Liverpool: Mover, Shaker, ArchitecturalRisk-Taker?

2 Map of the City4 The Metropolitan Cathedral6 The Anglican Cathedral8 St George’s Hall10 Mann Island12 Future Liverpool16 Debate and Discussion19 Our Experience

This magazine was produced by 20 young people aged 13-18 in August 2016 to mark the launch of RIBA North.

It provides their interpretation, responses and insight of the opening exhi-bition ‘Liverpoole: Mover, Shaker, Architectural Risk-Taker.’

The magazine has been designed to support a visit to the exhibition, or to be read and enjoyed as a magazine in its own right.

The group produced the magazine in just four days. It includes a wide range of drawings, photographs and text produced by them.

We hope you enjoy it.

Jo HarropDirector of PLACED

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The RIBA exhibition features buildings that were never realised. However, different designs for some of these were built. Our map shows where these buildings are located in the city, and where you can read more about them in our magazine.

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The Metropolitan Cathedral

If you’re from Liverpool, we’re sure you have heard about the Metropolitan Cathedral. If the name doesn’t ring a bell then it’s the cone like building in which a tower rises from the centre. You would think from the look of it that is has a very brief history, but there is more to it than what meets the eye. The conception of the Cathedral goes back over 100 years before the building we know today was even designed!

A building of two halvesThe Cathedral as we know it today was completed in 1967. But beneath the modern façade of the Cathedral lies Lutyens crypt. As soon as you enter the crypt after walking through the futuristic interior of the Cathedral above, you notice how different the two spaces are. On top it is light and airy, with windows all around while the crypt is darker and more closed.

TIMELINE: The story before the Cathedral

1933Sir Edward Lutyens was recruited to design a second Cathedral for Liverpool. Lutyen based the now Metropolitan Cathedral on St. Peter’s Basilica, which is a completely different design to the Cathedral today. Building started for the design of the first Cathedral on the 5th of June 1933.

The feature that would define this building would be a 91 metre high dome which could hold the largest organ in the world at the time.

1944People started building the Cathedral by first constructing a crypt to go below it. The building of the crypt was postponed during World War 2 when Lutyens sadly died. After the war the crypt was completed but further construction halted, due to Lutyen’s death.

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What if things had gone differently? One thing everyone can agree on, is that if one of these failed designs had actually been used, then the city would be very different. In our opinion the city would have another historical building, which would not have been as risky architecturally but would have provided more heritage. The Cathedral would have also fitted in better with a traditional Cathedral design which may have tied the area together and provided another architectural landmark for the city.

As you can see the Cathedral today is more modern compared to its surroundings, but is this a bad thing?

Rising to the surface Today the Cathedral stands as one of the city’s landmarks and tourist attractions. The design challenges the normal conventions of a Cathedral due to its’ creative flair and modern edge.

Most Cathedrals are easy to spot. They use traditional construction and a crucifix plan. The Metropolitan is different. When approaching the building we felt the only thing that identified it as a Cathedral was the cruciform detail on the front of the building. With bright colours and a very geometric concrete structure it’s difficult to not become immersed in the beauty of its intricate design. We think that this design is architecturally stunning, complicated and vibrant.

How much has this design impacted our city?Has it given architects working on buildings in the surrounding areas opportunity to take risks? We think that the design of the Metropolitan has had a direct effect not only the surrounding area, but also on architects themselves. It feels like the building has allowed architects to push the boundaries of design beyond the usual comfort zones and create a bolder future.

On Hope Street there is a diverse range of buildings, such as the Stirling Prize winning Everyman Theatre and the Philharmonic Hall. However, there is also a range of more traditional buildings nearby, such as Liverpool University’s Victoria Building. This means that the immediate area has a balance between the old and the new, which we think adds culture and variety to the city.

If the Luytens design had been built, this may have restricted future development in the area. It could have been very overpowering. When coupled with the Anglican Cathedral at the other end of Hope Street it may have intimidated and restricted other architects. We believe the modern design of the Metropolitan has allowed the area to have more variety.

1953Dr William Godfrey, the Archbishop of Liverpool in 1953, kept the £4 million budget and stayed with Lutyen’s overall ideas, but reduced the scale of the building. However, Godfrey faced heavy criticism and, when John Heenan took his place as leader of the project, he decided the design should be scrapped.

1960Heenan then held a competition, in which Sir Frederick Gibberd’s design was chosen. Building began in October 1962 and the Cathedral we know today was completed in 1967.

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The Anglican Cathedral

When we first saw the RIBA exhibition we were really surprised to see there had been other designs for the Anglican Cathedral.

Building a Cathedral in Liverpool was never easy and there were many decisions made before the current Anglican Cathedral was built.

The original idea was to build a gothic style Cathedral in the location of the current St Georges Hall. The money was not able to be raised and the project collapsed.

Years later, a competition was held for a new design and a new location was selected where the current Anglican Cathedral is now. Three entries were submitted. The one that was chosen was a design by Giles Gilbert Scott and is the Cathedral we have today.

Our opinions:We thought the exhibition was very interesting and unique. The buildings are different and special in their own way, with all sorts of shapes and sizes. We thought most of the buildings look exclusive and memorable.

“It was interesting and made you think how our city could have been different.” – Christina

“The architects are really creative, thinking about creating these amazing design plans for the buildings” – Nimisha

“Fascinating, different to any other building I ever saw.” – Amy

We think it would have been better if the design by Charles Herbert Reilly (above) had been built instead of the Anglican Cathedral building we have today. We like the current Catherdral building but we feel it would have had a different impact on Liverpool if we had built this alternative design.

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The Cathedral now …

It was a hot day in August. We were making our way to the Anglican Cathedral. We were only a short walk away from the Cathedral and already you could see it overshadowing the city. We didn’t realize it was on

such a steep hill. When we all got to the top of the n e v e r – e n d i n g hill, we were quite exhausted. Well, some of us were. We stood in front

of the entrance of the gigantic building. As we looked up, it appeared as if it was going to fall because of how tall it was.

A huge hovered over us. As we walked into the building an instant cool breeze hit us. The space was massive. Walking around, we noticed little things. There were doors with small balconies. They looked tiny because they were so high up. There were stunning stained- glass windows that each had a different story behind them. There was writing and numbers carved in the walls which were interesting and we wanted to find out what they meant.

We found out lots of things from our visit. Why don’t you visit and

find out things that you didn’t know?

The Cathedral that could have been … It was a hot day in August. We were

trudging up the long sloped path before us. The hot summer sun burning our slouched backs. The

domineering cathedral could be seen from miles away, but it was different up close. It made us feel special.

The building itself was beautiful and grand. It was a treat and an honour to enter the palace, it felt like royalty lived there.

The entrance was enormous; it was magical, very detailed and made you feel important. Inside it was stunning! We felt like the Queen would be preparing our afternoon t e a!

Inside the sights were unbelievable.

Looking up at the huge dome at the top with the beautiful patterns, colours and shapes of all kinds.

The whole experience was awe-inspiring but at the same time we felt the building was tranquil and calming.

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Keeping the Culture

St George’s Hall has represented Liverpool’s culture for about 160 years and the Grade 1 listed building is still standing proudly today. Its austere simplicity on the outside contrasts with the luxurious interior.

You probably know what St George’s Hall looks like. But do you know what it was going to look like?

From Two to OneImagine a young 25-year-old called Harvey Lonsdale Elmes who is in love with architecture. Two exciting competitions are taking place; one for designing Assize Courts and another for designing St George’s

Hall. The eager youth decides to take part. Surpris-ingly, he manages to win both competitions. Success. However, before the builders start working, he comes up with the idea of bringing the two buildings together to make one – St George’s Hall. After the idea was accepted, the architect works on the new design which is what we see today.

Harvey Lonsdale Elmes changed this imagination into reality and earned the title of ‘Young Prodigy Architect’.

1839 become the year of hard work, success and new cultural beginning.

It’s one of the finest neo-classical buildings in Liverpool. It’s the face of the city’s culture. Can you guess? It’s St George’s Hall!

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Majestic, Grand and elegant: that’s how we describe itFrom our visit to St George’s Hall, we think it’s the perfect place if you are looking to see something that will take your breath away.

St George’s Hall is in the best place. On one side, you have the busy railway station taking people to and from places. On the other side, you have the tranquil St John’s Garden.

From the outside, you can see the neo-classical style with the rows of columns, narrow stairs, collection of statues and the design at the top of the building.

This contrasts to the inside.

At first, you feel like you are in another world. The decorative ceiling above astonishes you. It is supported by the scarlet granite columns that sparkle in the distance. The delicate and detailed designs on the polished 30,000 tile floor captures your attention. Figures from all angles have hidden meanings. Chandeliers glow in the room, making it lighter and brighter. In the concert hall, 7000 pipes are waiting to be played on the stage. It’s bliss.

What’s on?Before, St George’s Hall used the hall for music and the lower levels for prisons and assizes courts. However, that is not the case anymore.

St George’s Hall is used for a wide range of things including:

• Exhibitions• Tours• Talks• Concerts• Corporate events• Weddings, Winter Art Markets and many more!

Reviews: gaining more stars?We looked on Trip Advisor and here are some people’s views on St George’s Hall:

“Entry is free, the hall, roof and the mosaic floor is great”

“Fabulous building, spectacular venue, magnificent hall”

View from

St John’s Garden

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Trip Advisor

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No Mann is an Island

Mann Island, a £135 million development, seems to pop up out of the blue. Surrounded by large neoclassic buildings it certainly does give off an alien impression, like it fell straight out of 2001: A Space Odyssey – the monolith has returned! Okay, that is a little far-fetched, but isn’t that the whole premise of this project?

The risky style of the building – the jaunty angles and the intense black exterior – is what makes the build-ing. Without that, it would just be a block of flats with a good view. Instead, we have a building which screams modernity; it’s no wonder RIBA North chose this as their new home.

But why this version of Mann Island, you ask? Why the dark, black buildings instead of Will Alsop’s radical The Cloud? The exhibition headed by RIBA, poses the very questions we ask: what could have been?

Are our heads still stuck in The Cloud?You may never have heard of The Cloud, or even know what it looks like. We couldn’t blame you as it never made its transition from the screen to the street.

The design was controversially chosen as the winning submission in a competition led by Liverpool City Council in 2002 for the ‘Fourth Grace’. But in 2004 it was cancelled. But why did the bold and ambitious design that was supposedly ‘perfect’ for Liverpool not get built?

Quite simply, money. The cost of The Cloud spiralled. Instead, the Mann Island that we see today stands there.

“I’ve always preferred The Cloud over Mann Island. It’s wacky! I mean, where else do you see a building like that?” — Emma, 60

“It looks like a spaceship.” — Adam, 9

Illustration by Connah O

’Neill (Age: 17)

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An interview with Matt Brook, architect for Mann Island, about his design and why ‘The Cloud’ may not be all it seems.

What inspired your design?The site context, both current and historic was the key inspiration behind my design. I had 3 key aims/ideas which drove the design;

• To help reconnect the city to its historic waterfront• To preserve/frame key views of the Three Graces• That the idea of the site being seen as a Fourth

Grace was not appropriate. The Mann island site was historical and still needed to be, a different part of the city with a different purpose. It should not be seen as an extension to the Pier Head but a different urban condition, a fulcrum point which re-connected the Pier Head, the Albert Dock and the City Centre together again.

How did you feel when the project was completed?

From producing the first sketch to seeing the building completed took ten years. I was 29 when I produced the initial ideas for the scheme and 39 when it was finished. Over that period of time the project took a lot of thought, so I was very proud to see it finished but also conscious that I was going to miss working on it.

What Does the Architect Have to Say?

Illustration by Juliana Moham

ad Noor, (Age: 17)

How do you think your design compares with The Cloud design by Alsop?

My approach to the site context was very different to Alsop’s. Without seeing both schemes completed it’s hard to make a proper comparison.

Why and how do you think your design was better than The Cloud?

I think that’s a question best answered by the public, it’s their opinion that’s most important.

What is your opinion on architecture competitions and allowing the public to vote on a design?

I think if managed in the right way architectural competitions can help drive innovation and provide opportunities for younger architects. I think it is vital that the public are more engaged in a debate about design quality, why it is important and how the built environment effects everyone’s quality of life. Voting on competitions is one way to engage the public in the debate. However, often I don’t think the public are given enough information to properly inform their decision.

“The Cloud is a bit exces-sive. I’m glad it’s the way it is right now with Mann Island because it comple-ments the environment” — Ashraf, 21

Illustration by Connah O

’Neill (Age: 17)

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Visions of the Future

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It’s now time to leave the past of the city behind and venture deep into the waters of what could be Liverpool’s most ambitious architectural future…

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The Future Risk-Takers?

The buildings featured in the exhibition were ambitious, risky and bold – but never built. We feel ambition is good. It inspires. It helps to create identity. It can bring in investment. But is also carries risk.

Schemes can be too big and costs spiral – such as Lutyens’ Cathedral or the Cloud.

Critics have reported that buildings in recent years aren’t achieving the same greatness. Architects seem to be scared away by the big major landmarks in cities. Perhaps they feel they could never live up to the greats. In recent years, the rise in buildings across Liverpool in general shows great ambition for the city and its future.

We spoke to Blok Architects who told us about their plans for Chinatown and the importance of involving communities if you want an ambitious design to succeed. We have featured their interview on the next page. Another example is Liverpool Waters, a scheme which could shape the future of our waterfront.

Proposed by Peel Holdings, the scheme makes use of derelict, abandoned spaces along the dock regenerating up to 60 acres of land across four sectors of Liverpool’s docks. Peel’s scheme has been

estimated a £5.5 Billion project with a potential 50 years of construction.

The scale of the development means it could reinstate Liverpool as the ‘Mover, Shaker, Architectural Risk Taker.’

What do you think should be the future for Liverpool’s skyline?

China today has strongly influenced and impacted our perception of modern architecture. Architects from around Liverpool have built upon this to create our new and improved Chinatown. But do we really need it?

Blok Architects, the designers behind the project say that this is “An extremely important regeneration project”. 9 Buildings are to be constructed in an area near the Anglican Cathedral with an investment of £200 million.

With the old Chinatown looking a bit run down and wearing away, is it about time we redevelop

Concept designs for Liverpool W

aters

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Q. What would you advise upcoming architects about taking risks?

A. Risk is inherent in the industry. As you are spending millions of pounds of other peoples money, risk should be factored into everything you do. YOU’RE NOT BUILDING LEGO BLOCKS YOU ARE BUILDING REAL BUILDINGS- but it is not something that should deter you away from the industry, its more of the challenge.

Q. What would you advise upcoming architects about being ambitious?

A. You can be ambitious with designs but you have to be realistic and take into consideration budget and practicality. Liverpool Waters is a massive ambitious scheme, and is not something that happens every day in terms of its scale and ambition. You should always be ambitions in everything you do- that doesn’t just relate to architecture, if you don’t have ambition you’re just going to float in the same place, and who wants to be in the same place? You want to do the biggest and best thing you can do.

Q. Would you say your project is high risk—if so why did you choose to take the risk? A. Yes very. With ambition comes risk. In terms of ambition and risk it is something that is given to you and it all goes down to what you do with it. This project is an opportunity to put Blok on the map you’re not going to get recognised by designing one of the same, which is a risk in itself so we came up

with a strong concept with a strong idea. We have collaborated it with a really strong design team and a good client who’s really keen on design. We have a really good relationship with our client and trust- which is key.

Q. How confident are you that this project will be a success?

A. Because it is such a big and ambitious project which is city shaping, we decided to take an internal public consultation ourselves to demonstrate we was keen on doing it for the people. We put together our own exhibition with our own ideas, and presented that to the seven elders of the community first and foremost, and out to the public to see if they had any ideas and to have their output for the outset. We told them this is our idea this is what we want to do and we want to engage you. We have community support, we haven’t kept our cards close to our chest. We have been given the confidence from the outset that through doing these extra consultations that we will have everyone on our side, not only that if they have input into a design it’s not just us doing what we want to do and little things like that. This project is for the people which will make it a success.

Q. What the future should look like for Liverpool?

A. The future is very bright for Liverpool. Liverpool Waters may be in 50 years but it is a catalyst. Me personally I like contemporary buildings, designing in an old way is lost slightly so I’d like to have as much contribution to the city as possible, I don’t think the identity in Liverpool will ever be lost.

Interview with John Carney – BLOK Architecture

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We also asked Suzy Jones from the RIBA the same questions, and we’re grateful for her taking time out to share her views.

Do you recommend visiting the new RIBA architecture exhibition?

OK People who like architecture are often born into it.

CR It’s not only for people who are interested in architecture. It’s also interesting to see how the future could’ve looked. I would recommend it.

YA Yes, definitely.

TH No, because I don’t know anyone who likes architecture.

SJ I would. It offers a great opportunity to explore Liverpool – past, present and future.

Do you think the RIBA exhibition will be a success? Why?

CR I do. However I feel the content of the exhibition should be changed in order for it to be sustainable.

Otherwise, once people have visited they wouldn’t have interest in returning.

TH It could be – for people who like architecture.

YA Yes because there’s been a huge amount of money put into the project. Also with all the support received it will be successful.

SJ I hope so. We have tried to put together an exhibition which celebrates the city, its architectural ambition, and the people who helped shape it. I hope it makes the people of Liverpool proud and provides a platform for them to think about how it might evolve and how they can influence that evolution.

Do you think the RIBA exhibition will interest young people in architecture?

CR Yes because it makes architecture more accessible to younger and less experienced people. It explains architecture in a more approachable way.

OK I think they would have to be interested before

Interview

As a group, we had a lot of different opinions about the exhibition and buildings featured in it. We decided to put a few questions to a small panel from our group.

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they go. But if there was things like Lego so they can design when they’re there then it would make it more interesting.

YA Yes because the main target audience is younger people so hopefully it will attract them to the exhibi-tion. They’re able to learn more about how architecture has affected Liverpool.

SJ I hope so. But I also hope it encourages young people to think radically about their environment and be ambitious about what they demand from future developments.

Do you think that the RIBA exhibition is ambitious and risky?

CR Parts of it are ambitious and some of the works are risky. This may explain why they were never built.

TH Yes, because I have never seen one like it before.

YA A little. The history part is ambitious. It would be good if it talked more about the future as that’s also what people want to know.

S Not very. I think some of the content is but not the exhibition itself.

Will today’s buildings such as Mann Island stand the test of time?

JM Yes. I believe that modern buildings are good and help to bring more tourists to the city and also there are older buildings that have stood the test of time.

CR It depends on how they’re looked after and how the space is used. Compared to other modern architecture I feel it has a really good chance of being sustainable.

YA Yes, because whilst it’s one of the modern build-ings of our time it will become a piece of history in the future.

SJ Yes.

Yasmin Al-ZuhairiAge 14, Belvedere Academy, Liverpool

Chloe RobertsAge 17, Bellerive FCJ Catholic College

Oliver KentAge 14, St Margerets Academy

Thomas HallamAge 14, Liverpool College

Juliana Mohamad NoorAge 17, St Hilda’s C of E High School

Suzy JonesRIBA

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How We Created Our Magazine

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Oliver Kent, 14“An experience”

Yasmin Al-Zuhairi, 14“The workshop was enjoyable and I learnt a lot. It was fun and I made new friends. One of the best weeks!”

Amy Nguyen, 14“This experience was educational, as well as that I socialised.”

Hannah Nguyen, 14“Enjoyable, educational, super sociable.”

Jordan Ainsworth, 13“Drawing.”

Brellaine Borbon, 17“It was a fun experience. I got to listen to others’ opinions and work together to affix these perspectives, which improved my confidence in building relationships.”

Nimisha Bompally, 13“The experience was great, working together and making new friends. Also, we learnt new things.”

Christina Gutteridge-Teso, 13“The workshop has been an enjoyable 4 days that I thought at first would be different. I have learnt a lot of things also as well as having loads of fun!”

Chloe Roberts, 17“The workshop has been a unique experience that has inspired me to pursue my dreams of becoming an architect.”

Shola Akinyele, 17“The workshop has been an exciting experience that has opened my eyes to the world of architecture.”

Sarah Jawad, 15“At first I was unsure whether to join this workshop. After given some thought, why not? I’m glad I attended because it has given me an insight into architecture. I may consider going into it further in the future.”

Jenson Saito, 15“I found this workshop enjoyable because I got to learn not just about architecture but also that there is more behind the building such as heritage, risk and also context.”

Matty Carr-Millar, 17“I’m glad I joined PLACED again, the staff and volunteers are always lovely and helpful!”

Rebecca O’Brien, 16“I always enjoy PLACED courses and this one has been no exception! Everyone is always lovely and happy to help!”

Connah O’Neill, 17“This week has been brilliant; I have really enjoyed working with so many amazing people!”

Penelope Ruddock, 18“The course has been amazing! I found the group work very rewarding and inspirational.”

Juliana Mohamad Noor, 17“I got to experience how it would be like in an actual architecture/design firm.”

Thomas Hallam, 14“I learnt about the original designs for buildings and how they changed.”

What We Thought About the Week

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Producers20 young people aged 13-18 from across Liverpool have worked together with PLACED and RIBA to create this magazine. Together, we have explored, designed, analysed and worked with professionals to produce a document reflecting the exhibition themes.

Producers

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When we first started this project, we did not know much about the RIBA. However, during this process, we have learnt about them and now we understand who they are and what they do.

The RIBA are the Royal Institution of British Architects. They believe that anyone who has dreams of being an Architect should have opportunities to achieve their dreams. They support architectural education and have many opportunities and possibilities for all ages.The RIBA are based in London but decided to have a centre in the North and guess which city they decided to come to? Liverpool! This will be good as they will be able to give more opportunities for people in Liverpool.

Events for usThe RIBA want the public to interact more with architecture. As part of the new centre, they will be running a wide range of public events for all ages. To find out more go to https://www.architecture.com/WhatsOn/WhatsOn.aspx?city=liverpool

PLACED delivers hands-on, creative programmes that excite, empower, enable and engage the public, in particular young people, about the built environment.

Our Consultation services support clients, developers and designers in undertaking meaningful engagement, whilst giving people a voice in local developments.

Working with schools and universities, our Education programmes give young people the opportunity to learn about the built world, whilst supporting access into professional careers.

As a Social Enterprise, we are committed to having a positive impact on local communities. The development of skills, increasing knowledge, raising aspiration and inspiring change are core to everything we do.

RIBA PLACED

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ParticipantsAmy NguyenBeth FitzpatrickBrellaine BorbonChloe RobertsConnah O’neillCristina Gutteridge-TesoHannah NguyenJenson SaitoJordan AinsworthJulianne Noor MohamadKeiryn WestMatty Carr-MillarNimisha Bompally Oliver KentPenny RuddockRebecca O’BrienSarah JawadShola akinyeleThomas HallamYasmin Al-Zuhairi

EditorJo Harropwww.placed.org.uk

Design ConsultantJoe Gilmorewww.qubik.com

With thanks to the RIBA for their support, input and direction on the magazine and the opportunity to produce the magazine.

Funded by a grant from the Heritage Lottery Fund.

Producers

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