Fazeel Babur_Y4 | Unit 14 | Bartlett School of Architecture

MANCHESTER PICCADILLY ENTERTAINMENT DISTRICT -

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MANCHESTER PICCADILLY ENTERTAINMENT DISTRICT

REIMAGINING THE PICCADILLY ENTERTAINMENT DISTRICT

MANCHESTER, ENGLAND, U.K.

The project explores the reimagining of the a 1960’s development scheme for Piccadilly Gardens in Manchester. Whilst reinvigorating the site of the gardens, it aims to reimagine it as a future accessible performance venue, to enhance the very culturally rich performance and busking scene we have in the city.

Architecturally it explores the use of bamboo and concrete composite as a modern intrepration of the brutalist inspired piccadilly plaza of the 60’s along with testing bamboo as a sustainable alternative for steel, used in theatre and performance.

In order to keep the integrity of the garden and its high foot fall of users, I have proposed to elevate the gardens on multiple levels, to keep a dynamic formation allowing for more casual performance spaces to be built in the landscape for young performers and buskers to be exposed to the public realm as their audience.

REIMAGINING THE PICCADILLY ENTERTAINMENT DISTRICT

The project explores the reimagining of the a 1960’s development scheme for Piccadilly Gardens in Manchester. Whilst reinfigorating the site of the gardens, it aims to reimagine it as a future accessible performance venue, to enhance the very culturally rich performance and busking scene we have in the city.

Architecturally it explores the use of bamboo and concrete composite as a modern intrepration of the brutalist inspired piccadilly plaza of the 60’s along with testing bamboo as a sustainable alternative for steel, used in theatre and performance.

In order to keep the integrity of the garden and its high foot fall of users, I have proposed to elevate the gardens on multiple levels, to keep a dynamic formation allowing for more casual performance spaces to be built in the landscape for young performers and buskers to be exposed to the public realm as their audience.

Bloomsbury Theatre, London UK

CIRCULATION TYPOLOGY

The current typology of theatre spaces has remained relatively the same since the fruition of the first amphitheatre, theatre of Dionysus, in 6th century bc. Being built into the landscape as an outdoor space for performers. The notion of people gathering in a space for a shared collective moment has always been in human nature, so when this is removed from our society, it flags up questions of what the future might look like.

These have a central performance area enclosed by the audience on all sides. The arrangement is rarely ‘round’: more usually the seating is in a square or polygonal formation. The actors enter through aisles or vomitories between the seating.

Theatres containing proscenium stages are known as proscenium arch theatres and often include an orchestra pit for live music and a fly tower for the movement of scenery and lighting.

The thrust stage area itself is not always square but may be semi-circular or half a polygon with any number of sides. Such stages are often used to increase intimacy between actors and the audience.

These are flexible performance spaces which when stripped to their basics are a single room painted black, the floor of the stage at the same level as the first audience row.

1. IN THE ROUND

2. PROSCENIUM

3. THRUST

4. BLACK BOX

ADAPTED PERFORMANCE CIRCULATION

Architecturally I believe that covid has highlghted fundamental flaws in the design of theate spaces currently. In a time during closure and social distancing, the performing arts industry suffered incredibly due to the lack of being unable to populate their theatre spaces safely. This sparked a conversation around whether the current architecture is due a rethink, and if there are new ways of intrepeting what the future of live performance might look like.

1. STRIPE

2. DOUBLE SPIRAL

3. VERTICAL ANTICLASTIC

An alternative proposal to the Thrust layout, where each level have their own entrance and exit route, to prevent congestion across the space.

An alternative proposal to the in the round space where the audience have to routes they can access, allowing for optimal viewing whilst safely being able to enter and exit.

An alternative take on the end on theatre typology, where each level is faced vertically along a gentle double curvature wall allowing optimal viewing to the stage.

SPATIAL ORGANISATIONS OF THEATRES

Most theatres have very similar spatial organisation. Starting with the entrance and ticket booth. All traditional typologies of theatre follow a specific circulation route, segregating the audience from the performers and backstage. The only area where you may see all three users would be in the auditorium and the stage.

Salford, UK

Build in 2000

Designed

Los Angeles, USA

Build in 1930

Designed

Theatre Royal Drury Lane

London, UK

Build in 1812

London, UK

Build in 1968

Designed

Backstage

Foyer

Seating

Access Stage

The Wiltern Theatre

by Styles. O. Clements

The Lowry Theatre

by Michael Wilford and James Stirling

The Bloomsbury Theatre

by James Cubitt and Partners

Designed by Benjamin Deam Whyatt

SPATIAL ORGANISATIONS OF THE O2 ARENA

In the round arena’s offer a different spatial organisatioin due to the diverse nature of shows that can be played. It needs to be a versatile space that allows for ingress and egress from all sides. In order to keep a flow, there are larger foyer spaces dedicated for high numbers of people.

Build

Capacity: 20,000

Backstage

O2 Arena, London, UK

in 2007

Designed by Richard Rogers

PERFORMING ARTS DURING COVID

The performing arts industry was hit very badly during covid, as people were unable to congregate safely, leaving venues at threat of clousure. There was very limited funding provided by the government to support those venues and artists who had no income anymore. Politically the conversative party began neglecting the arts and Rishi sunak infamously suggested people in the arts should ‘retrain and find other jobs’ and began an advertisment campaign to get artist to retrain.

AUDITORIUMS RUNNING AT LOWER CAPACITY

Many theatres were forced to have an isolation policy where they had to put big X’s on seats that you could not sit on during the performance, cutting total capacity down to a 1/10th in many larger capacity theatres.

BOTTLE NECK ACCESS

A key problem during this time was the bottle neck access issues, that arise when entering a theatre space. Going from a large open foyer through tight vomitories into a large auditorium is where the tight contact points are.

RISHI SUNAK CAMPAIGN VIRTUAL CONCERTS

The performing arts industry was put to incredible strain during the pandemic with no priority funding given to the arts. There was a campaign started by Rishi Sunak, who encouaged people who work in the arts to retrain, in order to make a living throughout the pandemic. This was seen as the government turning their nose up to the power of creativity within our society.

Virtual Reality has become the next big thing in the performance world and this was excercised throughout the pandemic, where artists were setting up virtual concerts in games, allowing their to be safe interaction amongst fans in a virtual space.

THEATRE TAXONOMY

There is a series of specific spaces that activate a theatre and they all have different users. Some of the highlighted spaces are prevelant in all theatres in order for them to function properly. I have drawn out a generic theatre space to highlight the key features. There are usually four key spaces which are utilised. These being the foyer, auditorium, stage and backstage.

BACKSTAGE- TECHNICAL

FRONT OF HOUSE

AUDITORIUM STAGE FRONT OF HOUSE BACK OF HOUSE

INTIMIDATING FACADES

Accessibility into theatre can be difficult due to the large and often intimdating facades. If you are a young performer or artist who is looking to understand the arts better, it can be hard to get access into theatres to be able to look around. The spaces are usually very controlled and not the most welcoming.

CONTACT THEATRE, MANCHESTER UK

Contact theatre famously has an indimitading castle like facade, which immediately makes it difficult to figure out what the building actually is. It is also not on the main road, which also makes access for people who are simply interested in theatre even more difficult.

THE FACTORY, MANCHESTER UK

The Factory is a megascale theatre opening in Manchester in 2023. The building has a large warehouse attached to side of it allowing for numerous formations of productions to take place. The shear scale of the space might be seen as indimating to the passing public.

MATERIAL RESEARCH: THE ARC, BALI

Study of the Arc pavillion in Bali, Indonesia, which uses kerfed bamboo bundling techniques to create compressive load bearing sports hall. The lightweight structure features bamboo arches that support an organically shaped canopy. The 14-metre-high arches are connected by anticlastic gridshells that curve in two directions to create a robust, tensioned structure.

BUNDLING

Rope

FOUNDATIONS

The

Tieing together bamboo which is bent into an arc using ‘Reb Reb’ construction which is a common form of arching in Bali.

foundation is supported by pouring concrete into a mould around the the bamboo bundles which then fill up inside the bamboo to ensure its stays firmly in place.

THE ARC, BALI: DETAILS

The two arches intersect and are joined by rope tying at the intersect.

The gridshells use shape stiffness to form the roof enclosure and provide buckling resistance to the parabolic arches. The two systems together create an unique and highly efficient structure, able to flex under load allowing the structure to redistribute weight, easing localised forces on the arches.

BUNDLING TWO BUNDLES

GRID SHELLS

REB REB CONNECTIONS

To shape and curve a bamboo pole in its natural form is challenging because of its cylindrical form. There are different methods, one of them is known here in Bali as the Rub-rub technique, where we make V-shaped cuts along the shorter axis of bamboo. Note that the load-bearing capacity of such cut bamboo poles is less in comparison to whole bamboo poles. This can be taken care of by bundling up at least 3 poles together.

ANTI CLASTIC STRUCTURE

This ‘anticlastic structure’ derives its strength and stability from the curvature in two opposite directions, and allows the building to have a long, open space without columns.

GROUND CONNECTION

The bamboo is sliced to be parallel with the concrete base. It is then reinforced with steel dowel bar.

#1 There is a hole thats made in the bamboo to pour cement grouting in , It is then reinforced with steel dowel bar which connects the bamboo to the concrete base.

#2 There is a ground plate which sits on top of the concrete base. It is reinforced with concrete and steel rod connected to the ground plate.

Hole for cement

Dowel Bar

Concrete Base

Concrete

BAMBOO THEATRE FRAGMENT

Adapting the vertical theatre concept, using its circulation idea for a post pandemic venue. Using bundled bamboo for the main structure.

SHELLS

GRID

The gridshells use shape stiffness to form the roof enclosure and provide buckling resistance to the parabolic arches. The two systems together create an unique and highly efficient structure, able to flex under load allowing the structure to redistribute weight, easing localised forces on the arches.

STEEL NODE CONNECTION

The steel node connection use shape stiffness to form the enclosure and provide buckling resistance to the parabolic arches. The two systems together create an unique and highly efficient structure, able to flex under load allowing the structure to redistribute weight, easing localised forces on the arches.

STEEL NODE CONNECTION

The steel node connection use shape stiffness to form the enclosure and provide buckling resistance to the parabolic arches. The two systems together create an unique and highly efficient structure, able to flex under load allowing the structure to redistribute weight, easing localised forces on the arches.

BUNDLING

Rope Tieing together bamboo which is bent into an arc using ‘Reb Reb’ construction which is a common form of arching in Bali.

MATERIAL RESEARCH: LAMINATED BAMBOO AS A REPLACEMENT FOR STEEL

BAMBOO ALTERNATIVE TO STEEL

Bamboo has been used in the construction field for a long time, even before its tensile strength was known.

The use of steel is costly, and the production of steel has a lot of drawbacks like high costs, atmospheric pollution, and environmental degradation. The bamboo, on the other hand, can be produced at very low costs and has various environmental benefits.

SINGLE DIRECTION TRUSS FORMATION

The truss is constructed by connected members with steel plates to reinforce the joints

CULM The bamboo culms are 5 to 25 cm in diameter, 18 to 20 m high, with a 0.8 to 2.0 cm thick wall.

CUTS The culms are chopped into straight pieces, or strips, and manufactured.

STRIP They are manufactured into strips which are heated to sterilize the material.

SHEET The strips are sewn together to stop them from moving creating a sheet of bamboo strips.

LAMINATED GLULAM BAMBOO The laminate is coated with resin and stacked to form laminated glulam bamboo.

LOAD TRANSFERS Trusses carry their own weight from the top of the truss, down the members across the chords and onto the supports. The triangular members allow for even distribution of loads.

TWO DIRECTION TRUSS FORMATION

To stengthen the truss, having two way directional members connected with pins and columns, strengthen the span.

TWO DIRECTION TRUSS FORMATION

The joinery allows for members to pass through each other using a box joint, connected with columns and diagnal members.

MATERIAL RESEARCH: ULTRA HIGH PERFORMANCE CONCRETE

CONCRETE TYPES

High performance concrete is the best material for large span structures and column free areas. There is a range of different types of concrete, so I have looked at material variations in order to reduce the carbon footprint and increase its performance.

All of the materials used for the mixtures are combinations of fine powders with a grain size smaller than 600 micrometers. The UHPC holds metal fibers which makes it very ductile.

MANCHESTER, UK

Manchester is an incredibly rich and vibrant city, with a deep history rooted in the industrial revolution and in more recent history been known for its eclectic music scene and contributions to mainstream global pop culture. We have some of the most iconic talent to come out of our city and I believe we thrive upon the next generation of young artists and creatives that our city is breeding. I want to honour that with this project.

Manchester's music scene produced successful bands in the 1960s including the Hollies, the Bee Gees and Herman's Hermits. After the punk rock era, Manchester produced popular bands including Joy Division, New Order, The Smiths and Simply Red.

1 Piccadilly Gardens

2 Piccadilly Train Station

3 Oxford Road Train Station

4 Deansgate Station

5 Salford Central Station

6 Arndale Centre

7 Town Hall

8 Central Library

9 Manchester Central 10 Old Granada Studios

11 River Irwell

12 Chetham School of Music

13 Manchester Met

14 Manchester University

15 Gay Village

16 New Islington

The Manchester Worker Bee

PICCADILLY GARDENS

Piccadilly Gardens is an open-space area situated in the heart and soul of the city centre. As an accessible gateway to the city, it provides both work and leisure opportunities for a large number of people.

It is the central hub of Manchester’s public transport system. It has a major transport interchange offering easy access to a number of buses and trams to help make your journey to and from the city centre quick and easy.

Redesigned in 2002 by Architect Tadao Ando. The Gardens have had alot of controversy due to the design, namely a large concrete wall dividing the bus station from the garden, dubbed ‘The Berlin Wall’ by locals including myself. The are has become synonymous with drugs, anti-social behaviour and homeless people. As well as party goers, office workers and tourists during the day time too.

NORTHERN QUARTER

PICCADILLY GARDENS

PICCADILLY TRAIN STATION (500M)

OFFICE BLOCK

PICCADILLY TRAM STOP

MARKET STREET TRAM STOP

MARKET STREET

BUS STATION

TOWN HALL 500M

PICCADILLY GARDENS 2002-2022

The gardens has gone through a number of regenerations over hundereds of years. I am particularly interested in revisiting the scrapped plans of the 1960’s where the council had made plans to transform the area into an Entertainment district.

1700s

Piccadilly Gardens was known as Daub Holes. Where women who behaved badly would be dunked in the 615ft long pits. The owner then replaced it with a pond.

1755

Alongside the pond was the new Manchester Royal Infirmary was opened. A year later it became the Manchester Lunatic Asylum.

1800s

After the hospital was demolished there was a proposal for a new art gallery. The plan was dropped in favour of a public garden.

1914 Piccadilly Gardens was turned into the largest green space in the city centre. The old basement of the hospital was transformed into a sunken garden.

1945

After WW2, there was lots of post war damage, which urged the gardens to be redesigned.

1960s

The Piccadilly Plaza was added as part of plans to create ‘The piccadilly entertainment district’, which never fully came to fruition.

PICCADILLY PLAZA

Built in the 1960’s as part of the plan to transform Piccadilly into an Entertainment district. A complex raised above the city at first floor level, connecting with footbridges. The plans were scrapped with only the Piccadilly Plaza left as a reminder of the brutalist plan of the 1967.

2002

The Garden was redesigned by Tadao Ando, creating the controversial ‘berlin wall’, a large concrete wall seperating the transport hub from the gardens.

2022

The council opened up a £25 million competition to redesign the gardens, with part of the wall set to be demolished.

EXISTING PERFORMANCE VENUES

There are a number of performance venues in the city, all which offer varied performances from dance to touring shows. However they all have different limitations which may prevent people from going to them.

The current one’s all have different capacities and are designed to host different kind of performances. They follow the traditional types of theatre design, either in the round, end on, or thrust.

MANCHESTERS CREATIVE SCENE

Manchester has rich history of talented performers and artists to come out of our city. From comedians, to singers, to directors, we have grown a pletherer of great talent.

Many careers began in some of the iconic performing venues we have, such as the Palace Theatre and the Opera House.

I believe that there is scope for a new performance venue which doesn’t cater to the traditional theatre goers. A space which is completely accessible and challenges the architectural norm of what a performance space might look like.

Oasis

Music Band

John Cooper Clarke

Poet

Aitch

Rapper

BUSKING CULTURE

There is a strong busking and hawking culture in Manchester and Piccadilly Gardens is usually where most buskers will go as it has a high foot fall. This can help activate the site with more controlled performance spaces for public use.

Bugzy Malone

Rapper

Caroline Aherne Actress/ Comedian

Danny Boyle Film Director

Tyson Fury Boxer

George Sampson Dancer Britains Got Talent Winner

Popular Band Singer

Girl with Piano Singer Piccadilly Rats Band

Windswept man Performer

SOCIAL IMPACT ON CREATIVE SCENE

MY STORY

I have a personal connection with the Manchester creative scene. I am a poet and performer, and have spent many years as part of the community, that supports young artists like myself.

I believe there is alot of possibility to collaborate with organisations in Manchester that support young people, to break into the arts.

COLLABORATIONS

In order to meet the theatre’s aimes and objectives, they must collaborate with other arts organisations that support young people. Below are a list of organisations that have helped young people like myself get exposure into the arts. They bring underrepresented communities to the forefront of performance.

1 YEAR PROGRAMME OF EVENTS

A year round programme of events will help entice audiences to come and get involved in performing arts. I have done a mock up of what a year of events in 2023 might look like at the Piccadilly Entertainment District. It will be a mixture of national, international and local artist, who will all be able to bring a different flare to the stage, and help ignite Piccadilly gardens as a place of future entertainment.

ONE MIC STAND MANCHESTER MIF21 FESTIVAL SQUARE

SAYIN? MANCHESTER CONTACT THEATRE SHOW

BRIEF

The new look Piccadilly Gardens, aims to regenerate the badly recieved current gardens into a seamless performance venue, in keeping with the surrounding context. Allowing accessibiltiy to young buskers and performers a series of controlled performance spaces which they build up towards a 1500 seater capacity theatre space under the gardens.

AIMS OF THE ORGANISATION

The organisation will have three key aims. Access, Exposure and Engagment.

ACCESS

MPED will allow access to all area’s of performing arts, on stage, backstage, wherever their interests lie. It is about giving young people a space to explore their interests further. Simply by watching from the gardens, it may open your mind to what performance can be.

EXPOSURE

With such a high foot fall of people in Piccadilly Gardens, it is the perfect space for buskers and performers to be able to utilise the passing public as their audience. So controlled performance spaces on site will be important for exposure.

ENGAGEMENT

The gardens should be an integeral space for people to engage with one another. Whether it is about exploring whats on offer on site, or thinkig about watching a show. The seamless integration of the gardens and performance space will help improve engagement.

CREATE A DECENTRALISED FRONT OF HOUSE AMENITIES USED BOTH FOR THEATRE GOERS AND PUBLIC AS PART OF GARDEN REGENERATION. INCLUDING NEW BARS, CAFE, BOX OFFICE AND MERCH STORES.

RE-ACTIVATE THE GARDENS AS ELEVATED PLATFORMS FOR PUBLIC USE AND DOUBLING UP AS CONTROLLED OUTDOOR PERFORMANCE SPACES FOR BUSKERS AND ARTISTS.

CREATE NEW UNDERGROUND THEATRE VENUE THAT SEAMLESSLY CONNECTS PUBLIC REALM TO THE PERFORMANCE.

CREATE OPEN AIR SEMI PUBLIC GIG SPACE FOR MUSIC ARTISTS TO PERFORM IN A CONTROLLED SPACE, AGAIN SEAMLESSLY CONNECTED TO THE PUBLIC GARDENS.

PROGRAMME

The programme is centred around the dual functional stage which opens both as a proscenium arch and as continuation of the public garden transforming it into an semi public warehouse gig space.

USER JOURNEY

There are three main users of performance spaces, The Audience, the Cast and the Crew. They each have their own circulation routes which dont tend to overlap. The cast and crew spaces are usually private, in which the cast space is even more private amongst the crew.

Piccadilly Gardens is already a well established garden space in central Manchester. However it is going to be redeveloped in the coming year into a more appealing gardens.

Its current design features the a large curved concrete wall which has no real function is seen as an eye sore by the public.

The food stores across the side of the site will be given a new lease of life, as the gardens will become an attractive place to socialise and spend your lunch break if you work in the city.

The tram tracks may be a hazard, so to prevents accidents taking place, the gardens will be elevated above ground level.

[7] ELEVATE

The proximity to the transport hub will allow direct access from tram and bus routes, straight to the gardens. The style will mimick the Plaza, a nod to the Entertainment district plans of 1967.

An underground excavation is inspired by the old Piccadilly Gardens which was sunken and much more desired by the public. Parts of it will be garden and other parts will be a performance venue.

Elevating the Garden will allow for the theatre to be underneath it and allow ground level access for the public. It will also add a dynamic feature to the area.

[8] GARDEN ACCESS [9] 3 DIMENSIONAL CIRCULATION [10] ENTRY POINTS [11] DECENTRALISED CULTURAL AMENITIES [12] CULTURAL INFRASTRUCTURE

Primary access will be from Market Street, as that is usually where the highest footfall is. The most elevated part will be towards the main road, to reduce noise polution from the transport hub.

Routes through the garden will be encouraging circulation routes that connect the 4 surrounding sites together, that being the transport hub, Northern Quarter, Market Street and the Piccadilly Train station.

Entry points to the performance venue will be orientated toward Market Street and Northern Quarter, due to high pedestrian foot fall.

The cultural amenities and shops will mimick the surrounding shops on Market Street, and give more option to the public.

The cultural infrastructure will be complete with ramps that connect the elevated garden plates together, completing the scheme.

CURRENT SITE PERAMETERS

TRAM TRACKS

RE-ACTIVATE TRANSPORT HUB AND PLAZA [6] BASEMENT EXCAVATION

[2] DEMOLITION OF “BERLIN WALL”

RE-ACTIVATING MARKET STREET

GARDEN

I propose to innovate a performance venue by seamlessly intergrating it into the public landscape, allowing people to walk off the road and straight into a performance space without having to be confronted by a large intimidating building.

In order for the performance industry to grow, it requires people to take an interest and have access to facilities both on stage and backstage to allow for those interest become a potential career opportunity. This is something that is usually hidden from the public realm, so you are unable to see how a show is put together, which is performance within itself.

I propose certain viewing points across the site which enable the public to peek into certain spaces of the venue, allowing an insight into how a show is put together. The aim is to allow them to nurture their interests by first being allowed access to simply watch how everything works.

CONTROLLED ACCESS INTO THEATRE

MASSING STRATEGY

MASSING INFRASTRUCTURE

The excavated space will be filled with a retaining theatrical structure which seamlesley intergrates from ground level allowing easy access into the theatre for the public. The roof of the theatre will form a new elevated public gardens for all of the users of Piccadilly Gardens. Allowing for a more dynamic form which can house different events continuing on Manchesters yearly programme.

[01]

ELEVATED CAFE

Public cafe in the roof garden, located in the centre of the site, allows for users of the site to grab a coffee during the day as there is such a high foot fall in the area.

[GF]

Public bar as part of the decentralised front of house. It is located next to the gig space as its designated bar space during events.

[-GF] 2ND ACCESS TO THE ELEVATED GARDENS

Closest access from Piccadilly Train Station and main road, to allow incoming footfall of tourist and travellers to enjoy elevated green spaces.

[-01+GF]

Backstage houses the dressing rooms, production office, scene dock and workshop allowing access for load ins from the main road.

[-GF]

Closest access to Market Street allowing public to gently move from street level to elevated garden level and enjoy greenspace in there day, whether they are office workers, or shoppers.

[-01]

The ground level of the gardens is dual functioned to be both a public space and outdoor gig space, to allow for music performances and events to take place where ticketed goers and the public can enjoy an outdoor festival like event.

[-01]

The stage is dual functioned allowing for traditonal proscenium shows to take place as well as music events through the gig opening straight into the gardens.

[01]

ELEVATED GARDENS

In order to keep the integrity of the gardens, there is a multiple layered new design for the garden, which allows for a dynamic experience for the public.

[GF]

Closest access from Tram stop and Bus station, to allow travellers coming into the city, access to the elevated gardens as soon as they arrive from their mode of transport.

The theatre merch store and cafe on the side of the bus station, allowing as a point of interest for travellers to see whats going on in the space and how they can get involved as the public.

[-01]

The ground level of the gardens is dual functioned to be both a public space and the entry well/ informal foyer area into the theatre. It allows for performances to take place before the main performance indoors.

The main seating space for the performance, in a proscenium style theatre. Allowing for a capacity of up to 500 seating.

[GF]

Public cafe as part of the decentralised front of house. It is located next to the entrance to the auditorium grand circle seating as its designated cafe and bar. Which is also open to the public during the day.

1ST ACCESS TO THE ELEVATED GARDENS

3RD ACCESS TO THE ELEVATED GARDENS

PUBLIC FOYER AND GARDEN

PUBLIC GIG SPACE AND GARDEN

STAGE

[-01] AUDITORIUM

BACKSTAGE

BAR

BAR/ CAFE

[GF] MERCH STORE/ CAFE

GLOBAL STRUCTURAL SYSTEM

The building is made from Ultra High performance concrete, which acts as the shell structure for the theatre as well as the rooftop gardens which all cantilever 5 metres to create a floating look, the facade and internal finishing. Alongside this a number of concrete columns support public facing rooftops, which also act as outdoor foyer/ performance spaces before entering the theatre or the dual function gig space.

Internally there is bamboo laminated trussing which acts as the structural beams for the auditorium and theatre spaces. They support a network of theatre related structures, including the grid, lights, acoustic panels and curtains. There are five decentralised units, which act as bars, cafe’s, box office and merch stores for the gardens and theatre. They sit on the

Integrated Tree Planters made from UHPC

Stage Rooftop Garden, with integrated foliage and openings for ventilation airflow through flytower.

Garden Roof top Cafe, with views of the site, made from tempered glass and concrete columns.

Garden Roof top Cafe, with views of the site, made from tempered glass and concrete columns.

Gig Foyer Roof top made from UHPC, and spans the length of the stage roof top.

Roof top garden, fringing onto the ground floor gardens. Stage Grid, allows for flying scenery and lighting.

Fly Gallery for technicians and crew to be able to control scenery and lighting.

Backstage Internals, comprising of dressing rooms, green rooms, scene dock, workshops and production offices.

Gig Bar, on ground level, providing a drinking spot for when their is a music gig on the stage, with audiences spilling out into the gardens.

Gig Entrance, transforming stage into the music venue, for festivals and late evening performances, allowing the public access by spilling crowds into the gardens.

Theatre bar and cafe for balcony stalls, providing a public and private bar for audiences and the public enjoying the gardens.

Public boxes, allowing the public to become the ‘royalty’ of the audience, buy watching the performance from outdoor in the garden.

Garden Cafe with roof top views over the site, made from UHPV.

Auditorium Rooftop Garden, made from UHPC and the largest span concrete slab on the site.

Foyer Garden rooftop, made from UHPC with ribbing supported by concrete columns and acts entry performance space for the theatre.

Auditorium Bamboo laminated trussing which supports the theatrical elements.

Stage Bamboo laminated trussing which supports the theatrical elements.

Theatre stage curtains, framing the shows and hiding theatrical elements to keep the show exciting.

Box office and merch store, on the south of the site, facing the tram and bus station.

Public window for public viewing of private shows, with view of the lighting grid, allowing access to people who are interested.

Theatre entrance, spanning the full width of the auditorium to allow for maximum ingress and egress. A seamless entry from the garden into the foyer.

Theatre entrance, spanning the full width of the auditorium to allow for maximum ingress and egress. A seamless entry from the garden into the foyer.

AUDITORIUM STRUCTURAL SYSTEM

The Auditorium has the largest span of roof slab, with 30m in width and 40m in length. It is supported with a bamboo laminated trussing system that sit on top of concrete slabs that are load bearing.

Garden Cafe

Public roof garden cafe, as a public amenity, expanding the range of options there is for occupiers to eat and drink from.

Bamboo Laminated Trusses

A structural element that supports the internal theatre facilities such as the catwalk grid and lighting truss. It also supports the load bearing weight of the garden above.

Lighting Catwalk

A place where the theatre technicians are able to control the lights for shows.

Balcony

1st floor seating, which is accessed from the gardens, to minimise staircases and lift shafts.

Stalls

Ground floor seating which is accessed via the outdoor raked foyer area, and the main entrance into the space. There is a continous flow from the gardens into the stalls.

Elevated Roof Garden

Public roof garden for members of the public to relax, during their working day.

Acoustic Panels

Made from sound proofing foam panel, that are hung from the bamboo laminated truss system.

Lighting Truss

Connected underneath the catwalk allowing lights to be at optimum height for effective use.

Public Box Apron Stage

Reimaging the typical box for VIPs as a public viewing space, where they can watch the performance from the gardens. But cannot hear.

The forefront stage infront of the proscenium arch, allowing for acts such as poets and comedians that don’t require complete use of the bigger stage.

BAMBOO LAMINATED TRUSSING SYSTEM

The most efficient trussing system, interlocks two thin beams and columns running in oposite directions and connected with pins in the core’s of each column.

In this joint there is a crossing of elements in three directions. To achieve the same level crossing of the beam axes, these beams were given notches halfway through the profile.

The strips of the outer fields are formed by two sections so as to facilitate the installation of anchors to the support columns of the structure.

STAGE STRUCTURAL SYSTEM

The dual function stage has a span of 30x30 metres. Allowing for large scale productions to take place as well as inhabit a large audience when used as a gig space.

Public roof garden for members of the public to relax, during their working day.

Bamboo Laminated Truss

A structural element that supports the internal theatre facilities such as the catwalk grid and lighting truss. It also supports the load bearing weight of the garden above.

Fly Gallery

The space above the stage which is out of audience viewing that allows for theatre technician to control theatrical elements of a show.

Theatre Curtains

The curtain both frame the show or production that is on and also acts allows for props and scenes to be hidden from audience view till they are needed. They act as the starting and ending of a show.

Proscenium Arch

The wall from which the production begins. It acts as a frame for the show, and seperates the audience from the actors.

The technical grid, where scenery and lights are hung from. It is made from steel and has a steel netting which the crew can walk over.

Rig

Hung from the grid allowing lights to be at optimum height for effective use.

Arch Stage Floor

When the theatre is not use, the gig arch is the opening for when the stage becomes a standing concert venue, which spills into the gig foyer space.

The stage floor is made up of a series of materials which allow for ease and comfort on stage, as well as having acoustic qualities.

Elevated Roof Garden Theatre Grid Lighting

Gig

Motorised Pulley System

Fly Gallery

Grid

Lighting Truss

STAGE BUILD UP DETAIL

The stage is built up of different matrerials that have stable properties which allow for an efficient stage.

Floor Finish

Plywood

Concrete Floor

Plywood blocking

Sound Insulation Foam

Maple Edge painted black

FOYER STRUCTURAL SYSTEM

The foyer isnt a traditional foyer, as it is an outdoor connection between the passing public and the entry to the theatre. It has a stepped formation which will host live performances in an contemporary amphitheatre style, before you even enter the theatre itself. Allowing exposure to young up and coming talent.

Elevated Roof Garden

Public roof garden for members of the public to relax, during their working day.

Concrete Columns

Concrete columns are 500x500mm and allow for an open air structure in the gardens.

Pad Foundations

The foundation sit as close to the surface underground as possible and are 1500x1500mm.

Landscaped outdoor garden/ foyer

Outdoor foyer covered with a roof garden, acts as ‘pre performance’ space before you go into the theatre.

CONCRETE COLUMN FOUNDATION DETAIL

Ground Level Concrete

Concrete footing

Steel reinforcement

Elevated Roof Garden

Public roof garden for members of the public to relax, during their working day.

Landscaped outdoor garden/ foyer

CONCRETE SLAB RIBBING DETAIL

Concrete Columns

Concrete columns are 500x500mm and allow for an open air structure in the gardens.

Pad Foundations

Outdoor foyer covered with a roof garden, acts as ‘pre performance’ space before you go into the theatre.

Concrete topping Mesh reinforcing

Cross rib steel bar

BACKSTAGE STRUCTURAL SYSTEM

Backstage is the contains the most private areas being the dressing rooms, but also has large windows allowing public to be able to see into the scene dock and workshops, igniting their interests in backstage.

Elevated Roof Garden

Public roof garden for members of the public to relax, during their working day.

Concrete Slab

A load baring piece of UHPC, which requires no openings hence why it is solid. .

Columns

Back stage faces the main road, so there are windows there which allow natural day light into the backstage area

Production Office

Top floor is an open working space for production managers and staff to be able to work.

It also has a view into the stage area.

Dressing Rooms

The first two floors are dressing rooms and green rooms allowing space for cast to get ready. This space has its own entrance from the stage and also has green rooms.

Strip Foundation

Shallow footing which spans across the length of the concrete wall.

Loading dock

The area where loading vans come to drop the set. It is full height at 5 metres allowing a full size lorry reverse into this entrance. There are two cargo lift shafts that allow crew to equipment to ground level into the workshop.

Workshop

An open space where theatre makers and builders can create sets and put together large scale pieces.

Scene Dock

The entry way from the stage into backstage, allowing maximum access for large scenes to be brought into and out of the stage.

CONCRETE SLAB RIBBING DETAIL

Ribbing to reinforce concrete slab.

CONCRETE WALL TO FOUNDATION BUILD UP DETAIL

Insulation

Ground Level

Concrete wall

Skirting

Floor Finish

Insulation

Concrete Sub Floor

Strip Foundation

SHOP STRUCTURAL SYSTEM

There are five decentralised amenity units, which will be bars, cafe’s, box office and merch stores. They are served with two primary functions. One being for the theatre goers and secondly for the general public who enjoy the gardens.

2

Elevated Roof Garden

Public roof garden for members of the public to relax, during their working day.

Columns

Concrete columns are 500x500mm and allow for an open air structure in the gardens.

Pad Foundations

The foundation sit as close to the surface underground as possible and are 1500x1500mm.

ROOF TOP CAFE

THEATRE BAR

Decentralised bar location next to the balcony stalls on garden level for ease of access by public and theatre goers.

A more quaint private cafe, on top of the backstage roof, allowing for views across the city.

GIG BAR

Open to all public and gig goers in the evenings.

WINDOW DETAIL

Concrete External Leaf

Concrete internal leaf

Insulation

Steel Lintel

Cavity Tray over lintel

Window frame

ROOF TOP CAFE

BOX OFFICE AND MERCH STORE

A more quaint private cafe, on top of the backstage roof, allowing for views across the city.

Garden level, facing the tram stop and bus station for access to theatre.

GARDEN STRUCTURAL SYSTEM

The garden roof tops each have different spans which allow for different size trees and foliage to be places. The trees are in integrated planters made from UHPC which sink into the gaps of the trusses.

TREE PLANTER LOCATIONS

There are 19 different trees planted across the different roof tops. Each are different sizes and require different load amounts.

Elevated Roof Garden Public roof garden for members of the public to relax, during their working day.

MINIMUM LOAD

Foliage requires certain loads of soil to be able to be as effective as possible.

Grass 0.2m soil depth

Bushes 0.5m soil depth

Trees 1.5m soil depth

GARDEN PLANTER DETAIL

UHPC Planter 1500x1500

UHPC Roof Slab

1) GARDEN EXCAVATION

4) UHPC SLABS CONSTRUCTED

7) FOYER SLABS LANDSCAPED

10) FOYER ROOFS INSTALLED

13) TREE PLANTERS INSTALLED

14) TREES INSTALLED INTO PLANTERS

15) NEW GRASS LANDSCAPED ONTO SITE

11) THEATRE ROOFS INSTALLED

12) OUTDOOR STAIRCASES INSTALLED

8) UNIT ROOF AND BALCONY STALLS INSTALLED

9) BLB TRUSSES PLACES ON TOP OF CONCRETE SLABS

5) THEATRE STALLS INSTALLED

6) UNITS FOUNDATIONS CONSTRUCTED

2) PILE FOUNDATIONS CONSTRUCTED

3) CONCRETE COLUMNS INSTALLED

STRUCTURAL STRATEGY

The excavated ground will require an intensive structural strategy to retain the surrounding earth in a stable manner. The study below shows load distribution along ultra high performance concrete slabs and bamboo laminated timber trusses, to analyse the best method of construction.

SECTIONAL LOAD ANALYSIS

RETAINING STRATEGY IN PLAN

Gravitational Loads from Pedestrians

Transfer of loads through retaining frame system

Dead Loads from existing building dispersed into ground.

Concrete strip foundations

Pile Wall

FIRE STRATEGY

There are several fire exits dotted around the theatre. This is to make sure that incase of a fire, you are able to leave the building in the most efficient manner possible.

GROUND FLOOR// BALCONY, RETAIL UNITS, BACKSTAGE

FIRE CURTAIN

FIRE CURTAIN

-1ST FLOOR// STALLS, TOILETS, STAGE, BACKSTAGE

VENTILATION STRATEGY

HEAT GENERATION

Theate lights tend to produce lots of heat, which is not good for the ventilation in the auditorium. However as the heat rises, it wil pass through the timber trussing and be passively cooled by the trees on the roof.

NATURAL VENTILATION

MECHANICAL VENTILATION

Natural ventilation takes place throughout the theatre, however additional mechanical extractions have been placed underneath the tree pots to allow for for extra ventilation of hot air to be cooled through the natural system that trees use.

ACOUSTIC STRATEGY

AUDITORIUM STRATEGY

The UHPC Cieling has sound baffling quality, and this compositing with the BLB Trusses, makes for a good acoustic quality space. For best sound distribution across the stage there are different cieling shape options.

The Auditorium benefits from the exposed Bamboo Laminated Trusses which help reflect the sound. Along with sound bafflers, it ensures for an even distribution of sound across the space.

CONVEX CEILING The sound bounces in an irregular manner, but good for reverb.

SLOPED CEILING Increases ceiling surface area, but extra rebound on sound.

ENVIRONMENTAL STRATEGY

PASSIVE STRATEGIES

Manchester is typically known for having a rainy and cold climate, with fluctuating hours of rain and sun, creating a diverse environment for the project. With large span roof gardens that cantilever to allow for shading and rain protection.

NATURAL VENTILATION

The large openings at the foyers allow for natural ventilation across the auditorium and stage, which balances out the heat from the artificial lights.

NATURAL DAYLIGHT

Much of the theatre doesn’t require natural daylight, and is discouraged as it would affect the performances. But the roofs are open to have maximum natural daylight.

HIGH THERMAL MASS

The mass of the earth will reduce the differences in the microtemperature within the theatre as the surrounding temperature changes consistently.

GREENERY AND FOLIAGE

The importance of retaining the garden spaces, is to ensure the ecosystem and climate in the very built up centre, remains as ecofriendly as possible.

To help with usual rainfall, the large span roofs have 5 metre cantilevers to create shelter for when it does rain. (Which is usually everyday!)

RAIN CONTROL

CIRCULATION STRATEGY

The large openings on either side of the stage, will allow for straight forward engress and egress of people. There is expected to be a high footfall, so without any stairs to climb to get to the balcony stalls, there is a general ease of access from the gardens into the theatre space.

CONTRACT AND PROCURMENT

CLIENT

The client will be Manchester city council and Manchester Piccadilly Entertainment District. Both will play a role in deciding how best to spend the public money to create the new performance venue.

DESIGN AND BUILD CONTRACT

As the organisation is a charity, all of the work for the building will be put out for public tender. This includes all of the RIBA approved stages, to allow for the fairest method of getting the correct people for the job.

A Design and build contract signed with MPed, will provide the Architect and Contractor with required jobs but the responsiblity for the design, planning, organisation, control and construction of the works, will be with Mped. This means that communication can be maintained across the different phases of delivery. , Which is necessary as it is being funded with council and arts council money. As it is a hybrid of public space and theatre, their will be different people involved with expertise on how to ensure it is delivered in a careful manner.

TARGET AUDIENCES

The types of shows that will be put on will influence the sort of audiences that will come to the theatre. I have segmented the audiences that we wish to attact to the theatre to influence the sort of shows that will be put on. The larger the segment, the more we wish to aim towards that audience. So low income youth and fun seekers should have the most access to the space and allow them to watch and create theatre.

Audience 1 Low income youth No Dependants Fun seekers

Audience 2 Local community active (not arts)

Audience 3

Arts curious and city centre experience seekers

Audience 4 Artists Loyal

Audience 5 Arts and Music Loyal

Audience 6

Arts/Music Super Loyal

Size of potential audiences

PLANNING STRATEGY

In order to make the theatre a viable option as a public offering to the young people of Manchester, it will require hefty amount of capital. I propose to procure this funding by setting up the theatre as a charity organisation which aims to give artists in Manchester a public platform where they can nurture their talents and gain exposure to their art.

CAPITAL FUNDING

1) MANCHESTER CITY COUNCIL

Part of the funding will be provided through the Piccadilly Design Competition.

Manchester city council have offered £25 million pounds in a public competiton, for Architects or Urban Designers to fulfil the councils vision and create a world class public space at Piccadilly.

COMMUNITY INTEREST COMPANY

2)

An arts council is a government or private non-profit organization dedicated to promoting the arts; mainly by funding local artists, awarding prizes, and organizing arts events.

3) NATIONAL PORTFOLIO ORGANISATION

The National Portfolio is a group of organisations that gets regular funding from us, and in return provides a backbone of creative and cultural provision across the country, and plays a major role in helping us realise our new strategy.

A community interest company (or CIC) is a special form of non-charitable limited company, which exists primarily to benefit a community or with a view to pursuing a social purpose, rather than to make a profit for shareholders.

But a community interest company is not the only form of business available for those looking to pursue a social enterprise –they might also be set up as charities, trusts, standard companies (either a private company limited by shares or guarantee company), unincorporated associations or a Charitable Incorporated Organisation (CIO).

4) TOM BLOXHAM FOUNDATION

A benefactor who has lots of experience in buildings. Tom Bloxham is the founder of Urban Splash and is the chairman of Manchester International Festival. He knows his stuff and will get him to chuck some capital in from his charity fund.

AIMS OF THE ORGANISATION

The organisation will have three key aims. Access, Exposure and Engagment.

ACCESS

MPED will allow access to all area’s of performing arts, on stage, backstage, wherever their interests lie. It is about giving young people a space to explore their interests further. Simply by watching from the gardens, it may open your mind to what performance can be.

EXPOSURE

With such a high foot fall of people in Piccadilly Gardens, it is the perfect space for buskers and performers to be able to utilise the passing public as their audience. So controlled performance spaces on site will be important for exposure.

ENGAGEMENT

The gardens should be an integeral space for people to engage with one another. Whether it is about exploring whats on offer on site, or thinkig about watching a show. The seamless integration of the gardens and performance space will help improve engagement.

ARTS COUNCIL ENGLAND

The lightweight structure features bamboo arches that support an organically shaped canopy. The 14-metrehigh arches are connected by anticlastic gridshells that curve in two directions to create a robust, tensioned structure.

The Arc Gymnasium, Bali

Anticlastic Model

This model has helped me understand the tensile strength of an anticlastic structure.

Anticlastic Play

Playing with the circle and the anticlastic form.

Is it strong enough to walk on?

How many ground connection points are needed? Creates different sizes of space for different users.

All work produced by Unit 14

Unit book design by Charlie Harriswww.bartlett.ucl.ac.uk/architecture

Copyright 2021

The Bartlett School of Architecture, UCL All rights reserved.

No part of this publication may be reproduced or transmited in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retreival system without permission in writing from the publisher.

SPATIAL TECTONIC 2022

PG14 is a test bed for architectural exploration and innovation, examining the role of the architect in an environment of continuous change. We are in search of the new: leveraging technologies, workflows and modes of production seen in disciplines outside our own. We test ideas systematically by means of digital as well as physical drawings, models and prototypes. Our work evolves around technological speculation with a research-driven core, generating momentum through the astute synthesis of both. Our propositions are ultimately made through the design of buildings and in-depth consideration of structural formation and tectonic constituents. This, coupled with a strong research ethos, generates new and unprecedented, viable and spectacular proposals.

The focus of this year’s work evolved around the concept of ‘Spatial Tectonic’. This term describes architectural space as a result of the highest degree of synthesis of all underlying principles. Constructional logic, spatial innovation, typological organisation, and environmental and structural performance are all negotiated in an iterative process driven by architectural investigation. These inherent principles of organisational intelligence can be observed in both biotic and abiotic systems, in all spatial arrangements where it is critical for the overall performance of any developed order. Ultimately such principles suggest that the arrangement of constituents provides intelligence as well as advantage to the whole.

Through a deep understanding of architectural ingredients, students generated highly developed architectural systems in which spatial organisation arose as a result of sets of mutual interactions. These interactions were understood through targeted iterations of spatial models, uncovering logical links while generating ambitious and speculative arrangements. Sequential testing and the enriching of abstract yet architectural systems were the basis of architectural form - communicating the relationship of all logical dependencies, roles and performances within the system.

Thanks to: ARUP, ALA, DKFS, knippershelbig, RSHP, HASSELL, Seth Stein Architects, ZHA, Expedition Engineering