How has Architecture Changed in Multi-Ethnic Communities in British Cities Within the Last 20 Years?

HOW HAS ARCHITECTURE CHANGED IN MULTI EHTNIC COMMUNITIES IN BRITISH CITIES WITHIN THE LAST 20 YEARS?

SOPHIE HOPE N0674792

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“how has architecture changed in multi-ethnic communities in British cities within the last 20 years?�

CONTENTS

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INTRODUCTION TO ESSAY ETHNOGRAPHY AND COMMUNITIES ETHNIC DIVERSITY IN BRITAIN URBAN PLANNING FOR MULTI-ETHNIC COMMUNITIES CASE STUDY ANALYSIS

-THE GRANVILLE -GRANBY WINTER GARDEN

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CONCLUSION

INTRODUCTION As multi-ethnic communities in Britain are constantly developing, architectural interventions must be applied to overall suit the lives of their residents.

It is interesting to study how, in the last twenty years, architecture has changed in a multi-ethnic area of a British city and the impact of this on local residents as well as the area. The question faced is whether these urban environmental changes since the millennium have provided a positive attribute and the reason they have occurred. The changes researched will involve the architecture in the area and the implications of new/repurposed buildings as well as public space. This will then lead to identifying how the changes have impacted the area demographically and personally.

Figure 1. Views of East London (Hope, 2020)

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To answer the question, “how has architecture changed in multi-ethnic communities in British cities within the last 20 years?â€? there will be many sources of research. To further this, research for the topic will be completed through qualitative means of investigation alongside continual secondary data gathering through literature, urban planning reports, and case studies. Studying these sources gain knowledge from different perspectives; the planning reports give an exact answer of what should be considered when building, and case studies give a detailed perspective of an existing situation. Primary research will be developed through researching communities in Britain through literature and websites before then visiting these places to see the architectural changes. To further knowledge and understanding of the communities, a selection of questions will be sent, as set out by Borden amd RĂźedi (2006, page 29-30) to community-centre staff in multi-ethnic neighbourhoods, with questions about guidelines for inclusive planning that will be applied to case studies as a means of a quantitive method, mixed with qualitative.

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ETHNOGRAPHY AND COMMUNITIES The study of culture and communities comes from the term ‘ethnography’ which is stated as, “the detailed investigation of patterns of social interaction” (Hammersley Atkinson, 2007). Per the authors, in some ways, ethnography is the most fundamental form of social research, where the process requires the ethnographer to participate in people’s everyday lives and collect any data to help explain the issues communities face (Hammersley, Atkinson 2007, page 2).

This is something that will be referred to throughout the study of communities to be able to engage with how residents feel about the area in which they live

“patterns of social interaction” Figure 2. Ethnography Visual (Hope, 2020)

It is imperative to understand that a community can be defined as a group of people having similar characteristics, interests or needs (Stevenson 2010, page 341). The term ‘community’ is very popular and can mean multiple things, and there are questions to its usefulness in the present day. Different outlooks on ‘community’ come from people in different fields whereby sociologists view the term more as “spatially-bound locality” whereas anthropologists have defined it to social groups such as ethnicity and minority (Delanty 2009). This visual essay defines ‘community’ in a sociological way of people living physically near each other and will be the study of ethnography within architecture, looking at how urban environments evolve and adapt in multi-ethnic neighbourhoods, focussing on the effects of the community within the last 20 years.

+ characteristics

+ interests

needs

Figure 3. Community Visual (Hope, 2020)

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Figure 4. Community in Britain Visual (Hope, 2020)

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ETHNIC DIVERSITY IN BRITAIN Ethnic diversity in Britain is a rapidly evolving study, however it is seen that there is still a lot to learn about diversity in groups and the future for multiethnic Britain (Platt Nandi 2018). Although the phrase ‘multi-ethnic’ can sometimes be paired with multi-cultural, the meaning of these terms differs, whereby multi-ethnic is related to various races as opposed to societies and cultures (Oxford Languages 2012). From Census data, it is clear that Britain has developed gradually in terms of being an ethnically diverse country, with percentage changes from 2001 to 2011, with a 20% non-white British increase between the ten-year range (GOV.uk 2011). Paired with this increase, there must be alterations to the areas and cultures in which are heavily multi-ethnic.

Ethnicity Demographic 2001

Ethnicity Demographic 2011

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60%

Bangladeshi

40%

Pakistani Indian Mixed

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20% 0%

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Figure 5. Ethnic Group (Council 2008)

White British

Other Black

Britain

Figure 6. QS201EW - Ethnic Group (CRU n.d.)

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Per ‘A Portrait of Modern Britain’ from the UK House Longitude Study, “the five largest distinct Black and Minority Ethnic (BME) communities could potentially double from 14% of the population to between 2030% by the middle of the century”, claiming that although the white community statistics have kept level, the BME population has almost doubled (Sunak, Rajeswaran 2014). It is positive to see that the country is diverse in not only ethnicity but other factors including a range of languages spoken, political choice, religious freedom and sexual freedom (James 2019).

When looking at Great Britain as a whole, it is seen that the more urban the area, the greater the range of multiethnic residents (Simpson 2013, page 1). This journal from ESRC Centre on Dynamics of Ethnicity speaks the idea of a plural city where there is no ethnic majority group and writes of how Slough, Luton and Leicester are the first areas outside of London where there is not one ethnic group over 50% of the demographic, although politicians falsely label these as ‘segregated’ (Simpson 2013, page 1). Britain becoming a plural country would prove great growth of the nation, but the statistics at present are impressive, with thirtyseven London boroughs also plural (Simpson 2013, page 2).

leicester luton london slough

Strengthening the debate between urban and rural areas, Census 2011 statistics reveal that Wales had the highest percentage of White British, with London claiming the title of most ethnically diverse in England and Wales (White 2012). This data, therefore, confirms that urban areas are more multi-ethnic and states the reasoning behind choosing to analyse architectural changes in British cities as opposed to rural Britain, and it is interesting to see just how demographic information has varied.

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ETHNIC DIVERSITY IN BRITAIN Census provides the most accurate data recorded of local and national demographics and is a very important tool in studies of ethnicity. There are records from 2001 and 2011 that illustrate how Britain is advancing as a mixed nation as well as showing employment rates and age demographics. Between 2001 and 2011 there have been great changes, depending on different parts of the country. As a whole, Britain’s chart for ethnicity gives a 20% decrease in White British from 2001-2011 with 45.1 million people in that category.

Although Wales had the smallest change across the majority of ethnic groups with only a decrease of 2.8% White British group, London and the West Midlands advanced. London showed a 14.9% White British decrease paired with increased percentages from ‘Any Other White’ and ‘Any Other Asian’ categories (GOV 2011). To follow in this, the West Midlands displayed a 7% majority decrease and 1.3% of minority increase (Emma White 2012). Aware of Britain’s ethnic diversity in the two decades and observant of how the less rural an area, the more diverse, it is essential to study the urban architecture of Britain since 2000 and the guidelines that are provided when planning to understand how this may have changed in particular areas.

Figure 7. East London Streets Montage (Hope 2020)

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Ethnicity Demographic 2001

100% 80%

Other Black

60%

Asian

40%

Pakistani Indian Mixed

20% 0%

London

West Midlands

Britain

White British

Figure 8. Ethnic Group (Council 2008)

Ethnicity Demographic 2011

100% 80%

Other

60%

Asian

40%

Pakistani Indian Mixed

20% 0%

Black

London

West Midlands

Britain

White British

Figure 9. Ethnic Group (GOV.uk 2011)

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URBAN PLANNING FOR MULTI-ETHNIC COMMUNITIES The approach taken for planning cities has changed from the modern era where cities were formed for people rather than the physical element of buildings. This differs from the post-modern time where urban planning “sees fragments of space designed for aesthetic rather than social purposes” (Hall 2010).

Planning a city requires great detail and consideration for all people, per Anne Power and John Houghton’s book (Jigsaw Cities: Big Places, Small Spaces, 2007). Community life in cities is a theme studied by the writers as they talk of how cities are divided to begin with “along social and ethnic lines” and how most cities have recognised ‘white areas’ and ‘Asian areas’ (Power, Houghton 2007, page 194). The authors comment on the housing within these city communities, concluding that “our cities are diversifying in different ways” and that the city councils in Britain need to start producing homes that better suit their needs (Power, Houghton 2007, page 195).

As an example, in Oldham, Bradford and Burnley in 2001, communities were seen as grown apart; “People reported a widespread feeling that other ethnic groups were getting more than their fair share of resources” (Power, Houghton 2007, page 195). The authors suggest that perhaps communities feel uninterested in joining together, which poses the question that some of these multi-ethnic areas may wish to alter their built environment to cause more of a divide which would be argued as negative for the community as a whole.

Figure 10. Jigsaw Cities Collage (Hope 2020)

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Architectural changes in urban environments are happening more and more as a case of adaptive re-use rather than building new (English Heritage 2000). In cities where land is limited and sustainability is considered, renovating an existing building provides a benefit both sustainably and locally for the surrounding area.

According to Department of Environment and Heritage (2004), re-using a building is key for the development of a community, and through personal research of literature and physically visiting buildings in multi-ethnic urban neighbourhoods, it can be seen that many of these changes have happened through the renovation of an existing building. This is interesting to consider as the reason for choosing to renovate could be to bring the community closer together.

Figure 11. Re-adaptive Use Visual (Hope 2020)

It is perceived the design of space within a neighbourhood plays a key role in the behaviour of the community, claiming it can “enhance or restrict a sense of belonging” (CABE 2008, page 1). CABE (Commission of Architecture and the Built Environment), is the “non-departmental public body responsible for advising the government on architecture and urban design” (GOV n.d.) and has since merged into the Design Council in 2011. CABE/ The Design Council is a vital resource to consider when studying British urban architecture. Inclusion by Design addresses the obstacles involved in designing for all and mentions that the sense of being at ease in a community is strengthened by “positive contact with neighbours” (CABE 2008, page 11), where everyone is involved in decision making about the spaces they share. The journal discusses how people have benefitted in different ways due to the location, design and facilities of an urban area, and how these “may fail to take into account minority, cultural or religious requirements” (CABE 2008, page 5).

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URBAN PLANNING FOR MULTI-ETHNIC COMMUNITIES To successfully plan for an urban multi-ethnic area, guidelines must be followed to ensure there is valid reasoning for every action and to prove to local residents as well as the government that the planners are doing the right thing to benefit the community. The Principles of Inclusive Design (CABE 2006) list the needed objectives when planning for inclusivity in a city as well as highlighting what a cultural centre should include, which is useful to the case studies that will be analysed. The Manchester Residential Quality Guidance journal lists their key attributes for city planning for the people and the community. Throughout the analysis of case studies, the following listed guidelines and considerations will be referred to reach conclusions as to whether the changes in the urban environment are positive for the multiethnic community living there.

Through research, there have been similar guidelines stated within different resources. Design for city residents must offer space and daylight, opportunities for neighbours to meet and easily interact, and must have simple and easy connections to a destination (Manchester City Council 2017, page42). It has been demonstrated that crucially designing for inclusion must respond to people’s needs and offer choices within the design that means people can experience a space differently to others. As well as this, the space must offer convenience so it can be utilised with minimal efforts, such as easy navigation, and must be welcoming and accommodating, making all feel as though they belong without fuss (CABE 2006). For one case study, in particular, it is important to refer to guidelines for designing for a culture centre. These guidelines include points about ensuring the place isn’t stuffy, making sure the space is one where people can feel comfortable to voice themselves confidently, and making the place one where people can spend time there without feeling pressured to leave (CABE 2008).

guidelines for inclusive design --> -->

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+ daylight

+ options within space

+ not stuffy

+ suit all needs

+ no pressure to leave

+ comfort

+ able to have a voice

+ easy navigation = inclusive deisgn.

Figure 12. Inclusive Design Guidelines Visual (Hope 2020)

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CASE STUDY ANALYSIS - GRANBY WINTER GARDEN Background--Based in Toxteth, Liverpool is an award-winning community garden created within two townhouses which opened in 2019 is part of a rejuvenation project named ‘Granby Four Streets’ (Cook 2019).

The project comes after 1980’s Toxteth riots destroyed the town, with many abandoned houses and a broken community (Rampen 2019). The riots are believed to have started as Toxteth is a “deprived and racially mixed area”, which would have been viewed negatively, now with 2011 Census data showing 13 ethnicities living there, and low economic rates showing 20% of the population unemployed (Liverpool City Council, 2013). Together with the Community Land Trust, architects Assemble have given a re-adaptive use to two derelict townhouses on a residential street and have transformed them into an indoor shared garden named ‘Granby Winter Garden’ to maintain a thriving, inviting community for the future (Granby Four Street, n.d.)

(Assemble 2019).

map of Liverpool, indicating area of Toxteth, home of Granby Winter Graden Figure 13. Map of Liverpool (Hope 2020)

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As well as the garden, Assemble and Granby Four Streets have collaborated in creating a ceramic workshop space and restoring houses on Cairns Street to suit the surroundings once more (Assemble 2019).

The gardens are located on 37 and 39 Cairns Street in an aim to encourage creativity in the area with many neighbours surrounding them.

Cairns Street is accessible by walking twelve minutes from Toxteth centre or by bus from Kingsley Road bus stop. This stop is at the end of the road and therefore very easy for local residents to reach.

Granby Four Streets is a project that was built from locals who wanted more for their community. Hazel Tilley, one of those involved in starting the project speaks of how “after many years of shouting into the void” her voice had finally been heard to make the area a “beautiful” place (Williams 2019). Founder of Assemble architects Engi Meacock speaks as passionately “we were actively looking for opportunities to support the creative and community activity in the area, and promote sustainable local enterprise” (Cook 2019). It is interesting to see how those who lived locally wanted to bring change to an area that had turned into one of the least affluent areas in the UK and lacked as a community (Cook 2019) (Rampen 2019).

Figure 14(a)

Figure 14(b)

Figure 14(c)

Figure 14(a,b,c) Granby Winter Gardens Photos (Cook 2019)

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CASE STUDY ANALYSIS - GRANBY WINTER GARDEN Architecture and Inclusivity--From the outside, the two houses look similar to their terraced neighbours, giving the impression that Granby Four Streets want to maintain the history within the area. However, behind the front doors, there is a complete contrast with both floors taken out to make a triple-height space with a glass pitched roof, filled with trees growing in the centre and plants filling the surroundings (Williams 2019). This design stems from some of the derelict houses having a collapsed roof where plants had grown due to neglect, and therefore forming a ‘garden’ and could also be open to allow for personalisation and adaption of the planting by the local residents (Cook 2019).

Figure 15. Cairns Street Under Construction (Assemble 2019)

Figure 16. Cairns Street (Cook 2019)

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ground floor plan

first floor plan

section showing residence and workshop

section showing gardens

section showing residence, workshop and gardens

section showing gardens

gardens

workshop

residence

Figure 17. Edited Orthographics of Granby Winter Garden (Cook 2019. edited by Hope 2020)

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CASE STUDY ANALYSIS - GRANBY WINTER GARDEN

In terms of its architecture, Granby Winter Garden offers an element of surprise to new visitors due to its sheer contrast between interior and exterior. It could be seen that the decision to keep the exterior the same was to make the space feel inviting and not overwhelming, which is one of the guidelines to follow for inclusive design. One house holds the garden whilst its neighbour hosts a common room and community kitchen on the ground floor. Above, on the first floor, there is a residency for a local artist, whose rent funds the Winter Garden’s maintenance and running of events (Lizzy Cook 2019). When entering the inviting, existing front door to the garden and seeing the triple-height theatrical void, locals can not only see the grids of sunlight reflected around, but also the use of original brick.

Figure 18. External Winter Gardens (Cook 2019. edited by Hope 2020)

Figure 19. Internal Winter Gardens (Cook 2019. edited by Hope 2020)

Figure 20. Internal Winter Gardens (Cook 2019)

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Figure 21. Isometric of Gardens (Williams 2019)

The decision to keep this brick may be to keep the past stories alive and not inflict a great deal of change in the community and original features such as windows and alcoves are draped in plants to emphasise this. Aside from the familiar tone of natural materials, blue is the principal colour used, here in the form of steel structure, which could be to bring a relaxing and welcoming impression, allowing people to feel like they can spend time there without having to leave (Assemble 2019).

Figure 22. Brick-work before renovation (Assemble 2019)

Figure 23. Brick-work after renovation (Cook 2019)

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CASE STUDY ANALYSIS - GRANBY WINTER GARDEN

Towards the rear of the garden, there is a potting station where people can help out and is a time for talking and sharing experiences of living in Granby (Lizzy Cook 2019). How To Study Public Life speaks of the importance of public outdoor space and how a shared garden space can not only bring people together who may normally choose to be apart, but also how it can recapture life in a city atmosphere, which is important when designing for such an urban community project (Gehl Svarre 2013). Many architectural details make the gardens feel personal and accommodating such as artwork from those who attend the ceramics studio and a vast amount of natural light which is seen as an experience equally important to the form of architecture, with natural light providing a powerful source to the way a person feels in a space (Plummer 2012).

Figure 24. Work from workshop (Cook 2019)

Figure 25. Natural Light (Assemble 2019)

Figure 26. Importance of Gardens in Cities (Hope 2020)

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Survey--For 5 days, a survey was sent as primary research to people who use the Winter Garden to find out if they think the design complies with the guidelines for inclusivity that are stated previously. Questions were asked in a ‘yes/no’ style and were answered mostly by people over 50 years, with a variety of ethnicities. The findings below show that the design is positive for the Toxteth community and is suited to all.

Do you think the gardens are a positive place to be?

100% yes

Do you think people can spend time there without feeling pressured to leave?

100% yes

Do you think the gardens offers choices within the design?

80% yes, 20% no

Figure 27. Survey Results (Hope 2020)

Do you think the space is stuffy?

100% no

Do you think the gardens are easy to find/get to?

Do you think people can feel comfortable at the gardens?

100% yes

90% yes, 10% no

Do you think the gardens are easy to navigate once inside?

100% yes

Do you think the gardens are accommodating?

Do you think the gardens are welcoming?

100% yes

100% yes

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CASE STUDY ANALYSIS - GRANBY WINTER GARDEN Conclusion--Moreover, from studying the building architecturally and conducting a survey for the garden’s visitors, it is argued that the Winter Gardens complies with the guideilnes as set by CABE and Manchester Quality Residential Guide and is a positive example of an architectural change in a multiethnic neighbourhood (Manchester City Council 2017) (CABE 2008). Granby and Assemble’s scheme resulted in the win of Turner prize in 2015 and now stands as a very respected community project (Williams 2019). Not only are the gardens an exciting and different place to be, but they also unite old, new and diverse members of Granby community together in a pact to abolish their economic deprivation and take pride in where they live. This garden links well with another case study analysed, Osmani Trust in Whitechapel, London. This community centre offers a rooftop garden, due to lack of land in cities, which is run by the local youth and is a joint commitment to work together and maintain the plants, and is proven to be positive for those who volunteer (Trust n.d.).

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Granby Winter Garden, Toxteth, Liverpool, UK

The Granville, South Kilburn, London, UK

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CASE STUDY ANALYSIS - THE GRANVILLE Background--Granville centre sits in the London area of South Kilburn and offers workspaces and events for local citizens since opening in 2019. South Kilburn is in north-west London in the borough of Brent which is particularly ethnically diverse with 40% of residents from Black ethnic groups and 17% White British (Brent Council 2018) which is comparable to the UK statistics where White British make up approximately 70% of the population (CRU 2011). The centre is housed on a quiet, residential road of 140 Carlton Vale, London, NW6, 5HE, close-by to the buzz of Kilburn town centre. In terms of accessibility, there are two London Underground stations within a seven-minute walking distance; Queen’s Park and Kilburn Park, and the centre is a short walk from the high street.

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map of London, indicating area of Kilburn, home of The Granville 0

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Figure 28. London Map (Hope 2020)

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The co-working space brings an old church hall back to life through an inclusive, open structure for the community. The Granville responds to city infrastructure pressures that impact “community cohesion, quality of life and entrepreneurship” and achieves this with an affordable workplace in a stress-free environment (RCKa 2019). Project architect Antony Staples claims that this project had the “opportunity to bring diverse groups within the community together” (Astbury 2019).

With 50% of South Kilburn residents born outside of the UK and just over half of the South Kilburn population in work with lower-than-average wages (Brent Council 2018), it is assumed that this community working project has made a great impact for those living there. Staples continues to speak of how “a degree of separation would be required to mediate different uses and users” whilst still achieving the goal of inclusive design for all (Astbury 2019).

As well as supporting and housing 30 businesses over two floors, the income provided by the Granville is given to the South Kilburn Trust to aid for those who would otherwise not have access to low-cost opportunities, which means that each time someone books an affordable workspace, someone else’s life is impacted positively (Granville n.d.). The Trust’s vision is to help bring communities together and improve their lives in a happier, stronger and healthier way and with the support of the Granville it aims to “house ideas” of those nearby in order to regenerate and grow business and enterprise in an area of otherwise low employment rates (Granville n.d.) (Brent Council 2018).

Figure 29(a)

Figure 29(b)

Figure 29(c)

Figure 29(a, b, c) Interior of The Granville (Astbury 2019)

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CASE STUDY ANALYSIS - THE GRANVILLE Architecture and Inclusivity--Architecturally, The Granville is an inspiring place to work through the design which was carried out by RCKa architecture firm. When approaching, visitors are faced with a bright, colourful green flue and blue staircase which brings visitors into the main part of the building and allows for a non-intimidating entrance (Astbury 2019). Below this entrance sits a south-facing community garden which was once disregarded but is now a focal point for visitors (RCKa 2019) and plays a key part in inclusive design where people can bond over gardening and contribute into keeping the plants alive and well.

Figure 30. Exterior of The Granville (Astbury 2019)

Figure 31. The Granville garden before renovation (Granville n.d.)

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short section

long section

living room

workspace

Figure 32. The Granville Sections (Astbury 2019)

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CASE STUDY ANALYSIS - THE GRANVILLE Architecture and Inclusivity--Entering The Granville, new visitors discover what the architects call a “market hall” style of building where people can peer over the tops of the individual workspaces and emulate the feeling of excitement and buzz of a market hall in the thriving business studios (RCKa 2019). By doing so, this grand entrance also provides a buzz for the community by seeing creative and new things happening and allows for visitors to want to be there as opposed to having to go to work.

In the centre of the building, there is a public ‘living room’ with a shared kitchen where visitors can spend time sharing stories whilst also being able to make food openly. This fits within the guidelines for inclusive design as it is a place people can “linger if they want to” (CABE2008).

From the open living area, there is a bold blue staircase that guides the visitor to more studios. The staircase is in the centre of the building and is designed to offer a moment of pause and contemplation, by oneself and with clients/colleagues, which is the ethos of the centre; to feel comfortable and happy in an ambitious setting (RCKa 2019) (Granville n.d.).

The architect speaks to Dezeen of how the “clerestory lighting” beams into the studios from a high level (Astbury 2019). A study from the University of Toronto states that bright light can “intensify our initial emotional reaction to a stimulus” (Don Campbell 2014), thus assuming that the natural light in the Granville can encourage positivity from those working there.

=

Figure 33. Sunlight Visual (Hope 2020)

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Figure 34. The Granville Interior (Astbury 2019. edited by Hope 2020)

Figure 35 (a)

Figure 35 (b)

Figure 35 (a, b, c). The Granville Details (Astbury 2019)

Figure 35 (c)

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CASE STUDY ANALYSIS - THE GRANVILLE

Jon Astbury speaks of the use of an infilled timber frame that is used to separate the studios, stating that its low height maximises the existing windows and “reveals a glimpse of original brick work” (Astbury 2019). It could be seen that the DIY aesthetic of the open stud walls allows for personalisation for someone to come in and, as aimed for by the architects, “make it their own” (RCKa 2019).

It is also fitting with contemporary-art to have that exposed/unfinished look to interiors, specifically displayed through artist Liam Gillick who created an exhibition on generating places for encounters which has the same look as that of the Granville; and therefore his concept could be mirrored in the centre (Gillick, Schipper, Zeidler n.d.).

Natural timber partitions within a white building could have been designed due to them being both unoffensive, neutral shades that allow for no boundaries physically and between the community. Astbury also comments about how the white walls are “vital for a mixed-use building” (Astbury 2019). Blue, green and hints of orange are the only bright colours dotted throughout the centre which have the effect of relaxation and naturality. This may be the reason they have been used. (LTD 2017).

Figure 36(a) Interior (Astbury 2019)

Figure 36(b) Interior (Astbury 2019)

Figure 37(a) Liam Gillick Art (Gillick, Schipper, Zeidler n.d.).

Figure 37(b) Liam Gillick Art (Gillick, Schipper, Zeidler n.d.).

Figure 36(c) Interior (Astbury 2019)

Figure 36(d) Interior (Astbury 2019)

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Survey--Similar to my previous case study, a survey was sent as primary research to people who use the The Granville to find out if they think the design complies with the guidelines for inclusivity that are stated previously. Questions were also similarly asked in a ‘yes/no’ style and were answered mostly by a mixed age group and ethnicities. The findings below show that the design is positive for the South Kilburn community and is suited to all.

Do you think the centre is a positive place to be?

Do you think the space is stuffy?

100% yes

100% no

Do you think people can spend time there without feeling pressured to leave?

100% yes

Do you think the centre offers choices within the design?

78.8% yes, 22.2% no Figure 38. Survey Results (Hope 2020)

Do you think people can feel comfortable at the centre?

100% yes

Do you think the centre is easy to find/get to?

Do you think the centre is easy to navigate once inside?

88.9% yes, 11.1% no

88.9% yes, 11.1% no

Do you think the centre is accommodating?

Do you think the centre is welcoming?

100% yes

100% yes

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CASE STUDY ANALYSIS - THE GRANVILLE Conclusion--On a whole, The Granville is a very active and useful hub for the community, and is not only a place for people from different backgrounds to have the opportunity to be together but is also a great opportunity for South Kilburn residents to lower their unemployment rates. From research shown, The Granville is a positive architectural change in a multi-ethnic community and has made a disused building into a contemporary and thriving environment.

The co-working centre fits within the guidelines of designing for inclusivity as it is affordable, not stuffy, a place that can be used with dignity, somewhere visitors can get home easily (due to quiet roads and multiple transport links), it offers a program that stimulates interest and is a comfortable space to be in (CABE 2008).

The Granville is similar to a community centre previously studied; The Vine Community Trust in Hyson Green, Nottingham. This centre was also an example of adaptive re-use in a church hall and offers events and classes for the community (Vine n.d.) however the overall look is very dated in comparison and fits the ‘typical’ community centre style.

This look is perhaps not as captivating for visitors although also features a successful shared garden which is seen as a top priority within this sector of building for the community.

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CONCLUSION

From studying planning reports, analysing buildings that have been adapted, visiting community centres and hearing from those who make use of them, it can be concluded that architectural changes in multi-ethnic, British urban neighbourhoods have been positive for their communities in the last 20 years.

As cities are progressing in terms of their diversity in the UK, the evolution of the built environment is not only to ‘bring people together’ but also to simply have a place for all. The points that both CABE and Manchester Quality Residence Guide make about designing spaces for all should be followed within every building and should allow for separation as well as openness.

Granby Winter Garden, The Granville, Osmani Trust and The Vine Community Centre are all examples of new build/adaptive re-use and are designed for the local area. As Britain enters Brexit, there will be more changes within urban multi-ethnic communities, and it would be interesting to find out how the community projects discussed are running in the next 20 years. The future of Britain as a diverse and ever-evolving nation is uncertain however it has been found clear that designing inclusive spaces for the public is integral to the country’s progression.

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FIGURE REFERENCING Figure 1 Hope. S., 2020. Views of East London [unpublished] Figure 2 Hope. S., 2020. Ethnography Visual [unpublished] Figure 3 Hope. S., 2020. Community Visual [unpublished] Figure 4 Hope. S., 2020. Community in Britain Visual [unpublished] Figure 5 Council, B., 2008. Available at: https://www.nottinghamshire.gov.uk/ business-community/economic-data/census-2011.

Figure 6 Corporate Research Unit. Whitechapel Ward Profile [online] Available at: https://www.towerhamlets.gov.uk/Documents/Borough_statistics/Ward_ profiles/Whitechapel-FINAL-10062014.pdf [Accessed 3 December 2019].

Figure 7 Hope. S., 2020. East London Streets Montage [unpublished] Figure 8 Council, B., 2008. Census. Available at: https://www.nottinghamshire. gov.uk/business-community/economic-data/census-2011.

Figure 9 GOV.uk, 2011. 2011 Census - Office for National Statistics [online].

Available at: https://www.ons.gov.uk/census/2011census [Accessed 17 February 2020].

Figure 10 Hope. S., 2020. Jigsaw Cities Collage [unpublished] Figure 11 Hope. S., 2020. Re-adaptive Use Visual [unpublished] Figure 12 Hope. S., 2020. Inclusive Design Guidelines Visual [unpublished] Figure 13 Hope. S., 2020. Map of Liverpool [unpublished] Figure 14(a) Cook, L., 2019. Assemble transforms two derelict terrace houses into Granby Winter Garden [online]. Dezeen. Available at: https://www.dezeen. com/2019/04/26/assemble-granby-winter-garden-architecture-liverpool/ [Accessed 19 February 2020].

Figure 14(b) Cook, L., 2019. Assemble transforms two derelict terrace houses into Granby Winter Garden [online]. Dezeen. Available at: https://www.dezeen. com/2019/04/26/assemble-granby-winter-garden-architecture-liverpool/ [Accessed 19 February 2020].

Figure 14(c) Cook, L., 2019. Assemble transforms two derelict terrace houses into Granby Winter Garden [online]. Dezeen. Available at: https://www.dezeen. com/2019/04/26/assemble-granby-winter-garden-architecture-liverpool/ [Accessed 19 February 2020].

Figure 15 Assemble, 2019. Assemble Architects [online]. Assemble. Available at: https://assemblestudio.co.uk [Accessed 19 February 2020].

Figure 16 Cook, L., 2019. Assemble transforms two derelict terrace houses into Granby Winter Garden [online]. Dezeen. Available at: https://www.dezeen. com/2019/04/26/assemble-granby-winter-garden-architecture-liverpool/ [Accessed 19 February 2020].

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Figure 17 Cook, L., 2019. Assemble transforms two derelict terrace houses into Granby Winter Garden [online]. Dezeen. Available at: https://www.dezeen. com/2019/04/26/assemble-granby-winter-garden-architecture-liverpool/ [Accessed 19 February 2020].

Figure 18 Cook, L., 2019. Assemble transforms two derelict terrace houses into Granby Winter Garden [online]. Dezeen. Available at: https://www.dezeen. com/2019/04/26/assemble-granby-winter-garden-architecture-liverpool/ [Accessed 19 February 2020].

Figure 19 Figure 67 Cook, L., 2019. Assemble transforms two derelict terrace houses into Granby Winter Garden [online]. Dezeen. Available at: https://www. dezeen.com/2019/04/26/assemble-granby-winter-garden-architecture-liverpool/ [Accessed 19 February 2020].

Figure 20 Cook, L., 2019. Assemble transforms two derelict terrace houses into Granby Winter Garden [online]. Dezeen. Available at: https://www.dezeen. com/2019/04/26/assemble-granby-winter-garden-architecture-liverpool/ [Accessed 19 February 2020].

Figure 21 Williams, F., 2019. Assemble’s Turner Prize-winning Granby winter garden opens [online]. Architects Journal. Available at: https://www.architectsjournal. co.uk/buildings/assembles-turner-prize-winning-granby-winter-gardenopens/10041954.article [Accessed 22 February 2020].

Figure 22 Assemble, 2019. Assemble Architects [online]. Assemble. Available at: https://assemblestudio.co.uk [Accessed 19 February 2020].

Figure 23 Cook, L., 2019. Assemble transforms two derelict terrace houses into Granby Winter Garden [online]. Dezeen. Available at: https://www.dezeen. com/2019/04/26/assemble-granby-winter-garden-architecture-liverpool/ [Accessed 19 February 2020].

Figure 24 Cook, L., 2019. Assemble transforms two derelict terrace houses into Granby Winter Garden [online]. Dezeen. Available at: https://www.dezeen. com/2019/04/26/assemble-granby-winter-garden-architecture-liverpool/ [Accessed 19 February 2020].

Figure 25 Assemble, 2019. Assemble Architects [online]. Assemble. Available at: https://assemblestudio.co.uk [Accessed 19 February 2020].

Figure 26 Hope. S., 2020. Importance of Gardens in Cities [unpublished] Figure 27 Hope. S., 2020. Survey Results [unpublished] Figure 28 Hope. S., 2020. Map of London [unpublished]

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Figure 29(a) Astbury, J., 2019. RCKa convert former church into colourful community centre [online]. Dezeen. Available at: https://www.dezeen. com/2019/05/14/the-granville-rcka-architecture-community-workspaces/ [Accessed 11 February 2020].

Figure 29(b) Astbury, J., 2019. RCKa convert former church into colourful community centre [online]. Dezeen. Available at: https://www.dezeen. com/2019/05/14/the-granville-rcka-architecture-community-workspaces/ [Accessed 11 February 2020].

Figure 29(c) Astbury, J., 2019. RCKa convert former church into colourful community centre [online]. Dezeen. Available at: https://www.dezeen. com/2019/05/14/the-granville-rcka-architecture-community-workspaces/ [Accessed 11 February 2020].

Figure 30 Astbury, J., 2019. RCKa convert former church into colourful community centre [online]. Dezeen. Available at: https://www.dezeen. com/2019/05/14/the-granville-rcka-architecture-community-workspaces/ [Accessed 11 February 2020].

Figure 31 Granville, The Granville - Community Space, Workspace and Events Venue [online]. The Granville. Available at: https://thegranville.org/ [Accessed 16 February 2020].

Figure 32 Astbury, J., 2019. RCKa convert former church into colourful community centre [online]. Dezeen. Available at: https://www.dezeen. com/2019/05/14/the-granville-rcka-architecture-community-workspaces/ [Accessed 11 February 2020].

Figure 33 Hope. S., 2020. Sunlight Visual Figure 34 Astbury, J., 2019. RCKa convert former church into colourful community centre [online]. Dezeen. Available at: https://www.dezeen. com/2019/05/14/the-granville-rcka-architecture-community-workspaces/ [Accessed 11 February 2020].

Figure 35(a) Astbury, J., 2019. RCKa convert former church into colourful community centre [online]. Dezeen. Available at: https://www.dezeen. com/2019/05/14/the-granville-rcka-architecture-community-workspaces/ [Accessed 11 February 2020].

Figure 35(b) Astbury, J., 2019. RCKa convert former church into colourful community centre [online]. Dezeen. Available at: https://www.dezeen. com/2019/05/14/the-granville-rcka-architecture-community-workspaces/ [Accessed 11 February 2020].

Figure 35(c) Astbury, J., 2019. RCKa convert former church into colourful community centre [online]. Dezeen. Available at: https://www.dezeen. com/2019/05/14/the-granville-rcka-architecture-community-workspaces/ [Accessed 11 February 2020].

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Figure 36(a) Astbury, J., 2019. RCKa convert former church into colourful community centre [online]. Dezeen. Available at: https://www.dezeen. com/2019/05/14/the-granville-rcka-architecture-community-workspaces/ [Accessed 11 February 2020].

Figure 36(b) Astbury, J., 2019. RCKa convert former church into colourful community centre [online]. Dezeen. Available at: https://www.dezeen. com/2019/05/14/the-granville-rcka-architecture-community-workspaces/ [Accessed 11 February 2020].

Figure 36(c) Astbury, J., 2019. RCKa convert former church into colourful community centre [online]. Dezeen. Available at: https://www.dezeen. com/2019/05/14/the-granville-rcka-architecture-community-workspaces/ [Accessed 11 February 2020].

Figure 36(d) Astbury, J., 2019. RCKa convert former church into colourful community centre [online]. Dezeen. Available at: https://www.dezeen. com/2019/05/14/the-granville-rcka-architecture-community-workspaces/ [Accessed 11 February 2020].

Figure 37(a) Gillick. L., Schipper. E, and Zeidler. N., The Long-Term Repository of Half-Ideas: Liam Gillick, Esther Schipper, and Nadine Zeidler. Mousse Magazine [online]. Available at: http://moussemagazine.it/long-term-repository-halfideas-2017/ [Accessed 17 February 2020].

Figure 37(b) Gillick. L., Schipper. E, and Zeidler. N., The Long-Term Repository of Half-Ideas: Liam Gillick, Esther Schipper, and Nadine Zeidler. Mousse Magazine [online]. Available at: http://moussemagazine.it/long-term-repository-halfideas-2017/ [Accessed 17 February 2020].

Figure 38 Hope. S., Survey Results [unpublished]

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