Heritage Impact Assessment Haworthtompkins
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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.