Alfredo Cramerotti in conversation with Ellis Williams Architects

 

The existing Oriel Mostyn galleries had a strong Victorian spirit and we wanted to emphasise these spaces with new, distinctive modifications and additions. We also imagined moving through the existing terracotta frontage and discovering a different material and form –equally strong but perhaps unexpected, leading the visitor to explore further. Our approach was to think of each additional volume to have its own subtle character as a fluid series of spatial experiences ranging from the unexpected to the familiar. 

 

 

The contextual issue is a challenge when a space is to be designed for the ‘unknown’: no fixed collections, and curatorial input and artists that have different agendas. For spaces such as the historic ‘lantern’ galleries these are known in terms of their limitations to changing contemporary art practice, so that is why at MOSTYN, for new gallery spaces in one sense, we wanted to create a more neutral environment as a modernist counterpoint, with the ideals of added flexibility. Obviously, there are limitations, but we thought having a range of spaces would allow exploration of different media so not necessarily reliant on completely neutral /white boxes would perhaps offer most options. I think this was the ‘tipping’ point for us, creating different characters that allowed different reactions and degrees of neutrality. I guess every Artist and Curator would have different preferences for either commissioned work or installation,s ranging from the totally neutral backdrop to the highly mannered ¬–even non gallery spaces – so it is impossible to predict. For new galleries with little or no context, this is very challenging and we would always design something – perhaps a reference in the ceiling form, floor material or vistas to the environment for example – to offer a reaction point in some of the spaces.  

 

 

 

We want to meet the Client’s needs first but not at the detriment to other,s as we have a duty of care to look after the environment and, hopefully, improve the life experience of everyone who comes into contact with the building –  at least in a small way.  The Client could be the Director who is sanctioned by the funders or trust, and could also involve many community stakeholders. It is very important that we listen to everybody that the Client steers us towards, and we reflect on their needs also. 

 

The creative process involves much debate and collaboration and we arbitrate this through good design (we hope). Unfortunately, it is often the case that budget limitations will force choices during the design journey, not necessarily for the better, but it is important that aspirations are not curtailed too much when the commission commences. In competition this is particularly pertinent, and the balance will be weighted towards a design that creates great spaces and resolves the brief – hopefully in a beautiful way. By this we mean that the design has integrity, i.e. it responds physically to its context and environment and it makes visual sense. We also try look at spatial flexibility;will a concept stand up to change? This is not so easy; often the brief has not evolved far enough at that stage. We would always prefer to tender, not with complete designs but with ‘approaches and ideas’, so that the final concept evolution can occur with the Client on board.

 

 

The notion of flexibility and adaptability in our approach to design is something we have always strived to include within a scheme, and particularly brought to bear on this project.

Very late in the design process, MOSTYN morphed as the project took on additional spaces in the form of the neighbouring shop units. A realignment of the design followed, which gave the opportunity to include a much larger shop and reception area, a meeting room and additional gallery spaces. 

 

During the construction process, there was also a desire to have an ongoing presence whilst the gallery was closed. This led to a smaller commission for a temporary gallery, enclosing two small flexible spaces, to be housed under the existing canopy – allowing full public access to exhibitions during the build process.

 

The importance of working collaboratively is something that was clearly of particular importance on this project – across the design and construction teams, as well as the client body and all associated stakeholders. Once the same drive and desire to achieve a particular goal can be instilled into each participant of the process, a more positive and fulfilling outcome more often results.  As the process developed further into the construction phase, it became apparent to us that this was indeed the case, with all involved working towards a positive realisation of a particularly complex and challenging project.

 

This collective approach to the end goal is a positive aspiration we would aim to engender within any project. Indeed, we have referenced this approach, together with the built outcome, in subsequent projects and discussions with clients and contractors alike.

 

 

There was always a debate about the location of the café and shop, and how the spaces worked with galleries, carved into the existing context. This debate was revisited following the acquisition of the new ground level spaces. In the end it came down to a particular opinion, made at a particular time with the best of intent. Hindsight is a wonderful thing, but in all projects – particularly non-linear ones such as MOSTYN – at some point in the process, rational economic decisions have to be made. 

 

A decade on however, if we had done things differently, would there have been a better outcome? Who can say!

 

 

The work across the practice is very varied in size and style, ranging from utilitarian to highly bespoke. This probably reflects the fact that we are a group of individuals, not bound by a single house style but by an ethos to listen to our Clients. We carefully consider the context for each project and create the best possible outcome we can, within the constraints of budget and time. 

 

 

I think all these descriptions are relevant. Our medium is information which we make to communicate instructions – from the first pencil mark sketch to the final computer detail. It is constantly changing but at certain stages you must solidify. These drawings and models act as catalysts that lead to the creation of functioning forms that we hope touch and enrich people’s lives in some way.

 

 

A gallery of traditional Victorian vernacular which opens up to a modernist, ‘béton brut’ style that draws you in and transports you though its spaces – both old and new –creating contract and surprise.