STUDIOTFlINTERNATIONAL SELECTED PROJECT 07 A frameless milky-white billboard faces visitors to TFl International as they approach from the site entrance to the …

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successful musical structure - a regular grid added to which are some more novel additions to provide events over the time frame of the entrance sequence.

These notions focus on a central concern of Studio BAAD; the experience of the individual coming into remote or close contact with our buildings. This, above other things, creates our concern for fundamental architectural issues; approach sequences, circulation space as social space to see and be seen, the lighting of both building and users, physical gesture perhaps more usually appreciated in fashion and theatre, the demonstration of construction and structure and their occasional concealment for “magical” effect.

Our construction details are very simple and direct, this is frequently a response to limited budgets available. In our buildings we want to communicate a sense that ‘ I could have done that’ in a way which is similar to the effect

created by some modern art, say Picasso and Matisse, compared with, say, Rembrandt whose technique seems unattainable to most.

Studio BAAD have not developed a “house style” preferring instead to allow a project to emerge from the clients wishes, the project programme and through on-going dialogue with the client and associated groups including members of the design team assembled for the project. This process enables each project to develop its unique characteristics for the benefit of the site, the client and the community. Our preference is to establish a strong working empathy with our clients whenever possible.

More generally our concern for environmentally aware design reflects the increasing importance of green issues to the public. Our buildings demonstrate these concerns: natural light in preference to artificial, natural ventilation in preference to mechanical. These interests have led

STUDIOBAAD Philip Bintliff studied architecture at the University of Toronto. He returned to his native England and established Studio BAAD, completing it’s first building in 1988.

Studio BAAD carries out a wide range of work including commercial, industrial, healthcare, entertainment and cultural buildings.

Programme, cost and technical requirements inevitably consume most of our time but other realms of ideas inform our architecture against which these practical considerations are tested.

We admire and rely on the works of a great many architects, past and present. But in addition to this great body of exploration and precedent we believe that, for example, the then powerful images available to those who undertook the Grand Tour have now been

superseded by equally powerful images available to a wider audience through mass media.

Our architecture arises from our experience of life rather than from the study of the past. Our references tend to be contemporary and popular. In this way, the design language we use is more accessible to the public as we more easily identify innovations in modern media than equally notable innovations in the development of works from the past.

Disney sensitised generations to the power of light, creating hitherto impossible effects by drawing light almost as a solid to achieve his effects. Disney’s work provides a short-cut to understanding the quality of light which in all its subtlety still requires many years of experience to fully appreciate. Recently film-makers too have transferred the power of Disney’s light effects to live action films often using special

effects to create a realistic effect. These again demonstrate effects which communicate powerfully with the public and which underline the central role of light and its manipulation in architecture.

Film-makers Ridley Scott and Steven Spielberg - exponents of a kind of virtual reality - create spectacular set pieces drawing on natural and imaginary events and forces for their inspiration. Further, they demonstrate the resolution of many concerns shared by Architects; visual space and appearance, acoustic space, narrative and so on.

In popular music too, an introduction can be likened to the entrance sequence to a building. They both perform the same function - to reveal aspects of the structure of the work and to hold the attention. Each exhibits some ordinariness and some novelty. Our project Hanah 1 demonstrates our response to this

to our competition winning master plan for the sustainable development of Chonming Isand – an area of the east headland of China’s third largest island over a 20 year time scale.

This project was one of a number undertaken in collaboration with New York practice Philip Johnson / Alan Ritchie architects.

Philip Bintliff has been a visiting critic and has lectured widely in the UK. The work of Studio BAAD has been published in many British and European architectural magazines including Blueprint and The Architectural Review.

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Studio BAADLinden Mill Linden Road Hebden Bridge West YorkshireUK HX7 7DP

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: 01422 843045 : 01422 845464 : [email protected] : www.studiobaad.com

SELECTED PROJECTS

WARRINGTONARTS CENTRESELECTED PROJECT 01

Conversion of Grade II listed victorian law Courts to provide a new Arts Centre for Warrington. Space had to be found for a 150 seat multi-purpose, flexible performance space along with other gallery, exhibition, performance, workshop spaces and associated stores and offices with new build additions to facilitate entrance, orientation, circulation and fire escape. The new additions announce the presence of Pyramid Arts from Palmyra Square approaching from the town centre and from Winmarleigh Street and approaches from the rail station to the west.

MINELEEDSUNIONBARSELECTED PROJECT 02

Conversion of Grade II listed victorian law Courts to provide a new Arts Centre for Warrington. Space had to be found for a 150 seat multi-purpose, flexible perform-ance space along with other gallery, exhibition, performance, workshop spaces and associated stores and offices with new build additions to facilitate entrance, orientation, circulation and fire escape. The new additions announce the pres-ence of Pyramid Arts from Palmyra Square approaching from the town centre and from Winmarleigh Street and approaches from the rail station to the west.

lIvEEVENT

GORSECOvERTSCHOOLSELECTED PROJECT 03

The existing hall was a simple rectangular space with storage along each long flank wall. The storage was removed and new tapered extensions added to suggest a focal point in the space. The extensions are top lit with continuous roof lights, maximising the daylight to the interior. The storage was replaced by a new storage building which completed the fourth side of an existing re-entrant court which now provides an assembly point for pupils and parents at the beginning and end of the school day. This new space was secured by a sliding door which is kept closed during school hours therefore creating a safe external space for fair weather activities.

The three phases for Simon Jersey have been structurally glazed. The first uses reflective solar glass which modifies incident natural light. The second uses fritted clear glass to give shade and more natural colours to views. The latest phases have shaded clear glass. The sails reflect light, and shade the interior during the day, but become almost transparent as internal lighting illuminates the translucent glazed wall they protect. A rooflight allows light through two circular glass floors, the lower one of which forms part of the ceiling to the offices below. This area is suffused with top light during the day and backlit translucent ventilators give the impression that the building is above ground. As the balance of artificial and natural light shifts during the day, the glass floors are transformed from reflecting discs to limpid opalescent pools.

SIMONJERSEYCORPORATE CLOTHINGSELECTED PROJECT 05

WIRENIGHTCLUBSELECTED PROJECT 06

TFlINTERNATIONALSELECTED PROJECT 07 A frameless milky-white billboard faces visitors to TFl

International as they approach from the site entrance to the north. At night the building glows from within. Behind is a simple two-storey box of offices clad on two sides with black profiled metal. The south elevation is an uninterrupted wall of expanded metal supported on a light steel frame which shades the fully glazed south facing offices. The shade wall forms a buffer zone, allowing the sliding doors to the offices to be open more frequently in all weathers and gives views to Preston Docks.Photographer: D. Hopkinson

BBCRADIO HUMBERSIDESELECTED PROJECT 08

RlUHPOSTGRADUATE CENTRESELECTED PROJECT 09

HOPEBAPISTCHURCHSELECTED PROJECT 10

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This building near Cheetham Hill, Manchester contains warehouse and offices which, far from being squeezed into a box, are eased into a cor-rugated steel cylinder. Se-curity is a major problem so an almost windowless form was adopted. Curved walls are virtually unscaleable and wired steel outriggers on the vertical glass resist ladders. It is a dramatic landmark in a grim industrial heartland and a technologically efficient building in terms of space, materials and IT.

BEDMAKERSELECTED PROJECT 11

Re-development of a Grade 2 listed fabric-weaving Mill set on the hills above Hebden Bridge. The scheme creates 31 dwellings of varying types and sizes, and has already won a Yorkshire Rural Renaissance Award.

PECKETWEllMILLSELECTED PROJECT 11

Set in a listed building – a former hay barn on the country estate of Earl Tempest at Broughton Hall, Skipton, Yorkshire, this is part of a group of former agricultural buildings operated by Roger Tempest, heir to the estate, who had the foresight to convert once-derelict dairies and barns into a business park. The building forms two sides of a courtyard: on the east side the windows face hills and woodland; a door in the staff coffee-bar opens onto a timber deck which oversails a flag-ringed pool, once used as an ice-pond.

4COLUMNSSELECTED PROJECT 12