The new building complements a complex of late Victorian and post-war buildings. Like most modern university buildings, it should encourage students of different specialties to collaborate through a variety of public spaces, outdoor studios and exhibition areas. But his architectural project itself became a model of cooperation: after all, architects worked with customers of creative professions on a building intended for training artists and designers of various specialties - from graphic artists to fashion designers. Therefore, as its authors admit, the project has greatly benefited from these lively discussions, "rework" of ideas and a variety of experiments and tests.
The new building consists of two parts. The aforementioned open studios, workshops and classrooms form the Design Shed, which connects the Vertical Gallery with the adjacent 1960s multi-storey building (its Feilden Clegg Bradley Studios has been renovated), where students exhibit their work. … It also serves as an external showcase for the entire School of the Arts.
The interior is dominated by concrete of four shades. In particular, unpainted concrete with a rough surface was left for service stairs, and in the center of the building four columns received a relief pattern, repeating the wallpaper pattern of the early 20th century, created by the member of the Arts and Crafts movement Lewis Foreman Day. In the Vertical Gallery, concrete surrounds are set off by white oak wood, which is sheathed with numerous staircases and bridges.
