Brighton Dome & Brighton Festival Capital Redevelopment Project

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Brighton Dome & Brighton Festival

Capital Redevelopment Project

RIBA Stage D Invitation to Tender

June 2013

CONTENTS

1. Project Context ……………………………………………………………….. Pg 4

2. Invitation To Invitation …………………………………………………….... Pg 5

3. Scope of the Work ……………………………………………………………. Pg 6

4. Project Description ……………………………………………………………. Pg 7

5. Project Pricing ………………………………………………………………… Pg 8

6. Outputs…………………………………………………………………………. Pg 9

7. Quality Expectations………………………………………………………….. Pg10

8. Timetable………………………………………………………………………. Pg11

9. Submission of Bids……………………………………………………………. Pg11

10. Costings………………………………………………………………………. Pg12

11. Tender Point of Contact…………………………………………………….. Pg13

12. Tender Return & Deadline………………………………………………….. Pg13

13. Supporting Information & Background Documents……………………… Pg14

14. Tenderer’s Questions……………………………………………………….. Pg15

15. Site Visits…………………………………………………………………… Pg15

16. Interviews …………………………………………………………………….. Pg15

17. Evaluation of Bids…………………………………………………………….Pg15

18. Acceptance of Tenders………………………………………………………Pg16

19. Tender Management ……………………………………………………… Pg16

20. Confidentiality…………………………………………………………………Pg17

21. Conflicts of Interest ………………………………………………………… Pg17

22. Prices & Value Added Tax ………………………………………………… Pg17

23. Expenses and Losses in Quotation…………………………………………Pg18

24. Payment Terms ……………………………………………………………….Pg18

Appendices

Appendix 1 - Background Information on BD&BF……………………………Pg19

Appendix 2 - Overarching Design Objectives………………………………...Pg23

Appendix 3 - Outline Statement of Need……………………………………...Pg25

Appendix 4 – Shared opportunities and challenges to be addressed………Pg28 by the Royal Pavilion Estate Masterplan

Appendix 5 – Draft Terms & Conditions…………………………………. …… Pg30

Table of Figures

Figure 1 - Plan of Brighton Dome Site

Figure 2 - Map of Cultural Quarter

Figure 3 - Historical Image of Dome & Corn Exchange

Figure 4 - Historical Image of Corn Exchange Interior

1. Project Context

Brighton Dome & Brighton Festival (BD&BF) is embarking on a major remodelling project to revitalise Brighton Dome’s heritage venues and secure the long term future of its artistic vision.

We want to appoint exceptional architects to work with our project team to progress the best design solution to reconfigure a variety of Grade I and II listed spaces in ways that help us achieve our vision and ensure the long term sustainability of the organisation.

BD&BF is working to establish itself as an artistic hub for the city and the region, exploiting its unique position in possessing three performance spaces, which sit at the heart of the City’s Cultural Quarter and are available for use throughout the year, as well as programming a renowned annual International Festival.

Our vision is to be one of Europe's leading arts festivals and a year-round destination for artists and audiences. BD&BF’s goals through to 2020 can be summarised in the following four key statements:

• To produce great art in England’s ‘city on the edge’ • To be the city’s cultural heart • To be a bridge to the arts for all • To be a sustainable organisation

To achieve these goals we need a strong design team who can translate our aspirations into a world class destination with exciting front-of-house facilities that engage and inspire visitors, and back-of-house facilities that are operationally effective and fit-for-purpose.

In September 2012, we completed a feasibility study to RIBA Stage C, which was submitted to Arts Council England (ACE) as part of a funding bid to the Large Capital Grants programme. Following the announcement by ACE in January 2013 that our bid has been successful we have been awarded £5.8 million on the basis of a successful Stage 2 application in April 2014, we are now considering the benefits of carrying out works to complete RIBA Stage D as a discreet piece of work. This approach would align with ACE funding structures, with our capital project timeline and would allow us to align with the separate work we are carrying out in partnership with the Royal Pavilion & Museums to prepare a Masterplan for the Royal Pavilion Estate (see1.1 below)

The successful architects will need to build on the Stage C work already completed to further explore ideas which help the Brighton Dome to connect with the Royal Pavilion and its heritage garden. In order to proceed to complete RIBA Stage D as a stand alone piece of work, BD&BF will need to be confident that this approach offers value for money within the overall project budget and is able to deliver against the project needs.

1.1 Royal Pavilion Estate Masterplan

BD&BF is working in partnership with the team from the local authority owned and operated; Royal Pavilion & Museum (RP&M) to undertake a feasibility study into a Masterplan for the Royal Pavilion Estate (RPE).

Their organisation, like ours, faces a number of challenges, namely around the front of house and orientation facilities required for their c 600, 000 visitors a year.

The Masterplan will enable RP&M and BD&BF to fulfil a shared vision to develop a world class cultural, heritage and arts provision and experience for residents and tourists which will re-establish the RPE as the foremost cultural landmark in the city of Brighton & Hove and the South East. It will identify strategic, environmentally and financially sustainable improvements to the buildings on the Estate, the Garden and the associated visitor experience and address shared organisational challenges and opportunities.

The aforementioned Masterplan feasibility study is currently being developed by consultants Feilden Clegg Bradley Studios and is due to be completed by July 2013. The BD&BF capital project is a flagship phase in this larger and longer term Masterplan project.

2. Invitation To Tender

This work is part of an ACE funded capital project to carry out works to Brighton Dome.

It will include works covered by RIBA Stage D, specifically development of the concept design to include structural and building services systems, updated outline specifications and cost plan through to completion of the project brief and preparation and submission of a planning application through to a planning decision. Work is expected to contribute design documentation to support a Stage Two Capital Bid to ACE, which will be submitted in April 2014. The design documentation will also be used sometime later in 2014 to inform the preparation of a Stage 2 Heritage Lottery Fund bid jointly with the Royal Pavilion & Museums – pending a successful pass at Stage 1 submission in November 2013.

It will be important for the design team to work flexibly over the lifetime of the project and respond to external deadlines, as these may change. Currently, it will be necessary to ensure that design documentation and costings required for the Stage Two ACE bid are completed by February 2014 and at latest a full planning application is submitted by June 2014.

Tenders are therefore invited by BD&BF from architect-led design teams for design input to RIBA Stage D for a new phase of capital development which aims to create a world class arts and cultural centre at the heart of Brighton’s Cultural Quarter.

2.1 Relationship with Project Team

The project is lead by a dedicated Project Team which includes support from creative sector consultancy Perfect Moment 1 on further development of the Business Case.

The architect lead design team will be contracted directly by BD&BF and will report directly to the BD&BF’s lead on Design & Construction, Maxine Hort.

The tender submission should make clear how the involvement of the design team will be managed to ensure proper liaison with the Project Team and that the work on the design is fully co-ordinated with the preparation of the required business plan for the ACE Stage Two application.

3. Scope of the Work

The scope of the work covered by this tender invitation includes the following:

• Interrogate the preferred design option already completed to RIBA Stage C by Ash Sakula Architects to ensure it achieves the ambition of the re-development project, including design concepts and costings.

• Development of RIBA Stage D proposals to address the project design objectives and take forward the outline statement of need set out in the Appendices. The level of detail required should be sufficient to convince funding organisations of the deliverability of the design and be appropriate for a planning application.

• Engage fully with the local planning authority, including its conservation department, during pre-application discussions to explore the acceptability of any proposals.

• Complete RIBA Work Stage D or equivalent as per new RIBA Plan of Work 2013, to include adherence to the RIBA Green Overlay to RIBA Work Stages with regard to sustainability issues.

• Delivery of concept designs to include structural and building services systems, updated outline specifications, identification of all specialist consultant services required, cost plan and explanatory report.

• Completion of Project Brief and preparation of documentation required for ACE and HLF funding bids as outlined in the guidance provided.

• A final cost plan and whole life costing for scheme design that delivers the project within the agreed and currently anticipated budget of £16.95 million.

1 www.perfect-moment.co.uk

• Lead on planning process for client including submitting planning application listed building consent and any related Conservation Area requirements and providing all liaison with the Local Planning Authority through to a planning decision.

Consultants should ensure that they properly account for all aspects within the scope of the work and make clear in the tender submission the time allocation and staff resources to be allocated for each task.

Consultants will need to be mindful of the need to seamlessly and sympathetically integrate designs with those resulting from the Masterplan feasibility study due to be completed to RIBA Stage B by July 2013.

4. Project Description

To underpin BD&BF’s strategy for 2020, this capital re-development project is planned for completion by 2018 and aims to deliver significantly improved facilities to include:

• a new venue access frontage which maximises the opportunities created by the semi-pedestrianised highway scheme on New Road and contains a modern ticket sales outlet, retail facilities, and a restaurant and café that integrate creatively with the Royal Pavilion Garden;

• an exciting new creation space;

• a dedicated education and engagement space;

• improved working conditions for artists;

• refurbishment of the 230 seat Studio Theatre to improve capacity & facilities;

• enhanced audience orientation &visitor experience;

• much needed additional office space and equipment storage;

• additional opportunities for Brighton Dome to become both a cultural and tourism focus for the city.

Fig 1 below shows the current configuration of the Brighton Dome site.

Founders Room

Brighton Museum & Art Gallery Café-bar

Studio Theatre First Floor

Studio Theatre Stage Door Concer t We have already commissioned and completed a design feasibility Hall study to

We have already commissioned and completed a design feasibility study to RIBA Stage C and submitted a successful Stage One application to ACE This process has included early consultation with the Heritage Lottery Fund, English Heritage and BHCC Strategic Planners on the existing detail of the development proposals, which have received extremely positive feedback and support.

5. Project Pricing

The projected total budget figure to completion is currently set at £16.95 million.

BD&BF have a total budget of £268k available to complete the project’s development phase up to RIBA Stage D. The funds available are intended to cover the requirements of this engagement plus other necessary project costs including communications, consultation and project management, all of which are outside the scope of this engagement. Consultants’ attention is hence drawn particularly to the weighting against the value for money criteria outlined in Section 17.

6. Outputs

The following outputs are required from the Consultants:

(a ) Review of the existing preferred design option and costings already completed to ensure they are realistic, achievable and can meet the outline statement of need set out in the Appendices.

(b) All design work and project documentation up to RIBA Work Stage D, including full costings, which will, where required, satisfy ACE Stage Two and HLF Stage Two application requirements. The Stage Two reports will be submitted as part of funding bids to be prepared and as a minimum, will be expected to address and provide:

(i) Costs & Budgets, including architectural & design costings and whole- life costs in the selection of materials, plant and equipment. (ii) Design drawings and specifications developed to RIBA Work Stage D. (Drawings should be provided with the scale of the drawing clearly shown and all information clearly indexed). (iii) A co-ordinated report with input from all the design team members, including a narrative capturing the design approach, assumptions and current scheme, location plans, scaled drawings, 3-D visualisations of the project and existing site information, to include photographs. (iv) The most recent planning application and Building Control information as well as any other statutory consultations undertaken. (v) Details of any conservation or specialist advice taken during the design development. (vi) Explanation of how the project relates to its surrounding context. (vii) Explanation that highlights any constraints that will restrict access during construction or post occupation. (viii) Narrative on the proposed construction methodology and your proposed programme. This should include information about specialist equipment, separate fit out contracts or other elements that will need to be commissioned. (ix) Details on the construction closure period to inform our Business Continuity Plan. (x) A statement on the approach to access, including input from an access specialist. This should explain how the proposed project and the site will allow access to, and use by, people with disabilities in accordance with relevant legislation. Consultants should ensure that an appropriate independent access audit is undertaken and demonstrate that its findings are reflected in the project. (xi) Input into management and maintenance plans. (xii) Details of the proposed scheme’s environmental efficiency and sustainability consistent with the recently released RIBA Green Overlay to RIBA work stages, to include a carbon footprint assessment as specified by HLF.

(xiii) A detailed statement on the approach to sustainability within the project including; • evaluation of options for using sustainable technologies, • energy efficient measures • specification of materials • site management proposals, including the steps that will be taken to minimise the environmental impact of the project • whole life approach for the completed development • details of any standards (e.g. BREEAM 2 or British Standards) you will be using in the project. (xiv) A schedule of areas, including uses. This should be the gross internal floor space defined by use and by floor. (xv) Timescales. (xvi) Quality. Consultants will need to ensure that this project meets high standards of design and construction, taking due notice of priorities such as fitness for purpose, environmental standards, energy efficiency, accessibility, cost effectiveness and value for money and aligns with our emerging Quality Policy for this project (an ACE Requirement). (xvii) Opportunities to encompass digital developments. (xviii) Other tangible and intangible benefits.

(d) Regular progress updates and design materials for the client to feed into the development of the project Business Case by Perfect Moment and relevant BD&BF officers.

Consultant’s attention is drawn to the requirement for the specific outputs of this work to be in line with the design information requirements set out in ACE’s Capital Investment 2012-2015, Guidance for Stage Two Applicants which is available as a background document.

Consultants should also note that this work will feed into a later Stage Two application to the Heritage Lottery Fund. Specific outputs of this work will need to be in line with HLF’s application guidance for grants available as a background document.

7. Quality Expectations

Where figures are stated they should be reliable and referenced to a source and where figures are based on assumptions this should be made clear. Consideration will also need to be given to any relevant existing and draft government guidance.

2 ACE expect a minimum of a ‘very good’ rating to be achieved

8. Timetable

The proposed key dates subject to ACE & HLF capital bidding timescales and planning for this project are:

Tender information available 19h June 2013 Tours of site 8th July 2013 Last date for Tenderers’ questions 19th July 2013 BD&BF response to questions 26 rd July 2013 Tender return date and time Midday Monday 5 th August 2013 Interview of shortlisted consultants 21 st & 22 nd August 2013 Appointment of successful consultants September 2013 Initiation meeting September 2013 Joint HLF bid with RP&M November 2013 RIBA Stage D works completed 28 th February 2014 ACE Stage 2 funding bid April 2014 Full Planning application By June 2014

As well as meeting the above timetable, the successful consultants should also allow in their costings for additional meetings in Brighton as and when required.

9. Submission of Bids

BD&BF now invite tenders to meet this brief.

Tenders should cover the following areas: • Company Information, to include; organisation name and address, phone and email contacts and web site details. • Proposed methodology to address the brief and achieve the required outputs. • Clarification on how the team will work to ensure that the design work is fully co-ordinated with the preparation of the business plan in readiness for the ACE Stage Two application and to support the later Stage Two HLF application. • Clarification on how the team will work to ensure that the design work is fully co-ordinated with the ongoing master plan for the Royal Pavilion Estate. • A summary of your approach to design, brief development, collaborative working and working with stakeholders, highlighting two or three relevant examples (on not more than two pages). • Details of previous experience, and evidence of up to date knowledge and expertise, in the preparation and carrying out of RIBA Work Stage D for arts/cultural capital projects, preferably relating to listed buildings and within historic environments, including examples of previous successfully delivered projects. • A detailed cost breakdown relating to the separate elements of the brief. • Risk management for delivery of brief. • Details of the proposed engagement team structure including CV’s of key members of the team and their respective time commitment to the project.

• Details of any sub contractors you intend to use, highlighting their relevant experience, the proposed portion of work you will be sub- contracting out, the costs associated with this work and how you intend to manage them.

9.1 Financial Information

Tenderers should note that financial checks will be carried out before contract award. Please therefore provide a copy of your organisation’s audited accounts for the last three financial years.

9.2 Insurance

Please include copies of your insurance policies with your submission. The minimum insurance covers required by BD&BF are; • Employer’s Liability - £10 million • Public Liability - £10 million • Professional indemnity – £2 million If you do not currently have the required level of insurance cover please confirm in your submission that your organisation is prepared to meet and maintain the level of cover required for the duration of the contract.

9.3 Health, Safety & Environmental

Please provide copies of your Health & Safety Policy plus your Environmental Policy with your submission.

9.4 References

References will form part of the evaluation process. Please provide details of three client referees for contracts of a similar size and character which your organisation has held within the last three years. Details of the scope of the contract, the contract length and the annual contract value should be provided.

10. Costings

Costings should include the following: • The number, seniority and experience of the personnel involved. • The hourly or daily rate for each individual. • The estimated number of hours per individual for each of the identified stages. • Cost of any sub-contracted labour, broken down into specialist areas. For example; o Cost Consultants o Structural o M&E o Sustainability o Theatre & Acoustics o Access o Others as appropriate

• The rates charged for any additional costs such as expenses or materials. • Costs for any additional meetings in Brighton as and when required.

Costings should allow for providing, 4 bound copies and 4 electronic copies (on disk) of the final study and all accompanying documentation.

BD&BF is not required to choose any or the lowest priced quotation but will choose any preferred quotation on the basis of the most economically advantageous solution. You are therefore invited to provide qualitative details of similar previous commissions, which demonstrate how the work was undertaken and managed. The bid should include details of appropriate references that may be contacted and used to help evaluate the most economically advantageous bid.

Consultants’ attention is drawn to the fact that it is BD&BF’s intention to tender separately for consultants to carry out the Heritage Impact Assessment, so costs for this should not be included in submissions.

11. Tender Point of Contact

Name: Richard Davies Job Title: Project Manager Address: City Regeneration Unit, Kings House, Grand Avenue, Hove BN3 2LS Telephone number: 01273 296825 Email: [email protected]

12. Tender Return and Deadline

Your tender bid of 4 unbound copies plus 1 PDF electronic copy on disk should be returned by midday on Monday 5 th August 2013 to:

Maxine Hort Brighton Dome & Festival Limited 12a Pavilion Buildings, Castle Square, Brighton, East Sussex BN1 1EE

Your envelope should clearly be marked:

‘TENDER: CONFIDENTIAL - Brighton Dome & Festival Limited Capital Redevelopment Project’

The envelope or package shall bear no name or other distinguishing mark revealing or likely to reveal the identity of the sender.

Tenders received after this closing deadline will not be considered and will be returned to the tenderer.

FAXED or EMAILED COPIES of completed tender documents will not be considered and will be returned to the Tenderer.

Recorded mail and courier services may be used but Tenderers must ensure that any labels used, including franking strips, delivery dockets or receipts do not identify the name or any other distinguishing feature of the sender. Failure to comply with this requirement will disqualify the tender received from consideration by the BD&BF.

BD&BF will not consider individual requests for extension of the closing date and time specified.

BD&BF may, at its own absolute discretion, extend generally the closing date and time specified.

13. Supporting Information & Background Documents

Supporting information (listed below) will be made available to tenderers via a FTP site. A username and password will be provided for access. Please contact the Tender Contact named in section 11 above for your login details.

1. Design Feasibility Study: Ash Sakula (September 2012) 2. Heritage Buildings Assessment: Alan Baxter Associates (June 2012) 3. Capital Development Feasibility Study including Options Appraisal & Business Case: Perfect Moment (September 2012). 4. Design Information as outlined in ACE’s Capital Investment 2012-2015, Guidance for Stage Two Applicants. 5. HLF Application Guidance

Additional background documents (listed below) will be made available to the successful consultants.

1. Commercial Feasibility Study: Pan Leisure (October 2010). 2. Capital Development Framework: Perfect Moment (March 2011). 3. BDFL Commercial Strategy (October 2011) 4. Joint Catering Study (with Royal Pavilion & Museums): Turpin Smale (February 2012). 5. Measured Survey of site (due to be completed by September 2013) 6. Masterplan Feasibility Study (due for completion by July 2013) 7. Design Report: ArtsTeam@RHWL (February 1998) 8. Original Conservation report by John Earl (1998) 9. Capital Stage 1 ACE Application (September 2012) 10. Turpin Smale Report – Catering Options (September 2012) 11. BDFL Corporate Strategy 2012-2020

14. Tenderers’ Questions

Any questions you may have regarding this tender should be forwarded in writing either by email or letter to the point of contact shown in Section 11 above. Tenderers’ questions should be received by the return date shown in the timetable in Section 8.

Questions submitted after that date will only be responded to if the response can be prepared at least five days prior to the tender return date.

All questions and answers will be made anonymous and circulated to all Tenderers who have made themselves know to the point of contact, at least five days prior to the tender return date.

15. Site Visits

It is BD&BF’s intention to conduct site visits. These site visits will take place on the date shown in the timetable included at Section 8.

16. Interviews

It is BD&BF’s intention to hold interviews on the date shown in the timetable at Section 8. BD&BF will contact the Tenderers to arrange specific times and dates.

Attendees from BD&BF at the interviews will be notified in advance to the Tenderers.

If selected for interview, consultants should be represented by the Director or Partner with overall responsibility for the commission together with the individual who is proposed to take day to day responsibility.

Following short listing against the criteria listed in section 17 below, we expect to invite to interview up to six practices.

17. Evaluation of Bids - criteria for selection

The client is seeking architect led design teams who can demonstrate the following qualities:

• High design standards and an ability to respond sensitively to the challenges of the project, the conditions of the site, and the core values and aspirations of BD&BF. • Evidence of accurate and ambitious project development and an ability to work with diverse client bodies. • The strength of the design team and their approach to sustainability. • Experience of designing and delivering similar successful projects, particularly within the arts and culture sector but not necessarily, involving listed buildings and in sensitive historic settings.

• Experience of integrating high quality landscape and public open spaces with publicly accessible buildings. • The team should also be able to provide suitable references and evidence of appropriate indemnity and public liability insurance, health and safety and quality assurance and financial standing.

Bids will be evaluated against the following Criteria:

Criterion Weighting Overall quality of the bid and the extent to which it demonstrates ability to 30% fully satisfy the brief. Evidence of direct experience of similar projects, including the development 40% of RIBA Stage D proposals and submission of planning applications for ACE or HLF funded capital projects within the arts/culture/ heritage sector (to include experience of individual team members outlined in CV’s) Price & Value for Money (including total price, how realistic the price is and 30% value in terms of hours/price)

All Criteria will be scored by each member of the evaluation team according to the above table. Final scores will be agreed following an evaluation ratification meeting, and these scores will then be weighted according to the weightings listed in the table above.

The formula used to calculate the weighted scores for each of the Criteria is the score given to each Criteria multiplied by the weighting factor shown for that Criteria i.e. Question Weighted Score (%) = (Tenderer’s score / 5) x Question Weighting.

18. Acceptance of Tenders

BD&BF does not bind themselves to accept the lowest or any tender and, in addition, reserve the right to accept part only of any tender. No tender shall be deemed to have been accepted unless such acceptance has been notified to the tenderer in writing.

19. Tender Management

The objective of this tender process is to place a contract with an organisation who will supply the Services as detailed in this Invitation to Tender (ITT).

Tenderers should note that the prices quoted shall remain valid for acceptance for a minimum of 180 days from the tender return date.

Tenderers are advised to ensure that they are familiar with the nature and extent of the obligations to be accepted by them should their tender prove successful.

Tenderers shall ensure that the tender response is compliant with all statutory and other provisions to be observed and performed in connection with any subsequent award of contract.

Tenderers should note that all the requirements detailed in the tender document supersede all detail, documents and discussions prior to the issue of this tender.

No documents or variances supplied after the tender return date shall be considered unless expressly requested by BD&BF.

BD&BF reserves the right to cancel the tender process at any point. BD&BF is not liable for any costs resulting from any cancellation of this tender process or for any other costs incurred by those tendering for this Contract.

BD&BF reserve the right to issue amendments or modifications to the Invitation to Tender during the Tender period. If made, these will be issued to all Tenderers simultaneously and Tenders will be assumed to take account of any such modifications and amendments, and any such amendments or modifications will not lead to an extension period. It shall be a condition of continuing to participate in this tendering exercise that any such change will be accepted without reservation.

BD& BF may enter into post tender clarification following receipt of the tender responses.

20. Confidentiality

All information provided by BD&BF in relation to this project should be treated as confidential by recipients.

Tenderers shall use this ITT and any other information furnished to them under this ITT solely for the purposes of responding to this ITT. All such documents and information tenderers receive shall remain the property of BD&BF, shall be kept confidential and shall be returned to BD&BF on request. Reproduction of any part of this ITT is authorised only for the preparation of the response. Tenderers shall ensure that all such copies are destroyed when no longer required in connection with this ITT.

Tenderers shall not issue any form of publicity or advertisement regarding this process without the prior written consent of BD&BF.

Any tender received in response to this enquiry shall be treated likewise by BD&BF.

21. Conflicts of Interest

Consideration should be given to the potential for any conflict between the interests of BD&BF and any other client of the Consultant as part of the tendering process.

22. Prices & Value Added Tax

The prices stated in the tender will be deemed to be the full inclusive value of the services described in the Specification of Requirements, including all costs

and expenses, risks and obligations set forth in or to be implied from the Invitation to Tender. The submission of a tender will be deemed to be an undertaking that the quotation price includes for the above costs. All prices are to be stated in sterling exclusive of Value Added Tax.

23. Expenses and Losses in Quotation

BD&BF will not be responsible for, or pay for, expenses or losses that may be incurred by a supplier in the preparation of their tender.

24. Payment Terms

BD&BF payment terms are 30 days net payable by BACS.

Appendix 1 - Background Information on BD&BF

Brighton Dome occupies a unique position on the Royal Pavilion Estate and is physically linked directly to Brighton Museum & Art Gallery.

Fig. 2 Plan of Brighton’s Cultural Quarter

This is a once in a generation opportunity to help shape the future of the Brighton Dome and its relationship to the Royal Pavilion estate and to make it truly the heart of Brighton’s Cultural Quarter and a tourism hub for the city.

Brighton Dome & Brighton Festival

BD&BF is responsible for the year-round operation of the Brighton Dome and for delivery of the annual Brighton Festival.

The organisation has undergone enormous change since the refurbishment of Brighton Dome in 2002. It has built an enviable and diverse portfolio of activities, strengthening the connections between its year-round venues and one of the country’s most important arts festivals to make the organisation a properly united force in Brighton and Hove.

BD&BF is one of the leading businesses in the city, contributing significantly to the local economy, and key to the city’s reputation as a cultural destination. Its portfolio of events is large and increasing, comprising over 600 a year. These include:

• Rock and pop concerts • Folk, jazz and world music • Classical music • Dance • Theatre • Comedy • Public, community based, events and educational activity • Conferences, functions and graduations

BD&BF is a single charitable trust employing 90 permanent and 200 casual staff with an annual turnover of £7.5m.

Brighton Dome is located in a shared building complex with Brighton Museum & Art Gallery (part of Royal Pavilion & Museums) and BD&BF’s strategy for the 2012-20 period embraces exciting opportunities and concepts for the two organisations to work closely together as evidenced by the current joint Masterplanning exercise.

BD&BF sees this as a unique opportunity, given the closeness of physical working, to explore many possibilities for cross-cultural exploration within a living building that plays host to artists and their working practices and enables the interpretation of these Grade 1 listed buildings more fully to wider audiences.

As part of its strategic agenda, BD&BF has been prioritising the need to secure a sustainable, long-term financial model for the organisation covering 3 key financial necessities/opportunities:

1. to ensure the long-term care and maintenance of Brighton Dome in its capacity as a Grade 1 listed building (a projected cost pressure of some £500k annually); 2. the need to see further enhancement to the organisation’s ability to invest more substantially in high-quality artistic product; 3. the heritage opportunity to significantly enhance how the buildings are curated and interpreted to a wider audience with a particular opportunity to work closely with the Royal Pavilion & Museums team in telling of key aspects of the Royal Pavilion story.

All three elements require BD&BF to significantly increase the levels of self generated income. Recent independent reviews have identified the capital redevelopment of the organisation’s New Road frontage as a key deliverable in enabling the organisation to be adequately placed to increase its levels of self generated income.

The Brighton Dome

The Brighton Dome provides a high quality, year round performing arts programme in the Concert Hall, Corn Exchange and Studio Theatre (previously Pavilion Theatre) comprising dance, music (classical, contemporary, and world), and theatre.

The artistic activity is accompanied by an active programme of learning, access and participation. Commercial activities are based around conference/events hires and ancillary sales linked to the artistic programme.

Inspired by the Corn Exchange in Paris, the Dome was originally built as the Prince Regent’s riding stables and was completed in 1805. Part of the famous Royal Pavilion Estate, it was later converted into a concert hall in 1866 and became the most fashionable and culturally significant venue in the south. It was restored in 1935 with a resplendent art-deco interior.

Most recent refurbishment was completed in 2002 restoring the venue to its former glory, maintaining the integrity of both the Grade 1 listed regency exterior and the 1930’s Grade 1 listed interior. Superb new front of house facilities, comfortable seating and enhanced acoustics have transformed the Concert Hall into a major centre for live arts and events for the 21st century.

Fig 3 Brighton Dome

The Corn Exchange was originally built as the riding room and is also a Grade I listed building. The Studio Theatre on New Road was built much later and is Grade II listed.

Fig. 4 Corn Exchange Interior

BD&BF has a long term lease on the buildings, while Brighton & Hove City Council has the freehold.

The Brighton Festival

The Brighton Festival is a high profile annual three week international arts festival encompassing dance, music, theatre, outdoor performance and literature events. Its artistic peers are the Edinburgh and Manchester International Festivals. The annual three week Brighton Festival started in 1967 and is a leading commissioning and producing Festival which contributes £20m to the local economy.

2002 re-development

A large-scale re-development project was originally undertaken between 1999 and 2002, re-developing the Brighton Museum & Art Gallery along with extensive areas of the Brighton Dome Concert Hall and Corn Exchange. The cost of the Brighton Dome elements totalled £22.7m (funding being provided from Arts Council England and Heritage Lottery Fund).

Mid-way through the project, Arts Council, England decided to cap the amounts they invested in capital lottery awards and the originally planned project had to make a number of compromises. Work principally focused on the main Concert Hall and the Corn Exchange, leaving the Studio Theatre relatively untouched.

Additionally artist facilities, such as dressing rooms in the Corn Exchange and Studio Theatre were not addressed. Over the last three years those physical compromises have become ever more apparent, with poor artists’ working conditions, labour-intensive and therefore costly rigs/de-rigs, and without a dedicated space, income-critical demand on our performance spaces all preventing the experimentation and development time that our established family of artists seek. These problems also obstruct BD&BF from attracting the range of international artists whose interest and willing engagement we have piqued. None of these conditions is conducive to realizing the opportunities the organization currently has before it.

Appendix 2 - Overarching Design Objectives

Our development work over the last 3 years has identified the following objectives:

1. A Spatial Framework – The study should establish intelligent spatial solutions to effectively meet the needs outlined in Appendix 3 below and research and test these with potential users. Options for the spatial arrangement of the buildings should be tested and developed. These should maximise the scope of the building to deliver on an operational basis, promote and sustain a creative and inspiring environment for customers, venue users and artists and help to drive commercial activity. This exercise will need to be mindful of the inherent constraints of cost, total space required, and grade listing.

2. Wider Site Strategy / Master plan– The study should relate to plans for existing and proposed activities across the Brighton Dome complex and must integrate fully with proposals resulting from the Estate-wide master plan.

3. Accessibility, Orientation & Legibility – Proposals should consider how best to connect the venues together improving accessibility, orientation and legibility of the building and its constituent parts. Externally the estate Masterplanning exercise will inform the how the Dome venues relate to the wider estate context.

4. Commercial – This development is key to BD&BF being able to generate increased levels of self-generated income. A higher profile and increased physical presence on New Road would be the first step to delivering improved commercial performance.

5. Historic/ Contemporary – The development should be exemplary in its design and have a distinctive quality suited to its role as a cultural hub. It should relate sensitively to the other historic buildings on the estate. Initial consultation with heritage and planning officers should be conducted and principles for development agreed.

6. Heritage – The study should outline ways in which the proposed development would enable BD&BF to ‘up-sell’ its heritage and architectural value and exploit its visitor potential and heritage access and learning opportunities.

7. Landscape & Public Space – The study should include an integrated approach to public space and landscape design and embrace the proximity of the Royal Pavilion Garden whilst maintaining loading and already minimal parking areas. It should improve the relationship between the gardens and the historic buildings.

8. A sense of arrival – Overall, the design should establish a sense of arrival at the creative heart of the cultural quarter and add to the unique character of the Royal Pavilion estate. The development should help to

enliven the building and create a ‘buzz’. There should be a sense of ‘art in everything we do’, be it when buying a coffee, a ticket or attending a performance, or conference activity.

9. Sustainability – Designs should exemplify BD&BF’s commitment to sustainability and should establish the scope to minimise our carbon emissions. Concepts must integrate sustainable design principles for energy and water efficiency. Long-term environmental, social and economic factors must be considered by the consultant over the life of the project. In the drive for continuous improvement, BD&BF welcomes new developments and innovation to support this activity.

10. Digital – Brighton’s economy embraces a comparatively high level of digital media businesses and the study should consider opportunities for exploiting this position and how the design could incorporate digital technologies to improve the cultural offer and interface with users and artists/performers.

11. Futureproof – where practicable, designs should be futureproof and easy to maintain. The project options should be designed to be flexible and adaptable to future changes of use.

12. Cost Effective – The study should outline ways in which the development maintains its flexibility but offers cost savings in terms of staff time and resources.

Appendix 3 - Outline Statement of Need .

The work that has been undertaken to date has identified a range of needs for the capital development. These have been articulated clearly in the Ash Sakula feasibility study. These need to be verified and checked as we recognise that cost and space restraints may impact on these aspirations.

Without wishing to be prescriptive these include: a) A new venue access frontage - The development should significantly improve the sense that the venues are connected and should significantly improve the legibility of the complex. The new frontage should open up the venues and enhance their profile at the heart of the cultural quarter. b) Visitor Welcome / Orientation space – A welcoming foyer area which enables enhanced audience orientation & visitor experience. A place where people could arrange to meet someone for lunch or buy tickets for an upcoming event. A space with free wi-fi where public and artists mingle and where staff members, performers, workshop leaders, technical teams go for lunch, supper, and post show drinks. It would benefit from a small ‘intimate’ performance area and a space for temporary exhibitions. This needs to be aligned with the visitor welcome ideas emerging from the estate masterplanning exercise c) One Stop Shop – a dedicated sales and visitor information point within the welcome area to include ticket sales, retail opportunities and information. This would be not only for BD&BF, but possibly for the entire cultural quarter thus enabling Brighton Dome to become both a cultural and tourism focus for the city. Again this should be checked with the estate masterplanning exercise d) New Café / Restaurant facilities - to take advantage of the changed landscape in New Road, driving BD&BF’s commercial targets. It needs to be a quality offer, which stands out from the multitude of cafes and restaurants within the locality and integrates creatively with the Royal Pavilion Garden. Designs should outline the potential for additional catering / hospitality within the Dome Café-bar/ Foyer space, specifically, looking at the impact of removing the wall to the Founders Room. e) Creation space – a dedicated space for use by a variety of artists for the creation, rehearsal and sharing of work. f) Education Space – a permanent and separate space accessible from street level and capable of being used as a stand-alone space being open when the rest of the building may be closed. f) Improved working conditions for artists – looking at including one central stage door / reception facility linked to the welcome area, dressing rooms and production offices which are fit for purpose, fully accessible and include en-suite toilets and shower facilities.

g) Studio Theatre Auditorium – designs should incorporate the Studio Theatre Auditorium and should look to improve the capacity and facilities within this space (currently 200 seats). There is a requirement for the space to deliver both standing and seated events, to be able to access daylight, but also easily completely blackout. New air handling equipment to more easily heat and cool the space should be included. There is a specific requirement for these to operate quietly. Access to a bar within the Auditorium space is important. Designs should consider how to improve the load in facilities for this space which currently involves going up stairs h) Studio Theatre Bar & Catering - In addition to a stand alone catering offer audiences arriving to see events should have access to food and drink facilities (pre-show, interval and post show). Designs should also work through ways in which the Studio Theatre would become more attractive to conferencing and private events customers by having its own catering space for use by delegates. i) Office spaces – Most of the staff team are housed off-site. If possible, designs should therefore look to incorporate office spaces, all with access to natural light, for those staff directly involved in operational roles. Approximately 40 staff may need to have some office space on site. We are aware that space restrictions may apply and that one option is to look for office space nearby. j) Meeting Rooms – our recent Conferencing study has outlined the need for additional meeting rooms/ breakout spaces within the facility, especially if the Founders Room does not exist moving forward. The study should seek to optimize space in order to generate additional break out rooms for use by the Conferencing sales team. k) Storage and Access Routes – the study should look to resolve the current issues with on-site storage of technical equipment, furniture, etc. Designs should look to incorporate a back of house (BOH) route which enables staff to move from the Studio Theatre, to Corn Exchange and into the BOH areas of the Concert Hall, without having to use an external route, or disrupt activity within the spaces.

l) Hospitality – bars and catering play a crucial role within the commercial activity undertaken by BD&BF. Information from our recent catering and commercial studies should feed into the design to ensure the maximum commercial benefit.

m) Kitchen Facilities – requirement for kitchen facilities to support the daytime café offer, the restaurant offer and to cater for a maximum of 600 covers within the Corn Exchange.

n) Parking & Site Access - Brighton Dome has limited on-site parking. The study should look at ways to preserve or increase on-site parking facilities. We need to provide parking for a wide range of types and size of vehicles, from 40ft articulated lorries to cars. Parking is designated for artists and venue users, maintenance contractors and visitors only. There is no onsite

parking for staff. BHCC is currently seeking to encourage other forms of sustainable transport to reduce car movements in the centre. New guidance is to be prepared as part of the City Plan process, which is out for consultation at the moment. o) Waste Management, External Storage - Consideration should also be given to relocating external waste (in line with an estate wide waste management strategy) and equipment storage areas which currently sit on the south side of the building. p) Security – designs should maximise security of the venues without hampering flexibility of use. q) Improved Disabled Accessibility – designs must ensure maximum independent access for disabled people (visitors, participants, artists and members of staff) and comply with current legislation.

r) Noise Bleed – designs should look to minimise sound bleed between auditoria and event spaces in order that multiple activities can take place at one time. s) Piano room – ideally we would be able to store a Steinway piano on site to reduce the costs involved in hiring one in. t) Improved capacity and flexibility in the Corn Exchange space – this space would benefit from increasing to a 500 seat theatre space, but with built in flexibility to also retain a 300 seat format. In its role as a social event space, work is required to improve the look and feel of the room to make it attractive to conference and private events clients and help to enhance and promote its significant heritage assets. Currently the Corn Exchange takes a long time to heat up and has no mechanism for air cooling which is problematic.

Appendix 4 – Shared opportunities and challenges being addressed by the RPE Masterplan

♦ Recreating the RPE as a world class heritage site – integrating the Royal Pavilion, Brighton Dome and Corn Exchange with their historic setting and as the world class centrepiece for excellence in the City’s Cultural Quarter. ♦ Revitalisation of the Royal Pavilion Garden to an enhanced standard appropriate to its origin as a carefully designed, peaceful, sustainable and secure setting for the royal palace. ♦ Providing an impressive arrival/orientation to the RPE and improving tired and unwelcoming presentation and entrance points to the RPE/boundaries of the Garden - poor presentation. ♦ Engaging interpretation of the RPE’s history (buildings and Garden). ♦ Linking day and night time offers to maximise visitor dwell time and spend in the RPE. ♦ Addressing issues caused by lack of space for temporary parking to allow vehicles to load and unload safely and in a non-intrusive manner. ♦ Identifying how to design out anti-social behaviour, mountains of litter, and night time concerns about public safety in the Garden. ♦ Creation of a wi-fi zone within the Garden. ♦ Provision of appropriate learning facilities across the RPE to meet the needs of different users. ♦ Linking the Brighton Museum & Art Gallery and Brighton Dome to provide a seamless daytime experience for visitors. The two are physically linked laying either side of a corridor entrance which is accessible from Church Street. ♦ Improving and/or relocating staff accommodation. ♦ Increasing and improving storage facilities both for equipment and in general. ♦ Maximising income generation from ancillary activities eg catering, retail, conferencing, weddings and corporate hospitality. ♦ Maximising opportunities for linked ticket sales points for admission and events. ♦ Long term sustainability of these historic listed buildings and associated sustainability in all aspects of maintenance; energy; water management; drainage; waste management; materials used; climate mitigation and climate proofing; sustainable greening and landscaping. Specific examples for RPM are: ♦♦♦ Improvements to currently poor visitor access and facilities for the Royal Pavilion due lack of cloakroom, lack of group visitor arrival bag and buggy

deposit, ticketing, inadequate lavatories. The RPM believe a potential solution may be the creation of a separate visitor centre. ♦♦♦ Potential for wheelchair access to the upper floor and basement to be explored ♦♦♦ Visitor circulation and pressure points in the Royal Pavilion. The volume of visitors causes wear and tear on the decorative surfaces. ♦♦♦ Provision/improvement to conservation and technical workshops ♦♦♦ Improved lighting schemes in the Royal Pavilion show rooms with the potential to interpret the building as intended to be seen and used at night. ♦♦♦ Potential restoration of rooms/spaces currently not open to the public eg office spaces at the north end of the building; the central dome over the Saloon and the tunnel running between the Pavilion and Dome. ♦♦♦ The refreshing of the museum experience to position Brighton Museum & Art Gallery (BMAG) as the ‘city’ museum displaying the best of its collections through increasing space available for display within the building and by the potential development of the Old Courthouse as a museum space. (The Old Courthouse is located on Church Street opposite BMAG.) ♦♦♦ Collections storage issues. Collections are currently stored in inadequate and inaccessible conditions within the Royal Pavilion, Brighton Museum & Art Gallery, Hove Museum & Art Gallery and Preston Manor, as well as in an offsite store.

Appendix 5 - Draft Terms & Conditions

Draft Terms & Conditions are supplied as a separate document on the FTP site. Please contact the Tender Contact named in section 11 above for your login details.

Final Terms and Conditions will be posted on the South East Business Portal alongside this ITT by 5 th July 2013. Post tender requests to alter terms and conditions will not be acknowledged, therefore Consultant’s should ensure that any requests are put forward before the tender deadline.

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