(Never)Leaving Neverland

(Never)Leaving Neverland Bristol’s Playhouse A children’s theatre for children of all ages

Elena Oliinyk Design Studio 4.2 June 2020

Acknowledgements Very special thank you to: Daniel Wong - Personal Tutor Tim Osborn - Landscape Tutor Douglas King - Environmental Tutor Jamie Siggers - Structural Tutor John Griffiths - Tectonic Tutor Sarah Hall - Head of Performing Arts at QEH Bristol, who gave me a chance to get some brilliant ideas from Year 5 and 6 Matt, Fran and Ralf - my studio family, even when the studio got shut down Julia, Vitaliy, Gena and Ivan - my ‘normal life’ family, who have been nothing but supportive throughout the last 4 years Gresa and Andy - my moral support during Corona Pandemic ‘Rona - Global Pandemic, which changed the way we live for better or for worse

“Peter,” she said, faltering, “are you expecting me to fly away with you?”

“Of course; that is why I have come.” He added a little sternly, “Have you forgotten that this is spring cleaning time?”

She knew it was useless to say that he had let many spring cleaning times pass.

“I can’t come,” she said apologetically, “I have forgotten how to fly.”

“I’ll soon teach you again.”1

J. M. Barrie Peter Pan

Contents I

Introduction 1

II

Brief 7

III

Site and Context 14

IV

The Proposal 20

V

Structural Strategy and Tectonic Details 45

VI

Environmental Strategy 30

VII

Landscape Strategy 40

VIII

Regulatory Compliances 65

IX

Encore 75

X

References 100

I Introduction

1

Complaint from a Former Child I believe we are born knowing all the secrets of the universe, but as we grow up, we lose touch with the real us.

The current educational system and century-old traditions put each child in a square box. Our wings get clipped, our imagination breaks and our dreams get shattered. We are forced to a straight path, any slight deviations are considered to be wrong.

Even the way we play is controlled. Precisely the same toys in square boxes with one distinct singular purpose. Either you do it right, or you are wrong. Consumerism kills the imagination.

We do not give kids enough credit. “Stop this child play”. Yet play is the most essential part of learning, we inherited that from animals. How many people, who have been told that they were unique as a child, are now suffering from anxiety and depression?

Childhood always ends rapidly. You are thrown out into the sea of adulthood. But do we need to grow up?

People lose their pure enjoyment, their burning curiosity, their yearning for wonder. Sometimes, adults let their guards down, they allow themselves to enjoy all the simple things in life. First snow, the sound of raindrops, fallen leaves.

Glimpses of childhood fire up the passion for life.

Why can’t we have a place where all of us can be kids, where we can all believe in a little bit of magic.

What if we never leave Neverland?

Let’s never stop child’s play. Play is widely regarded by social scientists as ‘the most serious and significant of all human activities’2. This is how we learn and stay creative.

Playfulness, (not to be confused with humour or games,) at its purest, is a form of imaginative exploration focused on enhancing how we experience life. Adults sometimes try too hard to rationalise their way of thinking. If you show a child a mundane object like a frying pan and ask to come up will all possible functions of it, you might be surprised by the things a pan could do. A child’s mind, untainted by rigid “form follows function”, flows freely, providing an abundance of ideas3.

Around our teenage years we transition, we try to grow up faster and exchange playfulness for the full mode of all the responsibilities coming our way. Yet I strongly believe that playfulness could become our approach to the creativity.

2

How Adults See Children “I grew up before children were special. Very early ’80s, right before children became special4.”

John Mulaney

Throughout history, the perception of childhood has changed significantly.

Children in Medieval Europe were treated as small adults with no special protection. They were forced into the work environment as soon as they became somewhat physically independent. Taking a closer look at most of the pre-Renaissance portraits of children, one instead sees small versions of adults. No chubbiness, bodyhead proportions, little hands or smiling faces.5 The end of the nineteenth century ushered in what has been referred to as the ‘century of the child’. Child charities were launched, and children started to be treated as ‘ones who need to be saved’. Alas, with good intentions, the road to hell was paved. Passionate ‘child-savers’ could not quite decide what they were saving children from, whether it was poverty and immorality, lack of hygiene or education. So they started to separate children from their families altogether, which placed children in more dangerous and exploitative positions.

In the 1910s, the beginning of the new era of social reform, the shift from ‘saving clueless and hopeless children’ to seeing children as rights-bearing individuals occurred. The society started to listen to children and to appreciate the complexity of the children’s mind and their unique position in the world.6 It was not until November 1990 when the UN Convention of Children Rights came into force.

“12. Respect for children’s views

Children have the right to give their opinions freely on issues that affect them. Adults should listen and take children seriously.

13. Sharing thoughts freely Children have the right to share freely with others what they learn, think and feel, by talking, drawing, writing or in any other way unless it harms other people.

31. Rest, play, culture, arts Every child has the right to rest, relax, play and to take part in cultural and creative activities.7

”

Unfortunately, even today, children are not taken seriously. Following the journey of Greta Thunberg, we can see how quickly the adults in power would try to belittle a passionate young activist by calling her ‘a brat’ and ‘so ridiculous’8.

We as adults need to learn to treat children as our equal. Perhaps, we can start seeing ourselves as a big version of children.

3

History of Children’s Theatre

Theatre, as we know it today, came to us from the theatres of ancient Greece. However, it is impossible to suggest a particular date that children’s theatre began. In terms of a scripted play, it is believed that theatre for children started in the late nineteenth century in Europe and took the form of ‘touring companies with dramatisations of folk and fairy tales’. The first widely recognised play for young audiences was J.M. Barrie’s Peter Pan (1904) in the UK. After the Second World War, the popularity of theatres for young audiences rapidly increased and several theatres companies were born, including John Allen’s Glyndebourne Children’s Theatre, John English’s Midland Arts Centre in Birmingham, and George Devine’s Young Vic Players. Throughout the 20th century, most of the UK touring companies became a proper theatre for young audiences, such as Polka, Unicorn and The Egg Theatres9.

Despite being around for over a hundred years, children’s theatre is still frequently overlooked and dismissed, as it is not perceived as ‘a serious form of art’. This suggests not only that we do not value this particular area of theatre, but that we do not value children and their experience of the world. Theatre, particularly theatre for children, fires the imagination, it gives our children the skills and the creativity necessary to face the world, to understand it and perhaps to change it too10.

What if we value children’s theatre and take it seriously, and treat it with the respect that we would any work of art? Perhaps we need a professional theatre, which would address the performances for and by children equally—space where each detail is considered with a child in mind.

Bristol’s independent theatre scene is diverse. Ranging from experimental work in a vaulted cave underneath Temple Meads station to a happy-go-lucky musical on the Bristol Old Vic prestigious main stage: it has all kinds of theatre to fit everyone’s tastes11. However, as of today, there are no theatres in Bristol explicitly designed for children.

4

Theatres in Bristol

Tobacco Factory Theatres Founded: 1998 Capacity: 250

Located on the first floor of the Tobacco Factory building on the corner of North Street and Raleigh Road, Southville, Tobacco Factory Theatres work on building an inclusive creative community rooted in the local community. The programme ranges between classic and contemporary theatre to puppetry and operand everything in between.

TFT provides a variety of family shows suited for children of different ages as well as opportunities to several schools to perform on the stage.

Bristol Old Vic Founded: 1766 Capacity: 540 (Theatre Royal), 188 (Weston Studio) Known as the oldest continually-operating theatre in the English-speaking world, Bristol Old Vic is the most prestigious stage to perform on in Bristol.

Bristol Old Vic Young Company is one of the largest regional youth theatres; the participants get a chance to perform on the studio and the main stage of Bristol Old Vic as well as the selection of the best-known stages in the country.

The Bristol Hippodrome Founded: 1912 Capacity: 1951

The Bristol Hippodrome frequently features shows from London’s West End like the Lion King and Mary Poppins when they tour around the UK.

5

Mental Health and Growing Up According to NHS Statistics, the well-being of Bristol’s youth is worse than that of the rest of the UK. 1 in 10 children living in Bristol have a diagnosable mental disorder. By the age of 24, three-quarters of all mental disorders become established. Poor mental health state and the lack of intervention and prevention at earlier stages leads to even more unhappy adulthood.

Bristol has a higher level of adult patients diagnosed with depression (over 10%) than the rest of England (9.2%)12. Unsurprising is Bristol’s infamous alcohol and drug misuse rate among the younger generation. The absence of a healthy support system pushes young people to find solace in much darker places.

Nowadays, at least two kids in every classroom are suffering from some abuse, whether it is emotional, physical or sexual13. Trauma from the abuse robs children of their childhood; it is harder for children to relate to their peers and enjoy the pure joy of play. Drama therapy can offer many benefits to those who have experienced the trauma of domestic abuse or violence.

First and foremost, the drama therapy model can help children to address their experience safely and effectively14. It is crucial to provide a space for children where they could be listened to and respected. A space where children could be educated and protected.

1 in 10 children living in Bristol has a diagnosable mental disorder

6

Becoming a Child Again Before starting to work on this project, I wanted to understand how kids experience public spaces and theatre. While looking at various schools around Bristol, I found Queen Elisabeth Hospital school. The school prides itself in providing theatre involvement from a very early age, and their Year 5 student even performed at the Tobacco Factory Theatre during the Shakespeare Festival last year. I contacted the school and managed to organise an open lesson with Year 5 and 6, all thanks to Sarah Hall, the Head of Performing Arts.

Throughout the lessons, we participated in a variety of drama games and sketching activities.

Kids shared with me their most significant concerns about being in theatres and other public spaces, drawing their take on this project and top 10 favourite Marvel films.

The results of the session influenced the way I have approached this design a lot. I tried to remember what excited me as a kid. Despite growing up in different countries almost two decades apart, our childhood experiences turned out to be quite similar. For once, we all collectively play ‘the floor is lava’ without anyone ever specifically telling us of this game.

Children use imagination to brighten up mundane aspects of their lives, like floor. I tried not to let go of my newly re-discovered perspective. I even sat around campus on a kids chair to see things from a tiny human’s eye level.

Conclusions of the school trip: 1. Kids love journeys more than destinations. Instead of focusing only on the main spaces. I tried to make the circulation around the building as playful as I could.

2. Kids are REALLY concerned that they are smaller than the adults. Also, they have a very accurate sense of scale. They see a lot of legs and the floor. Why not make even tiny details, like railings and switches, more kids friendly?

3.

Kids love trampolines and slides and asked me to include those.

4.

Kids are excited about the waterfront. Why not build a theatre on water?

5. Kids are concerned about seating. No one likes to stare at someone’s head for the whole performance.

II Brief

7

Brief

The brief was to design a children’s theatre on the Floating Harbour in Bristol with the main auditorium for 250 people, as well as a variety of rehearsal and educational spaces and professional standard backstage facilities. All of amenities and equipment should be accessible to children of all ages and all abilities. The building should respond to its close proximity to the water, as well as the historical context. Playfulness should be a driving inspiration in every aspect of the project.

The main personal objective of this project is to create a safe and welcoming atmosphere, which fosters creativity, for children of all ages (0-18) as well as adults.

I wanted to challenge a negative connotation of ‘being childish’ and attempt to design a place that frees our inner child. A place where we can learn how to hold on to our unlimited imagination. A place to learn that the world is not necessarily black, white or grey, but is composed of the whole variety of colours. A place where we take children seriously. A place to cure adulthood ignorance.

A place where the floor is always lava.

8

Clients and Funding

Bristol City Council

Arts Council England

JLL

The Local Authority of Bristol owns the land. The council helps to provide a cultural and education space in the heart of Bristol.

As a part of their Local Offer for special educational needs and disabilities, the council will support the assisted performances program of the theatre.

Set up in 1946, by Royal Charter, Arts Council England is set to champion and develop art and culture across the country. Will provide government funding to support ongoing productions.

A commercial real estate company, who advocates for a greener construction. Will provide the funding during and post-construction.

nSPCC

Bristol Old Vic Theatre School

GOSH Charity

The National Society for the Prevention of Cruelty to Children, founded in 1884, works nationwide to prevent child abuse. As a part of their support and educational program, NSPCC would host weekly workshops with Bristolian school kids. They would frequently be renting out the classroom spaces.

One of the best drama schools in the world, Bristol Old Vic theatre school will perform in the theatre throughout the year. Students and teachers would be involved in workshops with younger children.

Great Ormond Street Hospital and Children’s Charity undertakes fundraising activities to invest in development and research of Great Ormond Street Hospital. The hospital was the first in England to provide in-patient beds specifically for children. In April 1929 J.M. Barrie gave the copyright to the Peter Pan to the hospital.

Part of the theatre’s revenue would go to GOSH charity to support the hospital.

9

Spacial Arrangement Dressing Green Rooms Control Room Classrooms

Outdoor theatre 80 people

Backstage 400m2

Main Auditorium 250 people 350m2 Hospitality (Cafe, Restaurants)

Management Quarters

Reception Storage

Circulation +20%

10

A Day in a Life

10 am

11 am

12 pm

2 pm

1 pm

3 pm

4 pm

Luna: A Play about the Moon (7+)

The Naughty Fox (0-5) Acting Lesson, Year 6

Acting Lesson, Year 12

Macbeth, Year 5 (rehearsals)

5 pm

6 pm

7 pm

8 pm

9 pm

10 pm

Romeo and Juliet (14+) Group Therapy, Year 8-10

Uncle Vanya (16+)

Main Auditorium

Rehearsal space

Floating Theatre

Classrooms

11 pm

12 am

III Site and Context

11

Bristol Site Indent Docks Theatres

1532 Bristol

QEH Theatre Colston Hall

Bristol Hippodrome Bristol Old Vic

Site

Tobacco Factory

5

20 min walking distance

Bristol Temple Meads

12

Material Context While exploring the area around the site, I got charmed by the local material palette.

The pedestrian zones are paved with cobblestone. The textures are weathered, with a patina reviling a complicated relationship between the materials and the water.

The harsh stone harbour edge creates a beautiful contrast with flowers, trying to push through the paving towards, fighting for the light.

The Flemish bond of Georgian red brick buildings in the Queen’s Square opposes the harshness of pennant ashlar and rubble of former warehouses.

To both blend in and stand out the carefully and mindfully sourced brick would be used to pay homage to the local history.

13

Historic Context The Granary

The Granary

Colston Hall

1880s Map The Port of Bristol Handbook, Bristol Docks Offices, Queen Square 1886

A significant number of historic warehouses were designed in the Bristol Byzantine style. The style is characterised by a robust and simple outline, materials with character and coloured polychrome brickwork including red, yellow, black and white brick primarily from the Cattybrook Brickpit. Several buildings included archways and upper floors unified through either horizontal or vertical grouping of window openings.

Bush House, known now as Arnolfini is the earliest documented example.15 Arnolfini

3.

Site Section from East to West

1.

14

Site Context

1. Approaching from Prince Street

2. View from the Harbour

3. Approaching from Arnolfini

4. Approaching from the Grove

Bristol’s Ferry Boats

Pot Shop

4.

+8.8m

Site

15

Site Analysis Orientation

Access Vehicle Routes

Shared Surface

Pedestrians

Ferry Boats

Waterfront Walk

Demolition

Princ

e St A

xes

16

Deliveries coming from the Grove North Light (Backstage, Offices)

Responding to the geometry of Bush House

Heart of Theatre

Floating Theatre South Light (Hospitality)

Main Pedestrian Route Taking over the Dock Waterfront Walk

Bristol Ferries connected durectly to the water

The Prince Bridge Axes

Historically and Culturally Significant Building

IV The Proposal

17

18

The Fairy-tale Castle on the Waterfront “Deeper meaning resides in the fairy tales told to me in my childhood than in the truth that is taught by life16” Friedrich Schiller Wisdom does not come to us in an instant moment of becoming old. It is built up a tiny little step at a time, develops together with our minds and bodies. Once we start as children to expand our understanding of this world, each one in their own pace arrives at their meaning of life. Adults task is to accommodate a child on their journey. First precious moral lessons are taught to us through fairy tales. Through the centuries the folk tales managed to reach out to all levels of the human personality, communicating to both uneducated children’s minds and those of sophisticated adults.

This project takes after the fairy tales in the ways that it attempts to arouse a child’s curiosity, stimulate their imagination, develop their knowledge and help to understand their emotions. The places for Meeting, Learning, Adventure, Making, Performing, Listening and Watching. They all intertwine around the building, allowing them to get lost in their own imagination. Play is weaved through every part of the proposal to make us all laugh. As “when the first baby laughed for the first time, its laugh broke into a thousand pieces, and they all went skipping about, and that was the beginning of fairies.”

L

P

Making

Meeting

Adventure

Learning

Performing Listening L istening

Watching

ng

Per

mi for

A Y

19

Threshold of Geometries

1.

2.

3.

Initially, the main auditorium was located on first floor on the north part of the site. Back of the house would have been underneath the main auditorium to simplify the delivery route.

The position was change as there was not enough space to accommodate all required facilities.

After the first review the auditorium was moved in the centre of the site. This helped to simplify the zoning of the building into two main parts - back of house and management on the north and hospitality on the south.

To make the plan more dynamic, the main auditorium was rotated to follow the Arnolfini axes. The primary zoning remained the same.

The move helped to create spaces for toilets and kitchens.

The site is located where the Prince Street and the Prince Bridge axis meet.

The main auditorium is rotated to follow the Prince St axes, emphasised by the Bush House. As two main cultural centres of this edge of the Harbour, the theatre and the art gallery mirror each other both in the physical plan and their cultural impact on Bristol. The rest of the building follows the geometry of the Grove and the Prince Bridge.

Entrance

20

Site Plan

idg

e

Farr’s L a

e Str eet

ne

Queen S q

R oyal O a

uare

e

Princ

k Ave

G rove Av

Br

Quay

The G ro

ve

Mud Lock

Arnolfini

Thekla

Prince Bridge

o’s

Narrow

Per

Merchant’s Quay

rf

P

s

ce

n ri

a Wh

M Shed

21

Listening to Children

1.

Adventurous Circulation Making places for accidental play.

Kids love exploring around. Provide both a short way from A to B and an elaborate adventure.

2.

South-facing Cafe overlooking the Harbour “Café with a lot of yummy snacks”.

Creating a café/restaurant spaces with a view over the water.

22

Listening to Children

3.

4.

Thrust Stage

Floating Theatre

Immersing the audience into the play.

Welcome children into the imaginary world.

Creating space for adventure and performance on the water

23

Ground Floor Plan

1 Foyer 2 Reception/Cloak Room 3 Play Area 4 Cafe Kitchen 5 Cafe 6 Workshop 7 Backstage 8 Stage Management 9 Dressing Room 10 Sub-stage 11 Dressing room 12 Cleaning Cupboard 13 Arcade 14 Outside Cafe 15 Floating Garden 16 Floating Cafe Deck 17 Bristol Ferries Boats Office 18 Floating Theatre Entrance Children’s Journeys

1:200 4m

0

4m

8m

12m

16m

20m

24

6

7 9

9

8

11 12 13

10

3

1

18 2

4 5

14 15

16

17

25

North Elevation

Flemish Bond

1:50

1m

0

1m 2m 3m 4m 5m

Stretcher Bond

26

West Elevation

Stretcher Bond

1:50

1m

0

1m 2m 3m 4m 5m

Ventilation Chimneys

27

Arcade

Existing Condition Currently, the shared surface is subdivided by the arrays of posts, making the general layout slightly confusing. With no proper regulations, there are frequent jams caused by pedestrians cyclists and motorists.

Existing Cobblestone

25/02/20 Initial Sketch Proposed condition The arcade would create a safe and aesthetically pleasing pedestrian zone, so children would be safe while approaching the building.

28

Public Entrance

29

Section AA

Foyer Cafe Auditorium Tech Grid Sub-stage Water Source Heat Pump Floating Theatre Arcade

Horizontal Play

1:100 2m

Horizontal Play 0

2m

4m

6m

8m

10m Vertical Play

1 2 3 4 5 6 7 8

30

4

2 2

8

3

1 5

6

7

31

Circulation ‘Children’ ‘Adults’ Stuff

The visitors are free to choose their preferred circulation. If they feel more adventurous, they could follow the ‘children’s’ path to explore the building. If they feel more rational, they could follow the ‘adults’ path. The choice is up to visitors, and the only defining factor is the age of their ‘inner child’.

32

Vertical Play

33

First Floor Plan

1 2 3 4 5 6 7

Cafe Restaurant Kitchen Auditorium - Stalls Bridge Dressing Room Green Room Children’s Journey

1:200 4m

0

4m

8m

12m

16m

20m

34

5 6

4

1

3 2

7

35

East Elevation

1:50

1m

0

1m 2m 3m 4m 5m

Deliveries are taking place out of hours.

Lorries are coming from the Grove.

36

Section BB 1 2 3 4 5 6

1:100 2m

0

2m

4m

6m

8m

10m

Workshop Bridge Rehearsal Space Office Classroom Delivery Dock

3

4 4

3 2 1

5

6

37

Back of House

Backstage and workshop is probably the most exciting part of the theatre; that’s where the real magic happens. To show the visitors around the workshop and backstage without any significant safety risks, there is a suspended steel bridge structure. The bridge connects the recreational and educational parts of both the building and the program.

Manchester School of Art, FCBS , Manchester, England17

38

Adventure over the Workshop

39

Auditorium The retractable seating to be installed in the main auditorium. It will allow various seating configurations; however, the thrust stage is shown in this proposal. The thrust stage is the oldest form of theatre configuration, which was invented by the Greeks.

It provides the best equal viewing opportunity and great for acoustics. Rather than installing individual seats, benches would be used. It makes the space more adaptable.

Moreover, children enjoy to lay on their parents or cuddle them if they are too distressed.

Rehearsal

40

Performance

41

Second Floor Plan

1 2 3 4 5 6 7 8

Cafe Restaurant Kitchen Auditorium - Gallery Control Room Rehearsals Room Office Classroom Children’s Journey 1:200 4m

0

4m

8m

12m

16m

20m

42

7 6

8

8

4 5

1

3 2

43

Windows Bristol Byzantine is a variety of Byzantine Revival architecture, which incorporates the elements of the Byzantine style associates with Eastern and Orthodox Christian architecture. Byzantine art was focused on religious storytelling18. Stained glass windows were used to share the religious stories with less educated people as well as to control the amount of light coming inside the building.

To reduce the amount of light, and the effect of glare, the tainted or reimagined stained glass windows could be used.

They could depict stories from different fairy tales and plays to teach younger children.

Stained Window from the Hagia Sophia Istanbul, Turkey

‘Early Bird’ (top), ‘Audience’ (bottom) Contemporary Stained Glass by Flora Jamieson

Abstract Stained Glass Illustration ideas

44

South Elevation

1:50

1m

0

1m 2m 3m 4m 5m

45

Third Floor Plan

1 2 3 4 5 6

Tech Grid Tech Storage Rehearsal Space Office Staff Room Classroom Children’s Journey 1:200 4m

0

4m

8m

12m

16m

20m

46

4

3

2

5

6

1

47

48

Rehearsal Space

Maria Montessori, an Italian physician and educator best known for the philosophy of education that bears her name, and her writing on scientific pedagogy.19

All the switches, chairs and tables are designed in such a way, so kids of all ages could use them. Following the Montessori method of education, natural materials are used; everything organised within a child’s reach and appropriate in size to help develop children’s independence.

49

Section CC

1 2 3 4 5 6 7 8 9 10 11

Basement Stalls Gallery Tech Grid Extract Plenum Control Room Tech Storage Rehearsal Space Workshop Bridge Cafe

Plenum Floor Plan 1:200 4m

1:100 2m

0

2m

4m

6m

8m

10m

0

4m

8m

12m

16m

20m

50

5 8

7 8

4 3

2

10 9

6

11

11

11 1

51

Basement Floor Plan

1 2 3 4

Water Attenuation Tank Water Source Heat Pump Plant Room Inlet Plenum

1:200 4m

0

4m

8m

12m

16m

20m

52

1

4

3

2 3 4 4

3

53

Map of Play Learning

L

n

A

e dv

Making

Performing

Meeting

P

e

r tu

A Y

L istening

Listening

ng

i ch

at W

“All the world is made of faith, and trust, and pixie dust.20�

The theatre is designed in just a way, so that each corner of the building is busy with activities throughout the day. You are free to follow any routes, you are encourage to go on a journey. Allow your imagination run while and become a child again.

54

V Structural Strategy and Tectonic Details

55

Structural Strategy Concrete Waffle Roof Slab

Concrete Flat Roof Slab

300x300mm Concrete Columns Grid (6x6)

150mm concrete Floor Slabs

Brick Facade

Concrete Load Bearing Walls

Concrete Cores

Pile Foundations

Concrete Basement

Exploded Isometric

Due to the scale of the building, required large spans and openness of spaces, the reinforced concrete frame structure is used. To ensure the acoustic insulation of the auditorium, it is structurally independent of the rest of the whole building.

56

Construction Sequence 1.

2.

3.

4.

5.

6.

7.

8.

1. Installing the hoardings, demolition of the existing buildings.

2. After the demolition and site clearance, ground for basement and foundations is excavated, and concrete foundations are poured for basement and piles. Basements walls and floor slab cast in situ.

3. Concrete Frame is cast in situ 4. Concrete loadbearing walls of the auditorium are cast in situ.

5. Steel substructure installed in the theatre. Roofs are formed.

6. Faรงade is clad with brick.

7. Internal walls and Finishes are added. Completion at this stage ensures the building is waterproof.

8. Pontoon systems for floating garden and theatre are installed.

The trees and water bed reeds are planted.

57

Facade

4

1

20mm Concrete Tile 100mm Screed with Underfloor Heating 150mm Hemp Insulation DPM Pile Cap Deep Pile Foundation

2

40mm Concrete Cladding DPM 150mm Cork Insulation 150mm Reinforced Concrete Slab Level Screed with Underfloor Heating 20mm Concrete Tile

3

3

20mm Concrete Tile Level Screed with Underfloor Heating 150mm Reinforced Concrete Slab 150x50mm Acoustic Timber Battens with service tray

4

PV Growing Medium Gravel/Plant Retainer Drainage Level DPM 200mm Insulation 200mm Reinforced Concrete Roof Slab 150x50mm Acoustic Timber Battens with service tray

2

1:50 1m

Detailed Elevation of West Facade

0

1m

2m

3m

4m

5m

1

Detailed Section of West Facade

58

Walls

102.5x27x215 mm Brick DPC 10mm Nanogel Insulation 100x50mm Timber Substructure 300x300mm Reinforced Concrete Column Aluminium Window Frame Triple Glazing

102.5x27x215 mm Brick DPC 150mm Hemp Insulation 150x50mm Timber Substructure 300x300mm Reinforced Concrete Column Aluminium Window Frame Triple Glazing

102.5x27x215 mm Brick DPC 150mm Hemp Insulation 150x50mm Timber Substructure 150mm Reinforced Concrete Wall Acoustic Timber Cladding

Corridor around the Workshop

Ground Floor Cafe

‘Fire-fighters’ Pole in the Auditorium

STAIRS TO CEILING 1:10 DETAIL CONNECTION 59

8 7 6

Stairs 5 4 1 - Steel Cable 2- Steel Connection 3 - 200mm Flat Reinforced Roof Slab 4 - 200mm Rigid Insulation 5 - DPM 6 - Drainage Layer 7 - Gravel/Plant Retainer

3 2

1

The broad suspended steel stairs in the foyer welcome visitors to explore the building. It is suspended from the ceiling on steel cables on one side and lay on top of a hidden single leaf masonry wall on the other side. There are two railings at 700mm and 1100 mm height for kids and adults of various heights and ages. The stair nosing has a contrasting finish to help visually impaired and less able visitors.

STAIRS TO WALL 1:10 DETAIL CONNECTION 1 6 2

1 - Steel Cable 2- 100mm Railing at 1100mm height 3 - 100mm Railing at 700mm height 4 - Steel Connection 5 - Masonry One leaf Brick Wall 6 - Auditorium Wall 7 - Stair Nosing

3

7

4

5

60

Workshop The suspended walkway in the workshop has a similar language to the stairs. Both of these are keys points in the building adventure.

1

2

3

1 - Steel Cable 2- Railings 3 - 75mm Steel Walkway

BRIDGE 1:20 DETAIL

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2

3

1 - Steel Cable 2 - Railing at 1100mm Height 3 - Railing at 700mm Height 4 - Steel Connection

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Auditorium Structure Concrete Waffle Roof Slab

Steel box Holds Mirrors For Natural Lighting System

Loadbearing Concrete Wall

Extract Plenum Steel Floor

Steel Tech Grid Walkway

Internal Timber Cladding

Gallery Steel Structure

Concrete Basement Exploded Isometric

Auditorium relies on its own structure. Loadbearing reinforced concrete walls and the waffle slab are the primary structure, acting as a shell, with the steel substructure accommodating the floors. Two structures are connected at the foundation, with wall ties used above the ground and on the roofs.

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Basement SCALE 1:20

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1 - Well Compacted Hardcore 2 - 350mm Concrete Slab 3 - 100mm Concrete Blinding 4 - 100mm Insulation 5 - Damp Proof Membrane 6 - Pile Cap 7 - 300x300mm Reinforced Concrete Column

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160mm

480mm

Auditorium Details

Ventilation Grill

Auditorium seating is arrange a steep angle, so each row 480mm above the previous one. It should help kids to see better, even if a very tall gentleman seats in front of them in a very tall hat.

The steel structure is connected to the concrete walls, however the connections are hidden with the acoustic timber cladding on the sides.

Year 6 Student slide idea

100mm Hollow circular steel columns support the 250mm I-beam

1 2 3

The internal back wall of the auditorium would be clad with repurposed brick from the demolished buildings, which used to be in the site.

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5 6 7

1 - External Brick Layer 2 - 100mm Insulation 3- 100mm Concrete Wall 4 - 250mm I-beam 5 - Acoustic Timber Cladding 6 - 50mm Steel Sheet 7 - Floor Finish

64 Reeeeeee!

Auditorium was designed to be as flexible as possible for a variety of stage productions. To keep up with the overall adventurous spirit there are slides and fireman poles for more exciting journey around the auditorium.

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Waffle Slabs Waffle Slab is used in the workshop, backstage and the main auditorium to accommodate the vast spans of the spaces and not to overcomplicate structure by combining various structural methods together. The span in the auditorium the largest one, 16x16 meters, this requires the slab used to be 1 meter deep.

1000mm

200mm

WAFFLE SLAB CROSS SECTION 1:20 SCALE

200mm

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Workshop Ceiling slab Second Floor

Backstage Ceiling slab First Floor

Auditorium Ceiling slab

Rooflights

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20m

VI Environmental Strategy

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Materiality BRICK The façade is clad in two different types of brick to respond to the historic dock palette with a contemporary twist. WasteBasedBricks® used in this project are supplied by the Dutch company StoneCycling®. All bricks are made from a minimum of 60% waste.

GLULAM The Floating theatre Canopy would be made out of glulam, which would be treated to be water-resistant.

It will require annual maintenance to recoat the treatment.

TIMBER ACOUSTIC PANELS Acoustic Insulation is one of the main priorities for such a lively building. Timber acoustic panels would be suspended from the ceilings to create quitter spaces.

ACCOYA® TIMBER CLADDING Accoya Timber will be used for cladding and decking of the floating theatre, as well as cladding several internal spaces. It is durable, non-toxic, dimensionally stable wood. Accoya is a world leader in sustainable wood technology.

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Materiality BAMBOO COMPOSITE REINFORCEMENT Instead of the standard steel reinforcement, a newer bamboo composite reinforcement is used. Bamboo, which has exceptionally high tensile strength, has long been used as a construction material in the developing world. But rather than using bamboo in its natural state, Hebel, a professor at the Swiss Federal Institute of Technology Zurich (ETH), developed a way of extracting fibres from the plant and mixing it with 10% organic resin to create a mouldable material.

The material, called bamboo composite material, can be pressed into any shape and then sawn or sanded like wood. Bamboo is one of the fastest-growing materials on the planet, so it is not only renewable but locks in carbon dioxide in the process.

GGBS 75%

50%

25%

Ground Granulated Blast-furnace Slag is a cementitious material whose main use is in concrete and is a by-product from the blast-furnaces used to make iron.

It is more sustainable than cement. For this project 75% GGBS used in the concrete mix.

COLOURED CONCRETE As the primary structure is internally exposed, SikaÂŽ ColorFloÂŽ concrete pigment would be used to make columns orange to highlight the structure to visitors. This will add another layer of playfulness to the design.

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Roof Functions BLUE ROOF Due to constant overshadowing by the auditorium, the north roof is not suitable for solar panels. To still use the given space sufficiently, the blue roof system would be installed for stormwater attenuation. The blue roof would be designed to provide biodiversity habitat for various birds, especially House Sparrows, which are listed on Bristol Species Action Plan.

BIOSOLAR BLUE ROOF To reduced the energy consumption from the power grid, solar panels would be installed on top of the blue roof system.

CASTLE TURRETS AND ROOF LIGHTS The roof lights will provide natural lighting in the auditorium during the day. Heliostat system would be utilised natural light to be used during some matinee productions. As lighting systems are the most energy-consuming part of the theatre, this system will help to reduce the energy consumption of the building. Four ventilation chimneys are key for the natural ventilation of the auditorium.

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Rainwater Harvesting Blue Roof Outlet Blue Roof Outlet Structural Columns Gutter

BLUE ROOF OUTLET 1:20 DETAIL 1 2

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4 5 Maximum Water Level

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7 6

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The auditorium roof is inclined 3 degrees towards the gutters, to collect all the stormwater down the pipes aligned with the concrete columns (indicated in orange on the isometric diagram) to the attenuation tank, located in the basement. The water on the blue roofs is attenuated within a void which sits directly above the waterproofing layer and beneath a vegetated green roof. It helps to minimise the flood risk as well as filter the rainwater. The water will flow down the outlet once it reaches a certain level. Water from the basement will be used to flush toilets. With annual precipitation in Bristol of about 815mm, there will be about 1100600 litres collected from 325 m2 of flat roof and 1363 m2 of the blue roof. This would provide enough water for 754 toilet flushes per day, which should cover most of the daily usage.

1- Green Roof 2 - ALU 250 Inspection Chamber 3 - Vegetation Barrier 4 - Blue Roof Flow Restrictor 5 - Blue Roof Flow Restrictor (including Base Plate, Outerflow, Inner and Outer Seal) 6 - 60mm Cork Insulation 7 - Insulation Packing Piece 8 - 200mmRoof Hemp Insulation 9 - Extension Unit 10 - Vertical Outlet

71 In (Workshop) In (Auditorium)

Auditorium Ventilation

In (Auditorium) Out (Auditoium)

The design of the main auditorium layout was mainly determined around the principle of the stack ventilation. To reduce the amount of energy consumed, the four corner chimneys placed to drag air in and out of the building. One chimney is designated to let the hot, stuffed air out, two chimneys provide fresh air for the auditorium and one for a mechanically ventilated workshop.

RETRACTABLE SEATING SYSTEM 1:20 DETAIL

Inside of a building 15-20 litres per second per person required to provide enough air for everyone. The maximum capacity of the auditorium is 255 people, meaning that 3,75m3 of air is needed per second. The maximum velocity of air should be no higher than 2ms-1 to limit the resistance inside the ducts and to still provide enough pressure. The calculation leads to the preferable cross-sectional area of the chimney to be 2m2. Chimney openings would also be needed to be 2m2. After taking into the account the grill of the opening, which would obstruct the air travel, the opening should be increased to 4m2. The grill under the seating in the auditorium should also be 4m2. As the retractable seating is designed to be one connected bench along the row, it allows for the opening to be 4m2 as long as the seating support is located every 4 meters.

Everyman Liverpool Theatre Ventilation Chimney

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Auditorium Ventilation The design of the main auditorium layout was mainly determined around the principle of the stack ventilation. To reduce the amount of energy consumed, the four corner chimneys placed to drag air in and out of the building. One chimney is designated to let the hot, stuffed air out, two chimneys provide fresh air for the auditorium and one for a mechanically ventilated workshop.

Lighting

Extractor Plenum

Heating Pipes

Basement ISO Sketch of the Seating The Vent Grill (area 4m2) is located under the seating ISO sketch of The Main Auditoium

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Auditorium Lighting

Fixed

Adjustable

Adjustable

The roof lights in the waffle slab provide the natural lighting in the main auditorium. They could be full blacked out during the performance.

As a large number of performances in children’s theatres happening in the morning or during the day, the heliostat mirror system would be installed to provide the natural lighting that can be used to light the performance. The heliostat (a device that includes a mirror, which turns to keep reflecting sunlight toward a predetermined target, compensating for the sun’s apparent motions in the sky) and the series of fixed and adjustable mirrors would reflect the sunlight into the mirror box inside the auditorium. The mirror box is painted with Black 3.0 (one of the blackest black colour) to prevent any light escaping from the box. Reflected light can be adjusted and redirected for the requirements of the stage design.

Sun Tracking Heliostat

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Biosolar Blue Roof To produce its own renewable energy, PV panels will be installed. Part of the roof would be partially overshadowed by Arnolfini. To mitigate the reduction in efficiency of shadowed panels, power optimisers would be installed. To increase the number of the PV panels, they would be installed at a 15° angle to the ground plane. The array should be 1500mm apart not to overshadow themselves. As the blue roof and vegetation ballast the panels, there will be no roof penetration.

In Bristol, the annual average of solar hours is 1671. There are 176 290 pW panels on the roof. If we take into the account the overshadowing, there would be 412kWh energy produced by the roof, which will save about ÂŁ5000 every year.

PV GREEN ROOF 1:20 DETAIL

176 panels

1

290 pW each 412kWh per year

2 3

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7 6

1- 1500x800mm PV Panel 2 - Extensive Substrate 3 - Drainage Layer 4 - 200mm Insulation 5 - Damp Proof Membrane 6 - 200mm Roof Slab 7 - 60mm Anchor Board

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Heating

Water Source Heat Pump Close Lake System Underfloor Heating

Solar Thermal Gains on South Facade

Concrete ground floor and basement High thermal mass and intertia

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Acoustics Blue Roof Acoustically Insulating Suspended Acoustic Panels

Brick Cladding Help to reflect sound off the back walls of the auditorium

Vertical acoustic panels Help absorb sound on the side walls of the auditorium

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Windows

Tinted/Stained Windows

To prevent the excessive heat gain in summer and heat loss in winter, triple glazed windows with two low-e coating will be used. To reduce the glare and excessive sunlight on the south, west and east part of the building, the system of mechanically adjustable louvres.

Vertical Louvres Horizontal Louvres

Low-e Coating

The stained glass would be encased in a set glazing, prolonging its lifespan.

Low-e Coating

62° Summer Solstice

39° Equinox

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Windows

Triple Glazed Window

Louvres Steel Support Frame

300mm wide Vertical Louvres

16° Winter Solstice

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Ventilation

Mechanical Ventilation Natural Ventilation Mixed Mode Ventilation

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Ventilation

Most of the building is naturally ventilated, except for the workshop, toilets, dressing rooms and kitchens.

Single-sided ventilation principles are used to ventilate classrooms and offices, as depth to height ration of those space is about 2.5 and all window openings are at least 1.5m high. Rooflight above the stairs helps to cross-ventilate the foyer cafĂŠs on the west side of the building.

VII Landscape Strategy

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Landscape plan

1 2 3 4 5 6 7 8

Outdoor Cafe Area Floating Garden Ramp Pontoon Deck Existing Crane Bridge onto the Pontoon Floating Theatre Bristol Ferries Boats Office Access to be building Benches Cycle Stands

1:200 4m

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8m

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16m

20m

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Floating Garden

1 - Pontoon System 2 - Pontoon Piles 3 - Reed Bed 4 - Planting 5 - Scaffold Poles 6 - Catenary Chain

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1:100

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The floating garden is created by the system of floating reed rafts. Each panel is 1.4mx2m. Its is an innovative floating raft of wetland plants that help to create an urban wildlife habitat and natural water filtration system.

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Floating Theatre Timber Truss Saw-Tooth Roof 150x150mm Glulam Columns Aerogel Insulated Glazing

Textile Fabric for Solar Shading

Glulam Canopy Structure

Timber Seating

Accoya Timber Deck

Pontoon Piles Pontoon System

Glulam Structure Connections

The floating theatre offers an opportunity to create outdoor performances surrounded by water. Light glulam canopy structure protects the spectators from the harsh sun. Imagine witnessing Shakespeare’s Midsummer Night Dream in the warm July evening. The Bristol Ferries boat office operates from April to September. The tourists and the locals can rent a boat or go on one of many different tours on offer. The theatre would cooperate with the office during the Bristol Harbour Festival to create travelling performances around the harbour.

VIII Regulatory Compliances

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Accessibility In relation to Part M

The Grove Entrance

The site itself is accessible in all directions, allowing a drop-off point from the Prince Street Entrance. The Grove entrance is used for deliveries. Previously being an existing car park, additional car park space has not been added, as to encourage a sustainable pedestrian route. The nearest car park is the Grove car park, 100m away. All entrances are flush to the ground and are wheelchair friendly. Entrances to the building are minimum 1500mm wide, and the bridges to the floating theatre are 2500mm to provide easy access.

Prince Street Entrance

Pathfinding in the building is made evident, providing accessible signage for visually-impaired. The visual openness of the ground floor allows visitors to connect to different parts of the programme, ensuring the scheme is natural to experience. A box office and a backstage office near both entrances provide information regarding the programme.

Accessible seats have been placed at both the stalls and circle levels. Each floor has at least one gender-neutral wheelchair accessible toilet.

There are three vertical circulation cores, each fire-protected stairs with a neighbouring Part M compliant lift that allows access into each floor. Two elevators are placed in the north and south parts of the foyer, catering all the visitors of the theatre. Third lift, located in the management/educational part, is the only vertical circulation core that allows access into the basement.

Ground Floor

Wheelchair Spaces

Where there are stairs, steps have a rise no greater than 170mm. All stairs nosing are indicated with bright complementary colours for visually impaired people. All passageways are at least 1500mm wide, providing space for wheelchair users and ambulant visitors alike.

The box office counter is divided into a lower and higher part to serve to children and visitors in wheelchairs. All switches are located at 750mm height of the ground.

Stairs 2000x1400mm Lift 1500x1500mm unobstructed spaces next to the lift Wheelchair Accessible Toilet

Box Office Desk First Floor

Second Floor

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Fire Safety In relation to Part B

The programme itself is set to decrease the risk of fire. However, the timber cladding could be a high-fire risk without proper treatment. The main potential high risk is the technical gallery in the main auditorium.

Kitchens and plant rooms also introduce a potential fire risk; this is managed by using appropriate build-ups that allow for safe and protected evacuation in the event of an emergency.

B1 - Means of Warning and Escape All exit routes are a minimum of 1500mm wide. Fire detection and visual and audible alarms (complied with BS 5839-1) are fitted, and a sprinkler system is installed throughout the building, and fire extinguishers are placed at frequent intervals. All areas in the building area within 32m in two directions of a storey exit. Members of staff are trained in fire evacuation procedure; visitors less ambulant/ wheelchair users have designated refuge areas within the vertical circulation cores.

B2 - Internal Fire Spread (Linings) All floors are clad in concrete and brick, making them naturally fire-resistant. For acoustic insulation, timber is used, which will require a protective treatment to become fire-retardant, slowing combustion during a fire.

Disable Refuge Fire Curtain Fire Stairs Escape Route Vehicle Access

Ground Floor

B3 - Internal Fire Spread (Structure) The primary structure is a concrete frame, which is naturally fire-resistant.

It has the highest fire resistance classification (class AI) under EN 13501-1:2007- A1:2009. The main vertical cores are also made from concrete, creating safe zones for escape.

B4 - External Fire Spread To reduce the risk of fire as the site is close to neighbouring buildings, treated timber cladding is used to give fire resistance. Fire-resistant glazing is used for the windows, and sprinkler systems are fitted.

B5 - Access and Facilities for Fire and Rescue Service Primary fire vehicle access is via Prince Street and the Grove. The minimum area of perimeter access for fire pumps are achieved, as all 4 sides of the building are accessible.

First Floor

Third Floor

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CDM

Construction and Design Management Before Construction 1. Management overview A CDM consultant will be appointed by the contractor at the early stages of the construction process to assess the risk of the project, and brief the design team to reduce and remove these risks where possible, identifying potential hazards to workers. Each sub-consultant, sub-contractor and worker will be briefed on their tasks.

2. Demolition of Existing Buildings A survey is required to identify the risk in the removal of existing buildings along the Grove. To prevent instability of existing structures, appropriate propping and bracing is used, and the demolition area is blocked off during active demolition. All bricks are to be repurposed within the building.

3. Site Management Due to the site’ location within the centre of Bristol, a site boundary is established to prevent unauthorised access onto the site, preventing the public from accessing the site. Hoarding will be erected around the site to ensure a safe working environment. The main entrance to the site is located at the Grove. Due to the site’s close proximity to water, hoarding along the water edge is required to ensure workers’ safety and eliminate the risk of falling.

4. Facilities for workers A site compound housing WC’s, changing rooms, first aid, meetings rooms, offices and food preparation areas for the workers will be installed in the existing Grove car park space during the construction process. Hoarding should be positioned along the site boundary to ensure a safe zone, with the office close to the main entrance, ensuring security and a distinct point of control. Site induction and training for the workers should be completed before work starts.

5. Fire/ Emergency Fire safety points are located in an appropriate and clear place.

Demolition Site Management

Fire Assemble Point

Fire Assemble Point

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CDM

Construction and Design Management During Construction 1. Material Delivery The majority of this will be delivered through the centre of Bristol, which may cause disruptions to traffic. Considerations will need to be made before transporting and lifting materials into the site.

2. Excavation The excavation of the site involved a lot of risks, primarily due to the proximity to nearby buildings. All excavated materials are to be repurposed within the building as an aggregate for the concrete mix.

3. Worker’s Welfare Workers are to be trained in health and safety. Scaffolding will be installed to reduce the risk of falling. Due to the site’s close proximity to water, hoarding along the water edge is required to ensure workers’ safety and eliminate the risk of falling.

4. Crane A crane will be required while erecting the structure. Therefore the construction will need to be planned to ensure safety on site. Phased construction will ensure that multiple activities occurring at the same time will not incur a higher risk.

Post Construction 1. Maintenance The risk of falling in the water is removed with balustrading along the water edge. It is also expected that over time, the roof will become dirty; therefore, access is available to the roof, but only for maintenance purposes.

Main Delivery Route

Site Management

The Crane Fire Assemble Point

Temporary Material Storage

IX Encore

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Initial Development When I started working on this project, I decided to treat every person using the space as a child.

Very early on, I decided to design a naturally ventilated theatre, so most of my design ideas for the auditorium appeared very early on.

The proximity to water makes my site unique, so I wanted to use the natural elements in a variety of different ways. From an environmental perspective, the place was perfect for a water source heat pump.

Initially, I wanted to incorporate water inside the building as well. However, it did not turn out successful. The backstage and the stage require a lot of technical appliances, and it would not have worked with an open body of water.

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Initial Development

Initially, I wanted to keep the building on the corner of the site, as I found it rather fascinating. Its brick adds to the palette of the site. So most of the initial plan development was involved around the existing structure.

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Playful Research

Very early on, I let my inner child ‘out’ to help me understand how kids see spaces, how they interact. For me, it was essential to know how they know the scale, how they feel in public areas, what they love about theatres and, most importantly, what they can teach adults. I asked a friend, who has 3 children, all under the age of 5, to give children a camera to take photographs from their perspective. That’s how I would out kids see a LOT of floors, and since then, I always tried to make the floor pattern look exciting.

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Playful Research

I also got a children’s chair, and I walked around campus and sat at a different location to get to understand how to make a chair comfortable for adults and children.

I have contacted Lindsay Baker, the manager of the Egg, the children’s theatre in Bath, designed by Haworth Tompkins. He showed me around and talked about the management of the children’s theatre. After a visit, I started to pay more attention to smaller details, like railings, and how children want to sit in the theatre.

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First Review

After my first review, I made a decision to demolish the existing brick build, as it was working against me. The scale of other places was much larger than that of the existing structure. Nevertheless, after the demolition, the brick would be repurposed inside the auditorium. After my first environmental tutorial, I have noticed that the different location of rooms in the plan reminded me of the adventurous map of Neverland, which reinforced my idea to design with children in mind (even unintentionally).

I have updated the zoning and decided to align the main auditorium with Arnolfini’s axes.

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Second Review Second review (which eventually became the last face-to-face review of my fourth year) was quite successful. The idea of playfulness was understood in my plans, and I was encouraged to dream bigger. That’s when the bridge across the workshop was born. I have started to develop more the idea of floating theatre. The Pavilion of Reflections in Zurich became the main inspiration. My weakest aspect of the design was the structural strategy, as I have changed the primary structure around four times by that point. I wanted to do a masonry building, which was impossible with the given spans. I tried to adapt glulam or CLT, however, to span 16-18 meters by structure would have been massive and taking up too much space. So, in the end, I settled with a reinforced concrete frame, but I needed to make it more environmentally friendly.

Unfortunately, following week we had to leave the studio due to the global pandemic.

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Tectonic Review

The tectonic review took place under the abnormal circumstances, as we all were stuck at home with no opportunity to create any physical models. That’s when I have ordered 1000-Lego-piece box to experiment with brick bond patterns. After this review my main focus shifted on detailing the elevations. An endless array of arches began.

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Final Review

The main feedback after my final review was focused on the floating theatre structure.

The designed turned out to be quite bulky, so I decided to simplify it and make it more open, light and elegant.

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Reflection

“Never say goodbye because goodbye means going away and going away means forgetting.21”

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Reflection One hundred and eighty-five arches later‌

What an incredibly bizarre, exciting and sometimes frightening year it was. One thing I know for sure, I will definitely never grow up.

This project taught me a lot about myself and people around me; it shaped me as a young architect. I have realised how much I value the internal feeling people experience while being in a place. Architecture for me is a physical plane which allows social interactions to happen.

If I had more time (and some access to a workshop), I would love to experiment with my ideas more through model-making. It is one of my favourite part of the creative process, alas, it was taken from me by the current situation.

All year I tried to be more and more critical of my ideas and the feedback I received. For the first time in fourth years, I managed to reject critics feedback and follow my own decision, which I still have not regretted. I have grown a lot as a person; I became a better listener, and I learnt that from the kids.

Most importantly, I have learnt how to stay true to myself.

Throughout my life, I have always struggled to value my own opinion, in the same way, I will appreciate someone else’s. This project helped to show me who I am.

And I am still an adventurous child, who will never grow up.

X References

References 1 Barrie, James Matthew, Peter Pan (New York: Harper Collins, 2015), 248 2 Wells, Karen, Childhood in a Global Perspective (Cambridge: Polity, 2015, Second Edition), 117 3 Toomey, Karl, ‘Is playfulness the creative tool we’re not making the most of?’, It’s nice that, accessed 23 January 2020, https:// www.itsnicethat.com/features/karl-toomey-playfulness-in-creativity-opinion-210120?fbclid=IwAR1G-Ie2eZ58qR-RPDTGpfADGkslVeXJVyx-b5jD82wtXLUsUtr0YYpWEQE 4 Thomas, Rhys, John Mulaney: The Comeback Kid, Film Title (Chicago: Netflix, 2015) 5 Wells, 2015, 23 6 Wells, 2015, 27 7 Unicef, UNCRC, 1990, available at https://www.unicef.org.uk/what-we-do/un-convention-child-rights/ 8 The Telegraph, “Greta Thunberg hits back at Donald Trump tweet telling her to ‘chill’”, 2019, available at: https://www.telegraph.co.uk/ news/2019/12/12/greta-thunberg-claps-back-president-trumps-tweet-telling-chill/ 9 Eluyefa, D., “Children Theatre” (New York: NYU Press, 2016) 10 Gardner, L., “Why Children’s Theatre Matters”, The Guardian, 2013, available at: https://www.theguardian.com/stage/theatreblog/2013/oct/23/why-childrens-theatre-matters 11 Tobacco Factory Theatres, 2017, available at: https://www.tobaccofactorytheatres.com/5-things-need-know-bristols-independent-theatre-scene/ 12 “Health and Wellbeing in Bristol”, JSNA 2018 Data Profile, available at: https://www.bristol.gov.uk/documents/20182/34748/ JSNA+2018+Data+Profile.pdf/f931b437-84fc-699a-639f-89dde144b142 13 NSPCC, “Effects of child abuse”, available at: https://www.nspcc.org.uk/what-is-child-abuse/effects-of-child-abuse/ 14 Jarman, Sara, “The effectiveness of drama therapy for children who have witnessed domestic abuse”, Mental Health Practice, available at: https://journals.rcni.com/mental-health-practice/the-effectiveness-of-drama-therapy-for-children-who-have-witnessed-domestic-abusemhp.18.2.19.e925 15 BUSH HOUSE, available at: https://historicengland.org.uk/listing/the-list/list-entry/1282181 16 Bettelheim, Bruno, The Uses of Enchantment (London: Penguin Books, 1976), p.5 17 Manchester School of Art, designed by FCBS, photograph taken by Hufton+Crow 18 Contemporary Stained Glass by Flora Jamieson, https://www.florajamieson.co.uk/contemporary-stained-glass 19 “Why Choose Montessori Education?”, available at https://amshq.org/Families/Why-Choose-Montessori 20 Barrie, 2015, 130 21 Barrie, 2015, 236