Preston Bus Station by SANE

P25 P R E S TO N B U S STAT ION com pet it ion

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THE Technical Report

I. Introduction 03 II. Architectural & Functional Notice

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The existing building / Preston Gallery The extension / Preston Youth Zone Plus The Landscape

III. Response to ‘Conservation Management Plan’

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IV. Response to ‘Development Control Issues’

V. Operations and Maintenance strategy

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VI. Technical specifications 23

Structural design Mechanical & Electrical Sustainable developement Connection with the existing building Ambiance and Materiality

VII. Schedule of areas 29 VIII. Description of the working methods

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The site is exceptionaly poetic: a large, atypical volume, very long, the repetitive structure adding to the depth of field and creating a strong extraterritorial atmosphere °° Along with the Harris Museum, the Bus Station is Preston’s only building of national, even Continental confidence, originality and significance, and hence maybe part of the city’s ‘distinctive character and identity’.

The design is straightforward: four concrete layers modelled with a series of curved waves, which across the station’s length create op-art distortions, animating the station’s movement, while looking serene, unhurried and uncluttered. It’s the very model of a civic building –taking something from everyday life and ennobling it.

Unlike the average concrete bus station, it is held in undisputed public esteem. It has even won a local newspaper poll for best building in Preston, and is not surprising. Its glorious sweep is so simple, so confident, so right, that is impossible not to be seduced by it.

Only a couple of years ago, one of the reasons given for the necessity of demolishing Preston Bus Station was ‘it’s in the wrong place!’

One of the many things noticeable, however, if you actually visit the Bus Station, is it’s in exactly the right place for most of the things genuinely worth seeing in Preston, genuinely specific and unique to it.

An overhead walkway connects it easily to RMJM’s early 1970s Guild Hall, whose James Stirling-style combination of industrial red brick and Constructivist cantilevers contrasts well with the Bus Station’s sublime sweep; and just to the south, is the Victorian covered market, and most importantly of all, the other building in Preston that is truly first rank – the Harris Museum and Art Gallery, an austere, monumental Greek revival building worthy of Schinkel.

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The problem always was, though, that the Bus Station’s forecourt made connection between these structures much trickier than their close proximity would imply.

Put bluntly, wandering between the Harris and the Bus Station, you’d stand a good chance of getting run over.

Not the least interest of this proposal is the fact that a connection is made between these structures. The Bus Station itself continues, albeit reduced, at the side facing away from the city centre. A square lined with trees runs out from inside the Bus Station’s high, airy concourse, which is turned over to art exhibitions (in an analogue to the Harris’ pre-modern art collection) towards the civic heart of Preston.

However, this isn’t treated in the cheaply pompous mock-Victorian manner so often popular in towns like this, but informally, with chairs left around as if in someone’s garden. Connected to this is the pitch of a youth centre, and then, the structure of the youth centre itself, which cuts this square off from the ramps leading to the car park, making a viable civic space out of what had been the Station’s forecourt. That youth centre, meanwhile, subtly repeats the rippling curves of Keith Ingham’s original station design, in a laconic form that doesn’t attempt to compete with the Brutalist grandeur of the original, but doesn’t ignore or patronise it either.

When the Bus Station was slated for demolition and denounced by local politicians, there was always the implication that it was a little too good for Preston, that it had ideas above its station, as it were. In combining the connection to those parts of the city that had higher ambitions, in refurbishing and extending the ideas of the original building, and in creating a genuinely public purpose for the currently underused expanses of Ingham’s generous design, there’s the possibility that the civic pride embodied in these buildings might finally be rescued from decades of neglect.

Owen Hatherley 5

“Erase the Traces. Destroy, in order to create.

Build a new world on the ruins of the old.

This, it is often thought, is the Modernist imperative. So what would it mean, then, to look for the future’s remnants? To uncover clues about those who wanted, as Walter Benjamin put it, to ‘live without traces’? Can we, should we, try and excavate utopia?” O.H.

THE BUS STATION: functions as a transport hub, connecting Preston with the rest of the world. The gallery will function as an activity hub connecting Preston citizens with each other and with the city It acts as a horizontal axis placed at the intersection of the city and the community various needs, generating a collection of alternative center points.

PRESTON YOUTH ZONE: A three floor height curved volume slides in the ground floor of the existing building at mezzanine level as a 500 sqm terrace. The curve of the slab is parallel with the curve of the facade panels as a spatial dialog between the existing building and the extension, while also opening towards the city.

THE PARK: will be predominantly mineral borrowing from the history of the place as a former bus station. The green space is reduced to an elementary presence: a network of trees extending in the open space of the gallery that will function as a link between the interior and the exterior. 300 metal chairs can scatter freely in the park and in the bus station, offering the possibility of diverse typologies that create and dissolve freely because the 6 users can move everywhere.

The Bus Station open space will combine various community oriented pop-up programs: an art gallery, a co-working space, virtual multimedia library, restaurants and stores etc.

The cassette above the entries will be replaced with a led screens band that will run people’s tweets and Facebook messages etc containing a particular hashtag - connecting the whole world with the Preston Bus Station

The youth center is organized in three axes. In the new building, a vertical counseling axis and a horizontal sports axis that extends outside with the exterior sports area. In the old building an arts axis that can extend in the gallery as an exhibition space. The axes intersect at ground floor level in the foyer and the recreation area

The curved slab creates at mezzanine level a terrace that can function as a protected exterior space for the Youth Zone connecting the old building and the extension at functional level as well as at formal level.

The curved slab is suspended on cables and functions as a central active core that distributes all the mechanical, acoustic and fluid systems of the building.

The cable structure will shelter a flexible, wide open space for the main functions of the Youth Center

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i i . A r c h i t e c t u r a l . & . F u n c t i o n a l . N o t i c e

T h e . P r e s t o n . b u s . s t a t i o n

Our strategy for the Preston Bus Station aims to create an entity that can function for the community in the same way the Youth Centre functions for the children: offering a range of cultural and commercial activities: the possibility of connecting inside the community or the to achieve some kind of professional potential (art gallery, co-working space). In this way the space reinvents the initial function of connectivity between different cities at a local level, linking the people in different activities and projects.

The architectural intervention in the bus station will be minimal in order to preserve the unique character of the building. The existing glass façade will be replaced, the access doors will be changed with automatic ones. The glazing of the core will be replaced with transparent and translucent U channelled structural glass. Most of the other finishings will be kept, cleaned and refurbished. The exposed concrete surfaces will be repaired.

In the East half, that retains the bus station function, part of the barriers will be replaced with benches following the original design.

The West side will become an open public space where various pop-up activities can develop. At mezzanine level in the south part a co-working space will be arranged. This space will function in the same logic as the rest of the program in the core: café/ restaurant, hairdresser etc. At ground floor level, on the south side, there will the coach station.

In order to preserve the purity of the plan there will be no other enclosure of the open space.

The space will be furnished with chairs and tables that can be freely used by any of the core functions: as a sitting area for the café, as a working area for the co-working space etc. Also in the week-ends pop-up stores in the form of small stands can be arranged.

In this way the space will reflect the community needs, and will provide a way for the users to choose the activities they want for it.

An art gallery will be functioning in parallel with the rest of the program. The art gallery could function as a contemporary informal extension of the Harris Museum, offering the option of display for the local artists. In special occasions could function together with the Arts and Crafts Informal Area of the Youth Zone, also placed in the existing building, and could display the children’s works. In this way all the community will be connected with the children’s and local artist’s works in a less intimidating, more contemporary set sett than the Harris Museum.

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The co-working space should offer the possibility of remote working for the community or even, if the local University or Authorities get involved, it could offer some incubator opportunities for promising start-ups. With the involvement of local authorities or different NGO’s the bus station can become an important space for the community.

The link with the city is very important, that is why we proposed to extend the exterior landscape inside by placing a row of trees in the interior space. The trees will also function as a phono-insulation by dividing the space allowing us to keep the original choice of materials without sacrificing comfort. In the coach station area concentric benches will be designed around the trees, offering seating area and a comfortable environment.

Above the entries the Perspex cassette will be replaced with LCD panels that will run people’s social media messages that contain a particular hashtag, offering in this way the option for connectivity around the bus station project for the whole world.

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The architectural logic of the Youth zone is very simple: we searched for a type of interaction between the old and the new that would not alter the bus station pure lines while still establishing a connection.

We proposed a 2000 m2 curved slab, parallel with the curve of the bus station façade that slides into the existing building at mezzanine level and creates a 500 m2 protected terrace. Three meters height transparent glass parapets will ensure the children’s protection.

The slab forms a wide open flexible space in the ground floor that can be used as a recreation area but also to host parties and events.

The curved terrace offers a place for the contemplation of the bus station while also opening the Youth Center interior towards the city

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The project is developed on three different axes: -

an arts oriented one, in the existing space of the Bus Station. The Informal Arts and

Crafts Area could even occasionally extend in the whole eastern half of the Bus Station for public exhibitions of the children’s work.

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The sports axe develops parallel with the arts axe and extends into the park with the

exterior Kick Pitch and the Skate Park -

The third axe starts in the ground floor with the other two and develops vertically on

floors two and three with Plus Partners Accomodation and the Staff area.

STAFF AREA 240 m² NHS SEXUAL CLINIC 150 m² plus partners accomodation 160 m² MUSIC ROOM 95 m² FILM & MULTIMEDIA ROOM 40 m² arts, crafts & fashion room 35 m² informal arts & crafts area 285 m² boxing | martial arts gym 135 m² fitness suite 125 m² performing arts studio 130 m² GROUP WORK ROOM 30 m² ENTERPRISE ZONE 30 m² INCLUSION ROOM 33 m² kitchen & servery 35 m² OPEN RECREATION area 620 m²

CO_WORKING AREA 100 m² COACH STATION 235 m² CLIMBING WALL 82 m² SPORTS HALL 630 m² CHANGING FACILITIES 76 m²

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The main athletic facilities are below grade: the sports hall, the climbing wall and the locker-rooms.

In the existing building, at mezzanine level there is the Arts area: Film & Multimedia Room, Music Room, the Arts & Crafts atelier and an Informal Arts and Crafts area.

The complementary sports spaces: Fitness suite, Boxing area and the Performing Arts Studio reside on the mezzanine in the new building.

The upper floors include the Plus Partners accommodation, including the NHS Sexual Clinic at the second floor, and the staff areas at the third floor.

The flexible space in the ground floor includes the CafĂŠ, the Open Recreation and Association area, the counseling oriented rooms (Enterprise zone, Group Work room and Inclusion Room) and three One to One Meeting Rooms.

The small Meeting Rooms are designed as boxes on wheels, offering the possibility of different layouts and contributing to the ground floor flexibility.

The stairways located at each end of the sports hall and an elevator on the north side provide vertical transportation for the hundreds of children that will pass through the building every day. The spaces are arranged so that children will generally be able to use the stairs, climbing or descending no more than two stories between the ground floor and the Sports/ Arts or Counselling areas.

From the changing facilities level an external corridor leads to the Kick pitch and the Skate Park area. Both spaces are partially underground and only accessible from the inside of the Youth Center for the children’s protection. This solution also allows more permeability for the users of the bus station and the park.

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The landscape is essentially a series of superposed layers, networks of objects that function together to offer identity, public functions and vegetation. The trees network will be superposed with small public squares, public art and a lightening networks that function in parallel.

In a mostly mineral environment the trees (silver birch) are aligned in a rigid network ordered after the position of the existing buildings – It is an artificial landscape that respects the initial function of the area: a busy bus station with almost no vegetation, an industrial decor. The tree network, extended inside the bus station, will function as a link between the proposed new building, the existing building and the exterior public space.

The floor finishing in the park will be a black natural stone (black volcanic granite) in order to achieve a visual unity with the interior PVC floor of the bus station. In this context the silver birchÂ’s white barks will create a contrast with the black pavement, similar to the monochrome contrast of the bus station. A network of floor spotlights will accentuate the rigidity of the grid.

The public squares network can accommodate public gatherings, small crowds, festivities, speeches, dancing etc. The squares will be around 24 m diameter, and will be intimate enough to host various types of activities. A larger public space, will accommodate larger public events.

tree network

public art network

public spaces network

floor lighting network

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random furniture

We strongly suggest to integrate to the public area the roof of the bus station, that could function as a high place to observe the city.

In some of the squares slightly raised platforms will form a bandstand where streets musicians and local bands can play. Around the bandstands paved surfaces for dancing will be arranged.

This small squares will function as pockets of activities and will be placed toward the bus station so the exterior activities can extend inside or the interior program can extend outside if necessary.

A network of sculptures will double the trees network realizing a playful dialogue with the city Small box spaces on wheels will accommodate the technology need: one side of the boxes will be an LCD screen that can easily be transformed in a pop-up cinema or a place where the community can gather to watch sporting events.

The networks are reduced to an elementary presence with no scenographic effects and reflect the logic of the most conventional geometry possible: that of the grid. Devoid of any figurative or individualistic feature, guaranteeing it will perform in the most rational uniform way, the grid will insert an exemplary form into the instable field of human interactions.

300 metal chairs can scatter freely in the park. They are not an automatic repetition of the same ready-made basic unit but the possibility of a certain narrative, the possibilities of diverse typologies that create and dissolve freely because the users can move everywhere.

They provide a method to connect for the participants in the dialogue, not based on preestablished social constructs but almost at random, on a voluntary basis. They become in fact abstractions of the invisible forces that shape the city, in the radical and systematic confrontation of the individual versus the group.

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iii.Response.to.’Conservation.Management.Plan’

Preston Bus Station - Statement of Significance (by elements)

DRAFT

Value

Aesthetic

Aesthetic, Historic Technical

Aesthetic, Historic illustrative

Categories

Design Concept

Design Concept

Design Concept

Aesthetic, Historic illustrative

Aesthetic

Aesthetic

Design Concept

Window/Curtain Walling

Internal/External Lighting

The main body of the ground floor is enveloped in a curtain wall system

Concourse

High The original design incorported a continuous run of internally illuminated box signs over the boarding doors.

This should be retained and if possible the lighting reinstated. This will produce a pleasant ambient side light and reduce contrast against the bright sky outside.

High The transparency and delicacy of the facade treatment contrast with the curve canopy above and comprises the major part of the building's external material character and architectural identity.

The soffit mounted lighting does not enhance the bus waiting area and can be substantially improved with a) side lighting and b) pendant and/or uplighting fittings or c) linear lighting within the troughs of tee-beams (necessarily on the car decks). Floodlighting or 'washing' of the curved parapets is acceptable.

B

The layout of doors and mullions is not an essential component of the architecture and could be altered, but any new or replacement cladding should be visually lightweight, regular and relate to the modular grid. There is scope for a limited palette of colour, pattern and graphics as part of this curtain walling. Glass could be tinted but B not mirrored. Mullions could be a box section or glass fins.

Maximum transparency consistent with the internal use is preferred.

B

The duality of the tall, lightly clad, ground floor and the low car decks is the essence of the composition and should be preserved.

Ground floor- Replacement of the glazing can be considered but it should remain visually lightweight and preferably glazed. Masonry should be avoided. Graphics /Signage/ Advertising could be A acceptable. Parapets- the 'solid & void' or 'light and shade' of the car decks should remain visually. Signage should be sparse and strictly controlled.

High BDPs designers were conciously aiming to provide The protection from weather, clarity of circulation and easy access the qualities of an airport; a fully enclosed concourse with to passenger facilties should be maintained and improved whereever possible. The dividing barriers between gates should be service facilities and clearly identified boarding gates. retained as a record in appropriate locations where new seating arrangements are introduced.

Unified concept - 'Giant order' glazed ground floor Exceptional The simple concept is powerful and with subsidiary upper floors, expressed as an extrusion. monumental. Possibly influenced by Le Corbusier's 'Unité d'Habitation' (1952) and other mega-structures such as Paul Rudolf's Temple St. Parking Garage, New Haven (1962) .

A

Removal of these elements should be considered only in response fundamental repair,health and safety or operational needs.

Replacement with either like-for-like elements or subsidiary elements designed in a similar vocabulary can be considered.

Exceptional. The curved motif on the parapets is an essential quality of the design, loss or removal of them would degrade the architecture to monumental brutalism without joy. Other curves, such as the ramps, similarly raise the quality of the composition beyond the average.

Curved Motif, e.g. car deck parapets/ramps/taxi rank/seating units.

The initial concept is strictly rectangular but having established the rectangular shape of the building many subsidiary elements provide a playful counterpoint using curved forms as motif.

Potential for intervention

Extremely limitedDemolition of a substantial length or removal of car decks would not be acceptable. Construction of subsidiary external elements such as stair and lift towers or vehicle ramps may be possible with careful A design as 'counterpoints'.

Significance

Elements

Rev.1 Feb 2015

Unity of unadorned Mass, Horizontality, Monumentality, Exceptional. The simple single form of the building Scale & Length creates a very powerful presence of one, very large, unified object, which is reinforced by relentless repetition which reveals the methods of manufacture. Interrupting the form would seriously dilute the concept.

Evidential value: derives from the potential of a place to yield evidence about past human activity.

Historical value: derives from the ways in which past people, events and aspects of life can be connected through a place to the present.

It tends to be illustrative (more than purely evidential) or associative (with a notable family, person, event, or movement).

Aesthetic value: derives from the ways in which people draw sensory and intellectual stimulation from a place.

Communal value: derives from the meanings of a place for the people who relate to it, or for whom it figures in their collective experience or memory.

Commemorative and symbolic values reflect the meanings of a place for those who draw part of their identity from it, or have emotional links to it.

Social value is associated with places that people perceive as a source of identity, distinctiveness, social interaction and coherence.

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The illuminated box signs above the doors will be replaced by LCD panels that will be used to provide information on the transport in the east side and will be used to run people’s social media messages that contain a particular hashtag or different community oriented messages.

In this way all world will be able to connect around the Preston Bus Station, enhancing the landmark dimension and actually bringing the community toghether.

The glass façade will be replaced with a lightweight transparent one that follows the rhythm of the building.

The glass panels will be larger, for enhanced transparency. The fragmented feeling will be suggested by the superposition with the core U channelled glass glazing.

The concourse will be preserved on both sides. On the east side part of the barriers will be replaced with sitting areas: long benches similar to the ones in the original design. On the West side the barriers will not be preserved as they would alter the flexible usage of the space, but the program will be organized in sequences, following the original logic.

The exterior glazing will be replaced with large sheets of transparent glass. The core will be plated with U type channelled glass. The rhythm of the U glass on the core will be visible through the glazing enhancing the perception of modularity while having the maximum transparency possible.

The curved motif is the central concept of the extension: it will be reinterpreted as a public space, a protected terrace where children can play safely.

The horizontality of the building will not be altered. It is one of the key concepts of our proposal: the building acts as a horizontal axis placed at the intersection of the city and the community various needs. It will continue to function in the same logic, generating a collection of alternative center points.

Impact

High. The unified character of the building is defined by geometric precision, derived from car parking spaces and bus bay widths, which is carried through the principal elements of columns , beams, glazing mullions and tiling.

Aesthetic, Technical Uniform controlling 40ft grid and 4ft modules.

Modular construction

Aesthetic

Aesthetic technical

Aesthetic

Internal Finishes

Lighting

High A strong contrast is established between the heavy weight elements expressed as rough exposed aggregate, and the lighter weight parapets expresssed as smooth moulded concrete. This contrast is the essence of the building.

High the clear expression of the exposed and unadorned elements of structure is the essence of the building. It stands in the Modernist tradition of truth to materials and the 'machine aesthetic' which proposed that buildings should be designed in a logical and functional manner which would also give it a robust beauty similar to machinery or civil engineering works.

High The original design relied on lighting concealed inside and uplighters on top of the continuous band of perspex signs over the bus boarding doors.

Insitu Exposed Aggregate Concrete Columns

Structural Soffit of precast concrete tee beams

Side lighting

Aesthetic, Technical End Elevations

External Finishes

Design Concept

Interventions should preferably conform to the controlling grids to preserve a uniformity.The mezzanine enclosure does not confirm as rigidly to the simple rectilinear geometry as the rest of the building nor does it exhibit the playful curves of other elements. The irregular mezzanine plan form and irregular spacing of mullions (reminiscent B of Le Corbusier's La Tourette monastery) set it apart stylistically and is less successful. Alteration or replacement may be acceptable and an opportunity for creative revitalisation.

The long views are an important part of the concept and should be retained if at all possible. Possible overriding considerations would be fire safety or facilities essential to the continued economic use of the building. Preserving the long internal views on one side may be an acceptable strategy, subject to the impact of any interventions on B the character of the building.

Potential for intervention

The utilitarian nature of the building means that the construction is fully expressed, there are few areas concealed by cladding, ceilings or boxings. This allows a clear 'reading' similar to a factory or mediaeval stone building. Interventions should therefore be limited to allow the expressed structure to be 'read'. The survival of many orginal fittings and signage contributes significantly to making this building both an example of it's time and a unified concept. Helvetica B should be used for replacement and additional signage.

The installation of high-bay downlights has lost the quality of sidelighting and should be removed and the original concept reinstated.

This will need careful integration with electronic information boards.

B

Limited. The repetitive rhythm of the beams should be easily seen and enhanced by lighting, it can seem dark in contrast to glare from the sky. It should be uplit from below as the original design.

Acoustic panels or signs could be introduced but must follow the B geometric grid. Some 'clouds' (island areas) of suspended ceiling may be acceptable but should not extend across the full span of the beams.

The parapets have been painted but this is acceptable because it respects the smooth character.It would be not be acceptable for the columns except in the case of overriding need for corrosion protection. Paint should be of a uniform colour throughout and B closely related to the neutral grey of concrete.

High The end elevations represent extruded cross-section The extrusion could be extended with like-for-like construction.

Openings in the tiled panels should be carefully considered to and therfore retain the intregrity of the composition. The curved parapets of the half level car decks are exposed to conform to the grid. Signage, advertising or graphics on the large scale of the panels may be acceptable, preferably adopting the view and the tiled panels serve as 'stop ends'.

Helvetica theme. The panels are delimited by a) the central division B of car decks and by b) exposing the curved parapets. they form a 'solid and void' which should retained. i.e any infill to the voids should contrast with the solid white surface.

High. The simple arrangement visible from the exterior is carried into the interior. The uninterrupted views of the entire length and height of the ground floor provide legibility. The mezzanine structure is a corresponding simple concept of an extruded enclosure within the volume.

bays, ancilliary spaces in central spine

Aesthetic, Technical Internal Planning: clear unterrupted perimeter for Bus

Significance

High. Successful product of BDPs 'multi-disclipinary' philosophy valuing the contribution of all parts of a team.

BDP's architect acknowledge the role of Arup engineeers in conceiving the curved parapets which are the signature feature of the building. Structure is clearly on show and the results of an on-site modular factory process can be seen.

Original seating units follow the curve motif. The use of Helvetica font is typical of the time but carried throughout and remains substantially intact.

Volumes

Elements

Historic, associative

Design Team

Integrated Design of Architecture / Structural Engineering / Fittings / Typography

Value

Categories

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The Perspex signs over the boarding doors will be replaced with LCD panels for ease of use and enhanced diversity in communications. The U glass plated core will provide difuse light and the lighting solution for the park: a grid of floor spotlights will extend in the interior space also creating a link between exterior and interior space.

The modulated beams will be left apparent. Double Tees apparent precast beams will be used also for the extension. The trees extending in the interior space of the gallery will act as phono-insulating elements. The use of vegetation for sound insulation is a non-invasive solution allowing us to keep the purity of the materials: glass, concrete and PVC floor.

The apparent concrete will be carefully cleaned and repaired and left apparent as the original design. The other material used for the building is glass with different grades of transparency. The extension follows the same logic: exposed UHPC concrete, U channelled or transparent glass and epoxy resins for the floors.

The proposal for the Youth Zone follows the same logic of an infinite extruded form with “stop ends�. The end elevations of the bus station will not be altered.

Our entire proposal for the existing building, for the extension and for the park is done in the logic of the grid.

To ease the design process we used a 3.2x3.2m grid but it could easily be adapted to a 4ft grid in order to achieve a greater purity for the project.

The current layout of a central core and a clear uninterrupted perimeter will be conserved. We proposed a closed co-working space in the core at mezzanine level in the coach station area. The rest of the proposed program: cafĂŠ, co-working space, art gallery and pop-up stores will function as pop-up spaces according to the community needs and choices, without altering the open space of the gallery.

The Youth Zone extension and the Bus Station refurbishment will follow the original utilitarian logic: the curved slab of the extension incorporates all the systems needed in the building: mechanical, electrical, natural ventilation, structural etc. Apparent UHPC concrete will be used for all structure following the same logic of using the latest technologies as the original design.

The apparent concrete in the bus station will be cleaned and repaired and left apparent as it was designed.

Impact

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Value

Elements

Three stair and lift cores serving car park decks

Aesthetic

Evidential

Internal Finishes

Megastructure

Fixture & Fittings

Aesthetic

Historic, technical

Structure

Internal Finishes

Evidential

Original purposes

Potential for intervention

The public stairs and lifts, within the shafts, are not a successful part of the design and could be improved or possibly supplemented by exposed features (subject to fire and structural considerations).

B

Moderate The building is a good example of 1960's System Building and on-site prefabrication. In contrast to the fasionable board-marked unfinished concrete (beton brut) BDP and Arups chose GRP (glass reinforced plastic) moulds for the floor tee beams and parapets which gave a smooth finsh. The moulds were supplied by Glasdon, a Blackpool company.

Moderate The limited palette of materials and colours is part of the character of the building. They compriseexposed aggregate in-situ columns, moulded pre-cast units, white tiled lift cores and timber curtain walling to the mezzanine, hardwood seating and barriers, grp and acrylic illuminated signs, black rubber tile flooring.

Moderate The regular geometry of the tiled surfaces reflects the controlling geometry of the 40ft structural grid and 4ft tee-beam grid. The white tiles denote subsidiary 'domestic' structures within the megastructure.

Operating the building as publicly accessible and to its full potential Moderate The scale and ambition of the ensemble allows the original concept to be fulfilled. Interpretation on site would reflects 1960's notions of large continuums of buildings housing various activities and reordering whole areas of a be helpful. city on multiple levels.

C

Moderate Many features of the original design remain in situ and should be retained, in a new location if necessary, as part of the operational bus station. The clocks should be put back into use and maintained as a highly visible example of the integrated design .

Floors / Onsite Precast moulded Units

Exposed, Unpainted Precast & Insitu Concrete Soffits.Tiled Internal Columns & Walls

Tiles

Bus station, bus aprons, underpasses ,multi-storey car park and associated ramps.

Bus stand barriers, seating units, display cabinets, clocks

C

New tile to match existing in proportion size and shape. Signage or advertising boards should align with the tile grid. Acoustic panels, if required, should follow the grid and fit betweeen tee-beams if C possible. Floating areas of panel would be aceptable if it left the structure exposed at the perimeter.

The simplicity of the palette is part of the unity of this large building and new works should controlled by a similarly limited palette. With regard to colour, a distinction can be drawn between the large elements of structure and signage,fittings and furniture. Bright colours were use in limited areas such as bus gate numbers C (orange) and car park supergraphics arrows (yellow). This theme should be continued specifically to assist wayfinding and improve accesssiblity for the visually impaired.

Possible interventions would be a) forming openings in the floors or parapets or b) concealing the underside from view. If openings were required to ensure the economic sustainability of the building the trimming of openings should respect the module. These elements should be left exposed wherever possible because they C demonstrate the method of construction and are an integral part of the architectural language. The tee beams should be visible in some, if not all, parts of the ground floor.

Moderate The building is notable as an example of ambitious 1960's integrated planning to respond to the demands of increasing car ownership and the additional bus services which was expected from the creation of Central Lancashire New Town (1970-86).

Integrated Bus, Coach, Car and Taxi

Reports such as Traffic in Towns (Buchanan, 1963) has signalled the need for additional road and parking space in towns but also sought to reconcile that with provision for pedestrians by multi-level arrangements of underpasses, overbridges and pedestrianised areas.

C Preston Bus Station was designed to serve Bus, Coach, Car and Taxis. The taxi rank is disused but is an expresssive element of the architecture and an important example of the curved elements that contrast with the rectilinear main building. Other uses for the building would not significantly damage the 'reading' of the original use.

Consistent use of this typeface (for bus and all other occupants) is an opportunity to enhance the building. The range available from oblique, light, bold, condensed, extended together with colours directional signs and bus gates, predominantly in a utilitarian black on white, with the exception of the boarding provide a palette for many uses. Examples of it's use elsewhere areApple, NASA and BMW, Lufthansa, Panasonic, Microsoft. There is doors where it is orange on white and back illuminated. great scope and need for the signage to be rationalised and later C accretions removed. The font is more important than the actual signs which are not fully integrated into the building.

Significance

High These tile-clad shafts punctuate the roof line, they are an integral part of the structure but are not clearly expressed internally

Signage / Graphics Aesthetic, Historical Uniformity of Helvetica Font throughout,colours varies Moderate Helvetica (1957) is an elegant minimalist with scaled typeface contemporary with the building. It is used for illustrative

Staircase / Lifts

Categories

Any design element that can be retained will be retained to the original position or relocate to a new one. A large number of the barriers on the east side will be retained; some of them will be replaced with benches similar to those in the original design. We think their minimalist form is very appropriate for the bus station. The clocks will be put back in use.

The large continuum concept will be preserved. The landscape extends inside the bus station space unifying exterior and interior space. The park will be mostly mineral, a black natural stone that resembles the interior floor of the bus station. This way the bus station space will virtually extend up to Lord St.

The white tiles will be kept repaired as a historic reference of the architecture of the building.

The bus station will conserve the monochrome appearance. The passages that connect the west side to the east side will be plated with the same shade of orange channeled glass to obtain a more user friendly atmosphere.

Any intervention will respect the modules. The beams will remain apparent in all the ground floor.

The building will keep the integrated design: the east side still retains the bus station function, in the south the taxi rank will become a coach station and the west side will shift to a more pedestrian approach: bicycle use and carfree pedestrian areas.

Helvetica will be used for any type of communication through text. We could however experiment with the support: the LCD that will replace the Perspex boxes.

The Bus Station was designed in accord with the latest technologies of the time, we propose to bring the communication medium in the 21 century, using technological elements available and virtual medium as social media and the internet to transform the Preston Bus Station in a brand.

The stairs and lifts will be improved according to the possibilities. Some of the vertical circulations have been altered in order to allow them to function independently of the Youth Zone space

Impact

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D

D

the landscape will become a park/ plazza allowing pedestrian direct access

We intended to study an option to move the public facilities in the underground level accessible by ramps, but we did not had enough data. Also the technical spaces could be moved together with the technical spaces of the youth zone. This will allow more free space in the core for renting or for a less compact core.

The bus bay doors will be replaced with automatic doors that respect the original dimensions.

out of the competition area

D

D

Helvetica will be used for graphic communications

D

The archaeological potential will be addressed when more data will be available

Impact

High : Items or spaces which positively contribute to the character of the site. Retention and conservation are preferable, though in extreme cases change should be allowed.

Moderate: Of some importance to understanding the heritage of the site. A reasonable level of change should be acceptable.

Low: Of little heritage significance, removal or change acceptable.

Intrusive: Elements which detract from the heritage value of the site.

C D E

Exceptional : Rare or extremely important spaces or elements which directly contribute to the importance of the space and to the Grade II listing. Items of this significance should be retained and remain unaltered. Where changes are necessary they should be reversible.

B

A

Significance Colour Rating

Materials

Landscaping

The central spine of accommodation, whilst clearly functional, detracts from the dramatic large volumes and views. The detailing is good quality but the irregularity compromises the simplicity of the design. In particular the bay housing the stairs to staff canteen actually compromises circulation in the passenger waiting area.

Replacements should have regard to the the proportions of thick rails and slender transoms used in the original design.

The external view of the parapets is important and the horizontal bands of light and shade should be conserved.

Potential for intervention

The Historic Environment Record (HER) records a demolished Fire Station on site and the line of a roman road. The area was developed in the 19th century with terraced housing. Any finds during excavation of the bus aprons should be notified to the County D Council archaeologist. See 1891 map.

Low Granite setts form landscaped mounds to discourage The landscape around the building is excluded from the listing but forms a very minor part of the setting. pedestrian access to the taxi rank acrosss the vehicle areas.

Low Public facilities on the ground floor and bus operators facilities on the first floor.

Low Although part of a limited palette of materials the doors have proved difficult in service and do not meet current operational requirements.

Iroko bus bay doors

Doors

Ancillary accomodation

Low With the exception of the curved balustrades the interior of the car park decks are typical of many car parks. (excepting the external ramps)

Multistorey car park

Car park decks

Mezzanine

Low Helvetica Icons used at super scale, eg.carpark arrows

Supergraphics

Significance

Supergraphics

Elements Low There is archaeological potential for the area covered by the Preston Bus Station.

The archaeological significance of the site cannot be fully established currently, as little physical investigation has been carried out on the site to date.

Historic, archaeological

Archaeological Interest

The site’s archaeological interest predominantly lies outside the site as any original standing structure have been demolished to make way for the construction of Preston Bus Station and associated external courtyards.

Value

Categories

iv.Response.to.Development.Control.Issues’ Our proposal follows the Central Lancashire Core Strategy for the Development Plan: it offers cultural and entertainment facilities (art gallery, restaurant) while nurturing local growth with programs such as pop-up stores and co-working spaces (aimed mainly for small local businesses and start-ups). The Youth Zone offers sports and cultural activities while having an important community oriented program. The activities that will develop in the Bus Station and in the park will are also aiming at bringing the community together.

The heritage aspect is also of great importance: any alteration to the existing building will be made with care in the spirit of the original design The sustainable development is an important aspect of the project. Our green strategy has a strong educational component: real-time generation and the real-time impacts will be displayed on a number of displays and will increase children’s awareness of energy efficiency, renewable generation, self-consumption and the development towards a low CO2 society

V. O p e r a t i o n s . a n d . M a i n t e n a n c e . s t r a t e g y Maintenance can be divided into two broad categories: planned and unplanned. Maintenance is organised and controlled and follows a recognisable procedure when it has planned preventive maintenance scheduled. The benefits of preventive maintenance can be summarized as follows: - provides extended life of the building and the grounds; - timely identification of building degradation that may otherwise be unnoticed; - maintains compliance with current codes and standards; - achieves reductions in energy consumption.

Besides the architectural one, there is also an economic aspect to the operation & maintenance strategy: the proposed program in the western side of the bus station and the park – a neutral space where pop-up activities may develop - should be easy to implement and has relatively low maintenance costs.

Its flexibility and diversity should allow a profitable use while still providing valuable services for the community.

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v i . T e c h n i c a l . s p e c i f i c a t i o n The integration of Structural and M&E designs as well as the choice of materials were deeply considered and optimised into the very essence of the new youth centre in accordance with the conceptual rationality of the Preston Bus Station.

The choice of UHPC (ultra high performance concrete) will showcase the most advanced concrete technology available today and set in a cultural dialogue with the adjacent structure - a performance similar to the one of the steel in a lightweight concrete structure.

The technical challenges of this project are strong.

To maintain the curving slab as an independent element in order to host generous flexible spaces under it with no columns, while offering it a structural role and maintaining its conceptual elegance To develop a structural volume capable of supporting the stresses coming from the curving terrace / roof while floating over the sports hall in the ground floor

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The structural design is based on two principles: -a mixed system for the main body that combines a classic 3,2m column beam grid and a staggered Vierendeel Truss system to float over the sports hall.

-a tensile 55 cable system to suspend the 700 concrete faรงade/roof modules and connect the two buildings In addition, double tees ribbed structural precast modules each 80cm will allow big spanning up to 12,8m. The long west faรงade grid togather with the two Vierendeel trusses will unload all the three floor slabs charges to the ground The north and south faรงades were tested with at 40cm grids as they have the role to receive the stresses from the two 35,2 vierendeel trusses as well as the forces coming from the suspended curved slab cables.

The result is a complex minimal structure, more economic and capable to generate highly flexible and adaptable spaces in order to help future-proof the building. An optimized performance for a minimal use of materials -All structural elements will be prefabricated in order to optimize the execution time and to obtain the best finishing surface quality with the same specifications for the exposed structure. The use of prefabricated concrete will also give us control over the quality of details until the industrial design level The structure is a simple columns and beams frame system, with the columns are set along the external form of the building.

The columns on the West and East longitudinal sides are set 20cm x 20 cm, the columns on the North and South lateral sides are 40cmx40cm, bigger than longitudinal side to resist to the tension stress from suspended big roof.

The same system is used in the top floor. By erasing the columns, the space can respond to future changes, and allows more flexibility.

At 1st floor, a Vierendeel truss system is installed to allow q 35.2m big span, in this way it is possible to avoid any columns in the sports hall.

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In addition, a system of Double Tees prefabricated rib-slab will be used on all floors, leaving the ceiling parent, without any other finishing. The ribs are modules of 0.8m - a quarter of the 3.2 m grid. The modules are prefabricated and transported from the factory as modules of 0.8m width x length ( Max 12.8m), they are fixed between beams and a slab finishing cast is added, in order to ensure horizontal rigidity and to allow stress transfer.

The suspended roof structure is realized by a tensile cable structure grid of 0.8m, the same as the double tees prefabricated slab. The cables will pass through the hollow section of the prefabricated concrete slab on site.

In the existing building, the tensile stresses are supported by a new concrete wall

Besides structure, the curved slab will enhance its personality / identity by integrating all the systems of the building: Mechanical, Electrical, data networks, natural ventilation shafts, acoustic layer and lightening. All the building systems will be centralized in the underground under the sports hall locker-rooms and distributed through this curved Slab while being optimized by the BMS to produce the ideal environment.

We don’t have enough data in this phase but a similar strategy could be researched also for the Bus Station itself. It’s technical spaces, now in the ground floor central spine could be moved potentially in the old underground tunnel to leave space to commercial and social efficient activities.

The 40cm Curved Slab will become the core of the building, the active intelligent central element extending its unique identity on all levels, architectural, technologic, functional and formal – a new landmark for Preston

all the electrical, mechanical, natural ventilation systems will be passed through the curved slab that connects all the spaces

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s u s t a i n a b l e . d e v e l o p e m e n t

A key feature in the design process was a sustainable approach: a building that is environmentally friendly and naturally ventilated. The Youth Center and the intervention on the Bus Station will apply the principles of the sustainable development using locally sourced materials and reusing part of the dismantled pieces. The buildings will have control systems that respond to seasonal as well as diurnal variations, mixed mode ventilation systems with energy reclaim systems, on site renewable such as ground water, photovoltaic PV, wind assisted ventilation will be used.

- 2000 m² exposed concrete slab for thermal mass and night cooling - 250 m² of photovoltaic panels on the roof are predicted to generate 25 kWp (kW peak) - Biomass CHP - wood chip burning Combined Heat and Power installation (Combined Heat and Power) - in summer, when PV production is at its maximum, the building will consume most of the production (due to the nature of the activities, consumption will be mainly during the day).

- Electro-chemical storage (batteries), may also be added should the need to extend consumption during the evening/night arise. During winter time, when PV production is relatively lower, and there is a strong need for heat, the CHP installation will produce at its maximum.

Both the electricity and the heat will be self-consumed, and they will both renewable.

The grid can be used should excess electricity be required, and the storage capacities will also be mobilized to reduce the need for importing excess electricity during the peak (the batteries will charge during off-peak hours, and be used to provide electricity during peak hours). Should the municipality be interested, the CHP installation can be sized to allow excess heat to be injected into the municipal grid.

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- a Renewable Generation Monitor (displays kWh produced by the PV pannels and by the biomass plant, shows reduced CO2 emissions, can show other energy efficiency initiatives).

- real-time generation and the real-time impacts will be displayed on a number of displays and will increase children’s awareness of energy efficiency, renewable generation, selfconsumtion and the development towards a low CO2 society, in accordance with the UK’s long-term objectives (80% CO2 reduction towards 2050).

- the design concept follows a natural ventilation strategy: grilles at the bottom of each level to provide fresh air intake to the building. The air is cooled if necessary and is extracted at high level through the tubes in the curved slab. Windows can be opened by the Building Management System BMS to generate greater airflows when required.

- a rainwater harvesting system collects rainwater from the roof which is held in an 16000 liter tank and pumped through filters for toilet flushing. It will satisfy about 50% of the total amount of water. Overspill is directed into a reed bed - sustainable drainage from the park allows rainwater to soak into the ground, while the nonpermeable areas will drain to a reed bed. A geotextile membrane traps oils and other pollutants and allows microbiological degradation to minimize risks of groundwater pollution - the materials used for the intervention are locally sourced - bicycle racks installed near the Youth Zone and in the park will help reduce automobile use in the area - a waste reducing and recycling strategy will be used 27

CONNECTION.TO.THE.EXISTING.LISTED.BUILDING The entire architecture of the Youth Zone revolves around the existing building. The extension is a response to the bus stationÂ’s architecture, like a dialogue, it only makes sense near it.

The Youth Zone is essentially a 2000 sqm curved slab, parallel with the facade panels, that slides into the existing building at mezzanine level. The curve hosts a 500sqm elevated terrace reflecting the contemporary preoccupation for public space. The curved shape distances itself from the existing building while opening to it in the same time. The contact between the two structures is minimal: a thin horizontal line with a seductive function: protected terrace.

A m b i a n W c e . a n d . M a t e r i a l i t y The extension follows the same utilitarian logic as the bus station: the slab is structural and the precast modules host the mechanical, electrical and natural ventilation systems, with only exposed concrete and glass as a finishing.

Photovoltaic panels

Floor finishes: Epoxy paint to main areas Trowelled concrete to all concrete slabs.

Elastic flooring system 45 mm thickness for the sports hall and climbing area

Curtain walling with double glazed units, aluminium structural framing Solar shading: U-glass channels with translucent panels Lamberts Linit U

U-glass channels with translucent panels type Lamberts Linit U

Wall finishes: Plaster skim to plasterboard and two coats emulsion paint and epoxy paint

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PRESTON BUS STATION | BRIEF DESCRIPTION OF FACILITY preston youth center ENTRANCE LOBBY, INTERNAL FOYER AND RECEPTION DESK MEETING ROOM OPEN RECREATION & ASSOCIATION AREA general recreation area * small cafe area chill-out zone informal arts & crafts area kitchen & servery sports hall sports hall store climbing wall fitness suite boxing | martial arts gym & equipment store performing arts studio & equipment store music room + sound studio & radio booth film & multi-media room changing facilities hygiene room male & female wc's inclusion room group work room enterprise zone arts, crafts & fashion room health, beauty & wellbeing acivity room two one to one group work rooms board / training room general manager's room it server room general office two staff meeting rooms staff room 29

75 15

75 15

340

620

35 640 40 90 130 130 120 85 35 60 20 70 30 35 30 35 35 30 40 25 7 100 40 35

35 630 43 82 125 135 130 95 40 56 20 74 33 30 30 35 33 30 42 21 7 100 35 35

a

s

plus partners accomodation shared project room for barnardo's/ young addaction youth offending team accomodation two one to one work rooms group work room confidential office store

30

33

20 20 7 7

20 25 8 8

nhs sexual clinic waiting area reception area general office space two one to one rooms clinical room 1 clinical room 2 clinical room 3 stores dirty utility room wc clinical waste area

36 8 24 16 16 11 11 9 8 4 5

31 8 24 14 16 12 12 13 13 4 4

young peoples service facility plus partner shared meeting room

28 25

33 33

2612

2917

TOTAL TECHNICAL SPACES WORKSHOP AREA EXTERNAL ACTIVITY STORE EXTERNAL OFF SITE ACTIVITIES STORE TOTAL

3800

The proposal follows closely the required surfaces for all spaces. The only space that is TOTALrequired is the General Recreation Area in the ground floor for which we probigger than posed 620 m2 instead of 340. We believe that the General Recreation Area has a great potential in becoming an unconventional space for various events that might even involve some public attendance. It can also be used as a playground the times the weather does not allow activities on the terrace.

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v i i i . D e s c r i p t i o n . o f.t h e .w o r k i n g . m e t h o d s

Our research so far tried to understand the complex aspects of the project: a brutalist icon, an example of the utopia driven architecture of the 60’s, a state of the art technological achievement and a landmark for the Preston community. It should become a place that creates an emotional connection, with a real potential of becoming a brand for Preston.

Our methodology is not rigid, it is above all an inventory of possibilities in order to find the best link between the past and the future, while not limiting the future and not overwhelming the past.

In order to understand the project and to respond on multiple levels we created an interdisciplinary team comprising besides the usual architects engineers and landscape designers, a creative director with more than ten years advertising experience and a british writer and historian. We want to understand better the key aspects of the project and in the same time to make a proposal that could transform the Preston Bus Station from a brutalist icon in the exemplary space that was designed to be.

Our aim was not to create a space but the possibility of multiple scenarios that can later develop freely according to the community needs and to the Stakeholder Engagement.

The research phase: a systematic inquiry on what the building potential is. It is a phase fundamentally based on knowledge involving evaluation and interpretation, where a multidisciplinary team is very useful.

The design process: mainly consists in developing the questions that the project aims to respond, on the basis of a programme, professional knowledge and how they relate to a certain context. In many ways, the design process is similar to a research process, searching for new products or knowledge but working in the designer’s language, drawings and models, rather than the written word. This is historical, social, technical, material research, with countless models from which it derives the project’s future rules and procedures.

The Proposal and Experiment phase aims for concrete, alternative, spatial, building and urban - proposals which include an accessible contemplation of the experience and cognition achieved through the physical work

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ACOUSTICIAN

GREEN CONSULTANT

M & e ENGINEER

STRUCTURAL ENGINEER

ART DIRECTOR

HISTORIAN/ WRITER

LANDSCAPE DESIGNER

ARCHITECT

SENIOR ARCHITECT

LEAD ARCHITECT

Quality assessment: the project must include an accessible contemplation of the experience and new cognition achieved that result from the work with the subject matter. The formulated contemplation cannot consist entirely of the architect’s own philosophical interpretation of own work but must be of a systematic and general nature that makes it useful to the society.

Theese four phases apply to the competition proposal but they apply also to the scale of the entire project.

In the next phases the research should include the Preston community feed-back, and a dialogue with the local authorities. As we are talking about an architectural icon the architectural community should also be invited to the dialogue.

For the competition phase we made not rigid proposals, we created a frame where multiple scenarios can develop freely. By involving the stakeholders in this experiments we will be able to determine possible uses for the bus station space.

In the case of the Preston Bus Station we plan to include a more detailed survey in the quality assessment phase. This was one of the reasons for including a writer and an art director in the team.

As this is such an important project for the Preston community and for the architectural profession we intend to document its ulterior development and to communicate it in a professional way.

The development of a Youth Centre, a very future oriented program is perfectly compatible with the original atmosphere of the bus station: a future oriented design taking a banal program and transforming it into a seductive space for the superhuman of the future.

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