The gallery building is fabricated from weathering steel, an alloy of steel that forms a stable oxide surface unlike typical steel from which the rust flakes off. The entire dendritic façade of the gallery is supported by the weathering steel frame made from flat stiffened plates branching out over the three-¬‐storey structure and supported off just two 120mm x 12mm steel posts with a stiffening rib on the rear face. Unusually however, and in a reversal of the usual structural hierarchy, the façade is also the main structural frame of the gallery and supports all the floors and roof, as well as providing stability. The 25 or so steel members in the façade are made up of a family of just three sizes; 120mm, 100mm and 70mm – all fabricated from flat plate and selected for each member subject to the load path and the forces that the member is subject to. The numerous connections (45+) were carefully coordinated and detailed to conceal the bolts. Because the façade is the structural frame and therefore outside the building envelope, the floor beams that connect to the façade are detailed with a thermal break in them at the glazing line. In effect the main floor beam stops at the glazing line and is supported off weathering steel plates cantilevered from the façade members.
#UK , #detail , #interior, #interior_design , #extention , #gallery , #facade , #corten_steel
@revitalization
#UK , #detail , #interior, #interior_design , #extention , #gallery , #facade , #corten_steel
@revitalization
NO.69.
Ruin Studio / Lily Jencks Studio + Nathanael Dorent Architecture
• Architects: Lily Jencks Studio, Nathanael Dorent Architecture
• Location: Dumfries, United Kingdom
• Design Team: Lily Jencks, Nathanael Dorent, Pati Santos
• Area: 180.0 m2
• Project Year: 2016
• Local Architects: Savills - Michael Leybourne, Allan Lees
• Structural Engineer: Nous engineering – Manja van Der Worp (interior tube)
• Main Contractor: Chalmers Construction
• EPDM Envelope: Carlisle Construction Materials Europe -
• GRP Tube and assemblage: MDM Props
• Joinery: A.B Hastings & Son
• CNC: Mark Angus
• Awards: "GIA Supreme Award" & the "GIA Award 2017" in the category "Residential"
This private house in Scotland is built within the existing stone ruins of an old farmhouse, with beautiful views northwards for more than 50 miles down two valleys. Located in a remote countryside area, this project was conceived to near passivhaus standards with a super insulated envelope and use of solar energy.
The existing ruin, originally construction in the 18th Century, was transformed several times revealing a palimpsest of occupation on the site. We wanted to highlight this historical layering by adding a sequence of counterpoint materials and geometries within the design. The first layer is the existing stone wall, within which sits a black waterproofing EPDM rubber clad pitched-roof 'envelope', and within that a curvilinear interior 'tube' wall system. This interior curved surface is made of insulating recycled polystyrene blocks within a gridded wood structure, and is covered with Glass Reinforced Plastic.
Emphasizing the narrative of time, these three layers also reflect different architectural expressions: the random natural erosion of stone walls, an archetypical minimalist pitched roof, and a free form double curved surface. These three layers are not designed as independent parts, rather, they take on meaning as their relationship evolves through the building’s sections. They separate, come together, and intertwine, creating a series of architectural singularities, revealing simultaneous reading of time and space.
In the ‘tube’are the more public programs of kitchen, study, sitting and dining room. At both ends of the house, the ‘tube’ detaches from the ‘envelope’ to create rooms that are used for the more private functions of bedrooms, bathrooms and storage. To access these spaces, the tube’s non-linear curved surface ramps up, producing a dynamic sensory experience.
The existing ruined walls, and views from the site, dictate the locations for large windows and doors. At these openings the tube funnels out towards the light, creating a 'poched' space, that can be used for furniture and storage. Book shelves, a sofa and seat furniture are created by ‘pulling’ the structural grid through the surface of the GRP walls and seem to be peeling off the tube.
The landscape around the house is of rolling hills with drystone walls defining cow fields. The juxtaposition between straight ancient stone walls and organic topography continues in the garden with gentle landforms bringing the distant landscape towards the house. To the North the walls of the surrounding ruins are extended to define a more formal planted garden.
We have preserved the ruin walls, and reinstituted the pitched roof that would have been there originally, providing an external coherence. However, the matt black rubber exterior and soft curves of the interior are a more counterpoint preservation, accentuating this palimpsest nature of occupation on the site, and pleasures of living within layers of history.
#UK , #detail , #interior, #interior_design , #ruin , #residential
@revitalization
Ruin Studio / Lily Jencks Studio + Nathanael Dorent Architecture
• Architects: Lily Jencks Studio, Nathanael Dorent Architecture
• Location: Dumfries, United Kingdom
• Design Team: Lily Jencks, Nathanael Dorent, Pati Santos
• Area: 180.0 m2
• Project Year: 2016
• Local Architects: Savills - Michael Leybourne, Allan Lees
• Structural Engineer: Nous engineering – Manja van Der Worp (interior tube)
• Main Contractor: Chalmers Construction
• EPDM Envelope: Carlisle Construction Materials Europe -
• GRP Tube and assemblage: MDM Props
• Joinery: A.B Hastings & Son
• CNC: Mark Angus
• Awards: "GIA Supreme Award" & the "GIA Award 2017" in the category "Residential"
This private house in Scotland is built within the existing stone ruins of an old farmhouse, with beautiful views northwards for more than 50 miles down two valleys. Located in a remote countryside area, this project was conceived to near passivhaus standards with a super insulated envelope and use of solar energy.
The existing ruin, originally construction in the 18th Century, was transformed several times revealing a palimpsest of occupation on the site. We wanted to highlight this historical layering by adding a sequence of counterpoint materials and geometries within the design. The first layer is the existing stone wall, within which sits a black waterproofing EPDM rubber clad pitched-roof 'envelope', and within that a curvilinear interior 'tube' wall system. This interior curved surface is made of insulating recycled polystyrene blocks within a gridded wood structure, and is covered with Glass Reinforced Plastic.
Emphasizing the narrative of time, these three layers also reflect different architectural expressions: the random natural erosion of stone walls, an archetypical minimalist pitched roof, and a free form double curved surface. These three layers are not designed as independent parts, rather, they take on meaning as their relationship evolves through the building’s sections. They separate, come together, and intertwine, creating a series of architectural singularities, revealing simultaneous reading of time and space.
In the ‘tube’are the more public programs of kitchen, study, sitting and dining room. At both ends of the house, the ‘tube’ detaches from the ‘envelope’ to create rooms that are used for the more private functions of bedrooms, bathrooms and storage. To access these spaces, the tube’s non-linear curved surface ramps up, producing a dynamic sensory experience.
The existing ruined walls, and views from the site, dictate the locations for large windows and doors. At these openings the tube funnels out towards the light, creating a 'poched' space, that can be used for furniture and storage. Book shelves, a sofa and seat furniture are created by ‘pulling’ the structural grid through the surface of the GRP walls and seem to be peeling off the tube.
The landscape around the house is of rolling hills with drystone walls defining cow fields. The juxtaposition between straight ancient stone walls and organic topography continues in the garden with gentle landforms bringing the distant landscape towards the house. To the North the walls of the surrounding ruins are extended to define a more formal planted garden.
We have preserved the ruin walls, and reinstituted the pitched roof that would have been there originally, providing an external coherence. However, the matt black rubber exterior and soft curves of the interior are a more counterpoint preservation, accentuating this palimpsest nature of occupation on the site, and pleasures of living within layers of history.
#UK , #detail , #interior, #interior_design , #ruin , #residential
@revitalization
NO.76.
London Business School, The Sammy Ofer Centre / Sheppard Robson
• Architects: Sheppard Robson
• Location: 97 Marylebone Rd, Paddington, London NW1, United Kingdom
• Area: 11467.0 m2
• Project Year: 2017
• Acoustic Consultant: Sandy Brown
• Client: London Business School
The brief was to transform the iconic Old Marylebone Town Hall into a major new facility for the London Business School. The project includes the refurbishment of Old Marylebone Town Hall’s Council House and Annexe buildings, using the excavated space between these to create a bold new glass and steel entrance and link structure.
Architecturally, the building needed to broadcast the ambition of the client and have a strong urban presence along Marylebone Road. Whilst the majority of the building is dedicated to education – with the facility including six lecture theatres, 32 seminar spaces, a library, offices and a student lounge – the project also needed to accommodate civic and political uses.
Read more…
The glazed link structure creates a centrepiece for the design, forming a new distinct entrance to London Business School, giving sole use of the civic steps to the Council House to the Westminster Register Office.
The other major architectural addition is a new lecture theatre block to the rear of the building, which replaces a 1960s infill. Six lecture theatres have been added, with the largest two conjoining to create a space with the capacity of 200 people; this is used as the Council Chamber for Westminster’s monthly meeting. Externally, the design of the lecture block is characterised by a daring limestone curtain walling which projects out into the mews.
Design Process
In order to maintain the clear ‘gap’ between the two buildings it was determined that the new glass and steel link should be supported off the existing structure. Initial analysis determined that although the period buildings shared a classical appearance they are structurally misaligned. To resolve this a simple diagrid connecting each pier was established to inform the structural layout, which has resulted in an extremely efficient, yet bold design.
Understanding
Like most ambitious projects in Central London, the story of the redevelopment of the London Business School’s campus is a combination of creativity and stamina.
Sheppard Robson began working with London Business School in 2006 to redevelop their Regent’s Park site at Sussex Place. This project ultimately led to the design of a satellite teaching centre at the Sammy Ofer Centre in 2012, set in the Old Marylebone Town Hall recently vacated by Westminster City Council. The bustling Marylebone Road site offered something different to the calm cloisters of Sussex Place and afforded the opportunity to broadcast the quality and ambition of the organisation, whilst breathing new life into an iconic London building that was in a tired state
Successes
Whilst new architecture marks the arrival of a major new educational facility, the design also successfully negotiates the terms of the lease agreement between the School and Westminster City Council. This specified that the Westminster Registrar’s Office would be retained so that marriages will continue to take place in the iconic building and also the Council would be able to use the largest lecture theatre to hold their monthly public meeting.
A key part of the revival of the building has been the restoration of the stone façades. As the buildings are constructed differently (the Town Hall in load bearing masonry, the Annexe as a clad steel frame) they have each raised distinctive challenges. The team
has successfully worked with stone specialists to address cleaning, repair, and replacement of damaged areas of the Portland stone elevations.
#UK , #hall , #interior_design , #school , #entrance , #education
@revitalization
London Business School, The Sammy Ofer Centre / Sheppard Robson
• Architects: Sheppard Robson
• Location: 97 Marylebone Rd, Paddington, London NW1, United Kingdom
• Area: 11467.0 m2
• Project Year: 2017
• Acoustic Consultant: Sandy Brown
• Client: London Business School
The brief was to transform the iconic Old Marylebone Town Hall into a major new facility for the London Business School. The project includes the refurbishment of Old Marylebone Town Hall’s Council House and Annexe buildings, using the excavated space between these to create a bold new glass and steel entrance and link structure.
Architecturally, the building needed to broadcast the ambition of the client and have a strong urban presence along Marylebone Road. Whilst the majority of the building is dedicated to education – with the facility including six lecture theatres, 32 seminar spaces, a library, offices and a student lounge – the project also needed to accommodate civic and political uses.
Read more…
The glazed link structure creates a centrepiece for the design, forming a new distinct entrance to London Business School, giving sole use of the civic steps to the Council House to the Westminster Register Office.
The other major architectural addition is a new lecture theatre block to the rear of the building, which replaces a 1960s infill. Six lecture theatres have been added, with the largest two conjoining to create a space with the capacity of 200 people; this is used as the Council Chamber for Westminster’s monthly meeting. Externally, the design of the lecture block is characterised by a daring limestone curtain walling which projects out into the mews.
Design Process
In order to maintain the clear ‘gap’ between the two buildings it was determined that the new glass and steel link should be supported off the existing structure. Initial analysis determined that although the period buildings shared a classical appearance they are structurally misaligned. To resolve this a simple diagrid connecting each pier was established to inform the structural layout, which has resulted in an extremely efficient, yet bold design.
Understanding
Like most ambitious projects in Central London, the story of the redevelopment of the London Business School’s campus is a combination of creativity and stamina.
Sheppard Robson began working with London Business School in 2006 to redevelop their Regent’s Park site at Sussex Place. This project ultimately led to the design of a satellite teaching centre at the Sammy Ofer Centre in 2012, set in the Old Marylebone Town Hall recently vacated by Westminster City Council. The bustling Marylebone Road site offered something different to the calm cloisters of Sussex Place and afforded the opportunity to broadcast the quality and ambition of the organisation, whilst breathing new life into an iconic London building that was in a tired state
Successes
Whilst new architecture marks the arrival of a major new educational facility, the design also successfully negotiates the terms of the lease agreement between the School and Westminster City Council. This specified that the Westminster Registrar’s Office would be retained so that marriages will continue to take place in the iconic building and also the Council would be able to use the largest lecture theatre to hold their monthly public meeting.
A key part of the revival of the building has been the restoration of the stone façades. As the buildings are constructed differently (the Town Hall in load bearing masonry, the Annexe as a clad steel frame) they have each raised distinctive challenges. The team
has successfully worked with stone specialists to address cleaning, repair, and replacement of damaged areas of the Portland stone elevations.
#UK , #hall , #interior_design , #school , #entrance , #education
@revitalization
NO.82.
Coal Drops Yard / Heatherwick Studio
• Lead designer: Heatherwick Studio
• Location: Kings Cross, Londres, United Kingdom
• Design Director: Thomas Heatherwick
• Project Leader: Tamsin Green
• Area: 100000.0 ft2
• Project Year: 2015-2018
King's Cross Coal Drops Yard
Coal Drops Yard is a vibrant new shopping district at the centre of King’s Cross, home to over 50 stores, restaurants and cafés, bringing together a community of like-minded brands in a reimagined set of historic buildings and arches directly adjacent to Granary Square and Regent’s Canal. Coal Drops Yard was originally established in 1850 to handle the eight million tonnes of coal delivered to the capital each year, and was latterly the location of nightclubs Bagley’s and The Cross. The area is now reopening, reinvented by the acclaimed Heatherwick Studio, which has interwoven a contemporary design with the surviving structures, streets and rich ironwork of the original Victorian coal drops.
Text description provided by the architects. Long-time resident of King’s Cross, the studio has reinvented two heritage rail buildings from the 1850s as a new shopping district with close to 60 units, fully opening up the site to the public for the first time.
The project is the first major building completion in London for Heatherwick Studio and one of several large-scale developments in the capital that the studio is currently working on. These include a new major building for Google in King’s Cross that is currently under construction and the transformation of Olympia London.
In 2014, the studio was commissioned by King’s Cross Central Limited Partnership to radically rethink the site. The pair of elongated Victorian coal drops was built to receive coal from Northern England for distribution around London by barge and cart. But over the years the ornate cast-iron and brick structures had become partially derelict, serving light industry, warehousing, and nightclubs before partial abandonment in the 1990s.
The challenge was to transform the dilapidated buildings and long, angular site into a lively retail district where the public could gather and circulate.
The design extends the inner gabled roofs of the warehouses to link the two viaducts and define the yard, as well as creating fluid patterns of circulation. The flowing roofs, supported by an entirely new and highly technical freestanding structure interlaced within the heritage fabric, rise up and stretch towards each other until they touch. This forms an entirely new floating upper storey, a large covered outdoor space and a central focus for the entire site.
The studio’s design celebrates the specific texture and history of the Victorian industrial buildings while creating 100,000 sq ft of new retail area, as well as significant public space. The units vary in size (ranging from 160 sq ft, 1300 sq ft, 2500 sq ft to over 20,000 sq ft), accommodating a wide range of established and emerging brands, alongside new restaurants, bars and cafes.
With entrances at both ends of the site and scattered along Stable Street, the yard will become a new permeable and distinctive public space, contributing to the wider transformation of King’s Cross as a vibrant place to live, work, relax and study.
Glass: Scope of work
- 565 m2 graduated “zig-zag” glass facade with 8 m high insulation glazing
- 120 m2 ribbon roof lights
- 200 m2 transom/mullion facades to railway building gable ends
- 80 m2 walkable glass floor
Innovations / Challenges
- Special glass mounting brackets to accommodate the movements and tolerances of the freely suspended connecting bridge aka “Kissing Point”
- High building physics requirements e.g. transparency of the “zig-zag” glazing
- Three-dimensionally curved sheet metal cladding, following the form of the building
- Extremely high level of technical design input as hardly any part of the façade is the same
- Parametric 3D BIM model, design phase
#UK , #shop , #restaurant , #extention , #interior_design , #industrial , #public_space
@revitalization
Coal Drops Yard / Heatherwick Studio
• Lead designer: Heatherwick Studio
• Location: Kings Cross, Londres, United Kingdom
• Design Director: Thomas Heatherwick
• Project Leader: Tamsin Green
• Area: 100000.0 ft2
• Project Year: 2015-2018
King's Cross Coal Drops Yard
Coal Drops Yard is a vibrant new shopping district at the centre of King’s Cross, home to over 50 stores, restaurants and cafés, bringing together a community of like-minded brands in a reimagined set of historic buildings and arches directly adjacent to Granary Square and Regent’s Canal. Coal Drops Yard was originally established in 1850 to handle the eight million tonnes of coal delivered to the capital each year, and was latterly the location of nightclubs Bagley’s and The Cross. The area is now reopening, reinvented by the acclaimed Heatherwick Studio, which has interwoven a contemporary design with the surviving structures, streets and rich ironwork of the original Victorian coal drops.
Text description provided by the architects. Long-time resident of King’s Cross, the studio has reinvented two heritage rail buildings from the 1850s as a new shopping district with close to 60 units, fully opening up the site to the public for the first time.
The project is the first major building completion in London for Heatherwick Studio and one of several large-scale developments in the capital that the studio is currently working on. These include a new major building for Google in King’s Cross that is currently under construction and the transformation of Olympia London.
In 2014, the studio was commissioned by King’s Cross Central Limited Partnership to radically rethink the site. The pair of elongated Victorian coal drops was built to receive coal from Northern England for distribution around London by barge and cart. But over the years the ornate cast-iron and brick structures had become partially derelict, serving light industry, warehousing, and nightclubs before partial abandonment in the 1990s.
The challenge was to transform the dilapidated buildings and long, angular site into a lively retail district where the public could gather and circulate.
The design extends the inner gabled roofs of the warehouses to link the two viaducts and define the yard, as well as creating fluid patterns of circulation. The flowing roofs, supported by an entirely new and highly technical freestanding structure interlaced within the heritage fabric, rise up and stretch towards each other until they touch. This forms an entirely new floating upper storey, a large covered outdoor space and a central focus for the entire site.
The studio’s design celebrates the specific texture and history of the Victorian industrial buildings while creating 100,000 sq ft of new retail area, as well as significant public space. The units vary in size (ranging from 160 sq ft, 1300 sq ft, 2500 sq ft to over 20,000 sq ft), accommodating a wide range of established and emerging brands, alongside new restaurants, bars and cafes.
With entrances at both ends of the site and scattered along Stable Street, the yard will become a new permeable and distinctive public space, contributing to the wider transformation of King’s Cross as a vibrant place to live, work, relax and study.
Glass: Scope of work
- 565 m2 graduated “zig-zag” glass facade with 8 m high insulation glazing
- 120 m2 ribbon roof lights
- 200 m2 transom/mullion facades to railway building gable ends
- 80 m2 walkable glass floor
Innovations / Challenges
- Special glass mounting brackets to accommodate the movements and tolerances of the freely suspended connecting bridge aka “Kissing Point”
- High building physics requirements e.g. transparency of the “zig-zag” glazing
- Three-dimensionally curved sheet metal cladding, following the form of the building
- Extremely high level of technical design input as hardly any part of the façade is the same
- Parametric 3D BIM model, design phase
#UK , #shop , #restaurant , #extention , #interior_design , #industrial , #public_space
@revitalization
Modern render and plaster coverings have been successfully removed from the stonework, with original granite flagstones carefully lifted and re-laid within the new ground floor exhibition space. Brick gable walls at high level have also been reinstated, based on historic records. The careful repair of historic fabric, combined with new, modern insertions, creates a new life to these characterful buildings while providing a valuable resource for the local community that can be accessed and enjoyed by visitors from Cornwall and beyond.
#UK , #interior_design , #library , #public_space , #lighting , #cultural_center , #archive , #fire , #incendie
@revitalization
#UK , #interior_design , #library , #public_space , #lighting , #cultural_center , #archive , #fire , #incendie
@revitalization
NO.118
The renovated Victoria & Albert Museum / AL_A
• MUSEUM, LONDON, UNITED KINGDOM
• Architects: AL_A
• Area: 6360.0 m²
• Year: 2017
Engineers (Smep) : Arup
Quantity Surveyor : Aecom
Lighting Designer: DHA Designs
Historic Building Adviser : Giles Quarme & Associates
Planning Consultant : DP9
Project Manager: Lendlease
Main Contractor: Wates
Specialist Aws Contractor: PAYE
Specialist Subcontractors: Koninklijke Tichelaar Makkum – porcelain tiles; Octatube – oculus; Midland Alloy – Aston Webb Screen gates; Astins – gallery ceiling; EE Stairs – gallery staircase; Cornish Concrete – stepped terrace; Mazorati Ronchetti – café bar
Principal: Amanda Levete
Project Director: Alice Dietsch
Project Architect: Matt Wilkinson
Team: Ho-Yin Ng, Maximiliano Arrocet, Alex Bulygin, Blandine Plenard, Chiara Zaccagnini, Fernando Ruiz Barberan, Filippo Previtali, Giulio Pellizzon, Matthew Riley, Michael Levy, Michael Wetmore, Patrick Drewello, Peter Angrave, Peter King, Raffael Petrovic, Robert Rice, Rumen Stefanov, Song Jie Lim, Stefano Bertotti, Stephen Citrone, Win Assakul
Client: Victoria & Albert
The Victoria and Albert Museum in London is the world's largest museum of applied and decorative arts and design, as well as sculpture, housing a permanent collection of over 2.27 million objects. It was founded in 1852 and named after Queen Victoria and Prince Albert.
Text description provided by the architects. The V&A Exhibition Road Quarter took six years to realise and transforms the V&A’s former boilerhouse yard on London’s great cultural artery, Exhibition Road. This new entrance connects the Museum with its neighbours, reinforcing the Albertopolis vision of intellectual ambition and innovation and creates a sequence of major new spaces.
The Sackler Courtyard is the world’s first all-porcelain public courtyard, and comprises over 11,000 handmade porcelain tiles, inspired by the rich tradition of ceramics at the V&A. This new public space for London also houses a café with furniture designed for the space by AL_A and manufactured by Moroso. The Sackler Courtyard reveals architecturally significant façades and details that have never previously been seen by the public. These include sgraffito decoration on the side of the Henry Cole Wing – a decorative Renaissance technique using multiple layers of coloured plaster created by the first art students at the Museum, in the late 19th century. The stonework of the Aston Webb Screen retains the damage that World War II inflicted on the Museum, which is reflected in 11 sets of new metal gates, designed by AL_A. The gates have been manufactured with a pattern of perforations tracing the imprint of the shrapnel damage on the stonework as well as the Royal Crest in the central gate
The Blavatnik Hall is a new space that will transform how visitors experience and discover the Museum and collections. Connecting the newly displayed Robert H. N. Ho Family Foundation Galleries of Buddhist Art and the Dorothy and Michael Hintze Sculpture Galleries, The Blavatnik Hall gives views through to The John Madejski Garden, leads to a new shop, and connects to the historic Ceramic Staircase as well as the Sackler Centre for arts education, which reopens featuring the new John Lyon’s Charity Community Gallery.
The versatile, 1,100m sq column-free Sainsbury Gallery is one of the largest temporary exhibition galleries in the UK. This flexible exhibition space sits above a floor dedicated to art handling, conservation and preparation space. The new spaces reach as far as 18 metres below ground, directly beneath the Western Range of the V&A’s Grade I listed buildings: a daring engineering and construction challenge that is made visible to the public by steel columns and a beam painted in vivid international orange that are literally holding the weight of history and the Museum’s priceless collections above.
#UK , #museum , #entrance , #gallery , #landscape , #interior_design , #exhibition , #lighting , #stair
@revitalization
The renovated Victoria & Albert Museum / AL_A
• MUSEUM, LONDON, UNITED KINGDOM
• Architects: AL_A
• Area: 6360.0 m²
• Year: 2017
Engineers (Smep) : Arup
Quantity Surveyor : Aecom
Lighting Designer: DHA Designs
Historic Building Adviser : Giles Quarme & Associates
Planning Consultant : DP9
Project Manager: Lendlease
Main Contractor: Wates
Specialist Aws Contractor: PAYE
Specialist Subcontractors: Koninklijke Tichelaar Makkum – porcelain tiles; Octatube – oculus; Midland Alloy – Aston Webb Screen gates; Astins – gallery ceiling; EE Stairs – gallery staircase; Cornish Concrete – stepped terrace; Mazorati Ronchetti – café bar
Principal: Amanda Levete
Project Director: Alice Dietsch
Project Architect: Matt Wilkinson
Team: Ho-Yin Ng, Maximiliano Arrocet, Alex Bulygin, Blandine Plenard, Chiara Zaccagnini, Fernando Ruiz Barberan, Filippo Previtali, Giulio Pellizzon, Matthew Riley, Michael Levy, Michael Wetmore, Patrick Drewello, Peter Angrave, Peter King, Raffael Petrovic, Robert Rice, Rumen Stefanov, Song Jie Lim, Stefano Bertotti, Stephen Citrone, Win Assakul
Client: Victoria & Albert
The Victoria and Albert Museum in London is the world's largest museum of applied and decorative arts and design, as well as sculpture, housing a permanent collection of over 2.27 million objects. It was founded in 1852 and named after Queen Victoria and Prince Albert.
Text description provided by the architects. The V&A Exhibition Road Quarter took six years to realise and transforms the V&A’s former boilerhouse yard on London’s great cultural artery, Exhibition Road. This new entrance connects the Museum with its neighbours, reinforcing the Albertopolis vision of intellectual ambition and innovation and creates a sequence of major new spaces.
The Sackler Courtyard is the world’s first all-porcelain public courtyard, and comprises over 11,000 handmade porcelain tiles, inspired by the rich tradition of ceramics at the V&A. This new public space for London also houses a café with furniture designed for the space by AL_A and manufactured by Moroso. The Sackler Courtyard reveals architecturally significant façades and details that have never previously been seen by the public. These include sgraffito decoration on the side of the Henry Cole Wing – a decorative Renaissance technique using multiple layers of coloured plaster created by the first art students at the Museum, in the late 19th century. The stonework of the Aston Webb Screen retains the damage that World War II inflicted on the Museum, which is reflected in 11 sets of new metal gates, designed by AL_A. The gates have been manufactured with a pattern of perforations tracing the imprint of the shrapnel damage on the stonework as well as the Royal Crest in the central gate
The Blavatnik Hall is a new space that will transform how visitors experience and discover the Museum and collections. Connecting the newly displayed Robert H. N. Ho Family Foundation Galleries of Buddhist Art and the Dorothy and Michael Hintze Sculpture Galleries, The Blavatnik Hall gives views through to The John Madejski Garden, leads to a new shop, and connects to the historic Ceramic Staircase as well as the Sackler Centre for arts education, which reopens featuring the new John Lyon’s Charity Community Gallery.
The versatile, 1,100m sq column-free Sainsbury Gallery is one of the largest temporary exhibition galleries in the UK. This flexible exhibition space sits above a floor dedicated to art handling, conservation and preparation space. The new spaces reach as far as 18 metres below ground, directly beneath the Western Range of the V&A’s Grade I listed buildings: a daring engineering and construction challenge that is made visible to the public by steel columns and a beam painted in vivid international orange that are literally holding the weight of history and the Museum’s priceless collections above.
#UK , #museum , #entrance , #gallery , #landscape , #interior_design , #exhibition , #lighting , #stair
@revitalization
According to Will Gamble Architects, the original Parchment Works was built on the site because of a natural spring that runs under the building. This water was used to clean the hides from which the parchment was made, by lowering them into a series of baths.
As part of the project, the studio opened up one of these underground baths to create a water feature. This also doubles as a dry well to dispose of surface runoff.
#UK , #house, #interior_design , #landscape , #extention , #cattle , #corten , #glass
@revitalization
As part of the project, the studio opened up one of these underground baths to create a water feature. This also doubles as a dry well to dispose of surface runoff.
#UK , #house, #interior_design , #landscape , #extention , #cattle , #corten , #glass
@revitalization
One of the project’s biggest challenges was the logistical complexity of carving out new space for the interventions whilst the building remained in use. Time restrictions were also in place due to the surrounding residential accommodation. Thanks to careful phasing and decanting throughout the lengthy construction programme, Stanton Williams and the team were able to ensure that not one ROH rehearsal or main auditorium performance was missed.
Alan Stanton of Stanton Williams said:
“The Royal Opera House's 'Open Up' project does just that, by opening up what had previously been a fairly constrained set of spaces to the world outside. The Bow Street extension presents a welcoming public face to the building while the expand-ed and interlinked foyer spaces breathe new energy into front-of-house areas. The new Linbury Theatre is a high-quality performance space that will make an important contribution to the work of the Royal Opera House as one of the world's preeminent opera houses."
Chief Executive of the Royal Opera House, Alex Beard, said:
“We are delighted to open the doors to a transformed Royal Opera House. Our brand new entrances, extended foyers and terraces, new café, new bar and restaurant, Linbury Theatre, refurbished Clore Studio as well as extensive programme of daytime events, activities and festivals, make the Royal Opera House London’s newest day time destination. Open every day from 10am, we want as many people as possible to experience our art forms and get a taste of the remarkable creativity at play here."
The elegant, newly created spaces will be brought alive with a year-round day time programme of events, activities and fes-tivals giving a taste of the Royal Opera House: from the mastery of backstage theatre craft, to guest artist performances and immersive events. The new front of house displays will include stunning costumes charting some famous moments in the history of The Royal Ballet and Opera.
#UK , #hall, #opera, #lighting ,#interior_design , #amphitheatre , #cultural_center, #multi_function , #stair
@revitalization
Alan Stanton of Stanton Williams said:
“The Royal Opera House's 'Open Up' project does just that, by opening up what had previously been a fairly constrained set of spaces to the world outside. The Bow Street extension presents a welcoming public face to the building while the expand-ed and interlinked foyer spaces breathe new energy into front-of-house areas. The new Linbury Theatre is a high-quality performance space that will make an important contribution to the work of the Royal Opera House as one of the world's preeminent opera houses."
Chief Executive of the Royal Opera House, Alex Beard, said:
“We are delighted to open the doors to a transformed Royal Opera House. Our brand new entrances, extended foyers and terraces, new café, new bar and restaurant, Linbury Theatre, refurbished Clore Studio as well as extensive programme of daytime events, activities and festivals, make the Royal Opera House London’s newest day time destination. Open every day from 10am, we want as many people as possible to experience our art forms and get a taste of the remarkable creativity at play here."
The elegant, newly created spaces will be brought alive with a year-round day time programme of events, activities and fes-tivals giving a taste of the Royal Opera House: from the mastery of backstage theatre craft, to guest artist performances and immersive events. The new front of house displays will include stunning costumes charting some famous moments in the history of The Royal Ballet and Opera.
#UK , #hall, #opera, #lighting ,#interior_design , #amphitheatre , #cultural_center, #multi_function , #stair
@revitalization
NO.146
WHITBY ABBEY VISITOR CENTRE / Stanton Williams
VISITOR CENTER
• Begun: Jun 2000
• Completed: Sep 2001
• Sector: Arts and culture
• Total cost: £2.8M
• Tender date: Dec 1999
• Procurement: GC/Works/1
• Address: Whitby, North Yorkshire, YO22 4JT, United Kingdom
• Professional Team
• Architect: Stanton Williams
• Project architects: Alan Farlie, David Farlie, Dusan Decermic, Richard Griffin
• Client: English Heritage
• Project manager: Citex
• Quantity surveyor: Citex Bucknall Austin
• Landscape architect: Casella
• Main contractor: William Birch & Sons
• Lighting consultant: LAPD
Suppliers
• Structural steelwork: D W Engineering
• Roofing: Carlton
• Glazing: Odyssey Glass
• Louvres: Aspinalls
• Exhibition installation: Plowden & Smith
• Furniture: Stanton Williams
Awards:
2003 Europa Nostra Award
2003 RIBA Award
2003 Civic Trust Award
2002 RIBA White Rose Award
2002 RICS Award
A contemporary two-storey visitor centre housing information, toilets and a cafe as part of a ma-jor reworking of the Whitby Abbey ruins
• Stanton Williams were commissioned by English Heritage in 1998 to design new visitor facilities for Whitby Abbey. The works formed part of a broader masterplan developed by Stanton Wil-liams with English Heritage in which the ruined Abbey’s headland grounds were reworked to cre-ate a fully accessible setting which respected the considerable archaeological and historical sig-nificance of the site.
• The new Visitor Centre comprises an exhibition gallery and shop created within the semi-ruined seventeenth-century Banqueting Hall. A steel framework was inserted, cage-like, within its shell. Though attached to the shell, the framework reads as an independent structure which supports the centre’s upper floor and roof.Old and new are creatively juxtaposed throughout, especially on the southern front where the steel framework is cantilevered out above the partially-ruined wall in order to support a ‘curtain’ of metal, glass and timber which hangs in front of it. Internally, new screens, showcases and furniture contrast with the exposed brick and stone of the historic build-ing, creating a welcoming setting for archaeological displays and site interpretation.
• The building was completed in 2002 at a cost of £2.85 million. It has been widely acclaimed and has been the recipient of numerous awards from organisations including the RIBA, RICS, Europa Nostra and the Civic Trust.
WHITBY ABBEY IN THE 20TH CENTURY
In 1914 the German High Seas Fleet shelled Whitby and struck the abbey ruins, causing considerable damage to the west front, though this was later repaired. In 1920 the Strickland family handed the abbey over to the Ministry of Works, and over the following decade Sir Charles Peers directed major excava-tions at the site, uncovering evidence of the Anglian settlement here.
Between 1993 and 2008 English Heritage carried out archaeological excavation and survey work, first in connection with the construction of the visitor centre, and secondly to rescue archaeological remains threatened by the steady erosion of the cliff. These excavations produced important evidence for all peri-ods of the abbey’s history
#UK, #archeology ,#interior_design , #ruin , #information , #visitor_centre , #lighting , #gallery , #illumination
@revitalization
WHITBY ABBEY VISITOR CENTRE / Stanton Williams
VISITOR CENTER
• Begun: Jun 2000
• Completed: Sep 2001
• Sector: Arts and culture
• Total cost: £2.8M
• Tender date: Dec 1999
• Procurement: GC/Works/1
• Address: Whitby, North Yorkshire, YO22 4JT, United Kingdom
• Professional Team
• Architect: Stanton Williams
• Project architects: Alan Farlie, David Farlie, Dusan Decermic, Richard Griffin
• Client: English Heritage
• Project manager: Citex
• Quantity surveyor: Citex Bucknall Austin
• Landscape architect: Casella
• Main contractor: William Birch & Sons
• Lighting consultant: LAPD
Suppliers
• Structural steelwork: D W Engineering
• Roofing: Carlton
• Glazing: Odyssey Glass
• Louvres: Aspinalls
• Exhibition installation: Plowden & Smith
• Furniture: Stanton Williams
Awards:
2003 Europa Nostra Award
2003 RIBA Award
2003 Civic Trust Award
2002 RIBA White Rose Award
2002 RICS Award
A contemporary two-storey visitor centre housing information, toilets and a cafe as part of a ma-jor reworking of the Whitby Abbey ruins
• Stanton Williams were commissioned by English Heritage in 1998 to design new visitor facilities for Whitby Abbey. The works formed part of a broader masterplan developed by Stanton Wil-liams with English Heritage in which the ruined Abbey’s headland grounds were reworked to cre-ate a fully accessible setting which respected the considerable archaeological and historical sig-nificance of the site.
• The new Visitor Centre comprises an exhibition gallery and shop created within the semi-ruined seventeenth-century Banqueting Hall. A steel framework was inserted, cage-like, within its shell. Though attached to the shell, the framework reads as an independent structure which supports the centre’s upper floor and roof.Old and new are creatively juxtaposed throughout, especially on the southern front where the steel framework is cantilevered out above the partially-ruined wall in order to support a ‘curtain’ of metal, glass and timber which hangs in front of it. Internally, new screens, showcases and furniture contrast with the exposed brick and stone of the historic build-ing, creating a welcoming setting for archaeological displays and site interpretation.
• The building was completed in 2002 at a cost of £2.85 million. It has been widely acclaimed and has been the recipient of numerous awards from organisations including the RIBA, RICS, Europa Nostra and the Civic Trust.
WHITBY ABBEY IN THE 20TH CENTURY
In 1914 the German High Seas Fleet shelled Whitby and struck the abbey ruins, causing considerable damage to the west front, though this was later repaired. In 1920 the Strickland family handed the abbey over to the Ministry of Works, and over the following decade Sir Charles Peers directed major excava-tions at the site, uncovering evidence of the Anglian settlement here.
Between 1993 and 2008 English Heritage carried out archaeological excavation and survey work, first in connection with the construction of the visitor centre, and secondly to rescue archaeological remains threatened by the steady erosion of the cliff. These excavations produced important evidence for all peri-ods of the abbey’s history
#UK, #archeology ,#interior_design , #ruin , #information , #visitor_centre , #lighting , #gallery , #illumination
@revitalization
NO.150
Blencowe Hall / Graham K Norman Architect
Blencowe, Cumbria, England
Architect: Graham K Norman Architect
Year: 2009
Client: Blencow Hall Partners
Service: Architecture: Historic Buildings
Awards
• RIBA Northern Network Award (Silver) (2011)
• Northern Design Awards, Best Property of the Year (2011)
• RICS International Award for Conservation (2010)
• Civic Trust Award (2010)
• RICS NW Building of the Year Award, Eden District Design Award (2010)
• North West Regional Construction Heritage Award (2009, Commendation)
Blencowe Hall was renovated in 2007 and 2008 with English Heritage approval to bring the North and South towers back in to use as holiday accommodation. Blencowe Hall is a Grade 1 listed building which means it is exceptional interest, sometimes considered to be internationally important (only 2.5% of listed buildings in England are classified Grade I).
It comprises a central range with 16th century fortified towers at each end. The towers had become roofless and derelict, resulting in the house being added to the ‘Buildings at Risk’ Register. The serious structural damage to the south tower was stabilised, as was the large gash in the east elevation, and wooden balconies were inserted. Featured in English Heritage’s Constructive Conservation, this project shows how a part-derelict building can be given a new life while retaining its historic character.
---------
The overall vision was to refurbish the buidling sympathetically whilst bringing it up to modern standards to fulfill its new role as a prestigious holiday home for groups of up to 24 persons.
The gash in the wall to the SouthTower ruin that made it such a spectacle would remain in the new proposal but now behind it would be a wall of glass and discrete steel structure with small balconies with glass balustrading at First and Second floor level for the inhabitants to enjoy the view.
In both towers, accommodation has been reinstated with floors relating to existing fireplace posi-tions. Existing stone staircases formerly open to the air, were now made water tight with new 'cap houses' at Third floor level which provide access to the new lead roofs. The missing North Tower embattled parapet have been rebuilt in salvaged matching stone recovered from the site.
All windows have been replaced with new metal thin profile units with a brown/black powder coated finish. New external doors, floors and floor beams have been made from oak. Internal walls are finished in lime plaster and painted with a proprietary limewash paint. New 'flat' roof structures and hidden gutters to the North and South towers are finished in lead.
The existing heating system has been overhauled with a new oil fired system feeding under floor heating at Ground floor level and radiators at First floor level. The existing drainage system has been abandoned and replace with a new state of the art reed bed system with treated water discharging into a new wildlife pond on land adjacent to the building. A considered landscaping strategy of judicial tree planting has been incorporated to create an appropriate setting for the building.
It would once have been standard conservation practise to leave both towers at Blencowe Hall as ruins, but English Heritage supported the clients desire to bring these structures back into use,- a building that is being maintained because people use it has far better long term prospects than one from where the inhabitants derive no practical benefit.
English Heritage has recognised it as among the top 20 exemplar conservation projects of recent years, and is identified in their publication 'Constructive Conservation in Practice' as a project that demonstrates a new forward thinging way of rescuing ruins or delapidated building as part of re-generation.
#UK , #house, #interior_design , #stair , #glass , #castle , #hall , #tower , #hotel , #ruin
@revitalization
Blencowe Hall / Graham K Norman Architect
Blencowe, Cumbria, England
Architect: Graham K Norman Architect
Year: 2009
Client: Blencow Hall Partners
Service: Architecture: Historic Buildings
Awards
• RIBA Northern Network Award (Silver) (2011)
• Northern Design Awards, Best Property of the Year (2011)
• RICS International Award for Conservation (2010)
• Civic Trust Award (2010)
• RICS NW Building of the Year Award, Eden District Design Award (2010)
• North West Regional Construction Heritage Award (2009, Commendation)
Blencowe Hall was renovated in 2007 and 2008 with English Heritage approval to bring the North and South towers back in to use as holiday accommodation. Blencowe Hall is a Grade 1 listed building which means it is exceptional interest, sometimes considered to be internationally important (only 2.5% of listed buildings in England are classified Grade I).
It comprises a central range with 16th century fortified towers at each end. The towers had become roofless and derelict, resulting in the house being added to the ‘Buildings at Risk’ Register. The serious structural damage to the south tower was stabilised, as was the large gash in the east elevation, and wooden balconies were inserted. Featured in English Heritage’s Constructive Conservation, this project shows how a part-derelict building can be given a new life while retaining its historic character.
---------
The overall vision was to refurbish the buidling sympathetically whilst bringing it up to modern standards to fulfill its new role as a prestigious holiday home for groups of up to 24 persons.
The gash in the wall to the SouthTower ruin that made it such a spectacle would remain in the new proposal but now behind it would be a wall of glass and discrete steel structure with small balconies with glass balustrading at First and Second floor level for the inhabitants to enjoy the view.
In both towers, accommodation has been reinstated with floors relating to existing fireplace posi-tions. Existing stone staircases formerly open to the air, were now made water tight with new 'cap houses' at Third floor level which provide access to the new lead roofs. The missing North Tower embattled parapet have been rebuilt in salvaged matching stone recovered from the site.
All windows have been replaced with new metal thin profile units with a brown/black powder coated finish. New external doors, floors and floor beams have been made from oak. Internal walls are finished in lime plaster and painted with a proprietary limewash paint. New 'flat' roof structures and hidden gutters to the North and South towers are finished in lead.
The existing heating system has been overhauled with a new oil fired system feeding under floor heating at Ground floor level and radiators at First floor level. The existing drainage system has been abandoned and replace with a new state of the art reed bed system with treated water discharging into a new wildlife pond on land adjacent to the building. A considered landscaping strategy of judicial tree planting has been incorporated to create an appropriate setting for the building.
It would once have been standard conservation practise to leave both towers at Blencowe Hall as ruins, but English Heritage supported the clients desire to bring these structures back into use,- a building that is being maintained because people use it has far better long term prospects than one from where the inhabitants derive no practical benefit.
English Heritage has recognised it as among the top 20 exemplar conservation projects of recent years, and is identified in their publication 'Constructive Conservation in Practice' as a project that demonstrates a new forward thinging way of rescuing ruins or delapidated building as part of re-generation.
#UK , #house, #interior_design , #stair , #glass , #castle , #hall , #tower , #hotel , #ruin
@revitalization
NO.151
Hastings Pier / dRMM
PUBLIC SPACE, PIER, REFURBISHMENT
•
HASTINGS, UNITED KINGDOM
• Architects: dRMM
• Area: 11720 m²
• Year: 2016
• Manufacturers: Roles Broderick Roofing
• Client: Hastings Pier Charity
• Cost Consultant: PT Projects
• Structural Engineer: Ramboll
• Service Engineer: Ramboll
• Cdm Coordinator: KMCS
• Joinery Company: Timber Craft UK
• Structural Clt Supplier: KLH
• Furniture: dRMM and Hastings & Bexhill Wood Recycling
Hastings Pier is a public pleasure pier in Hastings, East Sussex, England. Built in 1872 and enjoying its prime in the 1930s, it became a popular music venue in the 1960s. The structure suffered major storm damage in 1990, and was closed to the public for a time before closing completely in 2008, and 95% destroyed by a fire in 2010.
Hastings Pier Charity oversaw a rebuilding project, with the pier reopening on 27 April 2016. The redeveloped pier won the 2017 Stirling Prize for architecture
Text description provided by the architects. The 2010 destruction of Hastings Pier by fire was an oppor-tunity to redefine what a pier could be in the 21st century; transforming the shanty town of commer-cialism it was in the 20th century.
After local stakeholder consultation it was clear the Pier would be expected to host many different populist scenarios. dRMM’s re-design master-move was to create a strong, well-serviced platform that could support endless uses; from big-top circus to major music events, local fishing to international markets. In homage to conceptualist Cedric Price, users bring their own architecture to plug in and play.
This is the first phase of regeneration. Most of the work so far has been up to and including deck level. The HLF grant enabled extensive foundation and structural repairs covering fire, sea and storm dam-age (£9M). Further funding (£2.5M) facilitated two buildings, the first of which, the remaining derelict Victorian Pavilion, was transformed into an open-plan, fully-glazed restaurant. dRMM were responsi-ble for the exterior shell and cores; the interior fit-out was by tenant.
The new Visitor Centre is a cross-laminated timber structure, inventively clad in reclaimed decking. Replacing the weakest central section of the damaged pier, it offers adaptable space for events, exhi-bitions and education, with an elevated rooftop belvedere. Reclaimed timber deck furniture was de-signed by dRMM and Hastings & Bexhill Wood Recycling as part of a local employment initiative.
The pier is an extension of the promenade from which it projects; a large public open space. The expe-rience of free space and ‘walking on water’ is heightened by the optics of a louvred balustrade design and quality timber deck. The new pier is a catalyst for urban regeneration. It offers flexibility, material and functional sustainability, and an uninterrupted vista of the natural and built surroundings of the special seaside town of Hastings.
#UK , #pier , #fire , #visitor_centre , #event , #exhibition , #light ,#regeneration, #restaurant, #promenade , #open_air, #public_space , #landmark , #prize
@revitalization
Hastings Pier / dRMM
PUBLIC SPACE, PIER, REFURBISHMENT
•
HASTINGS, UNITED KINGDOM
• Architects: dRMM
• Area: 11720 m²
• Year: 2016
• Manufacturers: Roles Broderick Roofing
• Client: Hastings Pier Charity
• Cost Consultant: PT Projects
• Structural Engineer: Ramboll
• Service Engineer: Ramboll
• Cdm Coordinator: KMCS
• Joinery Company: Timber Craft UK
• Structural Clt Supplier: KLH
• Furniture: dRMM and Hastings & Bexhill Wood Recycling
Hastings Pier is a public pleasure pier in Hastings, East Sussex, England. Built in 1872 and enjoying its prime in the 1930s, it became a popular music venue in the 1960s. The structure suffered major storm damage in 1990, and was closed to the public for a time before closing completely in 2008, and 95% destroyed by a fire in 2010.
Hastings Pier Charity oversaw a rebuilding project, with the pier reopening on 27 April 2016. The redeveloped pier won the 2017 Stirling Prize for architecture
Text description provided by the architects. The 2010 destruction of Hastings Pier by fire was an oppor-tunity to redefine what a pier could be in the 21st century; transforming the shanty town of commer-cialism it was in the 20th century.
After local stakeholder consultation it was clear the Pier would be expected to host many different populist scenarios. dRMM’s re-design master-move was to create a strong, well-serviced platform that could support endless uses; from big-top circus to major music events, local fishing to international markets. In homage to conceptualist Cedric Price, users bring their own architecture to plug in and play.
This is the first phase of regeneration. Most of the work so far has been up to and including deck level. The HLF grant enabled extensive foundation and structural repairs covering fire, sea and storm dam-age (£9M). Further funding (£2.5M) facilitated two buildings, the first of which, the remaining derelict Victorian Pavilion, was transformed into an open-plan, fully-glazed restaurant. dRMM were responsi-ble for the exterior shell and cores; the interior fit-out was by tenant.
The new Visitor Centre is a cross-laminated timber structure, inventively clad in reclaimed decking. Replacing the weakest central section of the damaged pier, it offers adaptable space for events, exhi-bitions and education, with an elevated rooftop belvedere. Reclaimed timber deck furniture was de-signed by dRMM and Hastings & Bexhill Wood Recycling as part of a local employment initiative.
The pier is an extension of the promenade from which it projects; a large public open space. The expe-rience of free space and ‘walking on water’ is heightened by the optics of a louvred balustrade design and quality timber deck. The new pier is a catalyst for urban regeneration. It offers flexibility, material and functional sustainability, and an uninterrupted vista of the natural and built surroundings of the special seaside town of Hastings.
#UK , #pier , #fire , #visitor_centre , #event , #exhibition , #light ,#regeneration, #restaurant, #promenade , #open_air, #public_space , #landmark , #prize
@revitalization
NO.176
Battersea Arts Centre / Haworth Tompkins
VISUAL ARTS CENTER, ADAPTIVE REUSE
•
LONDON, UNITED KINGDOM
• Architects: Haworth Tompkins
• Area: 3800 m²
• Year: 2018
• Manufacturers: Domus Tiles, Hakwood, Triple E, Yannedis, Modular Clay Products
• Lead Architects: Steve Tompkins, Martin Lydon, Imogen Long
• Contractor: 8Build, Gilbert-Ash
• Acoustic Engineer: Gillieron Scott Acoustic Design, SoundSpace Design
• Structural Engineers: Price & Myers, Heyne Tillett Steel
• Services Engineers: Skelly & Couch, XCO2
• Theatre Consultant:Charcoalblue, Theatreplan
• Quantity Surveyor:Bristow Johnson
• Signage:Jake Tilson
• Light Fittings:Haworth Tompkins, Rob McIntyre
the rebirth of a town hall for community and theatre use
Battersea Town Hall is a handsome, beautifully made civic building in south west London, designed by E. W. Mountford in 1893 and Grade II* listed both for its architectural significance and for its important po-litical role in the birth of the suffragette and labour movements in the early twentieth century. Since 1974 it has been home to the arts centre that is regarded as one of the most important incubators of new perfor-mance work in the UK.
Haworth Tompkins have been working alongside the Battersea Arts Centre team, the local community and theatre artists for over a decade on a series of ongoing, experimental, phased projects that are gradually transforming the entire building into a powerhouse of creative commu-nal activity and an explicit record of the buildings vivid history.
Drawing on the existing richness of the building and patterns of use by artists, a number of improvised, non-invasive alterations were made alongside specific productions - such as Punchdrunk’s Masque of the Red Death - to test strategies for change and to evolve a playful but rig-orous architectural language.
Following a period of experimentation, a brief for more permanent work was developed. These projects include the creation of a new pub-lic outdoor courtyard performance space by selectively stripping back and patching in a disused light well, and the conversion of unused attics and rooftops for the organisation’s offices and garden.
Cumulatively, these interventions have resulted in the reconfiguration of the entire interior to allow the possibility of multiple, interconnected performance, heritage and community uses, equipping the organisation for the next phase of its life.
In the context of this narrative approach, the rebuilding of the build-ing’s Grand Hall after the shocking fire that partially destroyed it in 2015 was able to be assimilated into the project as another, albeit highly significant, moment of evolution and change.
Haworth Tompkins took the former decorative plaster vault as a starting point for a new, timber grid ceiling, allowing far greater theatrical pos-sibility and a much clearer acoustic. The surface of the walls of the hall and its surrounding corridors have been preserved in their extraordi-nary, almost Pompeiian post-fire richness and complexity.
A creative relationship of this duration allows both ‘client’ and ‘archi-tect’ to evaluate the ways in which the collaboration has informed their respective wider practices. As the project has unfolded over the last 12 years, so BACs mission has evolved from a purely theatrical undertak-ing to become a far more wide ranging social project with access and inclusivity at its core.
Equally, as architects our theatre work has increasingly been directed towards establishing a ‘cultural commons’ in which buildings for thea-tre can be seen less as individual entities, competing for a market share of an established theatre audience, and more as a diverse, conglomerate civic space that is available - and meaningful - to the whole community.
.
#UK, #hall, #gallery, #cultural_center, #interior_design, #lighting, #fire
@revitalization
Battersea Arts Centre / Haworth Tompkins
VISUAL ARTS CENTER, ADAPTIVE REUSE
•
LONDON, UNITED KINGDOM
• Architects: Haworth Tompkins
• Area: 3800 m²
• Year: 2018
• Manufacturers: Domus Tiles, Hakwood, Triple E, Yannedis, Modular Clay Products
• Lead Architects: Steve Tompkins, Martin Lydon, Imogen Long
• Contractor: 8Build, Gilbert-Ash
• Acoustic Engineer: Gillieron Scott Acoustic Design, SoundSpace Design
• Structural Engineers: Price & Myers, Heyne Tillett Steel
• Services Engineers: Skelly & Couch, XCO2
• Theatre Consultant:Charcoalblue, Theatreplan
• Quantity Surveyor:Bristow Johnson
• Signage:Jake Tilson
• Light Fittings:Haworth Tompkins, Rob McIntyre
the rebirth of a town hall for community and theatre use
Battersea Town Hall is a handsome, beautifully made civic building in south west London, designed by E. W. Mountford in 1893 and Grade II* listed both for its architectural significance and for its important po-litical role in the birth of the suffragette and labour movements in the early twentieth century. Since 1974 it has been home to the arts centre that is regarded as one of the most important incubators of new perfor-mance work in the UK.
Haworth Tompkins have been working alongside the Battersea Arts Centre team, the local community and theatre artists for over a decade on a series of ongoing, experimental, phased projects that are gradually transforming the entire building into a powerhouse of creative commu-nal activity and an explicit record of the buildings vivid history.
Drawing on the existing richness of the building and patterns of use by artists, a number of improvised, non-invasive alterations were made alongside specific productions - such as Punchdrunk’s Masque of the Red Death - to test strategies for change and to evolve a playful but rig-orous architectural language.
Following a period of experimentation, a brief for more permanent work was developed. These projects include the creation of a new pub-lic outdoor courtyard performance space by selectively stripping back and patching in a disused light well, and the conversion of unused attics and rooftops for the organisation’s offices and garden.
Cumulatively, these interventions have resulted in the reconfiguration of the entire interior to allow the possibility of multiple, interconnected performance, heritage and community uses, equipping the organisation for the next phase of its life.
In the context of this narrative approach, the rebuilding of the build-ing’s Grand Hall after the shocking fire that partially destroyed it in 2015 was able to be assimilated into the project as another, albeit highly significant, moment of evolution and change.
Haworth Tompkins took the former decorative plaster vault as a starting point for a new, timber grid ceiling, allowing far greater theatrical pos-sibility and a much clearer acoustic. The surface of the walls of the hall and its surrounding corridors have been preserved in their extraordi-nary, almost Pompeiian post-fire richness and complexity.
A creative relationship of this duration allows both ‘client’ and ‘archi-tect’ to evaluate the ways in which the collaboration has informed their respective wider practices. As the project has unfolded over the last 12 years, so BACs mission has evolved from a purely theatrical undertak-ing to become a far more wide ranging social project with access and inclusivity at its core.
Equally, as architects our theatre work has increasingly been directed towards establishing a ‘cultural commons’ in which buildings for thea-tre can be seen less as individual entities, competing for a market share of an established theatre audience, and more as a diverse, conglomerate civic space that is available - and meaningful - to the whole community.
.
#UK, #hall, #gallery, #cultural_center, #interior_design, #lighting, #fire
@revitalization