Grant Amon Architects, together with Brearley Architects & Urbanists, won the assignment in a public competition. Early on in the project, the local community and the intended users were involved in the development of the centre.
The ambition has been to create an architecture without barriers and thresholds that can also contribute to togetherness and understanding at a societal level.Architect Grant Amon, Grant Amon Architects
“The ambition has been to create an architecture without barriers and thresholds that can also contribute to togetherness and understanding at a societal level,” says Grant Amon.
The Victorian Pride Centre is a robust building primarily made of concrete, forming a strong and protective shell. Accessibility characterises the Victorian Pride Centre from the outside in. Through large glass sections facing the street, the building opens up in a welcoming way. Inside, you feel enclosed and safe. A stunning 18 m high egg-shaped centrepiece frames the Atrium staircase and enhances the feeling of being embraced, connecting all circulation within the complex.
A building with concrete from floor to ceiling is challenging, and places high demands on acoustic solutions. The sound environment has been an important challenge that has been worked on in several different ways. The architects have created an infrastructure of tunnels or conceptual tubes that run through the building and connect the different parts. So, in addition to traditional sound absorbents in the ceiling and on the walls, a sound-absorbing product was needed that could be shaped to work in the arched tunnels.
Fade was the only product that could meet our requirements when it comes to look as well as sound. The flexibility of the acoustic plaster enables a greater freedom of expression in the architecture.Architect Grant Amon, Grant Amon Architects
The sound engineer introduced Ecophon Fade™ and it turned out to be a very successful choice. The 1″ thick acoustic plaster system formed the cover over pre-formed vaulted ceilings, finishing the impressive tubular vaults. In the Gallery, the ceiling structure seamlessly meets the curved walls, clad in a more durable plaster material that allows the walls to be used for different purposes and display of art.
“Fade was actually the only product that could meet our requirements when it comes to look as well as sound. The flexibility of the acoustic plaster enables a greater freedom of expression in the architecture,” says Grant Amon.
The raw, industrial feel is softened by materials such as timber and some coloured tiles in amenity areas. However, not so much colour has been used overall. Anyone expecting to be greeted by a burst of rainbow colours may be disappointed. It has been left to the users and their activities to express themselves and add colour to the building.
When developing the Victorian Pride Centre, “building the unfinished” has been a theme for the architects. A multilayered experience that continues to be created, just like the struggle toward equity, freedom and fellowship is ongoing.