Community Engagement for Good designArts/Performing Arts Venue for East Belfast

BRIEFING FEEDBACK & VALIDATION /P.15

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RESEARCH & SITE APPRAISAL /P.11—14

Research Groups/p.11—12 Site Appraisal/p.13 Legislation, community need & neighbourhood regeneration in Belfast/p.14

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PROJECT BRIEFING /P.6—10

Briefing Event 01/p.7 Briefing Event 02/p.8 Outcomes from scenario planning game & ‘Ideas Wall’/p.9—10

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RATIONALE FOR THE PROJECT /P.5

02INTRODUCTION /P.4

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OUTCOMES & PHASE II FEASIBILITY DESIGN /P.16—25

06APPENDICES /P.26—28

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—25FORE—

WARD

The ‘real world’ structure of this project, and its impact as a valuable learning experience for the student body within the School of Architecture & Design would not have happened without the participation of the following: Colin McCrossan, Strategic In— vestment Board; Maurice Kinkead and Sarah Douglas, East Belfast Partnership; Gerry McAreavey, Belfast Regeneration Office; Julie Carson, BRO; Racheal Davidson, Walk— way Community Centre; Liz Calderwood, Arts Council NI, Alistair Hall, Hall and Mc Knight; Patricia Mallon, SIB; Mike Wilson, Research Officer, UU and Paul Clarke, M Arch Course Director, UU.

ACKNOWLEDGEMENTS

"The links forged between University of Ulster and East Belfast Partnership through this project will undoubtedly lead to greater opportunities to collaborate on future projects. The architectural knowledge of the students involved from the university, as well as their resolve to engage with the wider community has made this collaboration an overwhelming success from our perspective." Maurice Kinkead, Chief Exec. East Belfast Partnership.

"SIB are delighted to have supported the professional development work of M Arch students at the School of Architecture, University of Ulster. Using 'live' projects to provide students with experience of working with real clients is an innovative approach that will deliver tangible benefits.Working with Universities is an important aspect of the SIB's overall remit. We have been pleased to support the process of consultation and engagement with the East Belfast community in urban regeneration projects. The involvement of students in projects such as the Holywood Arches as part of their studies is a significant element of this work. It is extremely important that students going on to those professions involved in the physical development of our environment are looking at the wider consultation, design and procurement issues. Projects like this allow them to do so." Brett Hannam, Chief Executive Officer, Strategic Investment Board.

Intro�—duction

01.

04

This joint project with East Belfast Partnership was initially conceived in the summer of 2012, following the successful collaboration between Strategic Investment Board and University of Ulster on a similar community consultation and briefing project with Inner North Neighbourhoods in Belfast in 2011–12. With that work, and the subsequent EBP project, the pedagogic ambition for both centred on the involvement of University of Ulster Architecture students in a 'live' architectural design briefing project within Belfast or its environs, with the aim of developing the work into design feasibility study. The UU students involved in this work would be from Masters level study within the School of Architecture and Design. From a meeting in August 2012 between Maurice Kinkead of EBP, Colin McCrossan, SIB and Lindesay Dawe, UU it was agreed that student work within the collaborative project (community consultation, Briefing and outline design ideas) would take place firmly within the context of the recent Holywood Arches Frame— work Study, commissioned by EBP, supported by SIB, and carried out by Hall & McKnight in 2011–2012. Within this urban regeneration study a site had been identified for development at Bloomfield Avenue off the Newtownards Rd., with a tentative idea on regeneration as an Arts or music venue.

Historical East Belfast

M Arch UrbanDesign Studio

05

Rationale for the project

02.

It is important to bear in mind that for the University of Ulster this project was 'student led', with post-graduate M Arch (Part II) students within the School of Architecture & Design completing the majority of the briefing work as part of their ARC 722 Professional Context module. As part of the two years of study for their Masters degree students are enrolled in this module in 'year 5', with the majority of students having completed 12 months in office-based practice just prior to this. During their year in practice some will have been involved in client briefing projects and have some knowledge of the process behind setting a design brief.

In setting out the curriculum for Professional Context studies at post-graduate level, the School of Arc—hitecture and Design at the University of Ulster recognizes that the role of the architect in building design and procurement is in a state of flux, with old certainties disappearing fast and new opportunities emerging. Notwithstanding the key curriculum criteria set by the professional and regulatory bodies for the education of Architects, the aim of study in ARC 722 is to develop an understanding of how the demand for new spaces and buildings can be complex and often contradictory – not least in considering issues of planning policy and sustainable design – and how architects can mediate between different parties utilizing their unique design skills. The overarching aims for this study module are:

to set the context for how change through time is endemic in our built environment

to emphasise the link between user requirements, project briefing and design of space and form

to give architecture students the intellectual and design tools to respond to this.

To develop practical and meaningful objectives for the collaborative project students are tasked with engaging with 'users' of the built environment in a structured methodological approach, and from

this to prepare an outline Development or Design Brief in response to an identified development or design need. With the East Belfast Partnership project the identified

users were community, business and arts groups from east Belfast (1), and with input at various stages of the project from East Belfast Partnership, Belfast Regen—eration Office at Department for Social Development, and the Strategic Investment Board.

To tie in with the 2012-13 teaching timetable the majority of the research, consultation and feed-back stages of the project ran in the university twelve week semester timetable from September to December 2012, with Phase II Feasibility Design in February/March 2013. The UU lecture programme supporting the student work focused on: 'Time in Architecture', 'How Buildings Learn', 'Architecture and Participation', 'Methodologies for Under-standing User Requirements', and 'The Client’s Perspective'.

Those involved in an ongoing capacity in the project during the period September to December were: Maurice Kinkead, Chief Executive, East Belfast Partnership; Sarah Douglas, PA to Chief Exec., East Belfast Partnership, Colin McCrossan, Project Director, Strategic Investment Board; Julie Carson, Belfast Regeneration Office; Lindesay Dawe, University of Ulster. University of Ulster Students: Meadhbh Caldwell, Chris Campbell, Alison Elliott, Mairead Gallagher, Caroline Gillespie, Richard Hall, Sarah Jennings, Sarah Kingston, Maeve Leonard, Daniel Mackinnon, Stephanie Magilton, Claire McAteer, Sarah Mitchell, Chris Mullan, Andrew O’Doherty, Anita Quinn, Anthony Stafford, Chris Weir, Matthew Weir.A list of participants in the Briefing workshops is set out in Appendix A.1. Identified in discussion

between East Belfast Partnership & University of Ulster.

the role of the architect in building design & pro— curement is in a state of flux, with old certainties disappearing fast & new opportunities emerging.

M Arch Urban Design Project Review

Architecture Endof Year Show, UU

06

ProjectBriefing

03.

Briefing is central to the success of any design project – and in architectural terms briefing is the problem to which the building is the answer – but often it is just seen as a schedule of already made decisions delivered by the Client to the Architect and the design team, all neatly contained in a set of 'signed off' documents. However, if those already made decisions have not been tested early enough in the procurement and design process the result can be a design solution that is at best flawed, and

at worst inappropriate. Given the complexity in the contemporary world of building design and pro—curement (what Jeremy Till elo—quently terms 'contingency' in the professional life of the Architect) Briefing needs to be a process where a deep understanding of the Client needs emerges through discussion with the design team, and a testing of decisions, in short Briefing should be seen as a collective problem solving exercise.

Historically Briefing was seen as a process of discrete steps and where design could not begin until the briefing process was complete. In a period from the 1970s to early 1980s Architects faced with designing a large building had to manage complex technical requirements and activity data sheets were a preferred methodology for capturing data and measuring design performance (2). The problem with this mec — hanistic approach is that it simply identifies design needs as a snap – shot in time, with little or no consideration as to what future needs of users might be, and how the building might adapt through time. Today, the process of compiling the Brief is seen as much more of an iterative or 'emerging' process, one where design and building as— pirations are articulated by the Client and where detail is developed as an understanding of user requirements, future organizational needs and intelligent use of space through time.

2. 'Managing the Brief for Better Design', A. Blyth & J. Worthington; Spon Press 2001

This expertise coupled with their design ima— gination and an ethical approach to the built environment will lead to better and more re— silient buildings

Unfortunately, this 'fluid' and iterative approach to developing a design brief can be difficult for others in construction and the 'supply side' of building procurement to grasp; understanding that the briefing process is more important than the product that is the Design Brief. The construction industry abhors uncertainty and project and construction managers are always happier if prompt decisions are made in a sequential process, even if these decisions are premature or the thinking behind them flawed! Architects through their embedded knowledge and their ability to evaluate and reconcile seemingly contradictory and complex issues are best placed to develop an expertise in managing the 'fuzzy' situation that is Briefing. This expertise coupled with their design imagination and an ethical approach to the built environment will lead to better and more resilient buildings.

Student involvementin Project Briefing

07

To begin the process of defining the project brief, and setting out a method—ology for the student group to work with East Belfast Partnership the University of Ulster hosted the first project briefing event on 17th October 2012, to which representatives from east Belfast business and community groups, Belfast Re— generation Office and Strategic Investment Board were invited (a full list of attendees is included as Appendix A). The event was held at the Walkway Community Centre and the purpose was to discuss initial thoughts on the par— ameters of the project and set out an agreed 'Statement of Need' for the project. An agenda for the meeting was circulated prior to the event (see Appendix B), and with the aim of keeping it a fairly informal forum for discussion.

The important issues around which discussion was structured were: purpose of the project, background to the Client organisations, the management context, physical context, time constraints on the project, planning for growth and change, and the requirement for sustainable development.

The main outcome of this meeting was a clear con—sensus amongst the participants as to what the Statement of Need should define. Also at this briefing event, the vacant property on Bloomfield Avenue known locally as 'Howard’s Garage' was presented to participants as the selected site for the student project, the latter stages of which would involve fea— sibility design for the site. The site had been identified within the Holywood Arches Framework Study.

BRIEFING EVENT 01 — 17.10.12

STATEMENT OF NEED

A recognition that Holywood Arches Framework study sets the para— meters for the project

Importance of placing the building/ space & its operation within a stra— tegic plan for the area, which will support its long term sustainability

The current lack of an arts performing arts/music venue in east Belfast

The opportunities offered to the local community & life of the area with a vibrant arts venue (day & night time use)

The building should be a 'landmark' venue

A recognition of the current res— idential mix & character of the area, & the need to plan for this mix & demographic (noise pollution)

The importance of best practice in environmental & design sustainability

08

As part of the project briefing process UU were keen to engage community participants in interactive planning and design exercises, exercises that would allow political, business, com—munity and arts representatives from east Belfast to explore and test some issues concerning regeneration in their neighbourhoods, as well as the development of an arts/music venue. The idea at this stage is to make the process as inclusive as possible and to direct participation towards some definite outcomes, even if these are only 'outline' or interim ideas generated by the community and student cohort. The event was scheduled for 21st November, 2012 and held in the Walkway Community Centre, east Belfast.

The Building Futures Game developed by Royal Institute of British Architects (RIBA) and Centre for Architecture & the Built Environment (CABE) is a toolbox for exploring different possible futures for an area – of whatever size – with an aim to "open up conversation between different groups at the start of a local planning, regeneration or development process"(3). Importantly, issues and aspirations that come to the fore through the Game can be used as the basis for further consultation and discussion.

On this occasion (Briefing Event 02) UU structured the Building Futures Game so that the scenario planning was enacted by representatives of east Belfast community from Newtownards Road; with a mix of participants from local politics, community workers, the arts and residents. The objective here was to understand shared concerns and aspirations from a range of constituents, and to add a level of briefing detail to the 'Statement of Need' pre pared from Briefing Event 01. Participants were set into two groups and through guidance from the UU team these groups were asked to consider 'Likely Futures' (for their neighbourhood), 'Hoped for Futures' and the 'Present'. It is at this stage in the Game that participants then enter into scenario planning whereby they imagine different possible future events and future stories for their neighbourhood. The process for doing this is set out in the guidance for the Game and can be found in Appendix D.

Another interactive exercise run as part of Briefing Event 02 was the 'Ideas Wall'(4) a short (45 mins) exercise where participants were asked to record key issues associated with the project. For this exercise participants were asked to consider: range of facilities, local use & neigh— bourhood issues, arts/performing arts venue, and environmental/'green' issues associated with a new community venue. Ideas and thoughts from participants are recorded on paper 'bricks' and

located within the wall. Participants are then asked to rate the importance of these from 'critical' to 'nice to have'.

3. 'Building Futures Game – Developing Shared Visions for Neighbourhoods' – Building Futures (RIBA, CABE)

4. Developed by Neighbourhoods Initiative Foundation

The idea at this stage is to make the process as inclusive as possible and to direct partici—pation towards some definite outcomes

BRIEFING EVENT 02 – 13.11.12 'BUILDING FUTURES GAME — DEVELOPING SHARED VISIONS FOR NEIGHBOURHOODS'

Proposal cards, scenario planning, Building Futures Game

Building Futures Game

09

OUTCOMES FROM SCENARIO PLANNING GAME AND 'IDEAS WALL'

From the two community groups taking part in the 'Building Futures' scenario planning game (each with four to five participants) a number of shared issues or 'themes' emerged around both 'Likely Futures' and 'Hoped For Futures' for their community (in this stage of the game participants are asked to choose or identify eight statements that they believe will happen to their area over the next ten years). Discussion amongst the groups, where representatives brought differing community and professional views, produced a summary of issues they felt were relevant for the future of their neighbourhood, these are:

LIKELY FUTURES

Tourists will go out of their way to visit the area

The area’s environment will noticeably change

People will get around more on public transport

The area will have clearly identifiable out— door spaces

HOPED FOR FUTURES

People will be more concerned about their health and wellbeing

More businesses would be run by local people/ more employment opportunities for local people

Families with young children will want to come or live in the area.

The next stage of the game asked participants to consider the 'Present' situation within their neigh —bourhood, and to record developments or trends already happening and which might help in achieving community 'Aspirations', or conversely be issues that would give cause for 'Concerns'. Both participant groups were able to record a range of local and

community projects reflecting work completed, underway or projected, in areas such as infrastructure, arts & culture and community health. Examples of these are:

Holywood Arches Framework Study

Skainos building

Connswater Community Greenway

CS Lewis centre

Creative Exchange arts group

PARC study and Active Belfast (health initiatives).

Within this stage of the game, no 'Concerns' were recorded by either group. To try and pin down some idea of shared understanding of what is important for the development of this part of East Belfast participant groups were asked to discuss and consider different possible future events. To kick-start the process the groups could draw upon 56 Proposal Cards from the game, with each card illustrating a possible regeneration project. Each illustrative project also has a set of four distinct 'values' which are scored out of ten, and represent each project’s relative economic, environmental, social and 'iconic' (or 'wow') impact.

regeneration projects must be built upon an objective of widest so-cial participation and community benefit for east Belfast.

Building Futures Game

With both participant groups 'social capital' scored highest (63 for Group A, 59 for Group B), which reflects clear a understanding within community/ neighbourhood representatives that regeneration

projects must be built upon an objective of widest social participation and com—munity benefit for east Belfast. From similar community engagement and re— generation study carried out in other parts of the city by University of Ulster such prioritising is to be expected amongst urban communities which understand the challenges of neigh bourhood regeneration, and the emphases needed within projects to achieve as wide a socio-economic impact as possible.

Less clearly expressed were participant’s agreement on values associated with the local economy, or impact as an 'iconic' (or 'wow') regeneration project. A summary of the two group’s values scoring is shown above.

With the 'Ideas Wall' interactive game par—ticipants recorded their individual thoughts and priorities for a proposed new community venue, these are:

GROUP A

Cost To Deliver: 44

Local Economy: 52

Wow Factor: 49

Ecological Footprint: 45

Social Capital: 63

GROUP B

Cost To Deliver: 39

Local Economy: 51

Wow Factor: 56

Ecological Footprint: 53

Social Capital: 59

1. RANGE OF FACILITIES

Day and Evening Facilities

Inspirational Design

Meeting Space/Café/Retail Element

Event/Performance Space (Black Box)

Art Workshops & Studio Spaces For Visual Artists

Exhibition Space

Recording Facilities

Classroom/Education Spaces

3. ARTS/PERFORMING ARTS/ MUSIC VENUE

Accessible And Affordable

Nurturing Local Talent Across Per— Forming/Visual Arts

Education Remit For Schools and Young People

Skilled Trainers (Music, Performance, Visual Arts)

2. LOCAL USE/ NEIGHBOURHOOD ISSUES

Nurturing Local Talent

Shared Space – Open To The Whole Community

Noise Management

Self-Managed By Partner— ship Organisation

Neighbourhood Cttee. as Part Of Management Team

Community Relevant Services & Pricing

4. ENVIRONMENTAL, ‘GREEN’ ISSUES

Low carbon footprint building

Renewable energy & waste reduction

Reduce Noise pollution

Consider public transport connections to the venue

10

RESEARCH & SITE APPRAISAL

04.

RESEARCH GROUPS

At this relatively early juncture in the project the student group were set into four research groups in order prepare both background material to present to the ‘client’ body as part of the interactive briefing process, and also to investigate various methodological approaches to that briefing process. These groups were:

GROUP A — BEST PRACTICE

This group was tasked with researching examples of best practice in community consultation and urban regeneration from the UK or Ireland. Importantly, these should be small and medium sized examples of neighbourhoods within inner cities or inner suburbs. Key things to consider were:

Demographic within the area

Mix of use/activity in the area (residential, retail, community facilities, business/industry, etc.), is it possible to measure this?

Streetscape, open areas, derelict areas prior to regeneration

Urban and landscape proposals for regeneration

What are the ‘continuities’ in the area? What has changed over its history?

GROUP B — ANALYSIS OF IDENTIFIED SITES

For the site identified for the development project and this group was required to investigate these through the following:

Source digital OS maps

Confirm site boundaries

Zoning requirements under BMAP

Visual survey of existing buildings on site

Visual quality of the surroundings

Key masterplan issues from Holywood Arches Framework study

Analysis and mapping of arts/performance/music venues in the locality (an area bordered by: Holywood Rd/Belmont Rd – Grand Parade/North Rd – Albertbridge Road and Castlereagh Road)

Urban regeneration,best practice research

Holywood Arches area, visual survey of surroundings

11

12

GROUP C — LEGISLATION, COMMUNITY NEED & NEIGHBOURHOOD REGENERATION IN BELFAST

It is the nature of projects such as this that a number of community, city policy and funding interests have to be considered and reconciled in order to get the project realised. Influences upon the project will include: current government policy, legislation, best practice (from similar projects) and funding opportunities. In conjunction with East Belfast Partner ship, community representatives, Arts Council for NI, music promoters and Belfast Regeneration Office (South & East) this group were to investigate these important influences and set out how the Architect might negotiate his/her way through them.

GROUP D — METHODS/TOOLS TO USE IN THE COMMUNITY/DEVELOPMENT BRIEFING PROCESS

This group was asked to research consultation or 'briefing' tools that may be appropriate in this study. The group was asked to note that often the most appropriate tools are 'interactive' and are designed to include communities and to use methods that the layperson would feel familiar and comfortable with. Often these take the form of a 'game'. This research group was reminded that no briefing tool is 'neutral' and every consultation process is loaded with meaning, dependent upon how tools are presented and used.

Interactive briefingmethods, participantsand students

SITE APPRAISAL

5. 'Holywood Arches Framework Study', SIB, EBP Hall & McKnight; 2012

Within the development/planning guidance criteria of the Belfast Area Metropolitan Plan for east Belfast the site sits within an area designated as a commercial node and adjacent to a District Centre (the Connswater development). Under BMAP Policy CF 2 it is envisaged that a proposed redevelopment of the site as an arts/music venue would not conflict with published planning constraints. Importantly, proposals for a new arts/performing arts venue and general development of the site would address the key infrastructure and community needs identified in the H’wood Arches Framework Study, namely;

Physical renewal— creating a building of high quality that will act as catalyst for improvement of the surrounding area.

Social renewal— Reviving the cultural identity of the Holywood Arches and reclaiming its connect— ion with the city centre and the surrounding area.

Community renewal— Avoid isolation by inte—grating with the existing fabric, making connection with Connswater development and the amenity corridor. To maximise redevelopment potential.

Economic renewal— Sustainable development of the site through community engagement and within a strategic development plan for the new venue, a development proposal that has a multi— use purpose and caters to a range of community needs. (5)

The area of Bloomfield Ave AND Holywood Arches has in the past had a clear commercial identity, AND remnants of this re-main in the type AND scale of adjacent buildings to the site

13

The site on Bloomfield Avenue (known locally as Howard’s Garage) is approximately 1 hectare in size and designated as light industrial use. It is bounded on both the north and south edges by easement access (Laburnum Lane at rear of commercial and residential properties on Newtownards Rd., and access to adjacent sheltered housing on Bloomfield Ave.). A semi–derelict building exists on the site, and this stage it is not known if the ground on the site has been polluted to a level requiring remedial works. It is assumed that basic utilities serve the site; power, water, drainage and sewerage.

The area of Bloomfield Ave and Holywood Arches has in the past had a clear commercial identity, and remnants of this remain in the type and

scale of buildings adjacent to the site (Wyse Buys building on corner of Bloomfield Ave. and N’ards Rd. and Victorian commercial shop units with residential above on both Bloomfield Ave. and nearby N’ards Rd.). To the south of the site (Bloomfield Ave. to Beersbridge Rd.) the Victorian street pattern of housing is still intact, with streets laid out as two storey back–to–back terrace housing.

However, as identified in the Holywood Arches Framework Study, within the H’wood Arches/ N’townards Rd boundaries the area has too many vacant sites that detract from the comm —ercial activity of the area, and a number of derelict or gap sites where the urban infra — structure has been significantly eroded. The effect of this is to corrode any strong sense of neighbourhood identity, particularly in the make up of the urban fabric.

Masterplan proposals,H’wood Arches FrameworkStudy (Hall & McKnight)

Howard’s Garage,Bloomfield Rd.

14

Research by the student group tasked with investigating relevant legislation and urban regeneration opportunities for the proposed site and the proposed arts/music venue identified a number of the economic and social challenges faced by this part of East Belfast. Importantly, a number of super output areas/wards within the nearby inner East Belfast score highly on the multiple dep—rivation measure (health, education & employment, quality of physical environment), a combined measure which puts East Belfast in the top ten percent of most deprived areas (SOAs).

With these acknowledged socio–economic challenges for the area – and the community need identified in the Briefing events run by UU and EBP – the research group investigated opportunities for public funding of the proposed arts/music venue, and the criteria for applications for such grant funding. Funding programmes in—vestigated were: NI Executive Social Investment Fund, Dept. Social Development Neighbourhood Renewal, and DSD Urban Development Grant.

Social Investment Fund— applications are co-ordinated by E. Belfast Steering Group, with requirement to identify localities and projects that would improve services in the community, through improving existing facilities and addressing dereliction which impacts negatively on inward investment.

Neighbourhood Renewal— administered through Belfast Regeneration Office (South & East) and Neighbourhood Renewal Partnerships. The policy is targeted at areas in NI with pronounced social and economic deprivation. The site identified at Bloomfield Avenue falls outwith the identified east Belfast neighbourhood renewal ward, (which will likely limit success in application for grant funding), but if the case can be made that the proposed facility will draw users and residents from the identified renewal wards in east Belfast then some funding may be forthcoming through this programme.

LEGISLATION, COMMUNITY NEED & NEIGHBOURHOOD REGENERATION IN BELFAST

Research by the student group tasked with invest—igating relevant legislation and urban regeneration opportunities for the pro—posed site and the proposed arts/music venue identified a number of the economic and social challenges

15

BRIEFING FEEDBACK & VALID—ATIOn

Within any briefing project it is important that expectations are managed by the Briefing team. Any design and construction project has a multitude of participants (from the 'users' to the 'Client', the 'funder' and at build stage the 'contractor') and these all have differing needs and aspirations. It is then vital that, where relevant to the project objectives, as many of these varying interests are acknowledged and discussed during the Briefing stage.

On 5th December 2012 the University of Ulster convened a meeting to present feedback on the work that student groups had been engaged in, and this event was held on the Belfast campus. An important part of this feedback process is to 'validate' the briefing team’s interpretation of qualitative data gathered, as well as feedback quantative data that might inform design decisions. The key issues gathered from the two briefing events are described above (see pages 7, 9 & 10) but the aim for this feedback event was to share views around the critical objectives for the project, and agree project values emerging from the briefing work. In any project progressing to design stage this is a key moment, the point where user requirements and collective aspirations have to be formalized and tested.

Within any briefing project it is important that expec—tations are managed by the Briefing team.

05.

PUBLIC SPACES

Foyer/Box Office/Concourse 225M2

Café (60 Person, Single Bar/Servery) ALLOW 1.4M2 PER SEAT & 0.4M2 PER SEAT FOR SERVERY/BAR

Shop 54M2

Auditorium/Performance Space (Studio Theatre 100 Seats)*

Performance Space 300M2

Galleries (x 2) 64M2 (TOTAL: 128M2)

Music Teaching Rooms (x 4) 12M2 (TOTAL: 48M2)

Mediateque Space 72M2

External/Performance Area 175M2

SUPPORT SPACES

Offices (x 6) 18M2 (TOTAL: 108M2)

Sound Control Room 16M2

TV, Radio & Recording Control Room 10M2

Technical Backstage 80M2

Storage (x 2) 40M2 (TOTAL: 80M2)

Dressing Rooms (x 4) 12M2 (TOTAL: 48M2)

WCs (Male & Female)**

Cloakrooms (x 2) 16M2 (TOTAL: 32M2)

Delivery Point/Loading Bay (Allow For 1 Pantechnicon To Reverse)

Car Parking & Access Road 6 SPACES

Cycle Storage/Facility 1 SPACE PER 300M2

16OUTCOMES & PHASE II FEASIBILITY DESIGN

06.

6. Measurement term as defined by Royal Institute of Chartered Surveyors

With indicative design parameters set out from the feedback and validation meeting, a Design Brief was compiled by the School of Architecture & Design setting out the key site planning and building design objectives (for the full design brief see Appendix E). To aid sketch design work this Brief also highlights exemplar buildings of a similar use, and the space budget compiled to identify required Net Internal Area(6) is predicated on similar arts/performing arts/music venues such as the MAC, Belfast, Lyric Theatre, Belfast, Black Box, Belfast, and Solstice Arts venue, Navan, Co Meath.

SPACE REQUIREMENT

* auditorium space/studio theatre: this will have a provision of 25% fixed seating and 75% movable seating. A studio theatre does not have moving stage machinery. Refer to relevant section of New Metric Handbook for planning data.

** calculation of requirement for WC provision should be based on Technical Guidance documents for Building Regs NI.

17

Environmental and sustainable technologies within the building design would be developed within a clear and proven operations strategy for the building...

PHASE II DESIGN STRATEGY

An identified group within the student cohort set about the Outline Site Planning & Feasibility design, with careful reference back to the 'Holywood Arches Frame—work Study' and the outcomes from the two Briefing Events. The design strategy for the site and massing of the building had a number of key objectives:

Infill a vacant site at a key urban junction

To present a strong visual beacon when approached from both Newtownards Rd. and Bloomfield Ave.

To match the varying scale of adjacent buildings, so as to set an appropriate urban presence on the site

To give a clear indication of a shared and accessible community resource

With the site bounded and overlooked on three sides the architectural app— roach is to organize the larger enclosed performance and public spaces pri—

marily along the southern edge, with support functions, services and circulation adjacent (delivery and services access is via Laburnum Lane). The public entrance is on Bloomfield Ave.

For those entering the building transition from the street to entrance space and then main performance space or access to upper levels is managed by first 'compressing' the entrance hall space and then open — ing the building up with a three-storey lightwell/void, which itself acts as an organizing space for the build— ing (circulation to other upper level spaces crosses this void, and openings to the 'rear' three-storey wall act as indicators to the vertical circulation–lifts & stairs–beyond).

The student design team for Phase II consisted of: Caroline Gillespie, Claire McAteer and Sarah Mitchell, M Arch Yr. 5 students.

* the environmental or 'green' strategy for the building would be developed against life cycle cost analysis, as well as construction cost plan.

The elevation onto Bloomfield Avenue is organized to express the architectural volumes (at two and three storeys) and some indication of the space use behind. Importantly, the activity within these key spaces will be 'on show', a method of 'giving life' to the building and consolidating it as a key urban hub within this part of East Belfast.

In terms of an environmental strategy* for the building, key design ideas include:

Use of brownfield site

Passive ventilation where appropriate

Insulation standards higher than statutory requirements

Renewable energy (proven technologies)

Low energy & resource use technology throughout (proven technologies)

Low embedded energy materials in construction (sustainably sourced where appropriate)

Low or zero VOCs in internal materials

Environmental and sustainable technologies within the building design would be developed within a clear and proven operations strategy for the building, developed with project funders and community representatives.

the activity within these key spaces will be �on show�, a method of �giving life� to the building and consolidating it as a key urban hub

18

SITE PLAN 1:500

NEWTOWNARDS ROAD

BLOO

MFIELD

AVEN

UE

1. Entrance2. Reception/Box office3. Cloakroom4. Wcs5. Bar/Café6. Café7. Kitchen8. Plant room9. Auditorium10. Technical backstage11. Refuse

6.

1.

2.

5. 7.

3.4.

4.

9.

10.

11.

8.

KEY

GROUND FLOOR PLAN 1:200

19

9.

16.15.

13.

12.

12.

14.

17.

9. Auditorium 12. Gallery13. Mediatheque14. TV & Radio room15. Auditorium waiting/Bar16. Sound room17. Dressing rooms

KEY

FIRST FLOOR PLAN 1:200

20

19.

18.

18.

18.

21.

24.

24.

23.

20.

24.24.

18.

22.

25.

20.

18. Office/administration19. Studio space20. Terrace21. Studio space22. Administration23. Staff room24. WCs25. Meeting room

KEY

SECOND FLOOR PLAN 1:200

21

24.24.

27.

29.26.

28.

8.

8. Plant room 24. WCs26. Rehearsal studio27. Arts room28. Outdoor performance space29. Workshop

KEY

THIRD FLOOR PLAN 1:200

22

23

19.

9.

13.

1.

23.21.

17.

10.

LONGITUDINAL SECTION 1:200

BLOOMFIELD AVENUE ELEVATION 1:200

1. Entrance9. Auditorium10. Technical backstage13. Mediatheque17. Dressing rooms19. Studio space21. Studio space23. Staff room

KEY

Gross Floor Area: 3,152 m2 Construction cost: at £1,980 per sq.m* — £6,241,000

* Median construction cost of Lyric Theatre and MAC Belfast — 25% (reduced spec.), as identified in NI Audit Office report “DCAL: Manage- ment of Major Capital Projects”, March 2013.

INDICATIVE CONSTRUCTION COSTS

24

VIEW OF ATRIUM SPACE — Adjacent to galleries & performance spaces

25

A 'BEACON' AT NIGHT — Proposed Arts Centre from Newtownards Rd

26

APPEND— � ICES

APPENDIX A

BRIEFING EVENT 01. PARTICIPATION LIST—

Sean Brannigan, Community Engagement, CCG/DSDRachael Davidson, Walkway Community CentreSammy Douglas, Political RepSarah Douglas, East Belfast PartnershipRuth Gonsalvez-Moore, Arts /CommunityWendy Langham, Project Leader, Connswater Community GreenwayChris Mackay, Mackay’s Opticians (N’ards Rd)Lisa Morgan-Montgomery, Newtownards Rd. 2020/EBPDeirdre Robb, Arts Council/Engine Room GalleryAdam Turkington, Seedhead Arts

BRIEFING EVENT 02. PARTICIPANT LIST—

Gavin Robinson Wendy LanghamMaurice Kinkead Sean BranniganJonathan Major Rachael DavidsonSarah Douglas Julie CarsonDeirdre Robb

APPENDIX B

BRIEFING EVENT 0117TH OCTOBER, 2012

Aim of the event: i) to introduce UU students to the 'Client' (representatives from East Belfast Partnership) and local com—munity and business groups, ii) to draft out a Statement of Need with the Client/community groups (the Client/community groups’ first attempt to define what is required).

The meeting will be chaired by University of Ulster, School of Architecture & Design.

STATEMENT OF NEED

On a small project such as this setting out the Statement of Need should be a simple and informal affair. It is the first attempt on the Client/community side to define what is required, and from this initial stage it may well evolve as the needs/opportunities/limitations become clearer through further discussion and review.Key checklist items to be discussed at the meeting (called Briefing event 01):

1. Presentation of the site and context of Holywood Arches Framework Study (University of Ulster)

2. PURPOSE OF THE PROJECT

at are the most important two or three issues relating to the project (identified demand, 'buy-in' from community/ business groups, funding source, etc.)?

3. MANAGEMENT CONTEXT

the project?

4. TIME

(related to funding, neighbourhood renewal projects)?

5. PLANNING FOR GROWTH & CHANGE

and change with the proposed site and use (arts/music/ performance space)?

6. SUSTAINABLE DEVELOPMENT

implementing measures for environmental sustainability?

APPENDIX C

EBP/SIB/UU COLLABORATIVE PROJECT H’WOOD ARCHES/HOWARD’S GARAGE

BRIEFING EVENT 02WEDNESDAY, 21ST NOVEMBER 2012, 3.00 — 5.30 PM

INTERACTIVE WORKSHOP/SCENARIO PLANNING EVENT

The proposal for this second briefing event is to build upon the work of Briefing Event 01 (17.10.12) and the Statement of Need prepared from that. The structure of the event is an interactive workshop where groups will use games and tools to develop some detail on: i) future ambitions & trends for their community areas (scenario planning with 'Building Futures Game'), and ii) ambitions/opportunities/constraints for proposed new facility/space/building using an 'Ideas Wall'.

PROPOSED EVENT STRUCTURE

1. INTRODUCTION— aims for the event (10 mins)

2. BUILDING FUTURES GAME—scenario planning (1hr 15 mins)

BREAK (15 mins) for tea/coffee

3. IDEAS WALL (40 mins)

4. SUMMING UP (10 mins)

Total Workshop Duration: 2.5 hours

27

APPENDIX D

BUILDING FUTURES GAME1. LIKELY FUTURES— 20 mins

In your groups, consider the pack of Statement Cards.

Between you, choose the 8 statements that you think are most likely to happen to your area over the next 10 years. NB, this does not mean that you want them to happen, simply that they are likely to.

Don’t feel obliged to pick one from each colour.

If you feel that a statement is missing, use a blank card to write your own.

Mark these choices on the Baseline Sheet using blue stickers.Copy any cards you have written onto the blank spaces in row 8 or 9, e.g. If the card is HOUSING 4: place a sticker in the red HOUSING column, in row 4.

Then…..

Pick up to 4 of your 8 chosen Statement Cards to place in the Concerns area of your Building Futures Scenario Sheet. These should be 1, 2, 3 or 4 'likely futures' that you see as problematic in some way. Perhaps you don’t want them to happen, or are worried about how they will happen.

If you are not worried about any of these futures, leave the Concerns area empty.

BUILDING FUTURES GAME2. HOPED FOR FUTURES — 20 mins

In your group, re-consider the Statement Cards.

Between you, choose the 8 statements that you would most wish to happen to your area over the next 10 years.

If you feel a statement is missing, use a blank card to write your own.

Mark your choices on the Baseline Sheet, this time using red stickers.

Then….

Select 4 of the 8 statements and place them in the Aspirations area of your Scenario Sheet. These should be the 4 'hoped for futures' that you would most like to see happen to your area.

BUILDING FUTURES GAME 3. THE PRESENT— 15 mins

Now, consider and complete the 2 questions in the top right hand box of the Scenario Sheet.

1. What projects, developments or trends are already happening in your area that may help with achieving your Aspirations?

2. What projects, developments or trends are already happening in your area that are causing you Concerns about the future?

On the city map of Belfast, you may want to mark on the locations or relevant projects, developments or trends in your area.

Together with your identified Concerns and Aspirations your

answers form the 'baseline' on which you will set out a possible story for the future of your area.

BUILDING FUTURES GAME4. CONSIDERING THE FUTURE— 5 mins

INTRODUCTION—Read this introduction then turn to stage 5.

In 'scenario planning' by imagining different possible future events, businesses/organisations/community groups can play out a range of different future stories for their business or area. Building Futures uses elements of this approach to explore possible future stories for a local area.

These stories are developed from a set of 21 Proposal Cards.

Each Proposal Card illustrates a possible regeneration project and indicates its score out of 10 for 4 distinct Values. These help you consider and discuss – perhaps you don’t agree with us – each project’s relative economic, environmental and social impact, as well as its level of 'wow'.

NB. The 4 Value Cards in the Proposal Card pack explain the ideas behind the scoring system.

BUILDING FUTURES GAME5. FUTURE STORIES — 15 mins

FUTURE SCENARIO—You will now create one possible scenario for your area’s future. In considering this future story keep in mind your identified Aspirations and Concerns. This scenario will explore how your area might change over the next 10 years, and how you would like it to change.

As a group, select an initial set of approximately 10 Proposal cards that you would like to see happen over the next 10 years. You may find the Case Study booklet useful here.

NB. If there is something that you would like to see happen that can’t be expressed with the existing cards, then use a blank Proposal card to create your own.

28

APPENDIX E

UU, SIB, E. BELFAST PARTNERSHIP COLLABORATIVE PROJECTPHASE 2 - DESIGN

ARTS/PERFORMING ARTS VENUE— HOWARD’S GARAGE, BLOOMFIELD AVENUE

From the project work carried out and completed as part of ARC 722 the University of Ulster is commissioned to develop a site and building design proposal for the Howard’s garage site on Bloomfield Ave, Belfast BT4. This project will serve as a feasibility study for an Arts/Performing Arts/Music venue on the site, and as developed from the client and community consultation process carried out by University of Ulster between September and December 2012.

THE BRIEF The site proposal and building design should make clear reference to the previously published Holywood Arches Framework Study, with particular notice paid to the overarching aim of that study whereby new buildings will "act as connectors that will bring people and life to the new space(s)". Other key strategic proposals set out in that study are: community and cultural regeneration through new facilities, repair of the urban fabric through dev—elopment of existing and vacant sites (infilling 'missing' pieces), and street enhancements (making key streets more habitable and useable as public spaces). Whilst the Bloomfield Ave site sits at the edge of the study area opportunities exist through intelligent design and planning to link the Howard’s Garage site with the main neighbourhood thoroughfare which is the Upper Newtown—ards Road.

From the client and community consultation process it is clear that community participants also see the real opportunity for the site to act as a central 'hub', and a building which would serve the community of east Belfast as a social destination as well as an arts/performing arts venue. This implies extended opening hours and a range of facilities, as well as design strategies to address noise and different visitor use throughout the day and evening. The building should also be seen as a significant cultural 'beacon' for east Belfast.

The planning of the site and design of the building should be hierarchical and logical, representative of the functions to be accommodated (see schedule below) and reflecting the aesthetic and social needs of artists/performers, staff and visitors. The building should reflect best practice in sustainable environmental design and 'green' technology. Strategies for this should be proven and cost effective.

Events and workshops the arts/performing arts venue might support: venue for annual East Belfast Arts Festival, live music

(garage bands to 'blood & thunder' bands), school drama & musical performances, school workshops, performance art, visual art workshops, visual art exhibitions, comedy club, digital media workshops, etc.

SCHEDULE OF SPACES/AREAS

Foyer/box office/concourse: 225 m2

Café (60 person, single bar/servery): allow 1.4 m2 per seat & 0.4 m2 per seat for servery/bar

Shop: 54 m2

Offices (x 6): 18 m2 (Total: 108m2)

Auditorium/performance space (studio theatre 100 seats)*:

Sound control room: 16m2

TV, radio & recording control room: 10m2

Technical backstage: 80m2

Performance space: 300m2

Storage: 40m2

Dressing rooms (x 4): 12m2 (Total: 48m2)

Galleries (x 2): 64m2 (Total: 128m2)

Storage: 40m2

Music teaching rooms (x 4): 12m2 (Total: 48m2)

Mediateque space: 72m2

Wcs (male & female)**

Cloakrooms (x 2): 16m2 (Total: 32m2)

External/performance area: 175m2

Delivery point/loading bay (allow for 1 pantechnicon to reverse)

Car parking & access road: 6 Spaces

Cycle storage/facility: 1 Space per 300m2

* auditorium space/studio theatre: this will have a provision of 25% fixed seating and 75% movable seating. A studio theatre does not have moving stage machinery. Refer to relevant section of New Metric Handbook for planning data.

**calculation of requirement for WC provision should be based on Technical Guidance documents for Building Regs NI.

THE SITEThe site at Howard’s garage is as determined by the boundary identified in the Holywood Arches Framework Study (highlighted here). From OS maps/data you should ensure an accurate me—asurement of the site. In terms of developing the design proposals you may consider the opportunities to 'connect' the site through to Upper Newtownards Road, and identify the appropriate place to do this (the occupancy, or not, and condition of existing buildings backing onto the site from Upper N’ards Rd.). Previous research work carried out in semester 1 identified key elements of the surrounding urban context (physical and social), in terms of building scale, public transport routes, commercial footfall, etc. and the design team should refer to this work.

OUTPUTS

1 x KEY SITE SECTION @ 1:200 (min)

FLOORPLAN LAYOUTS (keyed) per floor @ 1:100

2 x KEY BUILDING SECTIONS @ 1:100

3 no. PERSPECTIVE VISUALS (CAD/PhotoShop rendered) of Key Spaces

TIMESCALE

INTRODUCTION TO PROJECT BRIEF— Monday, 18TH February, 4.45 PM

COMPLETION OF OUTPUTS— 22ND March

COMPLETION OF PROJECT REPORT— Week Commencing 25TH March

PUBLICATION DESIGN BY KARLA BURNS