CUBE
17.11.98 - 31.09.13
"Three Cheers for CUBE. Here it is thanks to the tenacity and endless effort of those closest to it. It has arrived at a time when architetcure centres are getting something of a bad press. While it is often the case that grant-funding is available for capital expenditure, the skill seems to lie in the revenue plan, so often forgotten in the rush to get the initial capital works done.
This is not an architecture centre however; as the literature points out, it is a centre for the understanding of the built environment. The agenda is to celebrate excellence in architecture and design in ways that can be enjoyed by the widest possible audience. There was nothing rushed in the delivery of this project: it has been long awaited and expectations are high.
We expect to see the best therefore handled in an inclusive rather than exclusive way. The design of the exhibitions and the backcloth onto which they are set has to have a broad appeal and fulfill an aspiration for high quality. The balance is a fine one. The directors and trustees have an opportunity with such an agenda to scrutinise the proposals of those exhibiting to ensure that content, format and detail match their criteria. By careful stewardship the vision can be pursued.
The architect, Hodder Associates, enjoys the same opportunity but without the luxury of future change. Adapatable and flexible space can provide for different demands that will arise and here one sees an effort to provide for the vagaries of changing exhibitions with moving screens, sliding enclosures and excellence use of interconnecting space.
"Three Cheers for CUBE. Here it is thanks to the tenacity and endless effort of those closest to it. It has arrived at a time when architetcure centres are getting something of a bad press. While it is often the case that grant-funding is available for capital expenditure, the skill seems to lie in the revenue plan, so often forgotten in the rush to get the initial capital works done.
This is not an architecture centre however; as the literature points out, it is a centre for the understanding of the built environment. The agenda is to celebrate excellence in architecture and design in ways that can be enjoyed by the widest possible audience. There was nothing rushed in the delivery of this project: it has been long awaited and expectations are high.
We expect to see the best therefore handled in an inclusive rather than exclusive way. The design of the exhibitions and the backcloth onto which they are set has to have a broad appeal and fulfill an aspiration for high quality. The balance is a fine one. The directors and trustees have an opportunity with such an agenda to scrutinise the proposals of those exhibiting to ensure that content, format and detail match their criteria. By careful stewardship the vision can be pursued.
The architect, Hodder Associates, enjoys the same opportunity but without the luxury of future change. Adapatable and flexible space can provide for different demands that will arise and here one sees an effort to provide for the vagaries of changing exhibitions with moving screens, sliding enclosures and excellence use of interconnecting space.
There is at the same time the desire by any good architect to say something of oneself, to do something permanent as an architectonic intervention where the manipulation of form, surface and texture is an absolute counterpoint aganinst the blank space flexible serviced box which is the basic brief of gallery/exhibition design.
The particular narrative used here is the Manchester contemporary vernacular. This is an architectural approach that has found favour in the city over the last 10 years. Originating in conversion projects of Manchester's fine industrial buildings where conservation is paramount, architects have discovered ways in which cool contemporary insertions can enhance the original building.
At CUBE the backcloth was there to be uncovered, selectively left or cut away by the architects, Hodder Associates, to allow the insertion of glazed and white planar elements to form the new interior. It is anything but seamless and positively so. Found walls were painstakingly stripped backed to their bare brick. There is a real delight at finding an infilled arch head opening, an orginal carved stone cornice detail, a cast iron column to be revealed and re-cast in its role amongst the 'modernist' interventions that were to provide the new exhibition mounting surfaces. All this was done with great care, but to what extent was it pre-planned? You have to assume that much of this was designed as works were in progress, a precarious form of serendipity both architecturally and contractually.
This cannot be said for the volumetric design. Here one feels that the sense of space was rooted early on. The clarity of the plan, the ease with which one can navigate through the galleries enjoying the spatial experience underscores the project."
The particular narrative used here is the Manchester contemporary vernacular. This is an architectural approach that has found favour in the city over the last 10 years. Originating in conversion projects of Manchester's fine industrial buildings where conservation is paramount, architects have discovered ways in which cool contemporary insertions can enhance the original building.
At CUBE the backcloth was there to be uncovered, selectively left or cut away by the architects, Hodder Associates, to allow the insertion of glazed and white planar elements to form the new interior. It is anything but seamless and positively so. Found walls were painstakingly stripped backed to their bare brick. There is a real delight at finding an infilled arch head opening, an orginal carved stone cornice detail, a cast iron column to be revealed and re-cast in its role amongst the 'modernist' interventions that were to provide the new exhibition mounting surfaces. All this was done with great care, but to what extent was it pre-planned? You have to assume that much of this was designed as works were in progress, a precarious form of serendipity both architecturally and contractually.
This cannot be said for the volumetric design. Here one feels that the sense of space was rooted early on. The clarity of the plan, the ease with which one can navigate through the galleries enjoying the spatial experience underscores the project."
The building is architecturally signed to avoid the use of graphic signage. As the visitor walks in the entrance he is able to see carefully framed glimpses of the spaces laid out before him. The front of house gallery to the right and gallery one and the seminar suite arranged on two levels can be viewed through carefully framed glazed apertures. The RIBA Bookshop sits to the left visible through a deep reveal in the wall, discreet but evident. This is clever stuff. You immediately feel part of the whole as you walk through the main entrance.
At this point the visitor has a choice to enter the first gallery directly ahead or go, as most now feel the better route in, through the RIBA Bookshop to the top lit double-height space. From here the visitor can see the whole gallery stretching out, linked by an elongated stair and ramp which spans the full length of the building. There is a generosity about this particular space that cannot fail to find favour.
Throughout the galleries the changes in surface and volume, the quality of light and the legibility of the circulation provide for a sophisticated ambience. Once inside the visitor will not be disappointed. Those of us within the profession have waited a long time for this new centre and there is a great will and desire for this to succeed. The old Building Centre that occupied the same space was outdated and uninviting, making the need for this new centre to connect with the professions and public alike all the more important. In order for CUBE to succeed profession patronage is essential; true success will be measured by public patronage."
(Ian Beaumont, Architecture Today, Feb 1999)
Credits:
CUBE images - Peter Cook Photography
Drawings - Maurice Shapero, CUBE Project Architect, Hodder Associates
(Ian Beaumont, Architecture Today, Feb 1999)
Credits:
CUBE images - Peter Cook Photography
Drawings - Maurice Shapero, CUBE Project Architect, Hodder Associates