The art of modern construction
In the autumn of 2002, Dutch Architects Erick van Egeraat (EEA London) met with Middlesbrough Building Control Officers to discuss an exciting new project: the new Middlesbrough Institute of Modern Art (MIMA). It has now become a landmark venue bringing together the town's major art and craft collections for the first time
The first of a series of meetings was held to describe the construction, layout, function and the client’s vision of the Art Gallery.
The proposal – a fourstorey steel framed building with a full height atrium, glazed fronted building, and five galleries at varying heights internally – was to provide formal and open gallery spaces, and a roof terrace.
Situated in the town centre between the Carnegie Library and Claes Oldenburg and Coosje van Bruggen’s ‘Bottle of Notes’ sculpture, the proposal would also include the creation of a new high quality public space between the gallery and the Town Hall.
Based on an open area concept, the layout of the building incorporates first floor: WCs, plant and offices; second floor: an exhibition area, collection storage, conservation area, WCs, plant and an education room; third floor: collection storage, auditorium, WCs, plant and an external roof terrace.
Having established minimum standards parameters for Building Regulations, it was necessary to apply a Fire Engineering solution to the building. Building Control, the Fire Authority and architects came to an agreement regarding escape provisions under Approved Document B (Fire Safety) based on estimated numbers of people using the building. There was also early prominent discussion relating to AD:M (Access to and use of Buildings), AD:G (Hygiene) and AD:L (Conservation of Fuel and Power).
A required notional boundary was considered between another building of the same purpose group on the same site in accordance with AD:B with consultants providing structural, electrical and mechanical details separately.
A unique feature of the building is the provision of a hatch, linked to the fire alarm and automatically opened to provide a means of escape from an external roof terrace at third floor level. This was in addition to the three other protected stairways and the accommodation stairway which provides the main access to each floor from the full height entrance foyer. Three lifts are available, two for public access to each floor and a large lift to accommodate exhibition pieces.
A ground floor gallery soars three storeys high with a viewing window at second floor level providing an additional view of the exhibitions. Sliding glazing panels on the ground floor enable the café and ground floor to be used when the main gallery is not in use. Means of escape provisions and exit signs at a maintained level are highly visible.
A series of full height steel columns stand within the atrium, in front of the full height glazing. Outside, a series of steel cables are connected to an overhanging roof structure. The exterior wing of the building is constructed of imported Turkish limestone with imported Italian slate covering the stairs and floors.
To maintain the open atmosphere, fire doors in appropriate areas are held open on electromagnetic catches linked to the fully analogue addressable fire alarm system, the repeater panel being just inside the entrance. This was necessary within the ground floor galleries to permit the public to leisurely wander through the exhibition space.
Security was high on the agenda in this building, and in certain circumstances conflicted with Building Regulations. Solutions were found through regular team meetings held throughout the construction process with the architects and the main contractors – Miller Construction.
The architect produced a draft Fire Strategy Report setting out how the design of the proposed Art Gallery satisfied the requirements of Approved Document B of the Building Regulations and was updated as the building progressed.
In addition, a management operation plan and cause and effect strategy document was drawn up to enable staff to assist in the evacuation process.
The Director of Museums and Galleries, Godfrey Worsdale, is determined that the Gallery should mark a key turning point in Middlesbrough’s regeneration: “We have delivered for the town an iconic building that turns heads, gets people talking and has that definite ‘wow’ factor. Inside the gallery our plans are equally ambitious to bring the best in modern and contemporary art to an audience that will be local, regional, national and even international.
“MIMA will be free – meaning that all generations can come along and be inspired by the building and the art on offer”.
The gallery, costing £14 million to build, certainly makes a dramatic statement in the Middlesbrough townscape.
