2 O: his short 1km tour explores the inherited character of part of olbeck, a former industrial area of eeds undergoing heritage-led regeneration. rich industrial heritage is interspersed with large gap sites, many of which have secured investment to create an urban village immediately south of the city centre. Poor quality developments in the late 20th century led to adoption of the olbeck Urban Village Planning ramework (2006). Principles within it are guiding future development, helping to preserve the area s unique character, combining the architectural legacy with new high-quality and contemporary design. Moving around the area we ll be exploring some techniques of characterisation, a method used to understand and describe how a place is distinctive. e ll explore some policies in the Urban Village Planning ramework, and considering how more recent developments have contributed to the area s character. Relevant principles within the Urban esign & Public Realm and onservation & isted uildings chapters of the olbeck Urban Village Planning ramework are introduced along the way, demonstrating the important roles that strategic planning and development management have in heritage-led regeneration. You can navigate the tour by following the map and the key points along it. Short descriptions with images are provided for each point. N.. Some principles of the olbeck Urban Village ramework are slightly abridged in places. he full version can be found at NO OU SY!! he tour follows a number of busy streets in olbeck, and special care should be taken when crossing them. Many view points along the tour are taken from the carriageways themselves and each point does not necessarily present a safe place to stop. s such, find a safe place to pause before continuing with the tour. ollowing the tour as a pair or small group of people will be more fun and safer.
3 O: UON olbeck was a cradle of the ndustrial Revolution, a place which promoted eeds as a centre of business and entrepreneurship. t hosts an array of industrial buildings including the Round oundry, one of the earliest surviving engineering works in the world. ying on the south banks of the River ire the area has medieval origins, and was comprehensively developed for textile manufacturing and heavy engineering during the 18th and 19th centuries, leaving only traces of its earlier past. oday, the city has developed right against its fringes and the area is targeted for regeneration as an urban village. Much of olbeck lies within a onservation rea and several of its buildings, including its tall towers, are isted uildings. e start our tour at the junction of oundry Street and ater ane, in front of the area s iconic towers. (Nearest Postcode S11 5).
4 R N V S N ON ORZON: S R M R PR S NS R S P P UR O ON UN S N 0m ooking north towards eeds city centre, the foreground is dominated by the broad footprint of ower orks, its stone gateway a landmark terminating feature to northerly views along oundry Street. he skyline is punctuated by the tall towers that both serve as chimneys and give the works their name. ooking beyond, the city centre backdrop provides a strong contrast to buildings in the area. t s a useful point to begin understanding how olbeck sets itself apart as a place with a special character. ompare modern buildings on the skyline with those in the foreground, picking out some basic ways in which they differ from one another. hese might include: Modern buildings are much larger in scale, rising clean above those in the area, including the tall towers. MNOR R he material construction of buildings is highly dissimilar, with local brick and stone contrasting with modern grey panelling. lat roofs on modern buildings are stepped and more irregular in form than the shallow gabled roofs with long consistent roofline. he façades of buildings differ in a similar way, with more constant building lines in the area contrasting with the diverse indented frontages of modern developments. indows are of different orientations too; those on modern buildings are horizontal in emphasis whereas within the area they are tall vertical openings. omparing the character of areas in this way helps to articulate how places vary from one to another and what they have in common. lthough a simple approach, it underpins many place-shaping processes, including how we regenerate areas through quality contextual design. e ll have the chance to put the technique into practice later on in the tour.
5 R N V S OUNRY SR: S N S R M R PR S NS R S P P UR O ON UN oundry Street area has some of the oldest surviving industrial workshops in the world. s part of a wider regeneration scheme, buildings were restored using salvaged and other quality materials, ensuring the street retains its utilitarian character. 10 m MNOR R functional character is created by two parallel and opposing building lines set at the back of the footway, defining the edges of the street. his is common in industrial areas where internal manufacturing space is at a premium. uildings are built of a local reddish-brown brick with regular and tall vertical windows that maximise light into internal areas. heir utilitarian character is reinforced by constant rooflines, a limited palette of construction materials and plain undecorated walls. he latter emphasises the array of industrial fixtures and fittings. Public realm has an important role too, with a carriageway of robust stone setts indicative of the wear and tear associated with heavy engineering. he street s regeneration has clearly responded to its functional character. he material palette remains restricted, even within the colour scheme with windows, fixtures and fittings picked out in the same light grey. Parking bays are allocated using steel markers and building façades have been rebuilt using local brick, or are rendered. he result is a street scene that retains its industrial character and serves as high-quality office and commercial premises with car parking provision. he olbeck Urban Village Planning ramework recognises this: a limited palette of largely natural paving materials will be used throughout. xisting natural paving materials in the area including granite sets will be re-used. t the end of oundry Street we turn left then right heading toward the open car park in front of the Round oundry uilding.
6 R N V S UN OUNRY UN: S R M R PR S NS R S P UR O UN S N P ON urning the corner there is a palpable change in the sense of enclosure. nclosed streets and courtyards (such as adjacent oundry Square) are a feature of olbeck and development earmarked for the expansive car park in front of the Round oundry could recreate this characteristic, enhancing the setting of buildings in the vicinity. 86 m MNOR R Redevelopment of the Round oundry has again responded to the character of the building, with broad shallow gable ends facing the car park replicated in glass and timber. he materials sit at ease with existing buildings and are unified through the use of light grey within the window structure. key success in the design approach is that each of the three gable ends have individual characters but retain a limited material palette and simple built form. his emphasises the historic brick built structure whilst enabling the creation of new modern units that continue to reinforce the area s distinctive industrial character.
7 R N V S UN RV: S R M R PR S ON P NS R SN P UR O UN S N 110 m MNOR R e now move to the side of the Round oundry building, within an area of car parking. he original round building, known as he Rotunda, was a fitting-up shop for components produced in the foundry. t four storeys high it was a conspicuous structure, giving the Round oundry its name. he current building was constructed as an assembly workshop on the site of the Rotunda after it was destroyed by fire in owever, the historic significance of the Rotunda has not been entirely lost. nstead, the path of its foundations, discovered during archaeological excavations of the site, are traceable within a casting in the new Media entre car park. he potential contribution that archaeology can make to developments is difficult to harness at times, and is often lost completely. ut here the vast scale and shape of the Rotunda is simply captured, adding a sense of intrigue and excitement to an otherwise ordinary area of parking.
8 R N V S MRSS M: ON R S R M R PR S UN NS R S P UR O P ON S N 210 m MNOR R eading down towards Marshall Street the true scale and mass of Marshall s Mill becomes apparent. uilt in three phases between 1817 and 1830, it was the most prosperous flax mill in eeds. he building conveys in large-scale some of the prevailing characteristics shared by industrial buildings in olbeck. Six storeys of regularly punched vertical windows create a strong pattern and create a low solid-to-void ratio. his architectural term expresses the proportion of a building s façade that is open (i.e. doors and windows) in relation to those that are solid (e.g. brick). ike many others of its age the building is set at the back of the footway and, despite its grandeur, is plain decoratively, with simple gabled wings at each end and three neo-classical doorways facing the street. hese defining characteristics are recognised in the Urban esign & Public Realm principles of the olbeck Urban Village Planning ramework. or example, one principle stresses that new developments should generally be sited at the back of the footpath to enclose the street, as is traditional in this area. his is particularly important in the case of street corners.
9 he gyptian Revival style came about through increased public awareness and intrigue in the ancient civilisation, owing to Napoleon s conquest of gypt and the attle of the Nile, where dmiral Nelson defeated the rench fleet in R N V S MP ORS: rchitecture from far S R M R PR S UN NS R S Next to Marshall s Mill is another flax mill, emple orks, a rade isted uilding modelled on the gyptian emple of orus at dfu. uilt between it makes a striking contribution to the street scene, dramatically distinguishing itself from the functional form of other buildings in olbeck. he building originally had a green roof to maintain the correct levels of humidity in the workshops below. amously the turf was grazed by sheep to keep it in under control. here they exist, decorative buildings in olbeck are extravagant expressions of revival architecture, demonstrating the wealth and global influence of industry. s such, future buildings may want to account for and reinforce the divide between highly functional and highly decorative buildings. MNOR R ut it s not just decoration that sets emple Mill apart. P UR O P ON S N 255 m QUSON: hat other characteristics help highlight the building in the street scene? NSR: emple Mill is set back from the footway with a small forecourt, drawing attention to it within the building line. ts smaller scale also serves to highlight the works, as does its stone construction, a material used sparingly within olbeck. he solid-to-void ratio has increased too, with smaller windows set back within a porch.
10 MP ORS: oreign nfluence s part of the regeneration plans for the area, luxury fashion house urberry have acquired the site, and will redevelop it as one of their manufacturing locations. and allocations and funding from the ity ouncil will enable the creation of new buildings and a public space. 255 m ate 20th century development opposite the works is of an entirely different character. t s a useful chance to consider how development within the setting of heritage assets can enhance or harm their historic significance. n this instance the light industrial unit has introduced a different palette of building materials to the surrounding area, including a buff coloured brick similar in hue to the dressed stone of the mill. he unit is dismissive of Marshall Street and emple Mill, facing the side road and offering a blank wall with very few openings facing the street, leading to a sense of inactivity. Moreover, the low scale of the building reduces the prominence of emple orks within the street scene, whereas a taller building might serve to highlight it. ooking at historic maps, such as the 1888 Ordnance Survey map pictured, can help maximise the benefit that a historic asset can bring to regeneration schemes. he map clearly shows the emple orks within an enclosed street scene surrounded by buildings set at the back of the footway. ncouraging development of larger scale and massing positioned in this way could better frame the building. owever, new public space might also take the opportunity to reveal new views of the works distinctive aesthetic. ither way there s opportunity to use heritage to advantage here.
11 R N V S MRS SR & UR SR: S R M R PR S UN NS R S P UR O P ON S N 443 m MNOR R e now start to head back towards ater ane. aving moved around the area we ve a better grasp of what the prevailing architectural characteristics are: ong constant ridgelines; shallow symmetrical gabled roofs; regular patterns of vertical windows; brick construction with stone used for ostentatious decoration or as basic structural features; constant building lines set at the back of the footway; clear single-storey steps in scale between one building to the next; and active façades with low solid-to-void ratios. e now work our way along Marshall Street onto ater ane and, turning right, head down utcher Street. long the way there s a chance to consider how the modern apartment development that spans the block has responded to the historic character of olbeck.
12 R N V S R ON: S R M R PR S UN NS R S P UR O P ON S N QUSON: hat aspects of the development reinforce the inherited character of the area, and how does it choose to differ? o you feel the outcomes are successful? MNOR R SUSSON: rief evaluation shows how the design of the development has responded to many characteristics. New buildings are sited at the back of the footway and are of similar scale to adjoining industrial buildings, maintaining the overall roofline overlooking Marshall Street. he development is plain in character and built of brick. Refurbished windows in the earlier buildings are mainly vertical in orientation and of a similar material construction and colour to those on the new development, adding a sense of coherence to the street scene. 495 m Yet, there are a number of areas where the development diverges from the prevailing character. he regular pattern of fenestration has been replaced with over 7 different types of window, the uppermost of which are horizontal in orientation. ar parking introduced at ground floor level has led to inactive frontages at street level. lthough some elements of the development have gabled roofs, taller sections towards ater ane take the form of an inverted asymmetrical gable. ormers, an architectural feature not seen elsewhere, punch through and break the roofline. he building is a large single development unit, stepping up in height towards ater ane, whereas elsewhere in the area changes in scale typically denote different individual buildings. he recent development has also introduced a new material to the upper storey and this, coupled with the change of roof form, is more consistent with recent developments on the skyline outside of the area.
13 R N V S UN VOPM: S R M R PR S UN NS R S P UR O P ON S N MNOR R You may feel that some outcomes are more, or less successful than others, and it s important to remember that other factors have an influence on design and the viability of a development. he exercise of understanding how new buildings and spaces respond to, or diverge from, the inherited character of an area is useful in the processes of evaluating development proposals and in setting out future plans for regeneration. ue to the erosion of the special character and quality of the area by earlier developments, the olbeck Urban Village Planning ramework sets out a series of design principles to help. Some key policies include: evelopments should be at a scale, height, massing and alignment complementary to the part of the village they are in. ithin the 495 m conservation area, heights of new buildings should be within a storey height difference of adjacent buildings. Retain and reinforce the varied roofline of the area. Materials should be of a high quality and chosen to complement the prevailing materials within the area which are red brick, sandstone and blue slate (provided that this does not inhibit the development of innovative buildings using new technologies to achieve sustainability). Quality modern materials such as steel and glass would be allowed in conjunction with the use of traditional materials. e now head between the buildings on the east side of utcher Street, leading to eys ourt.
14 R N V S YUR & SM YR: S R M R PR S N S SN P NS R P UR O ON UN efined courtyards accessed by narrow passageways are a distinctive characteristic of the area. oday many have been repurposed as public spaces. he Urban Village Planning ramework makes special provision for this form of movement and type of open space: 550 m MNOR R he village should be made permeable to pedestrians. fine grain should be retained by the avoidance of long, unbroken building frontages. 20% of the urban village will be devoted to publicly accessible open spaces. here will be a series of spaces of different size and character. he spaces should be enclosed by buildings and animated by active uses on the ground floors of the enclosing buildings. uildings within eys ourt have been redeveloped, their wide arcaded entranceways offering a high sense of activity at street level. Upper levels retain the strong pattern of vertical fenestration, again giving a sense of activity and regularity. wo different modern developments have occurred here and, using the skills applied previously, it s a chance to evaluate the contribution of one of them to the square. s it more or less successful than the approach we saw previously? oing through the passageway, Saw Mill Yard has a different character. he square is part public space and part car park, with the ground floor of the recent development allocated to covered parking. Parking provision is an important amenity, but its integration into olbeck poses a particular set of challenges. he result here is a very inactive ground floor, with little animation afforded to the public space.
15 R N V S R N: S R M R PR S UN NS R S P UR O P ON S N MNOR R e now re-join ater ane. he road is one of the earliest surviving features within the area, following the path of the ol eck stream, from which the area takes its name. he course of the stream was canalised as part of the area s industrialisation during the 18th and 19th centuries. espite its subdued presence in the townscape it provides the orientation for many of the surrounding streets and buildings along them. 600 m s we saw with the Rotunda, emphasising old or understated orientations and features within places can help add variety to an area and re-establish its provenance. Plans within the olbeck Urban Village ramework include proposals to enhance the appearance of the ol eck and creating a new footpath along the north side whilst also re-opening closed footbridges taking advantage of its potential in natural and historic environment terms. he existing layout of olbeck is also recognised as important to the character of the area and is promoted as the foundation for future development: New developments should reflect the traditional street pattern to create a level of permeability conducive to good urban design.
16 R N V S OUNRY SQUR: S R M R PR S NS R S P UR O UN S N P ON eading along ater ane with the stream on our left we turn briefly into oundry Square. he Square was one of the earlier phases of redevelopment. Once again stone is used judiciously, featuring within certain structural elements such as lintels and cills, but also within the neo-classical oric columns that form the entranceway to the elcome to Yorkshire uilding. MNOR R 712 m
17 R N V S OUNRY SQUR: S R M R PR S UN NS R S P UR O P ON S N MNOR R he Square provides another opportunity to consider how new development can integrate with the existing character of the area. n this instance a glazed stairwell atrium with lift shaft has been added to the front of the former enton Murray machine and fitting shops and wood engineers. Some points of note include its scale, which extends to the ridge line, its limited palette of materials and simple patterning which blend well with the re-fenestrated façade of works, and its low solid-to-void ratio which affords a high sense of activity onto the public space. he new windows on this rade * isted uilding are double glazed, securing occupancy of the internal space as premium office accommodation. t s a clear example of onstructive onservation and heritage-led regeneration that ensures the building continues to play a valuable and sustainable role for many years to come. 712 m
18 R N V S OR ORS & URN : S R M R PR S NS R S P UR O UN S N P ON Our final leg of the tour takes us to ower orks. long the way we pass the tall perimeter wall of the site, a clear message inscribed on its façade heralding the area s metamorphosis into an urban village. 852 m MNOR R t the main entrance to the works we are confronted by an ornate neo-classical stone entranceway flanked by arched windows with polychromatic brickwork and stone gothic arches beneath. t s a story we ve seen before on our tour. s with the gyptian emple orks, ower orks is stating its dominance within the townscape through the use of decoration, stone and low scale. he decorative brick and stone towers within the complex follow suit, with the talianate Verona ower emulating the amberti ower in the talian city, and the ig ower to its left based on the campanile (bell tower) of the cathedral in lorence (see overleaf). he eclectic mix of architectural styles in the area emphasises the need for constructive conservation alongside a quality approach to new design, one that accounts for the power and dominance of buildings. lsewhere we have found a plainer more functional form, serving to emphasise the special landmark status of decorative buildings within the wider townscape. he interrelationship between these two prevailing characteristics anticipates future quality developments, both decorative and utilitarian in design. he olbeck Urban Village ramework sets out these objectives from the outset, recognising the major opportunity to put new uses into old buildings and for new buildings and spaces. he challenge is to do this in a way that is as truly innovative today as when the area first developed two centuries ago.
19 OR ORS & URN :
20 cknowledgements: hese documents were authored by ocus onsulting td and designed by Pighill for istoric ngland. erial photo on page 3 courtesy of lifford Stead. ll other images are property of istoric ngland. istoric Ordnance Survey mapping and database right rown opyright and andmark nformation roup td (ll rights reserved 2015). icence numbers and P0024. References: olbeck onservation rea ppraisal (eeds ity ouncil, 2005) olbeck Urban Village Revised Planning ramework (eeds ity ouncil, 2006) N.. urrently under review.
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Introduction Welcome to this consultation regarding the draft redevelopment proposals for the former CeramTec factory on Sidmouth Road, Colyton. We are currently considering options for the mixed-use redevelopment
HERITAGE COUNTS 2017 East of England Introduction Heritage Counts 2017 is the sixteenth annual survey of the state of England s historic environment. This Regional Report is prepared by Historic England
Conservation Area Study and 3 Zone 1: Charlotteville For boundaries, please refer to Map 2 in the Appendices at the rear of this document. Charlotteville has a strong identity distinct from other parts
$1 City of Vancouver Land Use and Development Policies and Guidelines Community Services, 453 W. 12th Ave Vancouver, BC V5Y 1V4 F 604.873.7000 fax 604.873.7060 email@example.com REZONING POLICY FOR
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Resolution 03-011: Exhibit A Downtown District Design Guidelines March 2003 DOWNTOWN DISTRICT DESIGN GUIDELINES CITY OF SOUTHLAKE, TEXAS Adopted March 2003 1 DOWNTOWN DISTRICT DESIGN GUIDELINES Adopted
.: The Masterplan Proposals Retail School..0. The majority of the retail units are focused along the vibrant High Street and the existing North End Road and Lillie Road...0. There are also retail units
GUIDING PRINCIPLES The guiding principles and design concepts in this chapter work together with the Chapel Hill 2020 Comprehensive Plan to support new public places that can be enjoyed by all while also
List of Buildings of Local Architectural or Historic Interest BUCKHURST HILL PARISH 1. ST. STEPHEN'S CHURCH Albert Road /Buckhurst Way Attractive, albeit modest, late 19th century church (date stone 1876)
Gardena General Plan 2006 Authority While the is not a required element of a General Plan, it is included because improving the community appearance and image is paramount to the overall quality of life
36 3.CDP POLICIES 37 Wellington Street West CDP Vision Statement 38 3.1 Introduction 3.1.1 Purpose The development of buildings and public spaces is influenced by a variety of factors over time. City of
I615. Westgate Precinct I615.1. Precinct Description The Westgate Precinct is located approximately 18km west of the Auckland city centre. There are seven Sub-precincts in the Westgate Precinct: Sub-precinct
5. Community Core Guidelines Development of the Community Core will take place by plan of subdivision and site plan approval. It will occur in a phased manner that will reflect the timing of residential