125
126
Primary Source Research
Fig 41
127
The Site York Theatre Royal has been around for centuries, with the original being built in the 1700’s. However, by the 1960’s, the decision was
Background
taken to modernise it, with the addition of an extension. This is where
Introduction
Patrick Gwynne came in. He was given the task of designing this
The primary source data with be conducted using quantitative
architecture but also some strong hints of Mid-Century Modern.
data methods. The data will consist of visiting a site, in this case,
This building has now gained a lot of historical significance, hence
the York Theatre Royal in York to take first hand photos and analyse
why this is now Grade II listed. To keep the site modernised, both
them to pick out the spaces key features. The basis for choosing this
the extension and the original 18th Century structure received a
particular site is due to the era that it was designed in, this being at
renovation, completed by De Mantos Ryan in 201628.
new edition. The new extension was opened in 1967 and consisted of a very eye catching design that saw heavy use of brutalist
the same time of the peak of Mid-Century Modern. This design of this interior also heavily influences some of the key areas of Icons interior design, so will remain relevant throughout. When visiting the site, it will not require any communication with any members of staff or customers using the space as the site is open to the public. There will be CCTV in operation and the photos taken will be stored in iCloud to ensure they are safe and secure when it comes to adding them to this research.
Fig 42
129 Starting with the exterior shows just how prevalent the vaulted
Fig 43
Fig 45
pillars are. This is partially to the fact the pillars form an entrance into the café space, reminiscent
to
that
of
the
archways on the original 18th Century Structure. The tone of the concrete used also helps the modern architecture blend
Exterior & Pillars
in more effectively with the theatres brickwork. In true MidCentury fashion, the whole building is then cladding with vast amounts of glass allowing
Fig 46
Due being
to
the
used
extensions for
mainly
the view of the pillars inside
café and bar purposes,
perfectly visible to passers-by.
the space is largely open
The shape of the exterior is
plan, allowing for the light
consistent with the hexagonal
to
pillars.
the space. The pillars, of
Fig 44
travel
freely
through
course, are the highlight of the space, dominating two floors and help to create an effective form of zoning. The pillars are made from warm
toned
concrete
which is then formed in a hexagonal shape. All of these pillars are connected to one another, allowing for a much more seamless design which is flush with the ceiling.
131 Fig 47
The void can be found as soon as you walk into the space. The hexagonal theme continues on the edges of the floor plates helping to give an insight up to the first floor. The staircase also helps to fill the void and has its own design language with a tree branch-like cent ral pillar and a white staircase surrounding it, using a black metal balustrade allowing light to travel through it. At the top, a series of circular skylights floor the void with lots of natural light. Looking into closer detail the room frame follows a geometric pattern, similar to that of the pillar design. These have a blue tint to create a more moody atmosphere. The void helps to show off the original 18th century building in its full glory and means there is minimal disruption to its decoration and structure which is historically important,
Lighting & Void
hence why its grade listed. Fig 48
Lighting is embedded seamlessly into the pillar design. It follows their hexagonal forms but use a contrasting colour scheme to the lighter concrete pillars, which are then illuminated by spotlights and LED lighting strips. Besides this however, this is only form of artificial lighting, meaning the pillars are almost unhindered.