Architecture
The Bluecoat is built in brick with painted stone dressings and a slate roof. It encloses three sides of a quadrangle and is separated from School Lane by a low wall with railings and gatepiers. The central block of five bays has two storeys with round-arched windows; the central three bays project forwards under a pediment containing a clock. On the roof is an octagonal cupola with round-arched openings, attached Ionic columns and a copper cap with a finial. The wings have three storeys; they are eleven bays long and one bay wide. On the ground and first floor the windows are square-headed while those on the top floor are oval. The end elevations have arched windows which match the central block. All the large windows have keystones with cherubs' heads. The main door in the centre of the central block has Ionic columns with a broken pediment containing a cartouche of the arms of Liverpool. Each wing has three square-headed doors approached by steps. The wall, railings and gatepiers on School Lane are also listed Grade I.
Between 2005 and 2008 the building was renovated and a new 2250 square metre extension was added at a cost of £14 million, the architects being BIQ Architecten. The architects found that there were 32 different floor levels in the old building. They carried out much structural change to produce exhibition areas with better accessibility. The new extension is built mainly in brick to link with the old building, although it has a copper roof and more modern materials internally. The new wing houses a flexible performance area and four art galleries. In addition to performance areas and art galleries, the complex provides studios for artists and craftspeople, a restaurant and a café and a number of retail outlets.
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“I don’t think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.”
—Roy Lichtenstein (b. 1923)
“The two elements the traveler first captures in the big city are extrahuman architecture and furious rhythm. Geometry and anguish. At first glance, the rhythm may be confused with gaiety, but when you look more closely at the mechanism of social life and the painful slavery of both men and machines, you see that it is nothing but a kind of typical, empty anguish that makes even crime and gangs forgivable means of escape.”
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“They can do without architecture who have no olives nor wines in the cellar.”
—Henry David Thoreau (1817–1862)