Hopkins 3

2

Hopkins 3

Rob GregoryPaul Finch

PrestelMunich · London · New York

4

Front cover: Shin-Marunouchi Building © Ken’ichi SuzukiFrontispiece: Kroon Hall, Yale University © Morley von Sternberg

© For the text by Rob Gregory and Paul Finch

© Prestel Verlag, Munich · London · New York 2012

The rights of Rob Gregory and Paul Finch to be identifi ed as authors of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988.

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Hopkins Architects would like to acknowledge particularly the contribution of Senior Partner, Finance, Henry Buxton to all the projects.

Thanks are extended to Robert Gregory and Paul Finch for their texts, and to Simon Esterson and Mark Leeds for the design and John Hewitt for his drawings contribution to this book.

Also to Alet Mans and Nathaniel Moore for book co-ordination.

Photography credits(l) left, (r) right, (t) top, (c) centre, (b) bottom ©Image Courtesy The Alnwick Garden p56(b)©Robert Benson p221, p223, p224/225, p239, p241(b), p243(t), p244, p245, p246/247, p248, p249, p250(b), p252, p253©Richard Brine p62, p63, p66/67, p68(c), p69, p88/89, p147(t), p255, p257(b), p258(tl)©Nicola Browne p46(b)©Mike Caldwell p297(t), p298(b)©Corin Mellor p65(bl,br)©Charles Cottrel Dormer p32©Nikos Daniilidis p139, p141, p143©Institution of Gas Engineers & Managers, Courtesy David Mellor Design Museum p65(tl)©Richard Davies p28(tr,br), p36/37, p52(t), p81, p84, p91, p112, p113, p114(b), p127(t)©Peter Durant p22(b), p23, p24(b), p28(tl), p30(c)©Ernest Fasanya p303, p304(b), p305(t), p331(c)©Simon Fraser p136, p137, p142(t)©Frayland LLC p274, p278©Dennis Gilbert/VIEW p26, p27, p31©By Permission of the Trustees of the Goodwood Collection p294©Nick Guttridge p144, p147(b), p148, p150, p152(t), p153©Martine Hamilton Knight p48, p49, p50, p51, p226, p227, p230/231, p233, p234, p235(t,b), p236/237©Hufton+Crow p188, p189©Keith Hunter p130, p131, p134/135©Timothy Hursley p200, p201, p203(t), p205, p206/207©Warren Jagger p8(tr), p260, p261, p263, p264/265, p267, p268, p269©Tom Jenkins p307, p310/311©Nick Kane / ARCAID p145©Kawasumi Architect p71, p73(l), p75©Simon Kennedy p96, p100, p103(t), p118, p119, p120(c), p121(t), p259©Bill Lyons p9(tl), p275, p277(b), p279, p283©Peter Mackinven/VIEW p12(b), p13, p16/17, p18(b), p20, p124, p125, p129(t,b)©Simon Miles p40, p41, p44/45, p47(t,b)©Tom Miller p25(c), p323, p327(b)©Nathaniel Moore p306, p307, p315©Image Courtesy Norwich Cathedral p82(b)©Ntararaj & Venkat Architects p331(t)©James O. Davies p80©Peter Otis p220(t)©Anthony Palmer p316/317©Sean Pollock p109(t)©Mandy Reynolds p286, p287, p290(t,b), p292/293©Rice University, The Campus Guide, Stephen Fox, Princeton Architectural Press, 2001 p238, p241(t)©Phil Sayer p65(c)©David Selby p43©Tim Soar p15(b)

©Ken’ichi Suzuki cover, p70, p74, p77, p78, p79©Mike Taylor p214©Paul Tyagi p7(tl,tr), p8(tl), p19(b), 21(b), p33, p35, p38, p39, p54, p55, p57(b), p58/59, p60(t), p61(b), p83(t), p85, p87, p93, p94(t,b), p95, p106, p107, p110(t), p111, p155, p157(t), p158(t), p159(t), p162, p164/165, p168, p169, p171(r), p174, p175, p176, p177(t), p178, p180/181©Morley Von Sternberg p2, p9(tr), p97, p99, p101, p102(b), p103(b), p104, p215, p218/219, p220(b), p270(t), p271(t), p208, p209, p211(t), p212(b), p213(t), p295, p299(t,b), p300/301©Jonathan CK Webb p133(c)©Anthony Weller p154, p160/161, p182, p183, p187, p192, p193, p195(t), p196/197, p199(t,b)Living Architecture / Stephen Wolfenden p116/117©Zuma Restaurant Dubai p282

5

Contents

An Introduction to Hopkins 3, by Rob Gregory 6

Place-Making and Public Engagement 10

Institutions and Headquarters 122

Healthcare 166

Schools, Colleges, Universities and Research 190

Work in the Middle East 272

Buildings for Sport 284

Lines of Continuity, by Paul Finch 320

Current Projects 324

Chronology 342

Credits 348

Awards 354

Bibliography 356

Index 358

6

Regardless of location, scale, budget or type, there is something in the

DNA of a Hopkins building – something at its heart, in its bones and in

its figure – that brings distinction and character to the work. Across an

increasingly extensive range of buildings there are traits and

characteristics in how spaces are planned, in how sections inform

elevations, in how materials combine, in how corners turn and in how

structures define places, that share a distinctive family resemblance.

Since it began in 1976, Hopkins Architects has been led by founding

partner Sir Michael Hopkins, who traces back the genetic thread of the

practice’s architecture to a number of key defining experiences. Initially

working on two self-initiated domestic projects with wife, Patty, the

rescue and restoration of their sixteenth-century timber-framed house

at Craftfield in Suffolk in the early 1960s introduced them to the realities

of construction and instilled within them the desire to produce buildings

that look the way they do because of the way they are built. This was

followed by the radical innovation of a twentieth-century small-section

steel frame at the now seminal Hopkins House in Hampstead, which in

turn led to Greene King, Patera, Broadley Terrace and Schlumberger.

After this came projects like Lord’s, where they went further still, not only

learning about the technicalities of Victorian brickwork but also, more

significantly, realising that character and ambience were just as

significant as structure and detail, with the Mound Stand chiming with

Lord’s main pavilion, expressing the sense of an English summer’s day

in brick, steel, glass and tensile fabric.

Through this legacy Hopkins had derived an entirely new language

for late twentieth-century British modernism, which attracted a

committed team of like-minded architects that included the five senior

partners he works with today, all of whom cite a shared interest in

materials (new and old), design (innovative and traditional) and place-

making (urban and rural) as their reason for joining the firm. The majority

came at the point when the practice first began truly to deviate from the

path followed by most other protagonists of British High-Tech, and even

at this relatively early moment it was clear that Hopkins’ architecture

had taken a different path, in pursuit of a new mode of expression that

engaged more directly with issues of context, history and place-making.

Together, they maintain this pursuit today, continuing to test and stretch

the potential of traditional materials and natural elements such as stone,

timber, lead and bronze with the same level of innovation previously

applied to use of man-made materials like steel, glass and fabric.

As recorded in the first two volumes of official Hopkins

monographs, their body of work has given generations of architects

a radically different sourcebook from those offered by other

contemporaries, beginning in Volume 1 with the practice’s seminal

projects, and continuing in Volume 2 with projects of truly global

significance, such as Glyndebourne Opera House, Portcullis House

and Westminster underground station. Supported by observation

and critical analysis from Colin Davies, Patrick Hodgkinson, Kenneth

Frampton and Charles Jencks, these previous volumes traced the

architect’s development from schoolboy enthusiast to what Jencks

described as ‘the architect to surpass’, illustrating along the way the

broad range of influences, from Viollet-le-Duc to Buckminster Fuller,

that bridge the gap between the practice’s interest in the medieval and

the Miesian. As these commentaries showed, it has been impossible

to attribute a style or ‘-ism’ to the practice’s buildings, so it is only by

taking a long view that we are able to frame Hopkins’ work, as an

entirely new pedigree in British modernity. It takes its place in a lineage

of design thinking that begins with the great British engineer Brunel

and runs through the nineteenth- and twentieth-century work of

Joseph Paxton, Edwin Lutyens and Owen Williams, with Romanesque

and Gothic origins brought up to date in the spirit of the Functionalist

tradition identified by Eric de Maré’s photographs, published in the

Architectural Review.

This new monograph extends the commentary, reflecting on the

third decade of the practice’s evolution and its current work, where we

see the Hopkins practice transformed into a truly international,

twenty-first-century business. It has stepped up to the challenges of

more competitive markets at home and abroad, more than doubling its

portfolio of completed buildings and extending its reach to new regions

of the world. To this end Hopkins 3 presents thirty-six new buildings,

each demonstrating how the practice’s architectural gene has mutated

in response to new typologies, such as healthcare and higher

education, and to the challenges associated with moving into new

territories such as Japan, the Middle East and the USA.

With an opening chapter that introduces fourteen projects across a

range of scales, locations and types, all publicly accessible for readers

to experience for themselves, the book then presents a series of

one-off buildings arranged in thematic chapters relating to issues of

identity, healthcare, education and play, before concluding with a look

An introduction

to Hopkins 3

Rob Gregory

7

to the future, with observations by Paul Finch as to how the Hopkins

DNA has influenced the firm’s emerging practice in the Middle East and

projects elsewhere in the world. The suggestion is that after thirty-six

years in practice, Hopkins is to Britain what Niemeyer is to Brazil, what

Murcutt is to Australia, what Correa is to India and what Ito is to Japan

– a figurehead of a culturally specific mode of architecture which, while

not limited by its own domestic boundaries, draws upon, extends and

exports the traditions of its own national heritage as its primary source

of inspiration and identity.

Place-Making and Public Engagement

Whether building new venues or working with existing visitor attractions,

in the last decade Hopkins has produced fourteen buildings that

promote specific forms of public engagement. With these buildings

new architectural forms not only responded to the nature of context but

were also expressed as manifestations of clearly resolved organizational

diagrams, and recent projects take this further, tackling a broader range

of scales, contexts and uses. They not only deal with specific and

specialist operational and visitor demands but also make broader

contributions to relationships between people, architecture and the

public realm beyond.

With Manchester Art Gallery, Norwich Cathedral Refectory and

Hostry, the West Wing at Ickworth House, Suffolk, and the David Mellor

Design Museum & Café, Hathersage, the practice demonstrates how

the scrutiny of sensitive as-found conditions – both physical and

operational – can inspire a series of bold yet appropriate interventions

and adaptations, perhaps most explicitly seen in the extensions at

Manchester Art Gallery and Norwich Cathedral. With these buildings

Hopkins continued to lead the way in creative reuse, with work that

enhances the setting, use and legibility of some of the country’s most

precious listed structures. At Manchester it was Hopkins’ detailed

understanding of the proportions and order of Charles Barry’s existing

buildings that inspired them to mirror key existing forms in the concrete

and stone extension and the breathtaking new steel and glass stair.

At Norwich Cathedral it was only through the painstaking archaeological

and structural analysis of the existing ruins that they were able to resolve

the strategy, scale and construction of both Refectory and Hostry.

Responding to as-found conditions was also the inspiration behind

all three of the practice’s new garden pavilions, set within historic walled

gardens at Broughton Hall in Yorkshire and Alnwick House in

Northumberland and within the romantic landscape of St James’s Park

in London. Adding three new forms to the typology of British garden

pavilions, each has its own unique relationship to the landscape.

At Broughton Hall the formal temple-like form of Utopia sits as an

object in space, commanding axial views across the landscape from

its symmetrical planed interior; the Alnwick Visitor Centre and Pavilion

straddles the boundary wall to create a new, dual-aspect, Janus-like

gateway and belvedere; the more sensuous plan at Inn The Park,

St James’s Park, locks into the trajectory of three meandering paths

that have been traced and extrapolated from within John Nash’s

romantic parkland setting.

A similar method of tracing and extrapolation is also evident in

the practice’s larger-scale work at Arc in Bury St Edmunds, which

develops place-making strategies originally pursued at the Inland

Revenue in Nottingham and city regeneration proposals at Chester.

It extends the physical scale and material quality of Bury’s medieval

town fabric while creating an entirely new piece of civic townscape.

As well as providing 25,000m2 of new retail space, sixty-two flats and a

new department store, the Arc development also includes a major new

public amenity building called Apex. This latter building, together with

Hackney Service Centre, London, adopts the formal and organisational

strategy of the Forum in Norwich, which 2.5 million people visit each

year, in the dramatic four-storey atrium that uses hierarchies in section

to set up varying degrees of public engagement. This approach recalls

an altogether different scale in the foyers and concourses of the

Shin-Marunouchi Building in Tokyo.

Institutions and Headquarters

With an increasingly broad range of clients, the notion of identity

remains a core concern to Hopkins, as a practice that prides itself in

never having produced a faceless building for an anonymous client in

a meaningless location. Even from the early days Hopkins produced

buildings of distinction and character that have become emblematic

to their clients, and later, as the sites have become increasingly

complicated, the practice has responded with more sophisticated

architectural solutions providing distinctive new identities for their

clients while making significant and profoundly civic contributions to

the historic places in which they were set.

Alnwick Garden Pavilion,

Northumberland

Norwich Cathedral Hostry

8

In the second chapter, five new buildings are presented that take

these preoccupations further, addressing the theme of identity across

a wide range of institutions, headquarters and workplaces, both in civic

and in landscape settings. Haberdashers’ Hall carves out an oasis-like

garden in the heart of the capital’s busy Smithfield Circus for the

Worshipful Company of Haberdashers, with a series of private

ceremonial spaces set around a delightful new cloistered quad; the

Wellcome Trust Gibbs Building and Wellcome Collection in Camden

are far more prominent, occupying an entire city block and responding

to four distinct urban adjacencies while creating a new home for the

world’s largest biomedical charity; and the GEK Group Headquarters

in Greece creates a new flagship headquarters in the heart of the city,

allowing the Athens-based contractor to relocate from the city fringe.

These are followed by two new campus designs: one creating

workplaces for more than 5,000 staff at the new DSS Offices in

Newcastle, the other a much needed world-class home for British

tennis with the National Tennis Centre, Roehampton, London, with

both tackling the issue of scale and identity in more open landscaped

settings.

Healthcare

The issue of identity also persists as a key theme in Hopkins’ new work

in the healthcare sector, through the design of two radical prototype

buildings that set out to challenge and redefine the character of

contemporary hospital design. As newcomers in the field, Hopkins

had the necessary critical distance to observe how post-war hospital

architecture had failed to live up to the ambitions of the National Health

Service, in terms of both the design of the buildings and their

relationship to the city. The innovative and revolutionary approach

taken in both of these buildings demonstrates the architects’

commitment to re-establishing healthcare architecture as a core

component of our urban infrastructure, making manifest their belief

that architecture can and should be an intrinsic part of the healing

process, through the creation of bright and airy spaces that have

a direct and meaningful connection with their context.

Applying its architectural expertise to new healthcare typologies,

Hopkins were employed as non-experts specifically to challenge the

codes and constraints that have stifled the specialists who dominate

the sector, thereby introducing significant changes in both the quality

of the buildings (via innovative environmental and spatial strategies)

and the presence of the hospital within the city, elevating its status on

the street and improving the relationship between the buildings and

the people and places that they serve.

The Evelina Children’s Hospital in London came first, when

Hopkins won an RIBA competition that called for a landmark building

that neither looked nor felt like a traditional hospital. With vibrancy

and colour previously unseen in the practice’s portfolio, Hopkins’

strategy appealed at all levels. Their integrated and visionary design

not only tied the building into a sustainable site-wide strategy for

St Thomas’ extensive riverside campus, but also embedded new

possibilities in the imagination of both the client and stakeholder,

as a result of the architect being exposed to new forms of public

engagement that helped produce its most expressive and playful

designs to date. Sharing many of the same objectives, but constrained

by a much tighter site in central London, the Macmillan Cancer

Centre, University College Hospital, adds future-proofing to the list of

core objectives, resulting in a more sober civic building that responds

not only to the need to cater for radical changes in patient-centred

cancer care today but also to the need to guarantee a commercial

return for its client in the future, when it is hoped that cancer will be

a thing of the past.

Schools, Colleges, Universities and Research

Challenging conventional practice has also led Hopkins to focus

on education typologies, responding to three decades of change in

teaching and research techniques. Through the design of schools,

colleges, universities and research establishments they have worked

at all scales and in all sectors, from the intimacy of Fleet Velmead

school in 1984 to the University of Nottingham Jubilee Campus in 1996,

tackling enduring issues relating to the integration of core teaching

space with circulation, amenity and landscape. In the last decade

Hopkins has extended its education portfolio with work on two

secondary schools in the UK and seven university campuses –

three at home and four in the USA – all of which presented common

design challenges facing expanding educational establishments.

In the case of the schools, the two projects featured in this chapter

demonstrate the integration of significant new buildings within historic

contexts: the Sanger Centre for Science and Mathematics at

Frick Chemistry

Laboratory, Princeton

University, USA

Evelina Children’s Hospital,

London

9

Goodwood Racecourse,

Sussex

Gate Village, Dubai

Bryanston School in Dorset and the extension and rationalisation

of Henrietta Barnett School in Hampstead Garden Suburb in London.

Each makes a specific contribution to a sensitive landscape setting;

at Bryanston, Hopkins added a bold, horseshoe-shaped building that

provides essential new facilities, while resolving level changes and

bringing order to a series of ill-defined gardens that surrounded

Richard Norman Shaw’s nineteenth-century Bryanston House. At the

Henrietta Barnett School, a more modest 1,100m2 of additional space

has been added in two new wings that form part of a strategy to

extend and reinforce the order of Lutyens’ fine late Victorian school.

At a larger scale, similar design challenges arose in four

commissions from American universities for a variety of teaching

and collegiate accommodation. The state-funded ARD Building at

Northern Arizona University has a crescent-shaped atrium that forms

a new social focus for entrepreneurs and researchers. This was

followed by two new departmental buildings – Kroon Hall at Yale

and the Frick Chemistry Laboratory at Princeton – both of which

use the provision of additional teaching space to bring significant

improvement to previously neglected parts of their campus settings.

With these projects Hopkins succeeded not only in bringing new

technologies and environmental standards to the American sector

but also, as most extensively demonstrated at Rice University, in

producing careful infills and additions, or entirely new college precincts.

This extended and exported the practice’s home-grown expertise,

demonstrated in recent UK schemes that include Norwich Cathedral

Hostry and Refectory, and the rationalisation, refurbishment and

extension of the existing city centre campus at Nottingham Trent

University, which provides a powerful new identity while securing

the sustainable reuse of two prominent historic precincts.

Work in the Middle East

The penultimate chapter includes just two completed projects:

the Villas at Emirates Hills and the Gate Village, Dubai International

Finance Centre, completed in 2003 and 2008 respectively. These,

however, only hint at the extent of the practice’s ambition to help raise

the quality of contemporary architecture in this rapidly changing

region, while extending and applying Hopkins’ home-grown expertise

to new climatic and cultural challenges. Although it started out with just

three people in 2004, at its peak over 100 people have been employed

in the Dubai office, forcing everyone involved to work at an altogether

different scale and pace, and bringing a new dynamic to the process

and product of the practice, with current projects such as Al Wasl

Road, the Dubai World Trade Centre, an extension to the Sharjah

International Exhibition Centre and the Dubai International Finance

Centre Towers (Central Park 08).

Buildings for Sport

The final chapter identifies more direct evolutionary traces, with

four new sports venues that each demonstrate Hopkins’ ongoing

commitment to place-making through play, with the development

of the ‘village green’ analogy first seen in 1984 at Lord’s.

With Hampshire County Cricket Club, Southampton, this line of

thinking recurs, first in relation to the nature of the place itself (through

the creation of the Rose Bowl as village green, around which new

pavilions could be added when required), and then in the varied

provision for spectator experiences, with formal and informal seating,

long views and the all-important promenade. This model has

subsequently been exported to India, where the practice is designing

three new cricket grounds, including the Subrata Roy Sahara Stadium,

MCA Pune International Cricket Centre, featured in this volume.

The evolution of sports venue architecture has extended to other

areas such as horse-racing, with the Goodwood Racecourse, Sussex,

and cycling at the London 2012 Velodrome. At Goodwood essential

links to the racecourse’s immediate and more distant settings are

re-established. The Velodrome anchors itself into the ground and

provides a continuous concourse, similar to Hampshire and Pune,

that balances the focus on the indoor, spectator-focused event with

the external activities of the landscaped Velopark and the city’s

horizon beyond.

So, from Lord’s to the Velodrome, and from the practice’s Broadley

Terrace address in London to its office at Al Quoz in Dubai, it is clear

to see that over the past three decades Hopkins’ architectural gene

has continued to change in response to new challenges and new

territories, with buildings of a truly unique architectural pedigree.

With such a strong architectural DNA, it is with great anticipation that

we look forward and ask what we can hope to see from this practice

in the years to come.

10

Place-Making and

Public Engagement

11

12

The Forum

Norwich

2001

22

Manchester Art Gallery

2002

32

Inn The Park,

St James’s Park

London

2004

40

Utopia, Broughton Hall

Yorkshire

2005

48

West Wing, Ickworth House

Suffolk

2006

54

Alnwick Garden Pavilion

Northumberland

2006

62

David Mellor Design

Museum and Café

Hathersage, Derbyshire

2006

70

Shin-Marunouchi Building

Tokyo, Japan

2007

80

Norwich Cathedral

Refectory and Hostry

2009

96

Arc

Bury St Edmunds, Suffolk

2009

100

The Apex

Bury St Edmunds, Suffolk

2010

106

Hackney Service Centre

London

2010

112

The Long House,

Living Architecture

Cockthorpe, Norfolk

2011

118

Energy from Waste

Jersey

2011

12

The Forum

Norwich

2001

Pla

ce

-Ma

kin

g a

nd

Pu

bli

c E

ng

ag

em

en

t

13

14

Since opening in 2001, The Forum

in Norwich has done much more

than simply replace the original

County Library that was burnt to

the ground in 1984. As a

collaboration between Norfolk

County Council and Norwich City

Council, the lottery-funded project

gave the city the opportunity to

create a significant civic landmark

for the new millennium. As such,

a new type of public forum was

proposed that would combine a

state-of-the-art reference library

and archive for the county’s

historic records with a new civic

space for public events and

gatherings. With supporting

activities such as a restaurant,

coffee shop, bookshop, city

‘Origins’ exhibition and lecture

theatre, the building would

Th

e F

oru

m

Bethel Street

St Giles Street

St

Pe

ters

Str

ee

t

Hay Hill

Theatre Street

Ha

ym

ark

et

1 8

9

2

3

6

45

7

10

0 20m

Context plan

Key

1 Forum

2 Forum Trust Offices

3 St Peter Mancroft Church

4 market square

5 city hall

6 Theatre Royal

7 Assembly House

8 Millennium Plain

9 South Square

10 car park entrance

St Crispin’s Road

(A1074)

Magdelen S

treet

Cathedral

City Hall

(A147)

Ca

stle

Me

ad

ow

To

mb

lan

d

St Andrew’s Street

Gra

pe

s H

ill

St Giles StreetBethel Street Market

SquareCastle

Theatre Street

Chap

el Field

Ro

ad

A11 (A146)

King

Stre

et

generate further income through

the provision of a 200-space

underground car park, and let-able

space in roughly one-third of the

building, over half of which is

serendipitously occupied by the

BBC as its regional home.

With such a diverse mix of

uses, both architect and client

acknowledged the challenges

associated with taking such a

radical approach, which risked

transforming the image of the

cherished County Library into little

more than a shopping mall with a

bookshop as its anchor. They were

thus determined to produce a

building that achieved palpable

civic gravitas, through the quality of

its architecture, the character of its

tenants and the manner in which

the venue was to be managed.

The new library occupies the

three-storey semicircular space

at the back of the plan. It exploits

radial geometries by placing

reception and communal

activities at the centre of the

circle and is surrounded by an

arc of activities for individuals

and smaller groups that

culminates at the perimeter in a

series of steel bay windows that

extend beyond the brick skin to

provide individual study bays at

first and second floor. This

gradient of activity and intensity

also exists in section, with

children’s and US Air Force

libraries on the ground floor and

quieter study rooms above.

The tenure of the BBC has

been enormously significant,

with the corporation having a

high-profile presence with an

open studio and broadcasting

base for BBC Look East, BBC

Inside Out East and BBC Radio

Norfolk. The leadership of the

Forum Trust’s Chief Executive,

Robin Hall, has also been key

in establishing a varied and

sustainable programme of

cultural events, performances

and installations that reflect the

different interests of people of all

ages and backgrounds. All of this

takes place within the dramatic

four-storey atrium, where over

2.5 million people a year come

to participate in the new civic

setting and to behold fine views

towards the church of St Peter

Mancroft through the four-storey

glazed façade that follows the

radius of the roof above.

15

7

7

3

3

5

4

3 3

6

6

2 1

Left: This model shows

The Forum in context,

not only creating a new

public space inside but

also resolving the space

between it and St Peter

Mancroft. The Forum’s

broad programme of

events is now free to spill

out in the open, increasing

opportunity for public

engagement.

0 10m

4

10

9

5

3 2 1

10

8

7

6

11

11

Long section Key

1 entrance

2 atrium

3 Library

4 restaurant

5 library stacks

6 car park

7 plant

Key

1 atrium

2 information centre

3 ‘Origins’ exhibition

4 BBC TV studio

5 BBC radio studio

6 cafe

7 shop

8 library stacks

9 office

10 plant

11 car park

Cross-section

16

17

18

0 5m

12

4

5

3

6

Key

1 entrance

2 forum

3 library

4 information centre

5 ‘Origins’ exhibition

6 café

Ground fl oor plan

Previous spread: At night

the transparency of the

façade reaches its

maximum level, revealing

the full extent of the internal

space and the delicate

steel and glass roof.

Left: The library occupies

the semicircular apsidal

end of the building, with the

children’s library on the

ground floor, the principal

lending library on the first

floor and quieter study

areas on the uppermost

second floor.

Th

e F

oru

m

19

0 5m

1 5

5 6

2 4

3

First fl oor plan

Key

1 library

2 BBC Radio studios

3 BBC TV studios

4 BBC newsroom

5 restaurant

6 shop

Left: On the second floor

space has been occupied

by the staff of BBC Look

East, allowing greater

engagement between

their work and the audience

they serve.

20

21

Key

1 library

2 storage stacks

3 library staff

4 office

Opposite: Study bays

project to form bay

windows that articulate the

surface of the brick apsidal

form. Concrete anchors are

fully expressed on the

elevation, and movement

joints have been avoided by

the use of lime mortar.

Left: The quietest, most

intimate study spaces are

arranged around the

perimeter of the library,

set between book stacks

in bay windows.

0 5m

13

2

4

Second fl oor plan

22

Manchester

Art Gallery

2002

Pla

ce

-Ma

kin

g a

nd

Pu

bli

c E

ng

ag

em

en

t

23

24

The simplicity of expression and

directness of approach seen at

Hopkins’ Manchester Art Gallery

belie the pre-existing

complexities, which ranged from

the scale of the city to the scale

of historic architectural detail.

Divided between two of

Manchester’s most significant

historic buildings, the old gallery

was constrained on many levels,

in terms of both day-to-day

operations and its ability to

engage with the public. In 2004

a competition was held, which

Hopkins won with a proposal

to radically improve the existing

Pre-Raphaelite galleries,

to provide a new suite of

contemporary galleries (including

a large temporary exhibition

space), to improve circulation

and orientation throughout new

and old spaces, and to address

issues that had frustrated the

operation of the gallery for many

years, including the lack of

access for disabled people, poor

environmental conditions,

poor security and art storage.

The proposed redevelopment

also presented an opportunity to

repair an important piece of the

city, with the proposal to extend

the gallery on to a vacant car

park presenting the biggest

challenge of all, in terms of how

to create a new, unified whole

across the entire city block

without diminishing the identity

of Charles Barry’s Greek Revival

Royal Manchester Institution

and Italianate ‘palazzo’-style

Athenaeum.

Hopkins’ approach to the new

extension began by addressing

the problem at the scale of the

city, proposing a new block on

the site’s eastern-most corner

that directly reflected the scale

and proportion of the

Athenaeum. A second volume

was then placed between the

two, on axis with the Institution’s

portico, flanked on either side by

new glass block service cores.

Cannon Street

Town Hall Princess Street

Portla

nd S

tree

t

PiccadillyDe

an

sg

ate

(M61)(M62)A6

A62

Mos

ley

Str

eet

Geo

rge

Stree

t

Piccadilly

(M63) (M56) A34 A6

Ma

nc

he

ste

r A

rt G

all

ery Then at the heart of the site

Hopkins proposed a new link,

articulated by two lifts, a bridge

and a new interpretation of the

Institution’s existing ceremonial

stair, expressed in steel and glass

and giving access to all levels

and all corners of the site.

Determined to retain public

engagement with the original

entrance, the architects made

subtle changes to the existing

building, carefully carving out two

axial routes at ground level that

connect the original stair hall with

its new, contemporary equivalent.

Hopkins were also keen to create

a notion of equivalence in the

galleries themselves, first with a

new circuit of permanent gallery

spaces on the first floor and then

in a series of flexible spaces on

Level 2, where the scale and

proportion of the Athenaeum’s

fine plaster room are echoed in

a new top-lit temporary exhibition

hall that rises to the same height

on the opposite corner.

As far as architectural

expression is concerned,

however, the notion of

equivalence between new and

old ends here, with Hopkins’

extension articulated as a bold

homage to Louis Kahn’s Yale

Center for British Art in New

Haven, Connecticut. With a fully

expressed system of frame-

and-infill construction, this

language extends Hopkins’ own

well-versed use of exposed

fair-faced concrete soffits and

the refinement and expressive

restraint of fenestration like that

seen at David Mellor’s building

in Shad Thames. With echoes

of Yale, the concrete frame

remains fully expressed inside

the galleries; large pre-cast

concrete coffers not only bring

definition and scale to each

gallery but also contribute to

the building’s environmental

systems, with air supply and

light fittings being fully

integrated into the design.

25

Pri

nc

ess S

tre

et

George Street

Nic

ho

las S

tre

et

Mosley Street

1

3

42

0 50m

The gallery works at the

scale of the city to unify an

entire city block, with a new

three-storey gallery block

reflecting the scale and

form of Barry’s Italianate

Athenaeum building

(1837–9). Between this sits

a central block with loading

bay and further gallery

space, all of which are

linked by a triple-height link.

Key

1 existing City Art Gallery (CAG)

2 existing Athenaeum

3 glazed link/atrium

4 new gallery building

Context plan

26

27

Above: The link where new

meets old includes a bridge

at first-floor level that

provides access across

the whole city block, where

a new enfilade of spaces

extends the existing suite

of galleries.

Opposite: Stone from the

original quarry specified

by Charles Barry was used

on the new extension,

seen here set within the

building’s pre-cast concrete

frame, articulated by

aluminium bronze detailing

and attic storey.

1 2

7

4

10

3

5

6

8

9

Wall section

Key

1 skylight with solar control

2 perimeter gutter

3 bronze cladding

4 naturally lit ‘cloud’ ceiling

5 stone cladding

6 expressed pre-cast frame

7 gallery extract

8 gallery wall lining

9 raised floor and services void

10 gallery artificial lighting

28

Ma

nc

he

ste

r A

rt G

all

ery

Above: The new galleries

comprise display walls,

set flush between the new

concrete frame, which

also forms the soffits, seen

here with fully integrated

ventilation, lighting and

acoustic components.

Above right: The existing

Pre-Raphaelite galleries

were fully restored,

with new roof lights and

suspended Hopkins-

designed lighting rigs.

Below right: The temporary

exhibition space, seen

here featuring Michael

Craig-Martin’s inaugural

installation, Inhale/Exhale,

includes a top-lit gallery

cloud that diffuses daylight

from three large roof

lights above.

29

0 10m

1

2

3

4

7

5 6

6

1

2

5

9

10

34

6 8

8

7

1

2

3

6

9

7 8 54

5

Ground fl oor key

1 existing entrance hall

2 shop

3 Manchester Gallery

4 café

5 atrium

6 staff / works on paper

7 multi-functional room

8 classroom

9 art lift

10 loading bay

First fl oor key

1 existing entrance hall

2 gallery (CAG)

3 glazed link

4 atrium

5 galleries (Athenaeum)

6 galleries (new)

7 art lift

Second fl oor key

1 void over main entrance hall

2 roof over glazed link

3 atrium

4 galleries (Athenaeum)

5 temporary exhibition galleries (new)

6 art lift

7 study area / meeting room

8 AV room

9 store

Ground fl oor plan First fl oor plan

Second fl oor plan

30

0 5m

2 2

22 1 4 1 6 1 5 1 5

8

7

1 0

1211

3 4

6 10

9

8

7

13

5

21

Ma

nc

he

ste

r A

rt G

all

ery

Key

1 existing entrance hall

2 galleries (CAG)

3 shop

4 glazed link

5 atrium

6 art lift

7 temporary exhibition gallery (new)

8 gallery (new)

9 loading bay

10 picture store

11 support areas

12 Mosley Street

13 George Street

14 external terrace

15 classrooms/lecture room

16 multifunctional room

Cross section

Cross-section through glass link

Left and opposite: Hopkins’

new stair chimes with that

in Charles Barry’s original

building, with both spaces

serving as key points of

orientation and circulation,

rising to three storeys to

bring light into the heart of

the plan. The new pair of

lifts provides access across

the whole site.

31

UNVERKÄUFLICHE LESEPROBE

Hopkins Volume 3

Gebundenes Buch, Pappband, ca. 360 Seiten, 25x29532 farbige AbbildungenISBN: 978-3-7913-4432-4

Prestel

Erscheinungstermin: Februar 2013