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The Whitechapel project

The Whitechapel project. Design project outline. Project description Extension of the Whitechapel Art gallery by converting the Passmore Edwards Library Project objectives Provision of additional exhibition floor space, archive room and restoration of both listed buildings Concept

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The Whitechapel project

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  1. The Whitechapel project Design project outline

  2. Project description Extension of the Whitechapel Art gallery by converting the Passmore Edwards Library Project objectives Provision of additional exhibition floor space, archive room and restoration of both listed buildings Concept Connection of two buildings that differ architecturally with the least changes to the buildings fabric Style Preservation of the existing style with concerned alterations Historic building More than one Conservation Area Whitechapel High Street Owneship London Borough of Tower Hamlets, Transport for London and London Underground Ltd Project time Three years

  3. TEAM CLIENT The Trustees of the Whitechapel Art gallery PROJECT MANAGER Osprey Mott Macdonald, London DESIGN TEAM ARCHITECT Robbrecht& Daem Architecten, Gent, Belgium CO-ARCHITECT WitherfordWatson Mann Architects, London STRUCTURAL ENGINEER Price & Myers, London SERVICE MANAGER Max Fordham & Partners, Cambridge CONSERVATION ARCHITECT Richard Griffiths Architects, London QUANTIY SURVEYOR Davis Langdon, London CONSULTANTS BUILDING CONTROL CONSULTANT Royal Borough of Kensington and Chelsea, Building Control, London ACCESS CONSULTANT David BonnettAssociates, London RIGHTS OF LIGHT CONSULTANT Shatunowski, London PLANNING SUOERVISOR Dearle& Henderson, London

  4. Location of the project Location of the Passmore Edwards Library and Whitechapel Gallery, respectively 77 and 80-82 Whitechapel High Street. The Gallery is listed as grade II*, and the library as grade II and are part of the Whitechapel High Street Conservation Area. According to Tower Hamlets First Deposit Draft of 2004, they are located within an Area of archeological importance or Potential. Site location within central London Site plan Passmore Edwards library Location Map and local transportation Whitechapel Art Gallery

  5. Aerial photograph identifying the two buildings and the architectural typology of the site Passmore Edwards Library Whitechapel Art Gallery

  6. The Gallery and library are two of the many public and cultural buildings of the East End. They were founded to contribute to the education and cultivation of the residents of the area. They have offered free cultural provision for generations of East End people. Contemporary art organizations Restaurants bars cafes Cultural organizations Map of east London showing the density of cultural and artistic organisations

  7. Constraints • In order to avoid the accumulation of unexercised planning permissions the development of the project should begin before the expiration of three years • Building and engineering operations should take place only between 08:00 to 18:00 Monday to Friday and 08:00 to 13:00 Saturdays and not at any time on Sundays or public holidays to keep the amenity of the area safe. • The appropriate noise levels is 10db below the existing background noise levels. • To succeed the best external appearance all external changes of the building or finishes should match with the existing original work, and always in respect of materials used. • The gates of the building should not affect in any way the surrounding streets and protect the pubic safety. • Detailed drawings of the roof above the stairwell in the library are required as soon as possible to allow get the permission for the work to begin.

  8. The buildings of the Whitechapel Art Gallery and Passmore Edwards Library The Gallery The library In appearance the two buildings seem to have little in common. The library is made of red bricks, terracotta in a baroque style, while the gallery is an art Noveau building is white and colder. To confirm their unique interaction, the gallery entrance could easily have been the perfect entrance of an underground station, even though, ironically, the entrance of Aldgate East was built through the library instead.

  9. The buildings of the Whitechapel Art Gallery and Passmore Edwards Library Despite the differences in appearance the buildings present interesting similarities. The gallery’s exhibition space is a colonnaded area with both side bays glazed over. Passing the foyer in the formal library, there is an ex-reading room, which contains the same four columns. This could suggest a connection between space and function of the buildings even in the past. Similarities in space do not include those in the atmosphere, which have always been different. Original plans of the two buildings

  10. The buildings of the Whitechapel Art Gallery and Passmore Edwards Library Street view 1910 Street view 2005

  11. Precedents Alterations to the buildings since construction • The Gallery • External alterations: • Facade unfinished • Insertion of windows into the blank panel planned for the mosaic • Acid streaking across the terracotta • Internal alterations: • Air-conditioning introduced to the upper and lower galleries • Replacement of the old staircases with new stairs in white terrazza • The Library • External alterations: • 1930: construction of Aldgate East station • Removal of the left upper part of the dormer and of the terracotta cartouche at the roof level • Dormer gable truncated • Replacement of the central tower and the attic roof • Internal alterations: • Introduction of open access lending in the ground floor library • Insertion of mezzanines • Addition of a public stair to the front basement

  12. Precedents Alterations to the buildings since construction

  13. Relevant planning history 1930’s The London Underground used part of the western frontage of the Library for access to Algate East Station 2005 Proposal for the expansion of the Gallery 1997 Listed building consent grated for internal refurbishment plus erection of new railings and gates 2m high along site boundary 1983 Listed Building Consent and Planning permission granted for the demolitionof 84a Whitechapel High Street, extensions and internal alterations to whitechapel art gallery

  14. Purposes, Main audiences, Community benefits The general aim of the project is to meet the Whitechapel Art Gallery’s main needs by expanding their exhibition and education spaces. Every proposal aims to be as compatible as possible with the fabric of the building. Through the transformation of spaces, the objective is to benefit the community, in the sense that spaces will serve educational requests. From the implementation of public events to the development of community schools and family programs. The new spaces, like the expanded archive, for instance, provide concrete potentials for researchers in the field of arts education, cultural studies and museum studies. Moreover, the Whitechapel educational program is addressed to the spread of life-long learning to any kind of audience through discussions, workshops and events. Last but not least, in order to increase the spread of culture and arts, the access to the gallery’s exhibitions is guaranteed for free.

  15. Building Thermal Performances Aims: •Improve thermal performance of the building adopting a respectful approach to preserving the historic fabric •Meet the required standard of the Building Regulation Approved Document Part L2 (Conservation  of Fuel and Power in  Building Other than Dwellings) •Good insulation levels of the new fabric to limit heat loss and limiting solar hear gain •Careful detailing to ensure good sealing and prevent cold air infiltrating Ventilation • Mechanical ventilation: will be kept to a minimum and will be used only where absolutely necessary •  Natural ventilation: opening windows and roof lights will be manually operated and should incorporate security facilities. Aims: •to avoid mechanical ventilation •to increase environmental quality •reduce energy use. Daylight/Solar Control •Reasonable amount of glazing windows to reduce the need for artificial lighting in the required areas: -Café -Education spaces -Workshop Studios -Offices -Circulationspaces

  16. The Whitechapel project Local consultation

  17. Project description Extension of the Whitechapel Art gallery by converting the Passmore Edwards Library Project objectives Provision of additional exhibition floor space, archive room and restoration of both listed buildings Concept Connection of two buildings that differ architecturally with the least changes to the buildings fabric Style Preservation of the existing style with concerned alterations Historic building More than one Conservation Area Whitechapel High Street Owneship London Borough of Tower Hamlets, Transport for London and London Underground Ltd Project time Three years

  18. Ambitions for the project The project will transform the the former library building next to the Gallery, increasing gallery space 78%. New collections and commissions are planed to be presented at the new gallery spaces. An entire gallery room and research room will be designed to accommodate the Whitechapel Gallery’s historic archive, and an Education and research Tower for studying and creative studios. These elegant spaces will be designed in collaboration with the famous artist Rachel Whiteread CBE and theu will be dedicated for artistic purposes. All the original exhibition spaces will be beautifully and carefully renovated. Funding The project follows a £13.3 million capital campaign and its supported by the Heritage Lottery Fund that grants totaling £3.722.200. London Borough of Tower hamlets grant of £1.300.000, Arts Council England grant of £1.050.000, European Regional Development grant of £500.000, London Development Agency grant of £350.000 £2.749.458 raised from charitable trusts and individual donors, and £2.5million from an auction of artworks donated by artists in 2006. The funding raised is represented by 57% public sources, 15% from commercial galleries, 14% from charitable trusts, 12% from individual donors and the remainder from the Whitechapel’s own founds.

  19. A few words about the Whitechapel Gallery's History The area has been a home to the poorest Londoners and to successive waves of immigrants. Passmore Edwards Library and Whitechapel Art Gallery were founded to contribute to the education and cultivation of the residents of the area. They have offered free cultural provision for generations of East End people. The Gallery was founded in 1901 and and hosted numerous of exhibitions including the the first exhibition of Guernica, Picasso’s masterpiece in 1939.Many mythical pieces of the art world were exhibited in the Gallery for first time globally. In 1958 the Gallery presented the first major show in Britain of Jackson Pollock. In 1970 and 1971 the first shows of David Hockney, Gilbert & George Richard Long and later in 1980s 90s by Donald Judd, Cy Towmbly, Cindy Sherman and Lucian Freud. Presentation of Guernica by Pablo Picasso From 2000 the Gallery hosted Janet Cardiff & GeirgeBures Miller, Liam Gillick, Nan Goldin, Cristina Iglesias, Paul MacCarthy, Mark Wallinger and Franz West. The gallery its also famous all over the world for its modern and contemporary art exhibitions and its public events. The Gallery played a major role to the cultural heritage of and character of East London bringing art from all over the world to East London, and continues to be a vital element of the east London's growth.

  20. TEAM CLIENT The Trustees of the Whitechapel Art gallery PROJECT MANAGER Osprey Mott Macdonald, London DESIGN TEAM ARCHITECT Robbrecht& Daem Architecten, Gent, Belgium CO-ARCHITECT WitherfordWatson Mann Architects, London STRUCTURAL ENGINEER Price & Myers, London SERVICE MANAGER Max Fordham & Partners, Cambridge CONSERVATION ARCHITECT Richard Griffiths Architects, London QUANTIY SURVEYOR Davis Langdon, London CONSULTANTS BUILDING CONTROL CONSULTANT Royal Borough of Kensington and Chelsea, Building Control, London ACCESS CONSULTANT David BonnettAssociates, London RIGHTS OF LIGHT CONSULTANT Shatunowski, London PLANNING SUOERVISOR Dearle& Henderson, London

  21. The Architects Robbrecht en DaemArchitecten won the commission for the project through a competition and they are in collaboration with the English Architects Witherford Watson Mann architects. The are specialized in the works that require the the connection between art and architecture. They have collaborated with some of the most famous artists including Cristina Iglesias, Isa Genzken and the designer Ann Demeulemeester. They have designed numerous exhibitions galleries and institutions related to art collections. PAUL ROBBRECHT HILDE DAEM 19501950 Selected works 1986 Initiatief 86, Sint-Pietersabdij, Ghent BACOB Bank Building, Kerksken 1991 Hufkens Gallery and penthouse , Brussels 1992-97 KatoenNatie, first place, Ghent 1997-2003 Expansion of Boijmans Van Beuningen Museum , Rotterdam 1997 The canal Houses, Ghent Gallery house Switzerland 2001 City archives Sint-Felix Pakhuis, Antwerp 2003 Competition Design Library , Amsterdam

  22. Whitechapel Gallery Proposal Summary • The exhibition program • Free art exhibitions • Art works inspired by the local culture of east London • Free entrance to art collections • Presentations with educational purposes by distinguished artists • Free access to the Whitechapel’s history archive • The Education Program • Facilities and spaces for schools, universities and community groups • Workshops and spaces for research with resources archive • School workshops • Public presentation of art writings • Art courses for adults • Online recourses • Free screenings for film makers • Facilities • Space for schools, colleges and community and archive to be used by teachers and researchers • Access for disabled people • Renovation and increased access to the historic part of the building • Longer timetable • Restaurant, café bookshop and reading room • Capability for group visits and cloakroom • Heritage • Renovation of the historic building façade • Classification and restoration of Whitechapel’s archive • Renovation of the building interiors in comparison with contemporary art

  23. Floor plan Level 0 Level M Level -1 Gallery 3 Gallery 2 Zilkha Auditorium Gallery 1 Information Café / Bar Lifts Bookshop Whitechapel High St Main Entrance Cloakroom White Chapel Gallery Dining Room

  24. Floor plan Level 1 Level 2 Level 3 Gallery 9 Clore Creative Studio 2 Clore Creative Studio 1 Gallery 7 Study Studio Gallery 8 Gallery 6 Gallery 5 Information Café / Bar Lifts Foyle Reading Room Gallery 4 Bookshop Cloakroom White Chapel Gallery Dining Room

  25. Precedents Alterations to the buildings since construction All the alterations to the buildings since the construction didn't’t affect the appearance of their historic façade, pointing out the importance of it. The main intention of the architects is to maintain this idea and restore than change any historic element of the building, internally or externally.

  26. Constraints • In order to avoid the accumulation of unexercised planning permissions the development of the project should begin before the expiration of three years • Building and engineering operations should take place only between 08:00 to 18:00 Monday to Friday and 08:00 to 13:00 Saturdays and not at any time on Sundays or public holidays to keep the amenity of the area safe. • The appropriate noise levels is 10db below the existing background noise levels. • To succeed the best external appearance all external changes of the building or finishes should match with the existing original work, and always in respect of materials used. • The gates of the building should not affect in any way the surrounding streets and protect the pubic safety. • Detailed drawings of the roof above the stairwell in the library are required as soon as possible to allow get the permission for the work to begin. The projects works fulfill every legal ethic, and every building operation is predicted and organized so it will not affect the amenity of the local community

  27. Models Models showing the proposal and the restored façade of the building

  28. Whitechapel Transport policy and site access The Whitechapel gallery is located on Whitechapel high with street level access and a wide pavement. The building is approachable by tube, bicycle or on foot. By bus: There are seven bus routs from the West, North and form the center to the East with all of them to have bus stops on the high street near the building. By Tube: One of the Algate east station’s exit is located between the two buildings with three more exits to have signage to the Gallery. By Rail: Liverpool Street station is 10 minuts walk far from the Gallery By car: There are two parking bays outside the building for disabled drivers By bike: Cycle routes are available from London transport website By airplane: Stanstead airport is 45 min away from liverpool street station Passmore Edwards Library Whitechapel Art Gallery

  29. The Whitechapel project Constraints

  30. Site description and surrounding area The proposal site is located to the north side of Whitechapel High Street, to the west of the juncture with Osborn Street, Whitechurch Land and Whitechapel Road. The north side of the site is bordered by Angel Alley. The site consists of two different buildings, built around the same period both with perceivable architectural character. The Gallery is a part four storey building with basement grade II* listed.I It was designed by Charles Harrison Townsend and its characterized by its arched entrance, its frieze, the horizontal windows and the two turrets. The library was designed by Messrs Potts, Sulman and Hennings and is a part four strorey with basement grade II listed. Main characteristics its triple glazed frontage, its baroque style and the entrance of Algate Underground station. Passmore Edwards Library Whitechapel Art Gallery Site plan Passmore Edwards library Whitechapel Art Gallery

  31. Basement

  32. Ground floor Level 0 Access and servicing The two entrances on the ground floor will remain remain in situ with the add of glass panels. The gallery’s entrance will be the main one with the library's to be the second. In that way the building will have a free access during exhibitions and all year round. The corridors of the library will remain the same. A lift is proposed to the east side of the building with three entrances for different uses. Library reading room The reading room would become a gallery focus on the history of the area. All the elements of the floor will remain in situ and will be repaired. Openings will be added in the north west corner for connection to the existing ground floor gallery. Café A new café is proposed to the south east corner of the building with street view and a chimney height flue. Gallery 2 Zilkha Auditorium Gallery 1 Whitechapel High St Main Entrance

  33. Ground floor plan

  34. 1 archive if first floor 2 café 3 meeting room 4 services 3 4 2 4 1 Mezzanie floor plan

  35. First Floor The connection of the two buildings will be achieved through an opening at the north east corner of the of the exhibition gallery. The cantilever stair will be to achieve the best circulation around the gallery. Collection Gallery The collection library would become an exhibition space for local national international and individual purposes. On the back of the floor an air-conditioning system would be added with covering. Archive Collection and reading room The children’s library to the front of the library would become a reading room.(gallery 6 and 7) Glased screen would separate the two rooms. A Lift would be to the west opening on three sides for different functions. A new staircase would be created to the east side of the porch. Level 1 Gallery 9 Gallery 7 Gallery 8 Gallery 6 Gallery 5 Foyle Reading Room Gallery 4

  36. First floor plan

  37. Second floor plan A new roof would be provided above library stair and collection gallery Study studios, kitchen toilets and office will be proposed that will be connected by the removal of interior walls 1 1 storage 2 toilets 3 education 4 office 2 4 3

  38. Third floor and roof Educational spaces would be created on the third floor with work facilities such as storages and wet areas. Windows will be erected fully glazed for view with a cartouche in situ. A new roof is proposed but with retaining the roof line to the front elevation. Also a balcony would be provided on the back.

  39. Building sections

  40. Annotated elevation of the proposal New openings above underground entrance New glazed doors LED display New glazed doors LED display

  41. Consultation • The proposal didn’t receive any formal comments or objections regarding: • Environmental health • Head of building control • Head of highways devpt • Corporate access officer • Transport of London • English heritage • London underground Ltd. • The victorian society The proposal for the expansion of the Whitechapel gallery into Passmore Edwards library was carefully and respectfully handled, by making the two buildings as consistent whole, by retaining their indivisual character and pointing out the group value.

  42. Design constraints • The proposal considers and respects the architectural value of the two buildings and any removal of existing walls or the use of new dividers were considered carefully according to the council policies of the Unitary Development Plan. • Some specific considerations about the design • The chimney breasts were advised to be retained • The original library stair roof should be replaced with something equally significant • The storm doors of the building should not be removed as they represent the history of the building • The gable and dormer should be restored • The design of the proposal seems to add to the character of the two buildings and not to affect the their appearance, and the appearance of the street

  43. Information used for planning application • Proposal for the demolition of: • Existing front stair of the Whitechapel gallery • library back roof • mezzanines • Existing library front doors • Library stair roof • Local trimming for new lifts • Existing attic • Proposed materials • Brickwork limewash finish (third floor rear first floor courtyard) • Standing seam zinc, steel mesh (first and second floor) • Cleaning and repair of existing facedes • Standing seam zinc, third floor roof • Standing seam zinc first floor • Repair of slate roof and existing lead roofs over turret and bay window • New metal frame rooflights, doubled glazed • Repair of existing timber framed windows, new secondary glazing to first floor • New steel frame windows double glazed, elevation on interior of site • New glazed entrance doors to library and gallery

  44. The Whitechapel project Procurement

  45. Different types of procurements • Traditional • Design and built • Management • Traditional • The traditional procurement, is the most common, and in that case the design process is completely separated from the construction. The client is responsible to gather the required documents before the assignment of the contractor. The contractor usually is selected through competition, or negotiation. • The client controls the design process with the architects and his consultants. The traditional procurement is a time spending method since the design and construction are separated. Thought that makes the projects risks lower due to the slower time of the project. A big advantage is that the costs and the quality of the project are easier to be estimated and more precisely, under the supervision of the consultants and the architects. • Design and built procurement • In that case the contractor is the one that takes care both the design and the construction work. In this form of procurement might be faster according to client demands but the project risks its quality since neither the client or the consultant have control of the design process. • Management • In this case the client assigns the project team with the management contractor who directly manages the project. This is the best method for fast projects and the not inexperienced clients. The risks in that case is higher where the major aim is the speed.

  46. White chapel Procurement The procurement for the Whitechapel project is the traditional one. The reason is that the project is a medium scale project and the design was separated to the construction process since the design was selected through a competition. The project has low risks and the client is involved with the design process. The role of the architect was to coordinate the project and be present present to the construction, checking and administrating the whole process according to the design and the projects constraints. The project manager, Mott Macdonald was responsible for the completion of the construction according to the timeline and schedule. Also more things to take under consideration were the projects budget, risks and business partnerships. After the completion of the design process, all the documents had to be presented to the project contractor. The present procurement guaranteed a successful project result. The contractor was the connection to the client, that had to reassure him for the for the right development of the project and the right documentation. The construction has to follow the budget agreement which means careful and not reckless spends. Even if, with this kind of procurement the construction time would be longer, the possibility of risks is lower, specially for such an elegant project witch has to do with historic heritage buildings. After the final stage of the construction the architects have to make sure that the building services are in accordance the health, safety and environment regulations.

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