AppendixHaworthTompkins H: Heritage Impact Assessment
HaworthTompkins
Theatr Clwyd Heritage Impact Assessment, October 2019 Heritage Impact Assessment Theatr Clwyd October 2019 All images Haworth Tompkins 2019 , unless stated.
THEATR CLWYD HAWORTH TOMPKINS RAIKES LANE 33 GREENWOOD PLACE MOLD LONDON CH7 1YA NW5 1LB Contents
1.0 INTRODUCTION 4
1.1 THE PURPOSE OF THE HIA 6
1.2 THE SCOPE AND LIMITATIONS OF THE HIA 8
1.3 AUTHORSHIP, STAKEHOLDERS AND COLLABORATION 10
2.0 HISTORICAL UNDERSTANDING 12
2.1 ORIGINS OF THEATR CLWYD 14
2.2 THE SITE 16
2.3 THE COUNTY CIVIC CENTRE COMPLEX 18
2.4 THE DESIGN TEAM 20
2.5 THE ORIGINAL BRIEF 22
2.6 THE BUILDING 24
2.6.1 SITE CONTEXT, APPROACH AND VIEWS 28
2.6.2 EXTERIOR 30
2.6.3 FOYERS AND FRONT OF HOUSE 34
2.6.4 ANTHONY HOPKINS THEATRE 36
2.6.5 AHT FLY TOWER AND TECHNICAL 38
2.6.6 EMLYN WILLIAMS THEATRE 40
2.6.7 EDUCATIONAL TECHNOLOGY CENTRE 42
2.6.8 TV STUDIO AND MEDIA LIBRARY 44
2.6.9 CLWYD ROOM 46
2.6.10 BACK OF HOUSE, WORKSHOPS AND PAINTFRAME 48
2.7 THEATR CLWYD TIMELINE 50
2.8 THEATR CLWYD TODAY 52
2.8.1 HTV OFFICE EXTENSION 56
2.8.2 CONTEMPORARY ALTERATIONS 58
2.8.3 THE STRUCTURE OF THE INSTITUTION 60
2.8.4 COMMERCIAL ACTIVITIES 62
2.8.5 PRODUCTION 64
2.8.6 THEATR CLWYDS VISION FOR THE FUTURE 66
2.8.7 COMMERCIAL AND BUSINESS PRESSURES 70
HaworthTompkins 3 Contents
3.0 SIGNIFICANCE 72
3.1 SIGNIFICANCE STATEMENT 74
3.2 LISTED STATUS 78
4.0 ISSUES, OPPORTUNITIES AND HERITAGE ASSESSMENT 80
4.1 SITE ACCESS, APPROACH AND VIEWS 82
4.2 EXTERIOR 84
4.3 FOYERS AND FRONT OF HOUSE 86
4.4 ANTHONY HOPKINS THEATRE 90
4.5 AHT FLY TOWER AND TECHNICAL 94
4.6 EMLYN WILLIAMS THEATRE 96
4.7 (FORMER) EDUCATIONAL TECHNOLOGY CENTRE 98
4.8 STUDIO 2 AND SINEMA 100
4.9 CLWYD ROOM 102
4.10 BACK OF HOUSE, WOKSHOPS AND PAINTFRAME 104
4.11 TECHNICAL INFRASTRUCTURE 108
5.0 APPENDICES
APPENDIX 1 - PROJECT DIRECTORY 112
APPENDIX 2 - CADW HERITAGE IMPACT ASSESSMENT IN WALES,
2017 (ABRIDGED) 114
APPENDIX 3 - WELSH ASSEMBLY CONSERVATION PRINCIPLES
2011 (ABRIDGED) 130
APPENDIX 4 - CADW LISTING FOR THEATR CLWYD 2019 142
APPENDIX 5 - THEATR CLWYD PLANNING HISTORY 146
APPENDIX 6 - PRELIMINARY REPORT 1968 (ABRIDGED) 150
APPENDIX 7 - EXTRACT FROM ORIGINAL BRIEF 1971 180
APPENDIX 8 - THEATR CLWYD AND THE EDUCTIONAL TECHNOLOGY
CENTRE 1976 196
APPENDIX 9 - FULL DESIGN TEAM 212
APPENDIX 10 - ORIGINAL DRAWINGS, FLINTSHIRE RECORDS OFFICE 218
4 Theatr Clwyd, HIA, October 2019 Contents
APPENDIX 11 - MICHAEL REARDON FEASIBILITY REPORT
1996 (ABRIDGED) 230
APPENDIX 12 - MOSS COOPER CONSULTANTS REPORT FOR
CULTIVATE BUSINESS CONTINUITY STUDY 2017 242
APPENDIX 13 - CHARCOAL BLUE THEATRE CONSULTANTS
FEASIBILITY REPORT 2017 (ABRIDGED) 248
APPENDIX 14 - ORIGINAL THEATRE CONSULTANTS, NOTES
WRITTEN 2019 270
APPENDIX 15 - NEWSPAPER CLIPPINGS 276
APPENDIX 16 - ORIGINAL ARTICLES 286
HaworthTompkins 5 1.0 Introduction
6 Theatr Clwyd, HIA, August 2019 Theatr Clwyd on completion, 1976, Flintshore Records Office.
HaworthTompkins 7 1.1 The Purpose of the HIA
Theatr Clwyd (TC) was first opened by Queen Elizabeth II on 21st May 1976 and was designated a Grade II listed building on 11th June 2019. The theatre was part of a network of publicly funded, regional theatres built and worked on in Wales between 1960 and 1984. Theatre Clwyd is an important example of civic theatre building in the heyday of post war theatre construction, capturing the positive spirit of a renewed civic pride whilst embodying the tenant of democratising theatre as part of the provision of the modern egalitarian state.
The listing recognises the theatre as a building of special architectural and historic interest for two primary reasons (please refer to Appendix 4 for full listing text).
i) [Theatr Clwyd is] an important example of a post war civic arts and theatre complex, the key example of this building type in Wales and one of the leading examples in the UK. It survives largely intact and is notable for the range of related facilities that were incorporated into the design.
ii) It is of special historic interest as an example of the improvements in arts provision across the UK in the post-war period.
Passing its 43rd year the theatre remains a important fixture to the local community serving a large area of isolated towns and villages in north Wales. For this reason, demands on the theatre and its on-site production facilities and numerous performance spaces has never declined, going through a number of only minor alterations and additions since its opening.
Commissioned by the Theatr Clwyd’s directors, the purpose of the Heritage Impact Assessment (HIA) is to examine the architectural and cultural history of TC and to develop an understanding of the significance of the theatre as a historic asset. This HIA will inform the design process and provide a basis for assessing any future development against.
8 Theatr Clwyd, HIA, October 2019 Queen Elizabeth II signs photos and official visitors book on May 21st 1976.
Queen Elizabeth II visits Theatr Clwyd’s workshops on May 21st 1976.
HaworthTompkins 9 1.2 The Scope and Limitations of the HIA
This HIA intends to describe TC, the organisation, its circumstances and aspirations, within its context as a functioning building and a heritage asset valued under four ‘heritage values’ by CADW (refer to Appendix 2 for a full definition of these values), that are:
i) Evidential value – deriving from those elements of an historic asset that can provide evidence about past human activity. ii) Historical value – An historic asset might illustrate a particular aspect of past life or it might be associated with a notable family, person, event or movement. iii) Aesthetic value – This derives from the way in which people draw sensory and intellectual stimulation from an historic asset. iv) Communal value – This derives from the meanings that an historic asset has for people who relate to it, or for whom it figures in their collective experience or memory.
The HIA will include a brief description of the asset and a summary of its overall heritage value judged against these main values. In addition, the HIA will:
- Outline the history and the role of TC and the building, giving the architectural, theatrical and cultural context; - Outline Theatr Clwyd’s vision for the future, noting the issues and opportunities it faces in achieving its goals; - Look at any issues and vulnerabilities that the building faces, including current conditions of the fabric of the building and any actions needed for repair, conservation or restoration; - Identify the opportunities that exist for development.
10 Theatr Clwyd, HIA, October 2019 Cast of Hitchhiker’s Guide, TC contact sheet, 1979.
HaworthTompkins 11 1.3 Aurthorship, stakeholders and collaboration
Haworth Tompkins has researched and prepared the HIA in close consultation with TC and with specialist input from consultant structural and building services engineers and acoustic and theatre consultants (refer to Appendix 13 and 14).
This HIA follows from text and research consolidated for Theatr Clwyd as part of a commissioned Conservation Management Plan.
Groups consulted as part of this joint effort include TC staff, visiting artists, TC audience and the public, as well as TC’s immediate neighbours, Flintshire County Council.
The responsibility for promoting and implementing the policies set out in this assessment rests with TC and the future design team. The HIA should be readily available to all members of staff or those planning work within the building. The Executive Director of TC is the first point of contact for anyone planning work within the building and it is their responsibility to ensure that the HIA and the policies contained therein are complied with.
12 Theatr Clwyd, HIA, October 2019 Oriel Gallery programme.
HaworthTompkins 13 2.0 Historical Understanding
14 Theatr Clwyd, HIA, October 2019 Educating Rita production by Theatr Clwyd Company.
HaworthTompkins 15 2.1 Origins of Theatr Clwyd
The then Flintshire County Council, given backing from the Arts Council and National Film Theatre, was determined to provide North Wales with a centre for education and theatre due to an absence of facilities for a growing population. Within 20 miles of Mold, a potential population of over 1.6 million people had no access to a major performing Arts venue.
Driven by national policy to provide a cultural offering to the population of post-war Britain, the Welsh Arts Council formed in 1946 as part of the Arts Council of Great Britain, becoming in effect, a cultural arm of the Welfare State. TC became part of a project consisting of multiple Arts venues stretching across Wales that now forms a legacy of post-war optimism in public building.
‘The new theatre forms the northern limb of a network of Welsh theatres (New Theatre in Cardiff major refurb in 1970, Theatr y Werin in Aberystwyth 1970, Theatr Ardudwy in Harlech 1973, Torch Theatre in Milford Haven 1977, Theatr Gwynedd in Bangor 1975 - 2008 and Taliesin Arts Centre in Swansea 1984)’ Building, 1976 (Appendix 16).
The Belgrade Theatre (1958), Coventry was the UK’s first new civic theatre (after the Royal Festival Hall) to represent the ambition and positivity of post-war Britain. The string of Welsh theatres built in the mid- late 70’s appeared during a final phase of new regional theatre building that continued right into the early 80’s from the Inverness Eden Court Theatre, 1976 to the Swansea Taliesin, 1984.
Hayden Rees, the first Chief Executive of the Clwyd County Council had a Centre for the Arts in mind for the newly acquired civic site and administrative complex outside of Mold. His aim was set high, encouraged to construct ‘A Concert Hall which will seat 1,000 people at least, … on the principle of the Lincoln Centre Concert Hall in New York.’ – Preliminary Report 1969 (Appendix 6).
Integrated with the theatre would also be a top of the range Educational facility, to compliment and support the educational offering of the Council:
‘Provision must be made for specialist facilities which will enable curriculum development to be carried out scientifically. It is envisaged that the proposed Centre would provide such facilities, and would enable the appropriate specialist teachers’ – Preliminary Report 1969 (Appendix 6).
16 Theatr Clwyd, HIA, October 2019 5 6
3
2
4 7
1
1. New Theatre, Cardiff, 1970
2. Theatr y Werin, Aberystwyth, 3. Theatr Ardudwy, Harlech, 1973 4. Torch Theatre, Milford Haven, 1970 1977
5. Theatr Gwynedd, Bangor, 1975 6. Theatr Clwyd, Mold, 1976 7. Taliesin Arts Centre, Swansea, 1984
HaworthTompkins 17 2.2 The Site
The passing of the Local Government Act in 1948, gave the ability to local authorities to spend allocated grants on the Arts. Authorised to use part of their income from rates, County Councils could levied resources to support the construction of buildings and facilities in which the Arts were housed. The former Flintshire County Council (1844 - 1974), armed with the autonomy for new investment bought land in 1958 without prior intention.
The estate comprising 52 acres of land on the outskirts of Mold surrounding the original Llwynegrin Hall was bought for £14,000. At the estate’s centre, Llwynegrin hall was built in 1830 by Thomas Jones, local architect and surveyor. The estate lies on the north eastern side of the River Alyn valley at an elevation of 139m and has sweeping views of the Clwydian Range, including the Area of Outstanding Natural Beauty Moel Famau and the peaks of Moel Gyw and to the south Moel Gamelin. The Moel Famau range now forms part of one of the UK’s most popular National Trails and is surrounded by several well-preserved Iron Age hill forts.
18 Theatr Clwyd, HIA, October 2019 1. Llwynegrin Hall 2. Shire Hall 3. Magistrates Court 4. Library Headquarters 5. Shire Hall extension 6. Theatr Clwyd 7. HTV extension
7
6
4
1
3
5
2
The Flintshire Civic Complex in 2019.
HaworthTompkins 19 2.3 The County Civic Centre Complex
Increasing pressure on space at Flintshire’s existing county buildings lead to the decision in 1962 to develop the Llwynegrin estate to accommodate a new County Civic Centre Complex, complete with county administrative buildings, law courts and library. Without a formal masterplan, the complex emerged from a developing brief coming under particular scrutiny in the Pevsner Architectural Guide: Buildings of Wales, 1986:
‘A group of buildings, each one commendable in itself, set in parkland, with views of the town and Clwydian Hills. The extent of subsequent growth was not initially foreseen, and the splendid site has suffered from the lack of a comprehensive plan and from overcrowding, with too much space sacrificed to car parking.’
Opening in 1968, the Shire Hall was the first of the civic complex which was entirely designed by Harvey and his team. The Shire Hall is a seven- storey pre-cast slab construction with a smaller three storey block enclosing a courtyard and is an example of post-war brutalist inspired building outside of London. Later additions adjoined with glazed bridge links in 1972 and 1975, all of which housed Flintshire council administration and local government offices. A four storey brick and glazed law courts, housing Magistrates’ and Crown Courts joined the campus in 1969. The building has some monumentality, achieved by symmetry and entered beneath a central positioned canopy.
Closest to the original Llwynegrin Hall are the County Library Headquarters and Magistrates Courts opened in 1969. Designed in collaboration with John Laing Associates, the building is formed by 1 storey brick base from which vertically expressed concrete pre-cast panels sit atop. This heavy massing is opened up by long vertical fenestration on all sides.
As Pevsner notes, the complex is infilled with large areas reserved to car parking and the largest of the 2 main car parks has little architectural value. However, the theatre’s car park designed at the time of the theatre and adjoined by an underground tunnel, demonstrates a long and repetitive pre-cast concrete colonnade supporting concrete beams. The car park is split across two tiers, each set back into the sloping landscape making use of the site’s topography. The colonnade is bold and its relentless geometry compliments the orthogonality of the theatre plan. The final tier is part covered by a concrete roof which has then been covered in lawn. Viewed from the theatre’s terrace and foyer the car park merges into the hill side below.
20 Theatr Clwyd, HIA, October 2019 7
1981 6
1976
1975
1972 TC Car Park
1969
1968 4
1800s 1
3
5
2
1. Llwynegrin Hall, 1830
2. Shire Hall, 1968 3. Magistrates Court, 1969 4. Library Headquarters, 1969
5. Shire Hall Extensions, 1972 - 5 6. Theatr Clwyd, Mold, 1976 7. HTV Extension, 1980
HaworthTompkins 21 2.4 The Design Team
Robert William Harvey became County Architect in 1961 to the former Flintshire County Council before the Local Governments Act of 1972 changed its administrative roles and boundaries to the Clwyd County Council. Harvey would stay as County Architect until Theatr Clwyd’s completion in 1976. Harvey was assisted at the department by R. A. Stanley.
Not much is documented of Harvey’s career prior to his involvement at the county architecture department. However, his involvement in the wider civic complex from its conception saw him work on the project for over a decade beginning with the new Shire Hall, a pre-cast concrete seven-story slab construction completed in 1968. Harvey would say of the Arts Complex:
As an Architect I feel that this can be a tremendously exciting building in that it is unique in its conception whereby not only will normal activities such as Concert and Plays take place, but it will form a Centre for very wide and diverse activities embracing all sections of the population’ - Preliminary Report, 1969 (Appendix 6)
The full design team for TC included the following collaborators and consultants, see Appendix 9 for the complete contracted team:
R.W. Harvey, County Architect R.A. Stanley, Assistant County Architect Eric Williams, Project Assistant Carr and Angier, Theatre Consultants Professor H D Parbrook, Acoustic Consultant B Simpson, Television Consultant John Laing Construction, Contractor W G Curtin and Partners, Structural Engineers Edwards and Blackie Ltd, Services Engineers Patterson Seaton and Co, QS
22 Theatr Clwyd, HIA, October 2019 1. Llwynegrin Hall 2. Shire Hall 3. Magistrates Court 4. Library Headquarters 5. Shire Hall extension 6. Theatr Clwyd 7. HTV extension
1981
1976
1975
1972
1969 7 1968
1800s 1981 6
1976
1975
1972
1969
1968 4
1800s 1
3
5
2
The construction phases of the Clwyd County Civic Complex.
HaworthTompkins 23 2.5 The Original Brief
The 1969 Preliminary Report from the former Flintshire County Council sets out the Council’s ambition to provide a mixed used Arts Centre to the population of North Wales. The brief draws together the County’s chiefs of departments as well as technical consultants with a view to providing North Wales with an ambitious arts project to meet the growing demand in the arts and technological pace of education. An ‘Arts and Educational Centre’ would remedy the points made by senior positions at the level of national government and from within the project’s primary patrons and newly chartered national Arts Council.
‘The general problem in Wales is the lack of buildings suitable for the Arts and of professional performing companies’ – Report from the Estimates Committee Session 1967 (Appendix 6)
From the very start the council’s interest in providing an integrated development in both the educational and arts with explicit aim to ‘ensure that children from the earliest age will be nurtured in the arts and adults at the same time’ (Appendix 6). Ambition was in no short supply, demanding that the theatre would meet the challenge of the present to become ‘unique and probably a prototype for the whole of the Country’.
The brief outlines the centre’s spatial requirements and adjacencies, which remained largely intact in its final and built iteration. An excerpt of the original document is located in Appendix 7.
The significance of investment from the Arts Council combined with the aspiration for the improvement of the public offer make the proposed Arts Centre’s brief one of the most exciting regional new build projects of its kind. At the same time, the brief sets up what was understood as fair and appropriate for the area at this time. This perceived generosity in today’s understanding was, at the time, a matter of unquestionable vision to enhance the public offer to everyone in the UK.
‘Eventually comprising a Theatre with adjacent Studio Theatre and associated workshop and backstage accommodation, a Concert Hall, a Museum of rural craft and industry, a Restaurant/Banqueting suite, an Educational Technology Centre, an Arts and Crafts centre, and an educational ‘In-service’ teacher training centre.’ – (Appendix 8)
24 Theatr Clwyd, HIA, October 2019 1981
1976
1975
1972
1969
1968
1800s
The Civic Complex masterplan by Harvey featuring the Arts Centre in 1975.
HaworthTompkins 25 2.6 The Building
TC began construction in 1972 and was completed in January 1976 at a total cost of £2.6m. Delayed by 6 months, TC did not get to a flying start.
‘Internal finishes tend to be heavy handed but the external form of the building, in contrast, is relaxed and easy on the eye and the building looks quite at home on its hill top site. The forms and massing have been allowed to design themselves and there is a welcome absence of the sort of stylistic affection which spoils so many civic buildings’ Building, 1976 (Appendix 16).
An original 1967 sketch proposal titled ‘County Arts Centre’ features a larger scheme on the final site, complete with Concert Hall, Museum and dedicated Fine Arts wing. The scheme shows the Arts Centre in relation to the other civic institutions with bold rectilinear massing. It is not clear if the Museum and Fine Arts were intended as later additions as they are not detailed in the plans. These wings test the idea later conceived on the Shire Hall, of ‘L’ shaped extensions forming around a larger exhibition hall. Drawings of this scheme are contained in Appendix 10.
In the final built project, a complex mix of programme brought together with an aim to provide a lasting cultural benefit to the community through education, archive, performance – physical and digital, production and construction. The building would comprise of two main theatres, an Education Technology Centre and a series of community spaces. These 3 functions would go on to influence the plan and design of TC.
(Right) The original plan is made of the ETC (blue), the theatres (red) and community spaces (yellow) including the Oriel Gallery and Clwyd Room. The plan clearly shows the two halves of the building with a connecting spine which houses BOH and access to the shared workshops. The Clwyd Room (Red + Yellow) served a multi-functional purpose, originally catering for dances, community events and occasional performances and so is labelled.
26 Theatr Clwyd, HIA, October 2019 G+0 Floor, from original drawings, 1975.
Foyer and Front of House
Auditorium or performance space
Workshops and Back of House
Educational Technology Centre
G+1 Floor, from original drawings, 1975.
HaworthTompkins 27 Each of the spaces highlighted in the diagrams (Right) will be described in the following sections. This is a research based exercise aiming to expose the original intent and purpose of the building’s components.
The sections that follow go into some architectural evidential detail as well as exploring the communal values embedded in their conception.
28 Theatr Clwyd, HIA, October 2019 G+2 Floor, from original drawings, 1975.
Foyer and Front of House
Auditorium or performance space
Workshops and Back of House
Educational Technology Centre
G+3 Floor, from original drawings, 1975.
HaworthTompkins 29 2.6.1 Site Context, Approach and Views
Described by the Chief Architect of the Welsh Office as ‘one of the most delightful sites in Wales for this purpose’ (Appendix 6), the site for the theatre offers unrivalled dramatic views. The main approach to TC is by car as the civic complex is around 1.5Km from the centre of Mold and 8Km from Flint. Raikes Lane or the A5119 both direct you to the building’s front drop off road which passes the full width of the south elevation and accesses the below car park which is embedded in the slope of the hill. This divides most of the access to TC into above ground G-1 Basement floor entrance and below ground entrance.
Above ground entrance is via a long exterior paved forecourt which rolls out to meet the front road and extends to the main entrance lobby. The paving is orthogonal and laid in large slabs up to the edge of the Clwyd room lobby and to the outside edge of the protruding foyer stairs.
From the rear of the car park, a 36m long tunnel set at a level just beneath the road surface takes the public to the ground foyer. Stair access at the entrance to the tunnel provides a route to ground level and this originally arrived at a small brick constructed out-building that opened up to the
front road and forecourt. G+0 Approach
30 Theatr Clwyd, HIA, October 2019 G-1 Basement tunnel into the Ground floor Foyer, 2019.
The Clwydian Range in the south west views of the Foyer and Foyer stairs.
HaworthTompkins 31 2.6.2 Exterior
Theatr Clwyd’s exterior architecture is of a Modern approach, clearly expressing the interior volumes that make up the theatre and its component parts. Its irregular massing and imposing play of form evoke the brutalist orders of architecture designed by some of Harvey’s contemporaries.
The British Library (first designed in 1962 by Colin St John Wilson and MJ Long) and the Kensington & Chelsea Town Hall (1965 by Sir Basil The exterior envelope Spence), are both examples of Harvey’s contemporaries’ designing Modern civic institutions in dramatic modular massing. Although urban, they too express their interior volumes honestly and geometrically with the use of bold red brick.
TC’s volumes of blank brick are arranged by their functional component use and are themselves constructed of simple concrete block, revealing the building as following the rules of functionality first. The overall massing of the theatre appears to match the surrounding topography, stepping upward to crest at the Fly Tower. Bands of lead lining to the tops of the theatre’s volumes create a distinctive horizontal order which reinforces its deep plan. Not following any particular rule, the lead banding occurs at differing thicknesses on each volume, instead regulating the concentrations of brick against the sky.
Stairs to the outside of the plan are expressed with distinctive sloped brick skylights and occasionally the plan or elevation tests the strict orthogonality of the rest of the building using sloping roof lines and 45 degree plan angles. Other than the lead linings, areas of glazing contrast against the monumentality of the brick in the foyer on all levels and in on the west side stretching across the façade to reinforce the horizontal order. On inspection, most of the brick is either in good or very good condition. The building’s windows are approaching the end of their life, with many requiring new seals and frames as a minimum but should now be upgraded entirely to meet contemporary standards.
As a whole, the external architecture expresses very little of the many types of structure used in the building. An exposed steel frame supports the both the EWT and workshops but neither are expressed on the building’s exterior.
32 Theatr Clwyd, HIA, October 2019 Foyer expressed by glazing, 1976, Flintshire Records Office. Horizontal lead banding, Evening Leader photo 1979.
Modulated massing, Architects Journal photo 1976. Fly tower steel box construction, before 1976, TC 2019.
HaworthTompkins 33 2.6.3 Foyers and Front of House
The front of house (FOH) foyers are a series of spaces spread across the ground floor, first and second floor immediately to the front of the AHT auditorium. Accessed externally from the paved approach or via the tunnel from the car park, the Foyers are the primary entrance and first impression of the Theatre.
Originally at ground level, a box office would have greeted people at the entrance before directing them to the first floor from which all the G+1 Foyer and Front of House auditoriums and public rooms can be accessed. Today, a replacement box office to the east attempts to reconcile the fact that over 80% of users enter via the car park entrance. Continuing up the stair is the first-floor foyer, which is fully glazed to the south revealing long views of the Clwydian range to the east and west. This dramatic moment in the building is reinforced by a two-storey void that connects the final second floor foyer to the lower first floor foyer. Bars are located on both floors.
Somewhat bizarrely, the main stairs to the foyer and car park entrance are where the building’s best views of the surrounding countryside can be appreciated. Pulled back from the fully glazed curtain walling on three sides, the stair’s landings afford long views into the valley but obscure views from the main Foyer on all levels. Generally, dark stained wooden doors and over panels along with some linings to the upper foyers added warmth to a simple original palette.
Original finishes will have included a small amount of tile to the ground floor with the majority carpeted. Despite the building’s generous and evenly spread 3.6 metre floor to floor spans, most FOH areas have suspended plasterboard ceilings which are sometimes chamfered to reinforce a change of space or receive bespoke light fittings. On each floor, the foyer featured reflective ceiling mounted tube lights that were backlit to create central focus points to the ceiling.
The original Exhibition Concourse is a stretch of first floor space publicly connecting the foyer with the Education Technology Centre and other studio theatre entrances. The 5.4 metre wide concourse was intended to exhibit art works forming a space for the community evoking an arts ‘street in the sky’. Views to the west and the Raikes Lane hillside are framed by floor to ceiling windows at the end of the concourse.
Most notably, this concourse was home to the Oriel Gallery.
34 Theatr Clwyd, HIA, October 2019 Photo of the first floor foyer from the Flintshire Leader newspaper in 1976.
Photo of the first floor Foyer, 1976.
HaworthTompkins 35 2.6.4 Anthony Hopkins Theatre
The AHT was designed as a 550 seat theatre, able to cater for a broad range of performances making it one of the UK’s most ambitious theatre projects of the time. Numerous visits to precedent national theatres were made by Harvey and the theatre consultants Martin Carr and Peter Angier. In the preceding design phase trips to York University’s Central Hall, Basildon, Croydon, Bolton, Manchester, Birmingham, Chester, Nottingham along with intimate knowledge of the Oxford Playhouse meant the auditorium was well aligned with its contemporaries. AHT auditorium and stage
No theatre studied as part of this report appears more visibly influential than the now Grade II listed Leatherhead Thorndike Theatre which opened in 1969. The architect Roderick Ham makes use of red ceramic bricks to provide an acoustic treatment which seems to have heavily influenced Harvey and his consultants. Ham along with Peter Moro, heavily influenced the design of post-war theatre building from the Royal Festival Hall (1951) to the Nottingham Playhouse (1963). The ceramic bricks of the AHT differ to the Thorndike, making use of a pattern in a complicated repeat. The result is a unique finish that is of its time.
The relationship between stage and auditorium was of central importance in the original design with the major issue of the time to reconcile the deep ‘open stage’ requirements of modern drama with the traditional proscenium format for opera and ballet. Angier makes a recent justification for the curved lines of the front rows against the straight-lined stage edges:
‘straight lines give the actors a reference which a curve does not do. The clash between the straight edges and the curved audience seating was deliberate’, Peter Angier (Appendix 14).
Angier also notes the major influence on the approach to forestage flexibility considered by the Maisonneuve Theatre in Montreal, 1967. Removable panels made of fibre-glass replicas of the ceramic tile that flank the stage detached when needed and could be angled to suit performances. The upper wall sections were on tacks and the lower ones were manually removable. These have since been removed for more standard proscenium change techniques.
36 Theatr Clwyd, HIA, October 2019 The AHT on completion in 1976 with removable fibreglass side panels either side of stage.
The Thorndike Theatre, Leatherhead completed in 1969.
HaworthTompkins 37 2.6.5 AHT Fly Tower and Technical
The fly tower is a prominent feature of the building and of the surrounding environment. Towering over 10 metres from the rest of the building, the internal volume reaches over 21 metres from the stage floor. The structural box is a steel frame construction with block wall infill and brick clad with the typical lead lining cap seen universally across the building. Designed to accommodate any touring production of up to 550 seats, it was slightly more generous than the average for its size theatre to allow for Welsh Opera. Stage depth, width, grid height and spacing of The AHT Fly tower counterweight lines all reflect this.
Peter Angier writes:
‘Other stage technical features which have been C&A standard practice such as proscenium perches, continuous counterweight sets without breaks, clear open grid with pulley fixings overhead, up/downstage side bars, rear fly gallery crossover open to stage without taking flying space etc. had their first showing in this building.’ (Appendix 14).
The theatre was designated a BFI Regional Film Theatre with full professional projection installations including a large screen with remote masking and curtain controls. This was suspended in the fly tower and incorporated a stage lighting bar in its lower edge to compensate to some extent for the obstruction of flying space.
38 Theatr Clwyd, HIA, October 2019 TC Fly Tower in construction before 1976.
HaworthTompkins 39 2.6.6 Emlyn Williams Theatre
The Emlyn Williams Theatre was modelled on The Cockpit theatre, Marylebone, London, in an era of innovation in theatre performance. The black box EWT mirrors experimental theatre techniques through its use of adaptable materials and open space. The black-box theatre therefore allows TC to welcome smaller productions, closer to the audience, flexible in seating and technically flexible. The original Studio at Theatr Clwyd was designed, as many new theatres were, adjacent the main auditorium allowing two types of performance at the same time. G+1 EWT
The Cockpit was built in 1970 as London’s first theatre In-the-round since the great fire of London and, for many, represents a pioneering moment in purpose built rehearsal and intimate performance spaces. Designed to an interior height of 9 metres, the EWT features retractable seating, and a first floor gallery with additional seating.
It was intended that the space would also double up as a fully equipped rehearsal room. The space also features crossing lighting bridges at high level as well as a lighting grid.
40 Theatr Clwyd, HIA, October 2019 Original signalling to the EWT, HT 2019.
The EWT from Building magazine, 1976.
HaworthTompkins 41 2.6.7 Educational Technology Centre
TC was conceived as a regional hub for the development and distribution of educational technology. The Educational Centre (ETC), first referred to as the Audio-Visual Aids Centre, was to house and help produce material for use in classrooms and community programmes all over the region through the use of specialised facilities. These included; photographic, graphics and model making workshops, a library for audio visual material, seminar rooms and television and sound studios, viewing theatre, display room, reprographic studio, video studio, workshops, study rooms and G+1 ETC location exhibition spaces, listed in the original Theatr Clwyd and the ETC document (Appendix 8).
The ETC would host conferences amongst its educational role, welcoming one of its first day long discussion on Micro-electronics on June 28th 1979.
Educational technology has had a long history as a part of the UK’s curriculum but during this time there was an expressed interest in broadening the width of access to these facilities. TC’s ambition to include these facilities was an example of what Ivan Illich described in his Deschooling Society as forming ‘leaning webs’; distributed nodes of classrooms and information in space, encouraging people to network their learning experience and breaking free from the traditional school walls.
The Open University opened its doors in 1969 and set the precedent for flexible and networked education. TC’s facilities and ambition to bring technology to distributed communities was therefore at the forefront of educational thinking. Inclusive of a large catchment area of North Wales, making the latest technology available for all communities made TC a valuable cultural asset to the region. At the heart of the ETC was the Television Studio.
It is announced as early as 1977 that television programmes recorded at the ETC are to be broadcast to the country following successful investment of satellite transmission equipment (Appendix 15). A Chester Chronicle article goes on to rumour ‘It was hinted that the B.B.C. were interested in the television facilities at the centre’. It is significant that as early as one year after completion, major broadcasting houses are registering their interest in the high spec space offered at the ETC.
42 Theatr Clwyd, HIA, October 2019 The ETC Studio prior to HTV, extract from Building magazine, 1976.
HaworthTompkins 43 2.6.8 TV Studio and Media Library
Initially designed to place the minimum constraint on its users and therefore allowing maximum flexibility, technical equipment was adapted from industrial equipment. The lighting system was innovative and original having been designed with budget and robustness from the outset. Pantograph rigging coupled to tracks at high level created a mouldable lighting environment. Three high sensitivity, high intensity cameras were installed, and the acoustic installation allowed the room to switch from TV recording to sound only productions. TV Studio and Media resources within the ETC
The room was so well equipped that the largest of independent Welsh television broadcasters Harlech Television, or HTV (later ITV Cymru Wales before fully franchised by ITV in 2014), would take over the use of the studio as early as 1980. Original viewing galleries, accessed from the second floor ETC, has been fitted with forward leaning glass windows and would house the various technical staff associated with recording and playback of HTV material.
HTV would run their North Wales production studio at Clwyd from the late 1970s to the late 1980s, but production was scaled back following the opening of the company’s new studio complex in Cardiff. A small news operation remained in Mold until 1992 but closed when HTV finally moved its North Wales news operations to Colwyn Bay and Wrexham.
The ground floor cinema is located to plan west and accessed via the Gallery on First floor making the route to and from quit complex. Seating 120, the cinema is a conventional straight row and raked auditorium with projector room. Adding to the variety of performance type available at TC, the cinema has been a successful addition to the variety of offering. Originally the room was designed for viewing 16mm and 8mm film, 35mm and 2” x 2” slides and for formal lectures en-suite with projection room.
The location of the cinema, far from the main foyers but accessible originally by the far western stairs and ETC, was contentious in its original location. The cinema, or Viewing Theatre was seen as an integral part of the offering of the ETC and hence justifies its positioning in plan to the west of the other larger and more easily accessible auditoria.
44 Theatr Clwyd, HIA, October 2019 Harlech Television logo in 1989.
HTV’s Sion a Sian programme, recorded on-site in Mold.
HaworthTompkins 45 2.6.9 Clwyd Room
Referred to originally as the Exhibition Suite in its preliminary form, the Clwyd Room was always conceived as a self-contained area of TC, affording full facilities for its use independently of the remaining functions of the Arts Centre but nevertheless integrated in such a way as to complement the rest of the development. Its designed uses were for official dinners and events including dances, for which it makes use of a lowered floor area and dedicated band stand to the south of the room.
Clwyd room location The Clwyd Room was also host as additional exhibition space for paintings and sculpture as well as opening for specific trade and craft exhibitions. The Clwyd room features a mezzanine level lounge with direct views onto the Clwyd dance floor and this lounge and bar is accessed off the main exhibition concourse. Diners would either be seated around the dancing area on the raised floor or as observers from this first floor lounge and bar area.
An original feature light fitting created a prominent focus to the larger space of the Clwyd room. This centre piece, much like other FOH areas, was surrounded by sculptured suspended ceiling angled to receive the chandelier. The fitting is characteristic of the former function of the room as a space for dance and gave the room a sense of formality.
46 Theatr Clwyd, HIA, October 2019 Clwyd Room image taken from Building magazine, 1976.
The Clwyd Room, without feature chadelier, HT 2019.,
HaworthTompkins 47 2.6.10 Back of House, Workshops and Paintframe
The back of house areas were designed primarily to the rear and surround of the AHT and EWT. A series of rooms forming dressing rooms, laundry rooms, wardrobe and green room create a block to the north of the AHT stage accessible via two stairs to the Ground floor. These rooms have been left as painted fair faced block walls, highlighting the focus in budget on front of house and ETC. These rooms however, have remained in almost exactly the same layout, alluding to Harvey’s foresight in planning that has stood the change in theatre performance and proven incredibly The workshop area. including the Paintframe robust.
Like the Paintframe, the on-site workshops provide the theatre with space for building scenery and props for performances. Much like the Fly Tower, the workshop is built from a mixture of steel frame with concrete block infill and red brick external finish.
The paintframe is one of the UK’s last and largest dedicated production theatre facilities for the hanging and painting of flats and production scenery. The current 10 metre tall interior space makes use of some original machinery that carries the suspended bridge vertically up and down the main frame on the north side.
The size and volume of the back of house facility is a true attribute of the ambition of the project as a whole. The capacity of paintframe captures the equality of high provision to each department and user of TC that means today it remains an important and well used feature of the back of house.
The paintframe features from Harvey’s original Concert Hall sketch design and changes very little in capacity and location over the years that follow and into its final construction.
48 Theatr Clwyd, HIA, October 2019 View upward to the of the top of the Paintframe, HT 2019.
View through Workshop to Paintframe, photo from Building magazine, 1976.
HaworthTompkins 49 2.7 Theatr Clwyd Timeline
2019 Grade II listed
2018 Internal alterations to Cafe
2015 Renamed ‘Theatr Clwyd’
2012 Bennetts Feasibility Study
2004 Ventilation plant addition to Clwyd Room roof
2003 Coach crash into external shelter forces it’s demolition
1998 Renamed ‘Theatr Clwyd Cymru’
1996 Reardon Feasibility Study
1995 Architectural feasibility study
1995 Major Capital funding application to Arts Council prior to Local
Government Act and future financial uncertainty
1993 Internal alterations – fire alarm installation
1990 Additional scenery store erected adjacent to the Energy Centre
1989 Independent review of TC operations, question over continuation of publicly
run service
1986 Graham Bromilow Associates Foyer and FOH internal alterations
1982 Extension to existing rear car park
1980-1 G.G. Tomlinson administration block addition for HTV
1980 HTV move in
1979 Michael Lyons sculptures temporarily installed outside TC
1979 Theatr Clwyd in danger of closing after serious government funding cuts
1977 Satellite link to national television network installed
1976 February TC completion
1975 August Delays to TC construction
1975 Shire Hall final extension complete
1972 TC starts on site
1972 Shire Hall first extension complete
1969 TC Preliminary Report and developed design including Concert Hall
1969 Law Courts and Library completed
1968 Shire Hall completion
1967 Harvey draws initial TC plans including Concert Hall
1966 Shire Hall starts on site
1965 Shire Hall final design
50 Theatr Clwyd, HIA, October 2019 Shire Hall extension completion, 1975. TC opening show, May 1976.
Oriel Gallery programme 1983. Foyer remodel following 1986 development.
HaworthTompkins 51 2.8 Theatr Clwyd Today
Theatr Clwyd was designed and built on the principle of education, forging its way through technological innovation to provide Wales with the best facilities for learning. One of TC’s original aims was to bring together the Arts and education together for the use of the community. A 1968 report by the Flintshire Audio-Visual Aids Officer would say of the proposed Arts Centre:
‘The provision required, therefore, is essentially a SERVICE FACILITY, and where better than on a campus which embraces full facilities for the advancement of knowledge in the fields of teaching, learning, science, arts and crafts’ (Appendix 6).
Culture and the Arts continue to be at the heart of TC’s programme. TC remains the last County Council run producing theatre in operation in the UK and this uniquely and long held position has meant TC has remained a social enterprise offering diverse and numerous outreach and community programmes. The Theatre operates through 4 major channels; Artistic programme, Education, Creative Engagement and Communities Taking Part. These are programmes that are blurred at the edges and support one another.
Above and beyond the theatre’s yearly cycle of productions and highly successful panto season, the theatre runs a core Education and Creative Engagement programme that make it a creative engine of North Wales. Artist and company residencies (TYFU / GROW) offers in-house support to young and emerging writers as well as individual artists and companies, giving them unique access to productions and other artists working at the theatre. A popular Assistant Director Scheme allows up and coming directors to play a supporting role within TC’s creative teams. Each year the theatre works with organisations like the JMK Trust and Bristol Old Vic Theatre School to provide assistant placements.
The theatre’s Educational programme remains extensive and well- integrated into local schools’ curricula. Schools involved in TC’s educational programme travel from Anglesey, Conwy, Denbighshire, Gwynedd, Wrexham and as far as Shropshire. TC offers a series of in-house workshops and enrichment packages that include programme for Key Stage 2 and 3 pupils. Projects have been funded by Reach Wider, Communities First, North and Mid Wales Reaching Wider Partnership.
As well as smaller workshops the theatre also runs summer schools for secondary school pupils; High Voltage and Theatre Making allows
52 Theatr Clwyd, HIA, October 2019 G+0 2019.
Foyer and Front of House
Auditorium or performance space
Workshops and Back of House
G+1 2019.
HaworthTompkins 53 students to look into the production side of performance. The award winning interactive dramatic production Justice In A Day has been supported by the Police and Communities Trust.
A weekly programme of classes cater for academic years of all school ages as well as for adults through the Company25, Company35 and Company55.
TC’s Communities Taking Part programme involves the regular involvement of local communities to Mold and the surrounding areas. Community productions such as ‘Pavilion’, directed by Tamara Harvey, enlist a local cast invited by open call. These productions have proven a success for creatively combining the theatre’s arts and education programmes, which has been a lasting approach of the Arts Centre and a core aspect to the building’s listing.
The building’s fabric remains largely intact and unchanged from the original finished build in 1976. The diagrams (right) illustrate the reduction in area of the former ETC given to Creative Engagement. The theatres remain largely unchanged and the TV studio has taken on a role of performance and rehearsal space.
The following sections will describe the TC’s current operations before setting out a significance statement that will be used to assess the current use and fabric of the spaces set out above.
54 Theatr Clwyd, HIA, October 2019 G+2 2019.
Foyer and Front of House
Auditorium or performance space
Workshops and Back of House
G+3 2019.
HaworthTompkins 55 2.8.1 HTV Office Extension
Following the lease agreement of Harlech Television (HTV) in 1980 of the Studio 2, it was quickly established that the theatre would have to extend to accommodate the new North Wales department of HTV. Designed as a series of outward radiating office rooms from a central corridor, the HTV block housed the permanent administration team.
G.G. Tomlinson was the Clwyd County Council Architect employed to design the brick administration block over 1980 - 1. Although not having HTV addition to admin space on all floors been recorded as working on the original scheme, Tomlinson is highly sympathetic of the original logic and aesthetic of Harvey’s Arts Centre. The extension is a two storey block that does not exceed the height of the existing and makes use of the same red brick external finish. The building also uses the same lead lining to tie in with the horizontality expressed in glazing and roof line. Whether intentional or not, the extension also follows the original massing logic drawn in Harvey’s first sketches (Appendix 10), projecting into the shadow of the Fine Arts wing.
Where the extension diverts from Harvey’s rules are in the use of the lead lining to transfer between the ground floor and first floor windows on the linking bridge. Most first floor windows are vertically shorter than the datum established and on the north side another lead transfer panel breaks Harvey’s lead ‘zoning’.
The HTV extension is, in all, a sensitive addition to TC and at first glance appears to have been built of the same time but in fact following by 5 years. The extension represents the only major addition to TC’s original design.
56 Theatr Clwyd, HIA, October 2019 HTV administration block, HT 2019.
HaworthTompkins 57 2.8.2 Contemporary Alterations
The last major internal alteration occurred in 1986 by Graham Bromilow Associates of Wrexham, with M&E by The Tooth Davies Partnership. These works consisted of a remodelling of the front of house areas on ground floor and first floor only. After a decade of use it was concluded that the majority of users would enter from the car park tunnel and would therefore miss the original position of the box office before ascending to the first-floor foyer. To remedy this, the box office was relocated and the restaurant area directly beneath the auditorium was opened up to a larger extent.
Alterations on all floor of the FOH and addition to The ground floor foyer took on a more café style operation and the first to the rear floor bar received a minor redesign. Originally tile clad columns on the ground floor received rounded enlarged lining whilst new carpeting was installed across floors. The original ceiling lights, reflective feature units backlit by tube lights, were removed entirely and replaced by slatted boards and more standard light fittings. The ground floor also received a lobby that extended into the room. This meets the existing suspended ceiling above (see page 73).
In addition to internal alterations, the theatre received planning approval for the construction of a stage scenery store to the space adjacent to the Energy Centre in 1990. Designed to meet the demands of the theatre’s increasing in-house productions, this simple plastisol coated steel clad, single storey shed allowed the expansion of capacity TC required. The unit is completely detached but serves the loading dock with an entrance directly across the service road from the get-in. This fairly non-descript and practical solution represents the only major new construction on the site since the 1980 Tomlinson HTV administration block.
58 Theatr Clwyd, HIA, October 2019 The ground floor shop as part of refurbishment in 1986. The original light fittings have now been removed for slatted timber panel.
The original restaurant is now a cafe after 1986 works. The 1990 external storage facility.
HaworthTompkins 59 2.8.3 The Structure of the Institution
TC is entirely owned by Flintshire County Council, acting as an internal department of the local authority. The theatre has devolved responsibility from Cabinet and has a Board of Governors which includes 7 local councillors as well as the Chief Executive of Flintshire County Council. The theatre trust maintains The Theatr Clwyd Trust, first initiated on 30th March 2004. The principle objects of the charity are:
‘…to promote, maintain, and improve and advance the education of the public in general, but particularly in Wales, in the art of drama and other arts by encouraging and fostering the study, performance, knowledge, understanding, appreciation, and development of drama and other arts through the medium of drama productions, educational programmes and other activities…’ (Theatr Clwyd Trust report and financial statements 2018).
The strategy team includes a mix of newly appointed and established staff and is increasingly dynamic and important group in terms of decision making and planning. Lead by Liam Evans-Ford (Executive Director) and Tamara Harvey (Artistic Director), the theatre is currently going through a dramatic pace of change toward a forward thinking and increasingly influential organisation. The Operations department oversee the theatre’s daily running, managing the 85 full time core staff and 115 casual/relief staff (over 12 months), making the theatre a centre of major employment for the area. TC employs freelance actors, stage management and creatives and runs a successful volunteer programme that swells to 150 strong.
The Creative Engagement team continues to grow and has now taken in the Flintshire County Council Arts Development team. Responsible for the important role of education and community outreach from the theatre, this team of 8 coordinates the multiple programmes put on by the TC as well as supporting Production and Operations.
60 Theatr Clwyd, HIA, October 2019 The assasination of Katie Hopkins, TC 2018.
HaworthTompkins 61 2.8.4 Commercial Activities
Currently, the theatre generates 60% of its income through earned resources and just under 40% from public grants from the Arts Council Wales and Flintshire County Council. Productions by far generate the largest proportion of revenue and Trading a close second along with Music Services, each making nearly 10% of total gross income. Both these areas have been highlighted as having potential for increased investment that a Capital project could impact with great affect. The current offer of food throughout the day is limited to the ground floor foyer and as such does not meet the potential demand for catering in an area with no major restaurants open in the day.
The theatre has improved its approach to data driven decision making with the implementation of a new EPOS system across all areas of trading which has allowed greater vision of customers habits and this has allowed the organisation to improve on their catering offer. Data monitoring tools have aided the theatre in understanding audience booking patterns which has lead to new ticketing approaches. These systems have allowed the theatre to target the financially hardest hit in the community with ultra- low ticket prices and reaching those who wouldn’t normally consider trips to the theatre.
In addition to invested facilities, TC is aiming for an increase in turnover accounted for by improved secondary spend, introductions of new membership and regular giving schemes, an uplift in audience numbers, improved income at the box office and an increase in turnover through fundraising and creative engagement project work.
62 Theatr Clwyd, HIA, October 2019 Hansel and Gretel graphic, TC 2018.
HaworthTompkins 63 2.8.5 Production
Artistic director Harvey follows a line of experienced theatre directorship at the TC. Past directors include George Roman (1976 – 1984), Toby Robertson (1985 – 1992), Helena Kaut-Howson (1992 - 1995) and Terry Hands (1997 – 2015), founder of the Liverpool Everyman Theatre and ran the Royal Shakespeare Company for thirteen years. Harvey has been Associate Director at the Bush Theatre from 2010 – 11 and was director of Home, I’m Darling by Laura Wade. This was a co-production with The National Theatre and the first production in its history where a regional theatre has opened the production before transferring to London. It was played at the EWT in June 2018 and won an Olivier Award for best new Comedy in 2019.
Other productions such as The Great Gatsby, performed in a local disused pub challenge the conformity of contemporary theatre whilst The Assassination of Katie Hopkins has provoked wide debate in both the UK and the US about current societal behaviour. For this, it won Best New Musical in the 2018 UK Theatre Awards. TC is undergoing large changes that are bringing it to the fore as a producer of theatre that faces contemporary issues.
Theatr Clwyd continues to develop a growing success in productions. The theatre has already a well established and well-loved Christmas Rock ‘n Roll Pantomime, which helps to embed the theatres presence within the local community.
64 Theatr Clwyd, HIA, October 2019 Promotional material from the successful Home, I’m Darling, TC 2018.
HaworthTompkins 65 2.8.6 Theatr Clwyd’s Vision for the Future
The theatre outlines 5 broad goals in its 2018 Business Plan:
We will be a place to dream – inspiring, unencumbered, light
We will be a space to play – rigorous, challenging, supportive
We will be a training ground – rigorous, challenging, supportive
We will be a healing space – encompassing, understanding, safe
We will be a home – for our company, for our communities, for our theatre makers, dancers, musicians and artists, for our facilitators and practitioners, and for the wider world
Historically, TC’s operating model has been socially driven and sustained by a long reliance on the Flintshire County Council as operators of the theatre. The theatre has enjoyed stability as the last remaining council owned producing theatre in the UK but has been working towards a fully sustainable model based on its own generated revenue. Set out in the theatre’s 3 year business plan, TC outlines the ambition for a continued self-supported model, pushing its commercial agenda and offering. Five strategic priorities target the areas for focused work; Community, Theatre Makers and Artists, Company, Building and Business.
At the heart of TC is its relationship with the local community and its most ambitious plans aim to benefit the worst off. Reaching out to those who are disadvantaged, TC plans to identify a key partner or community group to work with to offer tickets to those with little or no means of seeing theatre. This will develop to find practical transport solutions to enable communities to travel to and from the theatre. The theatre will be working with Betsi Cadwalader University Health Board to develop a programme of Arts and Health, aided by the creation of dedicated Health and Wellbeing centres.
The future of the theatre and its artists include increased productions on and off site as well as supporting a new group of Companies in Residence. The theatre also aims to improve its offer of Welsh language opportunities, delivering 2 Traineeships for Welsh directors and increasing its relationships with Welsh based writers with the ambition to take a Welsh language theatre piece to Eisteddfod.
Post completion, the focus for TC will be on retention and continuity of
66 Theatr Clwyd, HIA, October 2019 Original Oriel programme, Flintshire Records Office.
HaworthTompkins 67 audience and users, income generation for box office and wider participation as well as an increase in the scope of fundraising for the theatre. A major review of fundraising income is currently underway, with a report by Moss Cooper (Appendix 12) highlighting the current limited outlook of targeted campaigning. With good preparation and resourcing, TC aims to reach a 4 year target of £2 million to aid with capital project costs. Aims for the internal company will ensure to bring teams closer and better equipped through increased budgets for training and engagement groups.
Interventions in the theatre’s operation and refurbishment works will capitalise on the introduction of enhanced facilities for catering. It is widely recognised that the location of Theatr Clwyd is exceptional and that provision for daytime and evening catering, unrelated to performances, could provide significant financial income. Renting meeting rooms and function rooms will form part of a remodelled financial aim to create sustained revenue from expanded hire capacity to the community.
In addition to the Capital project invested in the building’s upgrade, TC will undergo a transformation in the organisation of the business. The current County owned organisation will transfer into the full control of a new trust, passing on the governance and operation of the theatre into the leadership of the charity. Beyond the logistical challenges this creates, TC will enjoy the freedom of accessing private grants and fundraising outside of the reliance of government finance.
68 Theatr Clwyd, HIA, October 2019 Extract from original 1976 programme, Flintshire Records Office.
HaworthTompkins 69 2.8.7 Commercial and Business Pressures
TC has enjoyed an improving revenue income over the past couple of years as public grant incomes have decreased. In order to meet the future ambitions of the theatre outlined above, the commercial aspect of the theatre must expand to meet the inevitable increase in costs. Revenue generated by on site catering has the potential to alleviate additional commercial pressures of this expansion.
Consideration should be given to increasing the capability of catering outlets around the site and consultation with catering expertise should be sort in order to maximise the potential offering. Ensuring that the right offer is provided both at the right place and time can help secure the revenue needed. Centralised catering that offers all day menus will ensure maximum impact with alongside the potential for external trading should be considered.
A lack of hotel accommodation at the theatre’s remote location has also been cited as a barrier to developing a sustainable rental model. The lack of accommodation also bears on the theatre’s budget for visiting artists and companies, which with initial investment may provide a longer term saving or even cost benefit.
70 Theatr Clwyd, HIA, October 2019 The first floor Foyer has undergone recent uplifts in attempts to create identity of place.
The first floor Bar has also undergone recent changes in attempts to contemporise the design.
HaworthTompkins 71 3.0 Significance
72 Theatr Clwyd, HIA, October 2019 Theatr Clwyd souvenir book 1986 TC.
HaworthTompkins 73 3.1 Significance Statement
The following statement will provide an overview of why TC is considered of special historical, cultural and architectural interest worthy of its Grade II listing and seeks to define the principle areas of significance in this respect. As defined in CADW’s Heritage Impact Assessment (Appendix 2), significance can be assessed using four Heritage values. TC’s relative Historical and Communal value will be drawn below, whilst Section 4 addresses its Evidential and Aesthetic values before offering the basis for a strategy for the future development and conservation of TC.
This HIS has so far, illustrated the history of TC’s conception and design, and compared it to today’s use and function in an attempt to reveal its inherent Historical and Communal value. In Section 2, a detailed account of the building’s original conceptual beginnings and ambitions were outlined, as well as its ties to local and regional assets. Section 4 will outline the building’s Evidential and Aesthetic values in relation to Historical and Communal.
Historical
Research of the theatre’s past has revealed the importance of the theatre as historical and successful evidence of publicly funded theatre building in the post-war period. This is made more significant when understood in the context of north Wales, a relatively sparsely populated but large region of the UK which has no comparable dedicated Arts Centre. Of the string of five theatres built across Wales over this period, TC is by far the largest of the three theatres that remain in active use. Helping to achieve a national standard of providing universal access to the Arts, TC was a historical pivot for the region, marking it into the post-war movement with close aesthetic ties to Brutalism and Mid-late Modernism.
Not only is this value evident in its conception but it is visible in its plan and layout, as described in section 2.4.7, the ETC was designed to provide access to new media through its capability as an extension of the classroom; a satellite hub for use by the region’s schools and community groups. The ETC firmly illustrates evidence a shift in value toward the Arts as education, a move widely recognised at the time and today carried on through TC’s ambitious outreach and educational programme. TC’s significance as a regional Arts asset continues to this day, recognising the importance of theatre for children’s, student and adult education alike.
Communal
74 Theatr Clwyd, HIA, October 2019 The Ground floor Foyer post completion, Building magazine 1976.
Similar view as above, taken in 2019 with 1986 lobby to left of image.
HaworthTompkins 75 3.1 Significance Statement
For these reasons TC not only exhibits a strong significance historically but through its communal value as well. Lived experience continues to make TC’s history relevant and a strong part of local life in the area. Today, it serves a catchment area with a population of over 0.5m including areas of the neighbouring English Midlands. As the educational programme continues to expand, as does TC’s integration with the living memory of north Wales.
The theatre’s many partnerships with local businesses and schools help to support the regional economy. Community productions work directly with local pubs and theatre companies to bring new investment to struggling communities. As described in detail in Section 2.6, the theatre is immensely successful as an educational enterprise.
Representative of a time of generous public spending, the theatre continues to bring economic value to the local community, generating over £7m each year toward the local economy (Arad Economic Report). Of the four values outlined, TC’s heritage significance weighs in favour towards its value as a historical and communal asset that lives on most actively to this day. Of its Evidential and Aesthetic values, the Significance section of the following pages outlines TC’s significance in relation to other post-war buildings of its type and construction.
Evidential & Aesthetic
By means of introduction, TC’s evidential significance weighs most heavily as an example of the pursuit of innovation through the fabrication of many custom fittings, finishes and equipment in the AHT. Technical details in the AHT such as the adaptable floor and proscenium are further evidence of the experimentation undergoing productions at the time. Fittings and details in Studio 2 exemplify the room as a commercially competitive TV recording studio, that at the top of its specification, fell into private hands very soon after completion; proof of its technological edge.
Much of TC’s aesthetic value derives from its strong principled use of only a few materials. Combined with its Modern modular massing TC is a good example of post-war Brutalist inspired design that echoes many of the well documented architectural successes of the time. The theatre is positioned on a unique site overlooking the Clwydian Range and for this reason its aesthetic value cannot be underestimated as one of the finest placed theatres of its size nationally.
76 Theatr Clwyd, HIA, October 2019 Completed image of TC, 1976, Flintshire Records Office.
Similar view of above, taken in 2019.
HaworthTompkins 77 3.2 Listed Status
The Theatr Clwyd was grade II listed on 11th June 2019. One of the main factors behind the listing is its special architectural interest as an important example of a post war civic arts and theatre complex, as the key example of this building type in Wales and one of the leading examples in the UK. Full details of the listing are included in 2. The 1980 administration addition has only a small mention, and other minor alterations which are not mentioned at all. Another focus of the listing highlights the theatre’s wide-ranging facilities and hence importance as provision for the arts in the UK adding weight to the historical and communal significance of the theatre. Theatr Clwyd’s future challenge will be in how the organisation can continue to expand their ambition and programme whilst adapting their use of the building as theatre inevitably necessitates, whilst preserving the architectural quality of the theatre.
The listing makes specific mention to the AHT as following the arrangement of a continental format, highlighting its well-received configuration and of-its-time aesthetic.
‘The Auditorium follows a simple layout with curving side walls lined with moulded ceramic acoustic tiles, designed to provide good sightlines and acoustics’ (Appendix 4).
Referring to the history of the theatre, the listing draws on the intention of the theatre to provide accessible education for everyone and as such of important historical communal value.
‘The intention was to provide universal access to the arts in the belief that this was an essential part of a modern egalitarian state.’ (Appendix 4).
The listing refers to TC’s architecture as conforming to a Modern idiom, exemplifying the importance of considered architectural massing and contrasting brick to glass elements. We could conclude too easily the listing’s weight over to architectural value and miss the significance of the theatre’s history and connections to the region’s community as one of the listing’s core value assets.
78 Theatr Clwyd, HIA, October 2019 View taken of the approach to TC.
HaworthTompkins 79 4.0 Issues, Opportunities and Heritage Assessment
80 Theatr Clwyd, HIA, October 2019 25th year anniversary TC report cover, 2001.
HaworthTompkins 81 4.1 Site Access, Approach and Views
The theatre’s main entrance has always been complicated by the primary used access via underground tunnel from the car park below. The majority of the building’s users enter through this route rather than entering via the forecourt and main doors. This stair - only route excludes wheelchair users and ambulant disabled, resulting in an uneven approach and access of the foyer. A decision about either the tunnel’s inaccessibility or the stair core’s lack of disabled provision must be met in any future work on the theatre in order to provide equal access opportunity. G-1 Basement floor
The user will approach either via the tunnel or along a designated drop-off and lay-by road that passes directly to the front of the entrance. This road passes by the building’s forecourt and offers the only accessible access route to the theatre. The drop off is currently positioned far from the entrance and cuts off the relationship between the theatre and the car park green roof that provides uninterrupted views of the valley and Clwydian Range. Considering how the theatre might relate more to its wider environment may involve a study of the buildings effective ‘front garden’.
TC’s position and site offers a unique view out toward the hills that very G+0 Approach little other public building can offer. It is unfortunate that the best views out are currently admired from the foyer stair landings which not only exclude a great many people from this opportunity but also make the connection to the landscape a transitory action. An improvement on this would consider fully accessible and prominently positioned places for appreciation.
Finally, a general point to the original arrangement of spaces. The building was planned as a combination of two uses, quite literally put together under one roof, making some of the circulation around the building sometimes long through a monotony of corridors. There is opportunity to make some of these routes more direct and more open, improving the journey from one end to another. Some areas of the building form ‘islands’, accessed only on ground floor such as the AHT BOH which originally climbed to second floor and isolated from FOH completely.
82 Theatr Clwyd, HIA, October 2019 The tunnel approach from the Car Park. The view from the Foyer stair curtain glazing.
The main lobby entrance to the ground floor Foyer. Back of House corridor between Studio 2 and the EWT.
HaworthTompkins 83 4.2 Exterior
Largely, the exterior of TC remains unchanged since its completion in 1976. The only major addition, as described in Section 2.5.1 is the HTV administration block of 1980 which is sympathetic to the original design.
Of the minor later additions to the exterior include an unsympathetic M&E air handling unit (AHU) and ductwork mounted to the roof of the Clwyd Room. The AHU is placed in a prominent position on the front elevation and is unfortunately relatively large spanning the width of the The exterior envelope raised roof section. Its high-tech and reflective surface contrasts sharply with the surrounding red brick and better consideration of its impact made at the time of installation. The AHU, due to its size, dominates the lower elevation and as such detracts from the original massing.
The red-orange brickwork with matching grout remains in relatively good condition and has aged remarkably evenly across the building. A few areas of brick show signs of damp damage and organic growth has began to appear at high level where the lead trim meets the brick. The red brick is an important feature of the building’s massing, producing an even surface giving over to internal volume as the significant expression of the building.
The font facing glazed Foyer stair that projects outward has suffered from minor defacement at ground level to the lower lead lining. The high level lead on all 3 sides also appears badly weathered.
The lead lining to the tops of the facade has generally fared less well over time, succumbing to weathering. The lead is in its worst condition on the north of the Paintframe, north of the Rehearsal Room and the south Foyer façade. In these areas the lead has darkened and created an uneven appearance which contrasts with areas that have lightened. Overall the lead appears in a way that shows its age.
The glazing units that appear around the entire building are also showing expected signs of age as these remain the original fittings throughout. Gaskets and seals have worn out and some units are now leaking. The amber tinged aluminium framing appears, at its best even and consistent but at its worst beginning to fade and bleach by UV.
Signage above the entrance lobby has undergone repeated change since the theatre’s opening and continuous changes of name (Theatr Clwyd 1976, Theatr Clwyd Theatre 1977, Clwyd Theatr Cymru 1998, Theatr Clwyd 2015). Of all the external signage iterations, the present condition has the least impact on the surrounding architecture.
84 Theatr Clwyd, HIA, October 2019 Unsympathetic ductwork to Clwyd Room roof. Red-orange original brick.
Front Foyer stair glazing and lead damage. Lead lining weathering to north facade.
HaworthTompkins 85 4.3 Foyers and Front of House
The main foyer appears to have been designed around the capacities of interval for the AHT meaning it has suffered as an inadequate space for all three auditoria in recent years. The foyer is not only limited by size but in its location and vertical separation meaning it under performs as a space that was intended as a central gathering or meeting place for the entire building. As the building’s ‘centre’ has moved slowly from AHT to EWT as the former ETC has opened up following HTV’s absence there is great potential in imagining a front of house that reconnects these spaces G+1 Foyer and Front of House and reconciles the foyer’s original purpose. The current equal distribution of bars between the foyer floors prevents a focus point for the front of house, which may also provide opportunity to enliven intervals and centralise public activity. The opportunity for a larger space would also accommodate the building’s full audience capacity.
The vertical separation of the foyer is connected via a narrow double height space from the first floor up which is detailed in original narrow ceramic tile work. The empty volume does provide some awareness of the two spaces but lacks a visible connection, this creates some confusion and a missed opportunity to more dramatically announce the split foyer arrangement.
On the ground floor, the front of house is architecturally incoherent with the aggregate of internal additions over the past decade or so. Original tile remains on the floor finish but most other finishes and arrangements have since been replaced and moved. The creation of the theatre shop and café, both with their own visual identity confuse the room and do not give new visitors orientation to the box office (BO). The BO has move from its original position opposite the formal entrance to neighbour the underground tunnel arrival, reflecting the well-used point of entry but leaving the immediate area around the entrance without purpose. There is huge potential to rearrange the ground floor to the building’s future priorities, giving users a better interpretation of spaces.
The front of house is typically characterised by low suspended ceilings that sometimes form angles that originally contained lighting features. These fittings have now been removed and the ceilings now lack architectural purpose other than to conceal services and conduit runs. As part of any assessment, the retention of original suspended ceilings must be weighed against the improvement of building services, improvement of floor to ceiling heights and overall aesthetic appeal to contemporary users.
The original suspended ceiling remains largely intact on all floors and this
86 Theatr Clwyd, HIA, October 2019 Original void between the first floor and second floor Foyer.
The views out from the second floor Foyer are dramatic but obscured by the projecting staircase.
HaworthTompkins 87 represents the only major lasting feature of significance to the Front of House. Despite the ceiling showing its age, this component demonstrates an approach to interior design that is no longer fit for purpose and without its original light fittings serves very little functional use.
The last remaining original features are the aluminium glazed framing on all levels and some ceramic long format tiling to columns, bar fronts and the void down-stand between second and first floor. The original tile to ground floor appears to be original but is unconfirmed whether or not it is replaced or matched from the later 1986 interior works.
Original carpets have been replaced for mock-timber vinyl and original light fittings replaced for simpler track lighting. The bars have undergone alterations and refurbishment and WCs have been added to the second floor changing the character and proportions of the rooms. WCs have been installed with medium to low quality of finish.
The projecting Front of House stairs are generous and allow spectacular views through its south facing glazing. An original tile surround planter in the second floor stair well remains intact but shows aging. Carpet in the stairs is also showing aging and wear and tear. The stair itself does not demonstrate highly in significance however its location and views are unique in the building and this offer to public is significant.
88 Theatr Clwyd, HIA, October 2019 G+0 Tile floor finish. G+1 non original timber vinyl floor.
Original light fittings have been removed. G+1 Foyer stair landing.
HaworthTompkins 89 4.3 Anthony Hopkins Theatre
The AHT weighs heavily on the building’s listing as evidence of the theatre’s unique period identity. Generally, the sightlines are deemed to be excellent and a prime example of extremely well designed auditoria of its time and much loved today by its audiences. There are minor opportunities that may offer an improvement to the experience for some users.
The general soft finishes and upholstery are now becoming worn after AHT auditorium and stage heavy use and any major refurbishment must consider its replacement to improve audience comfort. Some consideration to increase the operational use of the auditorium’s removable seating may also be useful, as currently 45 seats are linked together with a horizontal cross bar making their removal a long process. Fixed positioned base plates would allow their quick attachment and speed up get-ins. The potential to increase wheelchair positions in the auditorium would greatly improve the theatre’s offer to wheelchair users.
The original design of the auditorium’s ceramic walls ends abruptly on the follow spot positions, which themselves create an architectural feature. Current mid-stage rigging for lighting and sound occur within a band of black that separates the ceramic walls and stage proscenium and require substantial masking to hide. This dark zone currently confuses the auditorium and some consideration of how to properly conceal technical equipment and reconcile the front of the auditorium may be jointly useful.
Beyond the walls of the AHT, tight pinch points at Stage Management create bottlenecks of BOH passage to FOH at an acoustically sensitive moment. Re planning of this space along with a review of the movement of users around the stage would allow for an improved strategy toward vital acoustic separation. Technically, the AHT would benefit from the opportunity of a stage flying system overhaul and improved lighting rig access to allow it to continue to operate at the highest level of production. Along with this, the ventilation of the space may require additional assessment as the original design supplies cooler air from above which works against the principle of exhausting from warmer air in high locations. An integrated acoustic, lighting and ventilation installation also requires review as it no longer functions efficiently to contemporary standards.
90 Theatr Clwyd, HIA, October 2019 AHT auditorium.
HaworthTompkins 91 The most significant feature of the original design remains the acoustic ceramic wall finish, replicated from the Leatherhead Thorndike. This, as an original detail, departs from the Thorndike design through a complicated repeat and demonstrates the technical and aesthetic ambition of the theatre’s design team.
The original fibre-glass panelling as described in section 2.4.3 has since been removed as well as the adaptable proscenium arch which were both technical features at the fore-front of auditorium design at the time. What remains of architectural features of significance in the room are a number of ceiling ‘clouds’ that contain lighting and original ventilation openings AHT ceramic wall finish extends to the stage and demonstrate additional auditoria technology of its time. They require a good amount of repair and repainting.
Generally, the soft finishes are of less significance as have undergone multiple replacements and now showing signs of wear and tear. The mechanical forestage is significant as another example of technical standards of the time.
The AHT is the heart of the TC and for this reason bares weight on the ommunal significance of the theatre. The AHT has hosted performances of all genres to audiences for over 40 years, establishing itself as an important cultural centre of north wales.
92 Theatr Clwyd, HIA, October 2019 The black zone once housed the temporary panels and now offers space to technical and show-by-show built proscenium.
AHT ceramic wall detail as a significant part of TC’s fabric.
HaworthTompkins 93 4.5 AHT Fly Tower and Technical
The AHT Fly Tower has significant massing presence and adds to the composition of the whole. Its technical capability is in need of refurbishment works and there are many issues and opportunites that have arisen in recent techincal assessments (Appendix 13).
Current mid-stage follow spot and rigging for LX impinges on the auditorium and needs substantial masking to hide as it protrudes in to the auditorium on temporary structure. This may be considered an aesthetic The AHT Fly tower problem, not structural, but assessment is required.
The Fly counterweight system is original but is in good condition for its age, despite there being some safety concerns due to changes in regulation. The cradles sometimes bang against the support structure due to the small tolerances but also the side movement of the cradles themselves, and their guide rails need checking. Most notable areas of concern are the single pulleys in the grid; every drop only has a single sheave so that the other steels from the head block are running over hooks.
Some fittings in the original clouds now require replacing and the ventilation has surpassed its functional use as outlined above. The Clouds are significant in that they represent bespoke elements designed for their acoustic ability, as well as achieving multiple use as containers for services. However, a composite approach has made them susceptible to obsolescence and any refurbishment should make an assessment of their functional capability.
94 Theatr Clwyd, HIA, October 2019 The black zone once housed the temporary panels and now offers space to technical and show-by-show built proscenium.
View of the Clouds at technical level, with integrated original ventilation.
HaworthTompkins 95 4.6 Emlyn Williams Theatre
The EWT’s seating is currently worn and tired and requires reupholstering. This would breath life into the well-used studio space. The original materials of the space are robust and have fared well over the past 40 years – testament to the original designer’s intentions for the space as a hard wearing flexible space. The rostra seating is also in need of some repair and refurb if it is to cater for audiences into the next 40 years.
The original design featured a first floor gallery, which levels at the G+1 EWT building’s first floor, 3.6 metres above the EWT floor. To current theatre standards this gallery is deemed to be far from the stage and audience on the gallery feel distant from the majority of audience on the rostra seating below. There may be potential to enhance the experience of gallery audience either by lowering the gallery level or introducing intermediate levels.
Tied into an assessment of the gallery is an understanding of how the control room may be improved to current standards. Currently the control room is not accessible for wheelchair users and is a comparatively large space considering the change in space required for today’s control technology.
The EWT has less significant architectural elements and must be considered as a whole to have significance for its role in the building’s function. Original seating is showing signs of considerable wear as these have not been reupholstered since 1976 and so contain some significance. The original proportions, as described in section 2.4.5, are significant as having been modelled on the successful and contemporary Cockpit theatre, London.
Finishes have remained unapologetic and simple and very little has changed since 1976 with black painted block work walls and exposed castellated steel beams. The look and feel of this black box space is significant as a good example of post-war experimental space for theatre.
As the TC’s secondary performing space, the EWT is also a significant communal asset to the community and North Wales. Enabling contemporary performances and touring companies, the EWT remains an important and much used asset of TC and of theatre capability in north Wales.
96 Theatr Clwyd, HIA, October 2019 Detail of the original seating of the EWT.
View from the enclosed technical box at gallery level.
HaworthTompkins 97 4.7 (Former) Educational Technology Centre
The ETC underwent many internal alterations between the handover to HTV and the early 1990’s, most notably changes to the layout of internal partitions on G+1 and G+2. The addition of the HTV block represents the other major change to the this side of the building.
On G+2, the removal of ceiling in the former Media Resources Library has opened up and exposed the roof, improving the quality of the space by making it lighter and larger in volume. The change has been dramatic G+1 Former ETC location from its former use and this has followed through in its layout and appearance.
This room has been well-enjoyed to date but due to the increase of internally produced theatre, it no longer provides adequate space for the many traveling and resident companies that require it. Any additional rehearsal space has the opportunity to match the size and proportions of the AHT stage, making it fully compatible with in-house productions and also allowing increased availability during peak demand.
All other internal alterations are of minor significance with the addition or removal of block work walls which is consistent with the original building Significant space of use material. Long and cellularised admin spaces on G+2 floor have been introduced from the original plan and these are not so successful as they reduce the adaptability of rooms and decrease the availability of natural light into the plan.
Nearly all the component parts of the original ETC have now been replaced by new function and programme, apart from a few key details that speak of the original ambition of the centre. The vision glazing into Studio 2 and and the original walls in the TV studio remain some of the last details and will be described in more detail in the following section.
The ETC’s initial ambition was to improve the capability of educational offering for north Wales, offering high-spec equipment and facilities to everyone. The ETC’s legacy is the high quality and breadth of educational programme that is offered at TC in close partnership with schools, universities and community groups. This represents the communal and historical significance of the ETC today - as a memory of TC’s contemporary role as a provider of education.
98 Theatr Clwyd, HIA, October 2019 The former Media Resources Library, now Rehersal Room.
One of many cellularised admin spaces on G+2.
HaworthTompkins 99 4.8 Studio 2 and Cinema
The Studio 2, formerly TV studio, has kept its original acoustic wall covering, which is suitable for sound recording but may prove to be inflexible for performance. The room has potential to serve as a flexible space catering to an increased educational programme and so the room must meet new acoustic standards. However, the wall covering is a fragment of the building’s history that illustrates how the building was used historically. Paired with high level glazing from viewing rooms, the unique wall treatment exemplifies how the building was used in it’s Fomer TV Studio in the ETC, now Studio 2 original form. Any potential development must be sensitive to this, whilst adapting the room to new standards of use.
The cinema is a well-used asset of the organisation. Due to licensing agreements, the cinema currently runs a programme of releases behind that of the larger multi-plex cinemas and so attracts a more mature audience. The cinema access has been improved by the installation of a platform lift from the Gallery level above, as much as this detracts from the original drama of the gallery and its final views out to the surrounding country, it enables equal access. A solution that both allows equal access and maintains the original architectural vision is desirable. Location of significant details in Studio 2 There is also potential to consider access to the cinema as separate from the main gallery and foyer. This could present opportunity to allow it to operate on its own terms, independently of opening and closing times of the rest of TC, allowing for different commercial opportunity.
The Studio 2 (former TV Studio) retains a significant amount of original fittings and finishes that place it to a particular time in television recording. A long glazed unit leans into the space at high level from viewing galleries on the second floor, demonstrating the original use of the room as a recording space. These are significant details that call to the educational spirit of the original design.
A metal mesh on all four walls of the Studio 2 hold back a soft acoustic material from floor to ceiling. This treatment is unique to the room and remains as an original wall finish, similar in technical aspiration to the AHT but now visibly showing aging through the aggregation of dust and some local damage. Despite its appearance today, it is a significant feature of the room. Some original fittings remain corresponding to its’ former use as a recording studio along with non-original curtains are suspended from the grid, which is much less significant and detracts from the feel of the room.
100 Theatr Clwyd, HIA, October 2019 Detail showing the metal grating and soft acoustic wall behind.
The Studio 2 walls with original covering. Viewing gallery glass to top left.
HaworthTompkins 101 4.9 Clwyd Room
The Clwyd Room, as with much of the FOH, retains little of its original fittings and furnishings with all the room’s original carpets having been replaced over time. The room’s original layout remains, along with sections of raised floor and a lower dancing area. Glazing units remain unchanged from the original fittings and therefore represent a similar significance to other FOH façade glazing, however in need of repair.
Of the original fittings two distinct features remain and therefore present Clwyd room location some minor significance. The first, are angled suspended ceilings, seen in other FOH areas, but remain unchanged in the larger of the two spaces. The angles formed in the ceiling had pointed toward an original lighting feature at the centre of the dance room which has been since removed. The ceiling therefore retains very little of its original purpose today, concealing some service runs and ductwork and concealing the roof structure.
Of the second fittings unique to the room are its original curtain tracks along the perimeter of the larger of the spaces. These do not register as significant features but remain an original and integrated into the suspended ceiling.
The Clwyd Room has changed little since the building’s completion, despite the room’s functions increasing in breadth. Many of the room’s finishes are appearing tired and do not meet future ambition to create more of an independent room with its own revenue. The history of the Clwyd room remains integral to TC as a space offered to the community for holding private events, merging it into the cultural history of the theatre. As many of the performance spaces, the Clwyd room presents a significance in communal and historical value and as such should be protected in function and location.
102 Theatr Clwyd, HIA, October 2019 The Clwyd room viewing the Subscriber’s Bar viewing gallery into the space and the chandelier void.
Original curtain tracks built into the suspended ceiling. View outward from the outer corner in the Clwyd room.
HaworthTompkins 103 4.9 Back of House, Workshops and Paintframe
The immediate main backstage area has been designed with adjacency to the AHT stage as a priority. The close proximity allows for quick access between spaces, however in some areas the corridors produce tight pinch points at acoustically sensitive areas which must be resolved in order to allow for good accessible entrance and exits from stage to FOH.
An operational issue of this area is the over-use of the flats storage area for storing of workshop materials which hinders the capacity for flats. Any future development must also take consideration for allowing the proper storage of flats and scenery. The workshop area. including the Paintframe
The AHT dressing rooms have been designed for proximity to the main stage. However, in an original foresight in the design, the rooms are disconnected to the rest of the building, accessible only on ground floor via workshops or the stage manager pinch point to the foyer. There is great potential in forming a possible connection to other back of house spaces to the rear of the EWT and Wardrobe spaces, which are interchangeably used by staff frequently. The dressing rooms’ showering and storage capacities would increase to meet new standards and the ambition of the evolving theatre. Paintframe significant area within the Workshop
The back of house generally suffers from a lack of storage which has been expressed by the numerous designs for extensions to the rear of the building for storage in 1987. This demand was eventually met through the erection of a temporary storage building in 1990 and the subsequent rental of shipping containers parked outside the workshop on the car park. Future development must take this demand into consideration. Music Services, Wardrobe and Workshop all require substantial additional capacity to meet the demands of a fully operational on-site producing theatre.
TC was originally designed as a receiving house and so the workshop was designed as such to accommodate small works and alterations. The theatre now hosts most of its own productions, making use of rented facilities off-site. Past planning applications and architectural studies commissioned for the theatre test ideas for extended workshop facilities and any development of the theatre should consider the workshop as an area of priority if TC is to meet its high targets of self-produced production.
The Back of House generally is of medium significance as it is largely unchanged from the original layout. Dressing rooms, Wardrobe,
104 Theatr Clwyd, HIA, October 2019 The Wokshop Paintframe.
HaworthTompkins 105 Workshops and Paintframe all remain a robust fair-faced blockwork with many walls still featuring original fittings. The majority, if not all, floor finishes have been replaced over time and are now showing signs of wear and tear once more.
The Dressing Rooms and Stage facilities remain somewhat significant due to their success as robust and adaptable spaces that have lasted the multiple changes in theatre use from receiving house to production theatre. The character of these spaces is basic and utilitarian, and it is this, rather than any particular feature which is consistent with the functionality of the building.
Administration areas have changed over the years and so internally, retain little significance due to various remodelling and alteration of layouts. The 1980 HTV extension contains much of the original building’s spirit and falls well within the original architect’s rules for the whole. Along with its closely followed completion date (of 5 years) after TC, the addition has some relevant significance as another example of a Clwyd County Architects Department design.
The Paintframe is by far the most significant feature of the Back of House as it demonstrates the building’s original ambition and technical capability prominent for its time. Its use of materials is not challenging but its importance is in its generosity of volume. This is a space that must be prioritised in any future development or refurbishment works and is a demonstration of the historical value of the BOH.
106 Theatr Clwyd, HIA, October 2019 The Paintframe and Workshop.
The Workshop paint and sink corner.
HaworthTompkins 107 4.11 Technical Infrastructure
A separate plant-room building to the rear of the building named the Energy Centre, currently serves the theatre’s energy needs supplying hot water and power via an underground link. This water is heated via gas boilers installed in 2004 and appear to be in good condition and are linked to a network of steel pipes and a variety of radiators, overhead radiant heaters and heater batteries. The current heating system produces an excess of heat loss and pumping power to the distribution network and as such has the potential to save energy and money if fully replaced.
The ventilation system is supplied by plant originally located in the plant room above the AHT and EWT. The units contained in the system are inefficient by modern standards and are at the end of their expected life. Against current best practice, the majority of supply air into the AHT is from high level and extract from low level. Besides the impracticality of this, the comfort of audiences during warmer weather must be considered in any future development and the change to conventional displacement system would greatly improve air quality.
Finally, electrical power distributed to the building from the Energy Centre is currently provided by two old generators at the end of their life. Due to the ongoing maintenance costs of this end-of-life equipment consideration must be taken to replace these and upgrade the power generation to contemporary standards.
108 Theatr Clwyd, HIA, October 2019 Plant and ductwork above the Clwyd Room with the Clwydian Range beyond.
HaworthTompkins 109 5.0 Apendicies
110 Theatr Clwyd, HIA, October 2019 HaworthTompkins 111 Appendix 1 - Project Directory
The following individuals and organisations have been consulted upon throughout the collating of this HIS.
Client: Theatr Clwyd Raikes Lane Mold CH7 1YA
Architect: Haworth Tompkins 33 Greenwood Place London NW5 1LB
Theatre Consultant: Charcoal Blue LLP 17 Short Street Bankside London SE1 8LJ
Original Theatre Consultant: Carr&Angier The Old Malthouse Clarence Street Bath BA1 5NS
Flintshire Historical Records Flintshire Records Office The Old Rectory Rectory Lane Hawarden CH5 3NN
112 Theatr Clwyd, HIA, October 2019 M&E Engineer Skelly & Couch 23 Wenlock Rd Hoxton London N1 7SB
Historic Environment CADW Plas Carew 7 Cefn Coed Parc Nantgarw Cardiff CF 7QQ
Planning Flintshire Planning Department Ty Dewi Sant St Davids Park Ewloe CH5 3FF
HaworthTompkins 113 Appendix 2 - CADW Heritage Impact Assessment 2017 (abridged)
Heritage Impact Assessment in Wales
May 2017 MANAGING
114 Theatr Clwyd, HIA, October 2019 Heritage Impact Assessment in Wales
Statement of Purpose
Heritage Impact Assessment in Wales sets out the general principles to consider when planning changes to historic assets and applying for listed building, conservation area and scheduled monument consent. This best-practice guide is aimed principally at owners, occupiers and agents of historic assets to help them understand why, when and how to use the heritage impact assessment process and write heritage impact statements. It should also help them to take account of Cadw’s Conservation Principles for the Sustainable Management of the Historic Environment in Wales (Conservation Principles)1 to achieve high-quality sensitive change, using the principles of good design.2 Decision-making authorities should also use this guidance alongside Planning Policy Wales,3 Technical Advice Note 24: The Historic Environment4 and Conservation Principles to inform their own policies and when considering individual applications for planning permission and listed building, conservation area and scheduled monument consent, including pre-application discussions.
Welsh Government Historic Environment Service (Cadw) Plas Carew Unit 5/7 Cefn Coed Parc Nantgarw Cardiff CF15 7QQ Telephone: 03000 256000 Email: [email protected] First published by Cadw in 2017 Digital ISBN 978 1 4734 8702 4 © Crown Copyright 2017, Welsh Government, Cadw, except where specified.WG26917 Cadw is the Welsh Government’s historic environment service, working for an accessible and well-protected historic environment. Mae’r ddogfen yma hefyd ar gael yn Gymraeg. This document is also available in Welsh. Cover photograph: Penrhos Cottage is listed grade II as an especially well-preserved example of a small encroachment farmhouse of traditional linear form, sitting well in a traditional landscape, which has been extended in a way that respects its character and setting (© Maredudd ab Iestyn, Architect).
HaworthTompkins 115 Appendix 2
Heritage Impact Assessment in Wales
Contents
Fast Facts 4.4 Assessing the Impact of your Proposals Introduction 4.5 Getting the Best Solution 5 Offsetting 1 What is Heritage Impact Assessment? 6 Access Statement 2 When is Heritage Impact Assessment Needed? 7 Presenting your Heritage Impact 2.1 Preparing Proposals Statement 2.2 Listed Building, Conservation Area and 7.1 Listed Building Consent Scheduled Monument Consent 7.2 Conservation Area Consent 2.3 Planning Permission Annex 3 What Should you Include in your Heritage Example Summary Heritage Impact Statements Impact Assessment? References 4 The Heritage Impact Assessment Process Further Information 4.1 Explaining your Objective 4.2 Understanding Significance Contacts 4.3 Identifying Proposed Changes
116 Theatr Clwyd, HIA, October 2019 Heritage Impact Assessment in Wales
Fast Facts ¬
1 Heritage impact assessment 6 Heritage impact statements help can help you to make positive decision makers to make robust and changes to your historic asset. timely decisions.
2 Understanding the significance 7 You will need to include an of your historic asset is the key access statement in your heritage to effective heritage impact impact statement in relation to assessment. any works which affect the access arrangements to, or within, any part of a listed building that is not used Heritage impact assessment as a private dwelling. 3 helps you to make changes to your historic asset that are in line with the principles of 8 The heritage impact assessment good design. process should be proportionate both to the significance of your historic asset and to the degree of change proposed. Heritage impact assessment can 4 help you to write effective heritage impact statements, which saves you time and money by avoiding costly revision.
Heritage impact statements must 5 accompany applications for listed building consent, conservation area consent and, when requested, scheduled monument consent. Elsewhere, they are good practice when you are planning change to any historic asset.
1
HaworthTompkins 117 Appendix 2
Heritage Impact Assessment in Wales
Introduction ¬
Conservation is about the careful management of change. This means that it is vital to understand the implications of any proposed change — from deciding what to do and how to do it, to deciding whether or not to give consent. Understanding your historic asset and its significance is the foundation for sound decision making. Once you understand its significance, you can assess the potential impact of any proposed changes and adapt your proposals to find the best way to meet your needs and those of your historic asset. Heritage impact assessment is a process designed to help you do this. At the end of the process, you will be able to write a heritage impact statement. You must carry out a heritage impact assessment and prepare a heritage impact statement in all cases where your proposals require listed building consent or conservation area consent. And, you may be required to submit a heritage impact statement with an application for scheduled monument consent. But for other historic assets too — including registered historic parks and gardens, World Heritage Sites and historic assets of special local interest — heritage impact assessment can help you find the best way to accommodate change.5 All of these historic assets make up the historic environment which is central to Wales’s cultural heritage and sense of identity. It is a resource that we need to cherish and protect for future generations. Protection, however, need not prevent change which can increase the long-term sustainability and economic viability of historic assets. Positive, well-designed change can bring improvements to our understanding and appreciation of the historic environment, as well as social and economic benefits through increased regeneration and tourism. Together, these benefits will help create the Wales we want in the future by meeting the well-being goals set out in the Well-being of Future Generations (Wales) Act 2015.6 But change to the historic environment needs to be managed, which is why it is important to consider its potential impact on the significance of historic assets.
2
118 Theatr Clwyd, HIA, October 2019 Heritage Impact Assessment in Wales
1. What is Heritage Impact Assessment? ¬
Heritage impact assessment is a structured process to make sure that you take the significance of your historic asset into account when you are developing and designing proposals for change. It is a core part of the design process, which tests whether your proposals for change to a historic asset are appropriate by assessing their impact on its significance. It helps to ensure that any changes use the principles of good design to sustain or enhance the significance of your historic asset. The results of your heritage impact assessment should be summarised in a heritage impact statement submitted with your application for listed building consent, conservation area consent or, when requested, scheduled monument consent. This will give decision makers the information they need to understand the reasons for your proposal and to weigh up the risks and benefits. Good information, available from the outset, can speed up decisions, reduce costs and lead to better overall design.
2. When is Heritage Impact Assessment Needed? ¬
2.1 Preparing Proposals ¬ You should begin your heritage impact assessment before you start planning proposals for change to your historic asset. Change can include repair, renewal, restoration and reconstruction, new work or alteration, and demolition. The assessment process can help you to develop your proposals, identify alternative approaches and lead to improvements in planning and design. This means being clear from the outset about what you want to achieve. Once you have your objective in mind, it is a good idea to begin your heritage impact assessment before you start planning your proposal. You can use the assessment process to help you understand the significance of your historic asset and identify the most appropriate way to meet your objective using good design principles to sustain or enhance your historic asset.7 Don’t make your plans before carrying out your heritage impact assessment — use the process to help you identify the best solution, and to save time and money. The earlier you start the assessment process, the more useful it is likely to be.
3
HaworthTompkins 119 Appendix 2
Heritage Impact Assessment in Wales
2.2 Listed Building, Conservation Area and Scheduled Monument Consent ¬ You must submit the results of your assessment as a heritage impact statement with applications for: • listed building consent (local planning authority)8 • conservation area consent (local planning authority).9 Some denominations are exempt from the listed building consent process for ecclesiastical buildings that remain as places of worship, providing they have set up internal systems of control, consultation and scrutiny approved by the Welsh Ministers. This is known as Ecclesiastical Exemption. These systems make separate provision for assessing the impact of proposals in line with the principles of heritage impact assessment explained in this guidance. You may also be required to submit a heritage impact statement with an application for scheduled monument consent. This will depend on the nature of your proposed changes and should be discussed with Cadw before you submit your application. 2.3 Planning Permission ¬ Heritage impact statements are not required when applying for planning permission, including for development: • within the setting of a listed building • within the setting of a scheduled monument • in a registered historic park and garden, or its setting • in a conservation area • in a World Heritage Site. Nevertheless, in these circumstances, it is good practice to adopt the principles of the heritage impact assessment process to help you identify the most appropriate way to accommodate change. There is a separate process for considering the impact of development in registered historic landscapes.10 Occasionally, the local planning authority may ask for more information to be able to determine a planning application.11 This may include a heritage impact statement if the proposed development is likely to have an impact on a designated historic asset but does not need scheduled monument, listed building or conservation area consent. It is a good idea to have an early discussion with your local planning authority to find out if you will need to submit a heritage impact statement, or any other additional information such as an archaeological assessment or evaluation, to support your application for planning permission.12
4
120 Theatr Clwyd, HIA, October 2019 Heritage Impact Assessment in Wales
Local planning authorities are expected to consider the potential impact of development proposals on the significance of designated historic assets and their settings.13 It will help them do this if the principles of heritage impact assessment are used in the preparation of development proposals that might affect the setting of designated and non-designated assets.14 Planning applications for certain kinds of development must be accompanied by design and access statements (DAS), including for some developments in World Heritage Sites and conservation areas.15 Where a DAS is required to accompany a planning application in a conservation area or World Heritage Site, your heritage impact assessment can be documented in the design development section of the DAS. Further information on these requirements is available in separate guidance.16 In certain circumstances, you may need to submit both a DAS and a heritage impact statement; for example, if you are proposing to extend a listed building in a conservation area or World Heritage Site by the creation of floorspace of 100 square metres, or to convert a listed building to create residential development with 10 or more units. Your local planning authority will be able to clarify when both statements are required and agree with you what is necessary for each to avoid duplication.
3. What Should you Include in your Heritage Impact Assessment? ¬
Your heritage impact assessment should take into account sufficient information to enable both the significance of the asset and the impact of change to be understood. It should be proportionate both to the significance of the historic asset and to the degree of change proposed. If you want to make a small change that is likely to have only minimal impact, then a short assessment which focuses on the part of the historic asset that will be affected, with a brief explanation of how it relates to the asset as a whole, will be sufficient. In such a case, the heritage impact statement submitted with a consent application is likely to be no more than a couple of paragraphs or a page or two at most. If you propose more extensive change, or your historic asset is especially important, you will need to make a more detailed assessment. This will need to include detailed information about the significance of the asset as a whole and a thorough explanation of the impact of the proposed changes. In cases which propose potentially damaging changes, especially to complex historic assets of high significance, the heritage impact statement submitted with a consent application will need to be more comprehensive and may need additional reports, such as an archaeological evaluation or a structural survey. In such a case, it is advisable to engage a qualified and competent expert to conduct the heritage impact assessment and to write the heritage impact statement.17
5
HaworthTompkins 121 Appendix 2
Heritage Impact Assessment in Wales
Your local planning authority should be able to advise you on the scope of your heritage impact assessment and statement for an application for listed building or conservation area consent. Cadw can advise on the requirements for scheduled monument consent applications. Early discussions will also help to identify whether you need to investigate further to establish the significance of the historic asset and understand the impact of change, for example, through: • detailed historical research, recording or archaeological investigation • surveys on condition, structural and environmental performance and ecology • a method statement for repairs or demolition • details of protection to be given to special features during work. It is also important to remember that when considering any changes to a historic asset your proposals should encourage a culture of inclusion and provide access to the widest possible range of people. This means that it is good practice to think about access issues early in your heritage impact assessment and consider what may be necessary to achieve an acceptable level of access — especially where the public visit the historic asset and services are provided.18 The basic stages of heritage impact assessment, whatever the size and scope of the project, are: 1. explaining your objective and why changes are desirable or necessary 2. understanding the significance of your historic asset 3. identifying your proposed changes 4. assessing the impact of your proposals 5. setting out the reasoning behind your preferred option, including your design concepts and principles, in the light of the assessment process. Once you are clear about stages 1 and 2, stages 3, 4 and 5 may be repeated until you find the best proposal that meets your objective and has the maximum benefit for your historic asset. These are also the main elements of the heritage impact statement that you should submit with your application (see section 7).
4. The Heritage Impact Assessment Process ¬
4.1 Explaining your Objective ¬ It is important to be clear about what you are trying to achieve before thinking about how to do it. You will need to be clear about the purpose of any proposed change
6
122 Theatr Clwyd, HIA, October 2019 Heritage Impact Assessment in Wales
from the outset so that you can identify the different ways in which the objective could be met and find the most appropriate option and design response. For example, suppose you are thinking about making your listed building more energy efficient. With this as your objective, you would go on to identify the various ways in which this could be achieved and consider their impact on the significance of your building. Instead of assuming that you need external or internal wall insulation, you would look at alternatives such as getting the building into a good state of repair, introducing secondary glazing, or changing the boiler, all of which may have less impact on the fabric and historic character.
Your heritage impact statement will need to explain what the proposed works are intended to achieve and why they are desirable or necessary.
4.2 Understanding Significance¬ Understanding the significance of your historic asset will help you to shape and design your proposals from the outset. Preparing a statement of significance can help you do this. Your statement of significance should include a brief description of your historic asset and a summary of its overall heritage value. It should make specific reference to those aspects of its significance that will be most directly affected by your proposals and their contribution to the whole. Focusing on the heritage values of your historic asset will help you to analyse its significance: • evidential value: the extent to which the physical fabric tells how and when your historic asset was made, how it was used and how it has changed over time. There may be buried or obscured elements associated with your historic asset which may also be an important potential source of evidence. • historical value: your historic asset may illustrate a particular past way of life or be associated with a specific person or event; there may be physical evidence for these connections which it could be important to retain • aesthetic value: the design, construction and craftsmanship of your historic asset. This can also include setting and views to and from the historic asset, which may have changed through time.19 • communal value: your historic asset may have particular significance to people for its commemorative, symbolic or spiritual value, or for the part it has played in local cultural or public life. This will be particularly important in the case of buildings in public use or sites where public access must be maintained or improved. You can find out more about heritage values inConservation Principles.20 If your historic asset is part of a World Heritage Site you will also need to understand its Outstanding Universal Value, which is the reason why it has been inscribed on the World Heritage List. Managing Change in World Heritage Sites in Wales provides more information.21 7
HaworthTompkins 123 Appendix 2
Heritage Impact Assessment in Wales
As well as your own knowledge and experience, there are lots of sources of information to help you understand your historic asset and compile your statement of significance: • Cof Cymru — Cadw’s online record of the national historic assets of Wales is a good starting point for records of listed buildings, scheduled monuments and World Heritage Sites in Wales22 • conservation area appraisals, which are held by your local planning authority, explain why an area has been designated and what makes it special • your local historic environment record contains extensive information about all types of historic assets in Wales23 • your local archive office and the National Monuments Record of Wales may hold useful documentary evidence about your historic asset • old photographs and historic maps may provide evidence about how your historic asset has changed through time • your local authority conservation officer, the historic environment record officer in your local Welsh archaeological trust, or local authority in-house archaeological advisor may also be able to advise you. For more information about understanding significance seeConservation Principles, Managing Change to Listed Buildings in Wales, Managing Conservation Areas in Wales and Managing Change to Registered Historic Parks and Gardens in Wales.24
Your heritage impact statement will need to show that you have taken the significance of your asset into account by including a statement of significance. This should refer to the significance of the asset as a whole and to the specific part that will be affected by your proposed changes.
4.3 Identifying Proposed Changes ¬ Once you have understood the significance of your historic asset, you should be able to identify the best way to achieve your objective and develop specific proposals that respect its character. You may need to re-examine your proposed changes once you have assessed their potential impact.
Your heritage impact statement should describe your proposals, including the design principles and concepts, and include a brief schedule of works, which gives enough information about the proposed work to enable an informed decision to be made.
8
124 Theatr Clwyd, HIA, October 2019 Heritage Impact Assessment in Wales
The plans, elevations and other drawings provided as part of the application for consent will provide useful supporting information, illustrating the existing situation and showing how the proposals will change it. There is more information about submitting an application for consent in Managing Change to Listed Buildings in Wales and Managing Conservation Areas in Wales.25 Planning Policy Wales and Technical Advice Note 24: The Historic Environment contain information if you are considering the historic environment as part of a planning application.26
4.4 Assessing the Impact of your Proposals ¬ When you are thinking about your proposals, assessing the impact that your proposed changes may have on the significance of your historic asset can help you to identify the most appropriate way to make those changes. You may find it helpful to frame your assessment by asking: • how would your proposals affect the evidential value of the historic asset? Would they result in the loss of or damage to historic fabric, including archaeological evidence, or make it harder to appreciate the way in which the building or site was used in the past, and how it has changed over time? • how would the proposals affect the aesthetic or design qualities of the historic asset? Will they compromise its historical design principles — such as its layout, scale and proportion — or result in the loss of historic detail or craftsmanship? • how would the proposals affect communal value? Would they make it easier for people to access and appreciate the building or site? • are there any other risks or benefits? For example, risks might include increased maintenance and management liabilities, or compromised performance through the use of incompatible materials; benefits might include the introduction of a sustainable new use. • if your historic asset is within or part of a World Heritage Site, what would be the impact of your proposals on the Outstanding Universal Value? You may find that you do not have enough information to make an assessment of impact. In these circumstances, further research or investigation may be necessary. This should be proportionate to the significance of the asset and the scale of impact. Most proposals will have a range of impacts which may be: • positive — such as the repair of damage, the removal of intrusive elements or bringing a building back into beneficial use so that it is no longer at risk • neutral — such as where proposals are sympathetically designed, or change is accommodated in part of the building or site that is less sensitive
9
HaworthTompkins 125 Appendix 2
Heritage Impact Assessment in Wales
• negative — such as when important fabric or significant aspects of the original design are removed or altered. If the decision maker deems that the level of damage is unacceptable and there are few compensatory benefits, the application may be refused. For example, converting a redundant chapel for use as a library will involve some loss of internal fabric which reflects its historic purpose and is part of its design. This will compromise its evidential and aesthetic value, but is likely to retain or even enhance its communal value by enabling continued public access. The benefits of securing this new use for the building may therefore outweigh the losses. Alternative new uses such as conversion to a house could involve even greater loss of fabric and would be likely to reduce its communal value by limiting access.
Your heritage impact statement will need to demonstrate that you have considered the potential impact of your preferred approach. You will need to show how your proposed work will sustain or enhance the significance of your historic asset, including potential benefits and any harm.
4.5 Getting the Best Solution ¬ When developing your proposals, you need to identify the approach that will realise the greatest benefit and cause the least harm to your historic asset, so that you sustain or enhance its significance. One of the most important ways you can do this is to consider alternatives at an early stage. For example, could an extension be repositioned to be less disruptive to the original design of a historic building or any buried archaeological remains, or could a feature be repaired rather than replaced? Using the principles of good design and management is important too. For example, you can make sure that: • your intervention is the minimum necessary and that new work is designed to be installed, or even removed, without damage to significant fabric or archaeological evidence • your design is sensitive, in terms of scale, materials, location and form • depending on the scale of your proposed work, your design is based on understanding all aspects of the site and its context as well as the significance of the historic asset. High-quality design can make a positive contribution to the heritage values of your historic asset and its setting.27 The Design Commission for Wales can provide further guidance about good design and offers a free design review service to assess proposals.28 • your timing is sensitive; for example, by timing roof works to avoid affecting colonies of bats, or avoiding peak periods of community use • your methods for carrying out the proposed works are sensitive, including, for example, the protection of significant features, avoidance of mechanical tools and hot works.
10
126 Theatr Clwyd, HIA, October 2019 Heritage Impact Assessment in Wales
Your heritage impact statement will need to show that you have considered a range of options to meet your requirements and explain why you have chosen your preferred approach. This will help the decision maker reach a balanced view.
5. Offsetting ¬ In some circumstances, where damage is unavoidable, there may be opportunities to introduce compensatory measures. Although these will not reduce the direct impact of change on the significance of the historic asset, they may help offset the harm. Offsetting measures could include, for example, creating public access, improving understanding through detailed investigation, providing interpretation, or (as a last resort) recording any features that would be damaged, obscured or even destroyed by the proposed works. Your proposals for offsetting should be presented to your local planning authority when they concern a listed building or conservation area, or to Cadw in the case of scheduled monuments so that the benefits of the scheme, including the compensatory measures, can be weighed against the impact of the development on the significance of the historic asset.
6. Access Statement ¬
You may need to include a formal statement on access in your heritage impact statement when applying for listed building consent. This will only be necessary in relation to works which affect the access arrangements to or within any part of a listed building that is not used as a private dwelling.29 For example, your listed building may consist of a shop on the ground floor with a flat above, which is used as a private dwelling. If the changes you propose would affect access to or within the flat, you would not need to include an access statement. On the other hand, if you are applying for listed building consent to make changes that would affect access to or within the shop, then you would need to include an access statement with your application for consent. Your local planning authority will be able to advise you whether or not an access statement is required. If an access statement is required, you will need to examine all viable alternatives as part of your heritage impact assessment so that you can identify the option that best provides reasonable access and has the least detrimental impact on the significance of your listed building. Your access statement will need to make clear how your approach to inclusive design has balanced any duties required by the Equality Act 2010 with the historic and architectural significance of your listed building.30
11
HaworthTompkins 127 Appendix 2
Heritage Impact Assessment in Wales
You will need to show that you have taken all reasonable steps to provide full access, whilst recognising that the significance of your listed building may sometimes constrain the options for doing so. Your statement should record any specific issues that may have arisen from your building being listed and the range of options you have considered. If your design is not fully inclusive, your statement should explain why this is not possible. If the historic character of your listed building is such that it cannot be altered in a way that would enable you to meet minimum levels of accessibility, you could specify other adaptations or procedures that will allow you to meet the requirements of the Equality Act 2010. These might include, for example, the use of portable equipment or changes to management practices.31 There may also be circumstances in which changes can be justified on the basis that inclusive design would enable the beneficial use of the listed building. Overcoming the Barriers: Providing Physical Access to Historic Buildings is a good source of helpful advice about inclusive design.32 A satisfactory solution can almost always be found so long as imaginative and innovative approaches are fully explored.
7. Presenting your Heritage Impact Statement ¬
The results of your heritage impact assessment should be set out in a heritage impact statement submitted with your application for consent. The requirements for listed building and conservation area consent are set out below.33 Cadw can advise when a heritage impact statement is required to accompany an application for scheduled monument consent and what it should contain, but the basic principles set out below will be the same for this and any other heritage impact statement that you may need to prepare. In addition to a written statement, you may find it helpful to summarise your heritage impact statement in a table. Some examples are shown in the Annex. Remember, your heritage impact statement needs to be proportionate to the significance of your historic asset and the degree of change that you propose. Simple cases generally require short statements. More complex situations will need longer reports and are usefully prefaced by a summary statement of significance and the impact of your proposals. 7.1 Listed Building Consent ¬ Your heritage impact statement to accompany an application for listed building consent must include: • a description of your proposed work, including the design principles and concepts, and a schedule of works, with reference to any photographs, plans and drawings that support your consent application
12
128 Theatr Clwyd, HIA, October 2019 Heritage Impact Assessment in Wales
• your reasoning for the proposed works, which explains what you intend to achieve and why the works are desirable or necessary • a brief description of the special architectural or historic interest of your listed building and an assessment of its significance, with particular emphasis on those aspects that will be affected by your proposals • an assessment of the impact of the proposed work on the special architectural or historic interest of your listed building and its significance, including potential benefits and any harm • a summary of your options and the reasons for your preferred approach • an access statement, if required. 7.2 Conservation Area Consent ¬ Your heritage impact statement to accompany an application for conservation area consent must include: • a description of your proposed works, including a schedule of works • an explanation of what you intend to achieve and why demolition is desirable or necessary • a description of the contribution the building which you are proposing to demolish makes to the character or appearance of the conservation area • an assessment of the impact of the demolition of the building on the character or appearance of the conservation area, including potential benefits and any harm • a summary of the options which you have considered, other than demolition, and the reasons for your preferred approach.
13
HaworthTompkins 129 Appendix 3 - Welsh Assembly Conservation Principles (abridged)
Conservation Principles www.cymru.gov.uk
for the sustainable management of the historic environment in Wales
130 Theatr Clwyd, HIA, October 2019 9
Conservation Principles
1 Historic assets will be managed to sustain their values
1.1 Changes in the historic environment are inevitable. This can be the result of decay caused by natural processes, damage caused by wear and tear of use, and the need to respond to social, cultural, economic and technological changes. The impact of climate change on historic assets is a particular challenge.
1.2 Conservation is the careful management of change. It is about revealing and sharing the significance of historic assets and ensuring that their special qualities are protected, enhanced, enjoyed and understood by present and future generations.
1.3 To be sustainable, investment in the conservation of the historic environment should bring social and economic benefits. On the other hand, investment in social and economic programmes should bring environmental benefits.
1.4 Conservation of an historic asset is achieved by gaining and sharing an understanding of its significance (see Principles 2 and 3). This understanding will enable: • The identification of those heritage values which are vulnerable to change. • The definition of the constraints needed to reveal, protect and sustain those values. • Achieving a balance between the impact of the different options on the heritage value and significance of the assets affected. • A consistency in decision making, aimed at retaining the authenticity and future significance of the historic asset.
1.5 All heritage conservation actions lead to interventions. These must be justified by demonstrating that the benefits in protecting, increasing Tyˆ Mawr, Castle the understanding and sustaining the heritage values of the historic Caereinion, Powys asset decisively outweigh the losses and harm caused. The timber-framed shell of this late medieval farmhouse was rescued 1.6 New work must respect the setting and significance of the historic from dereliction to make assets affected. The quality of design and execution must add value a beautiful modern home. to that site and its setting, both now and in the future.
HaworthTompkins 131 Appendix 3
10
1.7 The conservation of the historic environment must recognize and respect associated natural environmental values. This will be achieved by an integrated approach to conservation that has identified both the natural and historical values of each asset.
2 Understanding the significance of historic assets is vital
2.1 The historic environment is made up of individual historic features, archaeological sites and historic buildings as well as the landscapes in which they are found. Any part of the historic environment to which people have given a distinctive historical association or identity is considered here to be an historic asset.
2.2 The significance of an historic asset embraces all of the cultural heritage values that people associate with it, or which prompt them to respond to it. These values tend to grow in strength and complexity over time, as understanding deepens and people’s perceptions evolve.
2.3 In order to assess the significance of an historic asset, four component values need to be considered. These are: • Evidential value • Historical value • Aesthetic value • Communal value
These are explained in more detail in the section ‘Understanding heritage values and assessing significance’ (page 16) but, briefly, they can encompass: the physical remains or surviving fabric of an historic asset (evidential); the contribution of documentary sources, pictorial records and museum collections to forming an understanding of an historic asset (evidential); how historic assets through illustrative or associative values can connect the past with the present (historical); the way in which people draw sensory and intellectual stimulation from an historic asset through its form, external appearance or setting (aesthetic); the social and economic values, and spiritual meanings, that an historic asset has for the people who relate to it (communal).
2.4 Understanding and articulating the values of an historic asset is necessary to inform the decisions about its future. The degree of significance determines what, if any, protection, including statutory designation, is appropriate under law and policy.
132 Theatr Clwyd, HIA, October 2019 11
3 The historic environment is a shared resource
3.1 Our environment contains a unique and dynamic record of human activity. It has been shaped by successive generations of people responding to the surroundings that they have inherited. It embodies their aspirations, skills and endeavour.
3.2 People value this historic environment as part of their cultural and natural heritage. It reflects the knowledge, beliefs and traditions of diverse communities. It gives distinctiveness, meaning and quality to the places in which we live, providing a sense of continuity and a source of identity. It is a social and economic asset and a resource for learning and enjoyment.
3.3 Each generation is therefore responsible for shaping and sustaining the historic environment to enable people to use, enjoy and benefit from it, without compromising the ability of future generations to do the same.
3.4 Conservation projects will recognize the need to promote greater access, understanding and enjoyment of the historic environment for all groups in society.
3.5 There is a strong public interest in the heritage values of different places, whatever their ownership. The use of law, public policy and investment is justified to protect that interest. The legal procedures needed to obtain planning, listed building and scheduled monument consents provide the mechanisms for arbitrating between private and public interests.
3.6 Owners and occupiers need to recognize and understand the significance of their historic assets, and seek advice and assistance from public sources to help them sustain the heritage in their stewardship.
HaworthTompkins 133 Appendix 3
12
4 Everyone will be able to participate in sustaining the historic environment
4.1 Everyone should have the opportunity to contribute his or her knowledge of the heritage value of different sites, and to participate in decisions about their future, by means that are accessible, inclusive and informed. This will enable decisions about an important historic asset to be undertaken in an open and transparent manner (see also Principle 5).
4.2 Sharing learning is central to sustaining the historic environment. It raises people’s awareness and understanding of their heritage, including the varied ways in which its values are perceived by different generations and communities. It encourages informed and active participation in caring for the historic environment.
4.3 Knowledge and expertise are vital in encouraging and enabling others to learn about, value and care for the historic environment. Experts play a crucial role in discerning, communicating and sustaining the established values of places. They can help people to refine and articulate the values that they attach to places.
4.4 It is essential to develop, maintain and pass on the specialist craft and professional knowledge and skills necessary to sustain the historic environment.
4.5 People should not carry out work on an historic asset unless they have the appropriate skills or qualifications to undertake the work.
134 Theatr Clwyd, HIA, October 2019 13
5 Decisions about change must be reasonable, transparent and consistent
5.1 Owners and managers of historic assets will be encouraged to seek advice and examples of good practice in preparing their proposals for change.
5.2 Public authorities will make decisions about changes to the historic environment by applying expertise, experience and judgement, in a consistent and transparent process guided by law and policy.
5.3 Public authorities, within the resources available to them, will undertake sufficient assessment and public engagement to inform and justify the decisions they make.
5.4 When considering change, public authorities will give due importance to the heritage values of a site when considering the sustainability of proposals submitted to them.
HaworthTompkins 135 Appendix 3
14
6 Documenting and learning from decisions is essential
6.1 The information and documentation gathered in understanding and assessing the significance of an historic asset should be retained by the owner and manager of that place, and a copy be placed in a public archive. This will ensure that future generations will benefit from the knowledge gained.
6.2 The records of the justification for decisions, which affect an historic asset and the actions that follow, will be maintained as an accessible and cumulative account.
6.3 Owners and managers of historic assets should monitor and regularly evaluate the effects of change and responses to it, and use the results to inform future decisions. Public bodies similarly should monitor and respond to the effects on the historic environment of their policies and programmes.
6.4 In the unusual event that all or part of an historic asset is to be lost as a result of a decision or inevitable natural process, the opportunity to extract the information that it holds about the past must be taken. This loss will require recording, investigation and analysis, followed by archiving and dissemination of the results, all to a level that reflects its significance.
6.5 Where such a loss is the direct result of human intervention, the costs of this work should be borne by those who benefit from the change, or whose role it is to initiate such change in the public interest.
136 Theatr Clwyd, HIA, October 2019 15
Applying the conservation principles
Conservation Principles builds on earlier statements and experience to formalize an approach, which takes account of a wide range of heritage values. They are supported by the section below describing how Cadw will put its Conservation Principles into action. They are intended to help everyone involved to take account of the diverse ways in which people value the historic environment. They acknowledge that the values of places, including those reflected in landscape designations, should be managed in a sustainable way, fostering close working relationships between cultural and natural heritage interests.
Balanced and justifiable decisions about change to the historic environment depend upon understanding who values different historic assets and why they do so, leading to a clear statement of their significance and, with it, the ability to understand the impact of the proposed change on that significance.
Every reasonable effort should be made to eliminate or minimize adverse impacts on historic assets. Ultimately, however, it may be necessary to balance the benefit of the proposed change against the harm to the asset. If so, the weight given to heritage values should be proportionate to the importance of the assets and the impact of the change upon them.
The historic environment is constantly changing, but each significant part of it represents a finite resource. If it is not sustained, its heritage values will be eroded or lost. In addition, its potential to give distinctiveness, meaning and quality to the places in which people live, and provide people with a sense of continuity and a source of identity will be diminished. The historic environment is a social and economic asset and a cultural resource for learning and enjoyment.
Cadw will apply these principles to the management of the monuments in its care and in undertaking its statutory functions. The principles will be shared with other divisions of the Welsh Assembly Government. Cadw commends them for adoption and application by all those involved with the historic environment in Wales, and in making decisions about its future.
HaworthTompkins 137 Appendix 3
16
Understanding heritage values and assessing significance
The objective of understanding the heritage values of an historic asset and assessing its significance is to enable an authoritative statement of significance to be made, and allow for the effects of proposed changes to be evaluated. This demands the application of a systematic and consistent process, which is appropriate and proportionate in scope and depth to the decision to be made, or the purpose of the assessment.
English Heritage’s Conservation Principles, Policies and Guidance (2008) described in detail the family of heritage values and provides an extended explanation on assessing heritage significance. Cadw sees no reason to differ from this set of heritage values. The following provides a summary of these values and on managing change to historic assets.
Heritage values
Evidential value. This derives from those elements of an historic asset that can provide evidence about past human activity, including its physical remains or historic fabric. These may be visible and relatively easy to assess, or they may be buried below ground, under water or be hidden by later fabric. These remains provide the primary evidence for when and how an historic asset was made or built, what it was used for and how it has changed over time. The unrecorded loss of historic fabric represents the destruction of the primary evidence.
Additional evidential values can be gained from documentary sources, pictorial records and archaeological archives or museum collections. To assess the significance of this aspect of an asset, all this evidence needs to be gathered in a systematic way and any gaps in the evidence identified.
Historical value. An historic asset might illustrate a particular aspect of past life or it might be associated with a notable family, person, event or movement. These illustrative or associative values of an historic asset may be less tangible than its evidential value but will often connect past people, events and aspects of life with the present. Of course the functions of an historic asset are likely to change over time and so the full range of changing historical values might not become clear until all the evidential values have been
138 Theatr Clwyd, HIA, October 2019 17
gathered together. Historical values are not so easily diminished by change as evidential values and are harmed only to the extent that adaptation has obliterated them or concealed them.
Aesthetic value. This derives from the way in which people draw sensory and intellectual stimulation from an historic asset. This might include the form of an historic asset, its external appearance and how it lies within its setting. It can be the result of conscious design or it might be a seemingly fortuitous outcome of the way in which an historic asset has evolved and been used over time, or it may be a combination of both.
The form of an asset normally changes over time. Sometimes earlier pictorial records and written descriptions will be more powerful in many people’s minds than what survives today. Some important viewpoints may be lost or screened, or access to them may be temporarily denied. To assess this aspect of an asset, again the evidence of the present and past form must be gathered systematically. This needs to be complemented by a thorough appreciation on site of the external appearance of an asset in its setting.
Inevitably understanding the aesthetic value of an historic asset will be more subjective than the study of its evidential and historical values. Much of it will involve trying to express the aesthetic qualities or the relative value of different parts of its form or design. It is important to seek the views of others with a knowledge and appreciation of the historic asset on what they consider to be the significant aesthetic values.
Communal value. This derives from the meanings that an historic asset has for the people who relate to it, or for whom it figures in their collective experience or memory. It is closely linked to historical and aesthetic values but tends to have additional or specific aspects. Communal value might be commemorative or symbolic. For example, people might draw part of their identity or collective memory from an historic asset, or have emotional links to it. Such values often change over time and they may be important for remembering both positive and uncomfortable events, attitudes or periods in Wales’s history. Historic assets can also have social value, acting as a source of social interaction, distinctiveness or coherence; economic value, providing a valuable source of income or employment; or they may have spiritual value, emanating from religious beliefs or modern perceptions of the spirit of a place.
HaworthTompkins 139 18
Assessing significance
To identify the heritage values of an asset, its history, fabric and character must first be understood. The relative significance of the different values then needs to be considered. It will be necessary to compare the values of the asset under consideration with others in the locality, region or even nationally, depending on its importance. Drawing on professional expertise in making these comparisons will help ensure the validity of this assessment.
The outcome of this process will be the production of a Statement of Significance. This needs to be a succinct assessment of the historical asset/s under consideration and its values. No Statement of Significance can ever be complete or totally objective and it will inevitably reflect the knowledge and perceptions of the individual or group who produce it. However, it must try to express the values identified fairly and not be influenced by consideration of any changes being proposed. Statements of Significance will change with time as new evidence emerges, or perceptions of the historical contexts, within which the asset falls, change.
All the information and evidence gathered when producing a Statement of Significance should be referenced and archived. A summary needs to be included in any conservation plan prepared for the asset. Copies of the archive and the conservation plan should be deposited in the appropriate national and/or regional Historic Environment Record.
Managing change to an historic asset
Changes to historic assets are inevitable. Over time, natural forces and regular use will lead to the erosion of some of the evidential values such as the fabric. Repair and restoration of the fabric and changes to its setting can affect its aesthetic value. A change in use may add a new historical or communal value.
To ensure the long-term future of historic assets, change needs to be managed to ensure that their significance is not diminished as a consequence. Retaining the economic viability or the social functions of historic buildings will sustain their survival and encourage their regular maintenance. Many archaeological sites are best maintained under sympathetic farming or forestry regimes. These regimes need to remain viable throughout times of economic and climatic change otherwise rapid decay of the sites may follow. Historic landscapes, parks and gardens are dynamic systems, which benefit from sustained and usually traditional management practices.
140 Theatr Clwyd, HIA, October 2019 HaworthTompkins 141 Appendix 4 - CADW Listing for Theatr Clwyd 2019
Cadw
This building is listed under the Planning (Listed Building & Conservation Areas) Act 1990
Listed Building: Report for Building
Authority : Flintshire Record Number : 87786
Date of Listing : 11 Jun 2019
Community : Mold Date of Amendment :
Locality : Date Delisted :
Grid Ref : 324126,365294
Grade : II
Name : Theatr Clwyd
Street No, Name : Raikes Lane
Street Side : E
Location :
At the uppermost part of the civic complex overlooking the town of Mold, on the E side of Raikes Lane.
History
Theatr Clwyd was built as a regional arts centre designed to accommodate multiple performance spaces, TV studios, gallery and functions room. The project was commenced by Flintshire County Council in 1969, and completed under the auspices of Clwyd County Council in 1976. The building was designed by R.W.Harvey, county architect for Flintshire and opened as ‘Clwyd Theatre and Educational Technology Centre’ on 21st May 1976 by HM the Queen.
The theatre was the last major building to be constructed on the Mold civic centre site, at the highest point overlooking the town and crowning the complex of buildings. The civic centre was developed in the grounds of Llwynegrin, a mansion and parkland owned by the county council from 1948. The Shire Hall, designed by RW Harvey was the first major building to be constructed and was opened in May 1968. It was quickly followed by the Law Courts (1969), also by Harvey and then the Library Headquarters (1969), John Laing Design Associates with Harvey.
Theatr Clwyd belongs to a new wave of publicly funded theatre building in the post-war period. The passing of the Local Government Act in 1948 enabled local authorities to use part of their income from rates to support the arts and the buildings in which they were housed. The public funding of theatres (and other arts establishments) was also made possible in this period by the establishment of the Arts Council, which was given substantial increases to its budgets by the Labour Government of 1964-70. The intention was to provide universal access to the arts in the belief that this was an essential part of a modern egalitarian state. This movement for new theatres carried on until the early 1980s and Theatr Clwyd is an important example of a civic theatre from the heyday of post war theatre construction.
Theatr Clwyd was intended to operate from the outset as a producing theatre and the facilities needed for this, such as a paint-screen, were incorporated into the design of the centre. Common themes in post war theatre design include the provision of generous and accessible foyers with catering facilities open outside of
142 Theatr Clwyd, HIA, October 2019 performance times and designed to operate more as community centres. There was also a move to more ‘open’ theatre staging with designs and layouts rejecting the traditional proscenium-arch layout in order to change the actor-audience relationship. Both of these themes are exemplified in the design of Theatr Clwyd. The design of the main theatre space appears to have been strongly influenced by the Thorndike Theatre in Leatherhead (1967-9) which was considered to be one of the most successful designs of the period.
An administration block by GG Tomlinson was added 1980-1 and some minor alterations have been made to the interior. Otherwise the theatre survives largely as built.
Exterior
Arts and theatre complex in a Modern idiom. Steel framed construction, faced in soft red brick with glazed elements and lead roofs, the leadwork wrapped over the wall heads of the prinicipal elements to give a distinctive capping to the brickwork of the walls.
It comprises a series of irregularly massed and interlocked blocks in a rough rectangular E-W plan. These blocks largely correspond to the component functional elements of the building. The main entrance is located to the right of the main elevation, with glazed doors beneath leaded fascia that advances from a continuous grid of glazing; similar glazed block advanced to right housing staircase, the lightness of these elements contrasting with the solid walls that dominate the rest of the structure. To the rear of the entrance and staircase block, bar, main auditorium and fly tower are progressively stepped up. The remainder of the theatre facilities are grouped to the side and rear in a series of mainly brick blocks, punctuated with some areas of glazing.
Interior
Complex plan reflecting the multiple facilities the building was originally designed to accommodate, including two theatres and a former TV studio. The building is loosely organised as a series of zones, in which the principal public spaces are the two theatres, both of which are substantially unchanged, the entrance foyer (albeit the layout has been altered) and main visitor circulation areas, including gallery to first floor. Other public areas and supporting facilities are grouped to the rear and side. Main entrance foyer with stairwells to either side, and the main auditorium behind at higher level. Auditorium follows a simple layout with curving side walls lined with moulded ceramic acoustic tiles, designed to provide good sightlines and acoustics. The Emlyn Williams Theatre is a square space with removable seating and a narrow balcony on 3 (formerly 4) sides. Dressing rooms, wardrobe and workshop accommodation towards the rear of the complex, including a full-size paint frame which enabled sets and back-drops to be painted vertically as they would appear on stage in a production.
Listed
Included for its special architectural interest as an important example of a post war civic arts and theatre complex, the key example of this building type in Wales and one of the leading examples in the UK. It survives largely intact and is notable for the range of related facilities that were incorporated into the design. It is of special historic interest as an example of the improvements in arts provision across the UK in the post- war period.
References None recorded
Sources
Author Date of Publication Title Volume
Edinburgh College of Art 2017 Understanding and and Theatres Trust Working with Post-War workshop report. Theatre buildings c.1950- 1985.
Alistair Fair 2018 Modern Playhouses.
HaworthTompkins 143 Appendix 4
Edward Hubbard 1986 The Buildings of Wales: Clwyd.
144 Theatr Clwyd, HIA, October 2019 HaworthTompkins 145 Appendix 5 - Theatr Clwyd Planning History
Flintshire County Council Land Charges Section Directorate of Planning, Environment & Economy County Hall Mold CH7 6NF Tel 01352 702333/4/5 Email: [email protected]
Register of Local Land Charges Schedule to the Official Certificate of Search
Description of Property: Search No. 081725
Date: 10 July 2019 Theatre Clwyd Raikes Lane Mold Flintshire CH7 1YA
------Part 03 - Planning Charge
App No (if applicable) Description Area of Special Control for Advertisements Date of Registration 01/04/1974 Originating Authority Clwyd County Council Place of Inspection St David's Park, Ewloe Description Area of Special Control for Advertisements
App No (if applicable) L004624 Description Planning Conditions Date of Registration 14/05/1980 Originating Authority Delyn Borough Council Place of Inspection St David's Park, Ewloe Description 8000126 ROOF TOP AERIAL AND MOUNTING. Approved 14/05/1980
App No (if applicable) Description Planning Conditions Date of Registration 01/09/1980 Originating Authority Delyn Borough Council Place of Inspection St David's Park, Ewloe Description 516/80 EXTENSION TO PROVIDE ADMINISTRATIVE ACCOMMODATION. Permit 1/9/1980
146 Theatr Clwyd, HIA, October 2019
App No (if applicable) Description Planning Conditions Date of Registration 12/10/1982 Originating Authority Delyn Borough Council Place of Inspection St David's Park, Ewloe Description 375/82 EXTENSION TO EXISTING CAR PARK, Permit 12/10/1982
App No (if applicable) Description Planning Conditions Date of Registration 20/07/1987 Originating Authority Delyn Borough Council Place of Inspection St David's Park, Ewloe Description 370/87 SINGLE STOREY EXTENSION TO FORM LOBBY TO MAIN ENTRANCE WITH ROOF TERRACE, Permit 20/7/1987
App No (if applicable) L010703 Description Planning Conditions Date of Registration 17/09/1987 Originating Authority Delyn Borough Council Place of Inspection St David's Park, Ewloe Description 8700570 SCENERY STORE. Approved 17/09/1987
App No (if applicable) L011013 Description Planning Conditions Date of Registration 07/01/1988 Originating Authority Delyn Borough Council Place of Inspection St David's Park, Ewloe Description 8700859 FULL PLANNING, ADDITIONAL SCENERY DOCK, FOR THEATRE CLWYD. Approved 7/01/1988
App No (if applicable) L016097 Description Planning Conditions Date of Registration 21/09/1990 Originating Authority Delyn Borough Council Place of Inspection St David's Park, Ewloe Description 9000501 ERECTION OF STAGE SCENERY STORE AND CONSTRUCTION OF LAYBY. Approved 21/09/1990
App No (if applicable) Description Planning Conditions Date of Registration 06/12/1993 Originating Authority Delyn Borough Council Place of Inspection St David's Park, Ewloe Description 652/93 ERECTION OF DISH ANTENNA FOR HTV. Permit 6/12/1993
HaworthTompkins 147 Appendix 5
App No (if applicable) Description Planning Conditions Date of Registration 02/08/1994 Originating Authority Delyn Borough Council Place of Inspection St David's Park, Ewloe Description 453/94 ERECTION OF A REPLACEMENT MICROWAVE ANTENNAE FROM 0.600M TO 1.200M FOR H.T.V., Permit 2/8/1994
App No (if applicable) Description Planning Conditions Date of Registration 28/01/2000 Originating Authority Flintshire County Council Place of Inspection St David's Park, Ewloe Description 1331/99 ERECTION OF A GAS FIRED BEACON ON THE FORECOURT IN FRONT OF THE THEATRE. Permit 28.1.2000
App No (if applicable) Description Planning Conditions Date of Registration 24/06/2002 Originating Authority Flintshire County Council Place of Inspection St David's Park, Ewloe Description 369/02 ERECTION OF AN EXTERNAL ESCAPE STAIRCASE FROM FIRST FLOOR AREA. Permit 24/6/2002
App No (if applicable) L035867 Description Planning Conditions Date of Registration 08/09/2003 Originating Authority Flintshire County Council Place of Inspection St David's Park, Ewloe Description 035867 Change of use for craft/other fairs at the Clwyd Room. Approved 8/09/2003
App No (if applicable) L037256 Description Planning Conditions Date of Registration 28/04/2004 Originating Authority Flintshire County Council Place of Inspection St David's Park, Ewloe Description 037256 Installation of externally housed heating and ventilation plant on roof. Approved 28/04/2004
148 Theatr Clwyd, HIA, October 2019
Part 10 - Listed Building Charge
App No (if applicable) Description Listed Building Act 1990 Date of Registration 14/06/2019 Originating Authority Cadw Place of Inspection St David's Park, Ewloe Description Notice Under Section 2 of the Planning (Listed Buildings and Conservation Areas) Act 1990 Buildings of Special Architectural or Historic Interest Theatr Clwyd, Mold (87786) Grade II. Date listed 11 June 2019
Signed: Chief Officer (Planning, Environment & Economy) Date: 10 July 2019
IF YOU REQUIRE COPIES:
Planning Applications – For anything mid-2006 onwards visit our website at http://www.flintshire.gov.uk/en/Resident/Planning/View-and-comment-on-planning- applications.aspx
You can also view the Planning Applications Map here https://fccmapping.flintshire.gov.uk/connect/analyst/?mapcfg=planningapplications
For older Planning Applications and Planning Agreements - email [email protected]
For copies of all other documents or enquiries relating to this search result, email [email protected]
HaworthTompkins 149 Appendix 6 - Preliminary Report 1968 (abridged)
150 Theatr Clwyd, HIA, October 2019 HaworthTompkins 151 Appendix 6
152 Theatr Clwyd, HIA, October 2019 HaworthTompkins 153 Appendix 6
154 Theatr Clwyd, HIA, October 2019 HaworthTompkins 155 Appendix 6
156 Theatr Clwyd, HIA, October 2019 HaworthTompkins 157 Appendix 6
158 Theatr Clwyd, HIA, October 2019 HaworthTompkins 159 Appendix 6
160 Theatr Clwyd, HIA, October 2019 HaworthTompkins 161 Appendix 6
162 Theatr Clwyd, HIA, October 2019 HaworthTompkins 163 Appendix 6
164 Theatr Clwyd, HIA, October 2019 HaworthTompkins 165 Appendix 6
166 Theatr Clwyd, HIA, October 2019 HaworthTompkins 167 Appendix 6
168 Theatr Clwyd, HIA, October 2019 HaworthTompkins 169 Appendix 6
170 Theatr Clwyd, HIA, October 2019 HaworthTompkins 171 Appendix 6
172 Theatr Clwyd, HIA, October 2019 HaworthTompkins 173 Appendix 6
174 Theatr Clwyd, HIA, October 2019 HaworthTompkins 175