Joshua Page is an architectural assistant based in London. He completed Part II and I studies at the Macintosh School of Architecture and the University of Bath, where his final project Alma-Mater recieved a nomination for the RIBA Bronze Medal. He has worked for several architectural offices, including Hopkins Architects, where he focussed on the planning and detailed design of both educational and public projects.


His work is focused on the idea of plurality, and the spatial and material relationships that result from it. Pluralism is a social and political philosophy that is centred on the understanding of society as a heterogeneous collection of overlapping social groups, each with their own irreducibly different identities and interests. This pertinent theme is fundamental to the Western ideals of a liberal democratic system, yet the rejection of it is the crux of innumerable global crises.

The acceptance of pluralism means the commitment to sharing a physical and political space with others who we see as equal. It is inherently spatial, and thus inherently architectural. The tension and conflict that result from the negotiation of opposing values is the point of departure for my architectural discourse.


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Pluralistic Theatre

How can a contemporary theatre address the pluralism that is inherent in urban life?

Exploded Axonometric 


The city is read as a collection distinct societies and our civic spaces as the sites of encounter between them. In an internationally accessible world, the diversity of these societies is increasing. Inherently, with greater disparity comes conflicting ideas, beliefs and values. A civic space must open for inhabitation by anyone, embracing and highlighting our differences, in pursuit of ultimately becoming a place where our differences can gather.

Internal Street


The proposal is for a contemporary theatre in Glasgow, that embodies the plurality of society in its programme, form and tectonic design. The site is in Broomielaw, central Glasgow, facing onto the River Clyde and attached to the Central Station. The programme is an amalgamation of the community centre and the civic theatre typology. Traditionally theatre was both a high and low class medium. In some working class communities the theatre presented the opportunity for open discussion by highlighting the social challenges of the time. The proposal is charged through the dynamic relationship between interactive performance and the vibrant inhabitation of the community centre. The programme is separated into three performance spaces: the civic theatre (for large scale formal performance and lectures), pedagogical theatre (for fringe and forum interactive performance), and debate chamber (for open public discussion). The theatre programme is balanced by informal community spaces for public and private meeting. The two programmes are overlapped and compressed in one building; providing the opportunity for conflictual exchange.

Giovanni Mansueti's 'Miracle of the Relic of the Holy Cross in Campo San Lio' - The town square is represented as a place of exchange and interaction. The public activity is shown as a performance, whilst the private spectators are at once involved and detached from their balconies. This civic quality was the inspiration behind the basic organisation. (Image Source: https://www.wga.hu/html_m/m/mansueti/miracl7.html)


The proposal creates a series of distinct enclosures that each contain a programmatic component. These autonomous forms are clustered around a central public square, which opens out to the concourse of Glasgow's central station. An internal skylit atrium divides the plan, creating a threshold between community centre and theatre. The public square doubles as the debate chamber, which enables the public flowing through to be at once spectators and actors in the performance. This route becomes a new gateway into the city, and the site of conflict between the public and the community. The civic and pedagogical theaters open out onto the debate chamber, creating a dynamic spatial relationship between the three performance spaces. Through stepped levels and expansive double height openings, the distinct facades of each space can be opened out, creating the effect of the backdrop to a town square.

Glasgow City Centre

Glasgow Central Station Nolli Plan

Floor Plans - The plan is read as a city of spaces, with each part of the programme defining its own form and materiality.

Long Section - The three theatres are connected on the first floor and open out to the concourse of Glasgow central station, creating a new entry point into the city. As the public pass through the central theatre they become part of the performance that surrounds them.

Oswald Street Elevation - The original riverfront facade is maintained, creating a clear delineation between the front and back of house programmes.

Glasgow Central Approach

Performance on the Concourse


Tectonically, the building acts as a city, with each space functioning as an independent object with a distinct language. Brick is utilised to create a solid enclosure, inside of which are nested the three performance spaces, which are constructed from lightweight LVL frames. Larch softwood is used to line the masonry shell, to soften the interaction at a human scale. Each distinct space is separated by a void of natural light, to heighten the juxtaposition between tectonic languages.  This creates the impression that you are passing between a city of spaces within the city.

Sir John Soane’s Bank of England (1800-1833) - A building as a city (Image Source: https://caruso.arch.ethz.ch/archive/references/location/london/project/194)

Detailed Section

Facade Bay

Structural Bay - Hollow masonry columns are utilised to support the ribbed concrete deck floor, and provide natural ventilation from the basement hypocaust, and allow the vertical distribution of servicing.