Hopkins 3
Hopkins 3
2
Hopkins 3
Rob GregoryPaul Finch
PrestelMunich · London · New York
4
Front cover: Shin-Marunouchi Building © Ken’ichi SuzukiFrontispiece: Kroon Hall, Yale University © Morley von Sternberg
© For the text by Rob Gregory and Paul Finch
© Prestel Verlag, Munich · London · New York 2012
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Hopkins Architects would like to acknowledge particularly the contribution of Senior Partner, Finance, Henry Buxton to all the projects.
Thanks are extended to Robert Gregory and Paul Finch for their texts, and to Simon Esterson and Mark Leeds for the design and John Hewitt for his drawings contribution to this book.
Also to Alet Mans and Nathaniel Moore for book co-ordination.
Photography credits(l) left, (r) right, (t) top, (c) centre, (b) bottom ©Image Courtesy The Alnwick Garden p56(b)©Robert Benson p221, p223, p224/225, p239, p241(b), p243(t), p244, p245, p246/247, p248, p249, p250(b), p252, p253©Richard Brine p62, p63, p66/67, p68(c), p69, p88/89, p147(t), p255, p257(b), p258(tl)©Nicola Browne p46(b)©Mike Caldwell p297(t), p298(b)©Corin Mellor p65(bl,br)©Charles Cottrel Dormer p32©Nikos Daniilidis p139, p141, p143©Institution of Gas Engineers & Managers, Courtesy David Mellor Design Museum p65(tl)©Richard Davies p28(tr,br), p36/37, p52(t), p81, p84, p91, p112, p113, p114(b), p127(t)©Peter Durant p22(b), p23, p24(b), p28(tl), p30(c)©Ernest Fasanya p303, p304(b), p305(t), p331(c)©Simon Fraser p136, p137, p142(t)©Frayland LLC p274, p278©Dennis Gilbert/VIEW p26, p27, p31©By Permission of the Trustees of the Goodwood Collection p294©Nick Guttridge p144, p147(b), p148, p150, p152(t), p153©Martine Hamilton Knight p48, p49, p50, p51, p226, p227, p230/231, p233, p234, p235(t,b), p236/237©Hufton+Crow p188, p189©Keith Hunter p130, p131, p134/135©Timothy Hursley p200, p201, p203(t), p205, p206/207©Warren Jagger p8(tr), p260, p261, p263, p264/265, p267, p268, p269©Tom Jenkins p307, p310/311©Nick Kane / ARCAID p145©Kawasumi Architect p71, p73(l), p75©Simon Kennedy p96, p100, p103(t), p118, p119, p120(c), p121(t), p259©Bill Lyons p9(tl), p275, p277(b), p279, p283©Peter Mackinven/VIEW p12(b), p13, p16/17, p18(b), p20, p124, p125, p129(t,b)©Simon Miles p40, p41, p44/45, p47(t,b)©Tom Miller p25(c), p323, p327(b)©Nathaniel Moore p306, p307, p315©Image Courtesy Norwich Cathedral p82(b)©Ntararaj & Venkat Architects p331(t)©James O. Davies p80©Peter Otis p220(t)©Anthony Palmer p316/317©Sean Pollock p109(t)©Mandy Reynolds p286, p287, p290(t,b), p292/293©Rice University, The Campus Guide, Stephen Fox, Princeton Architectural Press, 2001 p238, p241(t)©Phil Sayer p65(c)©David Selby p43©Tim Soar p15(b)
©Ken’ichi Suzuki cover, p70, p74, p77, p78, p79©Mike Taylor p214©Paul Tyagi p7(tl,tr), p8(tl), p19(b), 21(b), p33, p35, p38, p39, p54, p55, p57(b), p58/59, p60(t), p61(b), p83(t), p85, p87, p93, p94(t,b), p95, p106, p107, p110(t), p111, p155, p157(t), p158(t), p159(t), p162, p164/165, p168, p169, p171(r), p174, p175, p176, p177(t), p178, p180/181©Morley Von Sternberg p2, p9(tr), p97, p99, p101, p102(b), p103(b), p104, p215, p218/219, p220(b), p270(t), p271(t), p208, p209, p211(t), p212(b), p213(t), p295, p299(t,b), p300/301©Jonathan CK Webb p133(c)©Anthony Weller p154, p160/161, p182, p183, p187, p192, p193, p195(t), p196/197, p199(t,b)Living Architecture / Stephen Wolfenden p116/117©Zuma Restaurant Dubai p282
5
Contents
An Introduction to Hopkins 3, by Rob Gregory 6
Place-Making and Public Engagement 10
Institutions and Headquarters 122
Healthcare 166
Schools, Colleges, Universities and Research 190
Work in the Middle East 272
Buildings for Sport 284
Lines of Continuity, by Paul Finch 320
Current Projects 324
Chronology 342
Credits 348
Awards 354
Bibliography 356
Index 358
6
Regardless of location, scale, budget or type, there is something in the
DNA of a Hopkins building – something at its heart, in its bones and in
its figure – that brings distinction and character to the work. Across an
increasingly extensive range of buildings there are traits and
characteristics in how spaces are planned, in how sections inform
elevations, in how materials combine, in how corners turn and in how
structures define places, that share a distinctive family resemblance.
Since it began in 1976, Hopkins Architects has been led by founding
partner Sir Michael Hopkins, who traces back the genetic thread of the
practice’s architecture to a number of key defining experiences. Initially
working on two self-initiated domestic projects with wife, Patty, the
rescue and restoration of their sixteenth-century timber-framed house
at Craftfield in Suffolk in the early 1960s introduced them to the realities
of construction and instilled within them the desire to produce buildings
that look the way they do because of the way they are built. This was
followed by the radical innovation of a twentieth-century small-section
steel frame at the now seminal Hopkins House in Hampstead, which in
turn led to Greene King, Patera, Broadley Terrace and Schlumberger.
After this came projects like Lord’s, where they went further still, not only
learning about the technicalities of Victorian brickwork but also, more
significantly, realising that character and ambience were just as
significant as structure and detail, with the Mound Stand chiming with
Lord’s main pavilion, expressing the sense of an English summer’s day
in brick, steel, glass and tensile fabric.
Through this legacy Hopkins had derived an entirely new language
for late twentieth-century British modernism, which attracted a
committed team of like-minded architects that included the five senior
partners he works with today, all of whom cite a shared interest in
materials (new and old), design (innovative and traditional) and place-
making (urban and rural) as their reason for joining the firm. The majority
came at the point when the practice first began truly to deviate from the
path followed by most other protagonists of British High-Tech, and even
at this relatively early moment it was clear that Hopkins’ architecture
had taken a different path, in pursuit of a new mode of expression that
engaged more directly with issues of context, history and place-making.
Together, they maintain this pursuit today, continuing to test and stretch
the potential of traditional materials and natural elements such as stone,
timber, lead and bronze with the same level of innovation previously
applied to use of man-made materials like steel, glass and fabric.
As recorded in the first two volumes of official Hopkins
monographs, their body of work has given generations of architects
a radically different sourcebook from those offered by other
contemporaries, beginning in Volume 1 with the practice’s seminal
projects, and continuing in Volume 2 with projects of truly global
significance, such as Glyndebourne Opera House, Portcullis House
and Westminster underground station. Supported by observation
and critical analysis from Colin Davies, Patrick Hodgkinson, Kenneth
Frampton and Charles Jencks, these previous volumes traced the
architect’s development from schoolboy enthusiast to what Jencks
described as ‘the architect to surpass’, illustrating along the way the
broad range of influences, from Viollet-le-Duc to Buckminster Fuller,
that bridge the gap between the practice’s interest in the medieval and
the Miesian. As these commentaries showed, it has been impossible
to attribute a style or ‘-ism’ to the practice’s buildings, so it is only by
taking a long view that we are able to frame Hopkins’ work, as an
entirely new pedigree in British modernity. It takes its place in a lineage
of design thinking that begins with the great British engineer Brunel
and runs through the nineteenth- and twentieth-century work of
Joseph Paxton, Edwin Lutyens and Owen Williams, with Romanesque
and Gothic origins brought up to date in the spirit of the Functionalist
tradition identified by Eric de Maré’s photographs, published in the
Architectural Review.
This new monograph extends the commentary, reflecting on the
third decade of the practice’s evolution and its current work, where we
see the Hopkins practice transformed into a truly international,
twenty-first-century business. It has stepped up to the challenges of
more competitive markets at home and abroad, more than doubling its
portfolio of completed buildings and extending its reach to new regions
of the world. To this end Hopkins 3 presents thirty-six new buildings,
each demonstrating how the practice’s architectural gene has mutated
in response to new typologies, such as healthcare and higher
education, and to the challenges associated with moving into new
territories such as Japan, the Middle East and the USA.
With an opening chapter that introduces fourteen projects across a
range of scales, locations and types, all publicly accessible for readers
to experience for themselves, the book then presents a series of
one-off buildings arranged in thematic chapters relating to issues of
identity, healthcare, education and play, before concluding with a look
An introduction
to Hopkins 3
Rob Gregory
7
to the future, with observations by Paul Finch as to how the Hopkins
DNA has influenced the firm’s emerging practice in the Middle East and
projects elsewhere in the world. The suggestion is that after thirty-six
years in practice, Hopkins is to Britain what Niemeyer is to Brazil, what
Murcutt is to Australia, what Correa is to India and what Ito is to Japan
– a figurehead of a culturally specific mode of architecture which, while
not limited by its own domestic boundaries, draws upon, extends and
exports the traditions of its own national heritage as its primary source
of inspiration and identity.
Place-Making and Public Engagement
Whether building new venues or working with existing visitor attractions,
in the last decade Hopkins has produced fourteen buildings that
promote specific forms of public engagement. With these buildings
new architectural forms not only responded to the nature of context but
were also expressed as manifestations of clearly resolved organizational
diagrams, and recent projects take this further, tackling a broader range
of scales, contexts and uses. They not only deal with specific and
specialist operational and visitor demands but also make broader
contributions to relationships between people, architecture and the
public realm beyond.
With Manchester Art Gallery, Norwich Cathedral Refectory and
Hostry, the West Wing at Ickworth House, Suffolk, and the David Mellor
Design Museum & Café, Hathersage, the practice demonstrates how
the scrutiny of sensitive as-found conditions – both physical and
operational – can inspire a series of bold yet appropriate interventions
and adaptations, perhaps most explicitly seen in the extensions at
Manchester Art Gallery and Norwich Cathedral. With these buildings
Hopkins continued to lead the way in creative reuse, with work that
enhances the setting, use and legibility of some of the country’s most
precious listed structures. At Manchester it was Hopkins’ detailed
understanding of the proportions and order of Charles Barry’s existing
buildings that inspired them to mirror key existing forms in the concrete
and stone extension and the breathtaking new steel and glass stair.
At Norwich Cathedral it was only through the painstaking archaeological
and structural analysis of the existing ruins that they were able to resolve
the strategy, scale and construction of both Refectory and Hostry.
Responding to as-found conditions was also the inspiration behind
all three of the practice’s new garden pavilions, set within historic walled
gardens at Broughton Hall in Yorkshire and Alnwick House in
Northumberland and within the romantic landscape of St James’s Park
in London. Adding three new forms to the typology of British garden
pavilions, each has its own unique relationship to the landscape.
At Broughton Hall the formal temple-like form of Utopia sits as an
object in space, commanding axial views across the landscape from
its symmetrical planed interior; the Alnwick Visitor Centre and Pavilion
straddles the boundary wall to create a new, dual-aspect, Janus-like
gateway and belvedere; the more sensuous plan at Inn The Park,
St James’s Park, locks into the trajectory of three meandering paths
that have been traced and extrapolated from within John Nash’s
romantic parkland setting.
A similar method of tracing and extrapolation is also evident in
the practice’s larger-scale work at Arc in Bury St Edmunds, which
develops place-making strategies originally pursued at the Inland
Revenue in Nottingham and city regeneration proposals at Chester.
It extends the physical scale and material quality of Bury’s medieval
town fabric while creating an entirely new piece of civic townscape.
As well as providing 25,000m2 of new retail space, sixty-two flats and a
new department store, the Arc development also includes a major new
public amenity building called Apex. This latter building, together with
Hackney Service Centre, London, adopts the formal and organisational
strategy of the Forum in Norwich, which 2.5 million people visit each
year, in the dramatic four-storey atrium that uses hierarchies in section
to set up varying degrees of public engagement. This approach recalls
an altogether different scale in the foyers and concourses of the
Shin-Marunouchi Building in Tokyo.
Institutions and Headquarters
With an increasingly broad range of clients, the notion of identity
remains a core concern to Hopkins, as a practice that prides itself in
never having produced a faceless building for an anonymous client in
a meaningless location. Even from the early days Hopkins produced
buildings of distinction and character that have become emblematic
to their clients, and later, as the sites have become increasingly
complicated, the practice has responded with more sophisticated
architectural solutions providing distinctive new identities for their
clients while making significant and profoundly civic contributions to
the historic places in which they were set.
Alnwick Garden Pavilion,
Northumberland
Norwich Cathedral Hostry
8
In the second chapter, five new buildings are presented that take
these preoccupations further, addressing the theme of identity across
a wide range of institutions, headquarters and workplaces, both in civic
and in landscape settings. Haberdashers’ Hall carves out an oasis-like
garden in the heart of the capital’s busy Smithfield Circus for the
Worshipful Company of Haberdashers, with a series of private
ceremonial spaces set around a delightful new cloistered quad; the
Wellcome Trust Gibbs Building and Wellcome Collection in Camden
are far more prominent, occupying an entire city block and responding
to four distinct urban adjacencies while creating a new home for the
world’s largest biomedical charity; and the GEK Group Headquarters
in Greece creates a new flagship headquarters in the heart of the city,
allowing the Athens-based contractor to relocate from the city fringe.
These are followed by two new campus designs: one creating
workplaces for more than 5,000 staff at the new DSS Offices in
Newcastle, the other a much needed world-class home for British
tennis with the National Tennis Centre, Roehampton, London, with
both tackling the issue of scale and identity in more open landscaped
settings.
Healthcare
The issue of identity also persists as a key theme in Hopkins’ new work
in the healthcare sector, through the design of two radical prototype
buildings that set out to challenge and redefine the character of
contemporary hospital design. As newcomers in the field, Hopkins
had the necessary critical distance to observe how post-war hospital
architecture had failed to live up to the ambitions of the National Health
Service, in terms of both the design of the buildings and their
relationship to the city. The innovative and revolutionary approach
taken in both of these buildings demonstrates the architects’
commitment to re-establishing healthcare architecture as a core
component of our urban infrastructure, making manifest their belief
that architecture can and should be an intrinsic part of the healing
process, through the creation of bright and airy spaces that have
a direct and meaningful connection with their context.
Applying its architectural expertise to new healthcare typologies,
Hopkins were employed as non-experts specifically to challenge the
codes and constraints that have stifled the specialists who dominate
the sector, thereby introducing significant changes in both the quality
of the buildings (via innovative environmental and spatial strategies)
and the presence of the hospital within the city, elevating its status on
the street and improving the relationship between the buildings and
the people and places that they serve.
The Evelina Children’s Hospital in London came first, when
Hopkins won an RIBA competition that called for a landmark building
that neither looked nor felt like a traditional hospital. With vibrancy
and colour previously unseen in the practice’s portfolio, Hopkins’
strategy appealed at all levels. Their integrated and visionary design
not only tied the building into a sustainable site-wide strategy for
St Thomas’ extensive riverside campus, but also embedded new
possibilities in the imagination of both the client and stakeholder,
as a result of the architect being exposed to new forms of public
engagement that helped produce its most expressive and playful
designs to date. Sharing many of the same objectives, but constrained
by a much tighter site in central London, the Macmillan Cancer
Centre, University College Hospital, adds future-proofing to the list of
core objectives, resulting in a more sober civic building that responds
not only to the need to cater for radical changes in patient-centred
cancer care today but also to the need to guarantee a commercial
return for its client in the future, when it is hoped that cancer will be
a thing of the past.
Schools, Colleges, Universities and Research
Challenging conventional practice has also led Hopkins to focus
on education typologies, responding to three decades of change in
teaching and research techniques. Through the design of schools,
colleges, universities and research establishments they have worked
at all scales and in all sectors, from the intimacy of Fleet Velmead
school in 1984 to the University of Nottingham Jubilee Campus in 1996,
tackling enduring issues relating to the integration of core teaching
space with circulation, amenity and landscape. In the last decade
Hopkins has extended its education portfolio with work on two
secondary schools in the UK and seven university campuses –
three at home and four in the USA – all of which presented common
design challenges facing expanding educational establishments.
In the case of the schools, the two projects featured in this chapter
demonstrate the integration of significant new buildings within historic
contexts: the Sanger Centre for Science and Mathematics at
Frick Chemistry
Laboratory, Princeton
University, USA
Evelina Children’s Hospital,
London
9
Goodwood Racecourse,
Sussex
Gate Village, Dubai
Bryanston School in Dorset and the extension and rationalisation
of Henrietta Barnett School in Hampstead Garden Suburb in London.
Each makes a specific contribution to a sensitive landscape setting;
at Bryanston, Hopkins added a bold, horseshoe-shaped building that
provides essential new facilities, while resolving level changes and
bringing order to a series of ill-defined gardens that surrounded
Richard Norman Shaw’s nineteenth-century Bryanston House. At the
Henrietta Barnett School, a more modest 1,100m2 of additional space
has been added in two new wings that form part of a strategy to
extend and reinforce the order of Lutyens’ fine late Victorian school.
At a larger scale, similar design challenges arose in four
commissions from American universities for a variety of teaching
and collegiate accommodation. The state-funded ARD Building at
Northern Arizona University has a crescent-shaped atrium that forms
a new social focus for entrepreneurs and researchers. This was
followed by two new departmental buildings – Kroon Hall at Yale
and the Frick Chemistry Laboratory at Princeton – both of which
use the provision of additional teaching space to bring significant
improvement to previously neglected parts of their campus settings.
With these projects Hopkins succeeded not only in bringing new
technologies and environmental standards to the American sector
but also, as most extensively demonstrated at Rice University, in
producing careful infills and additions, or entirely new college precincts.
This extended and exported the practice’s home-grown expertise,
demonstrated in recent UK schemes that include Norwich Cathedral
Hostry and Refectory, and the rationalisation, refurbishment and
extension of the existing city centre campus at Nottingham Trent
University, which provides a powerful new identity while securing
the sustainable reuse of two prominent historic precincts.
Work in the Middle East
The penultimate chapter includes just two completed projects:
the Villas at Emirates Hills and the Gate Village, Dubai International
Finance Centre, completed in 2003 and 2008 respectively. These,
however, only hint at the extent of the practice’s ambition to help raise
the quality of contemporary architecture in this rapidly changing
region, while extending and applying Hopkins’ home-grown expertise
to new climatic and cultural challenges. Although it started out with just
three people in 2004, at its peak over 100 people have been employed
in the Dubai office, forcing everyone involved to work at an altogether
different scale and pace, and bringing a new dynamic to the process
and product of the practice, with current projects such as Al Wasl
Road, the Dubai World Trade Centre, an extension to the Sharjah
International Exhibition Centre and the Dubai International Finance
Centre Towers (Central Park 08).
Buildings for Sport
The final chapter identifies more direct evolutionary traces, with
four new sports venues that each demonstrate Hopkins’ ongoing
commitment to place-making through play, with the development
of the ‘village green’ analogy first seen in 1984 at Lord’s.
With Hampshire County Cricket Club, Southampton, this line of
thinking recurs, first in relation to the nature of the place itself (through
the creation of the Rose Bowl as village green, around which new
pavilions could be added when required), and then in the varied
provision for spectator experiences, with formal and informal seating,
long views and the all-important promenade. This model has
subsequently been exported to India, where the practice is designing
three new cricket grounds, including the Subrata Roy Sahara Stadium,
MCA Pune International Cricket Centre, featured in this volume.
The evolution of sports venue architecture has extended to other
areas such as horse-racing, with the Goodwood Racecourse, Sussex,
and cycling at the London 2012 Velodrome. At Goodwood essential
links to the racecourse’s immediate and more distant settings are
re-established. The Velodrome anchors itself into the ground and
provides a continuous concourse, similar to Hampshire and Pune,
that balances the focus on the indoor, spectator-focused event with
the external activities of the landscaped Velopark and the city’s
horizon beyond.
So, from Lord’s to the Velodrome, and from the practice’s Broadley
Terrace address in London to its office at Al Quoz in Dubai, it is clear
to see that over the past three decades Hopkins’ architectural gene
has continued to change in response to new challenges and new
territories, with buildings of a truly unique architectural pedigree.
With such a strong architectural DNA, it is with great anticipation that
we look forward and ask what we can hope to see from this practice
in the years to come.
10
Place-Making and
Public Engagement
11
12
The Forum
Norwich
2001
22
Manchester Art Gallery
2002
32
Inn The Park,
St James’s Park
London
2004
40
Utopia, Broughton Hall
Yorkshire
2005
48
West Wing, Ickworth House
Suffolk
2006
54
Alnwick Garden Pavilion
Northumberland
2006
62
David Mellor Design
Museum and Café
Hathersage, Derbyshire
2006
70
Shin-Marunouchi Building
Tokyo, Japan
2007
80
Norwich Cathedral
Refectory and Hostry
2009
96
Arc
Bury St Edmunds, Suffolk
2009
100
The Apex
Bury St Edmunds, Suffolk
2010
106
Hackney Service Centre
London
2010
112
The Long House,
Living Architecture
Cockthorpe, Norfolk
2011
118
Energy from Waste
Jersey
2011
12
The Forum
Norwich
2001
Pla
ce
-Ma
kin
g a
nd
Pu
bli
c E
ng
ag
em
en
t
13
14
Since opening in 2001, The Forum
in Norwich has done much more
than simply replace the original
County Library that was burnt to
the ground in 1984. As a
collaboration between Norfolk
County Council and Norwich City
Council, the lottery-funded project
gave the city the opportunity to
create a significant civic landmark
for the new millennium. As such,
a new type of public forum was
proposed that would combine a
state-of-the-art reference library
and archive for the county’s
historic records with a new civic
space for public events and
gatherings. With supporting
activities such as a restaurant,
coffee shop, bookshop, city
‘Origins’ exhibition and lecture
theatre, the building would
Th
e F
oru
m
Bethel Street
St Giles Street
St
Pe
ters
Str
ee
t
Hay Hill
Theatre Street
Ha
ym
ark
et
1 8
9
2
3
6
45
7
10
0 20m
Context plan
Key
1 Forum
2 Forum Trust Offices
3 St Peter Mancroft Church
4 market square
5 city hall
6 Theatre Royal
7 Assembly House
8 Millennium Plain
9 South Square
10 car park entrance
St Crispin’s Road
(A1074)
Magdelen S
treet
Cathedral
City Hall
(A147)
Ca
stle
Me
ad
ow
To
mb
lan
d
St Andrew’s Street
Gra
pe
s H
ill
St Giles StreetBethel Street Market
SquareCastle
Theatre Street
Chap
el Field
Ro
ad
A11 (A146)
King
Stre
et
generate further income through
the provision of a 200-space
underground car park, and let-able
space in roughly one-third of the
building, over half of which is
serendipitously occupied by the
BBC as its regional home.
With such a diverse mix of
uses, both architect and client
acknowledged the challenges
associated with taking such a
radical approach, which risked
transforming the image of the
cherished County Library into little
more than a shopping mall with a
bookshop as its anchor. They were
thus determined to produce a
building that achieved palpable
civic gravitas, through the quality of
its architecture, the character of its
tenants and the manner in which
the venue was to be managed.
The new library occupies the
three-storey semicircular space
at the back of the plan. It exploits
radial geometries by placing
reception and communal
activities at the centre of the
circle and is surrounded by an
arc of activities for individuals
and smaller groups that
culminates at the perimeter in a
series of steel bay windows that
extend beyond the brick skin to
provide individual study bays at
first and second floor. This
gradient of activity and intensity
also exists in section, with
children’s and US Air Force
libraries on the ground floor and
quieter study rooms above.
The tenure of the BBC has
been enormously significant,
with the corporation having a
high-profile presence with an
open studio and broadcasting
base for BBC Look East, BBC
Inside Out East and BBC Radio
Norfolk. The leadership of the
Forum Trust’s Chief Executive,
Robin Hall, has also been key
in establishing a varied and
sustainable programme of
cultural events, performances
and installations that reflect the
different interests of people of all
ages and backgrounds. All of this
takes place within the dramatic
four-storey atrium, where over
2.5 million people a year come
to participate in the new civic
setting and to behold fine views
towards the church of St Peter
Mancroft through the four-storey
glazed façade that follows the
radius of the roof above.
15
7
7
3
3
5
4
3 3
6
6
2 1
Left: This model shows
The Forum in context,
not only creating a new
public space inside but
also resolving the space
between it and St Peter
Mancroft. The Forum’s
broad programme of
events is now free to spill
out in the open, increasing
opportunity for public
engagement.
0 10m
4
10
9
5
3 2 1
10
8
7
6
11
11
Long section Key
1 entrance
2 atrium
3 Library
4 restaurant
5 library stacks
6 car park
7 plant
Key
1 atrium
2 information centre
3 ‘Origins’ exhibition
4 BBC TV studio
5 BBC radio studio
6 cafe
7 shop
8 library stacks
9 office
10 plant
11 car park
Cross-section
16
17
18
0 5m
12
4
5
3
6
Key
1 entrance
2 forum
3 library
4 information centre
5 ‘Origins’ exhibition
6 café
Ground fl oor plan
Previous spread: At night
the transparency of the
façade reaches its
maximum level, revealing
the full extent of the internal
space and the delicate
steel and glass roof.
Left: The library occupies
the semicircular apsidal
end of the building, with the
children’s library on the
ground floor, the principal
lending library on the first
floor and quieter study
areas on the uppermost
second floor.
Th
e F
oru
m
19
0 5m
1 5
5 6
2 4
3
First fl oor plan
Key
1 library
2 BBC Radio studios
3 BBC TV studios
4 BBC newsroom
5 restaurant
6 shop
Left: On the second floor
space has been occupied
by the staff of BBC Look
East, allowing greater
engagement between
their work and the audience
they serve.
20
21
Key
1 library
2 storage stacks
3 library staff
4 office
Opposite: Study bays
project to form bay
windows that articulate the
surface of the brick apsidal
form. Concrete anchors are
fully expressed on the
elevation, and movement
joints have been avoided by
the use of lime mortar.
Left: The quietest, most
intimate study spaces are
arranged around the
perimeter of the library,
set between book stacks
in bay windows.
0 5m
13
2
4
Second fl oor plan
22
Manchester
Art Gallery
2002
Pla
ce
-Ma
kin
g a
nd
Pu
bli
c E
ng
ag
em
en
t
23
24
The simplicity of expression and
directness of approach seen at
Hopkins’ Manchester Art Gallery
belie the pre-existing
complexities, which ranged from
the scale of the city to the scale
of historic architectural detail.
Divided between two of
Manchester’s most significant
historic buildings, the old gallery
was constrained on many levels,
in terms of both day-to-day
operations and its ability to
engage with the public. In 2004
a competition was held, which
Hopkins won with a proposal
to radically improve the existing
Pre-Raphaelite galleries,
to provide a new suite of
contemporary galleries (including
a large temporary exhibition
space), to improve circulation
and orientation throughout new
and old spaces, and to address
issues that had frustrated the
operation of the gallery for many
years, including the lack of
access for disabled people, poor
environmental conditions,
poor security and art storage.
The proposed redevelopment
also presented an opportunity to
repair an important piece of the
city, with the proposal to extend
the gallery on to a vacant car
park presenting the biggest
challenge of all, in terms of how
to create a new, unified whole
across the entire city block
without diminishing the identity
of Charles Barry’s Greek Revival
Royal Manchester Institution
and Italianate ‘palazzo’-style
Athenaeum.
Hopkins’ approach to the new
extension began by addressing
the problem at the scale of the
city, proposing a new block on
the site’s eastern-most corner
that directly reflected the scale
and proportion of the
Athenaeum. A second volume
was then placed between the
two, on axis with the Institution’s
portico, flanked on either side by
new glass block service cores.
Cannon Street
Town Hall Princess Street
Portla
nd S
tree
t
PiccadillyDe
an
sg
ate
(M61)(M62)A6
A62
Mos
ley
Str
eet
Geo
rge
Stree
t
Piccadilly
(M63) (M56) A34 A6
Ma
nc
he
ste
r A
rt G
all
ery Then at the heart of the site
Hopkins proposed a new link,
articulated by two lifts, a bridge
and a new interpretation of the
Institution’s existing ceremonial
stair, expressed in steel and glass
and giving access to all levels
and all corners of the site.
Determined to retain public
engagement with the original
entrance, the architects made
subtle changes to the existing
building, carefully carving out two
axial routes at ground level that
connect the original stair hall with
its new, contemporary equivalent.
Hopkins were also keen to create
a notion of equivalence in the
galleries themselves, first with a
new circuit of permanent gallery
spaces on the first floor and then
in a series of flexible spaces on
Level 2, where the scale and
proportion of the Athenaeum’s
fine plaster room are echoed in
a new top-lit temporary exhibition
hall that rises to the same height
on the opposite corner.
As far as architectural
expression is concerned,
however, the notion of
equivalence between new and
old ends here, with Hopkins’
extension articulated as a bold
homage to Louis Kahn’s Yale
Center for British Art in New
Haven, Connecticut. With a fully
expressed system of frame-
and-infill construction, this
language extends Hopkins’ own
well-versed use of exposed
fair-faced concrete soffits and
the refinement and expressive
restraint of fenestration like that
seen at David Mellor’s building
in Shad Thames. With echoes
of Yale, the concrete frame
remains fully expressed inside
the galleries; large pre-cast
concrete coffers not only bring
definition and scale to each
gallery but also contribute to
the building’s environmental
systems, with air supply and
light fittings being fully
integrated into the design.
25
Pri
nc
ess S
tre
et
George Street
Nic
ho
las S
tre
et
Mosley Street
1
3
42
0 50m
The gallery works at the
scale of the city to unify an
entire city block, with a new
three-storey gallery block
reflecting the scale and
form of Barry’s Italianate
Athenaeum building
(1837–9). Between this sits
a central block with loading
bay and further gallery
space, all of which are
linked by a triple-height link.
Key
1 existing City Art Gallery (CAG)
2 existing Athenaeum
3 glazed link/atrium
4 new gallery building
Context plan
26
27
Above: The link where new
meets old includes a bridge
at first-floor level that
provides access across
the whole city block, where
a new enfilade of spaces
extends the existing suite
of galleries.
Opposite: Stone from the
original quarry specified
by Charles Barry was used
on the new extension,
seen here set within the
building’s pre-cast concrete
frame, articulated by
aluminium bronze detailing
and attic storey.
1 2
7
4
10
3
5
6
8
9
Wall section
Key
1 skylight with solar control
2 perimeter gutter
3 bronze cladding
4 naturally lit ‘cloud’ ceiling
5 stone cladding
6 expressed pre-cast frame
7 gallery extract
8 gallery wall lining
9 raised floor and services void
10 gallery artificial lighting
28
Ma
nc
he
ste
r A
rt G
all
ery
Above: The new galleries
comprise display walls,
set flush between the new
concrete frame, which
also forms the soffits, seen
here with fully integrated
ventilation, lighting and
acoustic components.
Above right: The existing
Pre-Raphaelite galleries
were fully restored,
with new roof lights and
suspended Hopkins-
designed lighting rigs.
Below right: The temporary
exhibition space, seen
here featuring Michael
Craig-Martin’s inaugural
installation, Inhale/Exhale,
includes a top-lit gallery
cloud that diffuses daylight
from three large roof
lights above.
29
0 10m
1
2
3
4
7
5 6
6
1
2
5
9
10
34
6 8
8
7
1
2
3
6
9
7 8 54
5
Ground fl oor key
1 existing entrance hall
2 shop
3 Manchester Gallery
4 café
5 atrium
6 staff / works on paper
7 multi-functional room
8 classroom
9 art lift
10 loading bay
First fl oor key
1 existing entrance hall
2 gallery (CAG)
3 glazed link
4 atrium
5 galleries (Athenaeum)
6 galleries (new)
7 art lift
Second fl oor key
1 void over main entrance hall
2 roof over glazed link
3 atrium
4 galleries (Athenaeum)
5 temporary exhibition galleries (new)
6 art lift
7 study area / meeting room
8 AV room
9 store
Ground fl oor plan First fl oor plan
Second fl oor plan
30
0 5m
2 2
22 1 4 1 6 1 5 1 5
8
7
1 0
1211
3 4
6 10
9
8
7
13
5
21
Ma
nc
he
ste
r A
rt G
all
ery
Key
1 existing entrance hall
2 galleries (CAG)
3 shop
4 glazed link
5 atrium
6 art lift
7 temporary exhibition gallery (new)
8 gallery (new)
9 loading bay
10 picture store
11 support areas
12 Mosley Street
13 George Street
14 external terrace
15 classrooms/lecture room
16 multifunctional room
Cross section
Cross-section through glass link
Left and opposite: Hopkins’
new stair chimes with that
in Charles Barry’s original
building, with both spaces
serving as key points of
orientation and circulation,
rising to three storeys to
bring light into the heart of
the plan. The new pair of
lifts provides access across
the whole site.
31
UNVERKÄUFLICHE LESEPROBE
Hopkins Volume 3
Gebundenes Buch, Pappband, ca. 360 Seiten, 25x29532 farbige AbbildungenISBN: 978-3-7913-4432-4
Prestel
Erscheinungstermin: Februar 2013