‘New Lease of Life with Minimal Intervention’
Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
Robert Hebblethwaite Student Number: s0919431 Architectural Design Dissertation MA (Hons) Architectural Design University of Edinburgh 2013
ACKNOWLEDGEMENTS I would like to take this opportunity to thank my dissertation supervisor, Penny Travlou, for her continued support and guidance throughout. I am also indebted to the following companies for permitting access to their sites: Town Centre Securities, Marketing Manchester, the Heritage Lottery Fund, Stockley, TechHub, Castlefield Estates and the Marriot Hotel, Manchester. I would like to thank Stan Broster, Martin Stockley, Jonathan McArdle, Norman Redhead and Len Grant for taking time to discuss their involvement in the conversion of Carver’s Warehouse; and Francis Armitage-Smith for her personal reflection on the Lower Byron Warehouse, Museum of Science and Industry (MoSI). Thanks also to Stan Broster Design and Stockley for permission to reproduce drawings in this dissertation. Finally, thank you to Town Centre Securities for providing me with a copy of their commemorative book.
Figures that are not the author’s own work have been clearly cited in the List of Illustrations.
CONTENTS Introduction CHAPTER ONE: MANAGED CHANGE – A Philosophy 1.1 Evolution of Managed Change and its Scalar Implications 1.2 Informed Conservation 1.3 The Sustainable Choice 1.4 [Re]creating Place 1.5 [Re]constructing Identity 1.6 Authenticity 1.7 Social Values CHAPTER TWO: URBAN – Piccadilly Basin, Manchester 2.1 Piccadilly Basin 2.2 Manchester’s Economy 2.3 Regeneration Partnerships 2.4 Scale of Development 2.5 Connectivity 2.6 Physical and Rhetorical Change 2.7 Social Value CHAPTER THREE: BUILDING – Carver’s Warehouse 3.1 Historic Significance 3.2 Form and Appearance 3.3 Structural Repair 3.4 Architectural Features 3.5 Comfort Requirements 3.6 Contract 3.7 Social Value CHAPTER FOUR: DETAILS – Glazed Atrium, Timber Repairs, Integrated Services 4.1 Glazed Atrium 4.2 Timber Repairs 4.3 Integrating Services CHAPTER FIVE: DISCUSSION – Comparing Scales Conclusion Further APPENDIX Site Visits Questionnaires Interviews Bibliography List of Illustrations
‘Things men have made with wakened hands, and put soft life into are awake through years with transferred touch, and go on glowing for long years. And for this reason, some old things are lovely, warm still with the life of forgotten men who made them.’ ‘Things Men Have Made’ D.H. Lawrence
ABSTRACT Conservation-led regeneration reinvents the post-industrial city, using high-profile renovation projects as a catalyst. Managed change is a philosophy that balances the need to preserve historic value, with the demand for economic reuse. Informed conservation is a rational, decision-making process that evaluates design proposals against established significance. This dissertation argues design, as a holistic process, can integrate conservation at multiple scales. Establishing a common vision drives decisions from the urban master-plan to the architectural detail. This philosophy must be clearly defined so all members of the conservation team act with common interest.
Carver’s Warehouse (1806, renovated 2006-07) is a potent symbol of Manchester’s reinvention. Multi-scalar analysis examines its role as a historical anchor for Piccadilly Basin, a high-end office conversion, and the architectural details that made conversion a reality. The design approach ‘new lease of life with the minimal intervention’ reflects that physically and visually minimal additions can have a great influence on cultural value. This dissertation argues conservation‑led regeneration manages identity, both perceived and real, across scale, concluding design vision produces a successful synthesis of old and modern.
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Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
Synthesis of Old and Modern — Carver’s Warehouse
INTRODUCTION
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Heritage, defined as the ‘collective inheritance of present day society’ (Collins, 2013), poses conservation with the task of preserving historic value, reinterpreting its contemporary relevance, and passing this on to future generations. Post-industrial cities have increasingly relied on conservation-led regeneration for their economic revival, redefining the significance of industrial heritage, when physically productivity has been superseded by intellectual productivity. The philosophy of managed change reconciles the conflict between conservation of architectural, archaeological, artistic and historic significance, with the need for viable reuse. High-profile conversions symbolise the city’s capacity for reinvention. Historic buildings are unique assets, valued for their contribution to place and community identity, which require management to sustain and enhance their benefits. Informed conservation is a process where the design and impact of new interventions is assessed against established significance. Modern conservation is a careful approach, where the design team engage the concern for authenticity by making professional valuebased judgements, based on the best evidence available. Contemporaneous with the increase in sustainability awareness, conservation has been released from the protection of specific sites to a holistic regeneration strategy (Wansborough and Mageean, 2000, 181-197; Glendinning 2013, 423-424). Manchester has successfully incorporated its textile and transport warehouses, in cultural and economic reinvention. Canal warehouses have an impressive infrastructural legacy. Strongly adaptable, the robust, utilitarian form, appearance and structure contrast with the flexible, transient nature of their contents. Whilst previous studies (Nevell 2001; Taylor et al 2002), provide comparative analysis of the transport warehouses’ significance and their reuse, this dissertation selects Carver’s Warehouse, unique as the city’s oldest surviving and only stone-constructed warehouse, and analyses its conversion to speculative offices (2007). The owners, Town Centre Securities, hope the renovation will catalyse renovation of Piccadilly Basin. This dissertation illustrates how managed change, as a proactive philosophy that accommodates change, is integrated through the holistic design process. Carver’s Warehouse is used to examine how the philosophy operates across scale, from the city, to the building and architectural detail, establishing a clear design vision in the conservation team, and reconciling the interests of all individuals involved. Carver’s Warehouse is studied according to its stated design objective ‘new lease of life with minimal intervention’. (Town Centre Securities plc, 2008). Fieldwork, including site visits, meeting occupants, questionnaires, and interviews with members of the renovation team (Stan Broster, Martin Stockley, and Norman Redhead) enrich the study with personal reflections. Carver’s Warehouse is chosen as a representative microcosm of conservation decisions taken at warehouses across the city. Although prioritising one case study may be seen as a natural limitation, access to the design drawings and technical details permitted a thorough examination. Supportive comparisons to Castlefield: Merchant’s Warehouse, the Eastgate Office Building, and Byron Warehouse (the Museum of Science and Industry), are used where relevant. The initial chapter, Managed Change: A Philosophy, uses literature to establish the evolution of this conservation method, and relates it to four themes: place, identity/collective memory, authenticity, and social value. Chapter two evaluates the ambition of the Piccadilly Basin master-plan, in relation to Manchester’s wider reinvention. Chapter three uses drawings and personal observation to assess how minimal intervention accommodates modern offices, preserves historical significance, and allows cultural values to change. Chapter four selects key details: the glazed atrium (interface of old and new fabric), timber repair (structural remediation), and integrating services. Chapter five discusses how Carver’s Warehouse illustrates conservation theory across scales, concluding that managed change is ultimately the productive synthesis of old and modern identity.
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Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
Chapter One MANAGED CHANGE | A Philosophy Managed change is described in Heritage Works as ‘[allowing] a listed building to change and adapt to new uses and circumstances in a way that keeps its heritage value intact’ (English Heritage, 2013, 7). This recognises historical buildings require practical reuse, to ensure their economic viability and continued maintenance. Engagement with heritage ‘as a process in which cultural and social values are rewritten and redefined for the needs of the present’ (Smith, 2006, ch. 2) implies managed change is a process of clarifying significance, editing this significance through design intervention, and ensuring historic value is passed to future generations. The planning system mediates long-term consideration like physical integrity of building fabric against short-term consideration such as insertion of new programme. Conservation-led regeneration is inherently sustainable, preserving character of place, community identity, and collective memory, as well as having social, cultural, economic and environmental credentials. The historic built environment, appreciated for its ‘evidential, historic, aesthetic, and communal’ value, is a resource (English Heritage, 2008). Constructing the future city from the remains of the past raises concerns the constitution of place, commoditisation of historical identity, authenticity in conversion and public ownership.
1.1 Evolution of Managed Change and its Scalar Implications Conservation guidance has evolved from protection and preservation to managed change. As early as 1997, Regeneration through Heritage (1997) realised the need to adapt historic properties to the demands of modern life-styles, whilst retaining their significant features. The government’s statement on the Historic Environment in England (2010) formally recognised change as harnessing economic and cultural value. This contrasts with Early Victorian conservation manifestos, such as the Morris Manifesto (1877), advocating maintenance from decay and preservation in-situ. The National Planning Policy Framework (2012), places emphasis on conservation, specifying that local planning authorities keep records on built heritage (article 169) and produce a character assessment of historic built environments (article 170). (Department for Communities and Local Government, 2012).
However, the fragmented nature of protective legislation hinders current decision making. The Civic
Managed Change: A Philosophy
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Amenities Act (1967), Ancient Monuments and Archaeological Areas Act (1979), and Listed Building and Conservation Areas Act (1990), established separate designations for listed buildings, conservation areas, and scheduled archaeological sites. Each relates to a different scale or type of historic significance, and operates independently. According to Redhead, the draft 2008 Heritage Protection Bill (later dropped) attempted to unify this system by introducing the term Heritage Assets: any protected part of the historic environment that has architectural, archaeological, artistic or historic significance (personal communication, 8 March 2013). The two systems co-exist: precise legislative terms operating across multiple scales on the one hand, and a holistic concept of heritage used as a descriptive language. The difficulty of recording conservation across scales was recognised by Elkadi and Pendlebury (2001), who describe how collating multi-scalar information in a geographical information system (GIS) would enable a fuller understanding of heritage assets.
1.2 Informed Conservation Informed conservation is promoted by English Heritage, the government’s principal advisor, as a logical, documented decision-making process. Defining the significance of an asset, is used to evaluate the impact of a renovation proposal, and is a proactive part of the design process (Clark, 2001, 8). However, its rationality can be questioned. Since design is a critical act, and engagement with heritage is strongly emotional, professional values will always influence a project (Pendlebury 2009, 217). Own its own, reliance on intervention supported by scientific archeology, can never achieve the unity in composition that creative design re-establishes (Brandi, 2005, 64). On the other hand, the system does introduces checks and balances to irresponsible intervention, requiring decisions to be justified by a Statement of Significance, and documents evidence for the future. According to archaeologist Norman Redhead, informed conservation is analogous to a risk assessment for the built environment (personal communication, 8 March 2013). Protective legislation has become the test establishing a necessary minimum quality for intervention. (Theodossopolous, 2012, 17). This trend represents the evolution of conservation from defined legislative protection of buildings and areas, to a design philosophy.
Furthermore, adopting a common philosophy ensures different attitudes in the renovation team can be brought together. Developers are willing to engage in responsible conservation, but are ultimately concerned by economic viability. Conservation professionals, such as archaeologists and statutory consultants (English Heritage, Historic Scotland), are custodians of cultural value, but may have little interest in the practicalities of modern use. Architects synthesise competing cultural and economic demands through creative design, simultaneously employed by the client and with a professional duty to represent community interest. Community organisations are passionate about heritage, motivated to campaign for its protection and reuse. Giles and Hawkins (2004) argue conservation is only successful because it is joined with public appreciation.
Renovation is a social process. Seven steps exist, from the initial idea, through feasibility study, finance, obtaining planning permission, construction, occupation and management (Stratton 2000). In Heritage Works the process is illustrated as a diagram (fig 1) (English Heritage, 2013, 18). The French philosopher Lefebvre asserts that ‘rights to the city are never predetermined, but are always produced by particular groups with specific demands shaped by their circumstances’ (1968, quoted in Crawford, 2012). Conservation-led regeneration is always project-specific, according to the actors involved. Informed conservation channels the enthusiasm of several strongly motivated individuals so the decisions made are balanced and justified (English Heritage 2008, 13). Managed change is one philosophy that can bind the design team together. 1.3 The Sustainable Choice Sustainability and conservation easily co-exist. As a mode of architectural practice, renovation is inherently sustainable, as well as a stimulating challenge. If, as Simon Allford comments, buildings are designed with a
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Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
‘long-life, loose fit’ approach, then they may be ‘adapted for future uses which we can’t yet imagine’ (Booth, 2011). Nineteenth Century industrial buildings, including warehouses, are structurally robust, flexible and have long-lived fabric. The Regeneration Through Heritage conference (1997) proposed: ‘heritage industrial buildings are a sustainable resource…capable of being recycled for new uses’. Renovation is most efficient where new programme is well matched to the existing building. (Heritage Works 2013)
Conservation embodies the Elkington Triple Bottom Line of social, environmental and economic sustainability. Environmentally, it respects the time, energy and material resources invested in historic fabric, including the craftsmanship of previous generations. Socially, historic buildings are valued by the community as representing the genius loci of a place. Retaining them is equated to retaining community identity. Economically, renovation typically saves 30% against the cost of new build (McLennan, 2004). Conservation-led regeneration is attractive in an economic climate where funds for large-scale redevelopment are scarce. The shortlisting of the Royal Shakespeare Theatre and Swan Theatre (Bennett’s associates), for the 2011 Stirling Prize Shortlist, shows the field’s growing recognition in architectural design.
The sustainability of conservation-led regeneration is well represented by the term urban stewardship: ‘a sort of management by incremental change, coupled with selective strategic interventions to effect wider progress and improvement’. (Montgomery, 1990, quoted in Wansborough and Mageean, 2000). Analysing the terminology in conservation publications, the wider historic environment could be compared to an ecosystem that needs to be sustained, enhanced and protected from harm. Interest in conservation increased in the 1970s, contemporaneous with the increase in environmental consciousness. The definition of sustainable in Conservation Principles, Policies and Guidance (English Heritage, 2008, 72), is copied directly from Our Common Future (United Nations, 1987). Managed change ensures the built environment, as a resource, is sustained and enhanced for future generations.
1.4 [Re]creating Place Place is created and recreated by managing change. Manchester’s warehouses lend distinctive character to large parts of the city centre, supporting protection for their cultural value alone. Re-establishing the significance of historic buildings and making respectful modern interventions suggests permanence (Binney and Watson-Smyth, 1991, 7-9). When the global economy flexibly redistributes information, people and capital, historic buildings are a psychological and geographical anchor. They reinforce genius loci by maintaining a variety of scale and uses, historical association, and through their unique features.Vidler argues Postmodern urbanism has adopted ‘the more subtle and difficult task of calculating the limits of intervention according to the resistance of the city to change’ (Vidler 1991, 199-204). Classicism, held historical precedent to be sacrosanct. Modernism, advocated that this should be forgotten for the benefit of progress. Post-modern urbanism is a more complex interaction, selectively intervening to change the city’s identity (ibid). The perceived rootlessness of the Free Market Economy and rise in conservation, could be linked; encouraging reactionary movements, like the urban village concept, which promote distinct, human-scale quarters with their own identity (Wansborough and Mageean, 2000). When historic renovations are used in place-marketing, they become a commodity. (Pendlebury 2009, 183). The Generic City posits it is unrealistic to maintain genious loci from a historic core, when the urban environment is ever expanding. (Koolhaas and Mau, 1995, 1248). However, in the knowledge economy, a city’s unique character attracts an educated workforce, promotes quality of life, and maintains a global competitive edge. Thus, conservation manages the sensitive transformation of industrial buildings, including warehouses, from physical productivity to intellectual productivity, keeping them in-use for professional, creative, education,
Managed Change: A Philosophy
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leisure or retail purposes. Heritage Counts (2010) estimates that for every £1 invested in the historic environment, £1.60 is generated for the local economy. Paradoxically, conservation-led regeneration, based on the specificity of place, is subjectified by global economic demand. (Zukin 1988) Since the 1980s, managing the urban environment has employed a dual strategy, supporting private regeneration projects with public funding, and promoting them as symbols of change that catalyse future investment (Wansborough and Mageean, 2000).
1.5 [Re]constructing Identity Engagement with heritage is an active discourse in which ‘cultural and social values are rewritten and redefined for the needs of the present’, establishing individual and collective identity (Smith, 2006, ch.2). High-profile renovations symbolise a city’s reinvention, basing modern identity on a proud historic past. Establishment of Conservation Areas (Civic Amenities Act, 1967) recognises a narrative is stronger when historic buildings are protected in groups. Manchester and Liverpool both sustain collective memory about industrial heritage by conserving their warehouses. Glendinning’s description of the memory landscape describes how Postmodernism combines elite and popular narrative to create an iconic form of history, which is anchored in the urban landscape by selected historic buildings (Glendinning, 2013, 425-426). Hence, Manchester’s textile warehouses are popular shorthand for the success of the cotton industry. Narratives create a unique cultural selling point, meaning there is a tendency for its promotion ‘through a manipulation of myths, traditions, urban lifestyles and culture’ (Oswalt, 2003, 55). However, one could argue history is always embellished through individual interpretation. Simplified discourses also satisfy the human need to distill conflicting versions of the past into a coherent account.
The cultural perception of industrial heritage has altered radically, compared to the physical architecture. Redhead relates that, when he started his career in the 1980s, industrial warehouses were still likened to dark satanic mills that ‘should be removed as symbols of oppression’ (personal communication, March 2013). Brandi describes the progression of time from the creation of an artwork, to its recognition as a masterpiece, and the way it is observed in the present (Brandi, 2005, 61-64). Functional buildings, such as transport warehouses, would scarcely be regarded as architecture in the 19th century. They became masterpieces as traditional manufacturing declined and heritage tourism was promoted as a way to connect with Britain’s Industrial past. Conversely, this was criticised as presenting a frozen, sanitised version of history (Reas 1993). In the present, active reuse is recognised as the way to genuinely incorporate historic identity into the future of the city.
1.6 Authenticity Authenticity is based on personal viewpoint, since history is open to multiple interpretations. Professionals make personal, value-based judgments, and objectivity is coloured by their emotional engagement with heritage.Various conservation charters have attempted to define authenticity. The Venice Charter (1964) declared restoration should be scientific, involve professionals, and based on authentic documents. (ICONUS, 1964). Modern additions should be clearly identifiable to avoid establishing false evidence. However, the Nara conference (1994) freed authenticity from its explicit connection with preserving physical fabric (Glendinning 2013, 429), an attitude reflected in English Heritage Conservation Principles. Modern authenticity is designing with intent that ‘most truthfully reflects and embodies the values attached to the place’ (English Heritage 2008, 45), including design, function, and physical fabric. The Burra Charter (ICOMOS, 1997) recognised that multiple periods of history are recorded in a building, stipulating no priority should be given to any particular one. In fact, renovation always synthesises a creative modern interpretation of the structure with its past image, weakening previous connotations, but bringing them into the present (Brandi, 2005, 63).
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Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
Informed conservation implies the need for consensus on one authorised discourse, which both defines and creates the significance of a heritage asset (Smith, 2006, ch.2). Pluralism asserts multiple interpretations of history result from factors like age, gender, class, and personal memory and experience (Borden, I. et Al, 1996, forward). Interpretation is a physical act, independent of the built fabric. Architectural theory, construction practice and methods of archaeological analysis will have developed from the time of construction to the present day (Brandi, 2005, 62). Like staging a work of Shakespeare, modern conservation fails to recognise obscured historic meanings, and makes inferences not in the original composition. It is a rich engagement that synthesises the best interpretation from limited knowledge. Thus Brandi asserts that the only authentic interpretation is the present one (Brandi, 2005, 64). The fact architecture is naturally open to multiple meaning actually makes it possible to imagine new occupation. However, informed conservation currently prioritises professional assessment of architectural, archaeological, artistic and historic interest, over the popular significance of an asset, established through community engagement. Pendlebury (2009) questions whether professional knowledge-based conservation actually preserves real significance as valued by the community.
Managed change recognises historic buildings should accept new meaning. Preserving a building in a particular historic era, as advocated by the Morris Manifesto, is inauthentic. However, industrial renovation does commonly clean and preserves obsolete machinery as icons of memory. Tt could be claimed conservation areas present a frozen historic era, by enforcing aesthetic codes (Edensor, 2005). Koolhaas believes removing the natural process of decay in the built environment destroys the linearity of time. (Merrick, 2011) Managed‑change is a middle path, allowing objects and buildings to receive new meaning, whilst preserving their key features, and leaving the patina that confirms their age (Brandi, 2005, 64).
1.7 Social Value The first two conservation principles define the historic environment as a shared resource, and encourage public participation in its sustenance (English Heritage, 2008, 19-20). Heritage buildings are social assets, regardless of who actually owns them, justifying public money for their protection. Whilst appreciation of conservation has been democratised, from the concern of the elite to a public interest, conservation as a discourse between experts may prioritise professional opinion above community concerns. However, Theodossopolous (2012) claims representing community is a key requirement of conservation, distilling what is considered valuable, and giving it expression in the design process. Conservation-led regeneration is accused of gentrification, ‘the transformation of a working class or vacant area of the central city into middle-class residential and/or commercial use.’ (Lees et al, 2008, preface). Zukin’s Artistic Mode of Production describes how artistic and cultural producers are displaced when a developer renovates industrial buildings for high-end tenants (Zukin, 1988, 178). Although artistic producers protect a building through occupation, they are unlikely to invest in its fabric. In theory, the community benefits when a developer invests. Conservation Principles stipulate any new development adjacent to heritage assets should be in the public interest, rather than purely for developer profit.
In summary, managed change encourages cultural and economic sustainability in the historic environment. At Carver’s Warehouse, this should be evidenced at every scale. Theory established four key areas to study: place, and place marketing; identity, both of the existing warehouse and the conversion; authenticity, how architectural features are treated; and social value.
Managed Change: A Philosophy
Fig 1: Heritage-Led Regeneration, process diagram
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Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
Chapter Two URBAN | Piccadilly Basin, Manchester Piccadilly basin reflects Manchester’s transition from central textile market, through post-industrial decline, regeneration, and ambition as a European regional capital. Finding new use for canal warehouses reasserted their significance, accommodated a transition to financial services, creative industries, education, and tourism, and symbolised the city’s capacity to adapt. The Piccadilly Basin master plan conserves Carver’s Warehouse and Brownsfield Mill, as anchors for new apartments, speculative offices and a retail village. 2.1 Piccadilly Basin Piccadilly Basin (1806-08) (location fig 2, figs 3, 4, 5) is the terminus of the Rochdale Canal. Manchester’s pioneering role in transport innovation included Britain’s first canal (Bridgewater Canal 1765), the world’s first passenger railway (Liverpool-Manchester, 1830), and the Manchester Ship Canal (1894). Railway and canal warehouses are clustered on the outskirts of the city centre: in Castlefield to the south west and Piccadilly Basin to the south east, linked by the Rochdale Nine canal. By 1863, the stone warehouse at Piccadilly Basin, was known as Carver’s Warehouse, and enjoyed thriving trade (UMAU, 2006a, 5). Several warehouses were constructed 1817-1836, including Jackson’s Warehouse (1836), and an arched gateway (1822) (UMAU, 2006b, 5). Arrival of the railways (1835) and construction of London Road Station (1842, renamed Piccadilly Station) began a slow decline in canal traffic. The London Warehouse (c.1867) is the only survivor of four railway warehouses that exchanged goods from rail to canal, and facilitated regional cotton transport. After commercial traffic ceased in 1958, the basin was converted to car parking. Carver’s Warehouse survived as a discount bathroom showroom. Town Centre Securities acquired the site in 1974, and commissioned Ian Simpson Architects to produce a master plan (1997) (UMAU, 2006a, 5). Conversion of Carver’s Warehouse to offices (2006-7) represented a regeneration milestone.
2.2 Manchester’s Economy Manchester’s industrial success and decline was interwoven with textiles, becoming a central market of global importance (Oswalt, 2005, 402-406). Manchester Warehouses, elaborate textile warehouses symbolising industrial wealth, were accompanied by the Manchester Men, an emerging mercantile middle class. (Wilkinson, 1982, 1-3). Industrial decline was strongly felt: a third of all manufacturing jobs were lost between 1966 and 1972 (Oswalt, 2005, 402-406). Post-industrial Manchester promoted its music industry, sport, and city-centre nightlife. Entrepreneurs such as Jim Ramsbottom (Castlefield Estates) and Tom Bloxham (Urban Splash) pioneered the conversion of historic warehouses to high value commercial and residential use.
Economic regeneration has focused on financial and professional services, tourism, creative and knowledge‑based industries. Architectural landmarks, such as the Bridgewater Concert Hall (1997),
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Urban: Piccadilly Basin, Manchester
River Warehouses
MOSI
Piccadilly Basin
Great Northern
Castlefield
Fig 2: Location of Manchester’s transport warehouses 1:20000 1974 Town Centre Securities own site 1824 Water-wheel installed
1806-1808 Piccadilly Basin and Carver’s Warehouse built
1936 Hoist converted to electric power
1890 Hydraulic power supply installed
Late C20 Use as bathroom showroom
Fig 3:Time-line of Carver’s Warehouse
English Heritage Conservation Principles, Policies and Guidance 1. 2. 3. 4. 5. 6.
The historic environment is a shared resource Everyone should be able to participate in sustaining the historic environment Understanding the significance of places is vital Significant places should be managed to sustain their values Decisions about change must be reasonable, transparent and consistent Documenting and learning from decisions is essential
(English Heritage, 2008)
1997 Master plan
2006-07 Office conversion
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Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
Manchester Central exhibition centre (1986), and Museum of Urban Life (2002) promoted culture-led regeneration (Hands and Parker, 2000, 1:18). The Commonwealth Games (2002) increased the city’s sport profile. The Higher Education Precinct and MediaCity UK illustrate commitment to education, the arts and media. Manchester Airport asserts the city’s position as a regional gateway. Repopulation of the city centre by young professionals and students was encouraged (Kidd, 2006). Redhead reflects that ‘before the economic downturn of 2008, the apartment market was a big factor in successful conversions’ (personal communication, 8 March 2013). Despite physical transformation, Manchester is officially the third most-deprived local authority in England (Department for Communities and Local Government, 2010). Peck and Ward (2002), believe real social improvement is modest. The 2012 Local Development Framework envisages Manchester as a successful city-region in 2027, emphasising the knowledge economy, a fully-skilled population, and describing the historic environment as ‘a catalyst for regeneration’ (Manchester City Council, 2012).
2.3 Regeneration Partnerships Regeneration has relied on the success of public-private partnerships (Kidd, 2006). Both Piccadilly Basin and Castlefield were included in the Central Manchester Development Corporation (CMDC) area (1988-1996), which invested public resources to stimulate private investment, funding improvement of the waterways, public realm, and encouraged warehouse conversion through direct grants to developers. The reason why Castlefield, designated the UK’s first Urban Heritage Park (1982), developed in the 1990s, and Piccadilly stagnated is unclear.
Castlefield, strongly characterised by its canal arms, monumental viaducts, and Roman origins, may have presented a more intact tranche of post-industrial landscape for development, whereas the wharves at Piccadilly are smaller in scale and have been partially filled in. At Castlefield, land ownership is majority-held by Jim Ramsbottom, an entrepreneurial bookmaker, who benefited from CMDC gap funding. He identified Manchester’s lack of creative and professional offices; the canal’s potential as an attraction for leisure and tourism; and Castlefield’s close proximity to the city centre, as reasons to invest. Dukes 92 Bar (1991), Eastgate Office building (1992) and Merchant’s Warehouse (1995-7) were incremental developments. (Hands and Parker, 2000, 1:8). Nearby, the Museum of Science and Industry occupies converted warehouses at Liverpool Road Station.
In contrast, Piccadilly Basin was purchased by Town Centre Securities (TCS) (1974), who run city parking. Personal theory is the site’s redevelopment was not high priority, as the filled in basin provided lucrative meanwhile-use as a car park, located near to Piccadilly Station. Martin Stockley partnered with TCS to gain European Regional Development Fund match funding (£2million) for restoration of the Rochdale Canal (1992-1993), He was involved in the master plan (1997) and proposed the renovation of Carver’s Warehouse (personal communication, 11 April 2013). The Piccadilly Partnership (2003), a public-partnership between TCS and the City Council, may indicate that Piccadilly Basin now has ambitions to become the new Castlefield.
2.4 Scale of Development The Piccadilly Basin master plan (5.2 Ha) (fig 6) proposes new office, retail and leisure, anchored by converting Carver’s Warehouse (completed) and Brownsfield Mill (in progress). In literature, five proposed office blocks are described as providing ‘an appropriate setting for the existing warehouses’ (Ian Simpson Architects, 2013).
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Urban: Piccadilly Basin, Manchester
Fig 4: 1890 - Basin Active Scale 1:1800
Fig 5: 1960 - Basin Filled-in Scale 1:1800 Scale 1:1800 0
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Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
However, these would isolate Carver’s Warehouse from the canal, removing any visual connection, and represent a significant level of development: nearly 25000 square metres of office space in total. Whilst the seven-storey office is in proportion to the Langely Buildings opposite, it far out-scales Carver’s Warehouse. Eider House is visualised with minimalism and transparency (fig 13). The proposed retail village focuses on Brownsfield mill (fig 14). Sharing the historic identity of two buildings on a proposed master plan of this scale means the new elements would eventually create a dominant new character. However, this may be balanced by the surrounding streetscape, textile warehouses, and London Road Warehouse. Broster comments that development at Piccadilly Basin has slowed since the recession. Incremental regeneration was advocated by the Future of Regeneration conference at MIPIM 2010, which described how regeneration projects need to be broken-up when the economy is weak (Ocayto, 2010).
New elements, such as the Building Design Partnership Offices (fig 11), add a strong modern identity to the basin, with a stainless steel curved façade, timber cladding and a dramatic stair core cantilever. The northern façade is glazed, showing activity within the building and creating an attractive border to the basin, especially at dusk. Richard Lewis of TCS enthuses that the building occupies six stories without looking over-developed (Building Design Partnership, n.d.).Vantage Quay (Conran and Partners for City Lofts Developments, 2005), contains 117 studio, one and two-bedroom apartments (fig 12). The brick-clad volume references adjacent warehouses, given a contextual modernism by timber framing, and zinc-clad balconies. Conversion of Jackson’s Warehouse and the ILVA Furniture store are two more realised elements. In comparison to the pastiche pub and new-build apartments at Castlefield, modern additions are informed, not dictated by their historic surroundings.
Despite the emphasis given to the public realm, Piccadilly basin is still largely a car park. Castlefield has iconic interventions, such as Merchant’s Bridge, inspired by Caltrava (1994, Whitby Bird and Partners) (fig 7). At Piccadilly, the basin bridge is a more functional structure (fig 8), reflecting Martin Stockley’s comment that, since development is wholly commercial, spending has to be carefully allocated. The re-laid canal towpath, gabion walls, heritage sets, stainless steel bollards and timber planters are more subtle interventions that do enhance public experience of the basin, and succeed in creating an active edge. The Manchester Garden City initiative (BDP and CityCo) (fig 16) has compensated for the lack of landscaping funding by engaging the community, greening the canal side through planting, wildflowers and vegetable Grow Boxes. On balance, the renovation, new build and emergent landscaping is beginning to create a sense of place.
2.5 Connectivity Piccadilly Basin is promoted as both well-connected, near the heart of the city, and in a tranquil location, appealing to both a residential and a business audience. The site is less than 200m away from Piccadilly Station, with express services to Manchester Airport, and ten minutes from the city centre. A strong statement is made about Manchester’s economic connectivity. The creative economy is represented by Building Design Partnership, and TechHub, which supports programming and technology start-ups. Douglas Ward describes the ambition to attract the best talent from outside London. Members are driven, passing through a strict application process. Marketing Manchester, which promotes the city’s business and tourism identity on the international stage, is aided by association with the historic significance of Piccadilly Basin (Personal Communication, 8 March 2013). Culturally, the area is well-served by the Northern Quarter, a Bohemian district with vintage bars, record shops and individual retailers. Piccadilly Village and Paradise Wharf on the Ashton Canal basin offer classy canal-side living. Despite the close proximity to the city centre, the basin feels like its own enclave, since Dale Street and Ducie Street have defined fronts from the city-centre approach (figs 9 and 10). Apartments are separated from the office buildings, clustered around the canal arm
Urban: Piccadilly Basin, Manchester
‘Existing and contemporary buildings combine with attractive public spaces to create a vibrant mixed-use district with a distinctive canal-side identity. ‘Modern architecture provides an appropriate setting for the existing warehouses which are creatively restored and converted. Building lines and scale establish coherent streetscapes that engage with the surrounding roads.’ Ian Simpson Architects Fig 6: Piccadilly Basin Master Plan
Fig 7: Iconic Merchant’s Bridge, Castlefield
Fig 8: More minimalist bridge, Piccadilly Basin
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Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
to Jackson’s Warehouse, and creating a sense of privacy. As a city quarter, with little tourism engagement, Piccadilly Basin is better connected for business than Castlefield, and more exclusive for residential owners.
2.6 Physical and Rhetorical Change Manchester’s adeptness at place marketing combines landmark development with rhetorical change, questioning the physical authenticity of conservation-led regeneration. At Piccadilly Basin, the major developments have been Carver’s Warehouse and the BDP offices (fig 11). Connectivity, historic features, and waterfront location all existed before regeneration, and only needed to be enhanced. In the personal opinion of Redhead and others, transformation of the Northern Quarter, was largely achieved by converting textile warehouses and traditional workshop dwellings (personal communication, 8 March 2013; Wansborough and Mageean, 2000). Creating a strong vision is a necessary precursor to attract investment for actual regeneration, and securing continued economic benefit afterwards. Historic identity must be updated with a modern layer to show the city is forward-looking. Original-Modern (2009, Peter Saville), a marketing strategy that connects the city’s innovative past with future potential, could be compared to master plan statements like ‘a unique blend of architecturally magnificent and beautifully restored historic office space in the hub of the City’ (Town Centre Securities 2013). Montgomery’s description of urban stewardship implies Carver’s Warehouse and the BDP offices are strategic interventions (1990, quoted in Wansborough and Mageean, 2000). Piccadilly’s evolving identity is therefore linked to managing the urban landscape.
2.7 Social Value Regeneration prioritises market-economics, above any social or communal aspects (Kidd, 2005, 407-414). Land ownership by Town Centre Securities and the creation of the Piccadilly Partnership (primarily Town Centre Securities and the City Council), implies little public involvement. In contrast, the Northern Quarter has a strong resident’s organisation that drives regeneration. Piccadilly Basin is only just emerging as a residential district. However, the provision of studio, one and two-bed luxury apartments at Vantage Quay, implies the development exclusively attracts a high-earning demographic. Despite this, the canal is recognised as a valuable community resource, used for leisure, walking and cycling. The annual Canal Festival invites the public to the basin, and BDP have engaged with community volunteers. Although regeneration is ultimately controlled by Town Centre Securities, they at least encourage a sense of public ownership.
In conclusion, conservation-led master planning flexibly adapts to economic uncertainty. Connecting new identity to historic identity encourages initial investment (when the new identity is only projected) and sustained investment (through continued promotion). The scale of proposed development may eventually dominate the historic identity. Current development successfully blends old and modern, evolving a hybrid.
Urban: Piccadilly Basin, Manchester
Fig 9: Piccadilly Basin from Dale Street
Fig 10: Picaddilly Basin From Ducie Street
Fig 11: Building Design Partnership Offices (2008)
Fig 12: Vantage Quay and Jackson’s Warehouse (1836)
Fig 13: Visualisation of Eider House
Fig 14: Retail Village (proposed)
Fig 15: Brownsfield Mill
Fig 16: The Manchester Garden City initiative
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Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
Chapter Three BUILDING | Carver’s Warehouse The conversion of Carver’s warehouse (2006-07) required intelligent design to introduce office programme, respect original form and appearance, and restore the structure’s integrity. Stan Broster and Martin Stockley cite adoption of the minimum intervention philosophy. However, they admit conservation should give a building new life as well as preserving its historic significance. Informed conservation dictated where radical interventions, such as a new office wing, and glazed atrium, could be justified, and the need for sensitivity within the warehouse.
3.1 Historic Significance Transport warehouses are essentially utilitarian. Warehouses across Manchester contextualise 130 years of development. Type One canal warehouses (developed 1760-1770), combine an internal canal arm, multistory loading, and a hoist system (Nevell, 2001, ch. 2). Carver’s warehouse has a unique stone construction, in comparison to brick-built examples at Castlefield. There are four stories, an attic and a basement. Decorative flourishes include a Venetian window, Palladian detailing and timber dormer. Function is clearly registered on the external façades. The east elevation is punctuated by two boat holes, and arched wagon entrances to either side (fig 17). The southern and western elevations have tiers of goods doors, and a hoist covering (fig 21). On upper floors, cast iron columns with v-shaped diagonal struts support oak beams and joists, with stone piers substituted in the basement. Flanges on the columns meant the space could be divided into storage bins. Goods from the canal were unloaded internally, stored on upper floors, and lowered to road transport. The hoist system was driven by a waterwheel (installed 1824), preserved in a chamber below the south elevation (UMAU, 2006a, 6-9).
3.2 Form and Appearance As a relatively fixed element, historic form and appearance dictate which compatible uses can be accommodated; factors such as circulation, the need for partitioning, floor to ceiling height, and day light. Martin Stockley convinced Town Centre Securities (TCS) that office conversion was the most viable option. Internal circulation was removed from the warehouse and accommodated by a new glazed atrium, maximising rentable floor area, avoiding structural intervention, achieving building regulations and disabled access. Steel‑framed bridges connect with the warehouse loading doors, regulating uneven floor levels and reinterpreting the historic passage of goods. Since internal and external connectivity originally needed many openings, conversions must define the main entrance. A new wing, replacing a demolished terrace, occupies the Dale Street elevation (fig 18 and 24). This houses the reception, meeting rooms and café, and enables the
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Building: Carver’s Warehouse
13
Existing dormer roof covering to be renewed with Code 5 lead sheet on 18mm wbp plywood deck. Window to be replaced and fitted with 24mm double glazed units.
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11
11 WAREHOUSE ROOF covering to be stripped and replaced with re-used slates on west elevation and new matching slated on east elevation, laid on new breathable felt membrane and tanalized battens. Roof timbers to be repaired as per Martin Stockley Associates specification New insulation to be inserted with vapour barrier beneath, thickness to suit existing rafters.
Existing valley gutters to be renewed as necessary and relined with Code 5 lead covering and flashings. Existing rainwater pipes and hopper heads to renewed at existing positions, with cast iron fittings.
existing stonework cleaned, repaired and repointed in accordance with approved samples and method statements
existing windows replaced with powder coated steel frames with double glazed vertical pivot sashes
45.76
arched openings to be infilled with oak frames and clear silicone jointed glazing.
Fig 17: East Elevation (Original canal-side) 1:200
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sandblasted glazing with silicone jointing
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natural dark grey stone cladding to sloping plinth toughened clear glass entrance doors
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chimney stacks repointed with lime mortar
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replacement CAST rooflights double glazed
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exstg slates removed and retained for opposite pitch new slates to match, to approved sample
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grey powder coated aluminium louvres RAL
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blockwork with grey coloured render finish
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powder coated steel railings / gate
STAN
BROSTER
ARCHITECTURE
DESIGN
COMMERCIAL AND RETAIL INTERIORS
FURNITURE
CARVERS WAREHOUSE Piccadilly Basin, Manchester HILTON STREET (EAST) ELEVATION STAN BROSTER DESIGN LIMITED
Stan Broster DipArch RIBA
Charlesbye Farm, Greetby Hill, Ormskirk, Lancs, L39 2DT Mob: 07770 604531 Tel/Fax: 01695 570705 E-mail: stan@stanbrosterdesign.co.uk scale:
1:100 @ a2
date:
Feb 06
CW/P/24
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Fig 18:West Elevation (Dale Street facade) 1:200
existing building
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SEE CW/P/02 FOR GENERAL NOTES 1
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sandblasted double glazed panel clear double glazing in powder coated aluminium framing with two opening sashes natural stone cladding
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clear single glazing
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natural dark grey stone cladding to sloping plinth toughened clear glass entrance doors
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chimney stacks repointed with lime mortar
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replacement CAST rooflights double glazed
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exstg slates removed and retained for opposite pitch new slates to match, to approved sample
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grey powder coated aluminium louvres RAL
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Fig 19: Carver’s Warehouse
STAN ARCHITECTURE
BROSTER
DESIGN
COMMERCIAL AND RETAIL INTERIORS
FURNITURE
CARVERS WAREHOUSE Piccadilly Basin, Manchester DALE STREET ELEVATION STAN BROSTER DESIGN LIMITED
Stan Broster DipArch RIBA
Charlesbye Farm, Greetby Hill, Ormskirk, Lancs, L39 2DT Mob: 07770 604531 Tel/Fax: 01695 570705 E-mail: stan@stanbrosterdesign.co.uk scale:
1:100 @ a2
date:
Jan 06
CW/P/21
Fig 20: Respecting form and appearance: glazed boat holes
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Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
warehouse to contain purely offices (NBS TV, n.d) (fig 22). Stockley and Broster assert the need to make new additions distinct (personal communication, 2 April 2013). The choice of pre-cast concrete and steel frame, stone cladding, and a fin screen are a radical contrast to the existing warehouse. Although both elements have a robust engineered expression, historical periods are juxtaposed, rather than enjoying interaction. The glazed atrium allows the warehouse to be read as a discrete volume from the exterior.
Office use has enabled the open-plan floors to be largely preserved, in contrast to apartment and hotel conversions, which remove character through cellular division. Sanitary and kitchen spaces occupy a small footprint on the plan interior. Conference rooms are divided with glazed partitions that maintain visual continuity. However, flexible subdivision is a requirement for speculative offices. Dual access bridges mean each floor plate can be divided equally in two, according to the external aspect of the two boat holes. The ground floor, with neither subdivision, nor a services core, has documentary value (fig 23).
Low-floor to ceiling height in the basement was solved by lifting flags and lowering the floor level by 150mm. Similarly, significant deformation of upper floors was corrected by installation of a raised access floor. Some services are contained in the void, as well as sound insulation. Carefully suspending remaining services between joists maximises clear height, and allows the underside of the original floor to remain expressed.
Daylight levels are improved by making maximum use of existing openings, glazing the boat holes (fig 20) and cart entrances. Existing windows were replaced with similar equivalents: powder-coated steel frames with double glazed vertical pivot sashes (Stan Broster Design, 2006). Merchant’s Warehouse, an earlier renovation, made more obtrusive interventions, cutting a new roof light and light well along the length of the building (Stonehouse, 1998). Conservation Principles state alterations are acceptable where loss of historic significance is decisively over-ridden by present benefits (English Heritage, 2013, 60). At Carver’s Warehouse, it was strongly desired that the basement could be reused. Martin Stockley believes the acceptability of alterations is decided by context and attitude, judged by asking the question: ‘how would I, as a good architect or engineer do this today?’ (personal communication, 11 April 2013). Form and appearance are key qualities of place, which intelligent design can retain and express.
3.3 Structural Repair Respecting the structure was achieved by ensuring its essence remained legible. The structure has evidential value, contextualised by the evolution from brick cross wall and timber frame to cast iron, wrought iron and brick jack arch technology. Stan Broster and Francis Armitage-Smith both list static load limits as an opportunity/challenge in warehouse conversion (personal communication, March 2013). The ability for high loading permits a wide range of uses. Stockley carried out a structural assessment, combining photographic analysis with practical testing to ensure suitability for modern offices. Several cast iron columns needed extra support. Steel angles were inserted at the corner of the structure to resist torsion. Selective repointing and stone cleaning was carried out, as well as the removal of render (NBS TV, n.d.). Although Stockley had engaged in localised timber repair, replacing rotten or weak bearing-ends, selective cutting and lowering was needed to make the conversion a practical reality (see chapter four) (personal communication, 8 March). In a contrasting approach, little respect was show for the traditional cross-wall arrangement at the East Gate Offices (1991-1992), where a completely new steel structure was substituted (Ahrend Humber, 1992, 35-47).
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Building: Carver’s Warehouse
11
existing dormer roof to be reclad in lead and window replaced to match existing and clear double glazed
existing hopper head and rwp replaced with cast iron fittings
3 14
59.99
existing stonework cleaned, repaired and repointed in accordance with approved samples and method statements
3
former loading bay doors replaced with oak framed double glazed full height opening windows to inner wall face, and oak boarded bi-fold solid shutters externally
existing buildings existing windows replaced with powder coated steel frames with double glazed vertical pivot sashes
entrance doors replaced with new oak vertically boarded doors and frame. steps reformed with stone treads and risers and powder coated steel balustrade
Fig 21: South Elevation 1:200
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chimney stacks repointed with lime mortar replacement CAST rooflights double glazed
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BROSTER
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12 10 8
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clear single glazing 1W9 natural dark grey stone cladding to sloping plinth toughened clear glass entrance doors
9 1W1
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DESIGN
COMMERCIAL AND RETAIL INTERIORS
FURNITURE
CARVERS WAREHOUSE Piccadilly Basin, Manchester
1W8
COURTYARD (SOUTH) ELEVATION STAN BROSTER DESIGN LIMITED
Stan Broster DipArch RIBA
Charlesbye Farm, Greetby Hill, Ormskirk, Lancs, L39 2DT Mob: 07770 604531 Tel/Fax: 01695 570705 E-mail: stan@stanbrosterdesign.co.uk scale:
1:100 @ a2
date:
Feb 06
CW/P/23
1/2 hr fr door
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electrical riser
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Fig 22: First Floor Plan, showing relationship of new wing, atrium and warehouse 1:200
STAN ARCHITECTURE
BROSTER
DESIGN
COMMERCIAL AND RETAIL INTERIORS
FURNITURE
CARVERS WAREHOUSE Piccadilly Basin, Manchester FIRST FLOOR PLAN W.I.P. ISSUE STAN BROSTER DESIGN LIMITED
Stan Broster DipArch RIBA
Charlesbye Farm, Greetby Hill, Ormskirk, Lancs, L39 2DT Mob: 07770 604531 Tel/Fax: 01695 570705 E-mail: stan@stanbrosterdesign.co.uk scale: 1:100 @ A2
Fig 23: Ground floor remains open plan
date:
Jan 06
CW/P/03
Fig 24: Entrance to distinct modern office wing, Dale Street
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Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
Stockley describes conservation, by applying the metaphor of medicine. Family history (significance), identifies the best course of treatment. Broster and Stockley believe in doing the minimum, making it clear, and legible for future professionals. However, this is more about preserving the essence of the original design, than maximum retention of physical fabric. Stockley summarises that conservation medicine is ‘not just trying to save the patient, but giving them a new life’ (personal communication, 11 April 2013). Whilst a structure may have evidential value, it is not a static document. Reinterpreting a structure’s value according to the demands of practical reuse can respect these values, whilst allowing for alteration (Theodossopolous 2012, 11).
3.4 Architectural Features Subtle emphasis identifies historical features without additional interpretation. For instance, the canal arms are represented by timber flooring, contrasting with the surrounding stone. Redhead would promote more explicit communication, where the importance of the water-powered hoist is concerned, such as an information plaque (see hoist schematic, fig 26). Although earlier re-flooring has erased floor hoist openings, winding gear still remains in the loft. A jigger (drive shaft) in the basement conference room (figs 27 and 28) is visually disconnected from the wheel pit beneath the south elevation, which is only distinguished by landscaping. In the attic, timber battens, metal hoop by the loading doors, and marks on the roof trusses, remain ambiguous. Only with specialised knowledge can the first two features be interpreted as the brackets for tally boards, and safety fixings to secure hoist operators. Even the archaeologists are uncertain about the timber marks (UMAU 2006a, 7). Some historical features, such as the winding gear, have been removed (fig 29) or preserved and cleaned up (fig 30), whereas timber has been left in a distressed state.
Emphasising materiality over curating function imbues the objects with an uncanny quality.Vidler describes how Post-modernism is ‘preoccupied with traces and residues’ (Vidler, 1991, 1-14). Whilst the hoist, brackets, fixings and timber marks remind the occupants of practical warehouse use, the lack of precise understanding as to how these elements operated introduces a disconnecting unfamiliar incursion to the space, likened to the uncanny (ibid). Stockley deliberately avoided the frozen-fabric preservation route, implied by over-cleaning features, or preserving them in a particular era, choosing to leave signs of past occupancy where it did not interfere with practicality (TCS, 2008). Perhaps the stimulating environment created by historic buildings relies more on thought-provoking functional ambiguity, where tenants ascribe their own values to features. Additionally, a generic industrial warehouse aesthetic, such as timber floors and cast iron columns, may be more marketable as speculative offices.
3.5 Comfort Requirements Despite the challenges of making a historic building comfortable for modern occupants, Carver’s Warehouse is successful. This is important, since Armitage-Smith comments the Manchester market typically prefers new-build offices, and has strict criteria that inform grading, and rental return (personal communication, March 2013). Each floor has self-contained toilets and kitchens. Although the preference was for natural ventilation, air-conditioning was installed to supplement this in summer. Thermal comfort results from high thermal mass, cast-iron radiators and mechanical ventilation. Re-roofing and re-glazing were opportunities to improve thermal insulation. Task-lighting, power and data access can be reconfigured to suit new occupancy. The additions are mainly mechanical and electrical in nature, a distinctly modern prosthesis, underlying the inherent flexibility of warehouses to accept re-use.
Building: Carver’s Warehouse
Town Centre Securities PLC
Stockley (Construction Mgr)
Stan Broster Design (Architect)
Masonry Repairs Timber Repairs Concrete frame Glazed envelope Fig 25: Operation of the construction management contract
Fig 26: Schematic of internal hoist operation
Fig 27: Jigger (drive shaft) as found
Fig 28: Jigger recontextualised in basement conference room
Fig 29: Floor-mounted hoist documented and removed
Fig 30:Truss-mounted hoist preserved and made a feature
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Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
3.6 Contract Adopting a Construction Management Contract allowed for uncertainty in the scope of works. Specialised packages for masonry repairs, timber repairs, the precast concrete structure and atrium glazing were let separately. Broster states renovation always contains hidden surprises (NBS TV, n.d.). In this situation, standard contracts, give the contractor an upper-hand to dictate costs. Separating construction management of the existing warehouse and modern wing meant delay in one element would not affect the other. Developers, concerned about profit, worry conservation professionals will cause them delay and expense. My surveys also revealed designers, needing to focus on aesthetics and practicality, may find some demands frustrating (personal communication, March 2013). At Carver’s Warehouse, the Construction Management Contract gave English Heritage time to approve masonry patching methods according to trial samples. Informed conservation requires the design team to respond dynamically, so introducing change into the contract document avoids future conflict.
3.7 Social Value Socially, the transformation from run-down bathroom showroom to high-quality office conversion illustrates the regeneration of Piccadilly. The ground floor café-deli contributes to the surrounding streetscape (NBS TV, n.d.). However, the private nature of an office building means public benefit is limited to the secured maintenance of Carver’s Warehouse as a historic asset, and appreciation of the warehouse from the exterior. English Heritage asserts the value of community engagement, but does not explain how involvement in the design could be balanced with conservation based on specialist knowledge. Principles 2.2 and 2.3 simply acknowledge the importance of learning, valuing and caring for the built environment, and how experts can promote this by using their knowledge and skills to encourage others. (English Heritage 2008, 20). Although a detailed archaeological assessment and Statement of Significance may be prepared, rarely is this communicated directly with the public. At the end of a project, architects hand-over information to a client, where their professional obligations end. Town Centre Securities were persuaded by Stockley to employ photographer Len Grant, to document the conversion, resulting in a commemorative book and online images (figs 31 and 32). Grant describes how, in contrast to architectural photography, he illustrates process, claiming you can never return to site the next day and capture the same image (personal communication, 9 April 2013). A video by National Building Specification (NBS) TV explains design decisions. Although the public were not engaged in the conservation process, its objectives have been clearly communicated, Whereas Carver’s Warehouse can only be appreciated externally by the public, other warehouses in Manchester, such as at the Museum of Science and Industry, are fully accessible.
Managed change is defined by allowing ‘a listed building to adapt to new uses and circumstances in a way that keeps its heritage value intact’ (English Heritage, 2013, 7). Broster and Stockley’s description of minimum intervention is actually concerned with calculating the degree of intervention acceptable to retain the essential character of Carver’s Warehouse. In some instances, this is allowed to be radical, and in others, surgical intervention was needed, ensuring transmittance of cultural value to the future. Prestigious tenants, who value the warehouse’s atmosphere, contribute to its maintenance. The design intent, to ‘provide a pleasant stimulating office environment, whilst retaining the character and architectural interest of the listed warehouse building’, (NBS TV, n.d.) has been well satisfied.
Building: Carver’s Warehouse
Figs 31 and 32: Len Grant captured the transformation from discount bathroom showroom to high-end speculative offices
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Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
Chapter Four DETAILS | Glazed atrium, Timber Repairs, Integrated Services According to the designers, details ‘reflect the robustness of the original industrial feel of the warehouse’ (NBS TV, n.d.). Adoption of an engineered aesthetic permits the atrium’s structural transparency, expresses timber repair in the existing warehouse, and incorporates services. Sensitive detailing of the interface between old and modern physically illustrates the philosophy of managed change.
4.1 Glazed Atrium Although the atrium is a striking addition, the void expression of planar glazing prioritises the occupant’s relationship to the historic structure. Stockley describes how the atrium is ‘a pragmatic design response to the complications of the listed building’, incorporating circulation, and maintaining visual separation of the warehouse and new wing (Town Centre Securities 2008). Steel-framed bridges at each level span a dramatic void to loading doors in the west façade, emphasising the materiality of the sandstone ashlar facade.
Planar glazing is defined aesthetically by restraint brackets, perimeter interfaces and envelope openings (Centre for Window and Cladding technology, 2013). Broster relates how communication of design intent, the importance of a visually minimal solution, is important when engaging specialist contractors (personal communication, 2 April 2013) (fig 33, 35 and 37). DAG Architectural Glazing employed four-arm spider brackets, locating to stainless steel point fixings in the glass. Glass mullions are aligned with each floor level, and bolted to steel plates on the warehouse façade. Black silicone joints break the surface into a formalised rhythm. Planar glazing wraps round, with minimal join, to form the atrium roof. Entrances are almost indistinguishable, and are operated from a discrete stainless steel louver (Stan Broster Design, 2006).
Broster describes the careful thought to minimise cutting away and fixing back to the existing structure, where the glazing and ashlar façade meet (fig 39-41). A slender stainless steel channel (30wx100d) takes up difference between the uneven sandstone facing and the glazing, typically exposed by 50mm. The channel was secured with masonry anchors, back-filled with silicon, and made level with lime mortar (Stan Broster Design, 2006). After every string course, the channel accommodates a step in the façade. The main fabric interventions are where two rectangular steel sections at the top of the atrium penetrate the stonework to be fixed into hidden concrete pockets in the walls. Similarly, Broster and Stockley enthuse about the connection between the bridges and loading doors (fig 41-43). Two mild steel plates were fixed back to the ashlar with six M16 bolts, secured by injection mortar (Stan Broster Design, 2006). This elegant solution avoided the need to cast a concrete lintel. The bridges are minimalist, employing a glass balustrade and clad in timber boarding.
Detail: Glazed Atrium
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Fig 33: Glazed atrium, Carver’s Warehouse
Fig 34: Glazed stair core, Museum of Science and Industry
Fig 35: Dramatic atrium, character of sandstone facade, CW
Fig 36: Looking-back at the external facade, MOSI
Fig 37: Spider Bracket, Locating Rod, Laminated Mullion, CW
Fig 38: Spider bracket,Welded Flange, Circular Hollow Section: fixings are more dominant, MOSI
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Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
In contrast the glazed Bookends at Merchant’s Warehouse are more pronounced rectangular volumes, defined by matt grey steel channels, ventilation fins, and blinds between each transom (Stonehouse, 1998, 50-55). At the Museum of Science and Industry (figs 34,36 and 38), circulation cores were added to cater for increased visitor numbers, improve disabled access, and enlarge gallery space. Planar glazing is connected to a substantial tubular steel frame. Similar to Carver’s Warehouse, a slim powder-coated steel channel was bolted to the brickwork, making a light impression on the elevation. However, accommodating landings required window openings at ground, first and second floor level to be enlarged (Buttress Fuller Alsop Williams, 2009). The cantilevered staircases over-look the goods yard. Both the MOSI and Carver’s Warehouse recall the vertical movement of goods, though the latter creates a sense of place over prioritising circulation.
Although Carver’s atrium is dominated aesthetically by the old structure, closer proximity to the glazing components lets us appreciate their advanced engineering. Although the atrium is physically and visually minimal, it has radically altered the warehouse’s cultural value. The dramatic height, ability to view the upper façade in close proximity, and recollection of goods movement are all modern interpretations. The MOSI example illustrates how reducing harm to the physical structure, embodied in the mythical graceful detail, is subdued when considering need to practically alter cultural values, for instance, by providing disabled access. The structure’s essence has been essentially unaltered.
4.2 Timber Repairs Pam Alexander’s description of conservation-led regeneration as ‘key-hole surgery’ (Alexander, 1997) aptly describes structural timber repair, which conserves one of the warehouses strongest features, by adding new material. Authenticity is less about retaining the maximum fabric, than acting with the spirit of the original design. Replacing timber may be regarded as cyclical maintenance. The two main concerns are to ‘cancel the sources of decay, and substitute damaged sections’ (Theodossopolous 2012). The general arrangement drawings show a surgical approach, where individual joists have been analysed for defects. A standard repair detail specifies how the end of a timber is cut back, a 250x10mm mild steel internal flitch plate added, and connected to a new solid section (fig 44). The drawings specify in meticulous detail exactly how much cut back is required, ranging from 100 to 2000mm (Stockley, 2006). Intervention is significant, completely replacing approximately 70 joists, and making repairs to 90 bearing ends. Where decay has been an issue, Stockley specify ‘a moderately durable heartwood of Boron-treated Scots Pine’ for the new wall plate (Stockley, 2006). The flitch plate extends directly into the wall and is welded to a mild steel bending plate, recognising that the source of decay cannot be removed. Similar repair work has been done to the roof trusses. Scarf joints using bolted metal fasteners provide high stiffness, with the washers carrying tensile strength, spreading load and restoring the bearing moment through composite action. Choosing whether to leave the washer surface mounted, recessed, or concealed with a timber plug is an important aesthetic decision. Here, the designers express 21 bolts by leaving them surface mounted (fig 45). This shows concern for evidential authenticity, making repaired sections clearly recognisable.
Conservation guidance is continually changing. Timber repair at the Eastgate Offices (renovated 1992) used the technique of glass fibre set in epoxy resin to bind split or warped sections (Ahrend Humber, 1992, 3547). The decayed end is removed, and resin injected into the void. A threaded bar connects a new bearingend through remains of the rotten segment. However, Ross (2002) argues there are many unknowns to this technique, such as the bonded strength of resin and steel. The repair is irreversible, since separation of the timber would tear apart the fabric. In contrast, bearing-ends connected with bolts can be replaced. Similarly, 1980s technical guidance preferred that steel bolts should be concealed by plugs, and the avoidance of visible side plates on beams (Ashurst,1988, 17-22).Yet Carver’s Warehouse represents an evolution in thought,
Detail:Timber Repairs
Fig 39: New and old meet with grace: Steel channel on sandstone facade, CW
Fig 40: Horizontal Section through glazing channel Not to Scale
Fig 41: Glazed bridges meet the warehouse facade
Fig : Installation of a steel bridge
Fig 42: Bridge installation
Fig 43: Sketch detail of bridge anchor
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Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
since, in addition to internal flitch plates, there are many cases where joists have been strapped externally. Conservation guidance admits that what is best practice now may not be considered beneficial for heritage values in the future, promoting reversibility, but recognising irreversible change is sometimes unavoidable (English Heritage, 2008, 40).
Some structural alteration goes beyond repair. At Carver’s Warehouse, joists and floorboards were lowered between the ground floor and first floor, to increase headroom. Similarly, the service riser was inserted by trimming three joists per floor. Removal of staircases, added during the building’s life as a bathroom showroom, has led to the reinstatement of joists and floorboards (Stockley, 2006). Carver’s Warehouse (fig 46), Merchant’s Warehouse and the Eastgate Offices all have dramatic roof spaces. Carver’s Warehouse has made modest changes, replacing missing truss members, documenting and removing floor-mounted winding equipment, and cleaning up the water-powered hoist. Re-roofing was used as an opportunity to introduce thermal insulation. Replaced roof lights provide passive ventilation controllable by the building management system. Natural ventilation has been supplemented by a mechanical system; with air handling ducts expressed in the roof space. Merchant’s Warehouse also frames its retained winding equipment. However, at the East Gate offices (renovated 1992) significant alteration was made to the roof trusses in order to accommodate a mezzanine (Ahrend Humber, 1992, 35-47), which was justified as giving the historic fabric a modern reinterpretation. Interventions seem to be on a scale. Sensitive additions are seen as conserving historic value, and satisfying the heritage need for change through strategic intervention; and bolder additions are promoted as creating new identity. In my personal view, it seems that a broad range of interventions can be justified, depending on the theoretical viewpoint chosen.
4.3 Integrating Services Routing mechanical and electrical services is cited by both Broster and Armitage-Smith as a significant challenge (personal communication, March 2013). At Carver’s Warehouse, the majority of services run from metal trays located in the void between joists, to desk level, meaning desks and IT equipment can be flexibly reconfigured, and avoiding the notching of beams. In fact, the most significant features of the renovation are fixtures and fittings, such as suspended fluorescent ceiling units, and external halogen wall lights (fig 47). At the MOSI, modern fittings include glass and steel walkways that provide circulation in the galleries, and reincorporate original track wells in staging of the exhibits (fig 48). The reason reversibility is valued can be illustrated by the changes Buttress Fuller Alsop William Architects made to the original conversion at MOSI (Building Design Partnership), where large areas of lost vaulting were reinstated with concrete. The concept of a fixture, as used at Carver’s Warehouse, supports office use through flexibility; preserves authenticity by being distinctly modern; and creates a stylish up-market aesthetic. When asked whether reversibility made any modern meaning superficial, Stockley responded that superficiality is more about the way a change is enacted, as ‘either a gesture, which lessens the historic quality of the building, or an honest approach that works with the building’ (personal communication, 11 April 2013). English Heritage recognises the need for design quality in every intervention, as most reversible changes will become permanent.
Conservation is in the details. Using informed conservation to establish a design philosophy, such as minimal intervention, or robust detailing, helps the architect to transmit this vision to other contractors, whether specialists in historical renovation, glaziers, or mechanical and electrical engineers. Small physical and visual changes can impact greatly on cultural perception, radically altering the identity of the building.
Detail:Timber Repairs
Fig 44:Typical Joist Repair Detail 1-20
Fig 45: Spliced repair and exposed bolts
Fig 47: Features: External pulley channel and hallogen light
Fig 46: Dramatic roof space
Fig 48: Integration of fixtures and fittings: Making Textiles Gallery, MOSI
Timber Conservation Principles: 1. Maximise retention of the original material 2. Allow the original form to be seen 3. Do the minimum...the main aim is to make an old building sound, not to make it a new building 4. Consider reversible remedial work (Ross, 2002)
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Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
Chapter Five DISCUSSION | Comparing Scales Conservation interventions that claim to be physically and visually minimalist actually have a great impact on cultural value, and require a large amount of design consideration. Carver’s Warehouse shows minimal intervention on its own does not preserve historical identity. Instead, informed conservation has judged (in the words of Stockley) where interventions could be radical or subtle. This methodology, employed from the master plan to the detail, supports Vidler’s argument that Postmodern has adopted ‘the more subtle and difficult task of calculating the limits of intervention according to the resistance of the city to change’ (Vidler 1991, 199-204).
In the case of the master plan, the limit will be crossed when redevelopment dominates the genius loci. Just as Koolhaas (1995) posits it is unrealistic for historic identity to characterise an ever greater city by its core, the office buildings proposed at Piccadilly Basin cannot possibly share the identity of Carver’s Warehouse without asserting character of their own. Currently, the historic identity of Carver’s Warehouse is juxtaposed with the contemporary BDP offices. At the building and detail scale, modern and existing elements are also clearly indentifiable, such as the atrium and warehouse, or spliced timber repairs. Although this technique claims to assist distinguishability and follows the principle of reversibility, the existing building has been synthesised to form a greater symbolic whole. If Vidler’s calculation is a dynamic process, where each iteration of the building relies on retaining significance from previous phases, reversible interventions are unlikely to be fully removed. Brandi believes successful conservation makes it apparent where new additions have occured, but without distracting from enjoyment of the re-integrated whole (Brandi, 2005, 57). Although Carver’s Warehouse is separated into historic phases, modern fixtures throughout and continuation of the engineered aesthetic for modern elements preserve this unity.
Despite the rational security suggested by informed conservation, renovation projects are implicated with uncertainty. The master plan is deliberately ambiguous, being reliant on the property market. Construction Management Contracts recognise that unforeseen evidence, uncovered during construction, may affect conservation methods or increase the scope of works. Furthermore, while informed conservation is a logical decision making process, it does not guarantee that the right decisions are being taken. The process prioritises technical and aesthetic concerns, such as archaeological history and detailed structural analysis, over cultural significance for the community. Best practice advice, such as the aesthetic detailing of repaired timber, and the definition of historical significance regularly changes. However, informed conservation is currently the best tool for ensuring the whole conservation team affect design decisions. This information could be more widely shared with the public to increase appreciation of the historic environment. Recognising conservation is an emotional art, informed conservation’s rationality could be counteracted by less formal interaction
Discussion: Comparing Scales
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between professionals. For instance, Broster describes collectively walking around a site and assessing significance (personal communication, 2 April 2013). Equally important is confidence in the value-based judgements of professionals, reflected in the question ‘how would a good architect or engineer do this today?’ (personal communication, 11 April 2013).
Intellectual productivity is enhanced by being accommodated where a strong genius loci already exists. Speculative office conversion has relied on minimal physical interventions, like service routing of power and data, recalling a process of reoccupation through fixtures and fittings. As a speculative office, Carver’s Warehouse reflects Zukin’s assertion that conservation makes unique historic buildings conform to world market trends (Zukin, 1988, 180). Footloose-tenants, such as TechHub, benefit the prestige of historic identity, and associating this with their own identity, similar to an individual’s engagement described by Cowie et al (2003). This combination, forward-looking and referencing past success, is evidenced in the master plan wording, Marketing Manchester’s promotion of Original-Modern, and selective new interventions, such as the glass atrium. Though the architecture derives great character from the warehouse façade, it is striking in its own right, asserting the role of creative modern design as a fundamental part of conservation-led regeneration.
Urban renaissance is both physical and rhetorical, with rhetoric arriving before the reality. Without place‑marketing, the economic resources for conservation-led regeneration would be scarce, despite the enthusiasm of strongly motivated individuals and communities. Having a strong vision, whether on the master plan scale or (as with Stockley’s vision for Carver’s Warehouse) individual buildings, encourages confidence and investment. It also gives the design team direction, and ensures actors on the urban scale, such as the Piccadilly Partnership, work towards a common aim.Vidler (1991, 180) suggests the resistance of the city to change is both physical and mental, implying managed change is as much about symbolising the reinvented identity of an urban landscape, as physical change. The renovation of Carver’s Warehouse, the earliest surviving canal warehouse, performs this role.
Authenticity is not just a concern for documentary evidential value, such as preserving the water-powered hoist, or retaining maximum historic fabric, as with timber repair, but recognising the significance of a building component, structure, or city-quarter and preserving its essence. The critical act of design synthesises new programme with existing cultural and economic value. Glazing the boat holes, and reusing the loading doors for access, were physically minimal interventions that greatly reinterpreted the significance of these features, generating new meaning, and transmitting their importance. Preserving features cannot avoid creating icons, promoting the regeneration of the warehouse, both for cultural appreciation and as economic strategy. However, managed change recognises preserving heritage assets in a particular era prevents the rich engagement with heritage described by Smith (2006); ’a process in which cultural and social values are rewritten and redefined for the needs of the present’. New occupants ascribe their own meanings, through interpretation and reuse. This particular conversion has a poetic quality, since speculative office space, like the storing of goods, is largely transient in nature.
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Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
CONCLUSION Analysis of Carver’s Warehouse shows the project team adopted a sensitive, proactive approach engaging with the philosophy of managed change and informed conservation. Conservation was considered at the building and detail scale with a common vision. However, it is not yet apparent whether the same vision will be extended to future redevelopment of the basin. Historic significance is preserved, enhanced or lost at each individual design decision, whether the meeting of a glazing channel with the existing façade, or how to best remediate uneven floor levels. Conversely, new cultural meaning is always registered. This study shows how informed conservation is a mechanism to manage change in the design process, and posits this is a richer way to engage with heritage than through protective legislation. In the future, conservation philosophy should be embedded at all scales in the design process, and information compiled in a database. The perception of conservation is changing, from managing specific buildings or areas, to a design attitude for the whole built environment, engaged by professionals and the public. Conservation practices are already becoming far more integrated in general planning, as illustrated by incorporation in the National Planning Policy Framework.
On the urban scale, managing identity is about securing confidence in new development rather than explicitly preserving the old. At the building and detail scale, minimal physical intervention has accommodated great economic and cultural change. Carver’s Warehouse demonstrates that conservation-led regeneration is a more sustainable method of intervening in the urban environment. However, stewardship implies this resource needs constant management to retain and enhance its benefits. Manchester has developed a strong, successful identity by recognising its historic warehouses are valuable assets, and integrating them with its modern vision. Although conversion at Carver’s Warehouse has secured its physical future, the project has far greater symbolic value, showcasing Manchester’s adeptness at reinvention and revival.
FURTHER This study is successful in portraying managed change as a process throughout each scale, and has benefited from personal reflection. In a larger piece of academic writing, this could be further improved by comparative analysis of other warehouse conversions, at the same level of detail. Several theory resources, including Glendinning (2013), Pendlebury (2009) and Madgin (2009) were discovered late in the writing process, and have only received superficial examination. My practical analysis bears out some of their conclusions. Particularly interesting is Glendinning’s (2013) idea that conservation may eventually be subsumed by sustainability consciousness, as the recognised number of heritage assets increases, and our perception of heritage moves from tangible, place-bound entities, to intangibles. My opinion is that regeneration, reimaging and reuse are not new phenomena. Humanity has always prioritised some parts of the built environment, not just because they are old, but because they are special, and used them as the starting point for a new imagination of the city, building or component.
Conclusion
Fig 49: Carver’s Warehouse, successful example of conservation-led regeneration
Fig 50: Heritage Works (2013):Wordle Analysis
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Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
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Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
ILLUSTRATIONS Many thanks to Stan Broster Design and Stockley for allowing their drawings to be reproduced. Where not explicitly stated, these are my own images Full Page: Synthesis of Old and Modern — Carver’s Warehouse (Grant, 2006) Fig 1: Heritage-Led Regeneration, process diagram (Heritage Works, 2013, 18) Fig 2: Location of Manchester’s transport warehouses 1:20000 (Own image) Fig 3: Phaseology of Carver’s Warehouse (Own image, based on information from UMAU, 2006a) Fig 4: 1890 - Basin Active Scale 1:1800 (Digimap, 2013) Fig 5: 1960 - Basin Filled-in Scale 1:1800 (Digimap, 2013) Fig 6: Piccadilly Basin Master Plan (Town Centre Securities 2013) Fig 7: Iconic Merchant’s Bridge, Castlefield Fig 8: More minimalist bridge, Piccadilly Basin Fig 9: Piccadilly Basin from Dale Street Fig 10: Picaddilly Basin From Ducie Street Fig 11: Building Design Partnership Offices (2008) Fig 12: Vantage Quay and Jackson’s Warehouse (1836) Fig 13: Visualisation of Eider House (Town Centre Securities, 2013) Fig 14: Retail Village (proposed) (Stockley, 2013) Fig 15: Brownsfield Mill Fig 16: The Manchester Garden City initiative (CityCo, 2012) Fig 17: East Elevation (Original canal-side) 1:200 (Stan Broster Design, 2006) Fig 18: West Elevation (Dale Street facade) 1:200 (Stan Broster Design, 2006) Fig 19: Carver’s Warehouse (Greater Manchester Archeological Advisory Service, GMAAS, n.d..) Fig 20: Respecting form and appearance: glazed boat holes (GMAAS, n.d.) Fig 21: South Elevation 1:200 (Stan Broster Design, 2006) Fig 22: First Floor Plan, showing relationship of new wing, atrium and warehouse 1:200 (Stan Broster Design, 2006) Fig 23: Ground floor remains open plan Fig 24: Entrance to distinct modern office wing, Dale Street Fig 25: Operation of the construction management contract (based on information from NBS TV, n.d.) Fig 26: Schematic of internal hoist operation (UMAU, 2006a) Fig 27: Jigger (drive shaft) as found (GMAAS, 2006) Fig 28: Jigger recontextualised in basement conference room Fig 29: Floor-mounted hoist documented and removed (GMAAS, 2006) Fig 30:Truss-mounted hoist preserved and made a feature Figs 31 and 32: Len Grant captured the transformation from discount bathroom showroom to high-end speculative offices (Grant, 2006-07) Fig 33: Glazed atrium, Carver’s Warehouse Fig 34: Glazed stair core, Museum of Science and Industry Fig 35: Dramatic atrium, character of sandstone facade, CW Fig 36: Looking-back at the external facade, MOSI Fig 37: Spider Bracket, Locating Rod, Laminated Mullion, CW Fig 38: Spider bracket,Welded Flange, Circular Hollow Section: fixings are more dominant, MOSI Fig 39: New and old meet with grace: Steel channel on sandstone facade, CW Fig 40: Horizontal Section through glazing channel Not to Scale (DAG Glazing, 2006) Fig 41: Glazed bridges meet the warehouse facade Fig 42: Bridge installation (Grant, 2006) Fig 43: Sketch detail of bridge anchor (Stan Broster Design, 2006) Fig 44:Typical Joist Repair Detail 1-20 (Stockley, 2006) Fig 45: Spliced repair and exposed bolts Fig 46: Dramatic roof space Fig 47: Features: External pulley channel and hallogen light Fig 48: Integration of fixtures and fittings: Making Textiles Gallery, MOSI Fig 49: Carver’s Warehouse, successful example of conservation-led regeneration Fig 50: Heritage Works (2013):Wordle Analysis (compiled by Wordle, 2013) Fig 51 and 52: Early Fieldwork
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Fig 51 and 52: Early Fieldwork
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Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
APPENDIX Site Visits Piccadilly Basin: Carver’s Warehouse, Jackson’s Warehouse (exterior only) Castlefield: Eastgate Offices (exterior only), Merchant’s Warehouse, Middle Warehouse (exterior only) Museum of Science and Industry: (Byron Warehouse, 1830 Warehouse) Other Warehouses: Great Northern Warehouse, Marriot Hotel (Victoria and Albert Warehouses) My fieldtrips to Manchester provided a chance to visit converted warehouses, placing the renovation of Carver’s Warehouse in context. It also allowed me to speak to the tenants of Carver’s Warehouse (Stockley, Heritage Lottery Fund, Marketing Manchester, TechHub), meet with the archaeologist Norman Redhead, and photograph space in practical use. Gaining their personal reflection has greatly enriched this dissertation.
Questionnaires Short questionnaires were sent to seven professionals across the design team: Norman Redhead (archaeologist), Stan Broster (architect), Francis Armitage-Smith (architect), Martin Stockley (engineer), Darren Radcliffe (English Heritage), Karl Creaser (English Heritage) and Sara Hilton (Heritage Lottery Fund). The number of replies was limited, but Norman Redhead, Francis Armitage-Smith, Stan Broster provided valuable responses. 1. How successful is conservation-led regeneration of warehouses in Manchester? Explain why you believe this is the case. 1 = not successful; 10 = very successful 2. How does conservation-led regeneration locate within Manchester’s overall development goals? 3. What are the common opportunities and challenges when converting a warehouse? Which of these are specific to office conversions? 4. Which key changes are made to the physical fabric and why? 5. Please describe a key architectural detail that prepares warehouses for reuse. 6. What is your role in the renovation team, and how does this role rely on other professionals? 7. What are the opportunities and challenges when working in the development team? 8. What contributions have you made individually to the renovation of industrial heritage in Manchester? 9. How is your work influenced by the planning process and listed building protection? How much influence does this have? 10. How does the planning system allow for creative expression when renovating warehouses?
Francis Armitage-Smith, Architect, Buttress Fuller Alsop Williams (Manchester) 1. How successful is conservation-led regeneration of warehouses in Manchester? Explain why you believe this is the case. 1 = not successful; 10 = very successful 10 – very successful. The fact that a large number of warehouses exist with a range of modern day uses shows Manchester values and supports heritage-led regeneration. If the city was not proud of these buildings, they would have been demolished.
Appendix: Questionnaires
2.
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How does conservation-led regeneration locate within Manchester’s overall development goals?
Place-shaping is a key part of Manchester’s approach to urban development and so it is important [warehouses] are kept in use…Warehouses are a significant building type in the reading of the city, illustrating the transition from primarily industrial manufacturing purpose to commercial economic function. 3. What are the common opportunities and challenges when converting a warehouse? Which of these are specific to office conversions? Opportunities: Challenges: Unique assets with interesting architectural features Listed status, achieving consents High static load limits for floors support wide range of uses Preserving significance of asset High quality building, fire proof and acoustic performance Cost of regeneration and higher contingency Historic buildings tend to retain value vs new builds Market prefers new Grade A Assets in prime locations, more affordable than dev. land Providing IT and M&E services discretely Reduced carbon footprint owing to reuse Condition of asset and maintenance Some assets are well known local landmarks, implied status Lack of / incomplete building information Unknowns / risks associated with old buildings Longer lead in and programme for projects 4. • • •
Which key changes are made to the physical fabric and why? Enhancing access Upgrading thermal performance Insertion of IT services and building services
9. How is your work influenced by the planning process and listed building protection? On a scale of 1-10, how much influence does this have? We use English Heritage’s Conservation Principles Policies and Guidance document to ensure significance is understood before thinking about making alterations. 10.
How does the planning system allow for creative expression when renovating warehouses?
It is down to designers to respond creatively to the constraints of each individual asset and provide solutions that are acceptable in planning terms.
Stan Broster, Architect, Stan Broster Design (Liverpool) 1. How successful is conservation-led regeneration of warehouses in Manchester? Explain why you believe this is the case. 1 = not successful; 10 = very successful From the viewpoint of both an architect and an “outsider”, the regeneration of warehouses seems to have been very successful. In the main, they are buildings of strong, solid character with great presence in the environment, and their loss would have been very detrimental to the character of the city.
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Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
3. What are the common opportunities and challenges when converting a warehouse? Which of these are specific to office conversions? • • • • •
Structural strength in terms of floor loading Suitability of structure to transfer new loadings to foundations, and the foundations themselves Condition of main structural elements – walls, floors, columns, roof Ability to provide modern facilities without inappropriate intervention Ability to provide modern comfort requirements – heating, ventilation, reduction of heat loss
4.
Which key changes are made to the physical fabric and why?
• Roof…either major repair or renewal for basic water-tightness. This may provide opportunity to introduce thermal insulation. • Walls…repair/repointing, and will probably require new openings either for access purposes, or for service routes • Floors may need strengthening and this may provide opportunity to introduce acoustic insulation • Columns and Beams likely to be in need of repair – particularly timber joist ends in contact with walls • Windows may need replacing. This provides opportunity to introduce improved thermal performance 5.
Please describe a key architectural detail that prepares warehouses for reuse.
The junctions between new elements and existing structure require careful thought and management. It is, for example, important not to damage the existing by unsympathetic cutting away in providing fixings, etc. 6.
What is your role in the renovation team, and how does this role rely on other professionals?
The Architect’s role is essentially to protect the existing building from damaging intervention by a multitude of essential services – mechanical, electrical, telecommunications, fire detection, etc. Clearly, the design of new interventions lies within the Architect’s role, but this will also involve intensive discussion with specialist contractors / consultants. 7.
What are the opportunities and challenges when working in the development team?
[Bringing] together all the differing and often conflicting requirements into a mutually acceptable solution... The opportunity provided is to learn and understand the reasons for the requirements of each member of the team. 9.
How is your work influenced by the planning process and listed building protection?
Whilst these are largely positive by virtue of their protection of the building, they can also be negative in causing delay and additional expense to the project, and add a degree of frustration within the design team. 10.
How does the planning system allow for creative expression when renovating warehouses?
The Planning System encourages imagination in the process of resolving the issues raised by conservation requirements. Location of facilities and services…often requires creative thinking.
Appendix: Questionnaires
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Norman Redhead, Heritage Management Director, Greater Manchester Archaeological Advisory Service 1. How successful is conservation-led regeneration of warehouses in Manchester? Explain why you believe this is the case. 1 = not successful; 10 = very successful 6 - Heritage has had a higher profile in regeneration in the city in recent years but the primary driver is and always will be economic considerations. Before the economic downturn of 2008, the apartment market was a big factor in successful conversions; however, this obviously had implications for breaking up the open spaces of warehouses whereas open plan offices could be more sympathetic to character. High profile grade 1 or 2* warehouses clearly had more control over the change to existing fabric, and if associated with a heritage site such as the 1830 Warehouse within MOSI on Liverpoool Road, could attract considerable grant aid (£2m from EH). The EH study of textile warehouses and the Northern Quarter has raised awareness of the significance of historic warehouses and has identified those worthy of protection in the planning system. 2.
How does conservation-led regeneration locate within Manchester’s overall development goals?
The main factor driving regeneration in Manchester is, and always will be economic, with heritage some way behind. If the two combine without the latter providing too many obstacles then this can provide a good outcome. 6.
What is your role in the renovation team, and how does this role rely on other professionals?
My involvement is to ensure that the historic fabric and evolution of a warehouse is understood properly to inform sympathetic conversion. Responding to planning consultations, I identify the need for archaeological or historic building surveys, set briefs for the surveys by contractors and monitor their implementation. 7.
What are the opportunities and challenges when working in the development team?
Opportunities are to raise awareness of what makes the building special and to protect that significance and sustain it for the future; challenges include negative perceptions of industrial heritage, lack of understanding of Conservation Principles and National Planning Policy Framework (NPPF). 8.
What contributions have you made individually to the renovation of industrial heritage in Manchester?
…Raising awareness through being involved with the Inscription of Manchester’s industrial heritage onto the World Heritage Tentative List, a series of publications relating to industrial heritage in Manchester, and giving lots of talks and guided walks on the industrial archaeology of the city. Successful conversions…have shown that these structures can contribute to the modern economy and provide a distinctive sense of place and identity. Much of this is down to EH’s good work. We have come a long way from when I started work in the 1980s and councillors referred to dark satanic mills that should be removed as symbols of oppression. I have developed strong connections with community groups who try to understand, record and protect their industrial heritage.
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Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
Personal Visits Carver’s Warehouse, General 05/01/2013 Norman Redhead (Greater Manchester Archaeological Advisory Service) 08/03/2013 Jonathan McArdle (Stockley, Manchester) 08/03/2013
Telephone Interviews Stan Broster (project architect, Carvers Warehouse) 02/04/2013 Martin Stockley (project engineer, Carvers Warehouse) 11/04/2013 Len Grant (photographer, Carvers Warehouse) 09/04/2013 Francis Armitage-Smith (architect) 02/04/2013 Ian Simpson Architects were contacted but did not respond.
Interview Excerpts Stan Broster, Project Architect
02/04/2013
• Philosophy: Intervention ought to be kept to a minimum. Previous interventions at Carver’s Warehouse had treated the building badly. Insensitive new additions lose the value of the original building. Design creativity is required to integrate new programme with the minimum intervention • Details: New glass atrium ‘as totally minimalist as we could make it…[so that it could] almost not be seen’. Sympathetic, hence no heavy frames. Philosophy communicated to DAG Glazing who designed the structural system and specified the channel • Service trays – routing services a challenge in heritage buildings, did not try to hide service routing. Drop down electrical/data points to workstations. Need for a services riser as part of the intervention. Mechanical ventilation a later addition by the tenants • Preservation of winding gear as a key architectural element. Some floor-mounted elements were documented and removed to make the space usable. Winding gear was cleaned down and left naturally. • Timber repairs: steel flitch plates are more honest in expressing repaired beams than fibreglass, following a conservation policy of expressing the repair • Town Centre Securities’ development of Piccadilly Basin has slowed. They are currently progressing Brownsfield Mill. Number one is the need to make profit, but as a developer they want to engage in conservation in a responsible way • Conservation as a team exercise: ‘you really have to walk round the building with the people’ • Public appreciation: All conservation information given to the owner or client. Stan personally does not see anyway the architect can take this further. Town Centre Securities took the rare step of publishing a book
Martin Stockley, Project Engineer 11/04/2013 • Medicine as metaphor for conservation– go and find the family history (archaeological information), decide the status of the patient, decide where interventions must be radical or sensitive • Ambiguity created by crude conservation interventions • Personal belief in SPAB or CIRIA criteria – do the minimum, make new interventions clear, obvious for future engineers to see the addition • ‘I don’t think reversibility fundamentally makes [additions to historic buildings] superficial. I think the way you do it
Appendix:Telephone Interviews
•
• •
•
• •
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is superficial. It can either be a gesture, which lessens the historic quality of the building, or an honest approach that works with the building...Make additions that are profound rather than superficial. Architects and engineers descend from a lineage of crafts people. Ask the question ‘how would I, as a good engineer do this today?’ Minimal intervention a working philosophy. However, some other conservation interventions are too polite. At Carver’s, there are interventions that go beyond the minimum. ‘Not just trying to save the patient, trying to give them a new life’. Maintaining and enhancing the structure, increases the architectural, structural, human and financial value Martin Stockley involved in obtaining European Funding for restoration of the Rochdale Canal, 1992-93 Ian Simpson Master plan – combination of new build and restoration. Stockley personally found Marketing Manchester as tenants to justify conversion of Carver’s Warehouse to the developer. Development at Piccadilly Basin done largely commercially. Only had an initial £2m grant from the European Regional Development Fund to restore the Rochdale Canal. Town Centre Securities had to provide match funding Castlefield may have benefited more from Central Manchester Development Corporation funding grants. The ownership of a majority of historic buildings at Castlefield by Jim Ramsbottom, some of which obtained gap funding Atrium bridges connected to structure with a rotational bolted connection. Elegance is in the engineering detail Stockley used his personal connection with Len Grant to persuade Town Centre Securities that the conversion should be documented
Len Grant, Photographer
09/04/2013
• Grant’s career has spanned the renaissance of Manchester, from early commissions by the CMDC in the 1990s to the present day. Graham Stringer, leader of Manchester City Council was an early supporter of his work • Speculating on Manchester’s physical revival and imaged revival:Yes, physical intervention has done well to re-invent the post-industrial city. Manchester has a strong identity in the North. However, there is still huge unemployment, and the skilled jobs lost from manufacturing have not been fully replaced • Personal view of conservation: ‘You keep something because it is good, not because it’s old’ • Grant’s photography:Very much about a process, capturing a moment in time. The idea you cannot go back and take the same photograph a day later. Unlike architectural photography, he documents the individuals involved, ‘different crafts people making their mark’. Grant prefers renovations to new build as they are very photogenic
Francis Armitage-Smith, Architect 02/04/2013 • Conversion at Lower Byron Street Warehouse (Museum of Science and Industry) by Buttress Fuller Alsop Williams Architects: Brick vaults have been reinstated with concrete to make them visually distinct • Communicating decisions in a conservation project may be beyond the architect’s role
Norman Redhead, Archeologist’s
08/03/2013
Conservation principles have been distilled in national policy documents, from Planning Policy Guidance 15, to Planning Policy Statement 5 and most recently in the National Planning Policy Framework (2012) • The Government’s Statement on the Historic Environment in England (2010) recognised the need for
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• • • • • • •
Carver’s Warehouse: A Multi-Scaled Analysis of Conservation-Led Regeneration
change in the historic environment The Heritage Protection Bill (2008) attempted to introduce the term heritage assets and unite fragmented conservation legislation across the built environment During the 1990s/2000 there was a huge demand for conservation-led regeneration At Castlefield, the design of new buildings reflects the old. Some are guilty of pastiche The Northern Quarter is a Bohemian district where Domestic Workshops have been converted Paradise Wharf, a new build development near Piccadilly Station, with a converted warehouse Retention of hoist at Carver’s Warehouse: Fittings have been retained with no explanation. Information boards would present these architectural features and make their purpose clear More conservation information on Manchester’s historic buildings could be made public online, expanding to the database held by English Heritage
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Robert Hebblethwaite Student Number: s0919431 Architectural Design Dissertation MA (Hons) Architectural Design University of Edinburgh 2013