3.1 PORTFOLIO by Ollie Meads

TEXTILE INSTITUTE | OLIVER MEADS

THE NQ: AN ORGANISM & ITS PRIMORDIAL SOUP

SOLID VOID MAPPING STUDY

MACRO: MCR

MESO: NQ + PCDLY

MICRO: SITE

URBAN GRAIN The layout of the Northern Quarter is rectilinear, much like the American grid layouts in its cities, where this grid allows for maximum space per area to be usable and not difficultly shaped. However, where there are two or more grids meet, there are often triangular plots to make use of the space.

Sennett states later in the text that, ‘…walls and boarders leads to a secondary systematic characteristic of open city: incomplete form.’ Here Sennett discuss that the building, or the wall/membrane of the building, and that it should be set forward to interact with the other buildings, where the designer is to create this form in a special way for the person.

Historical Analysis

NETWORKS PEDESTRIAN ROUTES

VOIDS OPEN SPACE

1850s

TYPOLOGY INDUSTRY

2010s

CONSTANT FORM: CHANGING FUNCTION In the Northern Quarter there is a strong essence of boundary and restriction as the buildings are listed and remain in the time that they were builtthe early 19th century. As a consequence the buildings and the spaces created are locked in time. Immediately one of the most obvious elements of the Northern Quarter is its restriction In height. Limited to around seven stories, due to a restriction in available technologies, an observer would think that there would be more light available, yet due to the large mass and close proximity to the surrounding buildings alleyways and footpaths are often dark. However when opening to a street the area is immediately filled with light, where a hierarchy of light availability is asserted in the design of the streets and buildings.

Networks & Nodes

ROAD NETWORK MAPPING

RAIL NETWORK MAPPING

MACRO SCALE NQ ACCESS T was important for our study to analyse access at a greater scale to the NQ. This allowed us to develop an understanding of how users of all kinds, be that tourists, commuters of residents access and circulate the site. Where the nodes of transport area and what influences users on their travels, be that streetscapes of way-finding landmarks or nodes.

NQ Void Extraction & Public Space

LITTLE LEVER ST CAR PARK

CHURCH ST CAR PARK (NOW SOLID)

STEVENSON SQ

ANCOATS CAR PARKS PCDLY GARDENS PCDLY CAR PARKS

BLOOM ST CAR PARK

MAYFIELD CAR PARKS

MINSHULL ST CAR PARK

USER ACCESS TO OPEN SPACE Does the user experience and route reflect a draw towards open or public space. These nodes of open areas linking the NQ? Or is the density navigated by backstreet and alley ways. Looking deeper at these void spaces was crucial to understand what the cultural impact of the strict arrangement of the NQ. The NQ has the highest density of conservation

listed buildings in the city and few large open areas or public space respectively. These smaller niche voids are arguably more interesting as they are closely woven with the rich typology and urban grain. We will later look at ways of expanding and enriching these spaces after further analysis

INHALE & EXHALE DIURNAL STUDY OF THE STREETSCAPE

MORNING: THE COMMUTE - INHALE

MID-MORNING: THE QUET - EXHALE

AFTERNOON: EMPTYING OFFICES - EXHALE

VENING: LIFE OF LEISURE - INHALE

Upon studying the same area overtime it becamethe NQ has a defined cell cycle, with movement of different groups of people across the membrane with vaying degrees of permiability. Morning sees an influx of people into the cell, with quiet peiods midday as users dwell within. Afternoon sees an exhale of offices and retail leaving across the membrane. And finally a noctural state of new users arive for leisure.

Fluid Dynamics Through Streetscape PATH OF LEAST RESISTANCE COMPARISON An interesting study was carried out using fluid dynamics software to investigate the effect of the NQ density on navigating the city on a MESO scale. This mapping shows the flow of movement from the N.W to S.E; at a tangent to the axial relationship between the NQ’s grid layout and FlatIron building. It becomes apparent that the NQ is in-fact difficult to penetrate due to its fine grain density.

The open spaces and major routes such as Piccadilly gardens or great ancoats street are far more frequent paths. We sought to explore this further by looking at the hotspots in these mappings and what’s going on with user experience at these points. What landmarks, buildings, nodes and experiential factors influence the actual pathways and routes of people.

HIGH ST./ SHUDEHILL

NQ SITE

GREAT ANCOATS ST.

MARKET ST.

PICCADILLY GARDENS SITE

THE CITY AS AN ORGANISM POROUS MEMBRANE OF THE NQ A this point we became increasingly aware of Sennetts points on a city like an organism,with a porous yet barrier membrane. In the software analysis shown here, the NQ density is only penetrated at itâ&#x20AC;&#x2122;s axis FlatIron building node. We know however that the NQ is a buzzing environment despite being off the direct path of least resistance. We looked to use Sennetts template and explore what

Experiential factors were at play causing the user to decide to go off path and enter the porous membrane. This analysis is using S.E to N.W orientation imitating the common route from Piccadilly into the city centre towards the Arndale and then onto Victoria Station and the MEN.

GREAT ANCOATS ST.

NEWTON ST.

PORT ST.

ARNDALE CENTRE

PICCADILLY GARDENS

MARKET ST.

SITE

DUAL MEMBRANE QUALITY BARRIER OF DENSITY CREATING EXPERIENTIAL NAVIGATION When editing the orientation of flow in the fluid dynamics software to line up with market street rather than one of the NQ axis, the boundary and as Sennett describes,’membrane’ can be clearly seen. Again the NQ’s density is now impermeable and for users new to the city following obvious landmarks such as Piccadilly gardens, the NQ could be missed

entirely. The next stage of this analysis is to identify the notes and gatekeepers. The spaces where users are likely to deviate from the path and what experiential factors of design are implemented.

MILLER ST. PICCADILLY GARDENS

PICCADILLY STATION

SITE

USER WAY-FINDING STUDY

FROM VICTORIA STATION

THE OPEN CITY AND THE WAY-FINDING USER

VICTORIA STATION

To continue the study we compared information from the void, network and fluid dynamics studies to investigate the two most common routes to the site by foot. One from Piccadilly Station and one from Victoria Station. The aim was to analyse how a way-finder might orientate themselves and what buildings or spaces they are drawn to or navigate with.

FOOTBALL MUSEUM

HISTORIC MARKET

NQ CRAFT CENTRE

FROM PICCADILLY STATION

PICCADILLY STATION

GATEWAY HOUSE

BRIDEGWATER CANAL

ONE PORTLAND ST. SITE

SITE

Lever St. Facade catches the light drawing the eye up and out of the darker street plane.

DARK AND LIGHT BARRIER LIGHTING THE FINE GRAIN To further understand what people experience throughout the NQ beyond just its typologies and grid arrangement we decided to look at how the lighting of the narrower alleys and back passages effected their use. Were people drawn into the quieter back streets for the experience themselves, or did the sectional expression of the area mean certain buildings or faรงades caught the light, drawing you into the next space subconsciously.

SUN ALTITUDE: 58.2 - 8.99 degrees DAYLIGHT DURATION: 17h3m6s - 7h29m31s SHADOW LENGTH: 0.62m - 6.32m (For object of 1m height)

DARK AND LIGHT BARRIER PENETRATING THE VOID

1000hrs 1200hrs 1400hrs

The study was focused on the site void. Software analysis compared with on site anthropology throughout the day. We observed direct changes in behaviour and movement to solar-path and shadowing. With particular faรงades catching the light at certain causing people to look where they may not have before. Some streets being used frequently then later not as people choose to walk in the sun rather than down a now dark alleyway. These findings lead us to further study typological elements and how they interacted with the light, user and overall network when experienced as a whole of parts.

01/01

01/04

01/07

01/10

VOID AMALGAMATION CAPTURING THE NICHE SPACE

With this collage we have tried to capture what all of these factors really mean and what these changing niche spaces actually feel like. With the NQ like and ever shifting organism bound by form but in no way dynamism or programme.

MULTIFACETED MAPPING NETWORKS, NODES, VOIDS: SPACES THEY CREATE “That duel quality of the membrane is… an important principle for visualising more modern living urban forms. Whenever we construct a barrier, we have to equally make the barrier porous; the distinction between inside and outside has to be reachable, if not ambiguous.” -Richard Sennett We look at the connection between environments as working places and the exterior spaces that are created as a result of building construction. We base the foundation for our analysis on how people use the area as our interaction with space is derived from walls: the membrane of the NQ.

ENVIRONMENTAL ACTIVITY & HUMAN FACTORS

WIND ANALYSIS

OPEN SPACEAND VOID MAPPING

LITTLE LEVER ST CAR PARK

CHURCH ST CAR PARK (NOW SOLID)

STEVENSON SQ

ANCOATS CAR PARKS PCDLY GARDENS

TEMPERATURE ANALYSIS

PCDLY CAR PARKS

BLOOM ST CAR PARK

MAYFIELD CAR PARKS

MINSHULL ST CAR PARK

NOISE ANALYSIS

SUN PATH ANALYSIS

1400hrs

1200hrs

1000hrs

01/01

01/04

01/07

01/10

EXISTING FORM AND CONSTRAINTS

APPROACH AND MORPHOLOGY ANALYSIS

TEXTILE INSTITUTE DEFINITION KEY SPACES

GALLERY |

Housing a variety of artifacts, large verticle space for hanging tapestries.

WORKSHOP |

To house industrial looms, printing, sewing and manufacturing machinery.

STUDY SPACE |

Open plan spaces with large table space fr group work and niches for

private work.

BAR | A more formal social space for before exhibits and early evening drinks. CAFE | Ground floor open to the lobby & atrium to seat around 40 people. SHOP | Selling books, materials and equipment for workers and students as well as for visitors ADMIN & STORAGE | Gallery and reception admin & gallery, cafe, shop and workshop

“That duel quality of the membrane is…an important principle for visualising more modern living urban forms. Whenever we construct a barrier, we have to equally make the barrier porous; the distinction between inside and outside has to be reachable, if not ambiguous.” -Richard Sennett

storage.

G EVENIN IT EXHIB

ATRIUM STRUCTURE GLAZING THERMAL LINE

BAR

SHO

CAFE

STU

DA Y GA LL

ER Y

VISUAL CONNECTION AND OCUPYING ATRIUM NICHES PARTI DIAGRAM - NOTE HANGING ARTEFACTS IN BLUE

ARTEFACTS INDUSTIAL LOOMS | 10M HANGING TEXTILES SEWING MACHINES | DYE WORKSHOPS WEAVING STUDIOS | CAD & CAM SUITES

INITIAL MASSING CONCEPTS

With this first massing I wanted to look at a solid mass insitu and see how high the site would allow in elevation before appearing acontextual. The mass worked out around 40m in elevation which on the site model was clearly too great. In adition I began looking at the street acess from the alleyway to the east, stepping back with a row of collunades and access from the main road and side street,

CONCEPT SECTION

GROUND FLOOR

FOURTH FLOOR

INITIAL MASSING CONCEPTS

Continuing with the theme of contraction and release, the aim of this concept was to achieve a feeling of verticle rhythm with different height spaces to accomadate larger artifacts and machinery. The mass steps on the east to create breakput balconies as I look to break up the threshold and occupy the coral reef spaces between the alley on site. Conclusions that the mass is too high in elevation but the core location has potential and the idea of an open, pourosity between ground floor and street will be continued.

CONCEPT SECTION

GROUND FLOOR

SECOND FLOOR

INITIAL MASSING CONCEPTS

Here I look to impose a form of materiality with large veticle members of space and structure, again tying the idea of verticle rhythm and build up of textiles. To address the site I looked at extracting the S.E corner of the plan for access and egress again with the core against the parti wall. I felt there needed to be more visual connections and circulation routes across the grounf floor plan .

CONCEPT SECTION

GROUND FLOOR

FIFTH FLOOR

INITIAL MASSING CONCEPTS

With this massing model I am looking to further previous itterations as well as asses the result of stepping the form to the South for lighting and massing on site. Iâ&#x20AC;&#x2122;m looking to encorperate a top tier cafe/ bar space with inside & outside occupiable space at roof level with visual connections with views to Mancester and the city within the building through an atrium.

CONCEPT SECTION

GROUND FLOOR

FIRST FLOOR

INITIAL MASSING CONCEPTS

Here I am considering two cores with a cyclic circulation, oportunity for walkways across the atriums and seperating spaces for noise insulation such as the workshop and gallery. Again with verticle members of structure to break up the spaces and create niches for inhabitation and a large double height ground floor to release after the squeeze of access. Upon reflection the side and arrangement of this massingdidnâ&#x20AC;&#x2122;t allow enough space for required programme.

CONCEPT SECTION

GROUND FLOOR

THIRD FLOOR

KULT / POOL LEBER ARCHITEKTEN + BLECKMANN KRYS ARCHITEKTEN Architects - Bleckmann Krys, Pool Leber Location - Kirchplatz 14, 48691 Vreden, Germany Area - 5950.0 m2 Project Year - 2018 The kult is a new cultural hub for the town of Vreden and a vibrant focal point on its cultural route. It combines a 1.400 sqm artistic-historical museum with the cultural administration of the district, the local archives, an educational space, a city market, a shopping area and spaces for events and temporary exhibitions. Central openings in the atrium and the courtyard provide a well-balanced natural illumination besides identifying the different museum areas and facilitating the orientation within the centre.

POCKETS OF NEGATIVE SPACE BECOME OCCUPIABLE NICHES

NATURAL LIGHT DISTRIBUTION SYSTEM

MU XIN ART MUSEUM / OLI ARCHITECTURE PLLC Architects - OLI Architecture PLLC Location - Wuzhenzhen, Tongxiang, Jiaxing, Zhejiang, China, Area - 6700.0 sqm Project Year - 2015 With the ever changing quality of the spaces created by the intersection of the volumes, “street” boundaries and the water’s edge, the visitor experiences an expansion of space not only in the physical realm but also as a bridge into the complex world of Mu Xin. Taking a cue from the urban fabric of this 1,000 year old ancient water town, the museum itself is a landscape of intersecting experiences. A series of cast in place colored architectural concrete volumes in varying sectional relationship to the canal and “street,” house these experiences as singular galleries and program elements inviting visitors to wander through the “landscape.”

FIXED CIRCULATION CREATING VISUAL CONECTIONS WITH SITE IN KEY VISTAS

PROGRAMME DEVELOPMENT PRESCEDENCE STUDIES Here I am looking at exemplar buildings with the feel and spaces I am looking to achieve as I define ther essence of the textile institute. This gallery has the interior feel I am looking to achieve aswell as maintaining it’s geometry and materiality. In particular i’m exploring the connection of the structural core and arangement of spaces within the grid to guide future decision making.

Architects - Georg Scheel • Wetzel Architekten Location Munich, Germany Area - 5000.0 m2 Project Year - 2015 Large facade openings cut into the cube are patterned by vertical concrete louvers which give the structure a three-dimensional layout without compromising on its clear geometry. The windows, which extend around the corners of the building, allow focused views on the surrounding topography. The interior and exterior of the building are characterized by the predominant material: white concrete, a ready-mixed concrete produced from white pigment and white sand, in which the building has been entirely designed from the supporting cores. STRUCTURAL GRID, ATRIUM, CORE AND ACCESS IN HARMONY

1:200 CONCEPT MODELLING

STRATEGY DEVELOPMENT The plan diagrams and section here explain the thinking at this point in the project. Iâ&#x20AC;&#x2122;m trying to connect the requirements of the project with the urbanism study with the ideas of pourosity, niches, expantion and contraction. The facade elements or super columns are looking to make micro streets and niches for spontaneous occupation. These spaces will be developed more specifcally in 3.2 to make the builidng feel like a city with pockets of culture manifesting. Iâ&#x20AC;&#x2122;m also looking to establish visual connections between public and private realms of the bulding.

CORAL REEF NICHES In this model iâ&#x20AC;&#x2122;m exploring to what extent I can push this idea of the atrium within the building becoming a new streetscape and alleyway. I was interested in the lighting and morphology of the surrounding alleyways and am looking to create visual conections inside and throughout via wakwys, multiple circulation cores and atrium. Again I use these structural elemenys to create pockets of breakout space or niches across the floors. This model in particular was a test osuhing how far the coral reef ideology could manifest.

PRESCEDENCE STUDY | OMA DESIGN MUSEUM

Architects Allies & Morrison, John Pawson, OMA Location Kensington High St, London, UK Architecture John Pawson Interior 110000.0 ft2 Area Year 2016

Significant and complex refurbishment works were carried out, including the wholesale reconfiguration of the structure and basement excavation to increase floor area and organisational efficiency to suit the needs of the Design Museum, while balancing the retention of the dramatic views to the underside as agreed with heritage officers. GA PLAN OF DESIGN MUSEUM AND NEIGHBOURING RESIDENTIAL BUILDINGS

BUILDING PARTI ARRANGEMENT IN SECTION

VISUAL CONNECTION THROUGH SPACCES IN SECTION

DEVELOPING CIRCULATION AND INTERNAL FEEL The circulation is around balconies looking over the main atrium and the whole space feels connected yet divided at the same time. The structural rythmn in the ceiling is something im wantng to achieve with my own proposal. The remaining gallery, admin and restaurant spaces are off the central balcony space where temporary exhibits are kept. The main events space is nesteld into the top corner of the structure out of the way of the atrium.

DIAGRAM SHOWING THE NEW INTERVENTIONS IN RED

OPEN PLAN GALLERY SPACE

FLEXIBLE SHOP SPACE

SECONDARY STAIR AND LIFTS

BOH & OFFICE SPACES

FLEXIBLE EVENTS SPACE

BUILDING PARTI ARRANGEMENT IN PLAN

VEIL AND VAULT | CONTOLLING SOUTH LIGHT

Architects Diller Scofidio + Renfro; Gensler Location The Broad, Los Angles, USA Year 2015

I had begun to realise the atrium strategy for daylighting would compromise other key drivers so I diffuse lighting required in gallery and workshop spaces. The access to north light is minimal at the site so controlling the south light would be necessary. The atrium would provide additional lighting and visual conections between spaces. The later development of a mesh brise soliel system could also pay homage to the patterns of industrial textile manchester. The building design is based on a concept entitled “the veil and the vault”. “The veil” is a porous envelope that wraps the whole building, filtering and transmitting daylight to the indoor space. This skin is made of 2,500 rhomboidal panels made in fiberglass reinforced concrete supported by a 650-ton steel substructure.“The vault” is a concrete body which forms the core of the building, dedicated to artworks storage, laboratories, curatorial spaces and offices.

1:100 FACADE CONCEPT DEVELOPMENT Controlling south light for gallery and workshop space is key to view fine details in textiles. The building cloak will be developed further in 3.2 however it was necessary to discuss at this point in the project. Here iâ&#x20AC;&#x2122;m again using the column elements to break up the streetscape.

PALIMPSEST FACADE CONCEPT DEVELOPMENT This page contains and amalgamation of all of the drawings, empha-

sising the vertical elements. Mostly the downpipes and the fenestration on the buildings. Palimpsest Oliver Meads & Max King

Particular cut outs shown in the facade correspond to contextual features expolred in the palimsest study. In particular, the glazed white brick and ornate drainpiping will allow incidental light into the East elevation and allow users to be met with a vista of the NQâ&#x20AC;&#x2122;s morphology. Seen on the plans on the previous page, this particular cut out festure through three floors at the end of a coridor, highlighting a point of expansion after the contraction of passing between the regular column arrangement highlighted next.

GRID DEVELOPMENT - WARP & WEFT The whole of the NQ works off a co-axial grid as seen in the above diagram. The rectilinear site footprint and chosen concrete structural system also benefits from the use of the grid. I have decided on a 4000mm standard grid at this point which was later adapted to some 6000mm in there as well. This was also due to the soans required to move materials, house the looms and create a rythm of structural membersmembers, the warp and weft.

HEDMARK MUSEUM - DOPPLEGANGER The analysis of this museum early in the process lead to a particular intrest in a strict circulation and offshoots to spaces which can been seen in other earlier museum study prescedences. Here I have included the 1:20 model photograph to mark a movement to resolving some of the important interior spaces and use the skill from this model again.

1:20 INTERIOR DEVELOPMENT

PRODUCED BY AN AUTODESK STUDENT VERSION

A patricular space that epitimises the approach for the building is the bar on floor 4. With an inside, outside elPRODUCED BY AN AUTODESK STUDENT VERSION ement to create the contrast between light, expansive glazing and heavy concrete rythmn in the ceiling. The warp and weft of the Textile Institute mirrored in itâ&#x20AC;&#x2122;s ceiling structure, yet pourous and connecting. The balcony looks down through the baffled atrium glazed at roof level establishing visual conections with the workshop, the heart of the building.

INTERIOR DEVELOPMENT

Here I am looking to achieve the feeling of visual connection between verticle spaces and a sense of order and PRODUCED BY AN AUTODESK STUDENT VERSION rigor with the framework. The materiality and stair will be developed further during 3.2 but the scale of space and thresholds between spaces is the particular aspect I am developing her. I will develop a strategy for occupying the sub level above the shop and cafe in 3.2.

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R AT & NI ES

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RE E AC SP

PRODUCED BY AN AUTODESK STUDENT VERSION

INTERIOR DEVELOPMENT In the gallery space I am looking to achieve an open and bare feeling with opportinity for intervention by the artefacts themselves. There will be a main gallery, black box gallery, open atrium gallery and evening preview gallery, here is the interior view of the main gallery. The south facing glazing will be wrapped in a brise soliel system top control the southlight which will ensure a bright space with diffuse light to view fine details of stiching, tool and textiles whilst retaining visual connections with the opposite elevation of classic NQ industrial streetscape.

PRODUCED BY AN AUTODESK STUDENT VERSION

INTERIOR DEVELOPMENT

PRODUCED BY AN AUTODESK STUDENT VERSION

For the workshop space I am using the champfered corner of the neighbouring building and stepping the form of the Textile Institute to adress and access the north light. The PRODUCED BY AN AUTODESK STUDENT VERSION space goes from 3500mm to 7000mm in elevation, giving sufficient height for the undustrial looms with double height glazing and brise soliel to ensure perfecting lighting for the working requirements. The space is an example of expansion after being in the single height space of the first workshop, drawing the users to the long outwards views north.

SPACIAL ARANGEMENTS

BAR WORKSHOP INDUSTRIAL WORKSHOP EVENING GALLERY MAIN GALLERY

PRIVATE STUDY GROUP STUDY

CAFE

SHOP

CAFE

STUDENT & CRAFTSPERSON USE OF SPACE

VISITOR USE OF SPACE

In 3.2 I will further develop the theme of visual connections between floors as I look at artifacts and tapestry collections to hang behind the reception and in the atrium gallery. The idea is to connect the professional users who use the building as a workplace, to the visitors and public who come for the gallery and ammenities. The atrium, with different aspects of habitation, under cover, external, open or behind glazing will create a community within the Institute and encourage collaberation and inspiration as projects cross over. ATRIUM STRUCTURE GLAZING THERMAL LINE

PRODUCED BY AN AUTODESK STUDENT VERSION

8 | GROUP STUDY 9 | ADMIN 10 | WC’S 11 | QUIET STUDY

PRODUCED BY AN AUTODESK STUDENT VERSION

FOURTH FLOOR

THIRD FLOOR PRODUCED BY AN AUTODESK STUDENT VERSION

SECOND FLOOR

FIRST FLOOR

PRODUCED BY AN AUTODESK STUDENT VERSION

21 14

18 | 19 | 20| 21|

PRODUCED BY AN AUTODESK STUDENT VERSION

GROUND FLOOR

PRODUCED BY AN AUTODESK STUDENT VERSION

SITE PLAN 1:200 AT A2

PRODUCED BY AN AUTODESK STUDENT VERSION

LOCATION PLAN 1:2500 AT A0

VISITOR WORKSHOP INDUSTRIAL WORKSHOP BREAKOUT SPACE WC’S

PRODUCED BY AN AUTODESK STUDENT VERSION

SITE PLAN 1:500 AT A1

22 | 23 | 24| 25|

BAR SPACE BALCONY WC’S BOH STORE

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6 5 PRODUCED BY AN AUTODESK STUDENT VERSION

3 7

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PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

12 11

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

14 13

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1:100 PRICIPLE SECTION AT A2

PRODUCED BY AN AUTODESK STUDENT VERSION

N.E ELEVATION 1:200 AT A3

N.W ELEVATION 1:200 AT A3

S.E ELEVATION 1:200 AT A3

S.W ELEVATION 1:200 AT A3

3.2 | 5 POINT PLAN 1 | Develop facade shading device to create well lit interior spaces whilst retaining visual conections. Develop circulation route of 2 | main stair to occupy sublevels on first floor and improve movement through ground floor lobby. 3 | Develop specifc shows and exhibitions to showcase voids in floors left for these hanging tapestries. 4 | Re-work the core arrangement to add annother lift to service the workshop 5 | Develop niche spaces on street and in lobby with facade elements, cladding & seating

CULTURE CR(E)ATES GROUP 31

CULTURE CR(E)ATES brings together studies of Manchester’s city arts and culture, social activity and value, with regards to the mobility of space in its aim to expose how architecture and transportation reflects upon interaction with the city. Mapping out location context, allows us to refine the key site aspects that release its identity; Whitworth Park’s Art exhibitions, Deansgate Lock’s music establishments and Castlefield’s Industrial heritage. A fleet of faster paced electric busses (which replace existing networks) or leisurely barge events, will increase the role of public transport, encompassing greater experiences and creating sustainable urban contexts. The method of plugging in and out mobile crates allows spatial adaptability, altering the meaning and use of space with respect to new cultural horizons.

SITE 2 - DEANSGATE LOCK

SITE 1 - CASTLEFIELDS SITE 3 - WHITWORTH GALLERY