Location: Leeds
Date: 2011 - 2016
Status: Completed
Size: 17,000m²
Credits: Ana Arrebola, Javier Briasco Garcia, Ruggiero Bruno Chialastri, Stefano Dal Piva, Dave Edwards, Patrick Elborough, Catherine Hennessy, Christian Höeller, Lovisa Lindstrom, Friedrich Ludewig, Edoardo Milli, Claudia Orsetti, Walee Phiriyaphongsak, Charles Pigott, Sara Poza Ruiz, Aemilia Ross, Elena Ruiz, Ying Teh, Irene Todero, Antonio Torres Tebar, Katrina Varian, Claudio Vilarinho, Allan Ye
The interiors of the Victoria Gate Arcades are inspired by the use of consistent frontages, curved glass and patterned floors in traditional historic arcades. The shopfronts are designed to be as transparent as possible. Flush Glazing which from the sill to the top of the balustrades was helped by the inherent structural stability of the curved glass units -- the glass was designed to be self supporting, taking only restraint from the first floor slab edge.
The internal arcade floor echoes the pattern of Leeds’ woollen herringbone cloth, which established the reputation of the city for centuries. The floor is incredibly economical, utilising just one standard size of stone, and 13 shades of cheap Chinese grey granite to create a dynamic and non repetitive appearance. The arcade floor is sloping at 1:35, and careful detailing has enabled the floor to adjust to thresholds and entranceways without breaks in the pattern.
Pendant lights are an important part of Arcades, and the Victoria pendant was designed based on the rhomboid geometry of the arcade rooflight, and the patterns of the Yorkshire Rose, which becomes visible when inspecting the light from below. The 1.5m tall pendant is decorative and functional, incorporating feature and emergency lighting, cameras, sensors and loudspeakers.
A spiral stair winds its way from ground to third floor, giving access to restrooms, roof-top restaurants and management suite. Stained oak fins form an enveloping wall cladding, carefully set out to achieve continuous flush faces and a consistent rhythm from the ground to the third floor and the light effects of a filtered 21st century grotto