{"id":752326,"date":"2024-08-27T07:00:09","date_gmt":"2024-08-27T06:00:09","guid":{"rendered":"https:\/\/www.architectsjournal.co.uk\/?p=752326"},"modified":"2024-08-28T08:34:09","modified_gmt":"2024-08-28T07:34:09","slug":"doing-the-locomotion-aocs-national-railway-museum-addition","status":"publish","type":"post","link":"https:\/\/www.architectsjournal.co.uk\/buildings\/doing-the-locomotion-aocs-national-railway-museum-addition","title":{"rendered":"Doing the locomotion: AOC\u2019s National Railway Museum addition"},"content":{"rendered":"

\u2018The design challenge was essentially: how do you eke out something magic from a shed?\u2019 says Geoff Shearcroft. He\u2019s contemplating New Hall, the newly opened storage-cum-display facility that his practice, AOC Architecture, has designed for Locomotion, part of the National Railway Museum, at Shildon in County Durham. It is the latest element<\/a> in the museum\u2019s ongoing \u00a355 million masterplan, Vision 2025.<\/p>\n

The date 2025 marks the 200th anniversary of the birth of passenger railways. Other projects in the masterplan include the already completed De Matos Ryan-designed Wonderlab engineering and education gallery<\/a>, which opened in 2023, and a \u00a316.5 million hall designed by Feilden Fowles<\/a>, due to open in 2025. These are both at the museum\u2019s main venue in York, which sits adjacent to the main East Coast line. But it is actually Shildon, sitting on what is now a branch line, that is ground zero for passenger train travel. For it was from here that the first ever passenger train \u2013 George Stephenson\u2019s Locomotion No. 1 \u2013 departed for Darlington on September 27, 1825, with up to 600 people on board.<\/p>\n

\"\"<\/p>\n

In the following years, Shildon \u2013 dubbed \u2018the first railway town\u2019 \u2013 grew exponentially with the growth of the railways. Its railway works manufactured early steam locomotives and, later, goods wagons, in particular producing tens of thousands of hoppers for the coal industry. At one point it grew to become the largest wagon-works in the world, with 27 miles of sidings, and still employed as many as 2,600 people in 1976.<\/p>\n

But, less than a decade later, the works suffered the same fate as many manufacturing centres across the UK under the Thatcher government. It closed in 1984 after being deemed uneconomic as freight transport shifted to road haulage and the demand for wagons fell. In the early 2000s under New Labour, as with other former industrial sites, the wagon-works was reimagined as an industrial heritage attraction. An earlier small museum was superseded by a 6,000m\u00b2 Austin-Smith:Lord-designed exhibition hall (now the \u2018Main Hall\u2019) that was incorporated as part of the National Railway Museum and opened in 2004 by Tony Blair, then the local MP.<\/p>\n

\"\"<\/p>\n

This main exhibition hall is a very noughties confection, with its expansive, glazed entrance sitting under a gently curving gable and buttressed by gabion walls. It looks as though it could house anything from a swimming pool to a large superstore. Inside, though, flanked by a caf\u00e9 and shop as you enter, the display of rolling stock is simple but effective. Trains line up nose-to-tail on parallel tracks facing the entrance \u2013 52 exhibits have been fitted into the display \u2013comprising some of the greatest hits from the museum\u2019s collection. They include Locomotive No. 1, as well as Stephenson\u2019s 1829 Rocket, a 1930s Pullman Wagons-Lits sleeping car and the Battle of Britain class steam engine that hauled Winston Churchill\u2019s funeral train. Alongside these are also the workaday passenger diesel trains and carriages which many visitors will remember from childhood \u2013 from the Kenneth Graham-designed Intercity 125 to a classic 2-HAP slam-door carriage of the type that ferried people across the country for decades.<\/p>\n

The rest of the museum\u2019s site, stretching 1km alongside the existing railway track, incorporates a cluster of 19th century railway buildings, including a brick-arched coal drop, a goods shed and a workshop built of recycled stone railway sleepers. As part of \u2006Vision 2025, these structures have been fully restored, as has a replica of the Rocket, which takes visitors for rides along a short length of track that links the site together. In addition, a restored section of the very first Stephenson-designed iron truss bridge from the original Stockton & Darlington Railway line has been newly installed.<\/p>\n

\"\"<\/p>\n

The key element in the masterplan has been the development of the New Hall building to store and conserve the remainder of the collection\u2019s rolling stock not yet stored undercover. This mainly consists of non-passenger goods engines and wagons, with which the Shildon works has a particularly strong historic connection. The brief for the new building was for an open access collections store providing storage and conservation conditions, combined with display. Once funding for this was secured, including money from Durham City Council as a partner, the adjacent site of what had been a Geest\u2019s banana depot was purchased and a competitive tender held in 2020, which AOC Architecture won.<\/p>\n

The practice brought to the project a significant track record of designing cultural, archival and display projects, including the Crafts Council Gallery, the National Archives and the reworked exhibition spaces at the Young V&A<\/a>, which completed last year and was named 2024 Museum of the Year.<\/p>\n

\"\"<\/p>\n

\u2018The Young V&A is actually almost exactly the same size in footprint as Shildon\u2019s New Hall \u2013 but it has obviously been a very different challenge,\u2019 says Shearcroft. So how has AOC approached eking out \u2018something magic\u2019 from what is, essentially, a big shed?<\/p>\n

Large, shed-like structures have, of course, a rich architectural heritage, not least in the development of modern architecture. From the Crystal Palace, to the Galerie des Machines, to Zeppelin sheds, their forms have tracked the development of lightweight industrial materials and innovative structures. Indeed, in their utilitarian remit to simply enclose space, they have been the Age of Industry\u2019s primitive hut, if on a vastly expanded scale. With globalisation, they have grown ever larger to become today\u2019s Amazon warehouses and server farms.<\/p>\n

\"\"<\/p>\n

In the best architect-designed sheds, such as Foster\u2019s 1978 hi-tech Sainsbury Centre or Herzog & de Meuron\u2019s 1987 Ricola Storage Building, the richness in the architecture comes from the pared-back precision in the construction and detailing. But it has often been the blank canvas offered by off-the-peg commercial sheds and structures to represent or embody their function that has inspired architects, resulting in moves famously categorised by Denise Scott Brown and Robert Venturi in their book Learning from Las Vegas as either \u2018ducks\u2019 or \u2018decorated sheds\u2019.<\/p>\n

With AOC Architecture\u2019s track record in playing with representative form in their buildings, one might have expected something of the duck or decorated shed approach here, and one is at first disappointed at New Hall\u2019s fairly muted silver-grey exterior bulk and gently monopitched roof. In view of the tight budget (the building was delivered for \u00a32,241\/m\u00b2), it has been constructed using a relatively proprietary system consisting of a steel portal frame and profiled metal cladding panels, which are mostly a ribbed obsidian grey, intended to shade-shift in changing light.<\/p>\n

\"\"<\/p>\n

But there are, nonetheless, subtle plays with representation and nods to post-war American industrial architecture. \u2018We actually looked at the paintings of Ed Ruscha,\u2019 says Shearcroft with a laugh. And, indeed, as you approach up a slope the building sits at an angle, due to the site conditions \u2013 a major drain runs to one side and there are mine workings on the other \u2013 which nicely serve to exaggerate the perspective of its 80m-long flank in a way that\u2019s reminiscent of Ruscha\u2019s 1960s paintings of post-war American commercial structures, such as his Standard Gas Station series.<\/p>\n

To the left, three pairs of huge industrial doors, from the base of which rails emerge, give the New Hall a sense of a working train shed which the Main Hall lacks. It took 735 vehicle shunts to get all the 47 exhibits inside.The doors sit under a gentle monopitch that rises to a single orthogonal chimney-like flue. Made of a section of proprietary parapet expanded upwards, this crisply defines and accents the corner, marking the main entrance, which is emphasised, too, by being picked out in creamier coloured panels. The outline this makes is intended, Shearcroft says, to recall a signal or other piece of trackside paraphernalia, its inverted pale silhouette a nod to representative form in the otherwise utilitarian exterior.<\/p>\n

\"\"<\/p>\n

Other tweaks include the bottom edge and gutter of the monopitch roof, which forms an animated zig-zag \u2013 carrying water to downpipes far clear of the building\u2019s apron and into a series of swales. These are part of the subtle landscaping by J&L Gibbons, which sits within a wider landscape masterplan developed by Kinnear Landscape Architects. This has been kept simple and semi-industrial, too, with swales cut out of existing hard standing, which is planted around with the kind of wildflower meadow species that typically self-seed trackside.<\/p>\n

You enter the New Hall via an airlock lobby, which augments the high airtightness of a building constructed to passive design principles, reflecting its role as a store requiring stable conditions but also designed to cut operating costs. A highly insulated envelope, heat recovery system and air source heat pumps contribute to this aim, while the monopitch roof is designed to accommodate PVs once budget allows.<\/p>\n

\"\"<\/p>\n

What hits you first as you enter is the redolent smell of grease and diesel oil from the serried ranks of cheek-by-jowl locomotives and wagons on view, shunted nose-to-tail as in a goods marshalling yard. This proximity reflects the need to maximise storage capacity. There are six lines of rolling stock and the width of the walkway between them is just 1.8m, contrasting with the 2.9m-wide gangway in the Main Hall. It gives you a sense of being immersed among the exhibits. \u2018We were trying to intensify the viewing experience,\u2019 says Shearcroft. The visceral effect is increased by the rail tracks being set tram-like into the polished concrete floor, ensuring full step-free access throughout the shed. Exhibits range from an ox-blood red blade-fronted snow plough, to a looming sewage tipper and an elongated storage tank bearing the ominous warning \u2018Acid tank. Shut with care\u2019. There is a deliberate dialling down of colour and expressive form in the surrounding architecture, which serves to contrast with and intensify your appreciation of the brute materiality of the rolling stock\u2019s shapes, colours and markings.<\/p>\n

\u2018We looked at white cube galleries as a model,\u2019 says Shearcroft. It is a neat inversion of the usual industrial-into-art space aesthetic. Everything is kept clean and precise, with strips of LED lighting and clear graphics panels designed by Graphic Thought Facility, which tell the story of each exhibit. The absorption is only broken by two large, high-level windows, which give release out to the sky and tree canopies beyond.<\/p>\n

While this is a shed without architectural gymnastics, there is still an element of magic to be found here.<\/p>\n

\"\"<\/p>\n

Project data<\/h3>\n

Start on site<\/strong> February 2023
\nCompletion<\/strong> \u200aMay 2024
\nGross internal floor area<\/strong> \u200a2,050m\u00b2
\nConstruction cost<\/strong> \u200a\u00a37 million (including external works)
\nConstruction cost per m\u00b2<\/strong> \u200a\u00a32,241
\nArchitect<\/strong> AOC Architecture
\nClient \u200a<\/strong>National Railway Museum, Science Museum Group
\nExhibition design<\/strong> AOC Architecture
\nLandscape architect<\/strong> J&L Gibbons
\nLandscape masterplan<\/strong> Kinnear Landscape Architects
\nStructural engineer<\/strong> Buro Happold
\nMEP consultant<\/strong> Buro Happold
\nLighting designer<\/strong> Max Fordham
\nFire engineer<\/strong> OFR Consultants
\nAccess consultant<\/strong> MIMA
\nSite graphics and wayfinding<\/strong> MIMA
\nExhibition graphic design<\/strong> Graphic Thought Facility
\nCost consultant<\/strong> Arcadis
\nProject manager<\/strong> Faithful+Gould
\nPrincipal designer<\/strong> Faithful+Gould
\nApproved building inspector<\/strong> Durham County Council
\nMain contractor<\/strong> Nationwide Engineering
\nExhibition contractor<\/strong> isGroup
\nCAD software used<\/strong> Vectorworks
\nAnnual CO2 emissions (estimated)<\/strong> 23 kgCO2\/m\u00b2<\/p>\n

Sustainability data<\/h3>\n

On-site energy generation<\/strong> Future-proofed to facilitate roof-mounted PVs
\nHeating and hot water load (estimated)<\/strong> 99 kWh\/m\u00b2\/yr
\nTotal energy load (estimated)<\/strong> 137 kWh\/m\u00b2\/yr
\nCarbon emissions (all) <\/strong>23 kgCO2\/m\u00b2\/yr
\nAirtightness at 50Pa <\/strong>1.45 m\u00b3\/h.m\u00b2
\nEmbodied carbon <\/strong>Not supplied
\nPredicted design life<\/strong> 60 years<\/p>\n","protected":false},"excerpt":{"rendered":"

\u2018The design challenge was essentially: how do you eke out something magic from a shed?\u2019 says Geoff Shearcroft. He\u2019s contemplating New Hall, the newly opened storage-cum-display facility that his practice, AOC Architecture, has designed for Locomotion, part of the National Railway Museum, at Shildon in County Durham. It is the latest element in the museum\u2019s …<\/p>\n","protected":false},"author":32845,"featured_media":752335,"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":[101233,100525,4170,101234],"yoast_head":"\nDoing the locomotion: AOC\u2019s National Railway Museum addition<\/title>\n<meta name=\"description\" content=\"AOC\u2019s large-scale addition to the National Railway Museum\u2019s Shildon site in County Durham, combines the toughness of an industrial shed with the delicacy of a white cube gallery, says Rob Wilson. 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