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Design Report , 6019ID, Rebecca Cook-Griffiths

Generic aim of the project .................................................................................................................3-4 Branding................................................................................................................................................5-7 Artists in residence..............................................................................................................................8-12 Existing building....................................................................................................................................13-15 Location................................................................................................................................................16 Detailed brief........................................................................................................................................17 Precedents............................................................................................................................................18-22 Theoretical approach............................................................................................................................23 Spatial Planning....................................................................................................................................24-31 Materials...............................................................................................................................................32-33 Lighting..................................................................................................................................................34-36 Heating..................................................................................................................................................37 Ventilation.............................................................................................................................................38 Acoustics...............................................................................................................................................39 Appendices ...........................................................................................................................................40-48

The theoretical idea behind the project is to create a live in gallery for artists to design, create and exhibit their artwork within Liverpool. The brief is to generate a reinvigorated design that will accommodate each

artist and their creative works over a sequence of two year cyclical periods. The practical idea is one of
innovation through communication and integration of other art cultures into the social fabric of Liverpool and the North West. The leading role in the design and theme of the project is played by the movement of water, carving the interior and forming the facade, flowing through the exhibition areas in order to create dynamic, yet functional spaces.

 Permanent Exhibition space Temporary Exhibition space Meeting/conference areas Cafe Communal space Administrators & curators offices Security support areas Toilets Access to public areas

I intend to design a building which remains sympathetic to the Baltic Triangle development and surrounding buildings. Designing a innovative place for artists to design, create and exhibit their art work. To create a comfortable habitat that will inspire the artists. An Important aspect is to create a controlled balance between public, semi public, creative and private spaces.

Individual bedrooms with private access Offices/meeting rooms Communal area Space for organising and constructing works of art Library/ studio

Bridgewater LIVE is an art gallery which exhibits the art work of 10 artists who stay within the building over a 2 year period . The name came from the buildings location on Bridgewater Street and the fact that the gallery is live due to the artists living within the building creating art for the gallery on a daily basis. The artwork will be commissioned to fit in with the theme of water, specifically for the main gallery. The artists can interpret this theme in which ever manner they would like, creating various types of mediums.
The identity of the gallery is very changeable, with fluid perspectives guiding the public though different areas. Logo The logo developed from the shapes created by water ripples. This shape will also form the exterior of the main gallery and form a fluid pathway guiding the public around the artwork.

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Marketing The gallery is aimed providing a stimulating place for all kinds of the general public. It will also provide information on art works and a chance to view artists in action and learn about their work. There are areas of the building specifically designed for large school and college groups. The aim of the gallery is to integrate different styles of artwork into the North West. This is expected to happen with the collaboration of schools, and corporations. The artists are given a change to produce and exhibit artwork in a live gallery which will then be distributed into the international art scene after the 2 year period.

Brandscaping The identity of the building is integrated into the design of the structure, as the theory is based on the movement of water the circulation routes are developed from fluid patterns; represented in the furniture shapes and the structure.

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I have chosen 10 different artists for their different styles and mediums. Each artist works in their own unique way, however they all complement each other when brought together. Each artist will be asked to commission art work for the gallery with the theme of water in mind, they can translate this theme in which ever way they see fit. Space will be created in the gallery for small and large sculptural pieces and wall space will be provided for paintings, mixed media and photography pieces.

Simon Birtall
Scene painter

Mark Mcgowan
Photography

Andrew Collins
Photo art

Christopher Turrell Whatts

Ceramics

Ruth Ball
Copper work
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James Lawrenson Tony Evans

Painter Sculpture

John Ford
Digital

Michelle Burrows
Digital

Ricky Youngs
Mixed media
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I am a self taught artist working since 1997. I originally started out by painting horses and dogs, being commissioned many times for my realistic style. During this period I exhibited at agricultural and horse shows to promote my work. Alongside animal portraits I was also trying out other styles, producing anything from traditional landscapes, developing impressionism and finally finding a real passion for abstract and contemporary works. Over the past 6 years I have worked on many different styles, using different mediums and textures to create what I now produce today. Having had the opportunity to develop a variety of styles I have been able to grow as an artist bringing a higher level of skill and creativity to the forefront of my current paintings. The common elements of my work are rich colours, multi-faceted layering and statement texturing. This brings depth, energy and a unique feel to all of my work. Every painting I work with I develop organically from my subconscious thoughts; by opening up the doors in my mind to create from within. Then there is the challenge of my feelings so that each piece reflects a particular moment in time. My aim is to produce something so original, by working on the abstract elements of the design that it will stimulate interest, discussion and emotion, whilst adding colour to an otherwise empty space. It is important to me that every painting has its own true identity and a sense of itself.

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I have been taking photos of Liverpool and the surrounding area for the last three years - a lifelong appreciation of the cities architecture lead me into photography and it is still the main focus of my work. I love to produce cityscapes but also look for the hidden details for the city, trying to show the city from a different point of view. I am particularly well known for my work with reflections and take advantage of the newest technology in my post-processing work.

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I have been making work in clay for over twenty years. My work tends to be one- off or small batch production pieces and recently I have been focusing on commission based work. My work tends to explore using clay in unexpected ways whether its through using light or sound or just through creating unusual objects that are humorous and desirable! I work in Liverpool and am part of the newly created Threshold Factory studio group at the CUC building and I have just been awarded a placement at Hope University as part of their Artists? Access into Art Colleges scheme. Last year I was commissioned by Leicester County Council to make three interactive ceramic objects that could be used in schools for creative storytelling. The pieces had small wind up music boxes inside them and were made to look like mysterious space objects. I have had a number of other commissions including handmade lightshades for the Arts Council office in Brighton, a unique double spouted teapot for artists Darren Neave and John Cake who are using it in their gallery performances and pieces for the Artists Product range for Tate Modern and am currently in discussions with them for developing new work.

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The building is a Georgian warehouse that was erected in the late 1800s to hold cotton, mainly due to its proximity to the Albert Dock. The warehouse can be accessed

from Bridgewater Street, Jamaica Street and Watkinson street. The warehouse remained
intact until 2004 when a fire destroyed the top two floors, however many of the original features remain such as timber loading bays, windows and portholes with their original

iron grilles. The plot consists of a 6 story building, an open space and a 3 story
building. The property doesnt hold any constraints in terms of listing, an opportunity has been given to build upon the open space and redevelop the 3 story building where as the brief for the 6 story building is to generate a sustainable refurbishment.

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Sixth floor

Second Floor Typical Floor plan

First Floor

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Ground Floor

Basement

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The plot is part of the Baltic Triangle located on Bridgewater street. The Baltic triangle is an area of significance within Liverpool commanded by numerous industrial warehouses used by a variety of local businesses and more recently a collection of apartment developments. The Baltic Triangle is home to a large and diverse business community located in Liverpool City Centre adjacent to the World Heritage site, The Albert Dock and Liverpool One. The areas proximity to the city centre means it as excellent transport connections and amenities. The Baltic Triangle has been described as a hidden gem, dubbed the cultural quarter, being home to a range of creative businesses, restaurants, cafes, art centres and hotels.

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Location

Temperature (degrees Celsius) 21

DB reduction rate 25

Reverberation time (seconds) 0.4

Lux level

Air change rate 1/hr

Artist Bedroom

Forth and Fifth floor

500

Artist Studio
Artist Library Artist Communal Workshop Meeting rooms Offices Main Entrance/ Reception area Cafe Exhibition Space

Third Floor
Second Floor Second floor First Floor First Floor Ground level Basement Ground level

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21 21 21 21 18 21 18

30
35 35 30 35 40 45 35

0.6
0.4 0.5 0.6 0.5 0.7 0.5 0.8

1000
300 500 300 500 200 300 750

15-20
4 12-15 4 3 4 12-15 12-15

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The exhibition Zaha Hadid Form in Motion was the first exhibition to focus on Hadids furniture and design objects. Formally known as an architect Zaha Hadid created the site specific gallery exhibition to focus on objects such as Jewellery, shoe designs and large furniture designs. I have taken inspiration from Zahas use of fluid compositions and rhythmic protrusions which have created the wave like walls and organic spaces. The exhibition shows the way in which Hadid uses fluid movement and shifting perspectives

to pull the visitor forward into the environment and draw

them to specific points of engagement. I wish to mimic this fluidity in the main gallery, creating a undulating

environment based on curvilinear geometries.

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Fluidity is an installation that explores the relationship between interior and exterior spaces and public and private spaces through the medium of organic shapes. The public space Is varied, composed of elements that interact with each other through the use of materials and shapes leading to a design with versatile functions. I am interested with how the architecture forms the shape of the interior and see this as a good way to relate the permanent gallery to the public areas in the main building. I am interested in the dynamic shapes that form the void spaces and the continuity of natural forms.

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The design of the pavilion plays with the crossing points between movement and display. As a venue, the pavilion is a place of
circulatory routes, where visitors find themselves travelling through spaces of expression, interpretation, and contemplation. These dynamic movements are formalised and transcribed into a design model, which in turn creates a dynamic space through the meeting of path and destination.

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The space allocated for the accommodation is relatively small and has to be designed around the columns and beams. The idea of a cave bed will save space and could work on the fifth floor as there is space to extend up to the sixth floor. The design of the apartment will have all the conveniences of a contemporary apartment with a cosy and comfortable feel. The furniture will be designed for multi use; for example shelving in the stairs. The interior design of the apartment will be fresh, warm and clean.

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Inspiration for the gallery design came from the movement of water, creating a space which is changeable and unexpected. The concept defining the gallery is to take the visitor far beyond simply viewing local art, creating a uniquely sensory experience which is both visually and interactively engaging. The design theme of the movement of water creates a fluid relationship between the permanent gallery, public areas and the artists studio rooms connecting all spaces accessible to the visitors.

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The design of the building is created by the movement of water. Water is also a key feature in the buildings circulation. Concentrating on the idea that water acts as a transformer that moves without interruption I have designed flowing shapes inspired by water to control and flow visitors through the public spaces. The 10 artists will have separate studio pods located on one floor with communal work spaces located on another to allow collaboration between artists.

Public spaces are located on the first 3 floors, these will be stimulating, creative spaces designed around the
Accommodation Studio & Library (Semi public) Conference, Meeting rooms & offices (Public) Restaurant & Reception (Public) concept of water. Access to these will be separate to the artists access to allow privacy. The accommodation will be allocated to the top 3 floors with each artists having a studio bedroom. Access to these will be from the back of the building off Watkinson Street.

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Private Lift Disabled Toilet Unisex Toilet

Private Stairs Seating Bar Booth Seating

Raised Seating Kitchen Public Lift

Public Stairs
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Private Stairs Private Lift Reception Toilets Main Gallery Entrance

Public Stairs Public Lift Main Entrance

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Private Lift Toilets Changeable Meeting Area

Private Stairs Private Entrance Offices

Meeting Area
Public Lift Public Stairs
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Private Lift Toilets Raised Seating

Private Stairs Private Entrance Small Communal Desk Large Communal Desk with Computers Singular Desk Space Library

Book Stand
Public Lift

Public Stairs

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Private Lift Toilets Vertical moving walls

Private Stairs Private Entrance Breakout Area Artist Studio

Breakout Area Public Lift

Public Stairs

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Private Lift

Private Stairs

Typical Accommodation

Fire Stairs

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Private Lift

Private Stairs

Typical Accommodation

4 Bed

Fire Stairs

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GRP is composed of strands of glass that are woven to create a flexible fabric. Glass reinforced plastic is lightweight and has good thermal insulation properties. It has a high strength to weight ratio, making it useful for the production of products such as water tanks, surfboards, canoes, small boat hulls and similar products. This material will be useful in creating the fluid furniture in the public spaces.

Concrete is a composite construction material composed primarily of aggregate, cement and water. Concrete has relatively high compressive strength, but much lower tensile strength. For this reason is usually reinforced with materials that are strong in tension (often steel). I will be using concrete to form the shape of the permanent gallery with a steel frame structure.

Glass will be used to provide natural light into the gallery, artists studios and the public meeting rooms. To control the amount of natural daylight variable tinted glass will be used, this can provide shading, privacy and tinting. The glass works by sealing a film between two sheets of tempered and laminated glass. The glass is then hermetically sealed around all of the edges. The glass is electronically operated .

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White oak wood panelling will be the main material used in the artists accommodation. It is a light tan colour and adds warmth to the small apartment. The white oak is straight grained and slightly less coarse than red oak. The material has been chosen for a clean minimalist feel still remaining cosy and warm.

All bathroom and kitchen appliances will made from white ceramic material. This material is durable, hard wearing and easy to clean. Both spaces will be fitted with low flush taps and toilets in order to remain sustainable. Paperstone countertops will be used in the kitchen and bathrooms. Made from 100% post-consumer recycled paper. The material is strong, resistant and highly sustainable.

Appliances will be chrome in order to maintain a stylish, sleek feeling throughout the compact apartment.

Made from 80% recycled material. This fabric will be used for the sofas and lounging areas. Not only is it environmentally friendly but it is durable and long-lasting and creates a warm relaxing ambience.

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Main Gallery Exterior

The main gallery is predominately the main focus of the design . The gallery is created from concrete which is a relatively matt material , the concrete structure is linked together by glass which will reflect light. I have chosen to use waterproof fluorescent strip lighting to highlight different features of the building. The ground is a reflective material which creates an effect of water, highlighted by the lighting, keeping with the design concept. The lighting is made from a tough polycarbonate, it has a slim fit and comes in a wide range of colours. The entrance of the main building will be dramatically lit by LEDs to maintain continuity between the two buildings. Tube Diameter : 50mm Fixing bracket length : 75mm Fixing bracket width : 25mm Fixing bracket height : 66mm IP rating : IP67 Voltage : 240V

An ice blue colour will be used in order to mimic the idea of water. Similar lighting will be used to light up the surrounding trees, Adding to the effect of the gallery concept.

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Interior
The design of the building means there is a lot of natural daylight available as psychologically it is important to have a view of outside. An additional filter tint will be added to reduce the ultraviolent content to an acceptable level. This will provide controlled accent lighting for display purposes while retaining the day lit feel of the space. Given the wide range of artificial light sources available careful consideration is required to select the most appropriate for the gallery building. In order to maintain optimum colour rendition lamps will be selected by beam angle and wattage to provide the coverage and lux level with the minimum of dimming. As the gallery is constantly changing, a flexible system is highly necessary. The introduction of reliable self dimming electronic transformers in luminaries and as stand alone items, such as the Mode Electronics ET-105-SD, would work perfectly in this respect, not only allowing a wide range of lamp wattages in each luminaries type but also allowing for fine tuning of levels and minimal (around 5%) dimming to greatly extend lamp life. General lighting plays an important part in the general ambiance of the space. Where lighting is specifically designed to spotlight art work this can produce a very dramatic rendering of some types of art work with objects starkly standing out from their surroundings but where lower lighting levels are required this lack of background light can engender a sense of gloom and make the space appear under lit. A little general lighting is required, however care will be taken not to distract from displays where lighting is tightly controlled. only luminaries which shield the back of dichroic lamps will be used. Due to the amount of glazing in the gallery design, glare is an important factor to consider in the buildings design. Often the best way to introduce general lighting is by means of continuous runs of concealed fittings designed to bounce light off ceilings and walls, also concealed wall washing of vertical surfaces at quite low light levels provides the suggestion of a lit environment with a minimum of light and potential glare sources. However diffuse lighting is only a good idea for two dimensional exhibits, three dimensional objects loose their depth and texture without any form revealing directional light.

Temporary Gallery
A different approach will be required for the provision of lighting systems in the temporary exhibition areas, the key criterion is always flexibility. This is flexibility in light levels, in positions for additional power or additional lighting for touring exhibitions. Conventionally this can be introduced by extensive track systems, where track is used it is important to select a system that can mechanically and electrically stand up to the frequent movement of fittings, it will also wise to select a system that accepts more than one manufacturers track adaptor as this will provide the widest possible range of luminaries to choose from. 35

A sophisticated system of louvers, lenses and diffusing fabrics protects sensitive artworks from daylight while providing optimal viewing conditions.

Low-voltage track and cable systems are commonly used, as they use halogen lamps that are known for their almost perfect colour rendering abilities with precise beam control.

This is an example of how general lighting can be used. Although it does take some of the drama off the individual pieces it create a warm and welcoming atmosphere. The spotlights can always be altered if more drama is required.

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Underfloor heating and cooling

Throughout both building I have chosen to use Warmafloor underfloor heating. Warmaflooror underfloor heating systems have been used in many prestigious buildings including The British Museum, National Gallery, Parliament Buildings and the Building Research Establishment itself. The Warmafloor company is environmentally conscious in its use of materials for their projects. They are one of the few who use Polybutylene-1(Pb) pipe work, which is environmentally friendly and completely recyclable.

Main Gallery
The Warmafloor Tacker System is a new system developed for use in conjunction with the latest laminated insulation panels to provide a more secure method of pipe fixing than the clip rail system. The insulation panels are expanded polystyrene laminated with a fabric polythene re-enforcing foil. The foil is water resistant and is provided with overlaps on two adjacent sides to cover adjacent panels. Edge insulation is laid around the area to be heated, providing a barrier against perimeter heat loss and for expansion. The Warmafloor insulated Tacker insulation panels are then laid over the complete floor area. Warmafloor PB pipe work is then laid out in circuits and secured into the Tacker panel by specially designed staples, installed with a Tacker gun. These staples are fully retained by the fabric thereby preventing the pipe lifting during the screeding process. The underfloor pipe work is connected to the Warmafloor manifold, filled with water and pressurised to check for water tightness. As soon as practical after the installation is completed the screed should be laid over the system to the required depth.

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Mechanical Ventilation will be used for the Main Gallery building. Mechanical Ventilation supplies a continuous supply of oxygen for humans, extracts waste products from breathing and body odour and eliminates contaminants from work processes. It is for this last reason that I have chosen this type of ventilation over natural ventilation. Due to some of the art work being of a delicate nature and the location of the gallery; being in the middle of Liverpool, natural ventilation might damage the art from pollution. The building is also situated on a busy road so natural ventilation would be a problem in terms of unacceptable levels of external noise, which might hinder the viewers experience.

Natural Ventilation Areas Domestic habitual rooms Toilets Corridors Air change per hour 1 6-12 3-4

Mechanical Ventilation Areas General areas Air Change per hour 8-16 litres/second/person 4-6 20-40 6

Toilets Kitchens Underground

Mechanical ventilation works by an electrically driven fan or fans which are used to move air within the building. The main advantage of utilising such a system is controllability. Mechanical ventilation systems, used in conjunction with an airtight construction like the main gallery, can allow more control over the supply of fresh air and result in better indoor air quality compared with natural ventilation. Mechanical ventilation will be used for all areas apart from the Artist Bedrooms. Due to the design of the building there are only 4 small windows on each floor which wouldn't provide enough clean fresh air to ventilate the space. The private artist rooms however will have 2 windows in each apartment, giving the occupant control over the environment.

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Main Gallery The Main Gallery is situated on Bridgewater Street and although not much noise will come from the surrounding buildings, there may be traffic noise from the street. Acoustic noise is highly necessary in the Gallery to provide the viewer with a pleasurable experience. Acoustic plaster will be used on the interior walls. Unlike plaster regular plaster, this synthetic acoustic plaster absorbs sound energy instead of reflecting it, thereby reducing reverberation times and overall noise levels. This type of acoustic plaster provides a hard, smooth, flat surface with superb acoustics. The construction consists of a mineral board of 20 mm thickness and a top layer of approx. 5 mm Oscar Elite synthetic acoustic plaster, which is sprayed, trowelled and worked to optical requirements. The finish is visually hard, and firm to touch, but with excellent sound absorption.

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Artist Accommodation

Bar/Restaurant
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Communal studio

Private studio
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Temporary gallery

Reception
44

45

46

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