Developer Sellar and architecture and interiors practice Universal Design Studio have unveiled designs for a 15,000 sq ft concept space, The Exchange at Paddington Square – the new district in the heart of London’s Paddington, being delivered by the team behind The Shard. Envisioned as a members’ club for occupiers
Latest annual planning performance statistics for 2020/21 showing a 17 week increase in the average decision time for major housing development to 54 weeks are unacceptable, according to home building body Homes for Scotland (HFS). The figure represents a +40 per cent rise on the previous year and is more
Yesterday, during the second-reading of the Government’s Building Safety Bill, Conservative MP Paul Maynard called for an amendment in support of RoSPA’s safer stairs campaign, which will save countless lives if it is brought into law. RoSPA is campaigning for the most up to date British Safety Standard for stairs
There are thousands of online casinos out there competing for customers. As land-based casinos are less and less prevalent in Poland, their online counterparts quickly took over and offered their services to local punters. Most players who visit online casinos are computer-savvy and can easily tell a professional, reliable site
On 20 July 2021 the revised NPPF and the National Model Design Code were published. In addition, the Government formally launched the new Office for Place. The focus for the office will be to drive up design standards and support local communities to set their own design standards. This will
Research from build to rent specialists, Ascend Properties, shows that the UK build to rent sector has performed well during the pandemic year with planning permission requests rising by 52%. Build to rent (B2R) is becoming a driving force in the UK new-build market, and while the COVID-19 pandemic has
GLP, a leading investor and developer of logistics buildings and warehouses, has today announced plans to speculatively develop a further 2.3M sq ft of logistics warehousing space at strategic sites across the UK. The sites include: Mammoth 602 –a 602,000 sq ft logistics/warehouse unit at G-Park Doncaster situated directly off
THE CONSTRUCTION industry needs to rethink its approach to reusing and recycling buildings if it is to be seen as truly sustainable, according to a leading expert. David Cheshire, sustainability director for AECOM, told a recent webinar from property, construction and infrastructure consultancy Perfect Circle that reusing materials from demolition
Cat® 637K scrapers with push/pull attachment purchased as part of new equipment investment Earthmoving professionals Collins Earthworks has invested in several new Caterpillar machines, including four new Cat® 637K Coal Bowl Scrapers with push/pull systems. Finning UK & Ireland, exclusive distributor of Cat products, dispatched the new additions to the fleet,
NATIONAL contractor Willmott Dixon has completed work in June on the new and improved Warwick Arts Centre situated on the University of Warwick’s campus. The Arts Centre now boasts a large new building with a number of newly created spaces including three digital auditoria with high-end digital projection and sound, as well as a
Developer Sellar and architecture and interiors practice Universal Design Studio have unveiled designs for a 15,000 sq ft concept space, The Exchange at Paddington Square – the new district in the heart of London’s Paddington, being delivered by the team behind The Shard. Envisioned as a members’ club for occupiers and set within the entrance of an 18-storey, light-filled building designed by Renzo Piano Building Workshop, The Exchange addresses how the culture of work has radically shifted, offering a blend of productive office environment and work-from-home comfort and convenience. It will provide occupiers with a dedicated concierge, all-day and evening bar, event spaces, a yoga suite, meeting rooms, multimedia suites and an outdoor terrace which overlooks a new 1.35-acre public piazza, a new entrance to the London Underground and a series of specially commissioned public artworks. Paddington Square is set to open in spring 2022. The concept behind The Exchange reflects its name; inverting the traditional use of the lobby or foyer, and its denotation as a transient thoroughfare, to instead become a highly social and inclusive communal space for the exchange of ideas and sparking of collaboration. The space will be an example of what the office can be – not just a place to meet deadlines and attend meetings, but somewhere to inspire ideas, new connections and boost physical and mental wellbeing. Occupiers will have access to an app that will serve as a digital concierge for the building, enabling the booking of shared amenities, meeting rooms, services and events within the space. A curated programme of group and individual classes, workshops and events will be rolled out for occupiers to enjoy as part of their work life that facilitates knowledge sharing, personal development and networking opportunities between fellow occupiers of the building. The building app will also act as a security key for frictionless entry and exit to the building and provide occupiers with a curated stream of news, hyperlocal travel updates and stories from the community. Working to Sellar’s vision for the space and taking cues from the world of hospitality, Universal Design Studio’s design marries functionality with craft and warm materiality, whilst prioritising the wellbeing of occupiers. Bright, light-filled spaces are to be set with beautifully crafted furniture and natural materials like oak timber and terrazzo selected in contrast to softer materials in the seating areas. The collaboration with Renzo Piano Building Workshop on the building’s architecture carries through to a number of the interior design choices, including the incorporation of planting as biophilic ‘material’ to enhance both mental wellbeing and air quality. Through carefully planned zoning and the placement of design elements that are suggestive but never didactic, open working areas and breakaway spaces are integrated throughout with quiet corners for reflection. To ensure the space remains active at all times of the day, a series of meeting rooms, working and flexible spaces adapt to event and entertainment uses in the evening, alongside an all-day bar and terrace, adding theatre and encouraging regular transitions between working, meeting and socialising. An acknowledgement of different working styles, timings, the role of individuality and requirement for flexibility has driven the concept approach for The Exchange, providing occupiers with choice and ultimately promoting social interaction, productivity and collaboration. Paddington Square is the centrepiece development to Paddington’s regeneration, due to complete in spring 2022. Featuring a crystalline building designed by Renzo Piano Building Workshop, Paddington Square will present 14 floors of bright, beautifully designed and flexible workspace, four floors of shopping, bars, and cafes, a new Bakerloo line station entrance, west London’s highest rooftop dining experience and a 1.35-acre public piazza.
Latest annual planning performance statistics for 2020/21 showing a 17 week increase in the average decision time for major housing development to 54 weeks are unacceptable, according to home building body Homes for Scotland (HFS). The figure represents a +40 per cent rise on the previous year and is more than three times the statutory requirement of 16 weeks. Decision times were quickest for “business and industry” at 22.4 weeks. HFS Director of Planning Tammy Swift-Adams said: “It was to be expected that the processing of planning applications would be affected by Covid-19 but the scale of change in relation to major housing applications is difficult to understand, particularly given the +40 per cent drop in the actual number of applications in the corresponding period and the fact that figures for business and industry have improved. “In light of the economic lifeline that has been delivered by construction over the last year or so, and with demand for new homes of all tenures remaining high, why should this crucial sector take more than double the length of time to determine when compared to applications for business and industry? Such delays only exacerbate existing supply problems and do not bode well for new affordable housing targets. “Regardless, it is unacceptable that any applications take more than a year. Only last week, the Directorate of Planning and Environmental Appeals reported that it had avoided accumulating any backlog in case work despite the pandemic. It is disappointing local authorities were not able to adjust business practices as quickly or effectively and highlights the need for planning services to be better resourced.”
Yesterday, during the second-reading of the Government’s Building Safety Bill, Conservative MP Paul Maynard called for an amendment in support of RoSPA’s safer stairs campaign, which will save countless lives if it is brought into law. RoSPA is campaigning for the most up to date British Safety Standard for stairs (BS 5395-1) to be mandated for new build homes. The campaign is being backed by private and social builders, as well as housing industry organisations, a cross party coalition of MPs and members of the House of Lords. The momentum behind this campaign reflects the seriousness of the issue. Every year, 700 people die from falling on the stairs, and for every one hospital admission caused by a burn there are 235 caused by a fall. Stairs built to the British Standard reduce falls by an incredible 60%, meaning the majority of these falls could be avoided. With the safety of stairs clearly a priority, RoSPA is asking for an amendment to the Building Safety Bill which would enshrine BS 5395-1 in law from 2024. The British Standard 5395-1 considers the dimensions of the stairs; their slip resistance and the provision of handrails, and has been a recommended building regulation since 2010. It is based on 15 years of research conducted by the Building Research Establishment. The standard looks at the key safety factors that should be taken into account during the structural design of stairs, including the step dimensions. Speaking in the House of Commons, Paul Maynard MP, (Blackpool North and Cleveleys), said: “For every one hospital admission due to a burn, there are 235 caused by falls. The impact of these falls is felt disproportionately by older people, and even when a fall is not fatal, it is often the first stage of a persistent decline. “Falls create fear, they impact on confidence and wellbeing, and lead to people being moved out of their homes and into care homes, in many cases never to return. “There is an existing industry standard – British Standard 5395-1 – regarding how stairs should be constructed, including rules on the dimensions of stairs and handrails. I have written to the Building Safety Minister asking for the Building Safety Bill to include a mandate for the British Standard to be applied in all new-build homes.” RoSPA’s campaign to enshrine BS 5395-1 into law as a prerequisite for any homes built after 2024, has attracted support from across the political spectrum with representatives of the Liberal Democrat, Conservative and Labour Parties backing the move. The campaign has also received support from house builders in the private and social sectors. The law would only apply to new build properties and therefore would not require costly retrofitting in existing homes. The BS 5395-1 standard could be ‘baked in’ at the design stage at no extra cost to the developer but would help reduce falls in the home. Errol Taylor, Chief Executive of RoSPA said: “Falling on the stairs is a hidden killer, but improving the safety standards for stair design will significantly reduce the number of people needlessly dying and getting hurt. Compliance to BS 5395-1 by 2024 is commercially viable, evidence-based, and straightforward to implement. “It is estimated that stairs built to the British Standard in new build homes result in 60% fewer falls and would therefore help reduce the £4.4billion annual cost to the NHS of falls in the home. “RoSPA welcomes the growing support from the housing industry and politicians of all stripes for this low-cost, high-impact measure to make the homes of the future safer”.
There are thousands of online casinos out there competing for customers. As land-based casinos are less and less prevalent in Poland, their online counterparts quickly took over and offered their services to local punters. Most players who visit online casinos are computer-savvy and can easily tell a professional, reliable site from an unprofessional and possibly dodgy one. So, what are the key points we need to keep in mind when we create an online casino website design? Klara Czerwinska, a Polish iGaming expert gave her insights on this topic. Read more about Klara here. Easy to use interface When we open a webpage, we want it to load instantly and we want to find information on it easily. We don’t want to get lost on the site or having to click ten times to find the game we want to play or find the information we are after. The most crucial segments of the website should be visible right away and these are the games, the button for registration, and the button for making deposits. Most online casinos have a bar at the top of their landing page for the different game categories. Here you should find the buttons for slots, poker, video poker, bingo, sports betting, and live dealer games that Polish players also enjoy. Once under the certain games tab, players should be able to search for games by name. It is also a good idea to list the newest games and the most popular games separately as people often check out these categories first. Attractive design Land-based casino players are usually happy with the glitz and glamour and the opulence a cool casino offers. However, when it comes to online casinos things are a bit more complicated. Online casino websites should suit the taste of the demographics they are trying to reach — be it for men, women, younger players, or mature ones. Different colors convey a different message. While blue tends to build trust, orange conveys energy and fun. Black and gold are traditional and bring players a land-based casino feel. Create an attractive design and your players will surely keep coming back. If you want to read more about the psychology of why Gamblers return to casinos for more, check out this article. Localization Online casinos tend to be run from just a handful of countries. However, it raises trust if their website is properly localized. When a casino accepts players from Poland, they should localize their website and that doesn’t mean translating the main text to Polish using Google translate. Texts should appear as if they were originally written in Polish and the casinos should accept deposits in PLN. If the live chat is also available in Polish, it is the icing on the cake. Displaying certification More and more gamblers are aware of the legal framework online casinos should have in place. It should be easy to find the licensing information on the landing page. It is also a good idea to display any certification the casino has. For example, displaying an eCOGRA (third-party auditors for game fairness) logo or any casino award the casino has earned, is a big plus. Here, any participation in responsible gaming measures can be mentioned too – for example, adhering to the requirements of problem gambling organizations such as GamStop. Selection of payment methods A good online casino will always accept debit and credit cards and bank transfers but a great one will have more options on offer. Modern punters often prefer to deposit through e-wallets that are safe, straightforward, and separate from their day-to-day bank account. Payment security is equally important. It is fairly obvious, but online casinos should all have SSL certification to ensure the safety of funds. The deposits should be straightforward, and transparent. Many players are not aware of KYC (know your customer) and AML (anti-money laundering) procedures and therefore these should be displayed clearly to them so that when they are asked for more documents, they don’t start suspecting the casino of foul play. Conclusion Creating a great website is a lot of work and it requires expertise. An online casino must create trust in order to entice players to deposit money and spend time on the site. Creating clear design, well-localized texts, a display of certification, and offering transparent information on payments are all part of the work. 먹튀앱
On 20 July 2021 the revised NPPF and the National Model Design Code were published. In addition, the Government formally launched the new Office for Place. The focus for the office will be to drive up design standards and support local communities to set their own design standards. This will be headed by Nicholas Boys Smith alongside a panel of twelve expert advisors. The think tank, Policy Exchange, hosted an event on Building Better Building Beautiful, with Robert Jenrick MP Secretary of State for Housing, Communities & Local Government, Nicholas Boys Smith, Chair of Transition Board, Office for Place and Joanna Avery, Chief Planner for MGCLG. Following the publication of Building Better Building Beautiful two years ago the event on the 20th July focused on how the initiatives are being rolled out and implemented to deliver this vision. Community Involvement: co-design in a digital age The Office for Place will be responsible for the ‘Evolving Science of Place’, creating the tools, processes and tests to support beautiful places. A big focus will be on community involvement, asking communities what they like and how they wish to live. We are likely to see a move from light touch engagement to community co-design at key stages of the process. We imagine that digital platforms and visualisation, using software such as Vu.City, are likely to play a key role in truly engaging people. Cultural change: revolution or evolution? A key role of the Office for Place will be supporting the early pilot projects for the National Model Design Code. Fourteen are already being progressed and applications for ten more pilots open today. The implementation of the new Model Design Code requires a significant culture change in our ways of working and the institutional approach to the built environment. Robert Jenrick, the Secretary of State for Housing and Communities, described it as a ‘generational change’. Jenrick went further, challenging the development status quo and suggesting that the changes will take power out of the hands of the big developers, giving less airtime for the consultants and the lawyers and more air time for local people. The future: more sustainable and more beautiful? Over the last two years there has been a lot of debate on beauty and the quality of our built environment. The approach to this is strengthened through the commitment to well designed, beautiful and more sustainable developments in the revised NPPF. There are many challenges to come. As an industry we have to take up the challenge to deliver new communities which leave a positive and long-lasting legacy.
Research from build to rent specialists, Ascend Properties, shows that the UK build to rent sector has performed well during the pandemic year with planning permission requests rising by 52%. Build to rent (B2R) is becoming a driving force in the UK new-build market, and while the COVID-19 pandemic has slightly slowed what looked to be a very impressive rate of growth, the B2R market has done an admirable job of recovering from the early shock to maintain positive momentum throughout a challenging year. Planning permission applications are a useful way to measure UK B2R performance because they show exactly how many developments are being conceived, how many of those result in permission being granted, and how many are either refused or withdrawn by the applicant. It enables us to examine both developer appetite and local authority willingness to push for a B2R boom in this country. The figures show that the pre-pandemic peak for B2R planning application approval came in Q2 2019 when 6,682 applications were submitted. Of these, 4,151, an all-time high of 62%, were granted full planning consent while 2,531, an all-time low of 38%, were either rejected or voluntarily withdrawn. By the time the COVID-19 pandemic began in Q1 2020, applications had risen to 7,900 submissions but the amount being granted was down to 52% while rejections and withdrawals rose to 48%. Q2 2020 brought a predictably significant slump for the sector. While the total number of B2R applications only fell slightly to 6,530, the approval rate dropped significantly to just 39%, while rejection and withdrawal jumped to almost 61%. However, from this point forward, the B2R sector quickly returned to a steady rate of growth. By Q1 2021, after a year of pandemic and lockdown, the B2R sector showed signs of being on the brink of a post-pandemic boom. An all-time high of 11,975 planning applications were submitted, up 52% on the year. Of these, 58% received full approval, a rise of almost 6% since the start of the pandemic, while 42% were either rejected or withdrawn, a drop of nearly -6% on the year. Managing Director of Ascend Properties, Ged McPartlin, commented: “It’s clear that build to rent is becoming the go-to choice for developers, with projects popping up both in major cities and smaller regional towns. “But what we’re also seeing is a clear uptick in willingness from local planning authorities to grant permission for build to rent developments. While developers sense high yield, low-risk opportunities, local authorities sense an opportunity to simultaneously meet the demand for new homes while rejuvenating and reinvigorating their economies and communities by introducing this new, dynamic way of living.” Table shows the ratio of UK BTR planning permissions granted and withdrawn during the pandemic, as well as the previous high for approvals (Q2, 2019) BtR planning application status Q2 2019 Q1 2020 Q2 2020 Q3 2020 Q4 2020 Q1 2021 Pandemic Change Pandemic Change % Planning permissions granted – full planning consent gained 4,151 4,114 2,575 4,791 5,192 6,937 2,823 69% Withdrawn / refused 2,531 3,786 3,955 3,563 3,896 5,038 1,252 33% Total – estimated 6,682 7,900 6,530 8,354 9,088 11,975 4,075 52% Planning permissions granted – full planning consent gained % 62.1% 52.1% 39.4% 57.3% 57.1% 57.9% 5.9% Withdrawn / refused % 37.9% 47.9% 60.6% 42.7% 42.9% 42.1% -5.9% Data sourced from Gov.uk, Gov.scot, Gov.wales and Infrastructure-NI
GLP, a leading investor and developer of logistics buildings and warehouses, has today announced plans to speculatively develop a further 2.3M sq ft of logistics warehousing space at strategic sites across the UK. The sites include: Mammoth 602 –a 602,000 sq ft logistics/warehouse unit at G-Park Doncaster situated directly off junction 4 of the M18. 1m sq ft across 3 units of 200,000, 297,000 and 503,000 sq ft at Magna Park North, Lutterworth. 2 units of 117,000 and 140,000 sq ft at the new G-Park Milton Keynes development situated just one mile from junction 14 of the M1. 3 units of 26,000, 48,000 and 89,000 sq ft at the new G-Hub Crawley development strategically located for last mile logistics solutions. A 257,000 sq ft warehouse at G-Park Skelmersdale offering excellent access to M58 and M6 motorway. The units will each benefit from GLP’s best-in-class specification including wide service yards, significant HGV and car parking allocations, together with dock levelers, level access doors, increased natural light, electric vehicle charging and abundant power supply. Each development will be BREEAM Excellent, designed to WELL principles and feature a range of sustainability and energy efficiency measures that are designed to continuously improve GLP’s environmental aspirations. Bruce Topley, Managing Director, UK, GLP, said: “We are seeing continued strong customer demand for Grade A sustainable warehouse space in our market. This is primarily driven by the ongoing growth of ecommerce coupled with the need for supply chains to be improved further and significant supply constraints. These new developments are a response to that exceptional demand. “We are committed to investing in our portfolio and offering our customers as much choice and flexibility as possible to respond to their growth needs. We are also firmly focused on delivering buildings with less embodied carbon than industry standard and which reduce operational carbon emissions.”
THE CONSTRUCTION industry needs to rethink its approach to reusing and recycling buildings if it is to be seen as truly sustainable, according to a leading expert. David Cheshire, sustainability director for AECOM, told a recent webinar from property, construction and infrastructure consultancy Perfect Circle that reusing materials from demolition simply isn’t enough to offset the environmental and financial impact of acquiring them in the first instance. Cheshire said: “At the moment, we as an industry dig, mine and process hundreds of millions of tonnes of raw materials that we essentially steal from the planet. There is a focus generally on reducing things like operational energy use, but around half of all greenhouse gas emissions come from mining and processing resources. “We are also knocking down and demolishing buildings at a phenomenal rate, sometimes after only 30 years of use, so we’re losing at both ends of the scale. “While we congratulate ourselves as an industry for reusing large amounts of the waste products from demolition, it’s not ‘recycling’ in the truest sense of the word as the products don’t maintain their value. For example, structural concrete doesn’t get recycled into use as structural concrete; it is downcycled to secondary aggregates like road base or piling mats. While this is reuse, it’s not giving us the materials back that we spent so much energy getting in the first place.” Cheshire talked attendees through the basics of circular economy design principles for buildings and emphasised how its applications can improve sustainability throughout the supply chain. He said: “The current model the industry operates on is very much a linear approach – we win the resources, we use them, we throw them away and then the process starts over again. The circular economy looks to remedy this and find better, more sustainable ways of doing things. “The core of the model is retaining, refitting and refurbishing buildings. There are a number of design principles that feed into this, chiefly the idea of building in layers. There are thousands of components that make up buildings, all of which have different lifespans, so the circular economy model needs to work differently for each layer. “The foundations and structure of the building are long-life and should be around for a hundred years, but with the interiors, the thinking needs to be around reconfiguring for a new use rather than throwing everything out and starting again from base build. “Building in layers also means that you can peel those layers off as uses change. If you’re converting usage from office to residential for example, you might want to replace the facade, but equally it is thinking about how you’re putting everything together – you don’t want to have an electrical component that lasts 20 years hidden behind a ceramic tile that has a 2,000-year life. “If you can retain and refurbish a building and keep the main structure of it, there’s around a 50% reduction in embodied carbon over time in comparison to a new build, which is hugely significant.” Among the examples given by Cheshire was the work being done as part of The London Plan, which has several policies relating to the circular economy in the built environment. Cheshire said: “We’re working with the Greater London Authority on the inclusion of the circular economy in its wider plans. GLA policy now dictates that all referable projects much have a circular economy statement that sets out the project’s commitments against a series of targets. “Our cities and buildings are a gold mine of resources. We spend so much money, effort and time in bringing these resources out of our planet and into our cities, only to downcycle them once their original use is exhausted. “The circular economy goes hand in hand with the idea of urban mining and ensuring that we keep materials within the loop and reusing them to the best of our ability.” A full version of the webinar can be viewed here: For more information on Perfect Circle, please visit www.perfectcircle.co.uk.
Cat® 637K scrapers with push/pull attachment purchased as part of new equipment investment Earthmoving professionals Collins Earthworks has invested in several new Caterpillar machines, including four new Cat® 637K Coal Bowl Scrapers with push/pull systems. Finning UK & Ireland, exclusive distributor of Cat products, dispatched the new additions to the fleet, including a Cat D7, D9 and several D6 XEs to the company, to support the earthmover’s work around the Midlands. Collins Earthworks, based in Ripley, Derbyshire, has been managing earthworks projects for 20 years, developing a strong working relationship with Finning for the last 10–15. Due to this, Collins came to Finning with a need for machines to support its project on the Northampton Gateway and opted for the Cat 637 scrapers — machines rarely seen in the UK. Adding to the uncommon nature of these machines, Collins has also opted for push/pull systems, negating the use of trucks and excavators. The push/pull system concentrates the combined horsepower of the tractor and scraper onto one cutting edge, allowing two individual scrapers to act as a self-loading system — typically loading both machines in less than a minute, one after the other. “As we are continuing to work on various projects — big and small — throughout the UK, having the 637K scrapers in our fleet gives us the flexibility to fulfil any project efficiently” said David Collins, Managing Director of Collins Earthworks. “Earthmoving work comes in all shapes and sizes, and there is no “one fix for all” solution. Having a mixed fleet including the 637Ks, excavators and articulated dump trucks (ADTs) means that we have the versatility to complete any job, setting us apart from our competitors.” “It is amazing to see an investment into Cat 637Ks here in the UK — scrapers fill a niche in earthmoving that no other machine can compete with, and we haven’t seen these kinds of machines in the UK for a number of years” said Jake Wright, National Account Manager at Finning UK & Ireland. “A good fleet of scrapers can make it much cheaper than the number of excavators and trucks that would need to be used to move the same amount of dirt. “Convenience is also key here. An efficient groundworks operation with excavators and trucks will often take several people, whereas at a moment’s notice, one operator can get on the scraper and do the same job. For short distance bulk earthmoving they are lower cost and faster than any other haulage unit. I don’t think any other setup can compete with a push/pull tandem scraper setup in sand, gravel, clay or topsoil.” To get the most out of the new investment, Finning will also be providing Collins with machine familiarisation training on the wheeled-tractor scrapers, as well as operator efficiency training during a revisit in the next six months. The machines also benefit from an extended warranty and a full preventative maintenance program, so that Collins is safe in the knowledge that Finning experts will be on hand at any time of the day. To find out more about the Cat 637K Coal Bowl Scrapers or how Finning can assist with operator training and preventative maintenance, visit the Finning UK & Ireland website.
NATIONAL contractor Willmott Dixon has completed work in June on the new and improved Warwick Arts Centre situated on the University of Warwick’s campus. The Arts Centre now boasts a large new building with a number of newly created spaces including three digital auditoria with high-end digital projection and sound, as well as a ground floor gallery to exhibit contemporary art, sculpture and photography. The building also features a new foyer offering a larger, more environmentally friendly and attractive entrance for visitors, in addition to a new restaurant and bar to ensure the complete experience. The project also involved the refurbishment and upgrading of the existing building. The £25.5 million investment in Warwick Arts Centre was supported by an award of £4.2 million in National Lottery funding from Arts Council England and is a key venue in Coventry’s year of UK City of Culture in 2021. Designed by Ellis Williams Architects with Bond Bryan as delivery architect and project managed by Turner & Townsend, the project aims to make Warwick Arts Centre the region’s leading cultural centre and a place where creativity, collaboration and innovation thrive. Peter Owen, managing director at Willmott Dixon, said: “We are very pleased that, after a difficult time for the much-loved arts industry, Warwick Arts Centre will later this year be welcoming audiences back to a space that supports and enhances everything the arts has to offer. The project involved a number of challenges, not least the constraints of a tight site in the middle of campus and the changing requirements related to COVID-19, so a collaborative approach was vital. “We have a strong relationship with the University of Warwick, first established during our work on the University’s Oculus Building, then their Sports Hub and Wellness Centre in 2019, and earlier this year the IBRB. This means we are able to truly understand their campus vision and help make it a reality. “We are very proud to have become a trusted advisor to the University and to have built a relationship which allows us to contribute to the wellbeing and development of not only students but also the people of Warwickshire and beyond.” Throughout the project, the equivalent of £1.8 million of social value return on investment was delivered to local people by way of a number of community initiatives. Over 17,000 hours was spent supporting local young people with work experience opportunities, as well as 20 weeks with the University’s civil engineering students. Warwick Arts Centre is now a hybrid consisting of new and old, following the demolition of an existing section of the site. By matching the existing build and bringing together the new elements of the project seamlessly, there are now over 20 different roof levels on the site. Bruce Raw, Birmingham studio director at Bond Bryan, said: “We’re delighted to see Warwick Arts Centre completed. Our team are deeply passionate and proud of our growing presence and relationships across the West Midlands and this project has been at the heart of that drive for the last two years. “From start to finish the project has been a really positive team collaboration between client, end-users, architects, project managers, consultants and the contractor – with everyone all pulling in the same direction on what has been a very complex project on a constrained site, working closely together to solve challenges.” With the project beginning in 2019, followed by the closure of leisure, arts and entertainment venues for much of the last two years, the venue is all set to welcome audiences for shows beginning from October. Commenting on the completion of Warwick Arts Centre’s redevelopment its Director, Doreen Foster, said: “Today is a fantastic day for Warwick Arts Centre as we are now one step closer to welcoming visitors back to their arts centre. We cannot wait for our audiences to enjoy the experience and make new memories as they engage with the exceptional range of arts and culture that has always been our hallmark, including in our new spaces – such as our new three screen cinema, restaurant and the reimagined Mead Gallery. “With people throughout the UK and Europe set to visit our city to mark Coventry’s year as City of Culture, 2021 is set to be an exciting time for arts and culture in our region – and I’m delighted that we will be part of its success. I like to take this opportunity to thank everyone who has been involved with the redevelopment of Warwick Arts Centre for making this possible and ensuring that audiences and visitors will be able to join us for decades to come. We’re back, bigger and better than ever, and our doors will be open wider than ever before.” The University of Warwick’s Vice-Chancellor, Professor Stuart Croft, said: “Sat right at the heart of our main campus, Warwick Arts Centre has been an integral part of the cultural life of our University and region for almost five decades. As we celebrate Coventry City of Culture 2021, it is wonderful that Warwick Arts Centre will soon be open again for audiences and visitors to come and enjoy all that it has to offer.” Robert Freeman, Director of Ellis Williams Architects, said: “This is the culmination of many years of planning and working with Warwick Arts Centre and the University of Warwick and we are really excited to see the project completed. “The biggest design challenge we faced was to retain the unique character and top-light of the original Mead Art Gallery in the new galleries that was much loved by artists, whilst also providing new galleries at ground floor creating more accessibility to audiences and at the same time adding the three new large digital auditoria all on the original site. “We are extremely pleased that Willmott Dixon has completed the renewed Warwick Arts Centre in time for it to be part of Coventry City of Culture 2021.” Warwick Arts Centre is now taking bookings for shows from October. To find out more and to make a booking, please