehouses, some have been abandoned and other refurbished.
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Short Site Elevation
Site Relief Studies
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In order to document the site elevations I used a similar technique to primer. Relief studies of the site with laser cut card pieces creates an atmospheric depiction of site. I chose card as it burnt to a similar colour to a lot of the brick buildings in the Baltic Triangle. This exercise helped me to understand the context surrounding my building. These elevations were also useful when developing my buildings faรงades. STAGING
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Capitalising Culture: Liverpool 2008 Paul Jones And Staurt Wilks-Heeq ‘The World in One City’ Capitalising Culture discusses how Liverpool is victim to ‘The Glasgow Effect’, noting that the European Capital of Culture award Liverpool received ensured many new jobs and plenty of more visitors bringing revenue. However as a result, inequality accelerated as not enough of this profit was pumped back into the local economy. The article notes out of the £38 million raised by annual visitors alone, only £2 million was spent on the local economy. In an attempt to re-brand the city to attract tourism, gentrification is prioritised above local residents and workers leading to many social divisions. ‘Sadly it has become a showcase for everything that has gone wrong in Britain’s major cities.’ Daily Mirror 1982.
STUDIO
RELEVANCE
Scenario Two Working In The City INCLUSIVE SUSTAINABLE CREATIVE AGAINST GENTRIFICATION AFFORDABLE
Too Grim Or True Grit Doug Celland ‘Despite its heroic physical situation and legacy of historic buildings, Liverpool’s modern townscape has been shattered by war, decline and mediocre urban ambitions.’ ‘In the index of competitive cities Liverpool lies at the absolute bottom’ ‘What is being built today and planned for the future neither lives up to the past achievements of the city nor to international comparison.’
Liverpool, Joseph Sharples
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‘Liverpool has the most splendid setting of any English city.’ ‘Most impressive range of late nineteenth century warehouses in the central area. They are huge and very plain, seven storeys high of red brick blue brick around the small windows and the towering loading bays.’‘This happy picture of the flourishing port of Liverpool.’
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SITE
OUTLINING
IDEAS
Respecting The Past
Vernacular
Sustainability
Community
Co-Working
Materiality
PEOPLE
Giving Back
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Private And Public
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‘A combination of rugged solidity and sublime grandeur is still one of the defining qualities of Liverpool’s architecture’ Joseph Sharples, Liverpool
RESPECTING THE PAST
Heap’s Rice Mill 1780 Founded by Joseph Heap & Sons LTD, originally a rice mill with warehouses added later on. The building is a square plan and seven storeys high. Now the Baltic’s food industry evolves around coffee shops.
The Baltic Triangle’s name derives from its trading links to the Baltic; there is an overwhelming history of craft which I would like to respect. Although types of trading and craftsmanship have transformed from industrialisation to de-industrialisation it is still the underlying foundation of this creative quarter in Liverpool. Heap’s Rice Mill 1780
Ryde Coffee 2019
Park Lane Station 1830 Worlds first goods terminal, it was railway between Liverpool and Manchester. Bombed during The Second World War and demolished in 1972. Today, cars and roads are used to transport goods. Goods Station 1830
Service Gate 2019
Cains Brewery 1803
Baltic Triangle 1900 Past Trade
Warehouse
Cafe
Mill
Office
Goods Station
Garage
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Around the early nineteenth century ale houses, taverns and inns were extremely popular. Robert Cain’s Brewery was purchased by Higsons in 1923. Breweries common today too.
Baltic Triangle 2019 Current Trade
Cains Brewery 1803
Brewery 2019
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RESPECTING THE PAST
Daniel Defoe quotes ‘Liverpool is one of the wonders of Britain.’
1680
1700
Liverpool becomes Europe’s number one port.
Slavery Abolition Act
1740
1834
Liverpool became England’s third port, first dock dedicated to trade.
Jamaica Street appears on maps.
Baltic Creative
2012
1940
1880
2019
2000
1900
1800
1700
World War II City was a large threat to Germany leading to a lot of buildings destroyed.
1807
1917
2008
2017
1,364,930 African slaves to American colonies between 1699-1807
Three Graces built on St George’s Pier Head between 1903-1917
Liverpool wins European Capital of Culture
‘Baltic Triangle Planning Framework’
Elevator Studios
(Independent, 2012)
(Liverpool Echo, 2012)
(National Trust, 2019)
(Urban 75, 2013)
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Timeline I was really interested in the history of the immediate site and of Liverpool in general so understanding this history was important for me. The rich history behind a lot of the brick warehouses on site is the reason I didn’t want to demolition anything. Brick became important to my scheme early on.
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VERNACULAR
SOLID
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STEEL
GLAZING
RIGID
RICH COLOUR
INDUSTRIAL
GRAFFITI
RED BRICK
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12 4
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SUSTAINABILITY
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1 Re-using Brick 2 Intelligent Energy Sources 3 Recycling Water 4 New Planting 5 Fulfilment 6 Demolition 7 Renewable Timber 8 Pedestrian & Cycle Access 9 Eliminating Car Emissions 10 Locating Materials 11 Transporting Materials
Environmental Concept
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Paolo Sassi notes, ‘No matter how energy- and water-efficient a building might be it becomes a detriment to the community if no one wants to occupy it.’ This infers that whilst the building efficiency and material qualities are important to consider in sustainable architecture so is making the space enjoyable for the people so they want to use and maintain it.
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TURIN FIELD TRIP
Collage of Turin Trip
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COMMUNITY
‘Food brings people together’
Baltea, Turin
After visiting the Baltea Community Centre I realised the need to invite the local community into the working areas. Baltea combines small office spaces with a bakery and a cafe as well as rent-able community rooms including a kitchen. Their idea is that ‘food brings people together’. In relationship to the Baltic Triangle I hope to bring people together accommodating for the individual, the business and the community. I want my building to have space for all of these local needs. I want this to drive my design. Rather than just creating a generic work space I want to understand how the individuals will work at their desk. I also aim to provide a flexible space for the local community to want to use.
INNOVATION
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RESOURCEFULNESS
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CO-WORKING
‘Spend Our Money On Chairs, They Are Important’ Toolbox, Turin The environment Toolbox creates is so carefully designed and considered. They are constantly re-evaluating aspects of space and tailoring them to suit the needs of their tenants.This is something I aim to take into my design process as Toolbox recognises something as small as a chair can transform an entire room. Specificity in my design begins by choosing a specific group to design for and understanding their working needs and requirements.
A Selection of Chairs around the Toolbox Offices
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MATERIALITY
‘Materials Are Evidence Of Its Usage’
Bluecoat
After visiting the Bluecoat in Liverpool it opened my eyes to how powerful materiality can be, especially when old and new come together. Brian, who worked there noted ‘materials are evidence of its usage.’ This made me investigate the materials in the Baltic Triangle so I attempted to piece together photographs from my site visit using the textures and fabrics around the Baltic area. This includes a lot of industrial materials that have more recently been partnered with glass.
Photographed Materials on Site
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PUBLIC & PRIVATE
‘People want a door’ Pacific Road, Birkenhead Pacific Road is a co-working business hub in Birkenhead, just outside Liverpool. An old tram museum converted into a theatre and now an office space. It is a scheme set up by the Wirral Chamber of Commerce and after speaking to their chief executive I was able to understand the space better. The main ethos of this concept is flexibility. Their aim is to provide stepping stones for start up businesses to help them grow; from a hot desk to a shed to an office. The refurbishment of the grade II listed building left a lot of the existing structure and history on display. Pacific Road uses simple materials to manipulate spaces for tenants on a temporary basis as businesses are constantly changing. Embracing the building’s history
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Break out areas for networking
Flexible shed spaces for offices
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P R O G R AM M E
Focus
Reflecting on the Field Trip Precedents After visiting the different working and communitydriven places around both Turin and Liverpool I put together some key words to drive my programme forward. Key words that would describe the successful spaces created in Toolbox, Baltea and Pacific Road. I want to create a hub for the entire community and its needs. Whilst a co-working space is the programme priority we must also satisfy the needs of the building and the surrounding residents.
A Space to concentrate
A Space to come together
Collaboration
A Space for Everyone Cyclical Community
A Space to meet
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Networking
GIVING
BACK ‘We are a collective of individuals who give 1% of our income each month to help the worlds poorest people.’
‘Action on Addiction is the only UK addictions charity that works across all the areas of treatment, research, family support and professional education.’
Space to Network
Space to Learn
Workshop
Break-Out Space
1. What attracted you to the Baltic Triangle? It’s a COMMUNITY-LED area with lots of potential to NETWORK and COLLABORATE. I’m from London and always worked in East London (SHOREDITCH and HOXTON) and it’s starting to feel more and more like those places but on a much smaller scale
Space to Socialise
Space to Collaborate
2. What don’t you like about the Baltic Triangle? PARKING can be a pain. I need my car as I have to drop my daughter off at CHILDCARE on the way in. Otherwise I’d be happy to walk and not worry about it.
Assessment (TELEPHONE or FACE-TO-FACE) Prison-based assessments Interpersonal GROUP THERAPY Peer-to-peer support Individual COUNSELLING Relapse prevention TRAINING WORKSHOPS and life-skills GROUPS Social and educational ACTIVITIES
Space for Comfort
3. What is your ideal working atmosphere in one word? COMFORTABLE
(Be One Percent, 2019)
The Brink Dry Bar, Liverpool The Brink is our award-winning, revolutionary RECOVERY CAFÉ in Liverpool’s vibrant city centre. It opened in 2011 as a SAFE SPACE where people affected by drug and alcohol addiction can find help, support and access to treatment. Since opening, The Brink has become a central component of a growing and thriving community in recovery in Liverpool.
Space for Privacy
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Space for Therapy
Private Rooms
Garden
4. What sort of spaces would you like in your office, i.e. cafe, community space, private desks, meeting rooms, IT room? The CAFE that has just opened is great and very useful for meetings, it’s nice to have areas you can book for more PRIVATE MEETINGS and for me the facilities (KITCHEN, BATHROOMS) are important and have to be CLEAN
Cafe
Key Elements of The Programme:
Cafe
(Action on Addiction, 2019)
Space for Safety Dry Bar
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GIVING
BACK ‘I want local people to come together and work as a community by volunteering at the shelter to ensure nobody in liverpool spends a night on the streets.’ Lawrence kenwright
Space to Eat
‘Bringing people together and books alive’
Space to Read
Cafe
Reading Room
Space to Learn
Space for Children
Workshop
Up to 18 warm sleeping cabins Hot and cold FOOD options Training and skills WORKSHOPS 4 Crash beds Sociable RECREATIONAL AREA Nurturing and friendship WASH FACILITIES and TOILETS CCTV SECURITY monitoring Professional health/job support Drop-in overnight crash centre Tailored plans designed for INDIVIDUALS rather than one size fits all. After Kingsway House homeless shelter was forced to close in February 2018, Signature Living launched the Cotton Street Project. (The Cotton Street Project, 2019) STAGING | ACADEMIC PORTFOLIO | 86
Garden
For thousands of years, literature has helped humans to find MEANING and CONNECTION by providing a powerful language to explore our inner THOUGHTS and FEELINGS.
Space for Nurture
We are building a READING REVOLUTION, bringing people together and books to life in order to make warmer, healthier, STRONGER COMMUNITIES. The Reader Cafe Beautiful it may be, but it’s also FRIENDLY, WELCOMING and ACCESSIBLE – with plenty of plants and even an outside terrace.
Garden
Space for Support
The Storybarn Our imaginative play SPACE FOR CHILDREN and families will spark a lifelong love of reading for pleasure. Counselling Rooms
Space for Accessibility
(The Reader Organisation, 2019)
Ground Floor Level
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THE BALTIC CHARITABLE COLLECTIVE
Brief Declaration A co-working hub designed for local charities. A space that positively influences the local economy. A space for like minded people to work and grow together. A space that engages the community. Moving forward I made a declaration for the type of place I want to build for the local community in the Baltic Triangle. I created a card relief drawing to outline some of the key spaces within my programme. These include; a rigid brick exterior that opens into a light space, places to read and socialise, places to focus. Space for the charities and community to grow together but also space for their different activities to be separate. The key shapes I picked up on in site images are the pitched roofs and the general triangulate form, the structure in this relief is the Constellations garden canopy we visited in Primer.
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R e a l i s a t i o n “Even the assumption that cities are simply settings falls short when considering architecture as a narrative� Darran Anderson, Imaginary Cities After having developed a brief and programme in staging,I translated these ideas into floor plans and orthographic drawings in realisation. Using the rules I established for myself in staging I began to experiment with form and spacial elements within my building that would appropriately accommodate my programme. Not only did my staging work feed into the design process, I further analysed my primer work as well and used the portraits I took and manipulated them to create a frieze for the building that physically represented community giving local residents ownership of the building. The feedback from my realisation review revealed a generally well resolved scheme however I have continued to work this into the formal building design since. Realisation allowed me to establish a working set of drawings that would lead me into finalising them in Synthesis. Context is another issue I have resolved since realisation.
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T h i n k i n g t h r o u g h M a k i n g Architecture starts when you carefully put two bricks together’ Ludwig Mies van der Rhoe I used this week to experiment with two very different materials , testing their similarities as structural elements. My two main materials in this project are timber and brick and I was interested in seeing how they could come together both aesthetically and structurally. This piece is a 1:1 wall that combines both clay and timber bricks. I also played with the idea of a physical relief style frieze on the facade to represent community which is a main driver in the project.
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UNIFICATION OF TIMBER AND BRICK
Step Five: Sourcing
Step Six: Painting
Step Five: Gluing Timber
Step Six: Sanding
65
215mm
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102
195
Clay Burnt Brick
Engineering Brick Concrete Brick
Fly Ash Clay Brick Sand Lime Brick 317.5mm
Step One: Plaster
This element represents the sense of community in my scheme. Using scrap MDF and tape to make a brick sized mould. Making a plaster mix and pouring into the mould to set.
Step Two: Setting
Leaving the plaster to set over night. I attempted to create a frieze with modelling clay in an MDF mould, when this didn’t work I recasted the plaster block to create a textured facade.
Step Three: Stencil
I used a line drawing of two faces and printed them to create a new pattern. I then scalpel cut around the images to create a stencil. Once the paint has ruined the paper I made an MDF stencil that became part of the final sculpture.
Step Four: Spray Paint
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I debated size and materials for my bricks however making my own clay bricks would have taken longer than a week and I wanted to familiarise myself with the real material so I found three red clay bricks.
After understanding the standard dimensions of bricks I made my own out of scrap timber found in the workshop. In order to recycle and experiment with timber which is another key material in my scheme. I cut and glued the timber pieces to make a solid brick.
I used a roller to paint the three bricks in order to maintain as much texture as possible. Using similar colours to the plaster block.
Sanding timber brick was the final step of the project to create a fine finish.
I used a simple colour palette of spray painting colours and tried to create a shadowing affect across the plaster block.
Stack
English Cross
Running
Flemish
Herringbone
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THEORY INTO PRACTICE
Initially, I used relief drawing as a tool to differentiate the hierarchy of a design. After learning about the technique in both art and architecture I understand it can provide a narrative that either stands alone, in C J Lim’s example, or embodies a building’s ethos as in the Parthenon. My design revolves around the narrative of the Baltic Triangle; using the frieze/ relief technique I can incorporate this contextual narrative physically into my design. I turned the original portraits of the workers in the Baltic Triangle into a line drawn frieze that sits on a background of a roof-scape-collage of existing buildings around the site. What I have learned from my research is, giving a building a physical narrative allows people to interact and connect with it. Furthermore, the sustainability of a relief is something I will continue to experiment, using recyclable materials like C J Lim. Sustainability can not only be understood in the materiality of my practice but also in the sense of identity a personalised frieze gives a community. My hope is that this will enable the building to be enjoyed and maintained for a long time. (ARC3014)
Paper Relief Site Plan, The Foundry
Thinking Through Making Frieze
Thinking Through Making Frieze
Card Relief Site Elevation
CJ Lim, Competition Entry Olympic Paris 2012
The Parthenon Frieze (ARC3014)
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CELEBRATORY FRIEZE
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DEVELOPMENT
no views no windows
possible solar panels/ skylight angled more solar gain
three forms reflect floor plan language too tall?
angle too sharp? roof pitch uncomfortable inside?
urban grain contemporary pitch
stand out sculptural?
symmetry mimic flat and pitch of site
corridor/circulation glimpse at road behind
no views no windows awkward views?
rotation #Constellations
skylight
mimicking roofscape
too tall? obtrusive?
solar obstruction?
no views no windows
fitting in with established urban grain
single pitch statement pitch roofscape
corridor/circulation
corridor/circulation
glimpse at road behind
glimpse at road behind
Massing Development
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The restrictions of the site’s grid create a rectangular form. I experimented within the idea of two smaller buildings but decided that might disrupt the general circulation. The proximity to the adjacent residential building was also considered, I felt in order to give the form prominence on the site it should be slightly distanced from the existing structure. The roof-scape developed from the surrounding buildings and their pitch. The final massing mimics the parallel road and creates a traditional pitched form.
Form Development The main entrance sits along Norfolk Street which is where neighbouring buildings also have theirs. This means it will be the busiest face of the building. I explored how the form would look in elevation on the street and how the floor plan could entice the public. I decided that a recessed entrance would work well in context as the grid would be maintained and still draw the community in.
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South East Facade
FACADE DEVELOPMENT rooflight
mimicing embelishment lots of warehouses have
introduce light? atrium
This is the main entrance facade so creating a harmony with the fenestration was significant; mimicking the order of the existing brick warehouses on the street without using all of the small windows. In this facade I decided to use bricked out windows to give the impression of the window. I also created a perforated language in the middle section of the facade that would create a contemporary brick texture and bring playful light patterns into the atrium, in order to detail this appropriately I researched O’Donnell Tuomey’s Architects, LSE Saw Hock building. The ceiling to floor glazing on the ground floor was inspired by a precedent study I looked at, the European School by Nord architects; I enjoyed how they connected the two materials to create a welcoming entrance and the intrigue the textured brickwork created.
work in plan not in elevation
grid glazing rectangular window
stairwell too modern?
#Stadt Kopenhagen glazing opening cafe open onto garden
frieze? would it be seen enough?
LSE Saw Hock Building (O’Donnell & Tuomey, 2015) rooflight
mimicing embelishment lots of warehouses have
no window neccesary
2 languages opening windows
brick windows mimic order
smaller windows?
frieze? artwork sculpture?
#Stadt Kopenhagen
second entrance from event space
European School (Nord Architects, 2015)
Order of windows mimicing site
#Stadt Kopenhagen
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This facade is important as its the one that overlooks the garden. The context it sits along has a lot of old warehouses and traditional brick buildings. I found it difficult creating a rhythm with the windows that could be contemporary whilst respecting the order of the existing façades. I decided that this would be the perfect facade for the frieze as it will act as a piece of artwork within the garden. Graffiti is something that reoccurs in all my photographs and is something that gave the site character. This frieze sits alongside the colourful murals around the wider site.
frieze celebrated on garden facade
two types of windows
ground floor floor to ceiling glazing
glazing opening cafe open onto garden
2 languages
thirds
perforated brickwork
South West Facade
South East Facade Iterations
second entrance from event space
glazing opening cafe open onto garden
South West Facade Iterations
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GROUND FLOOR DEVELOPMENT
flexible
3 languages
solid
double height
#The Reader Org
exisiting build
meeting room
celebrate staircase
#LSE
extra toilet 2x standard 1x accessible
escape stair
small business meetings? #Be One Percent
perforated brick? /window
community hub
exisiting build
meeting room community room
#Action on Addiction
more glazing?
circulation between buildings?
office bike storage
accessible toilets /open into foyer?
second core
fundraising space
flower planters
bifold walls
community space open day fair fundraising cafe? dry bar?
glulam beams CLT panels
storage glazed sliding door
reading room library
flexible to be foodbank?
#The Cotton Street Project
community bike storage
more glazing natural sunlight
open
recess garden remove fire exit hazard?
24 hour access for offices
small tree
seperate exit for fire strategy
smaller stairway/ corridor more space dry bar
benches
outside seating area
glulam structure/ allow more flexibility
bigger doorway? second fire exit?
exisiting build
wildflowers
front of house more frequently used spaces
lavender
main entrance same as housing
structure needed?
planters
landscape access
reading room
glazed sliding doormore
more open space
larger entrance space without atrium? full glazed entrance
CLT bookshelves to create walls
seating
small trees solar buffer
direct access
moving stair case
direct access accessible toilet
set back toilet
bike storage
exisiting build
toilet
dry bar
cosy
#The Foundry
Ground Floor Plan
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After deciding the ground floor would be open to community activities, understanding the floor plan hierarchy and how the programme would fit spatially was developed over several iterations. An early design placed both the library and cafe towards the back of the building. This meant the two used rooms used less frequently sat at the front of the building. By changing it around meant that users would be welcomed by activity rather met with silence. I also developed my use of the site to incorporate an outside area that could be accessed through the cafe and sit on the facade of the building with the most sun exposure throughout the day.
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FIRST FLOOR DEVELOPMENT
better layout/ awkward relationship & room size?
trying to understand staircase between levels
kitchenette
awkward access
office 1.
more floor space
break out area kitchnette communal
atrium light open levels connect
permanent office HQ
concrete core repetition wasted space? may become storage/hazard
better ventilation
exisiting build
balcony formalise?
more direct exit strategy
moving lift to create more space? awkward movement
office 4.
awkward office entrance?
flower planters
pull exisiting build
appropriate corridor arround atrium 1500mm minimum
viewing platform
office 3.
softening edges
more office space single height
office 2.
more privacy required acoustic & visual
no views / useful ventilation
office storage
playful experiment office 1. relief brickwork recessed window?
exisiting build
benches
small tree
awkward circulation
awkward corridor?
wildflowers
exisiting build
office 2. office 4.
push
mimic entrance /wasted space? awkward form?
interal window threshold
office 3.
lavender
more floor space
awkward angle?
daylight/ threshold
First Floor Plan
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Before digitally drawing my design I experimented with various floor plans that would work horizontally providing each office with its own floor. These iterations show how I resolved a vertical floor plan that would encourage the charities to network and collaborate with each other. I analysed the various office sizes in the Foundry to determine what would be appropriate for the organisations. The building’s core has had the most changes as I found it difficult coming to a conclusion that would translate on all four levels. As a result of the atrium obstructing the fire escape I included a second concrete core with a protected staircase.
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SECOND FLOOR DEVELOPMENT
space to breathe hot desking
temporary office.
assembly room 1.
break out space
communal kitchennette/ cafe?
threshold views either side
bridges across atrium
hotdesking
more glazing?
exisiting build
awkward kitchenette by fire escape?
fomralise structure? privacy/acoustic
#Pacific Road space to grow
therapy room
exisiting build
flexibility to be one large space
pod 2.
pod 2.
pod 3.
assembly room 2.
events space & temporary offices?
space to breathe
waste of space? bigger/more pods?
disorientating staircase/ circulation?
exisiting build
communal breakout area kitchnette
small office 2-4 desk
therapy room 1.
pod 1-2 desks
pod 3.
view?
therapy room
balcony
exisiting build
balcony
unneccesary corridor?
balcony
therapy room
therapy room
pod 1.
pod 1. playful atrium?
balcony
balcony
temporary office
pod 4.
unofficial breakout area?
therapy room
#Toolbox
share with floor 1? encourage networking?
more space for temporary offices
Second Floor Plan
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My initial floor plans had three levels and the second floor had a combined function. I modified the plans to allow more space for hired office space, therapy rooms and event space. I wanted the space to be used. I also tested the use of balconies throughout the various rooms and continued to refine them up until the final plans. The atrium shape has also been constantly refined as I wanted it to slow down circulation without compromising accessibility.
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THIRD FLOOR DEVELOPMENT
skylight natural lighting
balcony area /everyman theatre Liverpool
balcony
cafe/ storage space
small assembly room
exisiting build
L-shape balcony
awkward circulation?
catering area
awkward shape around building? catering area /event cafe
open light airy soft tones
one large assembly room
overspill/ socialising/ networking
flexibility of space
awkward size?
free circulation
storage
exisiting build
medium assembly room
overspill
conference room
sliding glazed doors/ flush language planar
conference room
stage/raised platform #The Foundry
exisiting build
conference room
extra floor event space for charities and public
Third Floor Plan
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The third floor became an event space for charities to host workshops, away days etc. I looked at similar spaces in the Everyman Theatre and the Foundry to establish a balanced programme. Again the balcony space had several iterations but a lot of them felt like an awkward space that would not be enjoyable.
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Therapy
Private
Office
Private
Community
Public
Vertical Programme
Centrality
Horizontal Programme
A PLACE TO ASCEND
Rigid
Private
Open
Conference Events
Flexible
Collaboration
PROGRAMME DEVELOPMENT
Three Forms
A PLACE TO PONDER
A PLACE TO BREATHE Key Ideas
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Although each floor plan varies spatially the principles I have set out for the programme remain throughout. The vertical programme that engages networking, a central atrium that can be celebrated throughout the building. Public spaces that are accessible to street level and private spaces that can be closed off and safe. Another language I have developed in both the floor plan and massing is three separate forms that create different atmospheres within the building. I also began to understand how these interiors feel through line drawings.
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1:20 Technical Section & Part Elevation Study
ARC3013 TECHNICAL INTEGRATION
The technical integration module allowed me to investigate details of my scheme that are important to my concept. Understanding the relief and perforation of the facade and how that would work with interior spaces is something I resolved in my 1:20 detail section. Although I have considered my environmental and sustainability strategy throughout the project I think these thoughts become a lot clearer through my technical evaluation. This module also gave me the chance to consider a studio specific topic in more detail. Materiality and its relationship with my scenario is one of my studio’s key focuses. Through technology I came to understand the specific brickwork and facade I created.
Ground Floor/Foundation Junction 1 Foundation 1000mm 2 Cavity fill 225mm from CLT level 3 Rigid insulation 70mm 4 Concrete Slab 200mm 5 Screed 65mm 6 Ground Level 7 Floor finish 8 Weep hole 9 Perforated brickwork
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Intermediate Floor 10 Light fitting 11 Ceiling panel 12 Suspended ceiling service cavity 250mm 13 Steel bracket 14 Relief brickwork 15 CLT panel 16 Rigid insulation 17 Trench heater 18 Recycled rubber sound absorption 12mm 19 Chipboard 12mm 20 Floor finish 12mm
Exterior Wall/Eaves Junction Exterior Wall/Window 21 DPC 22 Sloping sill 23 Triple glazed window 24 End grain sealant 25 Lintel 26 Glulam column 320mm 27 CLT panel 150mm 28 Wood wool insulation 70mm 29 Breather membrane 30 Wall tie (450mm vertical spacing) 31 Cavity 70mm
32 Airtightness tape 33 Aluminium gutter 34 Cavity barrier 35 Vapour control layer 36 Rigid insulation 160mm 37 Breather membrane 38 Timber batten 39 Slate tiles 40 Skylight
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LANDSCAPE STRATEGY
Lavender -Attracts bees (rich in nectar) -Beautiful smell -Colourful -Low maintenance (Domoney, 2020)
Secondary Entrance Hard Floor
Lavender
Fire Exit Wild Flowers
Benches
Buddleja -Attracts butterflies -Low maintenance -Colourful (Gardeners Dream, 2020)
Shrubbery/allotment Buddleja Cafe Entrance Silver Birch Colourful Flower Beds Road Buffer-Privacy Main Entrance Proposed Garden Area Plan
Wild Flower Seeds -Low maintenance -Attract wildlife -Colourful (Landscape Design, 2020)
Silver Birch -Deciduous (appropriate solar shading) -Light foliage (small space required) -Average 15m height -Attracts birds -Native -Low maintenance (Woodland Trust, 2020)
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Figure 5-6: The University of Birmingham, The Green Heart
Sustainability Strategy & Environmental Design Currently the urban site has little green-space so the aim of this small outdoor garden is to invite more nature into the area. Small bursts of colour, smells, and sounds that create a beautiful sensory area for the community as well as building homes for a variety of wildlife. The choices of plants can all flourish in the UK with little maintenance or room and will help clean the local air. This colourful arrangement is similar to Birmingham University’s ‘The Green Heart’, on a much smaller scale but with a similar goal.
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MATERIAL SUSTAINABILITY
Cross Laminated Timber The main structure of the building is cross laminated timber (TRADA, 2017). TRADA note the key sustainability principals of using timber construction, in particular CLT. Material Wood is a renewable resource and the wood that is used in CLT is from sustainable forests that are certified by either the PEFC or FSC. CLT panels ‘sequester’ carbon throughout the building’s life, reducing carbon footprint. Due to the way CLT panels are manufactured ‘relatively low-grade’ timber can be used, minimising waste of the resource. Construction The prefabrication of CLT panels reduces human error ensuring consistent quality and reduces waste on site. Furthermore, dry building process reduces water usage. CLT panels contribute to the building’s thermal insulation and exposing the panels internally reduces materials used and increases the speed of construction. Transport The prefabrication of CLT panels reduces human error ensuring consistent quality and reduces waste on site. CLT panels are currently grown in central European countries such as; Austria, Germany and Switzerland, therefore transportation will use a lot of energy. Disposal CLT can be recycled by cutting larger panels into smaller ones for other buildings or they can make wood chippings that could form board materials such as chipboard.
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Reclaimed Bricks Although some of the building façades require specific brick dimensions, where possible I will be using locally-sourced, reclaimed bricks. (BDA, 2014) Material ‘Bricks are durable and therefore sustainable and reusable.’ Most commonly these are weathered clay bricks that may potentially have imperial measurements depending on the construction period of its previous owner.
Construction Before reusing the brick the old mortar must be removed. Pre early 20th century would use lime/sand mortar that can be removed efficiently with a hammer and chisel. Transport The proposed site has a lot of demolished 18th/19th century warehouses which provides an abundance of material locally reducing transport emissions. However due to the ‘chemical pollution’ from its ‘industrial environment’ before use it is important to ensure the bricks are free of defects. Disposal BDA comment on the sustainability of reusing bricks and conclude each case should be assessed individually as some modern bricks are more efficient. In my opinion using reclaimed bricks for part of the building’s facade reduced overall site waste and transportation emissions while maintaining an aesthetic character. REALISATION | ACADEMIC PORTFOLIO | 125
Summer sunlight
ENERGY STRATEGY
Winter sunlight
Day Strategy -Cross flow and passive stack ventilation is used generally throughout the office using both openable windows and ceiling louvres. -The roof-lights have actuators to control airflow as they are out of reach. -Heat recovery system will also be required as it is an assembly building mechanical ventilation is necessary in areas such as the dry bar and event space. -Glazing used on south facade to increase passive solar gain which will also increase mental well being in the work place. -Trench heaters will be placed near openings.
Night Strategy
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-Cross laminated timber has ‘inherent’ thermal mass that will warm the building at night using the daytime warmth. -Artificial lighting will be used throughout the building. -Typically mechanical heating systems are required through Winter and mechanical cooling systems in Summer. However as the climate varies seasonally in Liverpool these systems may be needed through the year to support the passive systems.
Summer leaves-solar buffer Air Artificial lighting
Winter branches-allow sun through
Heat
Summer/Winter Day Strategy
Oxygen
CO2
Air
Artificial lighting
Thermal mass CLT
Heat Thermal mass concrete
Night Strategy
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STUDIO SPECIFIC EXPLORATION
Materiality The Baltic Triangle has a very specific fabric. As it is a post-industrial urban space, there are a lot of eighteenth and nineteenth century brick warehouses that cannot be ignored, therefore material is a key component in the wider studio and in my specific project . Joseph Sharples comments on this in his book Liverpool, noting, ‘a combination of rugged solidity and sublime grandeur is still one of the defining qualities of Liverpool’s architecture’ (Sharples, 2004). This solidity and grandeur is demonstrated in the site’s use of brick. Brick is a dense material however it has been used intricately and decoratively for warehouses, taverns and mills across the Baltic Triangle. As my project is a community hub, it should reflect the community’s past, present and future. Therefore through a brick facade I will respect the rich vernacular surroundings in a contemporary way. Photographs of Existing Brick Structures on site
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STUDIO SPECIFIC EXPLORATION
1: 10 Facade Elevation Plaster Frieze
1: 10 Facade Section Plaster Frieze
South West Facade Frieze
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As this is the garden-facing facade, I wanted it to be sculptural for people to enjoy whilst they are using the garden. I experimented with the idea of a frieze to tell a story within a building. For this facade I created a frieze out of portraits I photographed of the working community on my first site visit. Similar to the Everyman I want to incorporate the community within the building’s facade. Traditionally friezes would be under the cornice at the height of the building however I would like this sculpture to be admired closer to eye level so it will be a strip joining the ground and first floor.
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STUDIO SPECIFIC EXPLORATION
Early Conceptual Threshold Drawing
Brick Size Key Standard Size Brick 215 x 102.5 x 65 1: 10 Facade Section
1: 10 Facade Elevation
Special Size Brick 102.5 x 65 x 65
1: 10 Facade Section
1: 10 Facade Elevation
LSE Saw Hock Student Centre, London
South East Facade Relief Brickwork
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This is the main face of the building as it has the main entrance. For this facade I will use relief brickwork in order to artistically mimic the order of the existing buildings on the same road without compromising window sizes. For this I will need some specialised bricks however for the majority of the facade I will use Ibstock’s Ormande Antique Blend as it has the speckled pattern that is popular locally. The factory these bricks are from are the Ravenhead factory which is the closest to site and therefore will reduce transportation emissions. A Flemish bond will emphasise the colour change of the brick and a medium grey flush mortar will highlight the facade’s relief brickwork and the darker tones of the individual bricks to create a similar colour to surrounding brickwork.
South West Facade Perforated Brickwork This facade has the most sunlight throughout the day which is why the garden is where it is. I wanted to play with light in order to create an interesting threshold both inside and outside of the building. The perforated brick wall sits in front of a fixed window to allow the sunlight and keeping the other elements out. Internally this will create beautiful moving patterns throughout the day and externally this effect will draw people in to the building teasing them with glimpses of activity.
O’Donnell and Tuomey demonstrate perforations in this building elegantly. Their site is in a similar area to mine and this facade breaks up the surrounding density at street level.
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S y n t h e s i s “Archi t e c ture is a n expre s s i o n o f va lue s” Norman Fos ter THE
B A LT I C
C H A R I TA B L E
COLLECTIVE
M y m a in f e e db a c k f r o m t he s y n t he s i s r e v ie w w a s t o inc lude int er na l v ie w s o f t he bui lding a s a l t ho ugh I ha v e a c l e a r ide a o f t he a t m o s pher e I w a nt t o cr e a t e t hi s i s be s t t r a n s l a t e d in p e r s p e c t i v e dr a w ing s . Thi s w a s m y pr i o r i t y m o v ing in t o p o r t f o l i o. I f e e l s y n t he s i s r e a l l y br ing s m y pr o j e c t t o g e t he r a nd ha r m oni s e s a l l o f t he ide a s I ha ve be en d e v e l o p i ng f r o m pr i m e r t h r o ug h t o r e a l i s a t i o n .
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WIDER
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CONTEXT
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B
A
IMMEDIATE
A
CONTEXT
C
C
SYNTHESIS | ACADEMIC PORTFOLIO | 138 B
0
20000
WIDER
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CONTEXT
Ground Floor
First Floor
1. Main Entrance Positioned on the same street facade as neighbouring building’s main entrances.
The main offices for the four permanent charities. Action on Addiction and The reader Organisation have slightly bigger office space as they are the bigger organisations. However the plan shows the ability for the rooms at full capacity to allow for growth in Be One Percent and The Cotton Street Project.
2. Dry Bar: Action on Addiction’s second dry bar in Liverpool. A place for networking and socialising without the need for alcohol.
5
4. Reading Room ‘The Reader Organisation’ initiative. Quiet and safe space to read. Encouraging book clubs and book exchanges. 5. Meeting Room Smaller workshops or communal meeting space that can be hired out when needed.
8. The Cotton Street Project Office
6
3. Fundraising Space Flexible area for overspill, workshops and fundraising activities in the community.
9. Be One Percent Office
8
10. Action On Addiction Office 11. The Reader Organisation Office
3
12. Breakout Area A communal space to encourage socialising and networking between charities.
7
13. Atrium Create a light open space throughout the building to create a positive mental attitude.
2
6. Service Entrance Quieter back street that is easily accessible for deliveries rubbish and other services. 7. Access/Bike Storage Out of hour access that is separate from the public realm. Bike Storage to replace a car park and encourage cycling.
12
14. Breakout Seating The issues each of the charities are dealing with are sensitive so its important that there are places for the employees to sit and get away from any stress or pressure in the office.
4 1
11
13
9
10 14
0
2000
0
2000
Second Floor
Third Floor
This floor is designed for smaller local charities around Liverpool. The second floor allows a company to grow from desk to pod to office surrounded by more established companies they can watch and learn from.
This floor gives the charities a place to host away days/big workshops/conferences/ open days and larger fundraising events. It could also lend itself to community events required.
18. Hot Desk 18
19. Pod Hire
24
22 23. Large Event Space 21
20. Office
24. Balcony 25. Stage
21. The Care Room These rooms can be booked out by the charities within the building providing a private room for therapy/counselling/ workshop and appointments. 22. Balcony As we ascend into the building the ability to ‘step outside’ becomes more difficult. This balcony is a small breath of fresh air that employees and clients can take advantage of without having to walk through the entire building.
27
26. Conference Room 27. Event Cafe
19
23
20
25 26
21
0
2000
0
2000
Section AA 0
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10000
SYNTHESIS | ACADEMIC PORTFOLIO | 147
Section BB 0
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10000
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Section CC 0
SYNTHESIS | ACADEMIC PORTFOLIO | 150
2000
SYNTHESIS | ACADEMIC PORTFOLIO | 151 SECTION aa 1:100 0
2000
0
5000
Section BB SYNTHESIS | ACADEMIC PORTFOLIO | 152
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0
5000
Section CC SYNTHESIS | ACADEMIC PORTFOLIO | 154
SYNTHESIS | ACADEMIC PORTFOLIO | 155
Ground Floor Threshold
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The first threshold you cross into the building takes you from the rigid brick exterior into a soft wooden interior with a light filled atrium. The staircase is celebrated as it should make people want to go to work. Light, warming colours and tones of the timber elements flow throughout the building to create a harmonious working atmosphere that energises its users enhancing their mental well being.
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Working Atmosphere
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The offices have a lot of glazing to create the sensation of openness throughout the building whilst still maintaining a level of acoustic privacy. Furniture built with cross laminated timber panels to build a relationship with the surrounding structural material.
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Healing Atmosphere
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A room that is physically closed off to the rest of the building to promote privacy and safety but can still allow the sense of lightness through a ceiling to floor window and balcony space.
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Third Floor Threshold
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As you stand at the third floor balustrade you feel a sense of movement and activity that resonates across all four levels through the changing atrium. This threshold clearly reveals the three languages of the building; the semi-transparent section that accommodates the assembly space, the open atrium and the robustness of the more private conference space
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ILLUSTRATIVE REFLECTIVE REPORT
As I move towards the next stage of my career understanding different practices is important to me. Outside of the course I have spent a week of work experience in a local practice, LoveLock Mitchell, Chester. This is a small firm that puts BIM at the heart of their design. It was a really useful experience to be able to shadow a team in the firm. From this week I became a lot more confident with digital software both watching and using it myself. I think this resonates in the comparison between my second and third year portfolios.
Initial Iteration of Degree Show Gif
Matters Material Workshop, Alex Blanchard
St. Vitus Cathedral, Prague
Lavazza HQ, Turin
Darran Anderson, Imaginary Cities
Michael Pollan, A Place of My Own
My Dissertation Front Cover
Kafka Museum, Prague
(Architects Journal, 2019)
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(Caukin Studio, 2020)
The second studio I have engaged with is Caukin studio. I learned about this team in a university lecture and have signed up to work alongside them in Fiji 2021 to build a women’s community hub in Urata. Their ethos has inspired my design as although they are very different projects Caukin demonstrate how essential community is worldwide especially in poorer countries. The communication between charity and architecture is a key concept in my third year project and I hope it will become a big part of my career moving forward.
Here is a collage of images illustrating; the authors I have been reading outside of the course. I also participated in a coding/clay workshop with Alex Blanchard that demonstrated how a narrative can begin and lead into a design. My dissertation and the readings around that topic also influenced my design project as it gave me a broader understanding of the city of Liverpool and the wider context of my site both physically and historically. I also visited Prague and Turin this year for the first time both with stunning architecture. Throughout the year I have also been part of the Degree Show Committee, one of my jobs was using Charlotte Ashford’s design to create a gif for the NCL social Media accounts.
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REFERENCE
LIST
Action on Addiction, available at: https://www.actiononaddiction.org.uk/ [accessed December 2019] Anderson. D, Imaginary Cities, (London: Influx Press, 2015) Archdaily, LSE Sawhock Student Centre, available at: https://www.archdaily. com/555540/lse-saw-hock-student-centre-o-donnell-tuomey-architects/5437284 ac07a80f87c000058-lse-saw-hock-student-centre-o-donnell-tuomey-architectssketch?next_project=no [accessed 2020] Architecture 00, The Foundry Social Justice Centre, available at: http://www. architecture00.net/socialjusticecentre [accessed November 2019] Architects Journal, Two more architecture practices become employee owned, available at: https://www.architectsjournal.co.uk/news/two-more-architecturepractices-become-employee-owned/10042858.article [accessed 2020] Battersby M, Early Ariel Photographs of Britain salvaged and published online, (Independant 2012), photograph, available at: https://www.independent.co.uk/ life-style/history/early-aerial-photographs-of-britain-salvaged-and-publishedonline-7875951.html, [accessed December 2019] Barrow. M, (2014), British Life and Culture, available at: http://projectbritain.com/ climate.html [accessed April 2020] Be One Percent, available at: https://www.beonepercent.org/ [accessed December 2019] Brick Development Association, Designing to Brickwork Dimensions, available at: https://www.brick.org.uk/admin/resources/designing-to-brickwork-dimensions. pdf [accessed February 2020]
n.1331, pp.80-81 Fajardo. L History of Liverpool and the Baltic Triangle, available at: https:// prezi.com/ilp6izzgh8od/history-of-liverpool-and-the-baltic-triangle/ [accessed December 2019] Ferguson. G, Brick is back, AJ Specification, (Weinberger, 2008), pp.30-40 Griffiths. A, Old London shoe-polish factory transformed into charity offices by Architecture 00, 2015, available at: https://www.dezeen.com/2015/03/09/ architecture-00-office-building-social-justice-centre-vauxhall-london-pitchedroof-pavilion/ [accessed November 2020]
Met Office, North West England & Isle of Man: Cliamte, (2016)available at: https:// www.metoffice.gov.uk/binaries/content/assets/metofficegovuk/pdf/weather/ learn-about/uk-past-events/regional-climates/north-west-england--isle-of-man_climate---met-office.pdf [accessed April 2020] Millar. W, Old Dock Building Liverpool England, 2012, photograph, available at: https://fineartamerica.com/featured/old-dock-building-liverpool-englandwarren-millar.html [accessed December 2019]
Hughes. Q, Seaport: Architecture and Townscape in Liverpool (London: Lund Humphries, 1969)
Murphy. M, Rees-Jones. D, Writing Liverpool: Essays and Interviews, (Liverpool: Liverpool University Press, 2007)
Ibstock Brick, available at: https://ibstockbrick.co.uk/ [accessed April 2020]
National Trust, Albert Dock 1945, (ITV 2015), photograph, available at: https:// www.itv.com/news/granada/2015-11-28/new-exhibition-charts-liverpool-dockshistory/, [accessed December 2019]
Lim. C.J, Short Stories: London in tow and a half dimensions, (New York: Routledge, 2011) Liverpool Echo, Liverpool and the area from the air, https://www.liverpoolecho. co.uk/news/nostalgia/gallery/liverpool-area-air-1919-1953-3217327, [accessed November 2019] Liverpool City Council, Regenerating Liverpool: Baltic Triangle Development Framework, (2017), available at: http://regeneratingliverpool.com/wp-content/ uploads/2017/10/Baltic-Triangle-Development-Framework-Document.pdf [accessed October 2019]
CaukinStudio, About, https://www.caukinstudio.com/, [accessed 2020]
Liverpool Echo,The World in One City? 75% say we’re not (2007), available at: https:// www.liverpoolecho.co.uk/news/liverpool-news/world-one-city-75-say-3507598 [accessed August 2019]
Celland. D, Too Grim or True Grit?, (England, Architectural Review, 2008) v.223
Historic England,The BalticTriangle Liverpool, available at: https://historicengland.
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org.uk/research/heritage-counts/2018-heritage-in-commercial-use/case-studies/ baltic-triangle-liverpool/ [accessed December 2019]
Nord Architects, European School Copenhagen, available at: https://www. nordarchitects.dk/european-school [accessed 2020] Paul Jones and Stuart Wilks, Capitalising Culture: Liverpool 2008, (England, University of Liverpool, 2004), vol 19, no.14, p.344 Robertson. M, The Parthenon Frieze, (London: Phaidon, 1975)
[accessed February 2020] The Brick Industry,Technical Notes on Brick Construction, available at: http://www. gobrick.com/docs/default-source/read-research-documents/technicalnotes/30bonds-and-patterns-in-brickwork.pdf?sfvrsn=0 [accessed March 2020] The Cotton Street Project, 2020, available at: https://thecottonstreetproject.co.uk/ [accessed December 2019] The Foundry, available at: https://www.aplaceforchange.co.uk/ [accessed November 2020] The Reader, 2020, available at: https://www.thereader.org.uk/ [accessed December 2019] UCL, Bartlett works at the Royal Academy, 2005, [accessed February 2020] ucl. ac.uk/news/2005/jun/bartlett-works-royal-academy Urban75, Dockside View 1911, photograph, http://www.urban75.org/blog/applyingthe-final-touch-to-the-controversial-mann-island-development-on-liverpoolswaterfront/ [accessed December 2019] Zeller. J, ‘Brick and beam 2.0 : a Toronto developer chooses mass timber to create a premium office space that resonates with its century-old neighbours. 80 Atlantic, Canadian Architect, (Toronto, 2019), pp. 43–46, available at: http:// search.ebscohost.com/login.aspx?direct=true&db=bvh&AN=807015&site=eho st-live [Accessed: February 2020]
Sassi. P, Strategies for Sustainable Architecture, (London: Taylor and Francis, 2006), available at: https://ebookcentral.proquest.com/lib/ncl/detail. action?docID=273833 [accessed March 2020] Sharples. S, Liverpool, (London: Yale University Press, 2004) The Balance Small Business, 5 Types of Materials used for Bricks, available at: https://www.thebalancesmb.com/bricks-types-uses-and-advantages-844819 REFERENCE LIST | ACADEMIC PORTFOLIO | 167
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Introduction Designed by architects, Howarth Tompkins, the Everyman of Hope Street Liverpool has been through many iterations, from the Hope Hall built in 1837, to the subsequent rebuild and rebranding of the place in 1975, and finally a demolition and rebuild in 2014 awarding it the RIBA Stirling Prize 2014. The rebuild followed in the legacy of the previous builds, using a typeface designed around the old, and repurposing the bricks that had been used in the previous Everyman. The faรงade of the building embodies the idea of the Everyman, taking regular people from Liverpool and placing them onto a ventilated faรงade system of corrugated aluminium.
Group members: Alexandra Bramhall Site, Atmosphere Abdrakhman Talip Programme, Spatial Sequence Ethan Medd Design Strategy, Structure Joseph Caden Typology, Materiality Linxi Zhao Architects, Environmental Strategy Oyinkansola Omotola Thresholds, Studio Relevance
Architects Haworth Tompkins Haworth Tompkins is a British architecture studio based in London. It was established by architects Graham Haworth and Steve Tompkins. The studio works widely throughout the public, private and subsidised sectors, with a focus on theatre and culturally oriented buildings. They also work on designing schools, galleries, housing, offices, shops and factories. For Haworth Tompkins, civility, professional responsibility and sustainability make the foundation for their idea development. In addition, the combination of small but tightly connected studios and limited number of projects in development at any one time helps the architects to provide good service to the clients. The projects of Haworth Tompkins have won over 150 design awards. Also, they have been published and exhibited internationally.
Haworth Tompkins
Architects
Bush Theatre, London Young vic , London 2006
Chichester Festival Theatre,
Bristol Old Vic , Bristol
2017
2018
Chichester 2014
2013
2006
2014
2015
2016
2017
2018
2019
Royal National Theatre, London 2015 The Liverpool Everyman , Liverpool 2013
Peter Hall Performing Arts Centre, Bridge-Theatre, London
Cambridge 2018
2017
“Our work is united by a process rather than a style, developed from context and the needs of building users.�
Architects One of the most iconic par ts of Everyman theatre is the street f rontage, formed by over 100 life-sized portrait shutters representing Liverpool residents. Like Everyman Theatre, Bristol Old Vic also have manually operated movable sunshade shutters. The patterns on the sunshades are inaugural address given by Garrick in 1766 and a poem by the former Bristol City Poet Miles Chambers.
Both National theatre and Everyman Theatre used board formed concrete walls with timber grain texture in order to neutralize the coldness of the concrete and respond to the timber elements of the space (floors or staircases).
The architects also participated in the light design of Bridge theatre and Everyman theatre. The design of Everyman theatre was inspired by the theatrical lanterns from the Everyman’s old stock. The design of Bridge theatre is very sculptural which brings warmth and drama to the space.
Bristol Old Vic VS Everyman Theatre sunshade shutters comparison
National theatre VS Everyman Theatre texture comparison
Bridge theatre VS Everyman Theatre Light design comparison
Typology The requirements of theatres have changed over time, segregation by class and cheap wooden seats are a thing of the past. Haworth Tompkins believe theatres “should provide spaces where you feel at home at any time of the day”. In order to contextualise this approach by Haworth Tompkins, the analysis of three other projects can provide insight into the broader architectural approach to the design of theatres. - The Liverpool Philharmonic, located on the same street as the Everyman, is an example of a more traditional space. - The Royal Danish Playhouse shows an alternative contemporary approach to theatre design. - Finally, an evaluation of the Bridge Theatre, also designed by Haworth Tompkins, provides further insight into the architect’s wider approach to this typology. Despite clear contextual differences, one can conclude that all the theatres analysed share similar design characteristics.
Liverpool Philharmonic, 1939 (2015) Architect: Herbert Rowse, Caruso St John Architects (refurbishment) Structural Engineers: Price & Myers Location: Liverpool, England
The Royal Danish Playhouse, 2008 Architect: Lundgaard & Tranberg Architects Structural Engineers: Cowi Location: Copenhagen, Denmark
Bridge Theatre, 2017 Architect: Haworth Tompkins Structural Engineers: Momentum Engineering Location: London, England
Typology Liverpool Philharmonic A common feature of performance buildings is the use of contrasting ceiling heights. This in order to build up anticipation as visitors get closer to the auditorium. Haworth Tompkins examined the way the nearby Liverpool Philharmonic achieved this. On the entry level a more homely atmosphere is created with low ceilings, in contrast, a large staircase then reveals a much grander space and “piano nobile” level. On a slightly smaller scale, this approach is evident in the Everyman.
Building Anticipation - The grand level of the Everyman and entry to the auditorium
Journey to the foyer level of the Everyman displaying the use of contrasting ceiling heights
A Grand Space - The principle floor of the Liverpool Philharmonic has similar spatial qualities to the Everyman’s version
The Liverpool Philharmonic uses a similar design strategy in order to build anticipation
Typology The Royal Danish Playhouse The Everyman relates closely to its context in its use of materials, the use of red brick is a response to the nearby listed buildings, this allows the theatre to sit comfortably in the existing urban fabric. Furthermore, to add to the contextual sympathy of the design, the walls of the old Everyman were carefully dismantled, and the bricks were reused in the main wall of the curved auditorium. The Royal Playhouse responds to its context in a similar way. The selection of its brick was inspired by the historic warehouses nearby, architects Lundgaard & Tranberg stated “If you can make a building look like it’s always been part of its setting, then I think you can call the building a success”. In order to further respond to the architectural surroundings, the vertical joints of the brickwork were staggered to avoid any repetitive patterning. This created a ‘rough, rustic quality’ to the façade – much like the nearby traditional warehouses.
Context - The Everyman in relation to its brick neighbours (highlighted red)
Detail - the rebuilt brick wall of the Everyman’s auditorium
At home - The Danish Playhouse next to traditional harbour warehouses (highlighted red)
Detail staggered vertical joints add a rustic feel to the brickwork
Typology Bridge Theatre Haworth Tompkins have a clear interest in the community aspect of theatres. ‘Theatres have such an important role to play as places of public meeting and congregation.’ Both the Everyman and the Bridge theatre provide very open and ‘homely’ foyer spaces, this invites members of the public to explore their buildings. The clear design intention of both theatres was to create as space that is both intimate and generous. The Theatres also both make use of flexible performance spaces, a thrust stage and modular stage zone allow for a range of formats, increasing the variety of performances at the venues. Haworth Tompkins have applied similar approaches to both theatre projects.
Entrance space of the Everyman - accessible to all
The open foyer and flexible thrust stage in the Everyman theatre
Performance space in the Everyman
Welcoming foyer of the Bridge
The generous entrance hall and multi-functional thrust stage in the Bridge theatre
Flexible stage in the Bridge theatre
Site The Everyman theatre is an urban building in the heart of Liverpool, north west England. According to the architect, one of the key concepts of its refurbishment was to maintain the ‘continuity and compactness of the original site’. It is situated at the top of hope street, overlooked by the metropolitan cathedral. It occupies a total area of 4690m2.The theatre opens out to a busy road and is surrounded by eighteenth and nineteenth century buildings. The atmosphere of the site is lively and noisy as it is a dense area close to; Liverpool’s university buildings, the metropolitan cathedral, Liverpool philharmonic hall and several eateries.
Wider Site Plan
Long Site Elevation
Site The history of the site is particularly important in the building’s design as it fits into the constraints of the former theatre. Originally the site was home to a church, st john’s the evangelist shortly after becoming hope hall cinema and then the Everyman theatre in 1964. In 2000 Everyman and playhouse merged and in 2012 the building closed for two years reopening as the theatre we know today. Haworth Tompkins, the architects in charge of the refurbishment, showed a great deal of respect for the existing site, refusing to demolish any surrounding buildings. This restricted their design for example balcony sizes and the scale of the front of house area. They also recycled the red brick and timber from the former building so that the new design would share its surrounding materiality.
St John The Evangelist Church 1841
Hope Hall Cinema 1912
Overlapping 1950 Map And 2019 Map To Show Continuity
Everyman Theatre 1964
Everyman Theatre 2014
Site As a theatre the building must accommodate a lot of movement. The public entrance is off hope street bringing visitors into the foyer. Whereas service access is provided through the stage door on Arad street, to the back of the structure. This allows larger props and sets to have direct access to the stage. The building faces west meaning it will receive sunlight throughout the afternoon. It is clear the architects have designed for this as they have metal shuttering to control daylight entering. As the building is entered on ground level it is accessible for all.
Site Plan With Closer Context
Short Site Elevation
Photogaphs Of Site Relationship
Programme
Everyman Liverpool is a theatre in Knowledge quarter that integrates a flexible stage with a large studio for the community, together with other spaces such as interconnecting offices, rehearsal spaces, workshops, meeting rooms and green room, therefore creating an environment for creative working.
fig 2. drawing showing the building and its context
fig 1.massing
fig 3.drawing showing the building and its context
Programme The theatre is situated on a levelled site across a north-south oriented street. The north and south sides touch the neighbouring buildings. These conditions already establish constraints when it comes to organizing the programme spatially. Spaces in the building have varying programmatic requirements such as: * access to natural daylighting * strong sound insulation for performing * spaces that need daylight and need to be quite * spaces that can be accessed only by the staff of the theatre The ultimate task is of the programme is to establish a balance between three groups of people: 1. the visitors of the theatre 2. the performers 3. the staff of the theatre
Studying the building reveals the following: 1. basement accommodates spaces for theatre staff and building operating rooms 2. ground and first floors house all the spaces that are used by the visitors 3. the stage that needs artificial lighting is at the heart of the building and that allows to distribute the remaining spaces around the stage therefore satisfying the needs of spaces that require access to natural lighting and views to the outside. 4. public spaces of the building face vibrant and dynamic Hope street while spaces for performers face much more quite Arrad street. ETC
fig 5.basement
fig 8. second floor
Drawings and diagrams show what is mentioned above. RED= non-public spaces and BLUE= public spaces
fig 4.demonstration of how public space are concentrated together and slotted out of the building
fig 6.ground floor
fig 9. third floor
fig 7.first floor
fig 10. fourth floor
Programme A programme is organized in 6 levels, each of them being responsible for a particular task
basement:
ground floor:
first floor:
third floor:
electrical intake room rainwater tank room store cloakroom W.C bistro kitchen cellar sub-stage staff changing
store W.C refuse store y & c changing stage door actors’ quite room stage management dressing room stage kitchen workshop stage youth and community studio cafe office box office get round corridor
W.C dressing room office laundry bar writer’s room function room auditorium stalls
meeting room dimmers and amps plant lighting workshop technical grid extract plenum
second floor:
fourth floor:
store office green room wardrobe rehearsal room sound recording room server room auditorium circle control room
flytower air supply plenum
fig 12. entrance hall
fig 13. dressing room
fig 11. stage
fig 14. rehearsal room
Design Strategy HOPE HALL lighting
Built in 1837 on Hope Street, Liverpool, Hope Hall was designed as a dissenter’s chapel, but was then used as a theatre and public hall and finally a cinema. The entrance to Hope Hall was short and cramped with a staircase leading either to the downstairs bistro or the upstairs auditorium and a small foye annex. This did not provide much space for guests to wait in before a showing, and resulted in people coming off the street to drink and leave rather than using it as a theatre venue.
auditorium
entrance
entranc
foye
street
street basement and bistro
EVERYMAN CINEMA lighting
lighting
In 1977, the hall was repopend as the Everyman Cinema, a renevated Hope Hall. It had a more opening and modern frontage, encouraging guests to come off the street. The new facde allowed it to stand independantly from the surrounding buildings, and was very descript in its appearence, having the name of the cinema branded on the front facade. As this was a renevation, it kept a lot of the short space on the inside, with a small foye and basement bar, with stairs up to the auditorium.
balco
auditorium facilities
entrance
entrance
foye
street
foye
street basement and bar
basement and bistro
EVERYMAN THEATRE The rebuild design intentions took the best aspects of Hope Hall and the old Everyman and attempted to take them and reuse them to represent Liverpool. The foye was larger and more open, with an open staircase and lift all the way up. It also moved the bar to the upstairs of the building, above the foye to make it more a part of the building and less isolated. It also retained the frontage of the building, with the name, and flat face facade, however, included people on the panels to allow for ventilation which the previous Everyman didn’t have.
INFLUENCES FROM THE OLD
lighting
lighting
auditorium balcony
auditorium facilities
entrance
auditorium
bar
foye entrance
foye
street
foye
street basement and bistro
auditorium
basement and bar
Design Strategy The panels act as sun barriers to the glass enclosed space behind. The panels are operated manually with a stick, and have different rotations based on the height of the panel. The top layer can be most easily operated between 22˚, while the middle just 45˚ and the bottom is capable of a full 90˚rotation. The photos were taken by locla Liverpool photographer, Dan Kenyon, who took 4,000 photos of local residents and workers around Liverpool. No one who was asked to take part was famous or special, they were normal people: they ‘everyman’. The idea was conceived by Steve Tompkins, lead architect, who took inspiration from gothic and renaissance cathedrals which had saints and craftsmen in the carvings above the entrance to the cathedral. This was taken to the next step by having the local people of Liverpool upon the front facade.
window
TOP 22˚
window
MIDDLE 45˚
window
BOTTOM 90˚
Shutter Panels
The 1975 Everyman theatre sign was most likley designed and made by a neon tube manufacturer, and therefore has no font. However, the use of the font is integral to integrating the Everyman back into the community from the rebuild. Typography designer to design a font that could be used for the everyman that would fit in with the old. Jake Tilson took the original signage and developed his own font, ‘Merseyside Neon’ which emplyed the glass-cased-electrodes that were used to power the original sign in the serifs.
Typeface Legacy
Studio Relevance The spatial sequence of the atrium within the Everyman Theatre reflects the views of our design studio as you are able to see multiple aspects and spaces within the building. Within the Baltic Triangle, there is limited access across the site, due to developers buying land and restrictions on historical aspects of the site. The atrium is representative as it contradicts the constraints of buildings within the Baltic Triangle, whereby through the design, you are able to see a substantial amount of the building though this one space. The location, history and constraints of the theatre are also reflective of our site in the Baltic Triangle. It is a key example showing how to incorporate history into the construction of the building, how to work within compact design restraints and how to make spaces that can have many functions. It exemplifies Liverpool as a city, something that we as a studio are trying to explore within the Baltic Triangle. The comparison between the two skylines shows how the Everyman has been integrated in a unique way into the skyline, whereas developments taking place within the Baltic drastically interrupts the skyline and character of the area.
Similar to the portrait facade of the Everyman Theatre, the concept of designing for locals within and on the periphery of the Baltic Triangle is important to members within our studio. Furthermore, similar to how the theatre is for Everyman, members within the studio are designing for the ‘Everyman’ that in some cases, lacks representation within the Baltic triangle.
‘Theatres have such an important role to play as places of public meeting and congregation.’ - Haworth Tompkins
Exploring Communities within and surrounding the Baltic Triangle
Spatial sequence
fig 15. the overlay of all 6 floors that show the complexity of the programme
fig 16. drawing showing the location of stairs and lifts
Spatial sequence
The complexity of the programme can be experienced through going from one space to another. A set of pictures of the right show a user experience of the public part of the building. The journey starts at the main entrance next to which a box office is placed. A person uses the main staircase to reach the first floor where he/she enters a bar with a panoramic view to Hope street. The sense of openness of the bar is followed by a small and narrow space that reveals the spacious stage with a 16 meter tall ceiling. The section below shows describes the latter.
fig 18.entrance hall
fig 21. stage
fig 19. bar
fig 22. stage
fig 17. section diagram showing the dominance of the stage
fig 20. staircase with a view to the bar
fig 23. stage
Spatial sequence
Drawings attempt to capture the atmosphere of spaces
fig 24. hand drawing
fig 25. hand drawing
fig 27. hand drawing
LIST OF ILLUSTRATIONS figures 1-10, 15-17 and 24-28 - original work figures 11-14 and 18-23 - courtesy of Haworth Tompkins (https://www.haworthtompkins.com/work/everyman-theatre)
fig 26. hand drawing
fig 28. hand drawing
Structure
1 2
3
4 10
9
5
1 Extraction Ventilation System 2 Precast Concrete Drain 3 Brick Facade 4 Facade to Concrete Hooked 5 Insulation 6 Concrete Blockwork 7 Air Cavity 8 Ventilation Shaft 9 Steel i-beam in-situ reinforced Concrete 10 exposed i-beam
6
8
Concrete Structure
7
Structure
ral
tu uc
str
u
str
Core Strucutre The structure is made up of steel and concrete, both of which exposed throughout the building to show off the structure. The main bar and foye uses reinforced concrete and column beams which supply the main structure with the steel facade and windows providing cross bracing support. The main support of the building is in the core staircase and lift shaft, which provides the core insitu reinforced concrete, which provides stability of the building. The main column and beams of the bar and foye hold up steel reinforced concrete floors. The main supports rest on the two ends of the building, while the beams between provide an atmospheric tunnel feeling to the space.
Structural Layers
Primary Strucutre Secondary Structure Tertiary Strucutre
ral
ctu
Structure
1 Painted Steel UC i-beam Fixed to Cantelever Brackets 2 Aluminuim Rainscreen Panels wand Coping Fixed to Concrete Parapete 3 8mm Aluminium Shutter Panel, Bearing Frame - Bronze Anodised (in 0Ëš position). 4 Damp Proof Roofing Membrane Around Rigid Insulation 5 In Situ Concrete Formwork Structure 6 Pivot Arm part of Lower Shutter Bracket
1
3 2
The facade is made of an anodised steel frame which provides secondary structure. This houses the pivot panels. The facade is attatched to the body of the building from the top, with attatchments to each floor. The system is held by a fixed cantelerver structure of i-beams, held above and bolw the facade. By having the main structure of the facade, the forces are passed from one to the next, and the load is shared because of the amount of mullions there are to take the load. This provides cross bracing for the building, to prevent twisting and warping in the structure between floors.
6
4
Facade Structural System
5
Environmental Strategy Everyman Theatre has accomplished a great BREEAM rating with natural ventilation systems and a series of low energy technical infrastructures. The four giant cylindrical chimneys play an important role in achieving natural ventilation of the theatre. In order to avoid traffic noise and daylight, large windows should not be used in the auditorium. The innovative idea for natural ventilation is a method of controlling both basement plenum and the highlevel auditorium plenum, taking advantage of the stack effect and thermal mass for pre-cooling. In this way, it achieves the result that the auditorium can maintain good air quality and at the same time exhaust the hot air produced by the space.
1. Intake plenum taking air from outside and cooling by thermal mass within plenum in summer, heated in winter 2. Air enters auditorium beneath stalls and circle seating 3. Incoming air warmed by occupants 4. Air further warmed by lighting, helping to drive buoyancy 5. Acoustic exhaust plenum 6. Exhaust plenum 7. Warm air exhaust via chimney louvres
Everyman Theatre’s auditorium ventilation system in section
The outlet plenum
The main Stack effect
auditorium
The inlet plenum Auditorium air movement philosophy
Auditorium temperature distribution
Four Chimneys
Environmental Strategy The low energy technical strategy is continued in the backstage, which are the community and rehearsal rooms. Compared to the auditorium, the community room has trench heating to preheat incoming air during winter. The ventilation in the main rehearsal room are roof-mounted windcatchers which help to both supply cold air and extract hot air f rom the space. In addition, the foyers at the f ront are also ventilated naturally through the sliding windows in the facade. The hot air from these spaces can then rise and be exhausted from the lightwell at the top of the building.
1.
Intake plenum takes air from outside and
cools it within in summer, air then heated in winter 2.
Air enters community room through a series
of floor grilles 3.
Incoming air warmed by occupants and
trench heating 4.
Warm air exhaust through roof-top
chimneys 5.
Main rehearsal room is ventilated using
roof-mounted windcatchers to both supply and extract air from the space 6.
The foyers are naturally ventilated via open
sliding windows 7.
Warm air exhausted via a large lightwell
Everyman Theatre’s rehearsal spaces and foyers ventilation system in section
rehearsal room
community room
The rear of the theatre
Environmental Strategy 105 aluminium, life-size-portrait shutters are placed at the f ront of the building to adjust the solar gain and reduce glare down to a minimum. Each sunshade can be moved manually to different angles to create a dynamic facade. The sunshades can be rotated f rom 22 to 90 degrees and from top to bottom. On grey days, most sunshades are open to let in the maximum amount of daylight. While on sunny days, most sunshades are locked into position, creating an interesting facade with pattens of people.
Sun paths
Front of the Everyman Theatre
3 2 level 3: 22 degree open level 2: 45 degree open level 1: 90 degree open
Shading provided by panel facade
Movable sunshade panel
1 Sun infiltration
Atmosphere The personal scale of the building creates a powerful relationship between people outside and inside of the building. The building’s entrance is understated allowing it to blend in with the street profile of its surrounding facades. At a street scale the facade also acts like a shop window to create a welcoming environment for passers-by; giving them a glimpse of the interior activity enticing them in without ruining the interior atmosphere with a large amount of natural light.
Entrance Collage Enticing Visitors
Approaching The Building From The Street
Viewing The Street From Inside
Atmosphere The Everyman achieves their desired atmosphere through materiality and lighting. As you enter the building you are welcomed by a large space but rather than feeling overwhelmed, visitors are comforted, warmed and relaxed by; the warming red accent colour, dark wood decoration and black steel structural elements that create a calming impression. Red is a dynamic colour that can both relaxes and energises which creates the perfect atmosphere for a theatre as an audience mus be enticed and entertained. As the building is a theatre this environment must remain unchanged regardless of the time of day. This ambience is maintained through the exterior shuttering that prevents daylight effecting the mellow interior mood.
Atmospheric Sectional Collage
Materiality Dictating The Ambiance
Atmosphere Despite the primary atmosphere appealing to the visitors viewing the performances it is also important to understand different atmospheres created for different users. There are specific rehearsal rooms designed within the buildings form that create a vastly different environment in order to accommodate performers. For example ev1 which is bright and open and free from ornamentation to allow the performers to work productively. This room is also soundproofed which sets a tone of privacy allowing the actors to be as loud as necessary for their performance. The building accommodates for this soundproofed safe space by creating a box within a box to separate it from the rest of the building.
Sectional Collage Showing Ev1
Atmospheric Ev1
Materiality Context Replacing an old building Howarth Tompkins wanted to be considerate to the history of the institution and indeed the surrounding environment. The Everyman is on the historic Hope Street, surrounded by 18th and 19th century listed buildings. Sensitivity to theses surroundings was key. It is the rear façade of the building and the careful use of a local brick stock that interests me most. “It is a common material in the area, both in the nearby Georgian terraces and in the industrial and warehouse buildings to the rear, so brick serves to tie the theatre in with the surrounding streets”, this measured use of material shows a considered response to context. 1. Grade II listed former industrial building
2. Listed red brick building accompanied by the Everyman
3. The rear façade of the Everyman
4. Grade II listed Medical Institution built in a Greek Revival style
5. The animated aluminium façade references the stone detail of the Medical Institution
6. Further brick housing close by to the new theatre
6 1
5
2 3
4
Materiality Interior The interior materials of the Everyman reflect the intention the theatre to be an exemplar of sustainable good practice. Over 90% of the materials of the old building were recycled, the building even reuses over 25,000 reclaimed bricks, forming the internal walls of the foyer and auditorium. The concrete structure is also left exposed throughout the building, “We looked for materials that would be robust and age well”. The use of brick and concrete contributes to the thermal mass of the building, reflecting the intention to achieve a BREEAM Excellent rating. Haworth Tompkins chose to use recycled iroko wood throughout theatre, this is sustainable and adds to the ‘homely’ feeling of the foyer areas. A comfortable atmosphere is also achieved by Antoni Malinowski’s large painted ceilings.
1. Visual artist Antoni Malinowski produced a large painted ceiling piece for the bar and foyer spaces - complementing the range of internal materials
2
5
4 3
1 4. Exposed concrete structure
2. Recycled iroko wood is used throughout the theatre
3. The reclaimed brick of the old building now forming the main wall between foyer and performance space
5. Detail - the variation of concrete colour tones shows the process of construction. Adverse weather conditions meant that not all structural concrete could be poured at the same time. This adds character to the exposed structure.
Materiality Continuity A key material design strategy was the reuse of brick from the old building in the new development. The walls of the old Hope Hall had to be carefully dismantled, as mentioned these bricks now form the new wall between the main stage and surrounding foyer space. Haworth Tompkins recognised the importance of continuity and the use of original material certainly adds to this, recognising the rich history of an important local organisation.
Wall between the foyer and auditorium built from reclaimed brick
The old Everyman theatre
Reclaimed brick wall
Functional yet majestic auditorium
Aesthetic ceiling and ambient lighting of the foyer
Back of House
Whilst exploring the Everyman, it was clear that a lot of thought had gone into the hierarchy of material use. The finish of publicly accessible spaces is refined yet rustic, in contrast, the back of house areas use less polished and more functional materials. It must be said that these spaces have still been designed with exceptional consideration. The rehearsal spaces are generous in space, and make use of acoustic boarding throughout, to avoid distracting noise in the public foyer.
Front of House
Hierarchy
Less grandiose yet equally characterful back of house
Acoustic boarding and practical lighting of the rehearsal rooms
Thresholds
Fig 1. View of the building as you walk down Hope Street.
The exterior thresholds of the building are particularly interesting, not only because of the unique portrait faรงades but also due to the views you can see of the building at particular moments around the site. Fig. 1 shows how the building blends with the street-scape along Hope street, not distracting your view from the Liverpool Metropolitan Cathedral. It is only as you look at the building from the open space outside the cathedral that you see the unique structure of the building and how the easily identifiable shape of the building sits along the streets skyline (Fig. 2).
Fig 2. View of the building from bottom of stairs leading to Liverpool Metropolitan Cathedral.
The exterior thresholds towards the rear of the building facilitate entrances for both people (Fig.4) and vehicles/deliveries (Fig. 3) , whilst still keeping the character of the building with the bold signs and distinctive design of the windows.
Fig 3. Service entrance at the rear of the building.
Fig 4. Entrance at the rear of the building.
Exterior Approaches
A prominent threshold is the The portrait facade as it is a literal definition of the Everyman, a building designed to welcome everyone. The metal sheets consist of portraits of 30 Liverpudlians reflecting the diverse nature of people that make up the population of the city. The story of these individuals continues beyond what is seen on the facade. This is made evident in a story we heard when visiting the building. One of the people in the portrait facade sadly passed away, but his legacy and that of the 30 individuals lives on due to a pregnant lady, who was also a portrait on the facade, giving birth. This story and the message behind the facade is representative of the many generations within the Liverpool community and how the building welcomes every generation, race and gender, a place for ‘Everyman.’
Portrait Facade
The design of the theatre is very open, consisting of many interlocking spaces which are at times located within a large open space, the atrium.
Fig 5. Balcony entrance that is used during the summer period. Has distinctive views of the Cathedral.
Another threshold which is located across the whole building are the bold red signs. They are used to identify the boundaries within the open space and direct individuals to particular areas in the building. This is an effective strategy which extends to the facade of the building, where the large striking text of the Everyman entices individuals to the theatre itself. The drawings on this page highlight examples of the efficient use of sign-age throughout the building. A key door facade is the doors to the balcony on the 2nd floor of the building. When opened it increases the open space within the building, creating a different experience where individuals are able to have the sensory experience of being indoors and also outdoors (Fig 5).
The Balcony & Building Signs
Access at the Everyman Theatre is taken incredibly seriously, as it was important for the architect to accommodate every type of individual wanting to visit the building. Examples of wheelchair and disability measures are the automatic double doors at the entrance (Fig 6), the low level of the desks at the box office(Fig 7), and the Braille map of the building (Fig 8).
Fig 9. Lift in the theatre
The desk at the box office is at a height that consistently accommodates wheelchair users, and there are platforms on the desk to accommodate the needs to non disabled users (Fig 7). The circulation of the building is easily accessible, the lift being visible as soon as you enter the building (Fig 9.)
Fig 6. Entrance to the theatre
≈ 200mm
≈ 864mm
Fig 7. Desk at the box office
Fig 8. Braille map of the theatre
Accessibility
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