Alessio Testa, N0679319

Patchwork Essay 3

What are the contexts which influence a building and its meaning and why are
they important?

Located in an early Victorian estate in the city centre of Nottingham are The
Playhouse Theatre and St Barnabas Cathedral; more specifically on either side of
North Circus Street. Both are Grade II listed buildings, however are of
contrasting styles
(Nottingham Play House,
2016). Patchwork one
analyses the stylistic and
technological contexts
which influences both
buildings. Patchwork two
continues to outline and
analyses the influences at
the time of construction.
Patchwork three explains Figure 1. Google Maps (2016)
how the buildings were influenced by their
contexts and its importance.
Playhouse was designed by Peter Moro in the late 1940 where it was later
opened in 1963(Fair, 2016; English Heritage, 2016) taking over the old and
cramped Theatre Royal that had previously held the citys Repertory Company
since 1948 (BBC, 2016). Peter Moro is a German born architect known for his
modern style (Powers, 2016; Waters, 2016), this is clear at playhouse through
distinctive features; the combination of crisp rectangles and a curved circular
centre.
In the 1940s modernism was evolving, therefore it is a clear reasoning why the
combination of glass and concrete were used. However, Playhouse wasnt typical
of the era in the UK, despite modernism starting during the mid-1930s (Hudson,
2014, pp. 149-151).
Playhouses location is very peculiar due to it
being surrounded by a revived Gothic and a
revived Baroque style. Thus, its a unique
concept (Hardwood E. , 2008).
Playhouse was built to house a theatre after
Figure 2. Playhouse. Testa taking over the old Theatre Royal in 1963
(2016) (Beckett, Nottingham: An Illustrated History,
1997). It reflects post war West-Germany with a brutalist style. The brutalist
movement is demonstrated at Playhouse with exposed concrete structures,
demonstrating a hard time (Twenty Century Society, 2016). Brutalism is a
modern movement that is distinctive and heavy looking, proposing something
dramatic. Britain had the optimum political and cultural environment for
Modernism to up rise following the Second World War (Clement, 2011). The aim
of Playhouse was to promote the image of Nottingham as a cultural area,

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 Alessio Testa, N0679319

bringing people together by entertaining them (Beckett, Nottingham: An

Illustrated History, 1997). The general aim of theatres in the 1940s was to
provide family entertainment; therefore, the aim of Playhouse and other theatre
was on the same level (Beckett, A Centenary History of Nottingham, 1997).
Playhouse was built for leisure during the 1960s; where leisure centres were
built in an attempt to provide sporting and recreational facilities for the whole
community (Beckett, Nottingham: An Illustrated History, 1997, p. 83). Following
Britains Revelation in 1919, citizens had more time and spending money -
meaning developing leisure activities; such as the theatre, for the community to
participate in, would subsequently have influenced increasing social trends
(Black, 2017).
Nottingham City Council funded Playhouse. The scheme was later saved by Lord
Mayor, Alderman Roland Green; after the realisation of the cost was so grand
(Whitworth, 1999, p. 45). Nottingham council wanted Playhouse to not only
contribute to theatre architecture nationally and internationally but also enhance
the Citys greater reputation. This lead them to choose Peter Moro as the
architect (Twenty Century Society, 2016).
It is led to Peter Moros typical style being reason for the outcome of Playhouse,
not only this but Peter Moro is specialised in theatre
architecture (ResearchED, 2016). Playhouse was very Figure 3. Plan view of
much influenced by Willatt who produced a very Playhouse. (2016)
detailed brief that Mr Moro had to follow. This was to
heavily focus on the integration of people and
optimising their use within the building (Hardwood E. ,
2016).
In 2013 Playhouse received 1 million from Arts council
Englands grants programme for redevelopment to
improve it environmental concerns. This was resolved
by mounting both roof solar PV installation and hot
water installation.
Both modern
techniques have
been aimed to improve environmental
impact (Sustaining Creativity, 2016).
Figure 4 isa map showing what was prior to
The
Figure 4. Digimaps 1950s (2016)
Playhouse.

St Barnabas was design by Augustus Pugin, a famous architect in the 1800s, and
was later constructed in an English Victorian Gothic revived style in 1844
(English Heritage, 2016; Hunton, 2016). This style is evident throughout; with
pointed arches, ribbed vaults, and high ceilings. Demonstrating power, wealth,
and hope, during the industrial revolution (Morris, 2016; BBC, 2016). From this
one feels poor and small. This is because of the luxury of the church. From inside
and out the cathedral is very daunting, leaving one in silence. The echo within
the building further enhances silence within the building.

Figure 5. St Barnabas Church

Figure 6. Digimap 1960s (2016)
(2016)
 Alessio Testa, N0679319

St Barnabas a Roman Catholic church

which was built to accommodate the

Roman catholic boom in the 1800s.

This was resulted due to the legal status of Catholics in the UK, encouraging
Catholics immigrating from Ireland after the famine (Beckett, A Centenary
History of Nottingham, 1997, p. 356).
St Barnabas is Gothic in style (Listed Buildings, 2016), which reflects religion and
the sense of being closer to heaven. This was very important during the
industrial revolution which can be considered as a tough time. At the time,
people considered the church as the new Romish Meeting House on Derby Road
(Whitworth, 1999), this shows that people didnt like the new construction not
because of the architecture, but because of the religious culture that the Irish
had (Whitworth, 1999).
The political up raw at the time was with Catholics (Whitworth, 1999). Prior to the
build of St Barnabas there was an act that was passed called the Roman Relief
Act 1829 (Legislation.gov.uk, 2017). Thus, it took a lot of time for the local people
to accept this Act.
Upon acquiring the plot of land, Father Wilson; the main driving force, raised
funds to build St Barnabas (Beckett, A Centenary History of Nottingham, 1997). A
further donation of 7,000 came from Lord Shrewsbury (Cathedral Church of St
Barnabas, 2017). A.W.N Pugin was appointed as architect by Father Wilson
(Beckett, A Centenary History of Nottingham, 1997). In total the Church cost
20,000 (Cathedral Church of St Barnabas, 2017), a hefty sum at the time.
Augustus Pugin was an architect known for Medieval Gothic revival architecture;
more specifically his interior architecture, of which started at Windsor Castle
(Curtis, 2016). It was from there Sir Charles Barry employed him to design the
interior of Palace of Westminster. It was Pugin that inspired gothic revival after
his conversion to Catholicism in the early 1800s (Borden, 2008, pp. 342-344).
St Barnabas was built during the boom of the Lace
Market, potentially being a focus point for St
Barnabas. As the entrance of the church is pointing
towards the Lace Market.

Figure 7. Digimap
1880s (2016)

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 Alessio Testa, N0679319

Figure 8. Arches of St
Barnabas church (2016)

St Barnabas is a stone covered

constructed building with traditional
building techniques (St Barnabas
Cathedral, 2016, University of the
West of England, 2016) it is unlikely that reinforcing concrete with iron rods were
used here due to it starting in the 1850s (Addis, 2007). An impermeable
concrete screed was used within its construction, which has left dampness
(Church of St Barnabas, 2017). An interior refurbishment, painting the internal
stone walls white has lifted the atmosphere of the church, working well in
combination with the natural light peeping through the stain glass window
building with traditional building techniques (St Barnabas Cathedral, 2016),
which sits within a colourful room, being Pugins speciality. It was thought that
previously the church was decorated throughout in this way but over time its
changed interior. Despite this, the decorative window/room was left.
Pugin used Gothic Revival as an
expressive and realistic response to
functional building problems. We consider
Gothic movement as a Skeletal frame
construction, developed from
Romanesque work. Using pointed Gothic
arches which enable higher narrower
spaces to be constructed making the
scale of the church intimidating, as well
as, leading us to believe that the
Cathedral will guide us closer to heaven
(Gelernter, 1995; Jones, 2014).

Figure 9. Neo con (2016)

Located in Wellington circus, Playhouse and St Barnabas Cathedral are in the

nucleus of a cultural centre (GSI Team, 2017). Being located in Nottinghams
cultural quarter (Shorthose, 2017, Bird & Gorton, 2017), it is very diverse. Thus,
it demonstrates social, religious and a cultural mix within the area.

Figure 1 shows a historical

map of Wellington Circus from
1881 after the build of St
Barnabas. It is clear from the
image that religion played a
big part in the area. It is also
clear that there is diversity
with the college being south of
4
the church and the fact that
the Albert hall is directly
opposite.
 Alessio Testa, N0679319

Figure. National library of Scotland. (2017).

Remaining
Figure 10. National library of Scotland. (2017)
Figure 2 shows Threea historical
map of Wellington churches in
Circus from
the area.
the 1950s before the build of
Playhouse. It is evident that as
the year passed the way of
living was different, thus there
was a decrease in the amount
of churches, but instead
diversity started to play a
bigger part creating a social
and cultural area.

Social
Figure 11. Digimap (2017).

The main difference is that they were built in different eras, which is very
significant because during the 1840s religion was very important. By
comparison Playhouses post war look symbolises a time of revival after the
second world war.
Another big difference is the architectural styles and features that the both have.
Playhouse has a brutalist style, made with modern materials in a minimalistic
way, whereas St Barnabas is Gothic in style and utilises stone and older
techniques. The detail and expense of the church is appropriate as is signifies a
place of importance.
St Barnabas at the time when it was built, was very much needed because of the
huge increase of people in Nottingham, due to the industrial revolution and the
fact that religion played such an important part in peoples lives at that time;
shown by Figure 1.
Both buildings fit in with the context for when they were built. St Barnabas at the
time was important for the community; bringing people together. It also gave
them a sense of hope during a difficult time. Similarly, Playhouse was built to
accommodate for entertainment; improving the culture and reviving the area.
Thus, both buildings were built to house people for both a social and cultural
aspect.
Both buildings show relevance to the context they were built in. St Barnabas was
a power building with authority. Today this has changed and decreased.
Playhouse, when it was built, reflected a positive and hopeful look following a
brutal Second World War. The local aim of both buildings at the time of their
respective construction, was to lift Wellington Circus area and make it an area
which is considered culturally important. Wellington Circus reflects architecture

5
 Alessio Testa, N0679319

combined with nature (the railed grassed once owned by William Parsons
(Oldfield, 2011)), Gothic style architecture with brutalist architecture and the
unity of residential and commercial uses.
St Barnabas church reflect religious influences through the decoration and
symmetrical shapes within the church (GSI Team, 2017). In comparison, the
Playhouse has a simple, minimalistic look. Being demonstrated using innovative
materials.
Wellington Circus therefore demonstrates commercial, religious, social, and
cultural contextual relationship. This context unites and diversifies both St
Barnabas and Playhouse. Diversification is made greater due to the residential
link of Derby Road, where it is considered to have to most expensive houses
located within the Park area (Oldfield, 2011).
At the time of construction, the church was need because of the rapid growth
following the Industrial Revolution. At the time religion played an important part
in peoples lives, therefore the rapid growth meant the previous church could
accommodate for everyone, leading to St Barnabas being build. St Barnabas
communicated unity within the Catholic community. However, at the time of
construction, a Nottingham Protestant Association launched a protest attack on
Catholicism (Beckett, A Centenary History of Nottingham, 1997). Despite this, it
had little influence on St Barnabas being built, but instead slowed to build down
considerably.
Due to changing context in the early 20 th century some of Pugins original
designs were replaced with a more nude and plain design. Bishop Rindle felt that
Pugins designs distracted the worshippers from good, thus, the Bishop removed
elements such as the original rood screen and added a marble altar rails (GSI
Team, 2017).
Playhouse prior to it sustainable contextual
Today, the context at Playhouse
remains the same to a certain
extent. It now occupies more of a
sustainable consideration, being
configured to fit within the
modern environmental concerns.
Within the building the areas that
were to be adapted included the
main entrance, exterior glass
windows, the roof, and the single
glazing. In 2015 these changes
took place. It saw the installation
of solar panels, wind energy to Figure 12. Playhouse, Oldfield (2011)
generate electricity, double
glazing, the use of biomass for heating, aerogel insulation, roof insulation, and
energy efficient stage lighting (Julie's Bicycle, 2017).
Both builds are viewed in the same way today to a certain extent. The exterior of
both buildings has not been changed (Oldfield, 2011). It can be argued that St
Barnabas has lost power within the community and that Playhouse has gained
qualities and reputation. Especially for teaching within acting.

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 Alessio Testa, N0679319

The context of a building is very important because they give the building
meaning. Both buildings were created by the cultural, religious, and political
contexts that they were built in. Playhouse and St Barnabas showed heavy
influence from the architects, as well as, the evolving context of the buildings as
the years pass.
The curved mirror in front of the Playhouse being the most noticeable added
feature. The mirror itself produces a picture of everything in
Wellington Circus, which illustrates unity, acceptance, and equality.
Demonstrating its adaptation to modern context.
However, without the context, the buildings would be less
significant and meaningless. Designing without considering
context, will lead to a building that is not architecture and that is
worthless and characterless. Context allows a building to have a
story. Thus, no consideration in context will give a building no
story, which is so vital.
If I were to renovate either building the main contextual issue
would be the political context of the building. This is due to both
buildings being Grade II listed building.
Figure 13. Playhouse,
Testa (2016)

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Figures
Figure 1, Google Maps (2016, November 18). Retrieved from
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+Nottingham+NG1+5AA/@52.9544269,-1.1566674,19z/data=!4m5!3m4!
1s0x4879c1875f510389:0xec07a6d78424fbb1!8m2!3d52.9541517!4d-
1.1568823
Figure 2, Playhouse (2016) Taken by myself.
Figure 3, Plan view of Playhouse (2016, November 18). Retrieved from
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sa=i&rct=j&q=&esrc=s&source=images&cd=&ved=0ahUKEwjLspzpkbjQAhXMB

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BoKHUqYD_kQjRwIBw&url=http%3A%2F%2Fwww.nottinghamplayhouse.co.uk
%2Fabout-us%2Fbuilding-plan
%2F&bvm=bv.139250283,d.d2s&psig=AFQjCNG6We7LcCX3b3Mynko0d0ohqULtx
g&ust=1479758951949811
Figure 4, Digimaps 1950s (2016, November 18). Retrieved from
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Figure 5, St Barnabas Church (2016). Taken by myself.
Figure 6, Digimpas 1960s (2016, November 18). Retrieved from
http://digimap.edina.ac.uk/roam/historic
Figure 7, Digimpas 1880s (2016, November 18). Retrieved from
http://digimap.edina.ac.uk/roam/historic
Figure 8, St Barnabas (2016, November 18). Retrieved from
http://www.thousandwonders.net/Nottingham+Cathedral
Figure 9, Neo con (2016, November 18). Retrieved from
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Figure 10, National library of Scotland. (2017, January 27). Retrieved from
http://maps.nls.uk/view/115392374
Figure 11, Digimap (2017, January 27). Retrieved from
http://digimap.edina.ac.uk/roam/historic
Figure 12, Oldfield, G. (2011). Nottingham A Changing City.
Figure 13, Playhouse (2016, November 18). Taken by myself.

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