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Our ever-changing society has a strong impact on processes in architectural practice. The communication network is expanding and simplifying, following the phenomenon of globalization in which we are all “neighbors” seeking answers to the same questions. Distances are being erased, and we operate similarly in all parts of the world, more quickly and spontaneously. The traditional way of working and the role of the architect are changing.

The Old Red Bus Station is a project for the revitalization of the premises of the old bus station into a multifunctional space for cultural public events by the Champion Up North association. The building involved in the intervention is located in Leeds, built in 1936, and its primary function was completely relocated about twenty years ago. Since then, it has been left to decay and was added to the list of buildings scheduled for demolition to make way for the construction of the Victoria Gate Development. The space was available for a five-year temporary lease.

The planned space includes the association’s workspaces, a café bar, concert halls, a canteen, and auxiliary spaces that support the main function. The architect was primarily engaged to explore the possibilities of organizing the space with several constraints: distance, a short execution deadline, the possibility of quick occupancy and use of the space, a limited furnishing process with a nonexistent budget, and execution based on the DIY principle with minimal involvement of professionals.

The intention of the project was to set the general framework for the future activities of the users. Instead of a detailed, author-signed interior, the architecture becomes flexible and transforms into an open, continuous process that consciously gives the user the freedom to intervene and, at certain stages of development, has the ability to accept desired changes. Processes are aimed to be accelerated, solutions focus on the quality of the space, while details are intentionally simplified to accommodate non-professional execution.

The concept of “in process” symbolically used construction elements, whose positions are mobilized over time and ultimately remain permanent in some locations. Temporary setups transform into permanent ones or disappear completely. This approach enabled the parallel process of furnishing and using the space, with the space appearing complete at all stages of operation through constant changes and (re)construction. The flexibility of the furnishing process allowed for the creative involvement of local cultural scene actors, resulting in their connection and the perception of new spaces and content as their own playground for activities.

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