The Birmingham Guide by Steven Bruno

The Birmingham Guide

Written and Edited by Steven Bruno BSc Transport Product Design SUN 129064378

issue 01

eviews

Library Custard Factory IKON Uwe BrĂźckner Hippodrome

The Library of Birmingham Designed by Architect Francine Houben the new, green public library provides a unique space in which everyone can enjoy everything it has to oďŹ&#x20AC;er, such as a huge collection of cultural exchanges and interactions not to mention the claimed 400,000+ books housed within it.

Atmosphere Upon entering the library the public are greeted with powerful bold signs, and light flooding in from the back of the building encouraging them to move into the space. The general feel of the building creates large amounts of space and open plan interior design, helped by the use of light neutral beige wall colours. The entire venue seems to scream modernism and relaxation, and this is evident as guests are treated to escalators on almost every floor, nothing as pedestrian as stairs. Lined with a cool blue neon glow (probably not every age groups cup of tea) only raises the level of technology and sophistication to the building. Once ascended to the 3rd floor, the interior grows once again and changes character. As you move into the Rotunda area, the use of darker metals and woods are a luxurious and pleasing sight for the eyes to enjoy, helped by the perfectly stacked uniform volume of books that surround you. The seemingly never ending metal stair cases that wrap around the interior continue the illusion of infinite books and space, and make it seem as though each level continues beyond what’s actually visible (reminiscent of Hogwarts). If you manage to get past all that, then you might want to explore the Shakespeare Memorial Room, a prime example of Houben using periodic architecture to illustrate the relative era (17th century). The room is lined in aged tarnished oak like wood, including typical Elizabethan era features such as flower plaster ceiling decorations and gold like metals to compliment the wooden cabinets in which the largest collection of Shakespeare’s literature in Europe is kept. The carpet is a thick royal red 2-tone flower patterned fabric, used in the high-end retail industry to encourage customers to slow their walking pace and encourage them to take in what’s around them.

Information Conduits Manned help desks are also widely available on every floor, if the signs are not clear. However if a visitor was to look for a specific category or genre of book, yes you may get to the correct floor, but given the shear number of books and shelves presented to you, it may take longer than originally intended to find it. Most information is presented to the public on a main feature wall on each floor, normally a dark royal blue. The signs are normally bold and contrasting neutral colours. The specific font type used is rather plain and sharp when giving directional information, purposefully to make it as legible as possible. In general the information blocks listing the content of the respective floor is uncluttered and relatively easy for users to depict where they are within the building. Using a black background colour and contrasting light text on the information blocks makes it easier for those with impaired vision to read and see its contents. Points of interest and listed facilities such as disabled access, toilets and information points are shown using well known symbology within brass like yellow circles matching those at eye level mounted on the walls. Another modern asset is the large interactive table touch screens, which allow visitors to browse through the entire library with a simple graphical interface separating everything into genres and styles of work (the menu is based around the circles theme). The only down sides to this is the frustratingly slow response when swiping around the fanned book options. The technology is a good idea but somehow underwhelming and has more potential than it currently performs at.

Architecture As asked by The Guardian in 2013 “Is this the best library in the world? Architecturally speaking, no”. Obviously this question is more personal preference than fact, however it is undeniably an impressive building. Understanding Houben’s reasoning behind her creation is one of true vision and creativity, from her use of vast walls of glass and utilisation of light, to her incorporation of iconic historical design from a number of periods which feature higher up in the building. Visitors of all aspects are enticed into the building, whether it be for a new read or simple to relax and find their way up to one of the balcony garden’s located on the 3rd and 7th floors. Logic would suggest that if you were to start a building off with a strong square structure and place another, smaller square on top and so on, you would assume the final stage would be to use another square. Therefore some may say they are surprised by the look of the building when they see that, at its panicle, is a cylinder finished in the brass yellow colour used incrementally throughout the building.

Physical design & features When taking a very large step back from the building, you can appreciate the true nature of Francine’s design. Starting with the Baskerville house from the 30’s and the REP theatre from the 60’s, nestled in between is the new library bringing together the different periods of the last century and also take its own place, as a building for the next century. The building has a way of capturing your attention and engaging the senses at different points throughout. A good example of this would be the fragrances from the ‘secret garden’, the visual appeal of the building internally and externally, the touch and texture of the study desk facilities and the books themselves, but also the acoustic properties of the building. As it is such a vast, open, high roof edifice, you might expect a lot of background noise however particularly when within the rotunda section of the library the noise dissipates upwards into the space rather effectively. It has also been mentioned the Rotunda section of the design helps with the circulation and ventilation systems, which keeps the buildings internal environment at a constant, pleasant, fresh atmosphere (another very welcome relaxing technique). However, it’s not all roses, due to a rather embarrassing oversight in the interior design of the building, Birmingham Post published on their website a headline “Trouble at Library of Birmingham” stating that the library had been branded ‘unfit for purpose’ just 6 months after it opened. To this day the design flaw is still obvious when ascending upwards through the Rotunda section as it becomes blindingly clear that some books displayed, on some shelves are not accessible unless you were to ask for a very tall builder’s ladder. So it seems that some of these books will be more ornamental than practical.

Graphical Identity The header font style of the library has a more bold bubble like font, which may age more quickly when compared to the exterior design of the building. The graphical identity is also trying to establish a modern cutting edge theme with its use of portrait photos of seemingly normal members of the public holding a colourfully artistically detailed silhouette containing a mixed scene to encapsulate the library of Birmingham. The graphic pattern on the exterior, acting as an exoskeleton of the building, seems to be a theme that runs throughout the entire venue, including details such as lighting and circular pillars to match, not to mention the Rotunda space. The graphic pattern is also used on large areas of glass within the building to create dividers between meeting rooms, staďŹ&#x20AC; areas and quite zones without detracting any natural light. Many metaphors could be construed about the pattern and as to why Francine chose it, however the main reason is because she wanted to use the shadows to reďŹ&#x201A;ect and refract the changing of seasons within the building. This was an intentional eďŹ&#x20AC;ort to diminish the possibility of making the library look more like an airport terminal full of glass.

Web Profile The same general house style of the building is carried through to the website where you will find the same font headers and sharp white content boxes that remind you of the bright airy interior of the building. Another interesting (mixed view) the website uses, is the same very detailed silhouette multi-coloured artwork designed to show off all the different aspects of the library, the public who use it and what the information provided may achieve. As displayed on the website, the library also includes a dedicated children’s book reading/play area. Do not worry; you won’t be disturbed by the sound of screaming children when trying to concentrate, as their area is on the lower level, and away from the main building. The website is relatively easy to navigate (much like the building itself) and has a consistent, coherent, inoffensive image. The reasoning for this could be argued, to make it as safe and appealing to as many people as possible, particularly those that may come into contact with some of the libraries digital material or advertising.

Content The new public library has been designed with the general public in mind, all ages and all demographics included. This is expressed most prominently by its interior content. Helpful somewhat friendly faces to converse and ask for help at the information desks, then the clear and illustrated maps and signs along with Braille (a legal requirement for a public building). So what, you may be thinking? Every library has these, and you would be right, but did I mention the interactive screens and enquiry computer points throughout the building. This seems to appeals to the kindle reader generation more than â&#x20AC;&#x2DC;traditionalâ&#x20AC;&#x2122; paperbacks. Another unique feature at the library is its outdoor garden areas. Once again you will be pampered with an automatically rotating door to gently escort you to the exterior areas, where you have the option to relax and take in the views (on the rare occasion the British whether will allow it) or enjoy a book or two. The outdoor furniture and plant life have also been arranged in circular layout to encourage people to engage with each other. Houben wanted the zone to feel like everyoneâ&#x20AC;&#x2122;s living room, to feel relaxed and comfortable. Some members of the public may say the building looks like an art gallery, and this may be true when considering the vast open areas, which open up opportunities for organisations to contribute there own exhibitions. This brings more interest and numbers through the door as it provides more of a sense of activity and seasonal change.

Conclusion The ‘Library of Birmingham’, a vast and expensive (£188.8 million) public building that has to cater for a huge variety of demographics, and provide not only a collection of books and medias but also a central hub for the city and its people. If taking into account Houben’s hopes and aspirations for this building the overall conclusion has to been seen as a success, as it achieves its briefs as a library. However the level in which it has is down to personal opinion. Opinions are always going to be strong when someone is bold enough to challenge the norm, what Houben has created is a building which puts Birmingham back on the map, it carries its own credentials as a landmark, let alone a good place to loose yourself for a few hours with a good book (unless its one not accessible due to health and safety). One thing we can take from the building is that it questions what the modern day library should be. It tries to reinvigorate the public’s imagination on a libraries purpose. By using its social spaces and gallery areas to become more like a community centre bringing external exhibitions, helped by promoting and connecting the REP theatre and providing a larger digital presence to a wider and more diverse user group. Some will love this building for its artistic and bold design that challenges Birmingham’s traditional architecture along with its more multipurpose nature, yet some members of the public may ﬁnd it far too brash and alien, maybe even oﬀensive.

References Bibliography: Toni Nelson (2013) Inside The New Central Library of Birmingham. Available at: https://www.youtube.com/watch?v=fZ50SgXYkUg (Accessed: 2 October 2015) In-line Citation: (Toni Nelson, 2013) Bibliography: Library of Birmingham (2009) Library of Birmingham Designs. Available at: https://www.youtube.com/watch?v=Po7oq5jAM0w (Accessed: 2 October 2015) In-line Citation: (Library of Birmingham, 2009) Bibliography: Elkes, N. (2013) New £188m Library Of Birmingham pushes the boundaries. Available at: http://www.birminghampost.co.uk/news/local-news/new188m-library-birmingham-pushes-5799971 (Accessed: 4 October 2015) In-line Citation: (Elkes, 2013) Bibliography: (no date) Available at: http://www.libraryofbirmingham.com/ss/Satellite?blobcol =urldata&blobheader=application%2Fpdf&blobheaderna me1=Content-Disposition&blobheadervalue1=attachment %3B+ﬁlename%3DLibrary-of-Birmingham-Visitor-Guide-up dated-April-2015.pdf&blobkey=id&blobtable=MungoBlobs &blobwhere=1318274549659&ssbinary=true (Accessed: 4 October 2015) In-line Citation: (no date)

Introduction A ‘historic STORY’ is The Custard Factory, located in Digbeth, Birmingham. As the name suggests, the main factories built in the 1800’s were made famous by its original owner “Alfred Bird (a qualiﬁed chemist and druggist)” who invented instant egg-free custard powder (to cater for his wife’s allergy to egg and yeast). Upon a huge success story and growing to a business employing thousands of people (and supplying for the armed forces during WW1 and WW2), production was moved to Banbury in 1964, and the factories fell derelict. In 1988 the factories were practically given away as part of another property transaction between vendors at the time. With a big investment project in 1993 the space has slowly transformed into an almost indescribable collection of applications. A place in which attracts artists and performers, stylists and craftsmen, businesses of all kinds and much, much more.

Atmosphere Being “The UK’s leading destination for creative and digital businesses, independent shops and alternative culture outside of London” it is clear this venue is aimed towards a younger demographic. Road markings and directional information is recognized by the city council as the name is displayed on maps and road signs. Even before entering a single building, you know you are somewhere different, communal and sophisticated by the hints of local artwork (Graffiti in other words) that introduce a lot of activity and creativity in the area. Once at the main opening of the ‘street’, all evidence points to a rustic Indi style high street. Every unit within the tall narrow street is painted in a different colour, some bright and powerful, others reserved and more down to earth (obviously to appeal to different customer types). With a small cute café at the beginning of your journey through the street, a sweet shop along the way and unique antique shops, the atmosphere is relaxed and thought inspiring. This is helped by the sculptures and artworks dotted around and throughout the site effecting you by their presence, suggesting a treasure hunt to seek them all out.

Decoration and colour and artwork are key assets used on the exterior of the buildings. They express the true nature of the Custard Factory for being a “Creative Space For Creative Businesses”. It allows visitors to be very open-minded and encourages freedom of expressionism and intellectualism. The house style of the venue is subtly used in almost every area by use of the same colours on the logo, and then transferred once again to some old style triangular bunting linking all the way down ‘Urban Village’. This could also be a ‘way ﬁnding’ technique used to draw the public both in and around the site, without actually doing so adding to the sense of freedom. Just before arriving to the main information centre of the site, you will ﬁrst have to brave your way passed a gigantic stone/tree giant. Naturally this extraordinary and rather iconic BFG (Big Friendly Giant) receives mixed opinions and emotions from visitors. Guests are easily distinguishable, from people who work there, by seeing if they are ‘Instagramming’, updating their status or ‘tweeting’ about their newfound 46ft friend.

Information Conduits Information is provided throughout the location, with a devoted information unit surrounded by glass trying to be seen by as many customers as possible. Inside (rustic and stylish) the help desk is covered with shop leaflets, promotional events, business cards and flyers of everyone who takes up work residence in this fun complex. However some people may find it confusing how the Custard Factory doesn’t seem to have it’s own brochures or flyers which would provide valuable information as to what shops are where, and what they specialise in. On the other hand from a business point of view it might be inefficient and wasteful to do so, especially if there are new shops or changes regularly, which would make the costs too high to constantly print and provide an up to date brochure. For some, this matter may not bother them, in fact, it may be intentional because for some it can be seen to add more character, charm and uniqueness to the organisation, forcing their visitors to look around and explore the entire location. This would also give every business the most amounts of possible customers, even if they were tucked away in a corner unit.

Architecture From the main road the buildings structure seems original (other than the painted faces down ‘Urban Village’) and features some hints of modernism in the form of full-length walls and windows of glass. Some may ﬁnd it inappropriate for such an old style building, yet some would say it encourages more business and innovation from a modern shopper’s point of view. The entire site seems challenges society in a very interesting and unintentional manor through the custard factories own brand taste and presentation of its facilities which attract an audience that do not suite the overall location in Digbeth. To put it similar, Digbeth doesn’t seem to be a particularly desirable location to visit, and yet the factory seems to attract a lot of business and really makes a controversial statement against the area. Not only does the factories periodic character still shine from the main road, so to, do the other buildings and structures around it. A great example is the overhead brick train line that runs right next to the entire facility bridging its way over the River Rea.

Physical design & features The juxtaposition between the exterior and interior of the building is very prominent. The classic brickwork disappears at the entrance of the internal shopping centre, where visitors are transferred into a pure white tunnel encouraging you to make your way through the huge large glass door. The Custard Factory also provides oďŹ&#x192;ce spaces to let which are advertised to the public, both on their website and easily seen in person with, arguably appealing adverts taking up entire spare unit windows from the ground to the 1st ďŹ&#x201A;oor. The adverts continue the same square house style seen online which portray a very fashionable, attractive and manageable possibility for renting one. The colours on the window ads also use the same pastel pallet of happy colours, which ingeniously donâ&#x20AC;&#x2122;t allow them to look out of place when sandwiched between two other neighbouring businesses. This is helped once again by the coherent house style used and matching building face colours mentioned earlier.

Graphical identity The venue has created an identity that tries to encompass the sheer amount of individual businesses based there. It uses a powerful, multi-coloured font which arcs back to the late 80’s, early 90’s relating to time of the investment. The multi-coloured theme runs through the main street with each individual building face, showing off its own characteristic colour pallet. Alongside the artworks and sculptures are clever modern art gallery style clear glass square plaques which carry on the same bold 80’s/90’s style font this time in using a clean plain white for ease of reading assisted by the powerful wall colour is it mount off. These plaques can be found both inside and outside of the buildings, which intentionally breaks down the barriers between both environments. This suggests to the observers that the entire venue is used as an art gallery, not just confined to the interior spaces. It also adds more modernistic and minimalistic features which, are there not to detract from the exhibitions, but to remind you of the custard factory’s house style and describe the what they are looking art.

Web Profile The organisations online appearance could be suggested it looks paper based with an oﬀ white textured background and use of sharp crisp images and colours. It manages to portray a professional and appealing quality to a wide range of user groups, not just those of a creative or Indie style. Using predominantly squares and bright pastel colours, the web proﬁle is very uniform and methodical in its layout. This makes navigating the site very user friendly and informative.

Obviously in a digital age like today, companies can’t afford not to have a very high quality website, however what sets the custard factories apart from other venues and places to visit in Birmingham is the subliminal messaging to try and attract visitors to the area. This rather sophisticated and difficult suggestion is probably helped by the use of featured artwork and quirky individual shops and businesses that provide such a diverse range of flavours. Even if you are not a particularly creative or artistic person, there is a high possibility at least one outlet will interest you.

Content A winner of the ‘British Gas Properties Art Council – Art working for the cities’ award in 1995, the centre has become a beacon for like-minded individuals sharing similar tastes and creativity. The interior modern art gallery design helps to push all guests into a communal world, one surrounding them with clean lines and white walls suggesting a plain canvas background for individuals to express themselves within. Whereas the foreground, announces a rich realm of opportunity through use of inspirational sculptures and vast uncluttered spaces to find your individual tastes and opinions within. Yet some may argue the space is too plain and clinical. It’s difficult to keep in mind that it is primarily an office block. Even though this is an undoubtedly unique centre, debatably the only issue is the location, it is unfortunately positioned just a stretch too far for most to venture. If the venue were slightly closer to the centre of the city, more people would unquestionably be encouraged to visit. Not helped by the lack of retail attractions from the Bull Ring down to Digbeth, is the sheer lack of publicity and marketing of the collective of creative arts and businesses. More is definitely needed to publicise the organisation to bring more numbers through the door.

Another area within the site includes the internal courtyard, which features some exquisite pieces of art. One of which is an amazing dragon sculpture located climbing the inner wall of the square. Created by artist Tawny Gray, it symbolises a time in which the factory was ﬁrst being redeveloped into a centre for arts and crafts. Another incredibly artistic, yet functional piece located inside the mini shopping centre area is a sculpture reminiscent of a wildly oversized impression of Ker-Plunk which forms the lattice work of crisscrossing white beams holding up some above ﬂoor across-room bridges.

Conclusion For a critical analysis of how a venue exhibits its work, you would be hard pressed to try and find a place of equal value as Birmingham’s Creative Quarter, The Custard Factory. Using a multitude of fashionable and modern techniques to present their works, housed businesses and events. These include, the retro font and house style colour pallet used on their signage and promotional material, to the modern minimalistic glass plaques and art gallery whites flooding the interior spaces with natural light (another well-established relaxing technique). The Custard Factory is like a picture frame expressing its unique line of independent and individual businesses, allowing them to fill and become the picture, and creating a distinct and opportunistic platform for others to bring their own ‘art’ and services to the community. Some people will only ever visits once and feel it is not for them, a good day out but not somewhere they would ever go back to. Whereas some will find a great deal of excitement and enthusiasm for this place, and want to come back to soak in more creative arts, events, workshops and businesses accommodated there. If you are one of those people then the Custard Factory has employed the correct methods to thrill and engage with its target audience, creative, sociable, individuals, mainstream or otherwise.

References Bibliography: Brown, G. (2014) Review of 2014 - June: Custard Factory owner on Digbeth, facelift for city tunnel and Hidden Spaces photos on display. Available at: http://www.birminghampost.co.uk/business/business-news/ review-2014---june-custard-8344568 (Accessed: 12 October 2015) In-line Citation: (Brown, 2014) Bibliography: The Custard Factory - Birmingham’s Creative Quarter (no date) Available at: http://www.custardfactory.co.uk (Accessed: 12 October 2015) In-line Citation: (The Custard Factory - Birmingham’s Creative Quarter, no date) Bibliography: Birmingham Photographs - Dragon, Custard Factory, Digbeth (2003) Available at: http://www.bplphoto.co.uk/imageﬁles/F23/pages/F23-031.h tml (Accessed: 12 October 2015) In-line Citation: (Birmingham Photographs - Dragon, Custard Factory, Digbeth, 2003)

Introduction A place of modern expressionism and ‘internationally acclaimed contemporary art’, that is what the IKON gallery hopes to be. Originally founded in 1964 the gallery has moved around the city taking up areas of residence in a number of questionable locations such as a unit in the Bullring precinct in 1965, to 1998 in their most recent residence, the refurbished modernized School Building on Oozell’s Street.

Atmosphere Calm, cool and collected, three words that match the area around the grade 2 listed building. Even the interior has a sense of modern style and a cool blend of both periodic architecture and the modernised elements featured inside and around the building. The exterior of the building has been kept with its original front face untouched. The only signs to say the site has endured a mass refurbishment, is the use of slate floor surrounding the construction, the large sleek black information board places on the corner of the premises, and the 21st century use of 2 circular shapes automatic opening full glass doors. Upon entering through the ‘Star Trek’ reminiscent glass entrance, the interior designers have wasted no time exposing you to the main exhibition featuring at the time of your visit. The same style slate stone floor is carried throughout the ground floor of the building creating a formal and sharp impression.

The white walled entrance acts as a quick visual refresh for the guests to prepare them for the interior journey they are about to endeavour. The first impression of the interior could be seen as more ‘cold’ than ‘cool’. With the 1st glass and steel staircase rising from above the audience surrounded by brown/grey concrete block walls giving and impression of strength and modern minimalism. The front facing wall is used to present the current exhibition title exhibiting the first flavour of what is featured within. Everyone is forced to a sharp right turn into the foyer area where all of the walls continue the clean crisp ice white internal theme. Halogen spotlights and large old and new glass techniques are the main sources of light for helping to open up the somewhat small compact floor space. Hints of the newly renovated and old building are expressed in the high ceilings and periodic archways that have been opened up and sharped in the white paint making the space open plan and contemporary.

Information conduits Most information regarding the gallery itself is displayed in an easily legible black against white ‘Ariel’ like font. Only the ‘IKON’ name is in a minimalistic bold font, which is concise and acts as a basis for the house style. The exhibition uses vinyl sticky back text applied directly to the white walls to display the name of each piece of work. What is interesting is how the artists own unique font, has temporarily been adopted by the IKON gallery to use for all other signs and temporary information. Main ‘Way finding’ information is generalised and concise on a single powerful blue plaque mounted an inch off the wall of each floor easily visible at eye level at the top of each stair rotation. The signs use universal symbology for toilets and public facilities, and lift located on the ground floor along with the integrated open plan gift shop and picture filled café. The upper floors consist of the galleries, events room and resource room, all using the same simple lower case font mostly in pure white apart from the current floor you may find yourself on highlighted in bright yellow.

Architecture One of the most interesting aspects of the gallery is the combination of periodic styles synchronizing and try to co-exist. Purists may find the amalgamations unfitting for the traditional gothic style red brick architecture. However the defined glass sections are uniquely integrated ‘onto’ the building rather than ‘into’ which creates a fragile blend of the two styles. The designers have tried to balance to very different architectural designs together. Both very forgiving by nature, one using pure white walls and exposing parts of its outer skin brick work, and the other also trying to be as pure as possible through heavy use of glass and Steel allowing natural light to flood into the older more traditional rooms.

The exterior of the building shouts a completely different image based of its brickwork and periodic features. The IKON gallery has taken on a split personality only ever showing small hints of its more modernistic gallery style interior. Done by way of using square potted, perfectly trimmed plants surrounding the boundaries of the complex and the modern creature comforts of the café canopies and artistic angular style deck chairs. Fundamental brick arches and detailing’s have been as preserved as possible with the damaged areas replaced with replicas in stone brown, grey slabs. This could symbolise the modern parts of the building trying to stay as honest as possible to the original features of the building. However the original glass has been replaced with fitted engraved oak boards, clearly there to create a closed wall for the new interior layout. Another thoughtful touch is the glass used on the staircase is frosted which will help comfort those of you who may suffer from acrophobia.

Physical design It’s evident that a large amount of organisation has gone towards the way finding within the public spaces. Large floor to sealing oak doors are both soft and pleasant on the eye, yet also serve a neat secondary use to be used as a fake wall. The gallery areas open at 11am – 5pm (TuesdayFriday) before this period the ‘automatic fire closing door’s confine public to a more restricted space. Between the seating area outside of the gift shop and the transitional archway into the main staircase of the gallery, the use of false walls help to limit this space by providing large visual barriers. Advertising and promotional materials are heavily relied upon to create all the visually interesting pieces in the main foyer around the help/information desk. Another original architectural feature from the old building has been utilised by acting as a frame for the galleries professional promotional booklets and general information display stand.

& features The gallery seems to appeal to a more grown-up sophisticated target audience. Children do not seem to be of high priority for the calm quite and relatively cramped, library like layout. Only the gift shop merchandise oďŹ&#x20AC;ers hints of child like humour, books, stationary and accessories providing much needed elements of colour and fun. This is evident mostly in the interior design choices taken. These include an art sale concentrated onto one feature wall and a very professional minimalistic array of furnishings such as solid thick square chairs, benches and moveable sales units. Arguably the chairs have been purposely designed with comfort not in mind to encourage visitors to move on into and around the gallery rather than hesitating in the foyer.

Graphical identity The IKON normally uses predominantly black and white for its information and name displays. The main exterior signpost is primarily black with a trifling yet concise amount of information display. The IKON name (in the house style bold slightly rounded font) in pure white and a list of activities featured such as ‘Exhibitions, Events, Workshops, Café, Shop’ all displayed in an off white grey tone Ariel style font (legible and resistant to aging). What’s most interesting about the gallery style is, they seem to not only provide artists with exhibit space for their work, they appear to personalise and remark all of their exhibit sign posts and typography based on the current exhibits own design font. The unique artist’s (Fiona Banner) personalised font is incorporated through the IKON’s website and in her free ‘walkthrough tour’ leaflet stating it’s download available from her professional website and the IKON’s own. This expresses a huge amount of support and partner ship between the current exhibiting artist and the venue. This is cleverly achieved by how the organisation presents the titles and small information plaques by using sticker text applied directly onto the white walls. This moves away from the traditional small white plaque mounted a few mm’s off the wall (as seen in a stereotypical modern art gallery such as the Tate Modern) and helps to add a subtle level of individuality to the gallery.

Web Profile Digitally the IKON’s house style is portrayed on screen very eﬀectively. Their website is, once again, mostly white and black based backgrounds and opposing text, with a professional clean lined layout with no visible boarders or frames to distract from the boxes content and purpose. The information is concise and clean with occasional use of photography taking up entire ‘web cells’ edge to edge with a clean descriptive white text overlaid. Practical, useful features and external links to their Facebook page, Instagram, and Twitter etc. are gathered neatly within grey scale column consistent boxes towards the bottom and tops of the web pages.

The menu system is coherent on every page making navigation very intuitive and functional. Much like the buildings interior the website portrays a very identiﬁable style. The only criticism that people may have is the website may be to ‘black and white’ both literally and metaphorically speaking. There is a distinct lack of colour and doesn’t seem to cater for family audiences. Some may debate this type of gallery isn’t exactly aimed at screaming children and has a more mature ‘art connoisseur’ demographic in mind.

Content Even though the interior design is clearly aiming to carry on the modern contemporary ambiance of the IKON house style, they have used small hints of colour to keep the interior relatively tasteful without being to plain and boring. Some examples include the blue information boards (previously mentioned) and the bright yellow effective book dividers in the shop. Helped with the elements of minimalistic wooded frames, grey scale and white painted plinths dotted around transitional areas to house smaller piece of work. The spaces provided on the upper floors, for the artist to plan out their audience’s exposer to the art and their journey around the room is in keeping to the plain white wall and sharp line look as the ground floor area. The artist appears to have been given complete freedom with the layout of their exhibition (excluding obvious fire and emergency exits). A somewhat ‘unclear’ featured piece of sculpture work in the foyer is an interactive glass sculpture located in one of the window frames at the front of the building. The glass has been specifically formed into a funnel perforating into the interior space, with a small plaque describing the piece.

This seems to link well with another exhibition featured on the top floor simply called “Glass”. This is another exceptional example of the level of dedication and flexibility the gallery is willing to accommodate exhibiting artists, by means of adapting relatively impractical elements of the venue. The older periodic architectural elements of the building are also utilised by the artist to present their works. For example the light that floods in from particular skylights of the historic roof structure and the archway detailing’s that bridge the sides of the main rooms, which frame pieces of art on opposite ends of the room. This disputably adds more layers of interpretation for the viewers.

References Bibliography: Ikon Gallery (2013) Available at: https://ikon-gallery.org (Accessed: 16 October 2015) In-line Citation: (Ikon Gallery, 2013) Bibliography: The shop (no date) Available at: http://independent-birmingham.co.uk/shop/cherry-bl ossom-at-the-ikon-gallery-mounted-print/ (Accessed: 5 November 2015).

Introduction “Form follows Content” – Uwe Brückner’s work philosophy. An adapted version of the famous ‘Form follows Function’, which illustrates Uwe’s exhibitions, and design work evocatively. Having worked on over 100 international projects and received over 140 awards, Uwe’s reputation as a leader in exhibition design is unquestionable. He is now the creative director of his own design studio, ‘Atelier Brückner’ alongside the managing director Shirin Frangoul- Brückner, his wife. Professor Uwe R. Brückner is esteemed nationally and internationally as a forerunner in the ﬁeld of exhibition design. One of his earliest internationally recognised multi award winning projects is the BMW museum in Munich. His design studio ‘Atelier Brückner’ works in scenography, exhibitions, museums and architecture which aims to, not only present work to an audience, but to create an experience, both cognitively innovative and emotionally stimulating.

Atmosphere An inspired video (used on Brückner’s website) of the studio and the employees at work create an appealing and confidence assuring atmosphere, which shows a unique insight into the companies design process. This helps to build trust and encourage clients to approach the firm. The website alone portrays a professional and organised, creative yet unique impression. All aspects appear coherent to a strong, confident house style. A perfect example of some of the spaces that Brückner is responsible for is the Cern ‘Universe of Particles’ in Geneva. A collaboration of designers and architects, Brückner included, that created such a mesmerising interactive space. With education in mind, the exhibition has been designed to allow visitors to openly move around the vast open space. Moving through a field of large plain white spheres, some of which are suspended at eye level, others creating large slanted surface areas where information, astronomical imagery and filmography are displayed.

The discovery area is very dark and uncluttered area, trying to be a vacuum in which the visitors can lose themselves within and move through the man-made galaxy (much like Space itself). Low light neon strips are used primarily to highlight the bottom sections of the spheres, which allow users to use the ﬂoor as a visual reference when walking around, possibly for safety but also reassuring the audience’s attention stays on the content of the room. Interactive user screens and images are projected onto the large objects and circular desks around the room that draw viewers in. Some of the spheres are hollow and used as viewing boxes for extra items in the exhibition. All the techniques and eﬀects used in the ‘Universe of Particles’ create a unique experience in which all visitors become a part of the exhibition acting as individual particles moving through the galaxy, free and mysteriously. This metaphor can be seen all through the exhibition, from the shape of the room, to the layout of the planetary sphere props. All of which surround the ‘Particle collisions’ desk display located in the epicenter of the room, like Electrons spinning around a Nucleus. All these elements add a huge amount of creativity, discovery and fun to the exposition.

Physical design & features A great example of Brückner’s architectural influence would be the GS CALTEX PAVILION in Korea. The building is design to illustrate the Korean oil companies “mission and vision for the future”. Primarily a mirrored star-shaped building, which is well camouflaged within hundreds of 18 meter tall ‘blades’ that illuminate different colours of light and sway gracefully in the wind. Visitors are invited to explore their way through this vast field of moving light to arrive at the reflective and illusive star-shaped main attraction. The buildings blades have some similarities to Tomas Heatherwick’s Seed Cathedral. Both of which use light through these tubular features as a cocoon to enhance their artistic and inspirational qualities.

The epicenter of building is a circular 360° screen viewing room (partially interactive) which displays a predominantly black and white metaphorically filled animation of virtual energy, transforming into a turbulent ocean following a whale and female driver encountering one another. The blades that fill the exterior grounds feature specifically randomly placed interactive blades, which when pressed quickly illuminate that particular blade then causing the others to illuminate outwards in a circular wave pattern, designs to represent energy transferring around and through matter.

This building is exceptionally eye-catching and creates its own internal dynamics, which passersby may have a hard time keeping away from. It encourages people to explore through beyond what they can see, to weave their way through and discover the true purpose for this fascinating piece of architecture. From a distance, especially at night, as the blades perform their wave-like light show, you could be forgiven for thinking you were looking at a boringly square building covered in LED monitors. It’s only when you have explored through the bamboo like tubes of light (appearing to go on forever thanks to the buildings mirrored skin), that you realize just how truly complex the building is, and how wrong your ﬁrst impression was.

Graphical identity Bold sharp ‘Ariel’ like text is principally Uwe’s typography of choice. Very clean and easy to read, with 1 powerful colour ‘RED’ selectively used to help illustrate the focused and precise attitude of his design language and by extension, his studio. Brückner has also created a company identify through the logo of a fish which can be used as a distinguishable icon to stamp his mark on all the projects he is involved with. It also creates a lot of opportunities to market their brand and studio both on paper and digitally through promotional materials simply by including the logo. Graphical techniques “play a leading role in the Atelier’s integrative approach to design”. It is one of the most powerful and key aspects of communicating ideas and topics to an audience. This is visible, not only in a literal sense, by enhancing the content and information of exhibitions, but also in the font and visual appearance of said graphics. The HAUS DER BERGE in Berchtesgaden is a brilliant example of how graphics can be portrayed effectively to convey an idea and introduce a topic the audience (in this case natural history). The name Haus Der Berge has been displayed onto the side of the main cube like building, the exterior of which appears to be a rusty metal appearance and texture. Within the rusted effect, the name has been presented in bold capital letters showing a strong look that creates a rustic style to the museum, also demonstrating nature at work aging the material (adding to the nostalgia and appropriateness for a museum).

Web Profile Information is mostly supplied by the company’s online presence, which uses very clean easy to understand grey and black symbols to convey all the organisations areas of expertise listed simply under “Tools”. The web profile of Atelier is very minimalistic, in both the base colour pallet (light grey background colours) and the amount of text presented on the homepage, which features a large clear bold text for main headers. Large individual rectangular content windows dominate the pages showcasing beautiful photographic examples of Uwe’s design exhibitions, imaginatively some of which have been filtered with red scale overlays with a coherent bold text in pure white. The red elements make a constant connection to referencing the Atelier studios logo, a red fish. As red, white, black and grey shades are the only predominant colours used, the user isn’t drowned in a distracting array of colours and information, instead, a clean well established house style. All these elements are an effective way so as not to detract from the content presented, following seamlessly with Brückner’s work philosophy.

Another effective and interactive feature used on the website is the cursers interaction with the links and imagery on the page, the icons are highlighted in the same red as the logo colour, again linking to the house style and create a uniformity and ease of usability throughout the website. The website is well structured with regards to it’s content, however some users may struggle to figure out how to navigate around the entire website effectively due to the site appearing to be split into two different sections (‘PROJECTS’ and ‘ATELIER’). Some could argue this is intentional, designed with slight inefficiency and not as user friendly as it could be, in order to guarantee surfers will browse through the site and be exposed to the companies work, adding to its client attracting purpose.

Conclusion Uwe Brückner, a pioneer in not only exhibition design, but a multitude of ﬁelds that allow him and his talented team at Atelier to create a portfolio of exceptional works. Some may say his work is too impressionistic and loud for museums and cultural exchange. However for an audience who learn through interaction, creativity and above all, experiences, then it can be said, Brückner and his team, design some of the most inspirational, thought provoking, emotional exhibitions in the world. Just from taking a look at photos and videos of Atelier’s portfolio, it makes people want to go to see and experience these places, ﬁrst hand.

RED References Bibliography: Uwe R. Brückner (2014) http://mab14.mediaarchitecture.org/speakers/uwe-r-bruckner/ October 2015). In-line Citation: (Uwe R. Brückner, 2014)

Available (Accessed:

at: 24

Bibliography: Homepage (no date) Available at: http://www.atelier-brueckner.com/en (Accessed: 24 October 2015). In-line Citation: (Homepage, no date) Bibliography: Seed Cathedral (no date) Available at: http://blog.berchtesgadener-land.com/wp-content/uploads/2014/11/Variante1web.j pg (Accessed: 6 November 2015). Inline Citations: : (Homepage, no date)

Introduction The Hippodrome established in 1979, an independent trust and registered charity, providing entertainment at its prestigious theatre in the city of Birmingham. The Hippodrome is a “Receiving House” theatre, which means “it is a theatre which does not produce its own repertoire but instead receives touring theatre companies, usually for a brief period such as three nights or a full week (sometimes called a roadhouse)”. The Hippodrome also offers a number of additional in-house catering distributed over its impressive 4 floor layout, such as restaurants, bars, dining areas, conference suites and a VIP lounge. The Circle Restaurant, located on the 3rd floor was also the first theatre-based restaurant in the country to be awarded the AA Rosette Award. Outside of London, the Hippodrome is regarded as the most popular theatre, with the largest stage area and a record showing of around 100,000 pantomimes, and selling a yearly average of 600,000 tickets.

Atmosphere The Hippodrome is currently going through a companywide re-branding. The new leaflets for the autumn of 2015 quote “A new look for a new season”. The old purple and yellow orbiting icon, has been replaced by a far more modern and minimalistic letter ‘H’. Evidence of this transition can be seen all around the venue where some signposts such as directional or level specific plaques mounted off the staircase pillars, still present the old style logo and colour scheme. By minimising and simplifying the branding of the company to a specific letter, they are trying to make everyone who sees the letter ‘H’ become reference to themselves and their name. Another successful example of this very distinguishable, powerful and ambitious branding technique would be ‘Facebook’, and how they have monopolised the letter ‘F’ specifically to their company. The ‘H’ has also been used in a universal marketing manor, by integrating it into the titles of all shows, performance names and posters featured. With such a creative and dramatic collection of performances and choreography shown at the Hippodrome, the company needs to provide, and attract a wide variety of audiences. This is achieved through how effectively the organisation promotes and presents itself to the public. The Theatre on Hurst Street, Southside, Birmingham has been heavily invested in as is responsible for showcasing all the performances and media the Hippodrome offers. The feel from the company comes across as very professional and accommodating, whilst staying true to an entertainment venue, with all the grand nostalgia that encompasses, to make their paying customers feel pampered and important.

Customer experience is the highest priority for the company, evident by the amount of money spent on the foyer and facilities. For example the luxurious bars and new paperless system, which is replacing all backlit poster boards for large LED monitors, eliminating printing costs and reducing fire risk. This has been furthered by the introduction of e-tickets making the experience even more convenient. A criticism from the younger tech-age groups in the audience may find it tedious how the online capabilities of the tickets system do not sync with apps devoted to collect and hold all passes and tickets on their smartphones, such as ‘Passbook’ or ‘Wallet’ on iPhones (IOS devices). The interior is also lavished in luxurious qualities such as thick purple carpet in main walk ways which leads visitors upstairs, along with the walls which are lined in perfectly spaced thick wooden lengthways boards (which under the low light ambiance enhances the quality and class of the customer’s experience). Customers are also flattered where possible by large mirrors creating vanity areas in which the, presumably dressed up, lady or gentleman can see their fashionable reflections. This is also another opportunity that the company used to feature leaflets and promotional material, an effective use of space.

Information conduits Internally the building is very open plan and provides clear, minimalistic signs to direct the public around the foyer area. The ticket desk (box office) areas are also very sharp and well illuminated by full-length white backlit desks and monitors above and behind that display current shows, prices and advertisement. Information about specific shows is distributed on the new screens dotted all around the main areas, however specific information about the performances can be found in handy leaflets by the desk, or alternatively online, which presents the info in off white box windows, conveniently showing critics reviews and “Important Information” specific to that particular performance, including running time and age guidance. Each level also features artwork, ballet sculptures and paintings in uncluttered areas, which help portray a very sophisticated and culturally rich history of performances.

Architecture The Theatre itself (opened in 1895) carries a rich history of entertaining its 1,935 seated capacity. The venue is currently used to bring performances ranging from Ballet, Opera, West End Shows, Pantomime, Comedy and Drama. Aesthetically speaking the forefront of the building has been refurbished several times in the past, and today features a complete glass and steel front face, which helps provide a modern, sleek and stylish outward appearance.

Design & features The side of the building provides a look that does not conform to the original internal period design of the main theatre, and features a, side entrance for crew and performance teams to arrive and disembark more easily. Almost full-length frosted windows are used between the large rectangular panels that frame the side of the building, which help to express a modernistic, minimalistic design language. Internally the foyer and central guest space has been optimised to be open-plan and fully accessible for disabled guests, by providing ramps and glass lifts that match and follow the wide, grand staircases.

The transition from lobby and sales, to customer experience and care, subtly changes once you pass the discreet roped barrier ticket checkpoint, and the customers approach the glass railed and thick purple-carpeted staircase highlighted in classy white spotlights. However the biggest transition is still to come as you reach the desired level to your seating. Once the audience pass through the theatre doors, they are transferred into a completely diﬀerent space, the theatre is rich in periodic features from the dark wood walls and royal red seating, to the detailing’s on the face of the balcony seating, red draped royal boxes and grand ceiling mosaics.

From the moment the guests enter this room of spectre and enjoyment, the shear atmosphere of the room enhances their experience and provides an intoxicating build-up of anticipation, waiting for the red curtains to be drawn back and the show to begin. The Hippodrome also personalises elements within its facilities, such as creating individual drinks and cocktails at their bars, speciﬁcally for the particular show being performed at the time. These types of additions further enhance the customers experience by continuing the theme of the show outside of the theatre, helping to ‘bring the show to life’, in a fun and sophisticated manor.

Graphical identity All the text featured on the company’s web profile (not including the name) is presented in the dark blue found in the new company logo, which creates another coherent sense of professionalism and familiarity online. The font itself matches both online and physically, which translates this ‘online professional’ experience into the real world, particularly when approaching and stepping into the venue. The font’s appearance is very safe and conservative, implying no bias to any particular style or genre. This is so they do not influence and sway customers to any particular show or promotional material, in short it reflects a sense of honesty.

Web Profile The web proﬁle of the Hippodrome could be seen as rather plain as it needs to be as easy to use as possible in order to navigate, browse and purchase tickets for the shows. However it could be suggested that the website even lacks a speciﬁc house style (with the exception of the name and logo). What is clear is the graphics used in the venue are coherent with the graphics online which add to the customers experience through consistency and familiarity to anyone who has visited the online site prior to the physical venue.

A prime example of this traditional web structure would be ‘TESCO’ own website, showing clear menu tabs at the top, followed by sub-menus and content, ending with additional links all listed below. This is further evidence the site aims to be as user friendly as possible for all generations. This has been achieved by not taking high risks and, potential complications, with layout and format. The website seems to have been designed to be as user friendly as possible, which is illustrated through the layout and template structure that is coherent throughout the site. For example the 3 most frequently used tabs are located at the top of the page next to the logo, all spaced generously away from the rest of the content lower down. Way ﬁnding around the website may be somewhat challenging for a new visitor, however key information has, again, been separated and placed on ‘centre stage’ at the top of every page (which adds to the familiarity and ease of use). The website also follows a relatively traditional structure, with all categories and additional links listed at the bottom of each page like most mainstream websites.

The most eye-catching section of the website features a rolling advert window which is personalised individually to each show through using one of the Hippodrome’s logo colours as the window background. The individual colour theme continues to be used throughout the website for speciﬁc tab icons and text separators helping create a reference for memory. The website background however stays immaculately white, probably helping make contents easier to see and read. The company relies heavily on the imagery and the featured shows posters to attract the user around the site.

Conclusion A well-presented, organisation that is continuously modernising itself, to encourage the public from all across the country to visit and enjoy a great theatrical experience, outside of the mainstream stereotype locations of London. An entertainment establishment that seeks to bring a wide range of performances to the city, a place in which families and all ages of society can be catered for, whether that be, dramatic performances, musicals, comedies or a light-hearted pantomime. The Hippodrome hopes to provide a great experience for its paying guests, with grandeur, sophistication and a hint of glamour. Theatre may not be for everyone, but the Hippodrome uses a good deal of exhibition presentation techniques to encourage as many of the target market as possible to visit, experience and enjoy a show.

References Bibliography: Hurst street, Birmingham (no date) Available at: http://www.birminghamhippodrome.com (Accessed: 28 October 2015). In-line Citation: (Hurst street, Birmingham, no date) Bibliography: Wikipedia: Verifiability (2015) in Wikipedia. Available at: https://en.wikipedia.org/wiki/Wikipedia:Verifiability (Accessed: 3 November 2015). In-line Citation: (Wikipedia: Verifiability, 2015)