{"id":748509,"date":"2024-07-24T09:47:40","date_gmt":"2024-07-24T08:47:40","guid":{"rendered":"https:\/\/www.architectsjournal.co.uk\/?p=748509"},"modified":"2024-07-24T16:58:01","modified_gmt":"2024-07-24T15:58:01","slug":"ahead-of-the-curve-brighton-college-arts-centre","status":"publish","type":"post","link":"https:\/\/www.architectsjournal.co.uk\/buildings\/ahead-of-the-curve-brighton-college-arts-centre","title":{"rendered":"Ahead of the curve: Brighton College arts centre"},"content":{"rendered":"

\u2018It was inspired by a chalk cliff,\u2019 says James Taylor, partner at Nicholas Hare Architects (NHA), as the monolithic fa\u00e7ade of Brighton College\u2019s new performing arts centre appears around an adjacent building. <\/span><\/p>\n

The massive pale-grey brick wall juts out at a high level with a coved overhang, expressing the rake of the auditorium of the 400-seat theatre inside. Its base below is flecked with knapped flint, echoing that on the fa\u00e7ades of the neighbouring Neogothic George Gilbert Scott buildings that form the original core of this co-educational private school, founded in 1845.\u00a0<\/span><\/span><\/p>\n

NHA was the delivery architect on the building, which was designed by young Amsterdam-based practice krft. It won the project in a 2019 competition, seeing off proposals from Morphosis, Sauerbruch Hutton, Mecanoo and Haworth Tompkins. <\/span><\/p>\n

\u2018Their design was the only one that proposed raising the main theatre up off the ground,\u2019 recalls Taylor.\u00a0<\/span><\/span><\/p>\n

\"\"<\/p>\n

It was a counter-intuitive move, not least because it added the logistical requirement of lifting sets and props two storeys up. But it is more than a gesture. The move was designed to free up the building\u2019s core and ground level to act as an extension of the public realm around it, as the new building sits in a tight but key pivotal point in the campus. <\/span><\/p>\n

To its west is the main north-south route between the college\u2019s front quad and the \u2018Home Ground\u2019 playing fields up a slope to the north. To its south sits the main east-west run of college buildings: chapel, hall, music school and arts centre. <\/span><\/p>\n

Echoing this crossing-point internally, the new building is organised around an atrium which connects the many functions of its complex brief, comprising a performing arts centre with theatre, dance and black box studios and music practice rooms, as well as a sixth-form centre, caf\u00e9 and suites of computer science and English classrooms.<\/span><\/p>\n

As befits its jigsaw piece-like composition of scooped-out overhanging shapes, which continue around the building, this performing arts centre was indeed the last piece in the jigsaw of a 15-year masterplan for the school. <\/span><\/p>\n

This has seen the 19th-century campus transformed with 13 new buildings, which have over time become more ambitious in their architectural language. These range from early pitched roof and contextual boarding and staff blocks by Allies and Morrison (2012-13) and Richard Griffiths\u2019 Neogothic clocktower (2014) \u2013 which finally completed the college\u2019s original Victorian design \u2013 to the chevron-tiled, Hansel and Gretel-like Music School by Eric Parry Architects (2015) and the long, grandstand-like run of OMA\u2019s Science and Sport School building (2020). \u00a0<\/span><\/span><\/p>\n

\"\"<\/p>\n

This impressive roster of construction has been a chicken-and-egg reflection of the ambition and success of the college under the leadership of its headmaster, Richard Cairns, who has been in post since 2006. <\/span><\/p>\n

In the years since, improved academic results have seen the college jump from 147th to 11th in the Sunday Times<\/i>\u2019 best independent schools guide, being named School of the Decade in 2020. The resulting increase in its national and international profile has attracted more students, more fees and the funding and donations needed to pay for more top-flight facilities, which it needs in turn to stay competitive and continue to attract the gold-rush of wealthy international students.<\/span><\/p>\n

This all stands in stark contrast to the chronic underfunding of the state school sector over the same period \u2013 and not least of its crumbling fabric. With any architectural ambition stripped away from the sector by Michael Gove\u2019s scrapping of the Building Schools for the Future programme in 2010, the long-term consequences of cut-price construction and maintenance are now coming home to roost with issues such as the RAAC scandal.\u00a0<\/span><\/span><\/p>\n

\"\"<\/p>\n

The build quality and solid materiality of this building is like a case study illustrating the opposite end of this yawning divide in UK education. As you approach, its texture of long courses of Danish Petersen Kolumba slimline bricks come into focus. It\u2019s the same brick Peter Zumthor used for the Kolumba Museum in Cologne, although here in a grey colour specified to match the flint. <\/span><\/p>\n

The mortar courses have been finely flush-brushed in line with the surface to assist the monolithic look. Even the undersides of the coved overhangs are faced in brick, laid into prefabricated precast concrete panels. The lower courses are faced in squared-off and knapped local flint, like a small-scale rustication, grounding and giving tactility to the building\u2019s base. \u2018They really care about quality,\u2019 says Taylor of the client.\u00a0<\/span><\/span><\/p>\n

While this built-to-last quality is admirable in itself, efforts to reduce embodied carbon in the fabric of this concrete and steel-framed, fully basemented building are not immediately clear and more difficult to square with the climate crisis facing the planet. <\/span><\/p>\n

Conversely, its passive and operational carbon credentials are impressive. The building is plugged into the ground source heat pump network, while an extensive array of photovoltaics on the roof also serve a proportion of the building\u2019s energy needs. The classrooms are all naturally ventilated, with MVHR systems fitted in the theatre, studios and music rooms. Aside from the passive benefits offered by the building\u2019s thermal mass, larger expanses of glazing for the classrooms and sixth form centre have been placed on the north and eastern fa\u00e7ades to minimise overheating.\u00a0<\/span><\/span><\/p>\n

\"\"<\/p>\n

The modelling of its volumes is deft in other ways. The coved overhang creates an implied monumental arcade running along the main north-south thoroughfare to the playing fields. Where this overhang is repeated lower down on the east and south fa\u00e7ades, it serves to imply the overhang of collegiate cloisters, while on the north side, where it faces the playing fields, it creates a covered viewing verandah. <\/span><\/p>\n

In all, the building seems to reach out protectively to the spaces around it. The PV-packed upper roof level sits collegiately in line with the ridge of the adjacent Gilbert Scott buildings, due to planning restrictions, with the roof\u2019s inverted, coved sides clad in matching Petersen tiles, echoing the slopes of neighbouring roofs. Rather disappointingly though, its lower flat roof, rather than incorporating a green bio-diverse or sedum roof, is covered in pebbles.\u00a0<\/span><\/span><\/p>\n

Overall, despite the building\u2019s hulking volume, it feels very comfortably bedded into its pivotal position in the campus, an impression helped by hard and soft landscaping by Christopher Bradley-Hole that knits it together with surrounding buildings using variegated speckled pavers and interspersed trees and raised beds. The relatively blank west and south fa\u00e7ades throw emphasis on the glazed corner slots of the caf\u00e9 and, beyond it, the main entrance doors.\u00a0<\/span><\/span><\/p>\n

\"\"<\/p>\n

The latter lead into a space like a wide landing facing the central circulation volume-cum-atrium beyond. This rises up vertically past a wide stairwell to one side with the underside of the main theatre volume hovering above to the other, while light filters down from rooflights above. Ahead, the atrium drops down further to the basement-level dance studio and black box, reached via one of those ubiquitous stairs-cum-terraced bleacher seating combinations. <\/span><\/p>\n

As a space, the atrium acts as connective tissue between the complex schema of usage \u2013 including drama, dance, music, English and computer science, levels and routes \u2013 as well as linking to the sports pitches at first floor level and along a basement passage to Eric Parry\u2019s Music School. It\u2019s all carefully fire-engineered, provides central stack ventilation and is fitted out with European limed oak stairs and joinery. But, nonetheless, it remains one of those slightly unsatisfactory \u2018circulation as performance\u2019 spaces that spatially feels a bit flabby, providing a slightly awkward sense of arrival with spaces leaching off in different directions.\u00a0<\/span><\/span><\/p>\n

At ground level the caf\u00e9 opens off it to the left while the door to the sixth form common centre leads off to the right. Both these spaces are fitted out with fine bespoke oak joinery and furniture designed by local Midhurst-based Fisher Morrison. While the plush seating and curated selection of glossy books on the shelves in the sixth form centre feels more boutique-hotel than school-like, no doubt a bit of student use will mess it up a little.\u00a0<\/span><\/span><\/p>\n

\"\"<\/p>\n

At basement level, there are two lofty double-height studio spaces, one for dance and one a black box for performance and drama. These have high-level glazed windows looking down into them from ground level, one internally and one from outside. \u2018It\u2019s unusual, but richer spaces result if you challenge conventions,\u2019 says Taylor, adding that the arrangement underlines the ethos of what he describes as \u2018seeing in and seeing learning\u2019.<\/span><\/p>\n

These moments of transparency in the building continue up through it, with glazed walls providing glimpses into teaching spaces \u2013 computer science labs on the first floor and English at first floor \u2013 in a deliberate breaking down of siloed space. <\/span><\/p>\n

While the main run of classrooms is orientated east-west, focused on wall-sized white boards, teaching spaces also enjoy grandstand views northwards across the playing fields through the large Swiss-made windows. Their glass is designed to be \u2013 at least partially \u2013 cricket ball-proof. Upper panes can be slid down sash-like to form Juliet balconies, transforming the rooms into airy loggias when required.\u00a0<\/span><\/span><\/p>\n

\"\"<\/p>\n

The building\u2019s focal space, raised up like a gem in its setting, is the 400-seat theatre. Entered past weighty, bronze-clad doors \u2013 \u2018quite Greek\u2019 as director of drama Alex Kerr describes them \u2013 the theatre\u2019s balconied interior, in contrast to the pale European Oak found elsewhere, is cocooned in rich American walnut. An oculus in the ceiling can be opened up, flooding the space with natural light to allow for daytime rehearsals or lunchtime concerts. <\/span><\/p>\n

Outside school time the theatre and main studio spaces are bookable for productions and hire by the surrounding community. It\u2019s a full working theatre, engineered by Skelly & Couch and theatre consultancy Sound Space Vision, among others. Complete with technical gallery and orchestra pit, it is designed to skill up students to participate in productions not just as actors but as technicians and producers, too.\u00a0<\/span><\/span><\/p>\n

Similarly, in the building\u2019s design and construction process, some pupils received the chance of work placements at krft\u2019s offices in Amsterdam: which it seems has led to a spike in those wishing to become architects.\u00a0<\/span><\/span><\/p>\n

\"\"<\/p>\n

This is a clever, stylish building. And, although it is let down in certain key areas such as its unsatisfyingly resolved central space, it\u2019s a striking, finely wrought design, offering world-class facilities, if mainly for a lucky few. While the current winds of political change and the proposed VAT on school fees perhaps signal a first step in rectifying some of the imbalances in UK education, with no major Blairite \u2018education, education, education\u2019 initiative or Building Schools for the Future programme on the horizon, this remains a genuinely impressive manifestation of the lack of a level playing field in UK education.<\/span><\/p>\n

To hear more from the team behind this project, and to take a look at the team\u2019s drawings, read the digital edition<\/a> of the July 2024 issue. Digital editions are only available to AJ subscribers \u2013 you can subscribe here<\/a>. Or to purchase the issue, visit the\u00a0AJ Shop<\/a>.<\/em><\/p>\n

Project data<\/span><\/h3>\n

Start on site<\/b>\u00a0March 2022
\nCompletion<\/b>\u00a0May 2024
\nGross internal floor area<\/b>\u00a03,250m2
\n<\/sup>Gross external floor area<\/b>\u00a03,880m2
\n<\/sup>Construction cost<\/b>\u00a0Undisclosed
\nArchitect<\/b>\u00a0krft in collaboration with Nicholas Hare Architects
\nClient<\/b>\u00a0Brighton College
\nStructural engineer<\/b>\u00a0Momentum
\nM&E consultant<\/b>\u00a0Skelly & Couch
\nProject manager <\/b>Elliot Patten
\nQuantity surveyor<\/b>\u00a0Elliot Patten
\nMain contractor<\/b>\u00a0Gilbert Ash
\nTheatre planning and acoustics<\/b>\u00a0Sound Space Vision, Imagine Sound, Richard Borkum, Arno Acoustics, Inventive Creative Limited, Gavin Sadler
\nLandscape architect <\/b>Bradley-Hole Schoenaich
\nAcoustic artwork<\/b>\u00a0Studio Samira Boon
\nInterior design<\/b>\u00a0Davies Baron
\nPlanning consultant<\/b>\u00a0Lichfields
\nFire consultant<\/b>\u00a0The Fire Surgery
\nBREEAM assessor <\/b>Eight Associates
\nApproved inspector<\/b>\u00a0AIS
\nCAD software used<\/b>\u00a0Revit<\/span><\/p>\n

Sustainability data<\/h3>\n

Percentage of floor area with daylight factor >2%:<\/strong> 75% (excludes theatre and back of house)
\nPercentage of floor area with daylight factor >5%:<\/strong> 55% (excludes theatre and back of house)
\nOn-site energy generation<\/strong>\u00a014% (regulated)
\nHeating and hot water load<\/strong>\u00a010.72 kWh\/m2<\/sup><\/span>\/yr
\nTotal energy load<\/strong>\u00a025.58 kWh\/m2<\/sup><\/span>\/yr
\nCarbon emissions (all)<\/strong>\u00a011.4 kgCO2\/m2<\/sup><\/span> (predicted)
\nAnnual mains water consumption<\/strong>\u00a06 m\u00b3\/occupant (estimate based on 30 l\/day\/pupil)
\nAirtightness at 50Pa<\/strong>\u00a02.98 m\u00b3\/hr\/m2<\/sup><\/span> (measured)
\nOverall thermal bridging heat transfer coefficient (Y-value)<\/strong>\u00a00.027 W\/m2<\/sup><\/span>K
\nOverall area-weighted U-value<\/strong>\u00a00.26 W\/m2<\/sup><\/span>K
\nEmbodied\/whole-life carbon<\/strong>\u00a0Not calculated
\nPredicted design life in years<\/strong>\u00a0100 years (building fabric), 30 years (building services)<\/p>\n","protected":false},"excerpt":{"rendered":"

\u2018It was inspired by a chalk cliff,\u2019 says James Taylor, partner at Nicholas Hare Architects (NHA), as the monolithic fa\u00e7ade of Brighton College\u2019s new performing arts centre appears around an adjacent building. The massive pale-grey brick wall juts out at a high level with a coved overhang, expressing the rake of the auditorium of the …<\/p>\n","protected":false},"author":32845,"featured_media":748887,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_oasis_is_in_workflow":0,"_oasis_original":0,"ep_exclude_from_search":false},"categories":[706],"tags":[3831,1294,6191,4266,5912],"yoast_head":"\nAhead of the curve: Brighton College arts centre<\/title>\n<meta name=\"description\" content=\"Dutch practice krft, working with Nicholas Hare Architects as delivery architect, has created a unique and striking performing arts centre for private school Brighton College, says Rob Wilson\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.architectsjournal.co.uk\/buildings\/ahead-of-the-curve-brighton-college-arts-centre\" \/>\n<meta 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