Harmonia - A Music Centre for Bristol by sambetteridge

HARMONIA SAM BETTERIDGE CAT MARTIN

HARMONIA Redcliffe Wharf, Bristol

Sam Betteridge

In loving memory of my godfather and first architectural tutor - John Cooper. John always took a keen interest in the projects I undertook during the first years of my time at Bath. I hope this one would make him proud.

With special thanks to.. Architectural Tutor: Structural Tutor: Environmental Tutor: Tectonic Tutor: Landscaping Tutor:

Cat Martin Gennady Vasilchenko-Malishev Ann-Marie Fallon John Griffiths Tim Osborn

Personal Tutor: Director of Studies:

Matthew Wickens Daniel Wong

The University of Bath Choral & Orchestral Society

CONTENTS

01 09 19 25

THE BRIEF

THE CONTEXT

DESIGN INTENTIONS

THE OVERALL SCHEME

47 67 89 95

PERFORMANCE SPACE

REHEARSAL SPACE

REGULATORY COMPLIANCE

DESIGN PROCESS

THE BRIEF

The Narrative

Design Approach

Client & End Users

Adjacencies

Accommodation Schedule

Since singing is a good thing, I wish all men would learne to sing [...} First, it is a knowledge easily taught, and quickly learned where there is a good Master, and an apt Scoller. 2. The exercise of singing is delightful to nature & good to preserve the health of Man. 3. It doth stregthen all the parts of the breast, & doth open the pipes. 4. It is a singular good remedie for a stutting & stammering in the speech. 5. It is the best means to procure a perfect pronunciation& to make a good Orator. - William Byrd, Psalms, Sonets & Songs

HUMAN IDENTITY On a warm August day in 1977, the Voyager 2 deep space probe was launched from Cape Canaveral, destined for a potentially never ending journey beyond the edge of our solar system. On board was one of two “Golden Records” containing information, intended as a time-capsule of human existence for any intelligent life that may exist beyond our own (Figure 1). Alongside images, diagrams, maps and recorded greetings on the records were 27 tracks of music of different times in history and cultures. From Australian Aboriginie songs to Louis Armstrong’s “Melancholy Blues”; Classical Symphonies and Concertos to Chuck Berry’s “Johnny B. Goode”;[1] the Golden Records are testament to the ability of music to transcend differences between individuals. They demonstrate that music is fundamental to the human experience; irrelevant of age, gender or culture, music has the power to invoke emotion, ignite memory and inspire creativity in us all. At one point or another we have all experienced that one song getting “stuck in our heads”, that involuntary foot tapping to a rhythm or maybe even singing along to a catchy song on the radio. Whether one perceives themselves as musical or not, we are all born with a predisposition for music which develops spontaneously and all posses the basic abilities to recognise intonation, rhythm, pitch, melody and dynamic. [1] Nelson, J., n.a. Music From Earth [Online]. California: NASA. Available from: https://voyager.jpl.nasa.gov/goldenrecord/whats-on-the-record/music/ [Accessed 14 January 2020].

1 | Brief

Figure 1: Inscriptions on the covers of the Golden Records depicting how to play them using mathematics theorised to be understood by any form of intelligent life. (NASA/JPL, 1977)

THE POWER OF ENSEMBLE It has long been understood that music and movement come hand in hand; after-all, music is a voluntary act: the acoustic result of action. This can especially be seen in African music which is characterised not just by its sound but also by the movement that comes with it. This strong relationship between music and movement is reflected in many African languages which use the same word to refer to both music and dance.[1] It is theorised that music and dance pre-existed modern language as a method of communication that allowed for effective grouplevel coordination in early homosapiens. Ritualistic ceremonies and celebrations involving music and dance allowed individuals to communicate their own emotions and feel empathy towards others within a group. It is believed that the strengthened relationships formed in these interactions allowed for better cooperation and minimised conflicts between individuals, ultimately allowing groups of musical hominids to “out-survive” groups of non-musical hominids.[2] Whether singing with a choir or in a theatre production, as a child or during my university studies (Figure 2), I have realised and started to appreciate that participating in music has had a beneficial impact on my mental and social well-being. The strong social experience of working on and performing music with others brings about a human connection unlike any other that could be described as both intellectual and emotional. Successfully performing a piece of music as an ensemble requires great attention to detail and an acute sense of your fellow musicians; allowing every member to move together and the group to sound “as one”. [1] Besson, M. and Schon, D., 2001. Comparisons between Language and Music. Annals of the New York Academy of Sciences, (930), pp. 232-258.

[2] Harvey, A., 2017. Music, Evolution & the Harmony of Souls. Oxford: Oxford University Press.

Figure 2: Performing as part of the University of Bath’s “Alley Barbers” in December 2017

Brief | 2

DESIGN APPROACH Developments in technology over the last half century have revolutionised how we access and experience music as a society. The development of portable and personal audio devices means that people are now exposed to more and wider varieties of music than ever before. However, the introduction of an infinite library of music at our fingertips has continued the commercialisation of music in modern western culture and developed a noticeable separation between performer and consumer. A lot of people now only see music as a product or a luxury to enjoy and less as an activity to experience and benefit from. Too often are opportunities to take part in musical activity turned down with reference to a perceived lack of musical ability, at the expense of missing out on a potentially enriching experience. According to ABRSM (The exam board for the Royal School of Music) only 34% of adults report that they play a musical instrument, compared to 69% of children; and the proportion of adults who have never played a musical instrument steadily increases with age.[1] Issues that relate to this relative lack in music uptake in adults are reported to range from a “lack of interest in learning music” to a false perception of needing to be from a “musical family“. Ultimately, the issue of encouraging more people to engage in creating and performing music is one of anxiety, caused by a lack of belief in ones own innate abilities and a perception that music should only be performed by an elite or the “classically trained”. Such pre-conceptions need to be overcome to prove that music is a gift to humanity that can and should be enjoyed by all regardless of musical ability. Translating this requirement into designing spaces for music performance and practice, the proposed scheme aims to create an environment for all to enjoy taking part in music by openly presenting the activities that occur inside to the public realm, rather than locking them away in a tightly sealed box. It is hoped that providing glimpses and insights into the world of music will spark curiosity in those considering “taking it up” or “giving it a go” ultimately allowing more people to experience the benefits of making music either in an ensemble or as a soloist. [1] ABRSM, 2014. Making Music: Teaching, Learning & Playing in the UK. London: ABRSM. pp. 14-15.

3 | Brief

Music Leakage

Public Curiosity

Music “Frontage”

Permitting music from the interior programme to trickle out into the public realm.

Adopting an informal architecture which encourages passers by to be inquisitive and welcomes them in.

Allowing the internal musical activities of the proposal to be seen as well as heard.

Brief | 4

CLIENT & END USERS

[1] Colston Hall, 2019. Bristol Music Trust [Online]. Bristol: Colston Hall. Available from: https://www.colstonhall.org/ about-us/bristol-music-trust/ [Accessed 12 January 2020].

[2] Bristol Music Trust, 2018. Bristol Music Trust: Trustees’ Annual Report & Financial Statements. Bristol: Bristol Music Trust.

5 | Brief

Recital Hall

Public Workshop/Seminar

Recital Hall

Seminar

Group Taster Sessions

Rehearsal Studios Café/Bar

Instrument hire

Instrument Storage

Technical/Dress Rehearsal

Auditorium

Recital Vocal/Instrumental Warm-up

Auditorium Recitcal Hall

Recital Hall

Studios

Musicians

Backstage Time

Green Rooms

Orchestra Rehearsal

Orchestra Studio

Choir Rehearsal

Choral Studio

Band Practice

Band Studio

Individual Practice Private Tuition

Individual Studios Individual Studios

Individual Studios

Open Mic

Café/Bar

Busking

Foyer/Outdoor Public Space

Recording

Recording Studio/Control Room

Ticket Sales Instrument Maintenance

Box Office Inst. Store

Sound/Lighting Main Hall Get-In Technical Rehearsal Recording/Mixing Café/Bar Office Hours

20 Auditorium

Café/Bar

Staff

Bristol is also home to a large number of music groups including Bristol Symphony Orchestra and the Bristol Choral Society. The majority of groups already established in the city rehearse in school buildings outside of school hours. These facilities are not necessarily built for the purposes of music rehearsal or performance and again these groups would benefit from more central rehearsal spaces that could be used outside of school term times.

Recital Hall Attendance

The trust runs the music education hub for the city, “Bristol Plays Music” which works with schools, communities and cultural organisations to support music education. Until recently, BPM aimed to establish Bristol’s repuation as “UK capital of Young People’s Music”. As it has now made significant progress towards reaching this milestone, the organisation wishes to broaden its outreach to Bristolians of all ages and backgrounds.[2] Bristol Plays Music is based alongside Bristol Music Trust in Colston Hall which only serves the purpose of a performance venue. BPM does have a small education facility in Southmead in north Bristol, however, if it wishes to attract a broader sample of Bristol’s population it is likely to need a larger facility in a more central location.

Main Hall Attendance Public

The project client is the Bristol Music Trust, an independent organisation and registered charity, responsible for managing the operations of Colston Hall and also for promoting music and music making across Bristol.[1]

Auditorium Auditorium

Auditorium Auditorium Recording Studio/Control Room Kitchen Staff Office

Bristol Music Trust Bristol Music Trust is a registered charity based in Colston Hall focused on promoting public education and participation in music around Bristol. In their recent annual trustee’s report they outlined the need to broaden the target age range of Bristol Plays Music.

Bristol Plays Music Bristol Plays Music’s current education facilities are in Southmead in the far north of Bristol. Should the Bristol Music Trust wish to broaden their outreach as they have said and begin extending their education programme towards Bristolians of all ages, a larger and more central facility would be beneficial.

Arts Council England Arts Council England distributes National Lottery funding for the arts across the UK to support projects helping curate great art and culture for everyone.

Bristol Symphony Orchestra Bristol Symphony Orchestra currently rehearse in a church in Henleaze on late Monday evenings, and would benefit from a more central rehearsal venue.

Bristol Choral Society Bristol Choral Society are a large format choir that currently rehearse in The Station Youth Centre. Although already in a central location, the choir is fast expanding and will soon be looking for larger rehearsal space in a central Bristol location.

Bristol City Council Bristol City Council recognises the role that culture and the arts plays in upholding the quality of life for Bristol people. Recently the council have developed a cultural framework to develop Bristol into a “city of openness, city of imagination and a city of originators.”

Brief | 6

SPACE PROFILES Main Auditorium Achieves maximum occupancy in the evenings during typical performance hours but will be semi-occupied during the day time for maintenance, rehearsals and set-up. Traditionally auditoriums would be a dark box sealed off from its surrounding building and environment. However, does this have to be the case in a scheme that’s trying to present the goings on of its interior to the public realm? “Recital Hall” A more informal performance space for individual or small group performances of a lunchtime or an evening. There is potential to challenge the traditional precession of music performance and completely open this space out onto the public realm. Ensemble Studios These rooms capture the essence of the scheme as a destination for everyone to enjoy music as a group activity. Placing these group rooms front and centre of the scheme generates the musical frontage to encourage greater uptake of musical activity However, these spaces also require the ability to be shut off from potential interruptions to rehearsal. Individual Studios A space for an individual musician or small group that can be hired and used for rehearsals where perhaps people don’t have the facilities to do so in the comfort of their own homes. Local music tutors could also potentially hire these spaces for longer periods of time to base their lessons in a more central location. Foyer The arrival space where the excitement of the upcoming performance builds with the buzz of conversation, ticket/ programme purchasing and perhaps even a pre-concert mini-recital. Café/Bar A flexible bar space with basic kitchen facilities - enough to serve as a café during the daytime and as a kiosk for drinks or snacks pre/ post-performance and during an interval.

7 | Brief

ACCOMMODATION SCHEDULE Performance Spaces

Practice Spaces

Support Spaces

Main Auditorium

500m²

Orchestral Studio

Recital Space

150m²

Choral Studio

90m²

Ensemble Changing Rooms

40m²

Foyer

200m²

Band Studio

60m²

Green Rooms

45m²

Café/Bar

150m²

Individual Studios

150m²

Staff Facilities

65m²

Seminar Spaces

140m²

Kitchen

60m²

Recording Studio

40m²

WCs

100m²

Control Room

20m²

Plant

120m²

Sub-total

1,000m²

180m²

Sub-total

680m²

Instrument Storage

120m²

Sound Lobbies

35m²

General Storage

50m²

Cloackroom

10m²

Box Office

15m²

Bike Store

30m²

Sub-total

580m²

Gross Internal Area = 2,260m² Circulation (10%) = 226m²

Net Total GIA = 2,486m²

Brief | 8

THE CONTEXT

Musical Context

Existing Site Plan

Historical Context

Physical Context

Emerging Context

The man that hath no music in himself, Nor is not moved with concord of sweet sounds, Is fit for treasons stratagems and spoils; The motions of his spirit are dull as night, And his affections dark as Erebus. Let no such man be trusted. Mark the music. - William Shakespeare, The Merchant of Venice

MUSICAL CONTEXT For a long time Bristol has had a reputation for having a vibrant and thriving music scene. In recent years, the city has been named “the most musical city in the UK” by PRS for music.[1] The city is home to many live music venues, and a love for music here was first established in 1867 when Colston Hall opened as a concert venue. Bristol Choral Society has hosted at least three concerts a year at Colston Hall since its foundation in 1889[2] and over the last half century the venue has attracted big names in a variety of different musical styles; from legendary Jazz artist Count Basie in 1957 to Cliff Richard in 1961; The Beatles and The Rolling Stones in 1964 to Billy Joel in 1979.[3] [1] BBC Bristol, 2010. Bristol is Britain’s ‘Most Musical City’ [Online]. Bristol: BBC News. Available from: http://news.bbc.co.uk/ local/bristol/hi/people_and_places/music/newsid_8563000/8563916.stm [Accessed 18 January 2020].

[2] Bowen, G., 1989. Rejoice Greatly. Bristol: White Tree Books. [3] Colston Hall, 2019. Colston Hall’s History [Online]. Bristol: Colston Hall. Available from: https://www.colstonhall.org/history/ [Accessed 18 January 2020].

SITE LOCATION 1:10000 @ A3 0

9 | Context

100

200

400m

OWEN ROOMS

To Henleaze, Filton and Redland Rehearsal Venues

THE STATION

One home of the Creative Youth Network and also the rehearsal venue for Bristol Choral Society.

Part of Bristol Grammar School, the Owen Rooms are part of a recurring theme across the city of out of hours use of school facilities (not necessarily built for the purposes of music) for private group rehearsals. Bristol Millennium Orchestra use this space for their rehearsals on Monday evenings.

Trinity Centre

FUTURE INNS

St. George’s Concert Hall

COLSTON HALL Bristol Old Vic

A City Centre Hotel with a purpose-built Jazz Venue, hosting performances every Thursday evening.

Redcliffe Future Development Area

Bristol’s largest concert venue and home of Bristol Music Trust, consisting of 3 performance spaces, Colston Hall has undergone numerous refurbishments and upgrades in it’s history and is currently experiencing further renovation to support the transforming future culture of Bristol.

Lloyd’s Outdoor Performance Space

To Factory Studios Rehearsal Spaces Redcliffe Wharf Bristol Temple Meads Station

To Ashton Vale Rehearsal Venues

Tobacco Factory Theatre

Context | 10

e City Centr Park and To Castle

Pedes

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oute t

o Quee

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u a re 2

und

Redcliffe Wharf Extents

G ro

Project Site

rial

Redcliffe Way link to Temple Meads

ake

r’s

Redcliffe Parade

inster

rds Bedm

ping Wha

Hill towa

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Redcliffe

ute tow terfront ro

St. Redcliffe Church

1. Looking North from Car Park

2. Looking South from Road Entrance

EXISTING SITE PLAN 1:1000 @ A3 0

204

3. Looking North from the Boathouse Context | 12

HISTORICAL CONTEXT Bristol developed around the year 1000 at a crossing point between the Rivers Frome and Avon, the furthest location inland that ships could reach with the aid of tidal currents.

The Port at its Peak

Development on the Redcliffe side of the floating harbour started in the early 12th century and it is most likely that use of the Redcliffe Wharf site dates back to a similar time due to it’s strategic position along the waterway.

The 17th century brought about the rapid expansion of Bristol’s trading network to include the new found colonies in the West Indies and North America. This led to the growth of new industries in the city and in turn a significant growth in population.

The construction of a new channel from the lower most reach of the River Frome into the tidal Avon between 1239 and 1247 (Figure 3) was the pivotal event of the century for the, then separate, settlements of Bristol and Redcliffe. Ultimately, this improvement to the port’s infrastructure helped Bristol to be effective in serving for a long time as the second most important port in the country (after London), and likely decided Redcliffe Wharf’s fate as a key dockland site.

1200

The Developing Port During the middle ages, Bristol life was heavily influenced by its mercantile trade industry. Trade merchants who lived in Redcliffe and dominated the City’s commercial and political landscape financed its expansion beyond the limits of the old walls and soon Redcliffe became engulfed by the growing city.

With the introduction of a ban on the use of timber as a fuel source early in the century by James 1st, the glass making industry quickly relocated to Bristol to make use of its coal supply mined in the north of region since Tudor times.

This era of Bristol’s docks came to be defined by the voyages of discovery made by John and Sebastian Cabot. The city’s trade industry grew with its physical landscape and was primarily defined by its exports in woollen cloth.

Towards the end of the century a glass works was established on Redcliffe Wharf which made use of the ready supplies of sand from the adjacent mines (now Redcliffe Caves).

1400

1600

Figure 4: A map of Bristol ‘s trade activity with Europe by the end of the Middle Ages.

Figure 3: A map of Bristol from 1250 showing the new channel. The sandstone cliff, city wall, church and waterway constrain Redcliffe Wharf to a similar shape as seen today

13 | Context

Figure 5: John Rocques’ map of Bristol and Redcliffe c. 1747

For much of its history, Redcliffe Wharf remained a constant shape and size resulting from its surrounding physical constraints. However, planning and highways policies between 1945 and 1980 allowed for the construction of infrastructure projects which today leave a scar on the surrounding landscape, dividing the north and the south and dramatically reducing the size of the site and adjacent Quaker Burial Ground.

The Port’s Decline The start of the 19th century brought the abolishment of the slave trade by Act of Parliament. This along with the increasing size of ships began the steady decline of Bristol’s trading industry as it struggled to compete with other coastal trading cities with better access. Glass production ceased on Redcliffe Wharf in 1802 when the glassworks was amalgamated with the nearby Phoenix glassworks at Phoenix Wharf.

Physical Interventions The damage that Redcliffe experienced during the Second World War generated the need for widespread development to re-establish the community which had by now completely lost its place as an industrial trading port. The surrounding area saw major high rise housing development in an attempt to re-house the population.

It is believed that the level of the site was raised through the dumping of industrial waste and over the last 200 years a number of buildings have been constructed and demolished on the site. Redcliffe Caves continues to have a relationship with the wharf as storage.

Redcliffecontainer Wharf 1960 vessels in the 1970’s The advent of large reduced the commercial operations of the docks to a single sand dredging project based in Pooles Wharf. The eventual closure of the docks to all commercial traffic has paved the way for current development for residential, commercial and leisure uses.

1800

1950

Figure 6: Redcliffe Wharf on a map dating from 1884.

The adjacent Redcliffe Caves have lost their association with the wharf and today remain empty, occasionally opening for tours (although these are currently not in operation whilst new procedures and costs are agreed with the council). In comparison with its long history, Redcliffe Wharf today appears under-used, only occasionally being occupied by temporary uses and projects such as the rebuilding of the “Matthew” in recent years. The buildings that exist on the site today provide a small insight into the wharf’s recent history. Of the three existing building the boat building shed that abutts the masonry faced cliff is the only one that, until recently, remained in use today.

2020

Figure 7: Redcliffe Wharf in the 1960s.

Figure 8: An aerial view of the site as it stands today from the north.

Scale 1:1250 40

May 27, 2020 11:28 80

100 m

Samuel Betteridge University of Bath

Projection: British National Grid

Context | 14

Shading

Access

Flooding

•

The tall masses of the retaining wall and Redcliffe Parade to the south mean that the site experiences some overshadowing throughout the year.

•

A key pedestrian/cycle route exists across the site which receives near continuous traffic throughout the day moving parallel to the floating harbour.

•

Approximately half of Redcliffe Wharf lies within Flood Zone 3 whilst the remainder is situated within Flood Zone 1 attributed to tidal flooding in the River Avon.

•

Overshadowing during the winter months is a significant constraint, especially around the time of the winter solstice - when the majority of the site is in shadow. This will have a notable effect on any environmental strategies applied in the design.

•

Vehicle access to the site is available from Redcliffe Way to the north and a car park is situated to the south on Redcliffe Parade 8m above average site level. Access to the site from the car park is currently via a ramp which appears steep and is unbroken by landings - therefore the most accessible entrance to the site is via the vehicle access to the north.

•

The Bristol Central Area Flood Risk Assessment (CAFRA) identifies the current 1 in 200 year tidal level as 8.4m AOD.

•

Over the lifetime of the development the tidal flood risk is set to increase as a result of climate change induced sea level rise resulting in higher extreme tide levels in the River Avon. As such, the projected 1 in 200 year flood level shows a rise to 10.2m AOD in the next 100 years.

•

The site has been found to have a very low probability of flooding from surface water or groundwater.

•

15 | Context

A new access point is proposed through the Quaker Burial Ground as part of the Redcliffe Neighbourhood Development Plan. The addition of this access could enhance the status of the Wharf, turning it into a culminating destination for the future masterplan.

Existing & Proposed

Site Extents

Redcliffe Caves

•

3 buildings exist on the site situated along the south and east borders to allow space for the wharf’s historic trading activities.

•

The site boundary is defined by a mixture of natural, physical and upcoming constraints.

•

2 buildings are proposed to the north of the site, including a 6 storey office building and 3 storey mixed use buildings (retail ground floor and residential use above).

•

The site is bound to the west by the edge of the Floating Harbour and the Benjamin Perry boathouse (restored in 1982 and now serving as an important local community centre).

The caves situated behind the masonry faced cliff to the south of the site have a long established relationship with the Wharf and the surrounding area.

•

Under current proposals the existing boatshed is to be demolished to alleviate space along the cliff face for new construction. The remaining two existing buildings are to be demolished and rebuilt after fire damage in 2018 left them structurally unstable.

•

The south of the site is defined by the masonry faced cliff and Redcliffe Parade which both provide a dramatic backdrop to the Redcliffe dockside.

Today these caves are occasionally used for tours and cultural events but now play a more minor role relative to their historical importance.

•

Entry to the caves is currently via access points to the south west of the site in Phoenix Wharf.

•

The Quaker Burial Ground sits adjacent to the east of the site and provides a small natural defence against the sprawling highway that has been encroaching on the Wharf for the past 50 years.

•

The northern site boundary is implied by the projected new access route through Quaker Burial Ground which will separate the proposals from the adjacent emerging development.

Context | 16

EMERGING CONTEXT Proposed designs for the site have undergone a lengthy evolution, first starting in December 2007. Originally proposing to retain and refurbish existing buildings “C & D”, the recent planning applications (currently under review) instead suggest the demolition and rebuilding of these buildings instead following severe fire damage suffered by Building C in 2018. The approach to the development has been strongly influenced by the historic grain of the site, as it stood according to 19th century plans. The resulting proposal is a mixed-use scheme consisting of 6 buildings across the site. The largest building of the scheme (Building B) is a 5 storey office block lowering to 3 storeys alongside Quaker Garden to allow uninterrupted views from Queen Square to St. Mary Redcliffe Church. Building E forms the centre piece of the development and is oriented such as to have a long south facing facade and a projection towards the waterfront with a lower ground level seating area. A singular retail tenant is served by a compound at roof level at the back of the building. As well as the existing proposals within the boundaries of the site, a wider masterplan for the future of the neighbourhood between the site and Bristol Temple Meads is also being prepared by the community led Redcliffe Neighbourhood Development Forum that intends to cover a period between 2015 and 2030. In particular, the development plan notes the high the volume of traffic during peak hours that has been brought about by the introduction of the highway and surface car parks; and compares this with the relatively quiet off-peak hours that lack activity. Overall, the plan aims to improve connections between north & south Redcliffe and Bedminster; create a fitting setting for St Mary Redcliffe Church; generate an urban village atmosphere with a diverse mix of services and shops; and limit the speed, impact and volume of motor traffic that passes through Redcliffe everyday.[1] [1] Redcliffe Neighbourhood Development Forum, 2016. Redcliffe Neighbourhood Development Plan. Bristol.

17 | Context

Removal of roundabout improves connections between north and south Redcliffe.

Removal of roundabout creates better streetscape and further development opportunities.

Space given to south facing aspect.

Improved connection with floating harbour also proposed by CDP development plans for Redcliffe Wharf.

New treeline along boulevard.

Quaker Burial Ground retained and enhanced. Improved connection with Temple Meads Railways Station.

New public spaces around St. Mary Redcliffe Church.

Downgraded Redcliffe Way reduces impact of traffic and introduces opportunities for development.

Reconfiguration of Redcliffe Hill to reconnect the neighbourhood.

Contextâ&#x20AC;&#x192;|â&#x20AC;&#x192;18

DESIGN INTENTIONS

Response to Site

Response to Brief

Future Masterplan

Design Development

When I watched young Venda developing their bodies, their friendships, and their sensitivity to communal dancing, I could not help regretting the hundreds of afternoons I had wasted on the rugby field and in boxing rings. But then I was brought up not to cooperate, but to compete. Even music was offered more as a competition than as a shared experience. - John Blacking, How Musical is Man

RESPONSE TO SITE

Connections

Levels

Caves

Maintaining and enhancing existing routes across and into the site and providing new access from the adjacent Quaker Burial Ground and Redcliffe Parade.

Raising the site above the projected 1 in 200 year flood level of 10.2m AOD and generating a waterfront destination integrated within the level difference

Re-establishing the connection between Redcliffe Wharf and the caves by introducing potential for a more direct frontage.

19â&#x20AC;&#x192;|â&#x20AC;&#x192;Intentions

RESPONSE TO BRIEF

Curiosity

Informality

Music “Frontage”

Arranging the auditorium spaces as a solid “egg” within a translucent box in an attempt to engage passers by.

Challenging the conventions of concert hall design to create an inviting atmosphere that appeals to the wider public beyond regular concert goers.

Allowing the internal musical activities of the proposal to be seen from the street as well as heard.

Intentions | 20

Allowing a glimpse of the waterfront through the site from the Redcliffe Hill.

Maintaining key pedestrian routes long the waterfront.

21â&#x20AC;&#x192;|â&#x20AC;&#x192;Intentions

Culminating the boulevard at a waterfront destination.

Preserving views towards St. Mary Redcliffe Church from Queen Square.

THE FUTURE PROPOSAL The context for the project is identified as a key location within the wider Redcliffe Neighbourhood Development Plan. As such, it is vital that the proposed design upholds the values of the community that have been laid out in detail within this framework. Values that relate to the specific site within the plan include: • Full accessibility for all. • Providing a range of activities and passive uses, for all ages and abilities. • Creating a public realm that encourages congregation and exchange. • Generating an urban form which promotes walking and cycling through to flexible streets and spaces that encourage interaction. Acknowledging the role of development on Redcliffe Wharf within the wider masterplan, the proposal aims to respond to the values of Redcliffe Forum by creating a permeable public space that is well connected to the surrounding townscape. The arrangement of the buildings on site is an attempt at creating a waterfront destination for the local community that is different from other Bristol waterfront spaces and provides a flexible environment that can accommodate a variety of uses, events and activities.

Downgraded Redcliffe Way provides a more active “pedestrian oriented” route from Temple Meads Station.

In keeping with the community’s desire to promote access and connections between North and South Redcliffe and reduce the presence of the car within the area to provide a haven for pedestrians and cyclists, the proposed design has been developed through a process of enhancing existing routes across the site and identifying new ones.

FUTURE MASTERPLAN 1:1250 @ A3 0

12.5

50m

Intentions | 22

DESIGN DEVELOPMENT

Access

Feasibility

Organisation

Notable existing and proposed pedestrian routes into and through the site.

Defining a buildable area on the site with the requirement to maintain and enhance the pedestrian paths identified.

Dividing the accommodation into two wings: one for rehearsal and one for performance.

23â&#x20AC;&#x192;|â&#x20AC;&#x192;Intentions

DESIGN DEVELOPMENT

Refining

Height

The “Barns”

Simplifying the plan geometry - enhancing the public realm; responding to the water’s edge; and improving connection to Redcliffe Parade.

Situating the larger mass of the Auditorium to the north to avoid overshadowing the remainder of the site.

Developing a language in elevation that presents a clear internal hierarchy and assists with way finding.

Intentions | 24

THE OVERALL SCHEME

Site Plan

Site Strategy

Ground Floor Plan

Arrival & Journey

Upper Floor Plan

Landscaping Strategy

Waterfront Elevation

Waterfront Strategy

Waterfront Section

Retaining Wall Elevation

Enhancing Connection

Retaining Wall Bay Study

The “Street”

Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the secret places of the soul. - Platoâ&#x20AC;&#x2122;s Republic

SITE PLAN 1:500 @ A3 1. 2. 3. 4. 5. 6. 7. 0

Performance Block Rehearsal Block Benjamin Perry Boatshed CDP Building A CDP Building B Quaker Burial Ground Colosseum 5

25 | Proposal

20m

Que

en S

quar e

Veh icle Red acce clif ss fr fe W om ay.

Tow ards

rd w alk

Towards Temple Meads Railway Station

Pe d

W at

fro

nt B

est r Re ian a dcl cce iffe ss Hil from l.

2 6

Towards B edm

inster

Redcliffe Parade Car Park 7

Spatial Arrangement The scheme’s programme is divided between two main buildings; One hosting “practice” spaces and the other containing “performance” spaces. These two masses are carefully positioned between the limits of the cliff face to the south and the waterfront along the north-west and the larger “performance” building situated to the north to reduce overshadowing as much as possible whilst maintaining and enhancing key pedestrian routes across the site.

27 | Proposal

Public Realm Arranging the built forms around the key pedestrian routes as described opposite generates 3 artefacts of public realm within the negative space. Part of the arrangement of buildings on site is an attempt to achieve a certain hierarchy between these spaces through differing levels of tension, relief and activity.

Key Vistas

Orientation

Breaks within the vertical landscape present glimpses of the waterfront space from the more urban zones of the site and from further afar in the Quaker Burial Ground and Redcliffe Hill. A view of St. Mary Redcliffe through the site from Queen Square is maintained through adequate separation from the adjacent proposed development to the north.

The two main buildings are oriented on site in a manner which obscures the views out over the floating harbour towards Queen Square and then reveals these views to occupants as they make their way through the interior spaces. Main entry points are situated on the south east façades onto the street and square. An emphasis on transparency on the north west façades enables building users to see out over the water from within the active spaces of the scheme.

Proposal | 28

GROUND FLOOR PLAN 1:250 @ A3 1. Box Office 2. Café/Bar 3. Kitchen 4. Café WCs 5. Under-stage Storage (with platform stage lift) 6. Performer Changing Room 7. Plant 8. Auditorium WCs 9. Cloakroom 10. Entrance Foyer 11. Small Recital Space 12. Choral Studio 13. WCs 14. Individual Studios 15. Retail Unit 16. Management Office 17. Cycle Store 18. Plant/Refuse Store 0

2.5

29 | Proposal

10m

3 2

5 4

9 8

6 1

15 17 13

12 10 16

THE JOURNEY It is anticipated that, in the future, the primary arrival to the site will be through the Quaker Burial Ground as the culminating path on the journey from Bristol Temple Meads Station to the site through the future masterplan. Upon arrival to the site through this gateway you are immediately greeted by the auditorium entrance on your left and a glimpse of the waterfront ahead of you. From here, if arriving to attend a concert, you would cross into the transparent auditorium foyer space where a box office presents itself as a space to purchase tickets, ask for information, drop off coats or maybe buy a programme for the evenings event. Prior to the start of the concert the audience precess into the auditorium via the stairs/lift and mezzanine where they are constantly offered views of the surrounding plaza from different vantage points. Upon entering the auditorium at the centre, level with the stage, the audience are first presented with the “big reveal” of an obscured view of the cityscape and floating harbour to the north west, which can remain in place throughout the performance as a dynamic backdrop which changes with the sunset; or can be “blacked out” to draw attention inwards on the evenings events at the discretion of the performers. Those who perform precess along a similar route into the hall as the audience taking a slight detour at the auditorium door to enter onto the stage. At interval and after the show the audience may proceed out of the auditorium to the café/bar space, where they are offered the full, unobstructed, scene of the waterfront and city backdrop.

THE ARRIVAL

The Welcome

The Precession

The Big Reveal

The Finale

Proposal | 32

UPPER FLOOR PLAN 1:250 @ A3 1. Auditorium 2. Stage 3. Control Room 4. Mezzanine 5. Orchestral Studio 6. Live Room 7. Control Room 8. Mezzanine 9. Plant 10. Large Instrument Storage 11. WCs 0

2.5

33 | Proposal

10m

6 8

7 4

d fo Ale r Res c Fr iden enc t h p ial us rop e u osa nde r ls

Zon e

Rainwater Attenuation 2

PAGE 40

3 4 1

PAGE 44

1. Clay Block Paving 500x100x80mm clay block paving laid along the axis of the auditorium building to unify the surface across the site associated with the scheme.

2. Retained Granite Setts

PRODUCED BY AN AUTODESK STUDENT VERSION

Relaying the existing granite sett waterfront pathway and extending this finish up towards the Quaker Burial Ground.

80mm Clay block paving.

50mm Sand bedding layer.

3. Stepped Concrete Concrete stepped landscaping between the waterfront level and building plinth level. Intergrated timber seating and lighting.

500mm min. loose granular attenuation layer.

4. Boardwalk Timber deck boardwalk on a steel structure bolted back to the existing harbour wall.

LANDSCAPING STRATEGY

TYPICAL GROUND BUILD-UP

1:250 @ A3 0

2.5

1:5 @ A3 10m

100

200mm

Proposal | 36

WATERFRONT ELEVATION 1:200 @ A3 0

37 | Proposal

Polycarbonate Panels Aluminium framed translucent plastic panelling system chosen for improved thermal performance over glazing and to reduce load on tall transparent facades.

Standing Seam Copper Phosphorous de-oxidised copper sheet material for roofing and upper floor cladding.

Copper Accent Panels Pre-fabricated copper alloy panels with a long lasting warm golden “sheen” to contrast the rougher surfaces of the timber cladding and standing seam copper.

Vertical Timber Cladding Board-on-board vertical larch timber cladding

Proposal | 38

WATERFRONT LANDSCAPING Introducing this scheme to the site alongside the adjacent CDP residential/commercial proposals introduces new varieties of movement through the site of varying speeds and also creates obstructions to the exiting routes across the wharf. It is anticipated that the future waterfront will likely need to cater to pedestrians moving across the site quickly (running/cycling) and slowly (walking) as well as to those who wish to use the waterfront space as a place for congregation or other stationary activity. To accommodate for these future requirements of the waterfront a boardwalk is included in the proposal to provide a channel for the faster paced circulation which bypasses the Benjamin Perry boatshed to create a more direct route along the floating harbour. The proposed boardwalk is composed of a cantilevering steel structure which is bolted back to the existing harbour wall. The intention behind this construction method is to delicately land the boardwalk along the waters edge to maintain the sensitive relationship between the site and the floating harbour that might otherwise be jeopardised by more solid mass alternatives. The remainder of the waterfront realm is divided into 3 channels. The existing mixed cobblestone path is retained and uplifted in keeping with requirements set out by the council in their Redcliffe SPD. The landscape then steps up away from the waterfront to meet the plinth which the buildings are raised onto for flood protection. In this way 4 distinct zones are defined by the landscaping strategy for the varying levels of activity relating to the waterfront.

THE WATERFRONT

Timber deck on steel structure cycle/running path along waterfront - bypassing the Benjamin Perry boatshed.

Retained granite setts footpath.

Concrete stepped seating.

500x100x80mm clay block paving in two tones following the xis of the auditorium building.

LANDSCAPE SECTION 1:1250 @ A3 0

12.5

50m

Proposalâ&#x20AC;&#x192;|â&#x20AC;&#x192;40

Corten Weathering Steel Corten sheet lapped over top of concrete upstand to indicate the position of the raised walkway to below.

Red Concrete Band Precast red concrete facing band above arch spring-off and door head level.

Red Brick Structure Internal red brick arch structure showing on facade at arch piers.

41â&#x20AC;&#x192;|â&#x20AC;&#x192;Proposal

RETAINING WALL ELEVATION 1:200 @ A3 0

Proposal | 42

ENHANCING CONNECTION A primary issue which was highlighted during the analysis of the site was the observation that access to the wharf from the neighbouring Redcliffe Parade and car park was indirect. In all cases, to arrive at the site from Redcliffe Parade, one would find themselves initially moving away from the site in order to reach it. The addition of the arched music studios abutting to the existing brick faced cliff presents the opportunity to create a raised walkway which improves access to the site below by generating a stepped transition in the landscape which attempts not to impede on the presence of the existing level change.

RAISED WALKWAY

Granular infill attenuation layer. Perforated rainwater drainage pipe leading to concealed downpipe. Pre-cast concrete arch.

Pre-cast concrete abutment. 100mm warmcel cellulose insulation held in place by timber frame structure. Vapour barrier. Softwood timber battens for acoustic absorption.

Brick pier.

Timber floor finish. 200mm rigid EPS foam insulation. 2000mm reinforced concrete floor slab. Damp-proof membrane.

ARCHED WALL BAY STUDY

Reinforce concrete foundation..

1:20 @ A3 0

0.2

0.4

0.8m

Proposalâ&#x20AC;&#x192;|â&#x20AC;&#x192;44

THE “SQUARE”

“SREET” ELEVATION 1:200@A3 0

Proposal | 46

PERFORMANCE SPACE

Long Section

Design Development

Spatial Arrangement

The Hall

Acoustic Strategy

The Foyer

Structural Strategy

Structural Connections

External Fabric

Heating & Ventilation - Summer

Rooflight Detail

Heating & Ventilation - Winter

Tiered Seating Detail

Lighting

LONG SECTION 1:100 @ A3 0

47 | Performance

Performance | 48

DESIGN DEVELOPMENT

Service

Circulation

Enclosure

Situating the auditorium above the services and backstage facilities to alleviate the rear wall - allowing it to be transparent.

Offsetting the auditorium and service spaces inward - creating an open circulation path around its perimeter.

Sealing the auditorium “egg” within a transparent box. Forming a sheltered foyer space that the public can see into and the spectators can see out of.

49 | Performance

SPATIAL ARRANGEMENT The auditorium building is arranged as a coffin shaped “egg” wrapped in a transparent/translucent shell. The void between the two envelopes hosts the primary circulation channels for both performers and spectators and is intended to remove the perceived divide between these two parties that has seemingly arisen in modern western culture over the years. The concert hall itself is raised a floor above the traditional “backstage” facilities and services, allowing the rear stage wall to be made transparent - making the waterfront and cityscape behind the backdrop for performance and further attempting to informalise the occasion of concert going by presenting the internal activities of the building to the public. The flexible café/bar space is situated on the waterfront side of the ground floor to provide a pleasant setting for gathering, meeting and conversation pre & post-performance and during intervals. The box office sits at the opposite end of the wrap-around foyer space to place itself in prime position at the entry point of the site through the Quaker Burial Ground at the end of the proposed future promenade from St. Mary Redcliffe and Temple Meads Station.

Primary Horizontal Circulation Accessible Vertical Circulation Primary Service Routing

2.5

10m

Performance | 50

THE HALL

NEW CONVENTIONS The auditorium aims to challenge the format of the traditional concert hall by proposing a double leaf glazed wall behind the stage. This allows the waterfront and the cityscape to become the scenery for the activities of the space and, more importantly, projects these activities out into the public realm in an attempt to dissolve the barrier between performer and consumer.

Performanceâ&#x20AC;&#x192;|â&#x20AC;&#x192;52

Acoustically isolated side walls reduce effects of flanking transmission through structure

Hard surface glazed scenery wall.

53â&#x20AC;&#x192;|â&#x20AC;&#x192;Performance

Twin leaf doors reduce airborne infiltration through entrances during performance Velour curtains along rear wall dampen late reflections

Timber faced absorption panels facing foyer to reduce reverberation times for comfortable conversation

Separating cavity. High level timber sound absorption panels.

ACOUSTIC STRATEGY Low level timber sound diffusion panels.

Upholstered seating.

The auditorium has been designed as a traditional concert hall which is purely for the purposes of music performance and therefore is required to meet certain acoustic characteristics - most importantly, reverberation time. When music is played on the auditorium stage the hard rear glazed wall and splayed timber panel side walls reflect the sound outwards into the auditorium in a diffused manner. Further sound diffusion is encouraged around the auditorium by the saw toothed timber wall panels and pitched roof in an attempt to manifest an even sound throughout the room. The rear wall is covered by heavy draped velour curtains which dampen subsequent reflections and prevent flutter echoes.

Carpet floor finish.

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Neoprene pads acoustically isolate seating structure from floor slab

Reverberation Time RT60 (s)

Unoccupied

Occupied

125

250

500

1000

2000

4000

Frequency (Hz)

ACOUSTIC PLAN 1:100 @ A3 0

Performanceâ&#x20AC;&#x192;|â&#x20AC;&#x192;54

THE CAFÃ&#x2030;

TRANSITION SPACE The foyer space occupies the void between the transparent/ translucent exterior shell and the opaque concert hall box. A flexible café/bar area looks out over the waterfront and offers a gathering space for before and after the show and during intervals. The positioning of the building on site offers no conventional “backstage” space - with public frontage on all 4 sides. The performers and the listeners occupy the same realm pre and postperformance.

Performance | 56

AUDITORIUM STRUCTURE The auditorium building mostly employs a prefabricated glulam frame structural system which bears onto a concrete raft and strip foundation with 300mm Ø mini piles driven at 1m centres. Steel is used to slenderise the structure at the roof ridge - to allow for minimal structural interruption to daylighting through the auditorium ridge light; and at the base of the continuous glulam columns - to serve as a moisture barrier between the concrete foundations and the wooden frame. Steel tension rods provide bracing to the structure at the central structural bay and are utilised as the tension members of the roof trusses. A concrete topped dowel laminated timber (DLT) slab serves as the floor slab of the concert hall and has been chosen over a CLT for its superior end of life re-usability due to the minimal amounts of adhesive used in its manufacturing.

STRUCTURAL BAY ISO 1:100 @ A3 0

57 | Performance

CONNECTIONS As well as the auditorium only employing steel in its structure at the extreme high and low positions of the frame, a similar strategy has been adopted in designing the various exposed connections that appear throughout the building. Timber only interactions between structural elements are designed to be fabricated during the manufacturing of the glulam elements off-site, in a controlled environment, using CNC processing methods. This reduces the human error risks typically associated with these types of connections and allows the building to be constructed as a “kit of parts” whilst still exhibiting excellent craftsmanship in its final built form.

EXPLODED COLUMN ISO 1:50 @ A3 0

0.5

Performance | 58

2x 60mm polycarbonate panels with aluminium profile frame and aluminium structural fixings.

EXTERNAL FABRIC

PRODUCED BY AN AUTODESK STUDENT VERSION

Achieving the desired transparent “shell” effect with an entirely glazed facade would manifest numerous thermal inefficiencies and would place high demand on the building structure. Therefore the proposed external walls consist of a low-e coated triple glazed curtain wall lower band that extends up to 3.2m above the ground plane. The remainder of the height of the walls is composed of a double leaf polycarbonate panel system which sits in an aluminium border frame and is fixed back to the structure with aluminium fixings at 2m vertical intervals.

Insulated copper alloy flashing piece. 350mm square glulam beam. Powder coated aluminium gutter profile behind - colour to match copper alloy finish. 350x200mm continuous glulam column behind. Low-E coated triple glazing with powder coated aluminium frame.

Curtain Glazing Density

50kgm-2

Polycarbonate Density

11.6kgm-2

Glazing Area

360m

Polycarbonate Area

940m2

Fully Glazed Fabric Weight

65,000kg

Proposed Fabric Weight

28,900kg

Triple Glazing U-Value

0.9Wm-2K-1

Polycarbonate U-Value

0.4Wm-2K-1

Fully Glazed Fabric Heat Loss

1,190WK

Damp proof membrane.

Proposed Fabric Heat Loss

695WK-1

1000x500mm reinforced concrete ground beam.

Triple Glazing g-Value

0.5

Polycarbonate g-Value

0.35

Tiled floor finish. 2

80mm concrete screed layer with underfloor heating pipes laid at 100mm centres. Vapour barrier. Glulam column base knife plate connection behind. Level threshold drainage channel. 200mm rigid EPS foam insulation. 300mm reinforced concrete slab. -1

300mm Ø mini pile behind.

FOUNDATION DETAIL 1:20 @ A3 0

59 | Performance

0.2

0.4

0.8m

ELEVATION DETAIL 1:20 @ A3 0

0.2

0.4

0.8m

Performance | 60

Natural buoyancy driven ventilation maintains air quality within the auditorium during the daytime

Heat recovery not essential so excess heat from occupancy and equipment is expelled via ridgelight and outlets in the roof buildup. Spaced timber ceiling battens allow warm air to penetrate the ceiling fabric into a services void from which it is extracted.

Natural ventilation unable to replenish air in the auditorium at the required rate during peak hours.

Openings in the glazing/polycarbonate facade allow for single sided natural ventilation in the foyer spaces.

AHU pumps fresh air through intake in stepped landscaping into the auditorium through raked seating plenum.

HIGH OCCUPANCY

LOW OCCUPANCY

HEATING & VENTILATION STRATEGY SUMMER 0

61â&#x20AC;&#x192;|â&#x20AC;&#x192;Performance

Excess heat in foyer spaces rises to peak in the ceiling and is expelled through outlets in the roof buildup.

Low-E coated triple glazed aluminium frame ridge-light with motorised glazed ventilation louvres

PRODUCED BY AN AUTODESK STUDENT VERSION

Glulam rafter behind.

Copper alloy flashing. 40mm square timber ceiling battens. 475x200mm glulam ridge-beam. 50mm rigid woodfibre insulation. 15mm plywood. Copper alloy flashing.

Copper alloy standing seam roof covering. 25x50mm timber battens at 600mm centres. Breather membrane. 15mm plywood. 100mm rigid woodfibre insulation. 15mm plywood. 100mm warmcel cellulose insulation. Vapour barrier.

2x 12.5mm layers gypsum plasterboard. 250mm easi-joists at 400mm centres spanning between rafters.

RIDGE-LIGHT DETAIL 1:10 @ A3 0

0.1

0.2

0.4m

Performanceâ&#x20AC;&#x192;|â&#x20AC;&#x192;62

Occupancy and equipment gains extracted through ceiling service void and pumped to ground level for heat exchange via acoustic cavities.

Natural buoyancy driven ventilation maintains air quality within the auditorium during the daytime

AHU pumps fresh air through intake in stepped landscaping into the plant room beneath the auditorium for heat recovery. Warm air is pumped into the auditorium from the plant room through raked seating plenum.

MVHR brings stale warm air down to ground floor level for heat exchange. Stale air expelled via outlet in stepped landscaping to the north.

Underfloor partly supported by upcoming local district heating network.

LOW OCCUPANCY

HIGH OCCUPANCY

HEATING & VENTILATION STRATEGY WINTER 0

63â&#x20AC;&#x192;|â&#x20AC;&#x192;Performance

PRODUCED BY AN AUTODESK STUDENT VERSION

Trickle vent behind seats in tier rise

Upholstered tipping theatre seat.

Pre-cast concrete seating deck.

TIERED SEATING DETAIL 1:10 @ A3

200mm universal beam following sight-line curve with rake fixings.

0.1

0.2

0.4m

Performance | 64

AUDITORIUM LIGHTING

Motorised blackout blinds

1:100 @ A3

LED strip lighting Par Can stage lighting

65 | Performance

Pendant foyer lighting

THE WATERFRONT BY NIGHT

REHEARSAL SPACE

Long Section

Internal Hierarchy

Design Development

Spatial Arrangement

The Orchestral Studio

Daylighting Analysis

Structural Strategy

External Fabric

The Choral Studio

Acoustic Strategy - Insulation

Heating & Ventilation Strategy

The Recording Studio

Acoustic Strategy - Isolation

Permeable Threshold Detail

The Recital Room

The Individual Studio

Future Function

Individual Studio Section

Individual Studio Servicing Strategy

LONG SECTION 1:100 @ A3 0

67 | Rehearsal

VATION

INTERNAL HIERARCHY Across the site, internal spaces have been arranged to address requirements surrounding acoustics, privacy and permeability. Internal Within the practice building, spacesHierarchy have been organised around a central circulation core allowing for a simple circulation/ servicing strategy. The informal recital space and choral studio sit at ground level allowing the former to be opened onto the Across the site, internal spaces have been arranged to address requirements surrounding acoustics, privacy and permeability. The auditorium has been centralspaces plaza to and thethe latter to become a frontage for ensemble music activities. The studio elevated above its associated servicing break conventional “backstage” approach, allowing the external envelope to orchestral have some level of is situated over the recital to make useforacoustically volume available in the loftwithin of the roof pitch that is more suited to the requirements transparencyspace on all four sides and views out overof thethe floating harbour to be enjoyed from the audience. of a rehearsing orchestra than an individual or small ensemble. The recording studio is at first floor level to the south of the Within the practice building, spaces have been organised around a central circulation core allowing for a simple circulation/servicing strategy. The informal to provide as much acoustic asthe possible through separation beforea frontage applying measures through material recital space and choral studio sitsite at ground level allowing the former to beisolation opened onto central plaza and the latter to become forfurther ensemble specification and detailing. music activities. The orchestral studio is situated over the recital space to make use acoustically of the volume available in the loft of the roof pitch that is more suited to the requirements of a rehearsing orchestra than an individual or small ensemble. The recording studio is at first floor level to the south of the site to provide as much acoustic isolation as possible through separation before applying further measures through material specification and detailing.

Rehearsal | 68

DESIGN DEVELOPMENT

Height

Arrangement

Elevation

Setting the maximum height datum of the rehearsal building to that of the Auditorium eaves level.

Dividing the building into two wings separated by a central core for ease of circulation and servicing.

Following the language set by the auditorium building along the waterfront.

69â&#x20AC;&#x192;|â&#x20AC;&#x192;Rehearsal

SPATIAL ARRANGEMENT The main rehearsal building is organised as two wings either side of a central circulation and servicing core. At ground floor level the east wing houses the informal recital space which can be opened out onto the public square and the street during performances. Allowing music to leak out into the public realm and people to freely pass into the building to watch/listen. The first floor of this wing constitutes the large orchestral studio to make best use of the space that is likely to receive the most diffuse natural daylighting. The west wing consists of the choral studio at ground floor level which can be viewed from the street to the south - acting as musical “frontage”. Above this space is the recording studio situated here to achieve maximum separation from the louder spaces of the orchestral studio and recital space.

Primary Horizontal Circulation Accessible Vertical Circulation Primary Service Routing

Rehearsal | 70

THE ORCHESTRAL STUDIO

DAYLIGHT ANALYSIS North West Curtain Glazing

North East Vertical Glazing

North East 30° Glazing

South East Vertical Glazing

Area = 35.7m°

Area = 9.6m°

Area = 6m²

Area = 5.7m²

Transmittance = 0.55

Dirt Correction Value = 0.9

Dirt Correction Value = 0.8

Dirt Correction Value = 0.9

Unobstructed Sky Angle = 70°

Unobstructed Sky Angle = 68°

Unobstructed Sky Angle = 140°

Unobstructed Sky Angle = 60°

Room Area Weighted Reflectance = 0.28 Daylight Factor = 3.1%

Daylight Factor = 0.8%

Daylight Factor = 0.9%

Daylight Factor = 0.4%

Average Daylight Factor on Working Plane = 5.2% Rehearsal | 72

73 | Rehearsal

EXPLODED STRUCTURAL ISO 1:100 @ A3 200mm CLT roof panel screwed to CLT wall panel - 30° pitch. 150x300mm glulam column to support curtain wall.

PRODUCED BY AN AUTODESK STUDENT VERSION

180mm CLT wall panel bearing onto DLT floor slab.

Schock thermal break between CLT roof panels. Cam locking nuts at 200mm centres. 200mm CLT roof overhang.

Concealed steel knife plate base connection along wall length. Steel L-plate connectors. 200mm dowel-laminated timber (DLT) floor slab spanning 10m. 150x300mm glulam column to support curtain wall. 180mm CLT wall panel bearing onto concrete floor slab. 200mm CLT balcony overhang. Concealed steel knife plate base connection along wall length. Reinforced concrete upstand to 300mm above ground level.

STRUCTURAL PLAN 1:100 @ A3

300x300mm glulam column bearing onto extension of reinforced concrete strip foundation.

Steel knofe plate base connector.

180mm CLT load-bearing wall panels. 2x 180mm CLT load-bearing wall panels. 200mm reinforced concrete stair core. Glulam columns. 0

Rehearsal | 74

PRODUCED BY AN PRODUCED AUTODESK STUDENT BY ANPRODUCED AUTODESK VERSIONBY STUDENT AN AUTODESK VERSION STUDENT VERSION

EXTERNAL FABRIC

Standing Seam Copper Cladding

Board-on-Board Larch Timber Cladding

Copper Alloy Panel

Thickness: 421mm

Thickness: 365mm

Thickness: 346mm

U-Value: 0.15Wm-2K-1

U-Value: 0.20Wm-2K-1

U-Value: 0.21Wm-2K-1

Area: 140m²

Area: 230m²

Area: 75m²

Triple glazing U-Value: 0.9Wm-2K-1 Triple Glazing Area: 225m² Rooflight U-Value: 1.1Wm-2K-1 Rooflight Area: 10m²

Whole Building Fabric Heat Loss = ∑U x A x ∆T Whole Building Fabric Heat Loss per degree = 425WK-1

Concrete Floor Slab

Copper Alloy Curtain Wall

Standing Seam Copper Alloy Roof

Thickness: 600mm

Thickness: 231mm

Thickness: 461mm

U-Value: 0.13Wm K

U-Value: 0.21Wm K

U-Value: 0.13Wm-2K-1

Area: 400m²

Area: 55m²

Area: 445m²

-2 -1

75 | Rehearsal

-2 -1

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

BY AN AUTODESK PRODUCED BY AN PRODUCED AUTODESK STUDENT VERSIONSTUDENT VERSION

FABRIC HEAT LOSSES

Timber raised access floor. 200mm DLT floor slab. 100mm acoustic insulation. Suspended acoustic timber ceiling (acoustic treatment varies between rooms)

2x 12.5mm plasterboard. 50x25mm softwood battens at 600mm centres 180mm CLT wall panel 100mm warmcel cellulose insulation. 15mm plywood sheathing. Board-on-board larch timber cladding mounted on 25x50mm softwood battens at 60mm centres

TYPICAL CLT JUNCTION 1:10 @ A3 0

0.1

0.2

0.4m

Rehearsalâ&#x20AC;&#x192;|â&#x20AC;&#x192;76

THE CHORAL STUDIO

ACOUSTIC INSULATION The mixed musical programme of the rehearsal building requires an acoustic treatment that prevents the need for simultaneous activities to “shout over each other”. Therefore the important acoustical factors to consider in the design and detailing of the spaces are air born and impact transmissions through the building fabric. As much as possible has been done to minimise the internal transmission of sound through the arrangement of spaces within the building. For example situating the acoustically sensitive recording studio in the opposite wing to the loud orchestral studio. To further protect against unwanted internal sound transmission the walls that separate the wings from the central circulation core are composed of a double-layer of mass timber CLT wall panels with an approximate weight of 90kgm-2 with an infill cavity of mineral wool and a services cavity on either side to maximise the number of material transitions through the wall thus achieving higher potential sound transmission loss. The separating floor build ups (see page 76) employ a similar strategy with a single layer of mass timber DLT floor panels (approximate weight - 120kgm-2) and a cavity on either side formed by a raised access floor and suspended ceiling.

INTERNAL LOAD-BEARING PARTITION 1:5 @ A3 0

100

200mm

Rehearsal | 78

Winter Heating During high occupancy periods in the cold winter months heat can be extracted from numerous occupancy and equipment gains to pre-condition incoming fresh air and reduce the building heat demand using an MVHR ventilation system. Solar water heaters and connection to the upcoming district heating network also contribute to a reduction in fuel consumption by space heating.

Summer Cooling In the summer, when internal heat gains are less useful, a mechanical ventilation system is employed alongside adequate numbers openings to each room (with the exception of the acoustically sensitive recording studio) to expel unwanted heat from the building and replenish with fresh air. At low occupancy times, natural ventilation driven by wind blowing across the building from the west should sufficiently ventilate the various spaces within the building.

79â&#x20AC;&#x192;|â&#x20AC;&#x192;Rehearsal

VENTILATION STRATEGY MVHR 0

Rehearsal | 80

THE RECORDING STUDIO

Breakout Space

ACOUSTIC ISOLATION

Live Room

The recording studio demands a higher specification of acoustic treatment in that, not only does it have to be acoustically cut off from the rest of the building, but it also requires acoustic separation between its own internal spaces.

Acoustically “Dead” Vocal Booth

Each of the rooms within the studio are divided by double leaf stud partitions with rockwool infill and double leaf acoustic doors. A twin layer acoustic window provides visual connection between the live room and control as typically found in most recording facilities and a sound lobby separates the live room and control room from the circulation core as an extra measure to protect against airborne sound infiltration when people cross through the internal loadbearing walls.

Control Room

RECORDING STUDIO PLAN

Sound Lobby

1:50 @ A3 0

0.5

Rehearsal | 82

180mm CLT wall panel. Vapour barrier. 100mm Warmcel cellulose insulation. Breather membrane. Copper alloy panel on 25x50mm timber studs.

PRODUCED BY AN AUTODESK STUDENT VERSION

Copper alloy door reveal.

PERMEABLE THRESHOLD The small recital space within the rehearsal building has the intention of breaking stigmas surrounding music performance and playing through having an informal relationship with the adjacent public realm.

80mm concrete screed layer with underfloor heating pipes laid at 100mm centres.

The borders to the south and east consist of a number of openable elements to allow sound to leak out into the street and square and enable those who become curious to leak into the building to enjoy the performance.

300mm reinforced concrete slab.

Timber floor finish.

Vapour barrier. Level threshold drainage channel. 100mm reinforced concrete upstand. 200mm rigid EPS foam insulation. Low density insulating concrete block. Damp proof membrane. 100mm rigid EPS foam insulation. 1000x500mm reinforced concrete strip foundation.

THRESHOLD DETAIL 1:20 @ A3 0

83â&#x20AC;&#x192;|â&#x20AC;&#x192;Rehearsal

0.2

0.4

0.8m

THE RECITAL ROOM

THE INDIVIDUAL STUDIO

FUTURE FUNCTION As well as being a driver for improving connections to Redcliffe Parade from the site, the individual studios are also part of a longer reaching strategy to re-associate the site with the adjacent Redcliffe Caves. It is proposed that the usage of some of the vaults along the retaining wall could be changed to allow for tunnelling through into the caves - providing them with an active frontage. Currently, the caves are occasionally used for film festivals, exhibitions and live music and are accessed via an entrance from Phoenix Wharf.

Rehearsalâ&#x20AC;&#x192;|â&#x20AC;&#x192;86

INDIVIDUAL STUDIO SECTION 1:50 @ A3 0

0.5

87 | Rehearsal

SERVICING STRATEGY It is proposed that the individual studios are serviced separately from the two main buildings out of the remaining space underneath the walkway between the studios and the existing buildings on site. Each studio is served by a radiator with thermostatic valve fitting and an individual ventilation unit to allow the temperature to be controlled throughout the year by the individual occupant. This strategy has been adopted due to the expected variance in occupancy profiling expected among these spaces given their allocated programme of use.

Rehearsalâ&#x20AC;&#x192;|â&#x20AC;&#x192;88

REGULATORY COMPLIANCE

Part B - Fire Safety

Auditorium Standards & Regulations

Part M - Access & use

CDM Regulations

The senseless happiness of music engulfed me like a golden bath; it’s a happiness that never depends on the objective, only the subjective, and perhaps it has a more profound link with the humanness of things because it’s altogether senseless: the strenuous production of certain nonsensical sounds - that are no good for anything - for no explicable reasonable purpose. - Josef Škvorecký, The Bass Saxophone, Picador

C E

PART B - FIRE SAFETY B1: Means of warning and Escape Assuming that the majority of end users are unfamiliar with the building’s layout, the proposed scheme generally falls under risk category B2 according to BS 9999:2017 which therefore means that the maximum allowable escape distance is 20m in instances of a single escape route, and 50m where an alternative route is available. A number of escape distances have been calculated throughout the scheme to test compliance (below). Where an open stair forms part of an escape route the travel distance has been taken along the pitch of the stair. All escape routes are 1200mm wide. Escape Route

Escape Distance (m)

45.4

33.9

Due to the large nature of ensembles, the likelihood that the orchestral studio will be occupied by more than 60 people requires there to be a minimum of 2 exits from this room. This has had a significant impact on the spatial planning of the central core of the production building.

B2: Internal Fire Spread (Linings) The building’s musical programme requires extensive acoustic treatment to internal finishes to achieve the desired sound spaces throughout the proposal. This includes the use of acoustic panels usually formed of a layer of mineral fibre covered by a veneer which can be specified to achieve a fire performance of Euroclass B - s1 d0 meaning the product will contribute a limited amount to the spread of fire. The minimum period of fire resistance for build-ups is 90mins.

B3: Internal Fire Spread (Structure) The proposal employs a mass timber construction approach which utilises both CLT/DLT technology and glue-laminated (glulam) timber framing. In both instances, structural elements have been designed and dimensioned to fulfil sufficient load bearing capacity after exposure to fire. This is possible because, although the surfaces of mass timber elements can ignite, penetration into the material is slow due to the heat-insulating layer of carbon that forms on the surface, reducing the passage of heat from the room to pyrolysis zone. However, the use of structural timber does still contribute to the spread of fire throughout the building as timbers inherent fire resistance only come into play once the surface has burned, hence only achieving a fire performance of Euroclass D - s1 d0. As such much has been done to reduce the spread of fire along the surface of structural elements through design, for example all loadbearing CLT walls are internally clad with 2 layers of 12.5mm plasterboard on a 50mm service cavity.

Regulations | 90

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

AUDITORIUM STANDARDS AUDITORIUM STANDARDS

AUDITORIUM STANDARDS

The layout of the auditorium has been designed in accordance with the standards out in Approved Documents M and thewith morethe detailed The layout of theset auditorium has been designed B in&accordance guidance provided by BS 9999:2017 and BS 8300-2-2018. standards set out Approved Documents B& M and the more detailed The layout ofinthe auditorium has been designed in accordance with the guidance by BSin9999:2017 and BS 8300-2-2018. standards out Approved Documents B & Mpermanent and the more detailed 4 ofprovided the set 313 seats in the auditorium provide wheelchair guidance provided by BS 9999:2017 and BS 8300-2-2018. spaces a in further 4 seats are removable to increase the total 4 of the 313 and seats the auditorium provide permanent wheelchair to 6 seats when necessary as required by increase Part M 4.12 3). In spaces further 4 seats removable to the (Table total 4provision ofand thea 313 in theare auditorium provide permanent wheelchair 385 accordance BS 48300-2-2018 20.7.1.1 1400x900mm provision to and 6 when necessary asare required by Part M 4.12 (Table 3). provision Inspaces spaces a with further seats removable tothese increase the total 385 provided pairs as with standard one side and are situated accordance withnecessary BSin8300-2-2018 20.7.1.1 these 1400x900mm spaces toare 6 when required by seating Part M on 4.12 (Table 3). In accordance in an of the auditorium accessible to wheelchair users at provided level of are provided in pairs with standard on one side andspaces are situated with BSarea 8300-2-2018 20.7.1.1seating these 1400x900mm are entry This being along the seventh row of in at order provide in aninarea the standard auditorium accessible to side wheelchair level pairsof-with seating on one andseating areusers situated in to anof area of a- This comfortable viewing/listening thetoof centre the entrythe being along the seventh rowexperience of seating inatorder provide auditorium accessible to wheelchair usersfrom level entryof- This auditorium. a comfortable experience centre aofcomfortable the being alongviewing/listening the seventh row of seating infrom orderthe to provide auditorium. viewing/listening experience from the centre of the auditorium. The seatway width of approximately 385mm limits the number of seats

8 8 9 9 9

9 9 9 9

9 9 9 9 9 9 10

9 9 9 9 9 9 9

9 9 9 9 9 9 9 9 10

10 1100

385

1100

385

8 9

8 15 19

15 8 19

91 | Regulations 26

1100

15 15

9 9 9 9 9 9 9 10

PRODUCED BY AN AUTODESK ST

1100

PRODUCED BY AN AUTODESK

9 9 19 9 19 9 9 20 9 20 9 9 20 9 20 9 9 20 9 20 9 9 20 9 20 9 9 9 9 9 9 9 10 10 10

PRODUCED BY AN AUTODESK STUDENT VERSION

in aseatway row to width 10 when only served by alimits single and 20seats whenin The seatway width of approximately 385mm thegangway number of seats The of approximately 385mm limits the number of served by when awhen gangway on both (in gangway accordance BS when 9999:2017 in a arow served bysides single gangway and rowtoto10 10 only served by a asingle andwith 20 20 when served by D on Table D.1). proposed auditorium layout utilisesD both served by a gangway on bothThe sides (in accordance BS 9999:2017 a Annex gangway both sides (in accordance with BSwith 9999:2017 Annex Table seatway-gangway arrangements and as such it has been ensured that VERSION Annex D Table D.1). The proposed auditorium layout utilises both D.1). The proposed auditorium layout utilises both seatway-gangway PRODUCED BY AN AUTODESK STUDENT the longitudinal do gangways and seatway-gangway arrangements and as cross such itand hastransverse beenthat ensured that VERSION arrangements andgangways as such BY it not has been ensured the longitudinal PRODUCED AN AUTODESK STUDENT so intersections only (D.3.3.f). All the longitudinal gangways do not“T”-Junctions cross and transverse gangways andare at gangways do not are cross and transverse gangways andgangways so intersections least 1100mm the end seats of rows so intersections are wide only (D.3.3.a) “T”-Junctions (D.3.3.f). All are oriented at wide are only “T”-Junctions (D.3.3.f).and All gangways are gangways at all least 1100mm so to maintain a end uniform width throughout length oforiented themaintain gangwaya least(D.3.3.a) 1100mm wide and the end seatsare of the all rows are and the(D.3.3.a) seats of all rows oriented so to (D.3.3.c). There is no change in level between any seatway andisits so touniform maintain a uniform width throughout length of the gangway width throughout the length of the gangway (D.3.3.c). There no associated (D.3.3.c). There isgangway(s). no changeany inseatway level between any seatway and its change in level between and its associated gangway(s). associated gangway(s). Asthe the central exits exits are are approached approached from the lower As central lower stepped stepped gangways gangways oncentral eitherexits side aare a clear clear landingspace spacethe thelower widthstepped of the exit and As the approached from gangways on either side landing the width of and at at least least 1100mm is situated immediately of the exit doors on either side deep a deep clear landing space the width ofinthe exitexit and at least 1100mm is situated immediately in front offront the doors (D.3.3.h). (D.3.3.h). 1100mm deep is situated immediately in front of the exit doors (D.3.3.h).

8 8

PART M - ACCESS AND USE

M2 3.28/29/34

M2 3.13

Minimum 1100x1400mm passenger lift assembly with clear 1500x1500mm wheelchair turning space at entrance. Scope to increase size to 2000x1400mm to allow wheelchair users to turn through 180°.

Acoustically treating surfaces of auditorium foyer with timber acoustic panels and felt baffles to provide a comfortable environment for conversation that is not too reverberant nor too absorbent.

M2 4.35

M2 3.28/29/34

Induction loop hearing assistance provided in reception area and radio frequency system utilised in auditorium for wider range and to avoid the two systems overlapping.

2000x1400mm to allow wheelchair users to turn through 180°. Minimum 1100x1400mm passenger lift assembly with clear 1500x1500mm wheelchair turning space at entrance.

M2 3.13 Acoustically treating surfaces of auditorium foyer with timber acoustic panels and felt baffles to provide a comfortable environment for conversation that is not too reverberant nor too absorbent.

M2 3.6 An easily identifiable reception area with a direct and unobstructed approach. Designed to accommodate standing and seated visitors with a clear 1200x1800mm manoeuvring space in front.

M2 2.7 Level threshold entrance detail to allow for seamless access for wheelchair users and wheelchair friendly internal floor finishes

PART M

M2 2.7

M2 3.6

Level threshold entrance detail to allow for seamless access for wheelchair users and wheelchair friendly internal floor finishes

An easily identifiable reception area with a direct and unobstructed approach. Designed to accommodate standing and seated visitors with a clear 1200x1800mm manoeuvring space in front.

ACCESS & USE

M2 3.5 Internal stairs designed in accordance with Approved Document K, Section 1 with handrails in accordance with M2 1.34 to 1.36 and Document K Sections 1-3.

M2 3.5

Internal stairs designed in accordance with Approved Document K, Section 1 with handrails in accordance with M2 1.34 to 1.36 and Document K Sections Regulations | 92 1-3.

UENCE (CDM) UENCE (CDM)

l explorations of the site preparation of the existing l explorations of the site to the extensive history of preparation of the existing re detailed analysis should to the extensive history of ed in disturbing any historic re detailed analysis should ing any hazardous materials. ed in disturbing any historic ded to include the existing ing any hazardous materials. Caves. ded to include the existing Caves.

from the north of the site. is enough space on site to from the north of the site. rsing, however, as the project is enough space on site to ossible and so large material rsing, however, as the project te from the car park situated ossible and so large material public closure to be able to te from the car park situated public closure to be able to e perimeters of the site to g and also to address the risk e perimeters of the site to hat the phases of the project g and also to address the risk rian routes across the site as hat the phases of the project w Quaker garden access and rian routes across the site as as prioritising the installation w Quaker garden access and as prioritising the installation ntial buildings, works should specified by local council. ntial buildings, works should struction by errors mitigated specified local is council. prefabricated components struction errors is mitigated environments. Where these prefabricated components he instance of the auditorium environments. Where these ted into place from a delivery he instance of the auditorium e. ted into place from a delivery ng e. the course of construction n workers are to be provided ng the course of construction Redcliffe Caves at the site’s n workers are to be provided Redcliffe Caves at the site’s

uce the risk of injury during s possible to be cleaned from uce the risk of injury during sign of the auditorium makes s possible to be cleaned from ndow cleaning of this part of sign of the auditorium makes g a MEWP which is able to be ndow cleaning of this part of building maintenance would g a MEWP which is able to be building maintenance would

Phase 01

Phase 02

The northern half of the site is occupied for the construction of CDPs development proposals. Materials are delivered through vehicle access from Redcliffe Way and stored in the southern half.

Works to the existing buildings and cliff commence. The riverside boardwalk is constructed to maintain pedestrian rights of way. Access remains from the northern entry off Redcliffe Way.

Phase 03

Phase 04

Delivery of the auditorium and rehearsal buildings occupies the remainder of the site. Access for delivery of large construction elements will be provided from Redcliffe Parade Car Park. Materials stored on Phoenix Wharf.

Post completion - cleaning of the auditorium fabric will be carried out using an onsite MEWP whilst operators wear appropriate PPE for working at height.

93 | Regulations 29

CDM REGULATIONS Prior to construction: Complete archaeological and geological explorations of the site have already mostly been undertaken in preparation of the existing development proposals. However, due to the extensive history of industrial construction on the site, more detailed analysis should be carried out to identify risks associated in disturbing any historic foundations, in particular the risk of exposing any hazardous materials. These inspections should also be extended to include the existing retaining wall and the entrance to Recliffe Caves. Construction: 1. Vehicular access will be maintained from the north of the site. In early phases of construction there is enough space on site to manoeuvre vehicles with minimal reversing, however, as the project commences this may become less possible and so large material deliveries may have to be lifted into site from the car park situated on Redcliffe Parade. This will require public closure to be able to work safely. 2. Hoarding will be erected around the perimeters of the site to prevent members of the public entering and also to address the risk of working near water. It is possible that the phases of the project can be arranged to open up key pedestrian routes across the site as soon as possible by completing the new Quaker garden access and ground level adjustments early as well as prioritising the installation of the waterfront boardwalk. 3. As the site is nested between residential buildings, works should only be conducted on site during hours specified by local council. 4. Much of the risk associated with construction errors is mitigated through the specification of prefabricated components manufactured off-site in controlled environments. Where these elements are quite large (such as in the instance of the auditorium glulam framing) they will need to be lifted into place from a delivery point in the car park on Redcliffe Parade. 5. Much of the site area is occupied during the course of construction and so welfare facilities for construction workers are to be provided in the area in front of the entrance to Redcliffe Caves at the site’s west access. Post Completion: Design actions have been taken to reduce the risk of injury during cleaning of windows by allowing as many as possible to be cleaned from inside the buildings. The nature of the design of the auditorium makes this impractical however and therefore window cleaning of this part of the scheme will have to be carried out using a MEWP which is able to be stored on site. Personnel carrying out this building maintenance would wear appropriate PPE.

Regulations | 94

DESIGN PROCESS

Schematic Process

Tectonic Process

Self Reflection

Looking Forward

100

...and if I had to live my life again, I would have made a rule to read some poetry and listen to some music at least once a week; for perhaps the parts of my brain now atrophied would thus have been kept active through use. The loss of these tastes is a loss of happiness, and may possibly be injurious to the intellect, and more probably to the moral character, by enfeebling the emotional part of our nature. - Charles Darwin, from his autobiography

SCHEMATIC DEVELOPMENT The direction for the overall development of the scheme was initially set by answering the questions that the brief generated relating to HOW TO DESIGN AN INCLUSIVE ENVIRONMENT FOR MUSIC?

The Initial Response An Exercise in Urban Planning

Through general discussion with my tutor and peers and a bit of light research, it appeared that the PRIMARY BARRIER that prevented more people from taking up musical activity in their spare time was the apparent stigma surrounding music performance, being that it is an EXCLUSIVE CLUB that is only for those who are musically inclined or from a musical family.

At first, when approaching the design process, it was very easy to become obsessed with the drama of the existing site geometry. By far the most impressive part of the site, the 8m brick faced cliff that separated the Wharf from Redcliffe Parade heavily influenced my initial design ideas, being something I originally thought the building should “crash” into to form a juxtaposition of what “once was” to what “is now.”

Being a musician myself, with a firm belief in the role that music participation can play in upholding a healthy mind and body, I began setting a series of ARCHITECTURAL PARAMETERS that I believed could be used to manifest this idea within a building. The main themes that emanated from this exercise were TRANSPARENCY AND INFORMALITY. And so the journey of designing an inclusive music centre for Bristol began.

However, the act of adjoining the proposal to the existing wall left much of the rest of the site to be desired. These early proposals to the south threw up all manner of consequences including overshadowing the remaining area of the wharf to the north and questions including how to mitigate against acoustic transmission along the existing wall from the auditorium.

From the start, the accommodation schedule demanded a building of two halves; one to host “practice” whilst the other housed “performance”. The translation of the built form into the “centre” of the site emphasised this need for separation to connect the public realms on either side of the proposal through a more permeable element between the two masses.

95 | Process

It soon became clear that the preferable option, for both the site and the building, was to move the primary built area away from the existing cliff face to allow it some breathing space and for it to convey the drama of the site topography that it currently does, which would otherwise be compromised by covering its face with a building.

Designing a Civic Building

The diverse musical programme of the brief requires huge attention to detail with regard to spatial planning as first defence against acoustic “interruptions” between spaces. To say that the initial results of planning deterministically against this requirement were set in stone however, would be a misjudgement.

Although the auditorium building was being developed to embody a more humble and drawnback architecture that presented itself as “friendly”, so as to encourage wider public engagement with musical activity, there was no turning away from the fact that the proposed building would still need to fulfil the visual expectations of a civic building if it were to be accepted by the Bristol population, especially when it sits in such a prominent location.

Spaces were also arranged around the scheme to provide “musical frontage” onto the public realm as was the case of the choral studio and recital space. The recital room was initially sited within the same building as the auditorium, however, further development of the arrangement resulted in this space switching with the café/bar to provide active uses on the ground floor of the auditorium at the waterfront edge.

This call was answered through the exercise of offsetting the auditorium “egg” into the transparent box, which also solved issues regarding the building being “surrounded by frontage.” The translucent auditorium “barn” is designed to spark curiosity with the eerie shadow of the concert hall behind the polycarbonate facade during the day; and to act as a beacon of light on the waterfront and a landmark to the public by night.

Arranging Spaces

Returning to the Wall Once the scheme had fully sprung itself away from the cliff face to embrace its position on the water’s edge, it was time to review the role of the 8m drop as part of the proposals. Inspired by the arched vaults of the “hot walls” along Portsmouth’s historic waterfront (a venue in which I performed as part of a choir during my school days) the raised walkway was developed along the face of the cliff to contain the individual music studios and provide direct access to the Wharf from the car park above.

Process | 96

TECTONIC DEVELOPMENT On establishing the basis for the final design the process of imagining the project FROM THE GROUND UP was put into action to create a base that would ensure a final proposal that was feasible in its construction and operation. The overall structural strategies of a GLULAM FRAME system auditorium and LOAD-BEARING CLT rehearsal building began to be the driving forces that informed the big picture and the intricacies of the scheme. A language developed across the design mostly following the idea of glulam frame transparent façades and CLT “opaque” façades to generate relationships with the surrounding public realm. Early in the process the idea for TIMBER ONLY CONNECTIONS between the top and bottom steel connections was adopted to celebrate and exhibit timber as a versatile construction material for the future.

Connection Development Developing initial ideas for the timber-only connections between glulam frame elements.

Particular attention was paid to the design of the fabric of the building as not only did it have to fulfil the role of providing THERMAL COMFORT to the building occupants; but, in this case, there was also an emphasis on the envelope’s ACOUSTIC CAPABILITIES. It was discovered fairly quickly that there are, however, LIMITATIONS to how accurately the acoustic capacities of a multi-layer build-up can be PREDICTED; and so in this instance a more qualitative approach to their design was used to provide the best possible answer to the design requirements. Making the TRANSITION from designing on the overall sale to designing on the more specific scale fairly early in the project’s development was noticeably beneficial when changes at 1:50 or even 1:10 brought about larger impacts at the overall 1:200 or 1:250 level.

Structural Desk Study Attempting to fully understand the structural capabilities of glulam and sizing/theoretically testing large span elements of the structure.

97 | Process

Acoustic Development Establishing a strategy for the auditorium acoustics to minimise infiltration from the outside but still allow the capability for sound to leak out of the building.

Fabric Development Designing the auditorium roof fabric to achieve a target U-value of 0.14Wm-2K-1 and to maximise the number of material transitions to dampen potential acoustic interruptions from outside the building.

Processâ&#x20AC;&#x192;|â&#x20AC;&#x192;98

SELF REFLECTION When approaching this project I was very aware of the challenges that lay ahead of me given the vast building programme I had chosen to pursue. However, I was determined not to let this seemingly daunting task get the better of me, especially given my personal connection with and belief in the values that the project stands for. The element that I have found most challenging over the course of the project is the need to commit to decisions which at first appear to have a big say in the overall direction of the design. Especially in the early weeks of the design development, I found myself contemplating and questioning my decision making endlessly when trying to determine what the brief wanted vs. what the site wanted. A large part of this was the endless cycle of iterations that comes with working solely in plan view and the worry I was experiencing and fear of “not getting off on the right foot” quickly receded when taking a step back and observing the design from an elevational standpoint and a different perspective. Gladly my decision making appeared to improve as the project progressed and the design gained more certainty in what I wanted it to be and what it needed to achieve. The most enjoyable experience during the past 6-months has definitely been the process of interrogating the design in detail where it hasn’t felt time has truly allowed for this in previous projects at Bath. Up until recently, I’ve usually been a bit put off by the intricate details of construction and environmental design as the information can at times be overwhelming. During the last few months however, the exercise of the detailing and specifying the coming together of building components has taught me of new/up and coming construction technologies and materials and I have found myself to develop an intricate knowledge of my proposal that is greater than I have experienced on any previous architectural endeavour. It is impossible to write about the experience of the last half-year without of course mentioning the on-going pandemic which has forced us all to change how we live and work (sometimes drastically). To say that the situation we currently find ourselves in has not had an effect on how I approach my work would be a lie. During this time I have become very aware of how the study and practice of architecture is a collaborative effort, even when working on your own projects. In a time when I haven’t been able to utilise the benefits of working in a communal environment such as the architecture studio I have regularly found myself feeling incredibly thankful to be living in an environment where I can still request the opinion of some of my peers and I doubt I will ever take the studio lifestyle for granted ever again. Overall, this project has taught me how the architecture we produce is never limited to the confines of “the site.” There is always an impact that built work can have beyond the site boundary be it physically, economically or culturally. Ultimately, I am proud not only of the building(s) I have imagined on Redcliffe Wharf, but also the place I have dreamt it to be. 99 | Process

LOOKING FORWARD Coming to the end of a project I usually find myself contemplating the prospect of what I could achieve with the design were it to continue. I hope that it is a positive thing that I feel less so this time around, given the enormous amount of time that has already been dedicated towards this process. I feel a certain sense of achievement with where the project is at present and think it has found its logical resting place. However, were I to continue this journey, I think I would delight in spending more hours contemplating the future of the individual studios, what they could become and the relationship they could have with the Redcliffe Caves behind. Throughout the project there has always remained a certain sense of mystery around the caves and what they could possibly contain. The mystery excited me, and the idea of giving them a definite purpose felt as though it would threaten to remove this excitement from not only myself, but also the observer. Advancing through the cliff face into the caves felt as though it would, in a sense, use every last ounce of potential that the site had to offer - leaving no room for further development in the future. And so, as intended, I offer my proposal for Recliffe Wharf alongside the open question of: What next for Redcliffe Caves? Processâ&#x20AC;&#x192;|â&#x20AC;&#x192;100

REFERENCES ABRSM, 2014. Making Music: Teaching, Learning & Playing in the UK. London: ABRSM. BBC Bristol, 2010. Bristol is Britain’s ‘Most Musical City’ [Online]. Bristol: BBC News. Available from: http://news.bbc.co.uk/local/bristol/hi/people_and_places/music/newsid_8563000/8563916.stm [Accessed 18 January 2020]. Besson, M. and Schon, D., 2001. Comparisons between Language and Music. Annals of the New York Academy of Sciences, (930), pp. 232-258. Bowen, G., 1989. Rejoice Greatly. Bristol: White Tree Books. Bristol Music Trust, 2018. Bristol Music Trust: Trustees’ Annual Report & Financial Statements. Bristol: Bristol Music Trust. BS 9999:2017: 2017. Fire safety in the design, management and use of buildings - Code of practice. British Standards. BS 8300-2:2018: 2018. Design of an accessible and inclusive built environment. British Standards. Colston Hall, 2019. Bristol Music Trust [Online]. Bristol: Colston Hall. Available from: https://www.colstonhall.org/about-us/bristol-music-trust/ [Accessed 12 January 2020]. Colston Hall, 2019. Colston Hall’s History [Online]. Bristol: Colston Hall. Available from: https://www.colstonhall.org/history/ [Accessed 18 January 2020]. Energy Service Bristol, n.a. Heat Networks [Online]. Bristol: Bristol City Council. Available from: https://www.energyservicebristol.co.uk/business/heat-networks/ [Accessed 17 January 2020]. Exova BM TRADA, 2018. Structural Timber Elements: A pre-scheme design guide. 2 ed. High Wycombe: Exova BM TRADA. Harvey, A., 2017. Music, Evolution & the Harmony of Souls. Oxford: Oxford University Press. Jon, N., n.a. Music From Earth [Online]. California: NASA. Available from: https://voyager.jpl.nasa.gov/golden-record/whats-on-the-record/music/ [Accessed 14 January 2020]. KLH UK, 2020. KLH Cross-laminated Timber [Online]. Available from: http://www.klhuk.com/ [Accessed. KME ltd., 2020. KME Copper Division [Online]. Germany. Available from: https://www.kme.com/en/copper-division/architecture/ [Accessed. Maor, E., 2018. Music by the Numbers. New Jersey: Princeton University Press. n.a., Bristol City Docks [Online]. Available from: https://bristolcitydocks.co.uk/ [Accessed 16 January 2020]. n.a., 1898. Midland Railway Wharf. Bristol: Bristol City Docks. Available from: https://bristolcitydocks.co.uk/redcliffe-wharf-and-bridge/ [Accessed 16 January 2020]. NASA/JPL, 1977. The Sounds of Earth Record Cover. Available from: https://voyager.jpl.nasa.gov/galleries/making-of-the-golden-record/#gallery-1 [Accessed 15 January 2019]. Redcliffe Neighbourhood Development Forum, 2016. Redcliffe Neighbourhood Development Plan. Bristol. Reynaers ltd., 2020. Reynaers Aluminium WIndows & Doors [Online]. Available from: https://www.reynaers.co.uk/en-UK/architects/home [Accessed. Richard Pedlar Architects, 2007. Redcliffe Wharf: Conservation Appraisal. Bristol: Bristol City Council. Rodeca ltd, 2020. Rodeca Polycarbonate. Germany. Available from: https://www.rodeca.de/en.html. Scheff, T.J., 2004. Universal Human Needs?: After Maslow [Online]. University of California. Available from: http://scheff.faculty.soc.ucsb.edu/32.html [Accessed 14 January 2020]. Structure Craft, 2020. Dowel Laminated Timber. Abbotsford, Canada: Structure Craft. Swedish Wood, 2019. The CLT Handbook. 1st ed. Stockholm: Skogsindustrierna. Theorell, T., 2014. Psychological Health Effects of Musical Experiences. Dordrecht: Springer. Trahan, S., 2015. The Architecture of Sound. Available from: https://www.youtube.com/watch?v=R-BMF4e-1bg [Accessed 20 January 2020].