A Critical Study of Rivington Place

1 Rivington Street, Shoreditch

David Adjaye

An Architectural Beacon for Cultural Diversity and Artistic Talent

Sharan Purewal

Theory One

PG Dip FT 1

Night view looking down towards cul de sac

Front view along Rivington Street

Rear view from Cul de sac showing building overhang over service yard

Contrasting views day and night looking into the café space from entry foyer

Looking East from Rivington Street

View Looking West from Rivington Street

Looking East from Rivington Street

Looking West from Rivington Street

External face of Glazing along short façade of building

Internal face of glazing

Ground Floor - View into the Barclays Project Space

Looking out from Barclays project space towards foyer reception

Ground Floor - Views looking into African inspired Café

Views looking down corridor space towards project spaces on first and second floors

First Floor - Educational Space

Second Floor - Digital Space

Second Floor - Stuart Hall Library

Study spaces are integrated into niches where windows are positioned in the Library

Daytime photos - showing Stuart Hall Library space with blinds up exposing varying window positions

Night time photos - showing Stuart Hall Library with blinds down

Third Floor - View through lower positioned window towards the street

Third Floor - View into inIVA Offices

The position of furniture in front of windows counteract the architect’s intentions

Third Floor - An attempt has been made to remain sympathetic to the architects’ intention of positioning windows at floor level

Fourth Floor: The impressive roof exterior is actually realised to have velux ‘esque’ skylights

Fourth Floor - Views of Autograph ABP office space

Fourth Floor: View looking towards Autograph ABP office space and arrangement of windows

Ground Floor - Barclays Project Space is located on the short facade along Rivington Street for maximum exposure

Looking East from Rivington Street

Rivington Place: ‘Shoreditch’s answer to the Town Hall’

Situated quite modestly within the back streets of Shoreditch art district north of London City, Rivington Place serves a striking presence alongside its traditional yellow – brick neighbours. Its contempory façade along with its muted shades of black and grey and unregulated windows offers something quite refreshing to what seems an older neglected street. However it is not only the aesthetics which serve to make a mark, the small public arts center designed by Ghanaian born David Adjaye holds a strong civic presence. As with much of his work Adjaye has continued his premise that a civil concord must exist between users and for the exercise of difference rather than social conformity. Hence Rivington Place promotes work of artists from all over the world and brings them into the British mainstream which in this day and age is a central part of the former Empire’s Life

Being described as what could be the new “Town Hall” in the Dec 08 Deutsche Bauzeitung its presence is more than an exhibition space, it serves as a platform for multi-culturalism. It celebrates the current fabric of the city in which it sits. Shoreditch combines many cultures and activities in a collection of industrial buildings which have become colonised by a variety of cultural organisations and small businesses. From railroad overpasses, office blocks and mews to the strong ethnicity of Brick Lane and Old Street, Rivington Street poetically becomes a seemingly logical site for such an important building.

The eight million - pound Rivington Place building was designed to accommodate the requirements of two organisations: Autograph ABP and The Institute for International Visual Arts founded in 1988 and 1994 respectively. Both had similar objectives which were to extend the geographical boundaries of visual art and cultural diaspora and introduce them to new audiences. Adjaye’s design has been conceived by the Maverick Social critic Stuart Hall who has played a formative role in relation to both Autograph and inIVA.

David Adjaye first came into the public domain with the design of a number of remarkable London Houses completed in 2005 of which Elektra House and Dirty House are among the most famous. Being a Ghanaian, Tanzanian – born, London based architects his influences range from African art and architecture to contemporary art and music.1 It is hardly surprising therefore that his buildings offer a sense of unique inspiration and hold strong cultural ties with his upbringing. Whether it be textile from Ghana, a neck rest in South Africa, and a straw thread mat in Rwanda, Adjayes design bring a much needed cultural injection into the mainstream of British culture today.

Despite his early African upbringing Adjaye’s architectural education was firmly a British one. He studied at the Architectural Association and Cornell University. However despite early work with Chipperfield it is clear that he is definitely not in the British tradition of obsessing over finer detailing and engineering. What is clear especially of that in Rivington Place is his obsession with striking juxtaposition. With his expanding portfolio now firmly in the phase of designing public buildings he has

1 Making Public Buildings Specifity Customization Imbrication David Adjaye

the ability to shock, surprise and create truly multi-cultural buildings that celebrate diversity.

Unlike Rivington Place the former housing projects were disconnected to the tough urban streetscape and Adjaye responded to unpromising sites by building fearsome barrier walls. A somewhat melodramatic response some may say, but what resulted were controversial, inventive and occasionally brilliant houses. However following his earlier innovative domestic projects he has since turned his attention to the community of the site and has designed a number of key buildings that are thoughtful and meticulous but most importantly for the people.

His earliest success in the public domain was with the successful competition entry for two Idea Stores in the London Borough of Tower Hamlets in 2001. The timing of the commission was ideal owed to the political renewal that came in the early years of the New Labour Government. It was a pivotal point that heightened awareness that cultural diversity required practical support due to its contribution to the economy of the country and included raising recognition to the people who were concerned. Following such a radical change a number of organisations had developed at this time two of which were the ABP and inIVA, mentioned before helped to fund similar projects one of which was Rivington Place.

Detail of Entry Signage

‘The building is set to become an important national resource as well as a local cultural and social hub’ www.Rivingtonplace.org

Rivington Place is the first new build public gallery in London since Hayward Gallery opened in 1968. The 1445 sqm building is an arts center that combines a public gallery and café with a library, two project spaces and offices for two organizations that were the brainchild of Stuart Hall and part funded by two of the organisations he established. It can be seen as part of the second phase of Adjaye’s career which boasts his portfolio for designing public buildings. Although relatively modest in size, at five

floors it is still taller than its neighbouring counterparts and sets itself further apart from them by being set back from the boundary of the street line. Typical of much of Adjaye’s buildings, the concept of regulation - fundamental to how the building is read is owed to a Sowei mask from Sierra Leone in which a repeated unit changes size to match the geometry of the surface.2 As a result of the building indeed is not regular but not in the ways one may expect. Above all the building surprises at varying angles and perspectives. The whole thing is designed to mislead. It looks like the eight-storey behemoth he actually wanted to design - but shrunken down, like a toy office.3

Unlike Adjaye’s earlier Housing projects that kept out the threatening street, for Rivington Place the opposite is true. The street front has been completely obliterated; instead the full height glazing allows the street to flow through into the gallery space, except realistically this is not the case. The actual entrance is to the side of the building down a narrow alley with its only announcement being a pivoting sign as seen in the photograph above. Perhaps unintentionally so but it is reminiscent of much of the hip London hangouts where visitors are enticed down tight alleys heightening the anticipation and suspense as they approach the entrance. Again the modesty of the entrance further emphasises Adjaye’s keen interest in the experience as much as the functionalism of architecture.

2 Making Public Buildings – Specificity Customization Imbrication David Adjaye; pg. 483 Special Issue, David Adjaye : Imbricated inspirations, A & U

External façade detail

The building in its entirety is there to stand out with an all empowering message that may or may not have been intentional by Adjaye. First and foremost it is black. The black colour of the precast concrete panels alternating with large planes of glass in flush steel frames makes its distinction from the surrounding buildings astoundingly clear. This could be coincidence or perhaps more poetically it stands to make a point that colour and culture has a firm existence within the existing fabric of many of our cities. The latter gives rise to Adjaye’s own transnational background and to the ideology that black is more than just a colour of the render.

Corner detail showing contrasting window positions: Flush along short façade; inset along long façade

What is most surprising is the undenying beauty of the building when up close; even more surprising is the use of cheap construction site materials which contribute to this effect. Whether with oriented strand board, ply or painted concrete, Adjaye is a master at creating an impact with his choice of cheap materials, many of Adjaye’s public buildings confirm his position in this area. At the Whitechapel Idea Store he revelled in the creation of a basic and robust piece of commercial architecture. He took inspiration from the cheapest materials available. In the case of Rivington Place, Adjaye talked of a theatre set, of false perspectives and playing with scale.4 Yet what has resulted is a small yet perfectly formed object with a number of unique and innovative features that are synonymous of Adjaye style.

With its saw-tooth roof, varying depths of window reveals and its play with perspectives, Rivington Place is certainly far more complex than what meets the eye. From a distance the building appears much taller than its five floors may suggest. The series of windows along the short façade of the building are flush with the concrete panels, which exaggerates the vertical perspective. In contrast the windows along the long façade contradict the horizontal façade in that they are deeply inset into the external concrete panels making the building appear a lot shorter. It is clear that Adjaye is making a monumental statement with his play with scale, skin and structure. The illusion is further heightened in that the windows decrease in size as the eye transcends up towards the saw toothed rooftop. The closer you get to the large floor to ceiling glazing of the ground floor the more it entices you into observing the exhibition on display in the main gallery space.

4 Special Issue, David Adjaye : Imbricated inspirations, A & U

Looking along the long façade towards Cul de sac

As you turn the corner heading towards the entrance you are greeted to a façade that is flat against the ground and appears to be uniform however this is not the case with the windows above. The effect is clearly not a regular one. It takes a while to adjust your eyes to the varying scale and size from large to small, thick to thin, flush to inset, Adjaye continues with the play on perception by the placement of the occasional black painted metal panel flush with the concrete panels. Furthermore to dispel any cases of certainty the building cantilevers over the external service yard. All these considered features have one main objection to make the building appear bigger and heavier towards the back creating the illusion to the untrained eye that the building transcends further than its modest site allows.

The saw toothed sky lights are reminiscent of the surrounding industrial vernacular but are viewed only as disassociated fragments. The building as a whole is ambiguous in the messages it conveys. The external structure, including windows and their varying positions within it tell us nothing about the true character of the building and of the internal conditions. The unusual window positions means that the internal views are even more fragmented and one begin to question how function internally fits with structure and form. The effect of this hybrid system means the internal spaces vary in different parts of the building. It becomes quite unpredictable when and where you may find windows often some spaces have more than one series of windows which can be found two different levels. In these instances there are two offering views; the higher ones to the sky and the lower ones to the neighbouring buildings. There is no doubt that all these features are a witty attempt at showcasing the building as an arts center thus creating an artful collage of the surrounding area.

View into Foyer Space which contains the reception area, public stairs and private lifts

‘The muted colour palette sets off the contrast allowing the artwork displayed to me the main attraction’

What immediately strikes one on approach to the entrance is the beautifully concrete rendered foyer and reception area which appears to look somewhat Trans Atlantic rather than something situated in the heart of the East – End. Furthermore on entering the space is the juxtaposition of the traditional wooden bar and café area that sits to one side of the ground floor with the contrastingly slick and classic white cubness of the main gallery space to the other. The choice of finishes in the gallery space and foyer spaces seems perfect in light of the current exhibition being presented at the time of my visit. The muted colour palette is a contrasting backdrop for the plethora of rainbow coloured spider webs that fill the exhibion space, a truly magical display. As one transcends up the solid concrete stair comparisons begin to be drawn between the linear circulation reminiscent of The Chrisp Street Idea Store, the stack of floors with vertical circulation can also be seen in Denver building. However Rivington Place is unique in the messages it portrays, it is a building full of ambiguity and does not offer a simplistic reading, the internal spaces too play architectural games although few as complex as those presented by the façade.

Atrium space looking towards foyer and entrance lobby

‘A truly functional building where atrium circulation linking public educational and gallery spaces is separate from lift circulation to the private office floors above.’

The first is the atrium space which holds the core circulation spanning over 3 floors of public space. This connects the public to the library, education space and project space situated on the floors above. As one transcends up the atrium the pattern of the external windows are continued on in the internal atrium with recessed light boxes that stretch the full length of the atrium space. This pattern is further extended into the public library where the concrete panels turn into plywood lined boxes. It is an unpretentious space, which is clear to see the effect of the external façade. The varying levels of windows offer external views of contrasting degrees and the study tables are appropriately placed within the various openings and niches so that the user can take full advantage of this. It is here that of all the spaces in the center is the closest to what was intended by Adjaye and has succeeded in its attempts to remove the building and its spaces from the everyday reality of the street and surrounding site and thrust them into a reformed and ambiguous one. This subverted reality is anti-logical and nods jovially to its artistic roots.

View looking into atrium showing recessed light panels

‘All spaces are column free, the southern section of the building has a clear span of 11.4 supported on concrete floors’ Making Public Buildings David Adjaye

The rest of the gallery spaces which include the project spaces is fairly predictable and simply promotes a good area for displaying art. There is a consistent sense in the upper floors of the interiors being servile to the façade. It does not offer answers as one may expect or want it to do. It does not change the way we perceive art. As I am escorted to the upper floors of private offices I am somewhat disappointed with the internal effect of the interesting roof aspect I viewed from ground level. The saw-tooth effect turns out to be a purely sculptural profile; the sloping sections are punctured with basic Velux-type openings and much of the arrangement of the offices are far less dramatic or imaginative than what one may expect. Perhaps this is the fault of the building organiser in arranging the offices in a way that is unsympathetic to the intended design. For instance some of the lower windows that offer views of the street are blocked with the uncompromising arrangement of furniture or the odd filing cabinet and fail to appreciate what Adjaye was trying to achieve. Alternatively one could also argue that Adjaye was unrealistic in this type of abstraction and should have put programme and function at the forefront when making such decisions. However despite this the building proves to be a good gallery overall, Adjaye has much experience of art to make sure that this has been achieved. It is a beautifully cut black suit that makes an average black suit look good.5

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Transforming - The building seen as solid block by day to woven structure by night

‘The buildings do not explain or tell us anything and are autonomous’ Deutsche Bauzeitung 20 12 08

Despite not having all the answers Rivington Place is undoubtedly a building that fulfils the brief and gives back so much more. It does not only reinvigorate the site in which it inhabits, it owns it. It not only creates public space, it is public space and the clear use of materiality enables the boundaries between building and street to become blurred leading the visitor into the space without even setting foot into it. A witty play of varying perspectives juggles with elevations. It is certainly a building that demands attention and rightly so especially with the civic message it withholds. The building is transformative and can be read in a number of ways. Its reading alternates with the rise and fall of the sun from solid block or woven surface. It is a one of a number of buildings Adjaye has completed around a series of black culture along with the Stephen Lawrence Centre and the Bernie Grant Theatre. The typology of these buildings holds a strong ethical message. All reflect the changing face of British culture but with a type of sensitivity that is not forceful or didactic in their approach but clear enough to be recognised and understood.

In many ways parallels can be drawn between the building and Adjaye himself, whether this is conscious or not. From the literal colouring of the skin of the building to the scale and proportions of the interior spaces, it has a likeness to Adjayes modest position within his field. It is a monumental building but not one of the traditional sense. Adjaye has taken the reality of what is to be expected from a building of such scale and stature and has subverted it on its head. Perhaps owed to his own transnational background, Adjaye has an ability to engage with the varying nature of our cities and embrace them, designing public spaces that are for the people. Adjaye does not usually give explanations of his work directly, yet the understanding is usually in the careful reading of the buildings themselves which in the case of Rivington Place needs no words at all.

Bibliography

1. Making Public Buildings Specifity Customization Imbrication David AdjayeNew Edition 4 Sept 2006

2. RIBA AwardsArchitects’ JournalVol 228, no1, 2008 July 3, p. 23-87

3. London 1 Arkitekten (Copenhagen)Vol, no. 7 p. 35-59

4. Big, black and Beautiful: David Adjaye’s Rivington Place Deutsche BauzeitungVol, 142, no. 12, 2008 Dec, p.12-13.

5. Social ConscienceRIBA JournalVol. 114, no.10, 2007 Oct, pg, 7, 16-18

6. A big Billboard; Architects: Adjaye AssociatesIconNo.052, 2007 Oct, p. 168-169, 171, 173, 175

7. Civic Trust Awards supplement,Building Vol. 267, Civic Trust Awards supplement, 2002 Apr, p 1-64

8. Special Issue, David Adjaye : Imbricated inspirationsA & UNo. 11 (446) 2007 Nov, Pg 19-125

Websites:

http://www.rivingtonplace.org

http://www.worldarchitecturenews.com, 30 Aug 2007

http://www.bdonline.co.uk, 11 Dec 2009

All architectural drawings throughout are taken from: Making Public Buildings Specifity Customization Imbrication David Adjaye(Except Site Plan Authors own)All photos used throughout the essay are authors own

Word Count: 3081 (excluding footnotes and headings and sub headings)

“It’s a building that appears to increase its volume from one end of the site to the other – the geometry is adjusting, its form

compressed. It’s about how you look, and that something is not as you first thought………” David Adjaye