Cathedral Gardens, Manchester. An Illustrated Report by SianBury

Cat he dral Garde ns Man ch e st e r _ B D P

Sian B ury 1 2001 296 Hum a nities & Tech nol ogy _L and TEC H

Contents Summary

Site History, Background, Planning

Ownership, Design Team

Overall Concept

6-7

Site Layout

8-9

Analysis - Levels

Analysis - Water

Analysis - Seating

12-13

Analysis - Lighting

Analysis - Public Art

15-17

Analysis - Materials, Technique

18-20

Analysis - Function

21-22

Analysis - Vegetation Management

23 24-25

Recognition

Conclusion

Bibliography

Appendix

29-31

Summary Cathedral Gardens sits on a gently sloping site, sympathetically framed by the historic cathedral quarter at one side and the contemporary glass Urbis building at the other. This clearly legible and inclusive site draws people in from all walks of life to sit or stroll in daylight or discover the theatrically illuminated site at night. The seasons 'trail of discovery' can be followed alongside the gurgling and flowing rill and standing water pools that fascinate and enthral us. In spite of careful design and research it is evident that it is still possible to encounter maintenance glitches when it involves water flow rates and pump pressure. Hard landscaping integrates with uncluttered themed lawns in generous proportions combined with calming canopied trees. From podiums to pillow lawns there are places to play and ponder in this successful example of bringing nature to the people. Image Source: Authorâ&#x20AC;&#x2122;s Own

p p p a a a m m i i m m g g i i i i g D D g i i D D S ite Histo r y . B a c k g r o u nd . Pl a n n in g

1960 Cathedral Gardens

1900 Cathedral Gardens

p a

1850 Cathedral Gardens Zoom In

1980 Cathedral Gardens Zoom In

Scale 1:750

1850

100 m

1900

Jan 04, 2014 12:15

Sian Bury Manchester Metropolitan University

1960

1980

Scale 1:750

100 m

Densely packed area, typical of time period

Chetham’s Hospital grounds developed

Little change to overall layout of area

Primary use now as a car park

Cathedral and Hospital hold key position in area

Grammar School further developed

Little change to surrounding buildings

Poet’s Corner at North point of site provides inspiration for new design

Building plots redefined, increase in plot size ∴ fewer plots

Some building use has been modified (less evidence of pubs and hotels)

Cathedral and Chetham’s site remain unchanged

Jan 04, 2014 12:10

100 m

Sian Bury Scale 1:1250 Manchester Metropolitan University 30

Jan 04, 2014 12:12

100 m

Access to Victoria Station in close proximity

Sian Bury Manchester Metropolitan University

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Oblique Ltd Artist

BDP Lead Design Team Karen Howell: Design Team Leader Plus Graduate Landscape Architect, CAD Technician, Landscape Director and Engineering Team

Lauren Sagar Artist

Ownership. Design t ea m

Melanie Jackson + Stephen Broadbent (Broadbent Studios)

Chris Brammall

Artists

Davis, Langdon & Everest Quantity Surveyors

In 2000 BDP (Building Design Partnership) were commissioned by Manchester Millennium Ltd (now Manchester Regeneration Team) to design and construct a new public space. BDP invited artists to tender, the four successful artists each contributed in a distinct way; -

Artist

MACE Manchester Contracts Contractor

Image Source: Authorâ&#x20AC;&#x2122;s Own

Programme Managers

Stephen Broadbent Studios took responsibility for the water feature, Oblique Partnership created the glass features within the sandstone wall, Chris Brammall crafted the iron railings framing Chethamâ&#x20AC;&#x2122;s School of Music as well as Lauren Sagar who carried out the artisan glass work that features in the lighting.

Additionally the team included Davis, Langdon & Everest as Contract Surveyors and Manchester Contracts as the Key Contractor. Melanie Jackson of Stephen Broadbent studios recalls that there was little involvement with other artists as each artist had their own theme. In fact a more collaborative approach had been envisaged.

Ove ra ll C o nc ep t The concept for Cathedral Gardens is based upon providing for the present, acknowledging the past and preparing for the future. Historical recognition has been given to 'Poets Corner' featured on the 1850 Digimap by referencing John Dunne's poem 'The Seasons’, the seasons also being the main theme behind the design. A trail of discovery has been created that manifests itself in discrete features. Four independent artists have contributed to the design culminating in an integrated art design that draws us in to the visual and tactile experience. James Millington of BDP describes how we start our journey in autumn at the source pool, moving into winter and spring before ending in a glorious crescendo of summer at the finale pool. Groups of trees allow us to become immersed in these phases of seasonality as we see the transformation from bud through to falling leaves. The whole design is playful and invites an imaginative and creative use of the space. RIBA (2004) commented on the design as being a “green landscaped space and a resource that will become more important in the future as the city's residential population expands”. Twelve years on, we have seen a portion of the pillow lawns developed by the National Football Museum into a children’s play area. Although it is unlikely to have been part of the original concept, it is a given that things move on and change is probable.

Image Sources: Author’s Own (Clockwise watercolour and pen on paper, pencil on paper, watercolour and pen on paper

Design development highlighting symbolism of water feature designed by Broadbent Studios (Source: Broadbent Studios, 2000)

Si te Layout Circulation was considered to be fundamental to this design layout and was based on original desire lines running North to South and East to West, avoiding any new desire lines appearing on the surface according to CABE (2011). Notably vehicular access has been kept to the Western perimeter and so doesn’t interfere with the pedestrian circulation. Three main entry points are left uncluttered and highly legible, making access to Victoria Station, the Cathedral and the retail district unambiguous. At approximately one acre Cathedral Gardens is well balanced with soft and hard landscaping. The layout uses generous proportions, resulting in a feeling of liberation and space. A central hard landscaped heart of the design provides a pivotal point for connecting the three themed lawns that form sub areas, namely the pillow lawn and podium lawns (BDP, 2014). The pathways and lawns are designed so as to be totally inclusive, and fully integrate wheelchair access. The whole of this gently sloping site is connected together with a mesmerising water feature that follows the length of Long Millgate, while simultaneously presenting the ‘Trail of Discovery’ (Broadbent, 2014). Trees have been planted to take advantage of a southerly aspect. Originally additional trees were planted though due to their vulnerable size and vandalism these were removed and never replaced (Millington, 2014).

Image Source (L-R): Manchester City Council, 1999., Bing, 2014.,Authors Own, 2014

Overall plan combined with CAD plan of water feature

Image Source: Broadbent (2000)

A n al y si s. L ev el s CABE (2011) points out that the site is situated on an incline and has been designed to accommodate wheelchair users and those with site impairment. Levels have been carefully managed and gentle gradients have been introduced, enabling access via a gradual inclined path as well as by steps. The rise and tread dimensions of different step designs varies significantly, requiring deliberation and concentration by those who use them. A hand rail features as a safety measure at a point where there are the greatest number of steps (7 high) and greatest incline. In contrast the lowest gradient is that of the terraced lawns where a 1 in 28 can be measured.

Image Sources: Authorâ&#x20AC;&#x2122;s Own

An aly sis. W a t er Water forms the boundary around the edge of the green space, bringing the design to life. The idea of progression and movement is conveyed in a celebratory style. Differing flow patterns help to communicate the change in mood and energy along the 'trail of discovery’. Stephen Broadbent (2014) points out that to enable the water to complete its circuit, water is fed through at different stages without disrupting the design. A 100m rill channel runs the entire length of Millgate before reaching the 'finale pool' where a sense of arrival is experienced. Stephen Broadbent recalls having to resolve wind issues at this point and making a 1:1 polystyrene model to test the fountain design. Jets of water up to 7 metres high shoot up between the four sculptural posts, announcing the grande finale. Personal observation has recorded the water feature not functioning on numerous occasions, though the finale pool continues to have standing water.

Source pool

Rill Channel

Finale Pool

Image Sources: Author’s Own

An alysis. Seat ing It is possible to rest and relax in a spectrum of places ranging from purpose designed sandstone contemporary benches to low level walls, protective barrier blocks and sculptural features. Those who intend to stay a while seem to gravitate towards the seating in the pillow lawns while others who may be intent on pausing briefly seem to choose a seating option from the periphery, such as one of the low level granite walls or blocks. Weather permitting there is also an option to sit or lie on the green grassy lawns. Whatever the option, there are opportunities to take a break in solitary contemplation or meet up in twos or threes as well as to interact in social groups, proving that Cathedral Gardens caters for everyone.

Image Source: Authorâ&#x20AC;&#x2122;s Own

500mm

Stepped Walls 660mm

Granite Blocks Scattered like thrown dice

760mm

Linear shapes spaced 1.8m apart

Security function

150mm

500mm Constant depth 600mm

Standard height and depth with varying lengths

1000mm

580mm

5600mm

370mm Constant height

11000mm

Straight edges act as retaining walls Curved elements create podium effect Inset steel bars in black granite deter skateboarders 150mm

Continuum of 11no stone blocks per wall

200mm

600mm

Pillow Lawn Benches Red sandstone Cast bronze details Organic sweeping shape Art detail varies on each seat

600mm

Dimensions enable users to sit or lie

400mm

2000mm

Stainless Steel Benches

Height of seat offers option as back rest when sat on grass

Provides seating opportunity from either side Handles offer support and deter skateboards Later addition due to popularity of development

Bespoke Bench Geometric design

30mm

Functional without flair

Mirrors feature on top of URBIS Bespoke elements can be talking points

450mm

Analysis . Li ghting Lighting transforms the visual environment, highlighting key architectural surfaces and revealing form and detail. The upper layer of this ephemeral medium is set at the street lamp height bordering the Urbis building. BDP are known to select luminaries for their performance and clean design, as well as taking measures to avoid light pollution. Lauren Sagar has carefully incorporated decorative handmade slump glass blocks within the sandstone seating. Apart from creating a dynamic, 'visual' lighting expels crime and draws people inÂ socially. Nodal points and character zones are highlighted creating shadows and shape that dramatise even further, particularly the water feature. Overall the design creates a happy balance between form and function, and demonstrates that lighting is fundamental to maximising the designs potential.

Image Source: Authorâ&#x20AC;&#x2122;s Own

A n al ys is. P u b l i c A r t The integrated art is a culmination of the creativity of four artists and is fundamental to the design. Stephen Broadbent recalls that various themes were brainstormed including music, though the seasons was favoured for these incidental artworks. The theme begins in the source pool with a low relief of John Dunne's poem celebrating Autumn; “no spring, nor summer beauty hath such grace, as I have seen in one autumnal face” (Jackson, 2014). Attention was paid to detail including the typeface which was designed by Melanie Jackson of Broadbent Studios. Thirty two bespoke bronze features were incorporated into the water feature, each requiring detail design drawings for construction, carried out by the artists themselves. Even the bespoke sandstone seats have a sculptural quality and contribute to creating a cohesive design. During conversation, Stephen Broadbent commented that the art was not to be seen as a sculpture, instead it should be viewed as a whole place. The discovery trail ends at the finale pool where four tall posts (each representing a season) stand out, punctuating the completion of the cycle. Requests may be made by the client and in this instance, a plaque was sought. This was created in the form of a small ‘snail’ and placed discretely in the water channel.

Image Source: Broadbent (2000)

Image Source: Authorâ&#x20AC;&#x2122;s Own

Design development for the water feature by Broadbent Studios (2000-1)

A n al ys is. M a t er i a l s. T ec h n iqu e Materials appear to have been selected for their robustness and durability as well as for the effect of aging as they develop patina and the edges soften. Natural materials have been used along with bronze. Cathedral Gardens is a good example on how by using the same material but laying in a different way can affect the perception of a space, i.e. size and scale. Granite dominates the site as paving, walls and edging for the water feature. Sandstone features in paving, rows of varying sizes, and is also used as seating within the pillow lawns. Cast bronze is used effectively for the artworks within the water feature, each piece unique and standing the test of time. Stephen Broadbent indicates that ideally bronze should be waxed to maintain its appearance. Sturdy cast iron railings designed by Chris Brammall define the boundary along Millgate and sit sympathetically with the School of Music. Slump glass blocks add another dimension at night and are discretely placed within the sandstone walls close to the Cathedral. These could look out of place if it were not for the glass built URBIS overlooking the site. Purple heart timber typically used in marine applications was selected for the ‘groynes’ featured in the finale poole, hand carved by the artist and set into four bronze casings on site with the assistance of two technicians.

Biscuit coloured sandstone 600x600mm

Stippled oatmeal granite 400x730mm

Black polished granite 400x730mm

9no Red sandstone 400x400mm The water rill is one of many sculptural features made using black granite with cast bronze detailing

Paving detail at westerly point of site featuring polished granite and sandstone slabs feature in a square pattern.

Cast iron railings designed by Chris Brammall line the Chethams School of Music and Cathedral grounds

Image Sources: Authors Own (Coloured pen on paper)

Selection of materials featured on site and the techniques used to create them (L-R): Red sandstone seating, Timber groynes carved by Melanie Jackson, Cast iron railings designed by Chris Brammall, Paving design using sandstone and granite creating a symmetrical design, Timber groynes positioned in cast bronze posts on site, Black polished granite used in water feature, Sandstone setts reminiscent of bygone era, Cast bronze posts being constructed, Slump glass blocks inspired by the siteâ&#x20AC;&#x2122;s history, Cast bronze detailing

Image Sources (L-R): Authors Own, Jackson (2000), Authors Own, Authors Own, Jackson (2000), Authors Own, Authors Own, Jackson (2000), Authors Own, Authors Own,

Detail design drawings for the water feature, located at the finale pool

Image Source: Broadbent (2000)

Analysis . Func tion Cathedral Gardens has been designed to provide areas for contemplation as well as play and gathering across the social spectrum. As Griffin (2013) points out the space has already been adopted by Moshers, Goths and Emos from across the city, confirming the vibrancy of the site. With a need to compliment both the old and new elements within the area, well connected walkways have succeeded in drawing people in to stay while others simply pass through. Overall the area functions as a major open space though smaller elements do have their own more intimate functions and features. James Millington (2014) commented that canopied trees have been planted to recreate a miniature arboretum. This brings nature to the people and adds an ecological and aesthetic value. Artworks have also been integrated to highlight the history of the site and water has been introduced as a connecting element making a reassuring link with the whole. Image Source: Author’s Own

Image Source: Author’s Own, 2014 (Watercolour and pen on paper)

Image Source: Author’s Own

An alysis. Vegeta tion Planting has been judiciously selected for both its contribution to aesthetics and its ease of maintenance. Cathedral Gardens design is based on three themed lawned areas and a mix of six different species of trees (more than 100 in total according to Architect & Builder, 2002), balancing with the amount of hard landscaping. The styles of lawn include terraced, sloping and contoured. Trees provide visual prompts for the seasonality theme that is the main thread to the realisation of the design, as well as providing a cooling effect. Prunus avium (Ornamental Cherry) runs parallel to Chetham’s while a multiple planting of 27 Betula pendula (Silver Birch) are distributed within the pillow law in an informal, irregular pattern. Grouping single species trees has great impact, particularly the Silver birch with its striking white bark. Aesculus Original concept imagery indicates that tree planting was intended to extend into two additional areas, though today these spaces remain only as lawn.

hippocastanum (Horse Chestnut), Quercus robur (English Oak) and Cedrus atlantica ‘Glauca’ (Blue Atlas Cedar), located at the finale pool, complete the collection that makes up this city arboretum.

Image Source (L-R): CABE, 2014., Author’s Own,Image 2013.,Source: Author’sAuthor’s Own, 2013 Own

M ana gem en t Management of the site includes cleaning and maintenance as well as carrying out necessary repairs that may arise as a result of wear and tear or misuse. Astroturf has already been used to replace worn grass. Ten years after the construction was completed, a maintenance report was carried out by BDP on behalf of Manchester City Council. This highlighted areas of concern and suggested how to resolve them. Interpretation of this advice has been mixed, no doubt down to budget. A recent visit highlighted a number of issues including lighting boxes missing from the granite walls, benches ‘tagged’ with graffiti and bronze details no longer in place on the ‘discovery trail’. There was also a substantial amount of litter, even though litter bins are provided. It was also noted that without any water the point of the water feature is lost. Although signs of neglect have been observed, the overall image of the site is not marred dramatically.

Image Sources: Author’s Own

Authors own observations on maintenance requirements and suggested remedies Image Sources: Authorâ&#x20AC;&#x2122;s Own

“The popularity of Cathedral Gardens is a British Council of Shopping Centres Award for Public Space Design 2001 Royal Institute of Chartered Surveyors Conservation Award 200-

testament to the scheme’s success.” (CABE, 2011 p.1)

Civic Trust Special Award for Urban Design 2004

Manchester Civic Society Award 2002

Royal Institute of British Architects Award for Architecture 2004

Environment Award 2002

The Grenfell Baines Special Award 2002

R e cog n it ion The success of the project is evident as is confirmed by the number of awards that this design has attracted and feedback referred to by Karen Howell in Architect & Builder (2002). “We have been overwhelmed by the public’s positive response to their new green park. We consider ourselves fortunate to have had the opportunity to work with a forward thinking client and to design such a prestigious urban public space.”Judged from a breadth of criteria ranging from creativity to community consultation and conservation, as well as practical purpose this project could be said to be totally holistic. Quite apart from formal recognition is the tacit approval given by those shoppers, students and others who stroll, sit and socialise within the space. As CABE (2011) reminds us, even when the weather is cooler, people still wander through the gardens at a casual pace, absorbing the atmosphere and taking advantage of this unique city park.

Co n cl us io n Cathedral Gardens offers the unexpected. The simplicity of the design makes it friendly and uncluttered, presenting an open space with nothing to hide. Trees allow light to filter through the canopies creating a calm and contemplative mood. Level changes are subtle and lines created are easy on the eye. Materials have been considered carefully and balance between the old and new features within the environment, enabling the site to sit comfortably within its surroundings. There is a happy social mix of types of people accessing the gardens though it has to be said that gatherings of youth sub cultures have been known to present a conspicuous presence, particularly at weekends. Unfortunately the water feature has proven to be unreliable at times and many of the atmospheric qualities can become lost. It is disappointing to see the pillow lawns deteriorate in areas of heavy footfall and be replaced with astroturf rather than consider grass laid on a structural base. It is common knowledge that our population is increasing, as is the number of people visiting Cathedral Gardens. Green spaces are vital in our cities and this setting proves that their contribution cannot be understated and the benefits for all are undeniable.

Image Source: Author’s Own

R e fe r encing Architect & Builder. 2002. Cathedral Gardens. Architect & Builder. July/August 2002 pp44-47 BBC. 2004. RIBA Awards for Architecture 2004 [Online]. BBC. Available from: http://www.bbc.co.uk/manchester/arts/2004/06/15/cath_gardens.shtml [Accessed 19 December 2013]. BDP. 2014. Cathedral Gardens [Online]. BDP. Available from: http://www.bdp.com/Projects/By-Name/A-E/Cathedral-Gardens-Manchester/ [Accessed 19 December 2013]. Bing, 2014. Cathedral Gardens 53.485812, -2.242345 [Online]. Available through: http://www.bing.com/maps/ [Accessed 04 January 2014]. Broadbent, S. 2014. Seasons Water Feature. Interviewed by Sian Bury [Telephone] 12 February 2014 14:30pm Broadbent, S. 2014. The Seasons [Online]. Broadbent Studio. Available from: http://sbal.co.uk/what_we_do/projects/the_seasons/ [Accessed 04 January 2014]. Building. 2002. I want to be a lawn. Building. 28 June 2002 p12 CABE. 2011. Cathedral Gardens [Online]. CABE. Available from: http://webarchive.nationalarchives.gov.uk/20110118095356/http:/www.cabe.org.uk/case-studies/cathedralgardens [Accessed 19 December 2013]. Digimap, 2014. Cathedral Gardens, 1:1250. EDINA Digimap [Online]. Available through: Manchester Metropolitan University Library http://digimap.edina.ac.uk/ancientroam/ historic [Accessed 04 January 2014]. Griffin, P. 2013. Haven in the City. Manchester: Visit Manchester Jackson, M. 2014. Seasons Water Feature. Interviewed by Sian Bury [Telephone] 07 February 2014 12:20pm Jackson, M. 2014. Seasons Water Feature [Online]. Melanie Jackson Design. Available from: http://www.melaniejacksondesign.com/#!project-2/c1jam [Accessed 19 December 2013]. Magnus D. 2014. Cathedral Gardens [photograph]. Available at: http://farm7.staticflickr.com/6111/7015393527_9798602366_o.jpg [Accessed 2 March 2014]. Manchester City Council. 1999. City park masterplan [plan]. Manchester City Council Millington, J. 2014. Cathedral Gardens. Interviewed by Sian Bury [Conversation] 10 March 2014 14:00pm Public Space. 2014. C167 Cathedral Gardens [photograph]. Available at: http://www.publicspace.org/en/works/c167-cathedral-gardens [Accessed 4 January 2014].

Image Source: Authorâ&#x20AC;&#x2122;s Own

A pp endix

I n te rv i ew notes

Melanie Jackson, Designer 07.02.14 What prompted you to enter the competition?

Were you constrained by a budget?

If memory serves me right, BDP Landscape Architects (Manchester) asked us if we would like to enter the competition and tender for the water feature element of the project. (We had just completed a project with them in Whitehaven, producing sculptural seating for the harbour, I think they were pleased with what we had produced so decided to ask us if we would like to go for this too).

I’m sure we would have been! The value of the built project for Broadbent was approximately £85,000, designed and built.

How did the seasons theme come about? The brief was to design incidental artworks that would embellish the water feature BDP had designed. Myself and Stephen brainstormed ideas with various themes (another being music, as the Cheethams School of Music overlooks the space). However we settled on the ‘Seasons’ as we liked the fact that elements could take you on a journey/tell a story ‘of the seasons’ as you travelled along the water feature. What inspired your design? I looked up various quotes/poems to do with the Seasons and came across this poem by John Dunne (below), we really liked it and thought that it could be a great starting point for the artwork. Therefore we decided to start the journey of the seasons with Autumn; the words of this poem are cast into the leaves in the ‘Source Pool’ at the start of the water feature. ''No spring, nor summer beauty hath such grace, As I have seen in one autumnal face” John Donne (1572-1631), British poet.

How did you select the materials? We went for materials that could stand being in water, (wouldn’t rot) and require no maintenance, if anything, look better with age. The timber we used (purple heart) is a timber used in marine applications, ie for lock gates or groynes on the beach. Cast bronze is incredibly robust so would stand up to any attempts at vandalism and would patinate naturally with the weather/ environment/being handled. How involved were you in the build process? I was quite involved actually and it was very enjoyable to work on! I produced the detail design drawings for all of the 32 no elements and the 4 no posts which stand in the ‘Finale Pool’. Then there was a team of us who worked on producing all of the bronze patterns for the foundry, it was my job to also hand carve the timber posts. ( I’ll send you some photos of us making the patterns). Finally, I was also on site assisting two of our technicians fitting the bronzes onto the granite in the ‘Source Pool’ and ‘Rill’ and was there to oversee the installation of the posts. What involvement did you have with the other selected artists? Not that much really, the artworks weren’t connected in any sense (all based on different themes), so we all just got on with our own bit really. However, I did meet with Chris Bramall and the guys from Oblique on site, who are all nice and who I had met before. Image Source: Author’s Own

Stephen Broadbent, Broadbent Studios 12.02.14 What prompted you to enter the competition?

How involved were you in the build process?

Invited by BDP, not an open competition. Didn’t have to submit designs. Had consultation with school and cathedral and Urbis architect (Ian Simpson).

Approx 1 year from design to site. Water doesn’t run all way round, more water fed through at different points. ‘Invent’ made mock fibreglass leaves and 1:1 polystyrene model in Kent to test fountain design. Had to deal with wind issues at finale pool. ‘Invent’ provided guarantee on water feature.

How did the seasons theme come about? Idea of progression. Fountain = boundary around edge of green space. Looked for device that would start off and end in a celebratory style. Reflected movement. Wanted it to be about trail/ discovery/finding things/hidden. What inspired your design? Disjointed piece of public space. Approach for integrated art solution. About creating space. It’s not a sculpture, it’s a whole place. Other ideas with grilles etc taken out of design due to maintenance/health and safety.

What involvement did you have with the other selected artists? Not as much as would have liked. Envisaged as more collaborative. Enjoyed working with Lindsay Humblet (now PlanIt). Good to have an integrated approach. Additional Comments Pre CAD design so all work paper based. Mel led design team with Stephen. Tim acted as Project Manager looking after costs. Also team of technicians.

Were you constrained by a budget? Worked in fixed contract budget. Built in contingency. Always have a budget. Always stick to budget. Can’t see how so many other projects go over. How did you select the materials? Tactile qualities. Bronze works well with water. Timber has jetty type feel. Bronze base used on posts. Self weathering materials so don’t need maintenance. Purple heart timber likes water, likes getting wet. Bronze should be waxed.

Image Source: Author’s Own

James Millington, BDP

10.03.14

What prompted you to enter the competition?

Why did the other lawns not get planted?

Closed competition I think.

Originally planted with fruit trees but vandalised too much so replaced with smaller trees. Area used differently than anticipated ∴ space doesn’t work as visualised.

At what stage did you invite artists to submit entries? Knew that artists would be a part of the scheme during the initial concept stages.

What impact did the budget have on the design process?

Contacted artists that knew would be capable of the work and specialise in area.

Public time seen as worth investing in at time. A lot of high quality elements/materials across site/design that would be unlikely to feature so much today. A lot of natural stone - wouldn’t have been cheap.

How was the design team structured?

Did any changes occur due to budget constraints?

Director - Project Leader - Graduate - CAD Technician plus Engineering Team

Not really. Only real challenge was underground works.

How did you select the final four artists?

What was the time frame for the project? 6-12 Months. Diverting roads and working with services took most time. 1 year delivery. How did the design develop? Considering how elements could be interpreted. Did you use models to communicate the design? Plans and sketch perspectives colour rendered. At the time, staff more talented with pen and paper so most designs done by hand. Polystyrene and cardboard models no doubt used. What factors influenced the levels?

What were the criteria for sourcing materials? Chetham’s influenced use of stone, Cathedral features York Stone, Granite is cost effective to shape (would have been shipped), historically granite would have been used for curbs. Marshalls (Rawtenstall) supplied York paving. How did you become nominated for the various awards? Client will have put design forward in some cases, others submitted by BDP, others by awarding bodies. How did you envisage the space being used? New urban park/green space, a release from the harsh city centre. Other ‘gardens’ in Manchester not necessarily green e.g. Piccadilly Gardens.

Seating reflects basements of buildings originally on site. Image Source: Author’s Own