Thesis Project Brief by Duncan Sparks

TOWERS OF INNOVATION SOUTHBANK

A MASTERPLAN FOR THE 21ST CENTURY DUNCAN SPARKS 391164

TOWERS OF INNOVATION SOUTHBANK

A MASTERPLAN FOR THE 21ST CENTURY DUNCAN SPARKS 391164

TOWERS OF INNOVATION SOUTHBANK

A MASTERPLAN FOR THE 21ST CENTURY DUNCAN SPARKS 391164

FOLLY DESIGN

Contents Route Map 09

Waystation, Skyline Pier 15

Thesis Abstract 19

Collaborative Design - A Masterplan for the 21st Century 23

Project Introduction 35

Site Introduction 39

Site History 43

Site Mapping 47

OXO Tower 53

Interim Drawings 57

Site potential 63

Concept Development 67

Initial Programme Response 69

Schedule of Accommodation 71

Precedent - Parc De La Villette 75

TOWERS OF INNOVATION - SOUTHBANK

Project Mission 65

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

Narrative 13

CREATIVITY CONCEPT

Contents Precedent - IBC Innovation Factory 79

Building Management 83

Environmental Strategies 85

Permissions 87

Public consultation 89

Consultant Fees 91

Building works estimate 93

Cost precedent 97

Cost Breakdown 99

Project Programme 101

Construction Phase 105

Contract Selection 109

Appendices 111

TOWERS OF INNOVATION - SOUTHBANK

Project Phase 107

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

Precedent - BankMED Headquarters 81

SECTION 1:500

Thesis year 2012-13

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

TOWERS OF INNOVATION - SOUTHBANK

NARRATIVE

WAYSTATION

SHIPS AT THE FESTIVAL OF BRITAIN

Route Map NARRATIVE

A biographical account following experience of a young man visiting the Festival of Britain in 1951. The Festival was seen as an opportunity to save Britain, a war stricken land wounded by the Second World War. Post War Britain was in austerity trying to stand tall once again, the nation’s morale had been badly affected and people looked to the festival to reconstruct Britain’s spirit. The story writing has a gradual change in its intensity from the reality of leaving the railway platform at Portsmouth Harbour to dreamlike experience of fireworks on the Thames at the Festival, piece of writing that sets the scene for my final year of study. WAYSTATION London Skyline - A memorial to the Festival A memorial as a portal to the Festival of Britain, which functions as a pier during the day and a beacon articulating the future at night. In the 1951 Festival sat opposite London’s historic skyline of Westminster. The pier is situated on the Potter’s Field site adjacent to Tower Bridge, an elevated walkway projects out on to the Thames to give views across the modern skyline of The City of London today. A design which looks to physically recapture the ephemeral experience of six decades ago. This design is further linked to my final thesis design and acts as an arrival point for the site. WRITTEN THESIS Transforming national identity & legacy through British expositions

The Great Exhibition of 1851 and The 1951 Festival of Britain. The introduction establishes the nature of both promotional expositions in London. The following two chapters examine the motives and aspirations that lay behind these extraordinary events that afford two unique snapshots of the state of Britain a century apart. Finally, in the interest of comparison the third chapter analyses the narrative and language of the two expositions in terms of venue, layout and design. The thesis concludes that it was the legacy of both exhibitions that defined their success. Both the Great Exhibition and Festival of Britain, engaged with their societies. So can the medium and method of the exposition, again manifest itself at present to reflect a new face of Britain?

TOWERS OF INNOVATION - SOUTHBANK

This dissertation examines the transformative aspects of large scale expositions in Britain, namely

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

Experience Tomorrow - A Glimpse into the future

AXONOMETRIC DIAGRAM

OVER TOWER BRIDGE

FIREWORKS ON SITE

Route Map COLLABORATIVE DESIGN

From the research carried out by myself and fellow student Philip Pryke, we took the decision to design a masterplan for the South Bank. Both our written theses explored the South bank, from its beginnings at the Festival of Britain to its relationship with public art and the growth of public appreciation of contemporary design. The proposal of a riverside walk, stems from the potential seen in creative industries. Extensive research into clusters of creative activity along the South bank helped to identify areas of concentration for certain disciplines. The riverside walkway will pinpoint areas of activity through satellites that correspond to a certain industry, we have identified 12 sectors each with two pavilions that are strung along the river. PROJECT BRIEF Re-shaping British identity & legacy through innovation & trade in the 21st century This document is a response to the research carried out for the written thesis, that also takes into consideration the chosen site constraints. Initial research was carried out along the South Bank between the Jubilee Gardens and Potters Field, understanding the creative industries as a potential catalyst for growth within London. From this a riverside walk will be implemented along the river Thames, which will end at Potters Field. The brief then explores the requirements of a potential creative industries park, with the investigation certain typologies relating to innovation and trade. These typologies manifest themselves as towers, which relate to the Tower Bridge and Londonâ&#x20AC;&#x2122;s new skyline. THESIS DESIGN

My project looks to construct an identity for the South bank of London whose value is not purely practical, that strives for beauty, that communicates a cultural value, through trade and innovation. This talent factory will hold an expressive value with social, cultural and economic benefits, defined by inclusiveness of social gathering within the Park. Providing a sustainable environment for creative industries, a point of encounter for collaboration between students, councils and employers. Based on the principles of open innovation, where new collaborative projects can be conceived, developed and delivered. The purpose is in getting these ideas and concepts into use quickly and efficiently, and where possible and appropriate, aiding the commercial development and wealth creation that these new projects can produce.

TOWERS OF INNOVATION - SOUTHBANK

Creative Industries Park - Towers of Innovation

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

Mapping the Creative Industries - A masterplan of the South Bank for the 21st Century

JOURNEY TO FESTIVAL

AT THE DOME

WAITING AT THE PLATFORM

Narrative A Biographical account following experience of a young man visiting Festival

war striken land wounded by the Second World War. Post War Britain was in austerity trying to stand tall once again, the nation’s morale had been badly affected and people looked to the festival to reconstruct Britain’s spirit. The story writing has a gradual change in its intensity from the reality of leaving the railway platform at Portsmouth Harbour to dreamlike experience of fireworks on the Thames at the Festival. Extracts from Experience Tomorrow As darkness falls upon us, the pavilions slowly glow and illuminations radiate across London, the festival coruscates with light but one daring beam of light floats above all, hundreds of feet tall, a character of triumph and belief in Britain’s future. The Skylon, lit from within and glowed like a blade of light piercing into the night sky. The design raw and industrial, even insect-like, the dramatic lighting only intensifying its skeletal quality; such ambitious thinking I had never observed before. In

the

background

underneath,

the

Dome

prow

of a

Discovery spaceship,

was it

lit cuts

from the

phosphorescent ocean that has washed London’s waterfront at night is dreamlike and I am able to fashion a fantasy, whilst the aluminium shell hovers in mid-air, gesturing to the future a brave new world. As I stare in amazement at the wondrous fireworks, and marvel at the castles in the air along the Thames, half real, half fantasy. They ascend the Westminster night sky, as the Cotswold water moves eagerly down to the sea mouth, momentarily imprisoning, but never carrying away, the extravagant light that is London on the Thames.

TOWERS OF INNOVATION - SOUTHBANK

with an iridescence of beauty and excitement. The South Bank

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

of Britain in 1951. The Festival was seen as an opportunity to save Britain, a

ACTIVITY OF LONDON

WAYSTATION PIER

Waystation - Skyline Pier A memorial portal to the Festival of Britain, functioning as a pier during the

1951 on the Southbank, sat opposite London’s historic skyline of Westminster; this pier projects out on to the Thames and gives views across the modern skyline of The City of London. Before taking you back to the water’s edge to catch the next boat or ferry along the river. This design looks to express the ephemeral experience of the festival for those who were not able not experience the captivating occasion over six decades ago. A short screenplay accompanies this ‘Waystation’ design, Experience Tomorrow follows the journey of a young man heading to the festival. The following drawings were presented at review in November 2012.

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WAYSTATION PIER

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

day and a beacon articulating the future during the night.The Festival held in

PIER LIT AT NIGHT

MODERN DAY SKYLINE

Waystation - Skyline Pier

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

TOWERS OF INNOVATION - SOUTHBANK

SITE PLAN

SHIPS PAVILION AT FESTIVAL

Thesis - Abstract ABSTRACT

transformed British national identity. The Great Exhibition of 1851 and the 1951 Festival of Britain. One hundred years apart, these two pivotal cultural events offered a forum for experimentation and debate over what it meant to be British. Drawing on remarkable sketches, plans, photographs and paintings, Transforming national identity & legacy through British expositions attempts to reveal the story of the successes and failures of the Great Exhibition and the Festival of Britain. The written thesis explores the legacy and aspirations of the Great Exhibition and the Festival of Britain on the reshaping of taste and development of 19th and 20th century Britain. The introduction establishes the nature of both promotional expositions in London. The following two chapters examine the motives and aspirations that lay behind these extraordinary events that afford two unique snapshots of the state of Britain a century apart. Finally, in the interest of comparison the third chapter analyses the narrative and language of the two expositions in terms of venue, layout and design. The thesis concludes that it was the legacy of both exhibitions that defined their success. Two of Londonâ&#x20AC;&#x2122;s great museums, the Science Museum and the Victoria & Albert Museum, were formed as a direct result of the Great Exhibition which had highlighted the countryâ&#x20AC;&#x2122;s need for better education in the new age of science-based technologies and applied art. Furthermore, although the Festival of Britain was a momentary expression of to the South Bank being the birth of a modern cultural centre, which now rivals any arts quarter across the world today. Both the Great Exhibition and Festival of Britain - the focus of my written thesis, engaged with their societies. So can the medium and method of the exposition, again manifest itself at present to reflect a new face of Britain? One which would promote British innovation and ingenuity to inspire growth not only in terms of trade but in forging a new sense of pride in national identity and British culture - a proposition that is investigated in my design thesis. Keywords: Great Exhibition, Festival of Britain, South Bank, Legacy, National Identity, Empire, Second World War, Crystal Palace, Skylon.

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British innovation, it was seen as a beacon for change. With its true contribution

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

This thesis explores two key design-led events held in London, that

Collaborative design - A masterplan for the 21st century

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

TOWERS OF INNOVATION - SOUTHBANK

PHILIP PRYKE - JUBILEE GARDENS DUNCAN SPARKS - POTTER’S FIELD

A masterplan for the 21st century

London. Building upon the already strong presence of the creative industries throughout the area we have introduced a series of pavilions for the twelve key sectors. These sectors are, advertising, architecture, art, arts, crafts & antiques, broadcast media, design, fashion, film & video, music & performing arts, photography, publishing and software. These temporary pavilions once redundant will be redesigned and replenished by the very industries they serve.

Since the Global Financial Crisis in 2007-2008 it has been a key aim of many within British politics to strengthen our economy through the creative industries in order to relieve the countryâ&#x20AC;&#x2122;s dependency on the volatile financial services sector. Technological developments allow developed nations whoâ&#x20AC;&#x2122;s manufacturing industries have diminished to capitalise upon the creative and cultural economy. By choosing a 2 mile stretch of the South Bank with a popular public promenade it is hoped a synergetic connection between the public and industry can be created. Building from this masterplan we have each chosen projects which will provide a platform to nurture creative talent and public engagement with the creative sectors.

TOWERS OF INNOVATION - SOUTHBANK

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

This masterplan provides a strategy to enhance the creative potential of

• ADVERTISING In Britain, employment in advertising, which includes marketing and some public relations activities, is dominated by multinational agencies, and is heavily centred on London: it and New York are widely regarded as the capitals of the advertising world.The London-based communications group,WPP, is the world’s largest by revenue, employing almost 140,000 people in more than 100 countries.

• ARCHITECTURE Like many creative industries, the architecture sub-sector is made up of a handful of big firms and a very large number of small ones. The sub-sector’s fortunes are closely linked to those of the construction industry. A number of British architects have achieved international reputations, including Norman Foster, Richard Rogers and David Chipperfield.

• ARTS The arts are a vast subdivision of culture, composed of many endeavors (or artforms) united by their employment of the human creative impulse. The arts is already well represented by the South bank, with the Tate Modern and Hayward Gallery showcasing a variety of different works of arts.A number of British aritsts have achieved international reputations, including Barbara Hepworth, David Hockney and Antony Gormley.

• ARTS, CRAFT & ANTIQUES Includes dealers and auctioneers of antique jewellery, paintings, sculpture, furniture, maps, drawings and prints. Businesses in this field are mostly tiny: 75 percent are sole traders. The majority of craftworkers are women and, perhaps surprisingly, are mainly based in urban areas. But some, notably Sotheby’s and Christie’s, are internationally important.

• BROADCAST MEDIA This sub-sector covers all public service, commercial, cable and satellite TV and radio, including the production and broadcasting of programmes. The BBC dominates the British market, but many independent companies have devised formats which have been successfully sold abroad.Who Wants to Be A Millionaire?, which has been shown in more than 100 countries, was developed by the independent company, Celador.

• DESIGN This sub-sector is hard to assess as much of it is hidden within other industries. The DCMS therefore looked at design consultancies and designers working in industry. It found that 70 percent of British design companies were active abroad. London in particular has a strong reputation in this field, based on its excellent design schools.

A masterplan for the 21st century • FASHION

market – even small fashion businesses look to export their products. Britain’s fashion schools have helped train numerous internationally renowned designers, from John Galliano to Stella McCartney.

• FILM AND VIDEO This sub-sector includes film production, distribution and exhibition. Although the UK has a number of successful home-grown producers, such as Working Title, the Hollywood studios dominate the British market. The number of films produced in Britain, and their box-office returns, fluctuates considerably from year to year.

• MUSIC & PERFORMING ARTS This includes both live and recorded music, music publishing and the administration of music copyright. Britain excels in most forms of music, from rock and pop to classical, and its consumers spend more per head on music than almost any other country. Theatre, dance, ballet, musicals and opera performances also fall into this category. These art forms usually depend on a mix of public subsidy and private ticket sales and funding.

• PHOTOGRAPHY Photography is both a unique art form and a mass medium. Photography has established its place within our art galleries and museums; it continues to be a major commercial practice and a means for us to record our day-to-day lives. The disciplines of fine art, commercial, documentary and vernacular photography increasingly cross over and individual photographers frequently work across these different areas.

• PUBLISHING

the largest employers among the creative industries. The widespread use of English internationally means that book publishing in particular is a globally connected industry.

• SOFTWARE The biggest creative industry of all in the UK is software and computer services. It covers the creation, production and supply of tools and applications and of software products, including web design. The large majority of employment in this sub-sector is based outside London. American multinationals tend to dominate in this field, but some British companies do well in niche markets, including Autonomy and Sage in business software.

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The publishing of books, newspapers, magazines and electronic information is one of

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

Fashion design is a relatively small sub-sector, but is highly integrated into the international

CONCENTRATION OF CREATIVITY

A masterplan for the 21st century

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

TOWERS OF INNOVATION - SOUTHBANK

PROPOSED MASTERPLAN

A masterplan for the 21st century

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

TOWERS OF INNOVATION - SOUTHBANK

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

TOWERS OF INNOVATION - SOUTHBANK

Potter’s Field - Analysis and research

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

TOWERS OF INNOVATION - SOUTHBANK

Project Introduction INTRODUCTION

to three primary factors. Creativity, Finance and Power & Politics. Location

Potter’s Field, Southwark, London

Project title

Creative Industries Park

Project client

Greater London Authority

Architect

AC&I - Duncan Sparks

Contract form

Traditional

Overall cost £32,490,026 (ex VAT) Floor area 14,280m2 Cost per m2

£1,892

Budget £35,000,000 (ex VAT) Commencing

30th July 2014

Completion

1st August 2017

Creative roots will form not only from the cultural promenade, but the East End of London. Hackney is the creative heart of London; home to more artists than anywhere else in Europe, a thriving hub of new media and digital industries in Shoreditch, Hoxton, Dalston and Hackney Wick. Creativity thrives in more

Galleries showcase the vibrant artistic community in spaces including Mother Studios, Elevator Gallery and the Schwartz Gallery. Six decades ago the Festival of Britain was held on the South Bank, sat opposite London’s historic skyline of Westminster. The proposed project will sit opposite Thames and gives views across the modern skyline of The City of London. A major financial district known as the ‘Square Mile’ it is the commercial heart of Britain. An important factor to the development of any design or project is partnerships with financial backing this could be funded through the city of London.

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than 600 studio spaces hosting exhibitions, film screenings, live music and more.

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

The rationale behind the choice of site is due to the nature of the sites proximity

KINETIC PIER

Project Introduction Finally on the site of the venue sits the GLA City Hall, political power is an

this through linkage or collaboration may prove vital for the success of the proposition. After the ‘Cultural Olympiad’ how can London maintain an identity through trade innovation and creativity. The conclusion to the proposed cultural promenade will be the Potter’s field site. This prominent site will be home to a cluster of buildings and supporting pavilions. This project will create an environment, based on the principles of open innovation, where new collaborative projects can be conceived, developed and delivered. The purpose is in getting these ideas and concepts into use quickly and efficiently, and where possible and appropriate, aiding the commercial development and wealth creation that these new projects can produce. The project is all about Knowledge Exchange – not knowledge transfer but a more engaged concept that accepts that the flow of knowledge..

TOWERS OF INNOVATION - SOUTHBANK

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

significant aspect of such a building and event. Therefore recognition of

PROPOSAL- IAN RITCHIE ARCHITECTS

PROPOSAL - IAN RITCHIE ARCHITECTS

PROPOSAL - SQUIRE & PARTNERS

PROPOSAL- SQUIRE & PARTNERS

GLA CITY HALL - FOSTER & PARTNERS

Site Introduction The site is currently derelict of which some of the remaining land is use for car park,

Due to the site prime location it is no surprise that there have been numerous development proposals for it. The latest of these is a project by Squire and Partners for a mixed use development scheme on the site. The plans for this brownfield site, located between the Greater London Assembly and Tower Bridge on the south bank of the river Thames, consist of 9 blocks of private and affordable residential accommodation and an expanded cultural facility. A long linear building will address the park and the waterfront, connecting Shad Thames with More London. A slender campanile of 20 storeys will mark the location of the development and add variety to the sky line. Additionally, a new street will be created by the development, visually and physically connecting Queen Elizabeth Street to the southern tower of Tower Bridge. The building materials, mass, and scale have been carefully designed and chosen to mediate between the traditional brickwork and alleyways of Shad Thames and the modern glass and steel buildings of More London. The use of bespoke London stock bricks, hand cut natural stone work and bronze panelling make the transition from the ‘old’ to the ‘new.’ The landscaping of this important site has been carefully designed with landscape architects Gross Max. This unique riverside location gives fantastic views of the river, Tower Bridge, the Tower of London and City beyond, while the large public cultural facility will enhance the already diverse and existing mix of activities that run along the Thames. Work is planned to start on site later this year. Potter’s Fields Park occupies a unique position within London. It is in juxtaposition to the historic context of Tower Bridge and the Tower of London, and the new development

the most significant green spaces on the south bank of the Thames within the London metropolitan area. In addition to its role as a green corridor between these major tourist landmarks, it performs a vital function as a local park in the London Bridge area. The client’s brief was to design a pair of gateway pavilions at two separate entrances to the Park, in collaboration with landscape architects GrossMax. Parkside Pavilion, situated next to City Hall, accommodates a new café, public conveniences, ATM points, and unusually, existing vent shafts to the GLA and a garage for the huge window-cleaning crane that cleans City Hall. The second pavilion, Blossom Square, rests in the shadow of Tower Bridge and the proposed site for the new Berkeley Homes development adjacent to the Queens Walk, and provides retail facilities, a sheltered seating area and park store.

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of City Hall and the More London Development by Foster and Partners. It is one of

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

north of the site is public green space which will be retained as part of the landscaping.

POTTER’S FIELD - MAX GROSS

SOUTHWARK - GOOGLE

BORIS STATUE - DEZEEN

Site Introduction Potter's Field is located in the heart of London, west of St Paul's Cathedral and directly

choice of this site and why it is important. Firstly the prowess of surrounding buildings. These surrounding buildings mark a moment in the landscape of London and the Thames, Tower Bridge,Tower of London and more recent interventions such as Norman Foster's GLA Building. These buildings and landmarks denote the edge on which the inner city of London is notional known as, therefore the creation of such an important project at this site of Potter's Field is fitting for its purpose. Tower Bridge built in 1894, runs perpendicular to the site over the River Thames, and is seen by many as a monument to the imperialism and the dominance if the British Empire. By the time this bridge was built the Empire had fallen considerably, as its power, wealth and size began to disappear is bridge was one of the Empire's last true physical landmarks. The physical massing of the Tower of London is a point of entry or gateway to inner London through the river Thames, a colossal fortress of history. Constructed in 1066 it serves as a beacon to our past heritage and cultural identity. The locality to the river Thames and its position is a key factor. Its link to power, trade and culture is highly significant and is possibly the most recognised metropolitan river in the world. It has been used by royalty and aristocracy in processional and celebratory purpose; it is a major conduit for trade and economics within the country, and in fact this is the main reason why the city developed in the location it has. However it is over the past 60 years since the Festival of Britain, the river's role within the city of London has shifted considerably. Before WWII the Thames was alive with shipping wharfs and warehouses - industry lifeblood of London. However there was a paradigm shift in how

London as a result is now known less for industry and trade and more for its edifying arts and education, a cultural hub for the city with events and spaces along the river that draw people together and give cultural identity to the city. The location on the river is therefore important, as it provide a link to this key feature in British past from its power, trade and cultural aspects.These are factors that have shaped the city's identity, now another layer of history is going to rest beside the river. To help shape and transform the emerging creative industries that will reassert London's status as a influential city.

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the river was employed, slowly education and arts projects emerged along the riverside.

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

south of the Tower of London just over the river. There are several reasons for the

ROMAN LONDINIUM - C.190

THE CITY GROWS - C.1642

THE EMPIRE BEGINNINGS - C.1775

Site History

THE FALL OF EMPIRE - C.1910

POST WAR LONDON - C.1950

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RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

THE HEIGHT OF VICTORIAN EMPIRE - C.1860

1922 - ENGLISH HERITAGE

Site History The Potter’s Field site has been a central feature within London for a thousand years

marshland known as Horsheiedon owned by Bermondsey Abbey and the Hospital of St John of Jerusalem. In the mid 16th century the land was forcibly surrendered to Henry VIII following the dissolution of the monasteries and St Olaves School was founded on the site. By the end of the 16th century it had become an annexation of the newly established St Olaves Church and Churchyard. In 1618 Pickleherring Pottery (where the name Potter’s Field comes from) established their pottery on the site making English Delftware. Over 100 potters established business over the next 150 years in the area around and on the site until 1772 when pottery disappeared from the area. The site passed through many hands before becoming a burial ground for St John’s Church, which it remained until 1854. In 1856 Hays Wharf was built on the site but it was burnt down 5 years later. From 1870 a Tower Subway was in operation going, from the site, under the river, to the Northern bank, this was closed through soon after the opening of Tower Bridge in 1894. The site then became, at various times, recreation grounds and docks wharfs until World War II when site was badly bombed. The industrial use and ended in 1969 when the last working docking, Hays Wharf, was closed. In 1977 the area was converted into an Urban ecology park part of the new London Bridge City, completed in 1988. In 2000 the City Hall for the newly established Mayor of London was built transforming the site into what it appears today. The park closed in 2006 for major refurbishment, re-opening in 2007. Potter’s Field was

beautiful, world class facility, which hundreds of people pass through and enjoy on a daily basis. Landscape architects Gross Max created a place for public events; a park which reflects upon its distinctive local history, and provides a restful space within the bustle of London.

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extensively landscaped in 2007, the park you see today has been transformed into a

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

having a variety of recorded uses. Between the 12th and early 16th century it was primarily

FIGURE GROUND OF SITE

ROUTES OF MOVEMENT

Site Mapping FIGURE GROUND

area holds. It is surrounded on three sides, creating a courtyard with its open aspect to the north towards the Tower of London. The site is framed by Tower Bridge on the east and the Greater London Authority Building to the West. To the south sits a building belonging to Lambeth College, and behind that are shops and offices. What can be seen is that the buildings to the east of the site are much more private, being closer together which in some cases form enclosed courtyards. There are regularly laid out in squares and are mostly remnants of previous Dockside wharfs that up until 40 years ago, dominated the waterfront in London. The buildings to the west of the site are more recently constructed and contemporary in nature.These attempt to make more of their prime position in terms of views out and also in terms of prominence of the buildings.They work together to create open space and a public route through to the GLA building.

Ma jor A roads Minor A roads R a i l wa y l i n e s

TRANSPORT ROUTES The site is very well connected, being a quarter of a mile from London Bridge Underground. There are major trunk roads connecting the site

to the rest of London and it is directly opposite a water taxi stop outside the Tower of London. The proposed pier will offer yet more travel via the waters edge. Inner London has large amounts of traffic during the daytime, meaning busy periods

Underground station. Public footpaths provide a vital link as well to the site as they are the major route via which people will pass through the site. Footpaths along the Thames have a high level of footfall, with a large tourist market that can also be utilised. Footfall along the Tooley Street to the South is much more by people locl to, or working in the area.

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during peak times, many people visiting the site will enter from the London Bridge

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

The site is currently vacant, subject to speculation due to the prominent position this

BUILDING HEIGHTS OF SITE

BUILDING USES OF SITE

Site Mapping BUILDING HEIGHTS

BUILDING HEIGHTS Building heights in the area vary dramatically and often this reflects the character or use of an area. For instance therefore the north west corner of the extract shows a series of tall buildings close together which are part of a business district, with a series of very large office blocks. Similar analysis can demonstrate through height and form, how the south west corner of the extract is typically blocks of residential flats all around 4-6 storeys high. There are very few low rise two storey flats and buildings in the area. This can partly be attributed to the prime location near the waterfront, where high rise blocks of flats will provide a better return on investment. This consequently means that with larger numbers of small flats, densities of up to 200 - 300 dwellings per hectare can be achieved. One the site the office blocks to the west are approximately nine storeys high and the blocks to the east are around six - seven storeys high. To the south the buildings are approximately four - five floors high. This means that there is good opportunity to make the most out of the southern aspects and the effects of solar gain.

RESIDENTIAL BUILDINGS

BUILDING USES The river is the defining feature of London, its

COMMERCIAL BUILDINGS

meandering route shapes not only the urban grid

PUBLIC BUILDINGS

but to a finer detail, the buildings uses. Over time

LEISURE BUILDINGS

as the city as changed so have the types of uses for buildings that inhabit the water’s edge. Originally

the city only existed on the northern side of the river, slowly residential property developed on the south. However it was not until after the Great Fire of London docks and wharfs beside the river. The mapping shows a contrast between north and south of the river, with the north side containing a majority of commercial building and the south shows a majority of residential properties. Another factor that can be seen from this analysis is the ‘cultural gateway’ that starts west of Tower Bridge. Public and state buildings such as the Tower of London and the Greater London Authority building are west of the Bridge.Travel further east of Tower Bridge and the commercial and public buildings are far more sparse. Therefore the intended project should only enhance this threshold, recently the river Thames a become a major draw for tourism. Tourism is the UK’s third highest export earner behind chemicals and financial services, with tourists spending more than £16bn annually and contributing over £3bn to the Exchequer.1 1. http://www.telegraph.co.uk/earth/environment/tourism/8587231/UK-Tourism-facts-and-figures. html

TOWERS OF INNOVATION - SOUTHBANK

in 1666, that the city began to expand with commerce and industry thriving on the

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

18 FLOORS

1 FLOOR

LISTED BUILDINGS

PUBLIC OPEN SPACE

Site Mapping - Listed buildings/Public space LISTED BUILDINGS

Kingdom can be listed by English Heritage. There are a number of listed buildings in the area including the grade I listed Tower Bridge and Tower of London. It is important to consider these carefully, as any development will have to ensure that it does not adversely impact on these structures. Also of particular interest with regards to the site is the Lambeth College Building to the south of the site, which is grade II listed. Therefore although this is the lowest level of listing it is still key to decide what should be done with the building. The other listed building that is adjacent to the site is a gatekeepers house on Tower Bridge. The integration of these two buildings will be a key element in any potential scheme.

PUBLIC SPACE The location of the site is in the centre of London and as such the amount of public open space is always likely to be limited. The site itself has a large amounts of public open space, this will need to be addressed when considering the design of landscaping.The existing landscaping was designed by GrossMax landscape architects and the public space extends out towards the hardscaping of the More London development. Consquently one result of this analysis is that it uncovers that the

of buildings. Therefore the current public space available must not be lost, and if possible increased. The stretch of the river Thames has very little open space, as the major parks in London, namely Hyde Park, St Jamesâ&#x20AC;&#x2122; Park and Green Park are to the east and Southwark Park to the west. The proposal of a full riverside walk along the South bank also holds a key concept with regards to green space, with the linkage of green spaces between Jubliee Gardens to Potterâ&#x20AC;&#x2122;s Field.

TOWERS OF INNOVATION - SOUTHBANK

public open space is important to retain, due to the nature of London and its density

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

Buildings that are of special architectural merit or historic interest within the United

OXO TOWER -DUNCAN SPARKS

South Bank - OXO Tower OXO TOWER, SOUTHBANK

Wharf complex is a place for shopping, eating, and panoramic views of the London skyline. It was reborn when the abandoned warehouse was turned into shops and studios for local artisans at a cost of £20 million. The site was originally used to store the Royal barge of King James I, which is why the address is “Bargehouse Street.” Later it served various purposes before the current building was erected in the late 1800’s. Then, it was a power station, providing electricity for the Royal Post. From 1928-1929 Albert W. Moore converted the building into a cold storage warehouse. Though he is widely credited for magnificently transforming the building with art deco sensibilities, by the 1970’s it was abandoned and a decade later was threatened with demolition. The community came to the tower’s rescue, and organized a campaign to save it. 21ST CENTURY USE The reprieve came in 1984, and in 1996 the re-born complex was open to the public. Today the OXO Tower has become one of the signature landmarks of England’s capital. The O X O letters, each ten feet tall, are actually windows with light shining through them from inside the building. The OXO Tower currently has a set of design, arts and crafts shops on the ground and first floors as well as two gallery spaces, many restaurants and gallery@oxo. A well-known restaurant is located on the eighth floor, which is the roof top level of the main building. The second to seventh floors contain 78 flats. OXO TOWER - REDBUBBLE.COM

TOWERS OF INNOVATION - SOUTHBANK

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

Originally a power station, and later a cold storage warehouse, the OXO Tower

Towers of Innovation - Development & Response

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

TOWERS OF INNOVATION - SOUTHBANK

INTERIM SKETCH TOWARDS TOWER BRIDGE

INTERIM SKETCH FROM TOWER BRIDGE

Interim Drawings

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

TOWERS OF INNOVATION - SOUTHBANK

SITE PLAN

Lobby and ground-floor restaurant

This is a computer-generated image for indicative purposes only

DESIGN OFFICES

This is a computer-generated image for indicative purposes only

ENTRANCE

EXTRACTIONS TO CREATE VIEWS

FRAMEWORK FOR PAVILIONS

image 07 DPS

25th-floor garden by night

Interim Drawings

SITE POSITION

TOWERS OF INNOVATION - SOUTHBANK

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

WHARF BRIDGES

Street Level Floor - 1:250 [FFL +2.60 // FFL +4.40] 1. Design Store 2. Store 3. Foyer 4. Architecture Surgery 5. Fashion Store 6. Advertising Surgery

3. 4.

2. 2.

5. 2.

6. 2.

STREET LEVEL FLOOR Lower Ground Floor - 1:250 [FFL +0.00] 1. Plant Room 2. Store 3. Kitchen 4. Cafe 5. Foyer 6. Architecture Planning 7. Bike Store 8. Toilets 9. The Hub

2. 5.

1. 6. 2. 7. 5.

LOWER GROUND FLOOR

Interim Drawings EXTRACT FROM INTERIM PROJECT DESCRIPTION

innovation, where new collaborative projects can be conceived, developed and delivered. The purpose is in getting these ideas and concepts into use quickly and efficiently, and where possible and appropriate, aiding the commercial development and wealth creation that these new projects can produce. DESIGN - 3D printing, Furniture, Lighting, Packaging and Design store. ARCHITECTURE - Virtual reality, Architecture planning, Architecture surgery, Crit spaces and Model Making. FASHION - Illustration, Textiles workshop, Photography and Fashion store. ADVERTISING - Television and Radio studios, Photography, PR contemporary and Advertising surgery.

PAVILIONS The park will adapt dependant on the time of year, open season during summer. The pavilions will be occupied and create temporary spaces for 12 of the creative industries. Whilst during the winter season the pavilions will become follies and act as landscaping.

TOWERS OF INNOVATION - SOUTHBANK

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

This project will create an environment, based on the principles of open

CONCEPT STRATEGY FOR ELEVATIONS

SOUTH BANK - GOOGLE MAPS

Site Potential

The City Finance

Potter’s Field Politics & Power

TOWERS OF INNOVATION - SOUTHBANK

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

East End Creativity

Project Mission MISSION STATEMENT

for collaboration between students, councils and employers. Construct an identity for the South bank of London whose value is not purely practical, that strives for beauty, that communicates a cultural value, through trade and innovation. This talent factory will hold an expressive value with social, cultural and economic benefits, defined by inclusiveness of social gathering within the Park. This project will create an environment, based on the principles of open innovation, where new collaborative projects can be conceived, developed and delivered. The purpose is in getting these ideas and concepts into use quickly and efficiently, and where possible and appropriate, aiding the commercial development and wealth creation that these new projects can produce. SOCIAL POTENTIAL Youth unemployment at present is a worrying statistic 957,000 16 to 24 year olds are out of work, start up studios that integrate business schools and potentially subsided rent dependent on company turnover. Will offer a platform for students and young people, preparing them with practical experience to assist in decision on their career path. The creative industries is a highly diverse discipline, from fashion design to software design. Currently students that finish education with no experience in the labour force, next year students could be entering jobs or deciding courses of study

enormously unprepared to work and the dangerously uneducated to make a significant decision towards their career path. By creating work opportunities for young people, this will help them to build a professional skill set and level of responsibility that is invaluable to their future careers. ECONOMIC POTENTIAL The need for such a project upon the site of Potterâ&#x20AC;&#x2122;s Field is vital to the smaller industries that this park is attempting to promote and revitalise. The future is held by those currently progressing through education, apprenticeships and young professional. This creative industries park will enhance the South bank and support the surrounding areas of Southwark, not only will the retail units be affordable but the facilities will introduce enthusiastic skilled young people

TOWERS OF INNOVATION - SOUTHBANK

with no practical experience in the working background. This leaves them

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

To create a sustainable environment for creative industries, a point of encounter

into familiar surroundings, at highly competitive rates. 67

1. TOWERS

2. STEP DOWN FOR SOUTH FACING LIGHT

3. SHIFT ELEVATION TO CREATE ROUTES

Concept Development

TOWERS OF INNOVATION - SOUTHBANK

5. JOIN CORES TO CREATE DYNAMIC PUBLIC SPACE

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

4. INSERT CIRCULATION CORES

6. FACET ELEVATIONS TO GIVE VIEWS TOWARDS THE RIVER

INITIAL DESIGN

Initial Programme Response EDUCATION SECTOR

Small Hall - 200 to 250 seats 250-300 m2 Large Hall - 600 to 800 seats 700-900 m2 Classrooms 50 m2 (Architecture, Design, Fashion and Advertising) Prototyping rooms 60 m2 LEISURE Creche - 120 m2 Cafe -150 m2 Kitchen - 50 m2 Retail - 12 units (80 - 120 m2) Apartments - 40 units (80 - 120 m2) Large Hall - 600 to 800 seats 700-900 m2 Bar - 100 m2 LEISURE Lobby/Atrium Exhibition Gallery Space - 2000 m2 Storage - 500 m2

OTHER Offices 500 m2 Toilets (TBC) Admin 300 m2 Staff facilities 200m2

TOWERS OF INNOVATION - SOUTHBANK

Trading Exchange - 1000 m2

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

Lecture Hall - (flexible)

ADVERTISING TOWER

FASHION TOWER

00 Retail Level - Advertising agency

00 Retail Level - Fashion Catwalk & Store

01 Retail Level - Advertising agency

01 Retail Level - Fashion Store

02 Tower Level - Reception lobby & Showcase

03 Tower Level - Television Studios

03 Tower Level - Footwear

04 Tower Level - Television Studios

04 Tower Level - Footwear

05 Tower Level - Radio Studios

05 Tower Level - Clothing

06 Tower Level - Photography

06 Tower Level - Clothing

07 Tower Level - Flexible office/meeting/crit space

07 Tower Level - Merchandising

08 Tower Level - Roof garden & Restaurant

08 Tower Level - Design & Illustration 09 Tower Level - Flexible office/meeting/crit space 10 Tower Level - Roof garden & Restaurant

Schedule of Accommodation DESIGN TOWER

00 Retail Level - Architecture surgery

00 Retail Level - Design store

01 Retail Level - Architecture surgery & Vertical reality

01 Retail Level - Design store

02 Tower Level - Reception lobby & Showcase

03 Tower Level - Landscape architects

03 Tower Level - Packaging

04 Tower Level - Landscape architects

04 Tower Level - Packaging

05 Tower Level - Interior design

05 Tower Level - Illustration

06 Tower Level - Interior design

06 Tower Level - Illustration

07 Tower Level - Architects

07 Tower Level - Workshops

08 Tower Level - Architects

08 Tower Level - Workshops

09 Tower Level - Workshops

09 Tower Level - Furniture

10 Tower Level - Workshops

10 Tower Level - Furniture

11 Tower Level - Flexible office/meeting/crit space

11 Tower Level - Lighting

12 Tower Level - Roof garden & Restaurant

12 Tower Level - Lighting 13 Tower Level - Flexible office/meeting/crit space 14 Tower Level - Roof garden & Restaurant

TOWERS OF INNOVATION - SOUTHBANK

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

ARCHITECTURE TOWER

Towers of Innovation - Precedent designs

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

TOWERS OF INNOVATION - SOUTHBANK

PARC DE LA VILLETTE, PAVILION - ARCHIGEEK

PARC DE LA VILLETTE, PAVILION - TSCHUMI

Precedent - Parc De La Villette PARC DE LA VILLETTE, PARIS

history to set forth a new program - that of the ‘Urban Park’, proposing that the juxtaposition and combination of a variety of activities will encourage new attitudes and perspectives. The programs allocates space for workshops, gymnasium and bath facilities, playgrounds, exhibitions, concerts, scientific experiments, games and competitions, in addition to the museum of science and technology. The park could be conceived as one of the largest buildings ever constructed - discontinuous but nevertheless a single structure, overlapping in certain areas with the city and existing suburbs. Architect Bernard Tschumi proposed a distinctive and innovative kind of park, embodying a change in social program, physical form and social context. Our ambition is to create a new model in which program, form and ideology all play integral roles. PROGRAMME Points The follies are placed according to a point-grid co-ordinate system at 120 metre intervals. They provide a common denominator for all events generated by the program. Each is essentially a 10x10x10 metre cube, which can be transformed and elaborated according to specific programmatic needs. The advantage of the point-grid system that it provides for the minimum adequate equipment of the urban park relative to the number of its visitors. Lines The folly grid is related to a larger co-ordinate structure, an orthogonal system of high-density pedestrian movement which marks the site with a cross. The

curvilinear route that links various parts of the park in the form of a carefully planned circuit. The Path of Thematic Gardens intersects the co-ordinate axes at various places, providing unexpected encounters with unusual aspects of nature. Surfaces The surfaces of the park receive all activities requiring large expanse of horizontal space for play, games, body exercises, mass entertainment and markets. Each surface is programmatically determined. ‘Left-over’ surfaces (when every aspect of the program has been fulfilled) are composed of compacted earth and gravel, a park material familiar to all Parisians which allows for complete programmatic freedom.

TOWERS OF INNOVATION - SOUTHBANK

line system also includes the Path of Thematic Gardens the seemingly random

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

The competition for the Parc De La Villette was the first in recent architectural

CONCEPTS - TSCHUMI

FOLLIES - TSCHUMI

Precedent - Parc De La Villette

FOLLIES - ARCHITECTURAL REVIEW

TOWERS OF INNOVATION - SOUTHBANK

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

CONCEPT - TSCHUMI

IBC INNOVATION FACTORY - DEZEEN

Precedent - IBC Innovation Factory THE IBC INNOVATION FACTORY, DENMARK

The 12,800 square metres educational building is the result of a refurbishment project of the paint manufacturer GORI’s factory in Kolding, Denmark from 1978, which set new standards for factories at the time. In the spirit of the original factory, Schmidt Hammer Lassen Architects, in collaboration with International Business College (IBC) Kolding, has created the settings for a ground-breaking and creative learning environment, aiming to become the world’s best. The ambition is to be a training camp for future innovators.

CONCEPT With the acquisition of the GORI factory in the summer of 2010, the IBC gained access to a unique physical environment characterized by an impressive pioneering spirit and vision. It was the first factory plant in Denmark to unite production and management in one large room, allowing visual connection between the two. The large paint tanks were decorated by the French artist Jean Dewasne, in the conviction that art in the workplace would inspire employees and provide a better working environment. The same idea inspired the incorporation of badminton courts and Ping-Pong tables on the production floor for the employees.

ELEMENTAL DESIGN The main task for Schmidt Hammer Lassen Architects has been to preserve and emphasize the building’s existing qualities and transform the facilities into an innovative learning environment. By using six elements – fire, water,

developed with an emphasis on stimulating the users’ senses. A central teaching facility in the shape of an indoor ‘landscape furniture’ designed in Douglas pine wood incorporates a variety of learning spaces and experiences. The wooden structure, which seems to float above a surface of water, has an auditorium, places for open study, an amphitheatre, and closed podiums for group work or quiet study time. There are green plants, the sound of trickling water, birds in aviaries and plenty of daylight from the skylights above.

TOWERS OF INNOVATION - SOUTHBANK

greenery, light, sound and air – the concept for the new Innovation Factory was

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

The IBC Innovation Factory was designed to support new ways of learning.

BANKMED - ARCH DAILY

Precedent - BankMed Headquarters BANKMED HEADQUARTERS, LEBANON

16,400m2 headquarters for BANKMED in Beirut, Lebanon. Located at the center of the Mina El Hosn district and near to central Beirut, it is to become a landmark in Beirut and provide an innovative, stimulating and practical environment for employees, executives and the bank’s customers. Their proposal includes three interconnected office pavilions, which step up in height from 9 to 19 storeys. The design across Potter’s feild of stepping towers representives many different concepts.

ROOF GARDENS & INTERNAL PIAZZA A triple height internal piazza has been designed to address BANKMED’s desire for a welcoming and inspiring public face and allows views in and through the development. The three office pavilions will appear to float above the ground level, providing clear sight lines from a new public piazza to the adjacent St Elie Church, an historic landmark in central Beirut. Flexible and efficient floor space will be arranged around two atria, giving high levels of daylight and views for occupiers. Three roof terraces at levels 10, 15 and 19 provide alternative spaces for working, dining or relaxing with panoramic views across the city. These roof terraces will be utilised throughout the design of the creative industries towers, offering rooftop gardens facing the river Thames.

ARCHITECT’S DESCRIPTION Describing his firm’s winning design, director John Robertson said: “We are

given an opportunity to apply our many years of experience office design in London to a new city. The architectural challenge has been to design a new bank headquarters that will make a real contribution to the regeneration of the urban fabric of Beirut and to create an innovative office building where people can enjoy work.”

TOWERS OF INNOVATION - SOUTHBANK

naturally delighted to have been selected by BANKMED and to have been

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

John Robertson Architects won an international competition to design a new

Building Management OPERATIONS It is imperative that extensive operating manuals must be available on site to ensure building, this will need to be introduced when staff training commences in July 2017. The management of many multi storey offices within the UK is a national problem and millions of pounds could potentially be saved. Office and work spaces accounts for 35% of private sector energy costs. The 25% most inefficient buildings use more than four times as much energy, per user than the most efficient 25%. The average building could save up to £20.45 per employee per year by implementing energy efficiency measures. This would result in a 23% reduction in carbon dioxide emissions. Top five energy cost savers in the workplace

(per employee):

• Occupancy sensors (£2.41) • Lighting control (£2.22) • Building energy management systems

(£1.93)

• Light reflectors and fewer tubes

(£1.90)

• Better energy management

(£1.64)

OPENING HOURS Unlike most office buildings, certain sections of the towers will be open 24 hours a day due to the activities carried out within the building. Activity within these spaces are important as the area must be kept safe and allow for free use of the community hub. Public toilets, The Hub and 24hr Office Facilities

• 08:00 - 19:00

Workshops and Offices

• 17:30 - 00:00

Lifelong learning

GENERATION OF INCOME The creative industries towers will be funded by a number of investors as previously mentioned, however the production of products and materials that will be used across the centre and retail areas will create a large income revenue. Other sources of income will come from cafes and the hub, which are both on the proposed pedestrainised street, with a large catchment area.

TOWERS OF INNOVATION - SOUTHBANK

• 00.00 - 23.59

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

technologies are managed appropriately to ensure their optimum use within the

Environmental Strategies Two ventilation stacks are then created through the use of the staircore, at each stair core there is a large extractor fan which circulates the stale air out of the spaces is around 180C, this gives the maximum temperature differential available to drive the stack effect through the stair core (Which would be 2-30C above the ambient temperature, around 210C). The opening for the stack ventilation have also been assessed, to give a sufficient ventilation rate. The system can also be reversed to allow cool air into the building via the ducts, this method though would need the fans to assist the system, at all times. Although desired ventilation could be achieved, there is a risk that undesired over-ventilation could compromise the energy performance of the building through uncontrolled ventilation. However, the advantage of the passive stack ventilation with the system is that it does operate with little or no energy use. When the fans are not in operation natural ventilation will occur, natural ventilation systems require openings with the building envelope to exploit naturally occurring pressure differences. These pressure differences can arise either due to different temperatures between the inside and the outside wind pressure. The stack towers for the college are in principle systems that operate with wind pressure, these need smaller dimensions than systems based upon up draught.

TOWERS OF INNOVATION - SOUTHBANK

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

building. An optimal operating temperature for the production and workshops

CONSERVATION AREA- ENGLISH HERITAGE

LISTED BUILDINGS - ENGLISH HERITAGE

FLOODING MAP - ENVIRONMENT AGENCY

Permissions OWNERSHIPS

Holdings, who have overseen the development of the office blocks and GLA. For this project and development we shall assume they have agreed to sell their stake in the land in order to facilitate the development on the site. The land is also managed by Potters Field Park Management Trust, who are funded by Southwark Council. The management trust will be consulted throughout the process, however the trust holds no actual legal ownerships rights over the land. PERMISSIONS The following permissions are required to adhere to through the Southwark Council - Planning Permission, Listed Buildings Permission and Building Regulations Approval. Listed buildings permission will be required due to the extensive work that is to be carried out on site. The majority of this site is brownfield, therefore a proposal is valid, however concerns maybe drawn to the potential massing and height of some buildings. The following buildings are Grade I listed; Tower Bridge, Tower of London and Lambeth College which is Grade II listed. CONSERVATION AREA The area surrounding Potters Field is designated as a Conservation Area. Consquently any development that takes place within its surrounding areas can be difficult to ascertain. Although the site is not under any such designation, it proximity to the Conservation Area the development will need to take these matters in account when considering such stages as setting out and piling in the

ENVIRONMENT AGENCY The site is low level and situated on a flood plain, due to its proximity to the river Thames this inevitable factor is difficult to overlook. The Environmental Agency may take an interest in the application as the issue of flooding will need to be addressed, to ensure the development does not cause any added negative effect on the ecology of the site during a potential flood.

TOWERS OF INNOVATION - SOUTHBANK

project.

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

The land upon which the schemes to be sited is owned by London Bridge

DESIGN CHARETTE - DUNCAN SPARKS

Consultation PUBLIC CONSULTATION

design charettes with possible user from fashion designers and product designers to stakeholder meetings. A initial induction to the masterplan of the South bank included a day long interaction day with the public who are likely to partake in the use of the building. The groups that were involved ranged in age and profession, but were all united in ensuring that a successful project was going to be developed, issues such as the public landscaping were discussed. Before, the meeting was broken up into smaller manageable groups to find out more precise details and concerns that could be addressed to empower the community. An almost chaotic approach to the presentation was taken, as the emphasis is on consulting to exhibiting. After the generation of many ideas the group then looked to detail up an existing model, through the prototyping of sketch models. The skills of the design team, help realise some of the fantastic ideas that the community held, the process of such consultant was an iterative one. Every three weeks another charette was held and more issues were discussed, until a final presentation before going in for planning approval was held. The key to the consultations were as follows;

• Acceptance and understanding of individual needs • Ask the correct questions • Have empathy, never disregard public suggestion • Always consider alternatives • Learning and reflective FORMAL CONSULTATION The local planning authority, Southwark Council were in constant contact with regards to the project, meetings were held every 3 weeks (opposing to the public charettes). These opportunities would be to discuss planning issues and concerns from any members of the public who did not wish to be involved in the public consultants. Design issues such as the height and massing of the building were initial concerns, after this stage more detailed factors were consulted.

TOWERS OF INNOVATION - SOUTHBANK

• Consult do not exhibit

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

Many public consultants for the project were held, through means of hands on

Towers of Innovation - Costing & Programme

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

TOWERS OF INNOVATION - SOUTHBANK

RIBA work stage

Services included

Percentage

Fee

A Appraisal

Option Appraisal Feasibility study and report

(196)*

£25,342.50

B Design Brief

Development of Design brief Procurement route and consultant advice Outline project programme

(43.5)*

£6,413.00

C Concept

Concept Design Preliminary structural and building services proposals Preliminary specification Preliminary cost plan Holistic sustainable solutions

15%

£202,633.20

D Design Development

Design Development 3D rendered visualisations Development of specification Completion of project brief Design and access statement and other relevant documents Planning application submission

20%

£270,177.60

E Technical Design

Technical Design Initial construction details and specifications CDM regulations Integration of environmental systems

15%

£202,633.20

F Production Information

Product Information Schedules for tender Building regulations application submission Finalised construction drawings and information

25%

£337,722.00

G Tender Documentation

Tender Documentation Preparation of tender and potential contractors

2.0%

£27,017.76

H Tender Action

Tender Action Evaluation of tenders and potential contractors Obtaining and appraising tenders Submission of recommendations

1.0%

£13,508.88

J Mobilisation

Mobilisation Letting the building contract Appointing the contractor Issuing of information to the contractor Arranging handing over of site to contractor

1.0%

£13,508.88

K Construction to Practical Completion

Construction to Practical Completion Administration of the building contract to completion Provision to the contractor of further information when reasonably required Review of information provided by contractors and specialists

20%

£270,177.60

L Post Practical Completion

Post Practical Completion Administration of the building contract after practical completion Building inspections Review of building performance when in use

1.0%

£13,508.88

100%

£1,350,888.00

Total

*Hourly rates as follows;

Senior Architect £55 per hour

Principal £100 per hour

Architect £50 per hour

Associate £75 per hour

Technician £43 per hour

Consultant Fees The following fee proposal was based upon a costing analysis carried out on

production information, tender and practical completion (RIBA Stages A-L), as specified. By taking a floor area of 14,280 m2 and having calculated the indicative square meter cost (see costing) resulting in the following estimated contract value, and subsequent fee calculations:

Contract value Total cost m2 average

£27,017,760 £1,720

Architectural fees at 5.0% of total Contract Value (inc. expenses & Stages A+B) Architectural Fees

£1,350,888

The architectural fees are at 5.0% are based on the construction cost provided by the quantity surveyor from their estimate.The percentage fee is slightly higher than usual due to the design complexities of the project, the design practice, AC&I, area highly design led a will carry out rigorous design and produce many drawings.

Structural Engineer (1.5% of total contract value)

£405,266

Quantity Surveyor (2.0% of contract value)

£540,355

Mechanical and Electrical Engineers (1.5% of total contract value)

£405,266

CDM Co-ordinator (1.0% of total contract value)

£270,178

Other Consultants (0.5% of total contract value)

£135,089

Consultant Fees

£1,756,154

The quantity surveyor would normally calculate the ‘current’ construction cost, who should be informed about their use of estimates, because it is found that a quantity surveyor may slightly overestimate. With the intention that the client will not be asked to pay more than they expect when the final certificate is issued. Although with this method of charging fees the architect must be prepared to lose an amount of money that the end of the contract with the client. It is recommended that architectural fees are invoiced on a 28 day period.

TOWERS OF INNOVATION - SOUTHBANK

Consultant Fees at 7.00% of total Contract Value Total

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

the 5th of April 2013 and covers all architectural services up to and including

External Works- 19% Substructure - 26%

Services - 8%

Substru

Superst

Finishes

Fixtures & Fittings - 10%

Fixtures

Services

Externa

Superstructure - 27% Finishes - 10%

Substructure Superstructure Finishes Fixtures & Fittings Services External Works

COST GRAPH

Building Works Estimate Job: Creative Industries Park

Initial Rate £/m2 (overheads, profit and main contractor’s prelims) 1,720m2 Adjust for location: User Selected Value : 110 (Greater London) £/m2 rate adjusted for location £1,892m2 Multiply by gross internal floor area 14,280m2 Building estimate £27,017,760 External works (overheads, profit and main contractor’s prelims) £5,000,000 Works cost estimate £32,017,760 Project/Design team fees at 12% £3,842,131 Base cost estimate £35,859,891 Tender inflation estimate: Allowance for inflation to anticipated tender date 4th Quarter 2013 ( Forecast: 227 ) BCIS All-in TPI: 1Q2013 (223) 4Q2013 (227) Adjustment £480,266

Note: Estimate is based, in the main, on firm price tenders which include an allowance for inflation during the contract period. Allowance should be made here for any exceptional differences in expected inflation during the contract

Cost limit £36,340,158 Rate per m2 gross internal floor area for the building Cost including prelims. (Last updated 5th of April 2013 12:00.) At 4Q2013 prices (based on a forecast Tender Price Index of 232) adjusted to a location index of 110.

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period from the average included in the estimate.

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Building works estimate

Total Cost

Percentage

Cost per m2

£ 1,200,574

£ 144

2A Frame 2B Upper floors 2C Roof 2D Stairs 2E External walls 2FWindows and external doors 2G Internal walls and partitions 2H Internal doors 2 Superstructure

£ 2,217,302

12%

£ 266

£ 263,890 £ 282,679 £ 2,972,833

1% 1% 16%

£ 31 £ 33 £ 356

£ 716,419

£ 86

£ 6,453,123

34 %

£ 774

3AWall finishes 3B Floor finishes 3C Ceiling finishes 3 Internal finishes

£ 271,957 £ 724,944 £ 384,628 £ 1,381,530

1% 4% 2% 7%

£ 32 £ 87 £ 46 £ 166

£ 294,284

£ 35

£ 2,679,141

14 %

£ 321

£ 1,461,763

£ 175

£ 375,328 £ 567,733

2% 3%

£ 45 £ 68

5 Services

£ 5,084,006

27 %

£ 610

Building sub-total

£ 14,413,517

76 %

£ 1,730

6A Site works 6B Drainage 6C External services 6D Minor building works 6 External works

£ 1,288,293

£ 154

£ 157,044

£ 18

£ 1,445,338

£ 173

£ 18,919,791

100%

£ 2,271

Element 1 Substructure

4 Fittings 5A Sanitary appliances 5B Services equipment 5C Disposal installations 5DWater installations 5E Heat source 5F Space heating and air treatment (Costs include other elements) 5GVentilating systems 5H Electrical installations 5I Gas installations 5J Lift and conveyor installations 5K Protective installations 5L Communications installations 5M Special installations 5N Builder’s work in connection 5O Builder’s profit and attendance

Contract sum Fig 3.14 - Breakdown of costs (www.bcis.co.uk)

Cost Precedent OFFICE BLOCK, TUDOR STREET Location: London, EC4 Building cost:

£16,735,703 rebased

Cost/m²:

£2,009 rebased

Floor area:

8,331m2

Main construction:

Steel framed

Storeys:

7 (including 2 basement floors) OFFICE BLOCK - DEZEEN

on Potter’s Field. A important factor raised within the site conditions for this office block on Tudor Street was the highly restricted working space and access, this is certainly a consideration that might have been ingored otherwise. Access to the site can be achieved through existing access to the parkland, which will then be considered when carring out external works. This 7 storey office block is made by steel frame construction, which allowed for a quick installation of floors within the building. The £2,000 per m2 cost is slightly higher than excepted for such a building, and the innovation towers on Potter’s Field will strive to achieve a lower cost relative to its gross internal floor area.

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Although a smaller development, many parallels can be drawn from the proposal

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Date: Dec-2006

Total Cost

Percentage

Cost per m2

£2,354,578

£ 99

2A Frame 2B Upper floors 2C Roof 2D Stairs 2E External walls 2FWindows and external doors 2G Internal walls and partitions 2H Internal doors 2 Superstructure

£ 2,217,302 £ 3,495,701 £ 640,962 £ 403,591 £ 5,826,367 £ 289,533 £ 2,758,648 £ 461,499 £ 14,912,058

12 % 10 % 2% 1% 16% 1% 8% 1% 42 %

£ 44 £ 147 £ 27 £ 17 £ 247 £ 12 £ 116 £ 19 £ 632

3AWall finishes 3B Floor finishes 3C Ceiling finishes 3 Internal finishes

£ 584,418 £ 1,066,732 £ 924,549 £ 2,575,699

2% 3% 3% 7%

£ 25 £ 45 £ 39 £ 108

£ 606,066

£ 26

£ 161,027

£7

£ 282,818 £ 281,262 £ 187,196 £ 3,444,684

1% 1% 1% 10 %

£ 11 £ 11 £8 £ 145

£ 2,389,297 £ 47,495 £ 1,411,986 £ 622,526 £ 379,131 £ 292,458 £ 285,368

7% 0% 4% 2% 1% 1% 1%

£ 100 £1 £ 59 £ 26 £ 16 £ 12 £ 11

5 Services

£ 9,785,248

27 %

£ 415

Building sub-total

£ 30,233,649

85 %

£ 1,282

£ 885,316 £ 315,574 £ 152,078

2% 1% 0%

£ 37 £ 12 £6

£ 1,352,968

£ 57

£ 35,693,737

100%

£ 1514

Element 1 Substructure

6A Site works 6B Drainage 6C External services 6D Minor building works 6 External works Contract sum Fig 3.14 - Breakdown of costs (www.bcis.co.uk)

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Cost Precedent OFFICE BLOCK, CITY PARK Location: Manchester, Greater Manchester Building cost:

£34,007,487 rebased

Cost/m²:

£1,442 rebased

Floor area:

23,578m

Main construction:

Steel framed

Storeys:

17 (including 4 basement floors) OFFICE BLOCK - DEZEEN

The location of these office blocks, alters the respective cost considerably when comparing to a similiar design within the heart of London. Therefore the cost of the project has been rebased to suit comparable costs within the Location of the proposed project (this is achieved through a construction datebase BCIS). office block to category A fit-out standard with 4 basement levels together with external works, services and drainage. The external works although smaller than the proposed parkland in London, is to a high specification and landscaped to a excellent standard. Approximately twice the floor area at 24,000m2, this 17 storey tower is a steel framed construction. Due to the size of the project and budget this build, equates to £1,400 per m2, considerably lower than other precedents. Although a larger build saves cost, the fit out and detailing on this project, does prove that a lower budget project can achieve a superior finish. The site conditions were once again restricted, with lack of access and working space. The site hut was approximately 200 metres off site, although very little pre ground were carried due to a clear site.

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The following design is to a simlair breif to that of Potter’s Field, a 17 storey

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Date: Aug-2008

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Total Cost

Percentage

Cost per m2

£2,599,842

£ 182

2A Frame 2B Upper floors 2C Roof 2D Stairs 2E External walls 2FWindows and external doors 2G Internal walls and partitions 2H Internal doors 2 Superstructure

£ 2,924,822 £ 2,664,838 £ 1,007,438 £ 812,450 £ 3,054,814 £ 422,474 £ 1,819,899 £ 461,499 £ 12,674,230

9% 8% 3% 2% 9% 1% 6% 1% 39 %

£ 204 £ 186 £ 70 £ 57 £ 214 £ 30 £ 127 £ 32 £ 888

3AWall finishes 3B Floor finishes 3C Ceiling finishes 3 Internal finishes

£ 744,542 £ 1,134,732 £ 924,529 £ 2,735,823

2% 3% 3% 8%

£ 52 £ 75 £ 65 £ 192

£ 1,299,921

£ 91

£ 101,203 £ 253,033 £ 324,044 £ 403,672 £ 504,021 £ 1,853,545 £ 747,454 £ 2,389,297 £ 67,234 £ 1,364,917 £ 453,743 £ 339,131 £ 92,428 £ 135,368

0% 0% 1% 1% 1% 5% 2% 7% 0% 4% 1% 1% 0% 0%

£7 £ 17 £ 22 £ 28 £ 35 £ 130 £ 52 £ 162 £4 £ 96 £ 31 £ 26 £6 £9

5 Services

£ 7,572,040

23 %

£ 530

Building sub-total

£ 27,017,760

83 %

£ 1,892

6A Site works 6B Drainage 6C External services 6D Minor building works 6 External works

£ 3,345,463 £ 1,542,664 £ 592,139

10 % 5% 2%

£ 234 £ 108 £ 41

£ 5,480,266

17 %

£ 383

£ 32,490,026

100%

£ 2,276

Element 1 Substructure

Contract sum Fig 3.14 - Breakdown of costs (www.bcis.co.uk)

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Cost Breakdown CREATIVE INDUSTRIES PARK, POTTERS FIELD Location: Southwark, London December 2014

Building cost:

£32,490,026

Cost/m²:

£1,892

Floor area:

14,280 m2

Main construction:

Concrete frame

Storeys:

Varying 6-12 floors (including 2 basement floors)

An individual cost breakdown has been carried out, after extensive research on similar building types and projects. This breakdown is only an estimate, and does take into consideration other projects that are not shown in the document. A larger percentage than many projects is focused upon the landscaping of the This is may not be equivalent to the percentage of the budget spent on many projects, however the external works to this project are highly important to the design of this proposal. The landscape work carried out on the recently completed Jubilee Gardens totalled £5 million, and the external works are likely to be comparable in terms of cost, if not design. The gross internal floor area of 14,280m2 is the largest project that architects AC&I have carried out, therefore many examples of high quality cost effective design were investigated. 23% of the cost will be allotted to services, this is an important factor due to the complex nature of the building. Shifting floor planes and a diverse variety of disciplines within the towers are compensated through this measure. Passive environmental solutions for ventilation will help reduce heating and cooling costs, where other buildings would spend larger percentages.

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park, approximately £5 million is budgeted for the landscape design of the park.

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Date:

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Jun-13

EXISTING DEMOLITION EXISTING DEMOLITION Approval procedures Approval procedures Demolition and work outside Demolition and work outside

PROJECT PHASE PROJECT PHASE Stage A - Appraisal Stage A - Appraisal Stage B - Briefing Stage B - Briefing Stage C - Outline proposals Stage C - Outline proposals Stage D - Detailed proposals Stage D - Detailed proposals Stage E - Final proposals, Detailed design Stage E - Final proposals, Detailed design Stage F - Production information Stage F - Production information Stage G - Tender documentation Stage G - Tender documentation Stage H - Tender action Stage H - Tender action Stage J - Mobilisation Stage J - Mobilisation Stage K - Construction to practical completion Stage K - Construction to practical completion Stage L - After practical completion Stage L - After practical completion

CONSTRUCTION PHASE CONSTRUCTION PHASE Prelimary work Prelimary work Erection of basement and reinforcements Erection of basement and reinforcements Ground works and street level floor Ground works and street level floor Concrete and steel frames, uppers floors Concrete and steel frames, uppers floors Stair installation Stair installation Roof construction Roof construction External walls (inc. windows and doors) External walls (inc. windows and doors) Internal partitions and carpentry Internal partitions and carpentry Internal doors and glazing Internal doors and glazing Wall, ceiling and floor finishes Wall, ceiling and floor finishes Mechanical installation Mechanical installation Electrical installation Electrical installation Fitting and furnishings Fitting and furnishings Practical completion Practical completion External works (inc pavillions) External works (inc pavillions) Staff introduction Staff introduction Public opening Public opening

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Jun-13 Jul-13

Jul-13 Aug-13

Aug-13 Sep-13

Sep-13 Oct-13

Oct-13 Nov-13

Nov-13 Dec-13

Dec-13 Jan-14

Jan-14 Feb-14

Feb-14 Mar-14

Mar-14 Apr-14

Apr-14 May-14

May-14 Jun-14

Jun-14 Jul-14

Jul-14 Aug-14

Aug-14 Sep-14

Sep-14 Oct-14

Oct-14 Nov-14

Nov-14 Dec-14

Dec-14 Jan-15

Jan-15 Feb-15

Feb-15 Mar-15

Mar-15 Apr-15

Apr-15 May-15

May-15 Jun-15

Jun-15 Jul-15

Jul-15 Aug-15

Aug-15 Sep-15

Sep-15 Oct-15

Oct-15 Nov-15

Nov-15 Dec-15

Dec-15 Jan-16

Jan-16 Feb-16

Feb-16 Mar-16

Mar-16 Apr-16

Project Programme Mar-16

Apr-16

May-16

Jun-16

Jul-16

Aug-16

Sep-16

Oct-16

Nov-16

Dec-16

Jan-17

Feb-17

Mar-17

Apr-17

May-17

Jun-17

Jul-17

Aug-17

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Public opening

Staff introduction

External works (inc pavillions)

Practical completion

Fitting and furnishings

Electrical installation

Mechanical installation

Wall, ceiling and floor finishes

Internal doors and glazing

Internal partitions and carpentry

External walls (inc. windows and doors)

Roof construction

Stair installation

Concrete and steel frames, uppers floors

Ground works and street level floor

Erection of basement and reinforcements

Prelimary work

CONSTRUCTION PHASE

Feb-14

Mar-14

Apr-14

May-14

Jun-14

Jul-14

Aug-14

Sep-14

Oct-14

Nov-14

Dec-14

Jan-15

Feb-15

Mar-15

Apr-15

May-15

Jun-15

Jul-15

Aug-15

Sep-15

Oct-15

Nov-15

Dec-15

Jan-16

Feb-16

Mar-16

Apr-16

May-16

Jun-16

Jul-16

Aug-16

Sep-16

Oct-16

Nov-16

Dec-16

Jan-17

Feb-17

Mar-17

Apr-17

May-17

Jun-17

Jul-17

Aug-17

Programme CONSTRUCTION PHASE The mobilisation period took place in February 2015 where the information was at great length finally opting for JCT Design & Build Contract 2011, this contract advised the relevant consultants of their respective responsibilities under the contract. The commencement of the building project then started in April 2015 with the construction of the basement. During construction AC&I were highly involved due to the procurement route of Design & Build, with production information drawing being produced until November 2013 including the detailing of stairs, service risers and cladding. The project manager issued the necessary information to the contractor, also issuing instructions that were required by the contract. They were required to act in a fair and reasonable manner, and certainly gave impartial judgement to both the client and contractor, which helped for a smooth process thorough the construction phase. AC&1 made regular visits to site to the works in connection with the design, and produced several drawings for the CDM Co-ordinator to be complied into the Health and Safety File. The architects also prepared an inspection plan which identifies when visits should be made, and when checks can be made on test which the contractor was obliged to make under the contract. After completion of the project the final site inspection took place and external works were finalised. The contractor then handed over the building, and the defects liability period started to run, this gives the contractor one year to rectify any defects that may of arisen, at the contractor’s own cost.

The estimated construction duration from Start on Site to Construction Completion is 112 weeks The 90% confidence interval for this estimate is 104 to 120 weeks. Individual projects will take more or less time than the average: the 90% prediction interval for individual projects is 79 to 149 weeks. The estimate is based on the following project details:

•

Contract value: £32,500,000

•

Procurement: Design and Build

•

Selection of contractor: Single stage tendering

•

Client organisation: Public

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ESTIMATED CONSTRUCTION DURATION

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issued to the contractor and site handed over. The building contract was discuss

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n-14

Feb-14

Mar-14

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Apr-14

Jun-14

Jul-14

Aug-14

Sep-14

Stage L - After practical completion

Stage K - Construction to practical completion

Stage J - Mobilisation

Stage H - Tender action

Stage G - Tender documentation

Stage F - Production information

Stage E - Final proposals, Detailed design

Stage D - Detailed proposals

Stage C - Outline proposals

Stage B - Briefing

Stage A - Appraisal

PROJECT PHASE

Demolition and work outside

Approval procedures

EXISTING DEMOLITION

May-14

Oct-14

Jun-13 Nov-14

Jul-13 Dec-14

Aug-13 Jan-15

Sep-13 Feb-15

Oct-13 Mar-15

Nov-13 Apr-15

Dec-13 May-15

Jan-14 Jun-15

Feb-14 Jul-15

Mar-14 Aug-15

Apr-14 Sep-15

May-14 Oct-15

Jun-14 Nov-15

Jul-14 Dec-15

Aug-14 Jan-16

Sep-14 Feb-16

Oct-14 Mar-16

Nov-14 Apr-16

Dec-14 May-16

Jan-15 Jun-16

Feb-15 Jul-16

Mar-15 Aug-16

Apr-15 Sep-16

May-15 Oct-16

Jun-15 Nov-16

Jul-15 Dec-16

Aug-15 Jan-17

Sep-15 Feb-17

Oct-15 Mar-17

Nov-15 Apr-17

Dec-15 May-17

Jan-16 Jun-17

Feb-16 Jul-17

Mar-16 Aug-17

Apr-16

May-16

Jun-16

Jul-16

Programme PROJECT PHASE The architects were appointed in August 2013 and carried out several meetings development were addressed. After this the client drew up a strategic brief in collaboration with all the consultants on the design, which covered the technical, managerial and design intentions, showing how those requirements were to be met. Over this period there was a constant interaction between the brief and the feasibility proposals, from referring to the strategic brief outline proposals were presented and to discuss with the client and consequently the planning officer. After two months the architects confidently drew up a project brief including the design and access statement, many more meetings and discussions concluded the proposals and AC&I pushed forward to RIBA work stage D. The project was submitted for planning in May 2014, to pass approval one condition as part of the submission was oral representation to the planning committee, where such matters as the South bank masterplan were discussed. Once a planning application was submitted the architects continued to develop the detailed design, although the architects were working at risk, it enabled the tender process to begin immediately once planning permission had been granted in July 2014. After the project received planning approval the final proposals were detailed up to standards applicable for buildings regulations. A dialogue between building control lasted approximately six weeks due to issues over fire protection and the provision of a sprinkler system. The tender documentation was then prepared and after building control approvals the building was put out to tender. Tender action was complete by January 2015 and the project was on site by April 2015.

Stage B - Briefing Stage C - Outline Proposals Stage D - Detailed Proposals, Planning Submission Stage E - Final Proposals, detailed design and co-ordination Stage F - Production information Stage G - Tender documentation Stage H - Tender Action Stage J - Mobilisation Stage K - Construction to Practical Completion Stage L - After Practical Completion

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RIBA WORK STAGES Stage A - Appraisal

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to discuss the clientâ&#x20AC;&#x2122;s needs and objectives, whilst ensuring any constraints on

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JCT DESIGN & BUILD CONTRACT 2011 The selection of contract was discuss through conversations and consultations with the client, architect, project manager and contractor concluding that the Joint Contracts Tribunal Ltd Design & Build Contract 2011 (JCT DB11) will be most suited. The suitability of this contract with regards to a Design & Build procurement is fitting, as the contractor held the responsibility for the majority of the design project after stage D, the contract refers to this expressly, and the extent of the design obligation was set out as clearly as possible. It is interesting to consider why this was deemed the appropriate form of contract, therefore the decision for the selection was due to following points; NATURE OF WORK Overall masterplan and Creative Industries Park, will be phased over 8 years. The total cost of the Creative Industries Park is ÂŁ35m, time constraints for the project are important to the client and the need to meet the calculated timeframe. The anticipated need is 2017 due to the fact that the site is prominent and must run in line with the masterplan. RISK ELIMINATION Referring to the previously stated comments earlier, an advantage of a Design & Build contract is the transfer of liability to the contractor. The client (Southwark Council) wanted to ensure that the reduction of liability was at the forefront of contract requirements. SPECIFIC NEEDS OF CLIENT In this case the requirements were determined early and did not change to a huge extent, the ability to manipulate the Design & Build contract enabled AC&I and the client to design and specify all aspects of the build. Which was specific to the needs of the staff and community, meaning that the architects could immerse themselves into the functionality and core drivers of the project. Holding this integrity of the design before inviting tenders, meant the overall package produced a building of high architectural merit.

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Contract Selection FIXED BUDGET

all sub contractors involvements. If any alterations were to be made to the costing the contractor would have to bear any extra costs arising. This advantage for the client was seen as a great positive, meaning that cost certainty past stage D was reasonably assured. CONTROL IN TERMS OF DESIGN AC&I have an architectural ethos that is design led, the choice of tailoring the Design & Build procurement method to allow for traditional design control methods such as late tendering, enabled the architect and client to obtain the building they desire. SPEED Using a contract such as the JCT DB11 is immediately available and therefore faster than attempting to create a bespoke construction contract, which would involve legal advice. It should also be possible to ensure a quicker start on site, and the close integration of design and construction should result in more effective programming. FAMILIARITY Also this procurement process is a well known procurement type; which was familiar with all consultants and the contractors. The contract type was also being used on the University of Portsmouth’s Eldon building extension of which Morgan Sindall are constructing. RESPONSIBILITY OF CO-ORDINATING WORK ON SITE

project, AC&I had only completed one large commission, the largest project to date was a £14m College. This £35m+ project was therefore a huge leap and learning curve for the architects. For this reason a large consultant team was appointed to create a streamline workflow, experienced contractors Morgan Sindall worked well with project manager.

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The responsibility for co-ordinating on site was project manager. Prior to this

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The contract was signed on a lump sum budget including all contractor costs and

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Appendices

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A Strategic design diagram illustrating the key desire lines through the park

A Strategic design diagram illustrating the key B lines through the park desire

Diagram of space use based on the on-site

B surveys, highlighting the division of different categories (i.e.use office workers, tourists and Diagram of space based on the on-site locals) surveys, highlighting the division of different categories (i.e. office workers, tourists and locals)

Client More London Development Ltd

Client Duration More London Development Ltd 2009

Duration Professional team 2009

Squire and Partners

Professional Our role team Squire and Partners Masterplan concept designer OurKey rolefeatures Masterplan conceptstudy designer Urban baseline Proposed option testing

Key features Urban baseline study Proposed option testing

The opportunity Space Syntax was commissioned by More London Development Ltd to The opportunity develop a spatial design brief for the Space Syntax was commissioned redevelopment of Potter’s Field Ltd Parktoin by More London Development London. The regeneration of Potter’s develop a spatial design brief for the Field Park needed to take account redevelopment of Potter’s Field Park in of the many different pedestrian London. The regeneration of Potter’s communities surrounding the Park Field Park account as well as needed a numbertooftake significant ofneighbouring the many different pedestrian sites including the communities the Park “coach stationsurrounding site” to the east, the as well as a number of significant More London development to the west neighbouring sites and City Hall at the including north westthe corner “coach station site” to the east, the of the park.

More London development to the west and City Hall at the north west corner of the park.

The aims of our commission were first, to provide objective information on current usage in the Park andfirst, The aims of patterns our commission were second, to generate strategic design to provide objective information on ideas for its future use in the form of current usage patterns in the Park and a Spatial design Brief. It was a key second, to generate strategic design objective of the Brief that the designs ideas for its future use in the form of should respond to the park’s existing a Spatial design It was a key use patterns, eitherBrief. by conserving and objectivethe of the Briefcharacteristics that the designs enhancing positive respond the park’s ofshould what was alreadytothere, or by existing use patterns, either by conserving and remedying shortcomings.

C Spatia Syntax’s where m can be m

enhancing the positive characteristics of what was already there, or by remedying shortcomings.

info@spacesyntax.com www.spacesyntax.com

114

Our contribution Our designs unlock the potential for Potters Field Park to connect to the wider urban environment. A layout was created that provides pedestrian

were influenced by the hierarchy of spatial connections. We then used the Spatial Accessibility Model to test a number of layout

The ou The Sp Space Landsc park. O

Space Syntax The opportunity

a spatial design brief for the redevelopment of Potter’s Field Park in London. The regeneration of Potter’s Field Park needed to take account of the many different pedestrian communities surrounding the Park as well as a number of significant neighbouring sites including the “coach station site” to the east, the More London development to the west and City Hall at the north west corner of the park. The aims of our commission were first, to provide objective information on current usage patterns in the Park and second, to generate strategic design ideas for its future use in the form of a Spatial design Brief. It was a key objective of the Brief that the designs should respond to the park’s existing use patterns, either by conserving and enhancing the positive characteristics of what was already there, or by remedying shortcomings. Our contribution Our designs unlock the potential for Potters Field Park to connect to the wider urban environment. A layout was created that provides pedestrian routes to through and alongside the Park. In so doing, the design realises the potentials embedded in the spatial location of the Park and creates large-scale social, environmental and economic benefits. To arrive at the Spatial Design Brief, we carried out a photographic survey and qualitative landscape character evaluation of the site. We developed and analysed a Spatial Accessibility Model of the Park and, by undertaking an observation study of pedestrian activity, we showed the

of spatial connections. We then used the Spatial Accessibility Model to test a number of layout design options for the Park, to analyse its potentials for attracting use by the many different communities surrounding the Park. The outcome The Spatial Design Brief developed by Space Syntax was used by GrossMax Landscape architects to redesign the park. Our work provided them with clarity about first, the future movement hierarchy and second, the suitability of different parts of the park for different functions. DSDHA were commissioned to design a café building on one of the new routes that Space Syntax introduced and they were guided by the forecasts of the movement model. The new park

TOWERS OF INNOVATION - SOUTHBANK

degree to which existing movement patterns were influenced by the hierarchy

RE-SHAPING BRITISH IDENTITY & LEGACY THROUGH INNOVATION & TRADE IN THE 21ST CENTURY

Space Syntax was commissioned by More London Development Ltd to develop

was completed in 2007 and its redesign has made a major contribution to the success of the area for people living, working and visiting.

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