Adaptive Reuse of 50 Bishop Street, a Post-War Building in the City of Coventry, into a Music Centre Celebrating and

The project lies in an area where history and architectural language converge, reflecting Coventry as a whole: medieval, post-war and contemporary (such as student accommodation reflecting the reinvention of the city). Constructed in 1969 as a retail store and offices on one of many medieval entrances to Coventry, 50 Bishop Street has been a fitness centre since 2015. The new student developments directly north and west dominate the skyline. Whilst to the south it is a stone’s throw from the Old Grammar School, a 14th century structure that is part of the remnants of Coventry’s medieval past. The new programme is a music centre that provides space and facilities for a variety of musical performances, celebrating the importance of music tied

This was informed by research into the links between music and Coventry’s history of trade and industry. As a consequence of labour shortages after the war, Caribbean and Asian migrants were encouraged to come to Britain with the prospect of skilled jobs and high wages in areas such as Coventry. It led to an exchange of cultures, including music, in part thanks to the rebuilding programme and social housing in the city. An increase in racial violence and discrimination in the 60s and 70s led to groups such as The Specials (and others under the record label 2Tone) emerging in response to this and other political and social issues, including Thatcherism. I explored the idea of exchanges within 50 Bishop Street through the addition of voids and openings in

This was inspired by my Semester 1 precedent study of Castelvecchio in which Carlo Scarpa used these and perspectives to create relationships between the user and exhibits, as well as other users. Within the design is the Performance Space with retractable seating to allow different arrangements and performance types. This flexibility is continued on the exterior of the space through a new Aluminium Foam Cladding that is fully recyclable. The rhythm and arrangement of the aluminium fins integrated in the new façade (derived from the 26 chords of the Coventry Carol) is then mirrored in the Performance Space with the use of timber battens. The metallic cladding, reflecting Coventry’s Industrial Heritage, contrasts with the existing exposed brick hexagon that now defines the two main public areas: the Record Store and the Café.

An extension accommodates private areas and back of house, supporting the Performance Space. Timber was chosen for a more sustainable approach, creating a contrast with the existing concrete frame. This contrast is present throughout the building clearly defining old and new, and reflecting John Ruskin’s ‘Parasitical Sublime’ found in ruins; the cold dead concrete contrasting with the living