Wysing Arts Centre by Hawkins Brown

Turning a sharp corner amid the farms and fields just outside Cambridge, you are confronted by a small black box of a building with its back facing you, situated humbly at the base of a small hill and nudging up against a Tudor-style farm cottage. The Wysing Arts Centre, probably not unlike the artists it houses and exhibits, is all about
insularity. Pull into a short drive off the B1046 between Bourn and Longstowe, and you'll find the building opens on to a small courtyard bordered by a series of sheds.

One is a storage barn now used as studio spaces and café; another a large, single-room shed that now acts as Wysing's on-site gallery. Hawkins Brown, known for its work on housing schemes such as Culverin Court in north London (AJ 26.10.06), and for leading the redevelopment of central London's Parliament Square, has created the two new blacksurfaced additions: the largest box, which contains 10 new studios, and a smaller entrance building for the existing gallery.

The centre is unassuming and the architecture harmless – sporting a quaint rural vocabulary that at times makes you feel like you're in an old Western movie. The most immediately obvious decoration on the larger building is a series of louvered panelsthat resemble giant window shutters, and are interspersed between floor-high glass panels.

The buildings are black and a bit shiny – an almost unnecessary contemporary touch in a project that errs on the side of kitsch. Kitsch like the wood-clad frame you enter through to access the entrance building. This
frame, softwood panels arranged in vertical bands like the slats of a two-by-four fence, is straight-up country. The extruded box forms a small porch through which to enter.

The wood's colour scheme is a literal nod to the setting: the exterior of the frame is a dusty green while the interior is a mustard-yellow – both are meant to evoke the fields beyond and continue the country theme. You half expect to walk in to see a pie cooling on the counter rather than a member of the centre's staff. While not brilliant from the outside, these colours work against the clinical greys and whites of the interior, which features hanging spherical light fixtures and concrete floors; all clean and innocuous minus the awkward wood.

Past the desk is the majority of the building: a largely untreated room with an exposed truss system featuring a compressed lower cord that works with the structural soffit. This soffit, a structural-steel liner-tray, spans between trusses and posts, stiffening the building's structure. The room is meant to be a flexible space to host a range of activities, from events to classes. The two longer walls of the room are glazed. One side looks out on to the centre's main courtyard; the other on to the small hill at the bottom of which the
centre stands.

The wooden frame that brings visitors to the main entrance continues through the larger volume to the back, creating a series of small, low-ceilinged service rooms, and frames the back exit. On the back wall, though, the timber frame continues above and down the side of the glazed wall.

Between these service rooms on the east wall of the entrance building stands a narrow hall that terminates at a rather solid-looking door. Through the door is a trapezoidal hallway that angles to the right and opens on to the main gallery space. This gallery predated the involvement of Hawkins Brown, which was responsible only for the connection between the two buildings. The irregular shape of the hall and ramp leading to the gallery are a nice counterpoint to the straightforwardness of the entrance building.

The entrance building and Hawkins Brown's studio building have an awkward visual connection – working within the
vocabulary of the courtyard and emphasising that the site is really an arbitrary compilation of buildings scattered about the plot. The architect was initially commissioned to work on the expanded studio building, and only later commissioned to work on the reception building. This could account for the latter's rather tacked-on placement, but something about the askance relationship between the buildings works – the lack of an overlyordered arrangement makes it feel as though the new additions have developed naturally.

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