Hopkins 3 2 Hopkins 3

Rob Gregory Paul Finch Prestel · · New York Front cover: Shin-Marunouchi Building Editorial direction: Ali Gitlow Hopkins Architects would like to ©Ken’ichi Suzuki cover, p70, p74, p77, © Ken’ichi Suzuki Editorial assistance: Eve Dawoud acknowledge particularly the p78, p79 Frontispiece: Kroon Hall, Copyedited by: Matthew Taylor contribution of Senior Partner, Finance, ©Mike Taylor p214 © Morley von Sternberg Production: Friederike Schirge Henry Buxton to all the projects. ©Paul Tyagi p7(tl,tr), p8(tl), p19(b), 21(b), Design and layout: p33, p35, p38, p39, p54, p55, p57(b), © For the text by Rob Gregory Esterson Associates Thanks are extended to Robert Gregory p58/59, p60(t), p61(b), p83(t), p85, p87, and Paul Finch and Paul Finch for their texts, and to p93, p94(t,b), p95, p106, p107, p110(t), Origination: Simon Esterson and Mark Leeds for the p111, p155, p157(t), p158(t), p159(t), p162, © Prestel Verlag, Reproline Mediateam, Munich design and John Hewitt for his drawings p164/165, p168, p169, p171(r), p174, p175, Munich · London · New York 2012 Printing and binding: contribution to this book. p176, p177(t), p178, p180/181 Appl, Wemding ©Morley Von Sternberg p2, p9(tr), p97, The rights of Rob Gregory and Paul Printed in Germany Also to Alet Mans and Nathaniel Moore p99, p101, p102(b), p103(b), p104, p215, Finch to be identifi ed as authors of this for book co-ordination. p218/219, p220(b), p270(t), p271(t), work has been asserted in accordance p208, p209, p211(t), p212(b), p213(t), with the Copyright, Designs and Patents Photography credits p295, p299(t,b), p300/301 Act 1988. 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4 Contents

An Introduction to Hopkins 3, by Rob Gregory 6

Place-Making and Public Engagement 10

Institutions and Headquarters 122

Healthcare 166

Schools, Colleges, Universities and Research 190

Work in the Middle East 272

Buildings for Sport 284

Lines of Continuity, by Paul Finch 320

Current Projects 324

Chronology 342

Credits 348

Awards 354

Bibliography 356

Index 358

5 An introduction to Hopkins 3 Rob Gregory Regardless of location, scale, budget or type, there is something in the As recorded in the first two volumes of official Hopkins DNA of a Hopkins building – something at its heart, in its bones and in monographs, their body of work has given generations of architects its figure – that brings distinction and character to the work. Across an a radically different sourcebook from those offered by other increasingly extensive range of buildings there are traits and contemporaries, beginning in Volume 1 with the practice’s seminal characteristics in how spaces are planned, in how sections inform projects, and continuing in Volume 2 with projects of truly global elevations, in how materials combine, in how corners turn and in how significance, such as Glyndebourne Opera House, Portcullis House structures define places, that share a distinctive family resemblance. and Westminster underground station. Supported by observation Since it began in 1976, Hopkins Architects has been led by founding and critical analysis from Colin Davies, Patrick Hodgkinson, Kenneth partner Sir Michael Hopkins, who traces back the genetic thread of the Frampton and Charles Jencks, these previous volumes traced the practice’s architecture to a number of key defining experiences. Initially architect’s development from schoolboy enthusiast to what Jencks working on two self-initiated domestic projects with wife, Patty, the described as ‘the architect to surpass’, illustrating along the way the rescue and restoration of their sixteenth-century timber-framed house broad range of influences, from Viollet-le-Duc to Buckminster Fuller, at Craftfield in Suffolk in the early 1960s introduced them to the realities that bridge the gap between the practice’s interest in the medieval and of construction and instilled within them the desire to produce buildings the Miesian. As these commentaries showed, it has been impossible that look the way they do because of the way they are built. This was to attribute a style or ‘-ism’ to the practice’s buildings, so it is only by followed by the radical innovation of a twentieth-century small-section taking a long view that we are able to frame Hopkins’ work, as an steel frame at the now seminal Hopkins House in Hampstead, which in entirely new pedigree in British modernity. It takes its place in a lineage turn led to Greene King, Patera, Broadley Terrace and Schlumberger. of design thinking that begins with the great British engineer Brunel After this came projects like Lord’s, where they went further still, not only and runs through the nineteenth- and twentieth-century work of learning about the technicalities of Victorian brickwork but also, more Joseph Paxton, Edwin Lutyens and Owen Williams, with Romanesque significantly, realising that character and ambience were just as and Gothic origins brought up to date in the spirit of the Functionalist significant as structure and detail, with the Mound Stand chiming with tradition identified by Eric de Maré’s photographs, published in the Lord’s main pavilion, expressing the sense of an English summer’s day Architectural Review. in brick, steel, glass and tensile fabric. This new monograph extends the commentary, reflecting on the Through this legacy Hopkins had derived an entirely new language third decade of the practice’s evolution and its current work, where we for late twentieth-century British modernism, which attracted a see the Hopkins practice transformed into a truly international, committed team of like-minded architects that included the five senior twenty-first-century business. It has stepped up to the challenges of partners he works with today, all of whom cite a shared interest in more competitive markets at home and abroad, more than doubling its materials (new and old), design (innovative and traditional) and place- portfolio of completed buildings and extending its reach to new regions making (urban and rural) as their reason for joining the firm. The majority of the world. To this end Hopkins 3 presents thirty-six new buildings, came at the point when the practice first began truly to deviate from the each demonstrating how the practice’s architectural gene has mutated path followed by most other protagonists of British High-Tech, and even in response to new typologies, such as healthcare and higher at this relatively early moment it was clear that Hopkins’ architecture education, and to the challenges associated with moving into new had taken a different path, in pursuit of a new mode of expression that territories such as Japan, the Middle East and the USA. engaged more directly with issues of context, history and place-making. With an opening chapter that introduces fourteen projects across a Together, they maintain this pursuit today, continuing to test and stretch range of scales, locations and types, all publicly accessible for readers the potential of traditional materials and natural elements such as stone, to experience for themselves, the book then presents a series of timber, lead and bronze with the same level of innovation previously one-off buildings arranged in thematic chapters relating to issues of applied to use of man-made materials like steel, glass and fabric. identity, healthcare, education and play, before concluding with a look

6 Norwich Cathedral Hostry Alnwick Garden Pavilion, Northumberland

to the future, with observations by Paul Finch as to how the Hopkins gardens at Broughton Hall in Yorkshire and Alnwick House in DNA has influenced the firm’s emerging practice in the Middle East and Northumberland and within the romantic landscape of St James’s Park projects elsewhere in the world. The suggestion is that after thirty-six in London. Adding three new forms to the typology of British garden years in practice, Hopkins is to Britain what Niemeyer is to Brazil, what pavilions, each has its own unique relationship to the landscape. Murcutt is to Australia, what Correa is to India and what Ito is to Japan At Broughton Hall the formal temple-like form of Utopia sits as an – a figurehead of a culturally specific mode of architecture which, while object in space, commanding axial views across the landscape from not limited by its own domestic boundaries, draws upon, extends and its symmetrical planed interior; the Alnwick Visitor Centre and Pavilion exports the traditions of its own national heritage as its primary source straddles the boundary wall to create a new, dual-aspect, Janus-like of inspiration and identity. gateway and belvedere; the more sensuous plan at Inn The Park, St James’s Park, locks into the trajectory of three meandering paths Place-Making and Public Engagement that have been traced and extrapolated from within John Nash’s Whether building new venues or working with existing visitor attractions, romantic parkland setting. in the last decade Hopkins has produced fourteen buildings that A similar method of tracing and extrapolation is also evident in promote specific forms of public engagement. With these buildings the practice’s larger-scale work at Arc in Bury St Edmunds, which new architectural forms not only responded to the nature of context but develops place-making strategies originally pursued at the Inland were also expressed as manifestations of clearly resolved organizational Revenue in and city regeneration proposals at Chester. diagrams, and recent projects take this further, tackling a broader range It extends the physical scale and material quality of Bury’s medieval of scales, contexts and uses. They not only deal with specific and town fabric while creating an entirely new piece of civic townscape. specialist operational and visitor demands but also make broader As well as providing 25,000m2 of new retail space, sixty-two flats and a contributions to relationships between people, architecture and the new department store, the Arc development also includes a major new public realm beyond. public amenity building called Apex. This latter building, together with With Manchester Art Gallery, Norwich Cathedral Refectory and Hackney Service Centre, London, adopts the formal and organisational Hostry, the West Wing at Ickworth House, Suffolk, and the David Mellor strategy of the Forum in Norwich, which 2.5 million people visit each Design Museum & Café, Hathersage, the practice demonstrates how year, in the dramatic four-storey atrium that uses hierarchies in section the scrutiny of sensitive as-found conditions – both physical and to set up varying degrees of public engagement. This approach recalls operational – can inspire a series of bold yet appropriate interventions an altogether different scale in the foyers and concourses of the and adaptations, perhaps most explicitly seen in the extensions at Shin-Marunouchi Building in . Manchester Art Gallery and Norwich Cathedral. With these buildings Hopkins continued to lead the way in creative reuse, with work that Institutions and Headquarters enhances the setting, use and legibility of some of the country’s most With an increasingly broad range of clients, the notion of identity precious listed structures. At Manchester it was Hopkins’ detailed remains a core concern to Hopkins, as a practice that prides itself in understanding of the proportions and order of Charles Barry’s existing never having produced a faceless building for an anonymous client in buildings that inspired them to mirror key existing forms in the concrete a meaningless location. Even from the early days Hopkins produced and stone extension and the breathtaking new steel and glass stair. buildings of distinction and character that have become emblematic At Norwich Cathedral it was only through the painstaking archaeological to their clients, and later, as the sites have become increasingly and structural analysis of the existing ruins that they were able to resolve complicated, the practice has responded with more sophisticated the strategy, scale and construction of both Refectory and Hostry. architectural solutions providing distinctive new identities for their Responding to as-found conditions was also the inspiration behind clients while making significant and profoundly civic contributions to all three of the practice’s new garden pavilions, set within historic walled the historic places in which they were set.

7 Evelina Children’s Hospital, Frick Chemistry London Laboratory, , USA

In the second chapter, five new buildings are presented that take of the buildings (via innovative environmental and spatial strategies) these preoccupations further, addressing the theme of identity across and the presence of the hospital within the city, elevating its status on a wide range of institutions, headquarters and workplaces, both in civic the street and improving the relationship between the buildings and and in landscape settings. Haberdashers’ Hall carves out an oasis-like the people and places that they serve. garden in the heart of the capital’s busy Smithfield Circus for the The Evelina Children’s Hospital in London came first, when Worshipful Company of Haberdashers, with a series of private Hopkins won an RIBA competition that called for a landmark building ceremonial spaces set around a delightful new cloistered quad; the that neither looked nor felt like a traditional hospital. With vibrancy Wellcome Trust Gibbs Building and Wellcome Collection in Camden and colour previously unseen in the practice’s portfolio, Hopkins’ are far more prominent, occupying an entire city block and responding strategy appealed at all levels. Their integrated and visionary design to four distinct urban adjacencies while creating a new home for the not only tied the building into a sustainable site-wide strategy for world’s largest biomedical charity; and the GEK Group Headquarters St Thomas’ extensive riverside campus, but also embedded new in Greece creates a new flagship headquarters in the heart of the city, possibilities in the imagination of both the client and stakeholder, allowing the -based contractor to relocate from the city fringe. as a result of the architect being exposed to new forms of public These are followed by two new campus designs: one creating engagement that helped produce its most expressive and playful workplaces for more than 5,000 staff at the new DSS Offices in designs to date. Sharing many of the same objectives, but constrained Newcastle, the other a much needed world-class home for British by a much tighter site in central London, the Macmillan Cancer tennis with the National Tennis Centre, , London, with Centre, University College Hospital, adds future-proofing to the list of both tackling the issue of scale and identity in more open landscaped core objectives, resulting in a more sober civic building that responds settings. not only to the need to cater for radical changes in patient-centred cancer care today but also to the need to guarantee a commercial Healthcare return for its client in the future, when it is hoped that cancer will be The issue of identity also persists as a key theme in Hopkins’ new work a thing of the past. in the healthcare sector, through the design of two radical prototype buildings that set out to challenge and redefine the character of Schools, Colleges, Universities and Research contemporary hospital design. As newcomers in the field, Hopkins Challenging conventional practice has also led Hopkins to focus had the necessary critical distance to observe how post-war hospital on education typologies, responding to three decades of change in architecture had failed to live up to the ambitions of the National Health teaching and research techniques. Through the design of schools, Service, in terms of both the design of the buildings and their colleges, universities and research establishments they have worked relationship to the city. The innovative and revolutionary approach at all scales and in all sectors, from the intimacy of Fleet Velmead taken in both of these buildings demonstrates the architects’ school in 1984 to the Jubilee Campus in 1996, commitment to re-establishing healthcare architecture as a core tackling enduring issues relating to the integration of core teaching component of our urban infrastructure, making manifest their belief space with circulation, amenity and landscape. In the last decade that architecture can and should be an intrinsic part of the healing Hopkins has extended its education portfolio with work on two process, through the creation of bright and airy spaces that have secondary schools in the UK and seven university campuses – a direct and meaningful connection with their context. three at home and four in the USA – all of which presented common Applying its architectural expertise to new healthcare typologies, design challenges facing expanding educational establishments. Hopkins were employed as non-experts specifically to challenge the In the case of the schools, the two projects featured in this chapter codes and constraints that have stifled the specialists who dominate demonstrate the integration of significant new buildings within historic the sector, thereby introducing significant changes in both the quality contexts: the Sanger Centre for Science and Mathematics at

8 Gate Village, Dubai Goodwood Racecourse, Sussex

Bryanston School in Dorset and the extension and rationalisation in the Dubai office, forcing everyone involved to work at an altogether of Henrietta Barnett School in Hampstead Garden Suburb in London. different scale and pace, and bringing a new dynamic to the process Each makes a specific contribution to a sensitive landscape setting; and product of the practice, with current projects such as Al Wasl at Bryanston, Hopkins added a bold, horseshoe-shaped building that Road, the Dubai World Trade Centre, an extension to the Sharjah provides essential new facilities, while resolving level changes and International Exhibition Centre and the Dubai International Finance bringing order to a series of ill-defined gardens that surrounded Centre Towers (Central Park 08). Richard Norman Shaw’s nineteenth-century Bryanston House. At the Henrietta Barnett School, a more modest 1,100m2 of additional space Buildings for Sport has been added in two new wings that form part of a strategy to The final chapter identifies more direct evolutionary traces, with extend and reinforce the order of Lutyens’ fine late Victorian school. four new sports venues that each demonstrate Hopkins’ ongoing At a larger scale, similar design challenges arose in four commitment to place-making through play, with the development commissions from American universities for a variety of teaching of the ‘village green’ analogy first seen in 1984 at Lord’s. and collegiate accommodation. The state-funded ARD Building at With Hampshire County Cricket Club, , this line of Northern Arizona University has a crescent-shaped atrium that forms thinking recurs, first in relation to the nature of the place itself (through a new social focus for entrepreneurs and researchers. This was the creation of the Rose Bowl as village green, around which new followed by two new departmental buildings – Kroon Hall at Yale pavilions could be added when required), and then in the varied and the Frick Chemistry Laboratory at Princeton – both of which provision for spectator experiences, with formal and informal seating, use the provision of additional teaching space to bring significant long views and the all-important promenade. This model has improvement to previously neglected parts of their campus settings. subsequently been exported to India, where the practice is designing With these projects Hopkins succeeded not only in bringing new three new cricket grounds, including the Subrata Roy Sahara Stadium, technologies and environmental standards to the American sector MCA Pune International Cricket Centre, featured in this volume. but also, as most extensively demonstrated at Rice University, in The evolution of sports venue architecture has extended to other producing careful infills and additions, or entirely new college precincts. areas such as horse-racing, with the Goodwood Racecourse, Sussex, This extended and exported the practice’s home-grown expertise, and cycling at the London 2012 Velodrome. At Goodwood essential demonstrated in recent UK schemes that include Norwich Cathedral links to the racecourse’s immediate and more distant settings are Hostry and Refectory, and the rationalisation, refurbishment and re-established. The Velodrome anchors itself into the ground and extension of the existing city centre campus at Nottingham Trent provides a continuous concourse, similar to Hampshire and Pune, University, which provides a powerful new identity while securing that balances the focus on the indoor, spectator-focused event with the sustainable reuse of two prominent historic precincts. the external activities of the landscaped Velopark and the city’s horizon beyond. Work in the Middle East The penultimate chapter includes just two completed projects: So, from Lord’s to the Velodrome, and from the practice’s Broadley the Villas at Emirates Hills and the Gate Village, Dubai International Terrace address in London to its office at Al Quoz in Dubai, it is clear Finance Centre, completed in 2003 and 2008 respectively. These, to see that over the past three decades Hopkins’ architectural gene however, only hint at the extent of the practice’s ambition to help raise has continued to change in response to new challenges and new the quality of contemporary architecture in this rapidly changing territories, with buildings of a truly unique architectural pedigree. region, while extending and applying Hopkins’ home-grown expertise With such a strong architectural DNA, it is with great anticipation that to new climatic and cultural challenges. Although it started out with just we look forward and ask what we can hope to see from this practice three people in 2004, at its peak over 100 people have been employed in the years to come.

9 Place-Making and Public Engagement

10 12 54 100 The Forum Alnwick Garden Pavilion The Apex Norwich Northumberland Bury St Edmunds, Suffolk 2001 2006 2010

22 62 106 Manchester Art Gallery David Mellor Design Hackney Service Centre 2002 Museum and Café London Hathersage, Derbyshire 2010 32 2006 Inn The Park, 112 St James’s Park 70 The Long House, London Shin-Marunouchi Building Living Architecture 2004 Tokyo, Japan Cockthorpe, Norfolk 2007 2011 40 Utopia, Broughton Hall 80 118 Yorkshire Norwich Cathedral Energy from Waste 2005 Refectory and Hostry Jersey 2009 2011 48 West Wing, Ickworth House 96 Suffolk Arc 2006 Bury St Edmunds, Suffolk 2009

11 The Forum Norwich 2001 Place-Making and Public Engagement

12 13 (A147)

St Crispin’s Road

Magdelen Street

(A1074)

St Andr l Cathedral ew’s Street Tombland

Grapes Hil St Giles S treet City Hall Bethel Street Market Castle

Chapel Field Road Square King Street Theatre Street

Castle Meadow

A11 (A146)

Since opening in 2001, The Forum generate further income through The new library occupies the high-profile presence with an in Norwich has done much more the provision of a 200-space three-storey semicircular space open studio and broadcasting than simply replace the original underground car park, and let-able at the back of the plan. It exploits base for BBC Look East, BBC County Library that was burnt to space in roughly one-third of the radial geometries by placing Inside Out East and BBC Radio the ground in 1984. As a building, over half of which is reception and communal Norfolk. The leadership of the collaboration between Norfolk serendipitously occupied by the activities at the centre of the Forum Trust’s Chief Executive, The Forum County Council and Norwich City BBC as its regional home. circle and is surrounded by an Robin Hall, has also been key Council, the lottery-funded project With such a diverse mix of arc of activities for individuals in establishing a varied and gave the city the opportunity to uses, both architect and client and smaller groups that sustainable programme of create a significant civic landmark acknowledged the challenges culminates at the perimeter in a cultural events, performances for the new millennium. As such, associated with taking such a series of steel bay windows that and installations that reflect the a new type of public forum was radical approach, which risked extend beyond the brick skin to different interests of people of all proposed that would combine a transforming the image of the provide individual study bays at ages and backgrounds. All of this state-of-the-art reference library cherished County Library into little first and second floor. This takes place within the dramatic and archive for the county’s more than a shopping mall with a gradient of activity and intensity four-storey atrium, where over historic records with a new civic bookshop as its anchor. They were also exists in section, with 2.5 million people a year come space for public events and thus determined to produce a children’s and US Air Force to participate in the new civic gatherings. With supporting building that achieved palpable libraries on the ground floor and setting and to behold fine views activities such as a restaurant, civic gravitas, through the quality of quieter study rooms above. towards the church of St Peter coffee shop, bookshop, city its architecture, the character of its The tenure of the BBC has Mancroft through the four-storey ‘Origins’ exhibition and lecture tenants and the manner in which been enormously significant, glazed façade that follows the theatre, the building would the venue was to be managed. with the corporation having a radius of the roof above.

Key

St Giles Street 1 Forum 2 Forum Trust Offices 3 St Peter Mancroft Church 4 market square 5 city hall 6 Theatre Royal 5 4 7 Assembly House

St Peters Street Peters St 8 Millennium Plain 9 South Square 10 car park entrance

Bethel Street 10

3

18

Hay Hill

Haym

2 a rket 9 Theatr e Street 6

7 020m

Context plan

14 7

3 5

3 4

33 21

6 7 6

Long section Key

1 entrance 2 atrium 3 Library 4 restaurant 5 library stacks 6 car park 7 plant

10 10

9 8

4 5 7

32 1 6

11

11 010m

Cross-section

Left: This model shows Key The Forum in context, not only creating a new 1 atrium public space inside but 2 information centre also resolving the space 3 ‘Origins’ exhibition between it and St Peter 4 BBC TV studio Mancroft. The Forum’s 5 BBC radio studio broad programme of 6 cafe events is now free to spill 7 shop out in the open, increasing 8 library stacks opportunity for public 9 office engagement. 10 plant 11 car park

15 16 17 Key

1 entrance 2 forum 3 library 4 information centre 5 ‘Origins’ exhibition 6 café 6

3 2 1 The Forum

4

5

Ground fl oor plan 05m

Previous spread: At night the transparency of the façade reaches its maximum level, revealing the full extent of the internal space and the delicate steel and glass roof.

Left: The library occupies the semicircular apsidal end of the building, with the children’s library on the ground floor, the principal lending library on the first floor and quieter study areas on the uppermost second floor.

18 Key

1 library 2 BBC Radio studios 3 BBC TV studios 4 BBC newsroom 5 restaurant 6 shop

6 5

1 5

24

3

First fl oor plan 05m

Left: On the second floor space has been occupied by the staff of BBC Look East, allowing greater engagement between their work and the audience they serve.

19 20 Key

1 library 2 storage stacks 3 library staff 4 office

2

3 1

4

05m Second fl oor plan

Opposite: Study bays project to form bay windows that articulate the surface of the brick apsidal form. Concrete anchors are fully expressed on the elevation, and movement joints have been avoided by the use of lime mortar.

Left: The quietest, most intimate study spaces are arranged around the perimeter of the library, set between book stacks in bay windows.

21 Manchester Art Gallery 2002 Place-Making and Public Engagement

22 23 (M61) A62 (M62) A6 Cannon Street

te

Picc adil ly Deansga

Mosley Street t e re Town Hall Princess Str Piccadilly d Street n George St tla eet Por

(M63) (M56) A34 A6

The simplicity of expression and environmental conditions, Then at the heart of the site As far as architectural directness of approach seen at poor security and art storage. Hopkins proposed a new link, expression is concerned, Hopkins’ Manchester Art Gallery The proposed redevelopment articulated by two lifts, a bridge however, the notion of belie the pre-existing also presented an opportunity to and a new interpretation of the equivalence between new and complexities, which ranged from repair an important piece of the Institution’s existing ceremonial old ends here, with Hopkins’ the scale of the city to the scale city, with the proposal to extend stair, expressed in steel and glass extension articulated as a bold of historic architectural detail. the gallery on to a vacant car and giving access to all levels homage to Louis Kahn’s Yale Divided between two of park presenting the biggest and all corners of the site. Center for British Art in New Manchester’s most significant challenge of all, in terms of how Determined to retain public Haven, . With a fully historic buildings, the old gallery to create a new, unified whole engagement with the original expressed system of frame- was constrained on many levels, across the entire city block entrance, the architects made and-infill construction, this in terms of both day-to-day without diminishing the identity subtle changes to the existing language extends Hopkins’ own

Manchester Art Gallery Manchester operations and its ability to of Charles Barry’s Greek Revival building, carefully carving out two well-versed use of exposed engage with the public. In 2004 Royal Manchester Institution axial routes at ground level that fair-faced concrete soffits and a competition was held, which and Italianate ‘palazzo’-style connect the original stair hall with the refinement and expressive Hopkins won with a proposal Athenaeum. its new, contemporary equivalent. restraint of fenestration like that to radically improve the existing Hopkins’ approach to the new Hopkins were also keen to create seen at David Mellor’s building Pre-Raphaelite galleries, extension began by addressing a notion of equivalence in the in Shad Thames. With echoes to provide a new suite of the problem at the scale of the galleries themselves, first with a of Yale, the concrete frame contemporary galleries (including city, proposing a new block on new circuit of permanent gallery remains fully expressed inside a large temporary exhibition the site’s eastern-most corner spaces on the first floor and then the galleries; large pre-cast space), to improve circulation that directly reflected the scale in a series of flexible spaces on concrete coffers not only bring and orientation throughout new and proportion of the Level 2, where the scale and definition and scale to each and old spaces, and to address Athenaeum. A second volume proportion of the Athenaeum’s gallery but also contribute to issues that had frustrated the was then placed between the fine plaster room are echoed in the building’s environmental operation of the gallery for many two, on axis with the Institution’s a new top-lit temporary exhibition systems, with air supply and years, including the lack of portico, flanked on either side by hall that rises to the same height light fittings being fully access for disabled people, poor new glass block service cores. on the opposite corner. integrated into the design.

24 The gallery works at the scale of the city to unify an entire city block, with a new three-storey gallery block reflecting the scale and form of Barry’s Italianate Athenaeum building (1837–9). Between this sits a central block with loading bay and further gallery space, all of which are linked by a triple-height link.

Key

1 existing City Art Gallery (CAG) Mosley Street 2 existing Athenaeum 3 glazed link/atrium 1 4 new gallery building

3

2 4 Princess Street Nicholas Street

George Street

050m

Context plan

25 26 Key

1 skylight with solar control 12 2 perimeter gutter 3 bronze cladding 4 naturally lit ‘cloud’ ceiling 5 stone cladding

6 expressed pre-cast 7 frame 3 7 gallery extract 8 gallery wall lining 9 raised floor and services void 10 gallery artificial lighting

4

5

6

10

8

Above: The link where new meets old includes a bridge at first-floor level that provides access across 9 the whole city block, where a new enfilade of spaces extends the existing suite of galleries.

Opposite: Stone from the original quarry specified by Charles Barry was used on the new extension, seen here set within the building’s pre-cast concrete frame, articulated by aluminium bronze detailing and attic storey.

Wall section

27 Manchester Art Gallery Manchester

Above: The new galleries comprise display walls, set flush between the new concrete frame, which also forms the soffits, seen here with fully integrated ventilation, lighting and acoustic components.

Above right: The existing Pre-Raphaelite galleries were fully restored, with new roof lights and suspended Hopkins- designed lighting rigs.

Below right: The temporary exhibition space, seen here featuring Michael Craig-Martin’s inaugural installation, Inhale/Exhale, includes a top-lit gallery cloud that diffuses daylight from three large roof lights above.

28 Ground fl oor key First fl oor key Second fl oor key

1 existing entrance hall 1 existing entrance hall 1 void over main 2 shop 2 gallery (CAG) entrance hall 3 Manchester Gallery 3 glazed link 2 roof over glazed link 4 café 4 atrium 3 atrium 5 atrium 5 galleries (Athenaeum) 4 galleries (Athenaeum) 1 6 staff / works on paper 6 galleries (new) 5 temporary exhibition galleries (new) 7 multi-functional room 7 art lift 6 art lift 8 classroom 7 study area / meeting 9 art lift room 10 loading bay 8 AV room 9 store

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Second fl oor plan

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Ground fl oor plan First fl oor plan 010m

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1 existing entrance hall 2 galleries (CAG) 3 shop 4 glazed link 5 atrium 6 art lift 7 temporary exhibition gallery (new) 8 gallery (new) 9 loading bay 10 picture store 11 support areas 12 Mosley Street 13 George Street 14 external terrace 15 classrooms/lecture room 16 multifunctional room

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05m Cross section

Left and opposite: Hopkins’ new stair chimes with that in Charles Barry’s original building, with both spaces serving as key points of orientation and circulation, rising to three storeys to bring light into the heart of the plan. The new pair of lifts provides access across the whole site.

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610 Cross-section through glass link

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