3) the “Vela” North;
4) the bastion of Savoy (until new garden and part towards the outside courtyard).
#Italy , #ruin , #castle , #lighting , #stair , #archeology , #muesum , #mariage , #hall
@revitalization
4) the bastion of Savoy (until new garden and part towards the outside courtyard).
#Italy , #ruin , #castle , #lighting , #stair , #archeology , #muesum , #mariage , #hall
@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
The renewal of the building with unique historical value had a dual purpose: the reconstruction of the basically Baroque building with significant medieval parts from the 13th century and its several construction and extension periods during the centuries, by preserving their exciting material, structural and spatial imprints, and at the same time a revitalization that meets today’s demands. While mainly public functions will be implemented on the ground floor and in the basement (restaurant, bookstore, coin museum, etc.), the first floor and the attic provide space for educational and research rooms. Upstairs, the prestigious Baroque enfilade serves administrative, educational and representative functions, and the attic floor becomes the researchers’ workplace.
Covering the courtyards of the building can replace the hall-like space, which would be suitable for events and could play a ground floor-distribution role too. The main thesis of the roofing concept was to keep the courtyard-like feeling and to create them as a homogeneous character for the glass roof as possible. Integrating the courts into the interior had the clearly positive outcome of spatially completing the western court. Here the glazing of the arched openings could be removed, allowing for the return to the original state when the corridors around the court were used as an open „cloister.“ Now the cornices support the steel beams bearing the glass structure, and, in the plane of these beams, controllable white linen lamellas ensure both shading and the required homogeneity, while the channel of the custom-made steel beams conceals the space’s lighting so that is almost invisible during the day. It was an important aspect that the new structure above the cornices should integrate all functional needs, and „float“ over the historic structures as a unified and neutral contemporary element.
The building’s 300 years old Baroque roof was greatly damaged in World War II. Since more than half of it was bombed during World War II, it was necessary to create something new between the three original roof structure parts. In a strange way, the serious destruction of the war did not weaken but strengthened the collage-like nature of the building that developed over hundreds of years. Of course, the destroyed parts of the 300-year-old larch roof structure elements could not be complemented, so they were replaced with another – now contemporary – layer instead. Therefore, when walking in the attic, open Baroque spaces of larger ceiling height and exposed carpentry are alternating with homogeneous new spaces of lower ceiling height. The inhomogeneous solution applied in the roof space is close to the inhomogeneity that can be seen at any point of the building, resulting from the complex spatial nature of the different building periods. World War II damages became an integral, visible and readable part of the building’s history.
#Hungary , #public_space , #lighting , #stair , #awards, #courtyard , #hall
@revitalization
Covering the courtyards of the building can replace the hall-like space, which would be suitable for events and could play a ground floor-distribution role too. The main thesis of the roofing concept was to keep the courtyard-like feeling and to create them as a homogeneous character for the glass roof as possible. Integrating the courts into the interior had the clearly positive outcome of spatially completing the western court. Here the glazing of the arched openings could be removed, allowing for the return to the original state when the corridors around the court were used as an open „cloister.“ Now the cornices support the steel beams bearing the glass structure, and, in the plane of these beams, controllable white linen lamellas ensure both shading and the required homogeneity, while the channel of the custom-made steel beams conceals the space’s lighting so that is almost invisible during the day. It was an important aspect that the new structure above the cornices should integrate all functional needs, and „float“ over the historic structures as a unified and neutral contemporary element.
The building’s 300 years old Baroque roof was greatly damaged in World War II. Since more than half of it was bombed during World War II, it was necessary to create something new between the three original roof structure parts. In a strange way, the serious destruction of the war did not weaken but strengthened the collage-like nature of the building that developed over hundreds of years. Of course, the destroyed parts of the 300-year-old larch roof structure elements could not be complemented, so they were replaced with another – now contemporary – layer instead. Therefore, when walking in the attic, open Baroque spaces of larger ceiling height and exposed carpentry are alternating with homogeneous new spaces of lower ceiling height. The inhomogeneous solution applied in the roof space is close to the inhomogeneity that can be seen at any point of the building, resulting from the complex spatial nature of the different building periods. World War II damages became an integral, visible and readable part of the building’s history.
#Hungary , #public_space , #lighting , #stair , #awards, #courtyard , #hall
@revitalization
The Colomadu has faced several architectural problems also in the past. The building brick facade has been replaced several times due to quality issues when the sugar factory still operated. The Colomadu also got structural failure on several sections of the building. Several actions has been taken to save the building. Some sections has been demolished and the addition is taken to fit with old physical building. Fortunately, other parts of the building still survive, hence, retrofit and refurbish are still possible. Windows, doors, awnings, roofs and gutters are retrofitted. Meanwhile, food center, restaurants, exhibition hall and concert hall are refurbished.
Some new facades section use glass-wall in order to give connection between inside and outside experiences for the visitor. In addition, it exposes the giant machinery as a night time exhibition display. The main steam kettle is shown as a display as its structure is embedded to the main chimney. It is transformed to a restaurant with the kettle's cover. So, it integrates the new restaurants concept and historical value in The Colomadu.
#Indonesia, #industrial, #factory , #hall , #restaurant , #interior_design , #commercial #cultural_center, #lighting
@revitalization
Some new facades section use glass-wall in order to give connection between inside and outside experiences for the visitor. In addition, it exposes the giant machinery as a night time exhibition display. The main steam kettle is shown as a display as its structure is embedded to the main chimney. It is transformed to a restaurant with the kettle's cover. So, it integrates the new restaurants concept and historical value in The Colomadu.
#Indonesia, #industrial, #factory , #hall , #restaurant , #interior_design , #commercial #cultural_center, #lighting
@revitalization
Under the background of industrial upgrading and transformation, some factories in Shenzhen and the Pearl River Delta region were relocated to land and areas with lower costs in various aspects, leaving many vacant industrial plants. The architect team hopes to use the biennial exhibition venue to present the opportunity of turning the abandoned factory into an art and culture generator. They reserved a step theater for artistic communication, sharing, and movie viewing. Another wish that the architects and curators are still planning is to be able to do a modern dance performance, a poetry recital, or a musical performance in this factory building-to be able to intervene in a huge industrial scale through light art, Under the instillation of the sky, a response was formed in the empty echo; through a dialogue with the city's once rapid industrialized past, a vision for the future culture and art of the city was constructed.
#China, #extention , #interior_design , #lighting , #hall , #industrial , #exhibition
@revitalization
#China, #extention , #interior_design , #lighting , #hall , #industrial , #exhibition
@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.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.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
HIGHLIGHTS
• Electrical conduits were hidden in channels carved out of the existing plaster walls to vis-ually preserve the historic character of the building.
• Careful planning and coordination of the mechanical and electrical spaces minimized vis-ual impact to the occupied spaces.
• Exhibit thermal sensors were integrated with the central campus BAS to enable monitoring and automated alerts.
SERVICES
This adaptive reuse and renovation project turned a classroom into a flexible meeting room and gallery space. 2RW’s services included MEP design for:
• An energy-efficient HVAC system that ties in to campus utilities and features variable air volume (VAV) controls and demand control ventilation (DCV) strategies
• Micro-environment controls with humidity and temperature sensors within the sealed ex-hibit panels
• Museum-quality exhibit lighting
• Lighting controls integrated into the building automation system
• Audio visual, telecommunications, and security system conduits
RESULTS
The new HVAC systems and lighting meet 21st-century museum standards without compromis-ing the historic fabric of the building.
#USA, #hall, #interior_design, #lighting, #HVAC
@revitalization
• Electrical conduits were hidden in channels carved out of the existing plaster walls to vis-ually preserve the historic character of the building.
• Careful planning and coordination of the mechanical and electrical spaces minimized vis-ual impact to the occupied spaces.
• Exhibit thermal sensors were integrated with the central campus BAS to enable monitoring and automated alerts.
SERVICES
This adaptive reuse and renovation project turned a classroom into a flexible meeting room and gallery space. 2RW’s services included MEP design for:
• An energy-efficient HVAC system that ties in to campus utilities and features variable air volume (VAV) controls and demand control ventilation (DCV) strategies
• Micro-environment controls with humidity and temperature sensors within the sealed ex-hibit panels
• Museum-quality exhibit lighting
• Lighting controls integrated into the building automation system
• Audio visual, telecommunications, and security system conduits
RESULTS
The new HVAC systems and lighting meet 21st-century museum standards without compromis-ing the historic fabric of the building.
#USA, #hall, #interior_design, #lighting, #HVAC
@revitalization