Category: Event Report

Reflections on the Talk: 85 Gracechurch Street

Architecture is at its most compelling when it not only responds to context but actively reshapes it, carrying the past into the present while opening doors to the future. Last Tuesday’s talk on 85 Gracechurch Street delivered on this, offering an inspiring glimpse into a landmark scheme that sits at the meeting point of ancient history, London’s history and forward-looking design.

TBC . London: going for green and social impact

What is probably the best view of the City core’s cluster, CAF members agreed on their recent tour, is now available from the northern roof terrace of TBC.London – an environmentally and socially impactful remodelling of an unlovely 1980s building at 224-226 Tower Bridge Road, south-east of Tower Bridge that also fronts Shad Thames. Developed by FORE Partnership and designed by architects Stiff + Trevillion the original building was bought from an owner occupier in 2018 with development starting during the pandemic. FORE is an interesting developer operating in the UK and Europe, run by Managing Partner Basil Demeroutis. The company is one of a handful of property B-Corps, describing itself as “a purpose-driven, real estate investment firm with a holistic approach to carbon reduction, design, technology, and community”. These are comprehensively addressed in TBC.London, as the 110,386 sq ft (NIA), eight-storey scheme has been renamed (it was formerly Tower Bridge Court). It is 100%-electric in use, so no fossil fuels are required and will be net zero carbon in operation. Each of the two million items used in the building’s refurbishment and re-use were measured using a piece of AI-driven tech to obtain accurate carbon measurement, Demeroutis told CAF members. Much of the existing building’s frame was reused, and where the new double height reception has been created and existing floors extended, 20 tonnes of 1930s steel beams were salvaged from the former House of Fraser store on Oxford Street and re-used in TBC, saving an estimated 48 tonnes of CO2 compared with using new steelwork. The cost of doing this – salvaging, storing, cleaning, re-engineering, transporting, installing, etc – was roughly equivalent to using new steels. The carbon saving equated to the annual carbon absorbed by 20 acres of trees. Steel re-used made up 10% of the building. The building achieves NABERS 5.0*, BREEAM Outstanding, WELL and Wired Score Platinum ratings. ‘It will be in the top handful of buildings in Europe,’ boasts the TBC.London website. TBC.London has been confirmed as operating at 31.5 kWh/m2 EUI, or at least 30% better than the UKGBC (UK Green Building Council) 2025 target, using 71% less energy than a typical office building, and 78% less than Part L regulations require. Fore promise more precise measurements when the building is fully let and operational. Four floors of office space are already pre-let, prior to the scheme’s recent practical completion, to wealth management advisor Allfunds and accounting software company Sage. There is 40,000 sq ft available to let, across part first, second, fifth and the smaller eighth floor. Food retailer Blend has taken the 16,000 sq ft food hall space at the lower level, enjoying a corner frontage to Shad Thames. That total project went from 68,000 sq ft to 110,000 sq ft – a substantial 60% uplift on the previous lettable space in the building. And the whole development should make a substantial contribution to boosting activity in Shad Thames and on the Thames waterfront. Focusing on the ‘S’ for social impact, the building also includes a 3,300 ft  ‘urban village hall’, a communal space for local charities and social groups to use for whatever purpose they want. A feature that Fore tries to include in all its schemes, for use also by the occupiers of the building. There are 159 basement cycle parking spaces, including a bike shower and repair space, and showers/wc’s/lockers for changing. The reception takes up a further 3,012 sq ft and there is an 1,860 sq ft clubroom on the 7th floor which features the spectacular terrace overlooking Tower Bridge and the City across the river. Stiff and Trevillion’s design is an enhancement to the Tower Bridge Conservation Area, feeling much more in keeping with its environs. The lower brick clad element to the north establishes a successful and very close relationship with the brick engine rooms for the bridge, while the curved corner between Shad Thames and Horseleydown Lane that sits above the foodhall manages to give this junction a feeling of more space. The ground floor treatment with heavy steel beams and warehouse style columns adds to the Shad Thames feel.  The taller office element fronting Tower Bridge Road is set back nicely also adding a more spacious feel to this part of the busy road and helps frame the taller part of the scheme. The elevation treatment provides a much more ordered workspace elevation than its Po-Mo predecessor. TBC . London has 159 bike spaces, a bike wash and repair space Thanks to FORE Partnership and the team at Stiff + Trevillion for enabling the tour.

‘Destination in the sky’ – One Undershaft

The sudden emptying of streets in the Pandemic meant ‘we started to think harder about the human elements of the City in that pause’, said Eric Parry, newly minted CBE in this year’s Birthday Honours, introducing One Undershaft to Forum members and guests at his practice’s Old Street offices. Having won planning committee approval last December, the revised 1.26m sq ft scheme is now on site. Unlike most of Eric Parry Architects’ previous work across many building types, however, the revised design of One Undershaft failed to please the architectural critics when unveiled last August. Typically, there were no complaints or comments about this in his presentation.   The practice’s previous design, approved in 2016 for Singaporean developer Aroland, was a slender square-plan tower, tapering as it rose to a similar height as the new design and was nicknamed The Trellis for the structure’s criss-cross expression on its facades. Parry’s new design does its utmost to deliver the City Corporation’s ambition of ‘Destination City’, now engraved as the core policy of its City Plan 2040 and soon to conclude its Examination in Public. It increases office floorspace in a reducing series of stratified office elements that sandwich or support several two-storey public and occupier-shared amenity layers.   The topmost element of the design replicates the height and square plan of the previous design, and also retains the classical ‘entasis’, a visually-pleasing tapering effect (also used by Lutyens on the Cenotaph). One Undershaft replaces the demolished Commercial Union Tower, guardian since 1969 of St Helen’s Square which it overlooked. A well-crafted relic of mid 20th Century Modernism designed by Gollins Melvin Ward, it was a fine Miesian tribute, if rather severe. But neither it, nor the earlier 2016 scheme, offered so much ‘human’ or public amenity, other than their presence and appearance as refined sculptural ‘objects’ within the City cluster, providing almost solely offices. One Undershaft is a more complex urban response to the City’s new planning agenda and post-Covid cultural drivers in how we live and work. All major schemes have to evolve during their long gestation – time being the old enemy to any developer’s equation. Schemes usually need to get bigger to restore viability and deliver enhanced amenity. And if it isn’t appropriate or viable to go taller, then something needs to happen in the mid-section to improve viability and fund amenity. What helps manage this evolutionary process in the City, said Parry, are the many, many ‘conversations’ enabled between all parties to hone a project captured by radical changes in circumstances. These ensure future need is addressed when required and opportunity knocks. Parry observed such intense and productive creative exchanges were not customary in other European cities. That is traditionally how the City remakes itself and keeps it alive. The new scheme will provide 1.26m sq ft of all-electric offices, possibly by 2031 – equivalent to 10% of the new office space that is required, estimated by City planners. The market is currently favourable. Expanded mid-section elements of office space extend over St Helen’s Square, and as recompense a new upper public podium garden has been introduced on Level 11, projecting out over the remodelled square. The podium garden features a central glazed oculus that can be walked upon, for those of an adventurous disposition. Its tongue-like form also attracted much comment. A 35% uplift in total public realm for ground level improvements and the podium garden is claimed. The two top floors, finished in red, London’s traditional colour, will signal to the whole city, and are reserved for a viewing gallery combined with an outpost of the London Museum. ‘London kids will be able to get a glimpse of Margate on a clear day,’ quipped Parry. Structure, colour and materiality of the new scheme should distinguish it strongly from nearby buildings. ‘It is a white building,’ said Parry, pointing to a sample of the proposed brise-soleil and spandrel cladding elements. ‘We didn’t want another all-glass building.’ The wrapped fractal ‘skin’ of the podium, also white, should prove usefully reflective. The cool colouring and dominant horizontality of the façade treatment will contrast strongly with the verticality and orange rust-finish of the nine exposed and enormous Corten steel ‘redwood trees’ that surround and support the whole edifice as it rises 74 floors to almost 300m. That’s similar in height to the Shard – and the Eiffel Tower – which, even on a clear day, you may still have to picture for yourselves. With thanks to Eric Parry Architects for hosting.

40 Leadenhall: More of the Metropolis

Image courtesy of Make Architects On a sun-drenched afternoon in early April, members of the City Architecture Forum filtered through the thirsty Leadenhall Market to arrive at an exclusive tour of 40 Leadenhall. A striking and unavoidable new presence on the City’s skyline and one of the most ambitious commercial developments to emerge in the Square Mile in recent years. Once dubbed ‘Gotham City’, 40 Leadenhall commands attention not with height alone, but through the boldness of its architectural language: a series of layered volumes stepping skyward with geometric poise; aptly bookending the cluster. Designed by Make Architects and developed by M&G Real Estate with Nuveen Real Estate, the scheme delivers over 900,000 sq ft net of high performing office space across a dynamic, and a tiered form providing many outdoor spaces (17 to be precise). The tour, guided by Cara Bamford of Make Architects and Andrew Todman of Gleeds (formerly Avison Young), presented a rare opportunity to step inside this landmark and gain an intimate insight into the project’s vision, complexity, and delivery. From the ground up The group gathered at the building’s generous north entrance where light danced off orthodox façades and crisp lines invited the eye upward. Already, the building makes a statement, not just as a feat of scale, but as a symbol of modernity rooted in context. The structure sits comfortably among the City’s evolving ensemble of towers, yet carves out its own identity through thoughtful massing, refined materiality, and intelligent urban response – almost naturally integrating with the history of the streets. Our hosts began the tour with an overview of the site’s history, the constraints and opportunities of its central location, and the conceptual principles that shaped the architectural form. It quickly became evident that this was not simply a tall building; it is the result of laborious design thinking, strategic collaboration, and confidence in the city, even with COVID-19 shutdowns looming upon breaking ground. Tall oaks from little acorns grow As we moved through the internal spaces, Cara described the design team’s ambition to create a new model for high density and high-quality workplace environments. The tiered form not only creates a dramatic external silhouette, it responds to light, views, and urban grain, preserving key sightlines while allowing natural daylight to permeate deep into the floorplates. Inside, the sense of volume is palpable, with the receptions boasting up to 8.5m of floor-to-ceiling height space. Consistent and expansive floorplates offer flexibility for a range of occupiers, while triple-height spaces and high-performance glazing create a feeling of openness rarely found at such a scale. The internal planning reflects contemporary demands for adaptability, wellness, and energy efficiency. Every decision, from materials to mechanical systems, has been approached with performance and longevity in mind. For instance, the floorplate had been designed to split into three, yet out of the 34 storeys, only two have taken this route – which is testament to the obsession of open-plan and the scale of tenancy. Principle project management  Andrew then brought the conversation into the realm of project management and delivery. From what appears to be back-to-front procurement strategies to construction logistics, he shared the challenges of carrying a project of this magnitude in the heart of one of the world’s busiest business districts, and how the unique order of packages enabled a much tighter programme in the long-run. He spoke to the sheer complexity of the build, including the coordination of multiple work streams, the interface with neighbouring structures, and the need for constant collaboration between consultants, contractors, and stakeholders. He offered insight into how the team navigated programme pressures, supply chain dynamics, and technical innovations to maintain momentum and quality throughout. What shone through was a deep commitment to both precision and partnership on the foundation of a digitally native toolkit. The success of 40 Leadenhall is not just a story of architectural ambition, it is a triumph of orchestration, in a scale of bedlam that should not work on paper. Sustainability and the future workplace A core focus of the tour was the building’s sustainability credentials. In a landscape where the environmental performance of new developments is under increasing (and justified) scrutiny, 40 Leadenhall stands as a benchmark. The design prioritises operational energy efficiency, with high-performance façades, intelligent systems, and the ability to adapt to future technological advances. Cara and Andrew both emphasised the long-term thinking embedded in the project. Rather than designing for immediate occupancy alone, the scheme has been crafted to evolve with its tenants; flexibility in services, floor layouts, and building systems means the spaces can adapt as user needs change. This forward-thinking approach reflects a broader shift in how we conceive workplace buildings, not just as static shells, but as living frameworks capable of supporting diverse and sustainable modes of working. The power of perspective Perhaps most compelling was the chance to experience the building at multiple levels. From street to summit, the tour revealed a project in dialogue with its context at every scale. At ground level, generous public realm interventions create a welcoming threshold; mid-rise terraces and setbacks offer moments of pause and reflection; from upper floors, sweeping views across the City underscore the building’s place in the skyline. Not to mention, the beautiful restoration and integration with Grade-II listed heritage building, 19-21 Billiter Street, forming an intrinsic part of the overall development with a restaurant as well as wellness facilities for building users For many attending, the highlight was the chance to witness firsthand how each architectural gesture (each panel, joint, and junction) tells part of a broader story. These were not generic office floors, but carefully choreographed spaces, shaped by insight and shaped for impact. Closing comments  The feedback from members was unanimous: this was a tour that offered true depth. The level of access, combined with the candour and clarity of our hosts, made for an enriching and memorable afternoon. Many remarked on the precision with which both Cara and Andrew articulated the journey from concept to completion, a rare […]

Bishopsgate Goodsyard: Where the buddleia reigns… for now

“East is best, the West is the rest” was a saying in Shoreditch’s artist-led renaissance back in the 1990s, affirmation that a new place was emerging. We’re talking pre-Tea Building and way before Shoreditch House opened in 2007 – when nearly all buildings in Hoxton Square were vacant. Times were tough and interest rates went over 10%, remember that? Shoreditch was fun – rapidly filling with “cultural migrants” – young people from elsewhere finding a place in the capital, a deserted canvas with affordable spaces for uneconomic, experimental activity. Most of the artists who moved in then have sold up and moved out, especially the YBAs who made it big. Now the coast is clear for developers to complete the job, times are tough again, but may be improving. Last June CAF visited Norton Folgate, now complete. In February we toured the nascent Truman Brewery development. And this month we visited the 4.5 hectare Bishopsgate Goodsyard, the largest of central London’s unregenerated sites. The tour was led by CAF member and local architect Chris Dyson and Hammerson’s development manager Tony Coughlan. Chris is working on the Goodsyard’s proposed new cultural building and retained buildings including a mission hall and Huguenot weavers’ houses on Sclater Street. Put Norton Folgate, Truman and the Goodsyard together, amid all the development round about, and perhaps it is time to think about what this transborder patch, once disparagingly referred to as “The City Fringe”, might eventually become. Three sites that will transform the trans-borough “City fringe (with Norton Folgate in red at centre left) Techies and affluent others have taken over Shoreditch and much of the City, reinventing banking and everything else. The Revenge of the Nerds is driving demand and increasing rents which will recast and reinvent much of the area, perhaps stretching from Farringdon in the west to beyond Brick Lane and up to London Fields and even unto Mare Street in Hackney. London is doing what it always has – reinventing itself, making new economies and remaking its places to suit. It begs the questions of how long and how far will this effect travel, and should you be building offices or homes to optimise cash flow? Hackney for one has been keen to see major offices on the business end of the site. Some local groups expressed a different view. For most Londoners the lower and upper worlds of Bishopsgate Goodsyard have been forbidden since 1964 when a fire wrecked station, depot and elevated goodsyard. The 1840 Victorian complex closed and became a forgotten citadel. Members walked up the steep cobbled ramp overlooking the mainline rail cutting running into Liverpool Street and over Bishopsgate, having emerged from the vast underbelly of the Goodsyard’s arches onto the “railway field” as it was called.  This was where produce and goods arrived from East Anglia for sale before being distributed to Spitalfields vegetable market. Now the “developer’s friend” – wild buddleia reigns supreme, while surrounding new towers loom over. A start date for Hammerson and Ballymore’s main construction works mooted last year has now become “possibly” later this year, planning approval for the reserved matters application having been won for Building 1 (Gensler and Buckley Gray Yeoman) in November 2024 from Hackney and Tower Hamlets. Any hesitancy about pushing the button on this “Saturn 5” rocket of a scheme – up to 500 homes, 1.4m sq ft of offices, a 2.6 acre park, restaurants, retail and leisure, plus two culture spaces and a ten year delivery plan – in current circumstances is understandable. Ballymore and Hammerson are probably hoping a pre-let might turn up for one of the three major office buildings proposed for the western end of the schem1.4. And they might get lucky as the workspace market in the City and surrounds is looking increasingly healthy.      Two phases are likely to commence to start with, one office plot and either one residential plot or the cultural building, designed by Chris Dyson Architects, along with some retail space, depending on how the market for these uses evolves in coming months. Four phases overall is current thinking. The Goodsyard will be one of the more unusual and intriguing schemes in London when built, as FaulknerBrowns’ masterplan shows. The scheme’s east-west linear “striations” dictated by the long site plan and retained Victorian infrastructure generating large differences in levels, and its “razor back” built form, quickly diminishing in height from Bishopsgate to Brick Lane in the east give it a unique form and a complex connectivity, especially from north to south across the level changes.  A total of c. six acres of public realm is included. What will the elevated public green spaces, designed by Spacehub, feel like and how will the developers manage to fill and make attractive all of the large conserved arches underneath? Will a cohesive community composed of residents, with 50% of the c.500  homes being affordable, and employees working in the 1.4m sq ft of offices be formed, and will the scheme integrate with its rapidly morphing surrounds – a key goal of the masterplan. The growing shortage of major buildings to let in the City is surely a good omen that six decades of waiting for The Goodsyard’s second coming is nearly over and answers to those questions will soon be arriving at the former station.

Mixed outlook for Truman Brewery

The 4 ha Truman Brewery site which members visited in February, courtesy of development manager Grow Places, like British Land’s nearby Norton Folgate site, has proved controversial and is the subject of three planning applications now in public consultation. Founded in 1666 and the world’s largest brewery by 1873 before its closure in 1989, the site lies at the heart of Spitalfields and the Brick Lane neighbourhood. A coalition of community groups established the Save Brick Lane Campaign to contest the site’s regeneration. Proposed new development will cover 1.2ha of the site, chiefly on the undeveloped parts to the east of Brick Lane. The scheme is being run under ‘The Truman Brewery’ brand. Numerous retained buildings occupy the rest of the site, some of historic value, like the boiler house with the famous landmark ‘Truman’ chimney. Above: The emerging masterplan The western part of the site now hosts creative businesses, independent shops, exhibition and event spaces, bars, cafes and restaurants and is a buzzy established part of the Brick Lane/Shoreditch scene. The eastern half remains more closed off by virtue of a perimeter wall to the north and east. Three detailed planning applications for the proposed new elements, west and east of Brick Lane, totalling 1.2ha, are now with Tower Hamlets’ planners who have been considering them since August 2024. Details are available on www.trumanbreweryconsultation.co.uk. The scheme is being managed by development manager Grow Places, led by Tom Larsson, formerly of Stanhope. Also presenting new proposals were Giles Charlton of landscape architects Spacehub and one of the architectural practices involved, Amr Assaad, director of Buckley Gray Yeoman (BGY). ‘Informal change and growth,’ has been the approach, creating new uses on the inactive parts of the estate, driven by the ‘clustering’ of users and visitors and the ‘network’ effect arising from new uses introduced. The bottom line of Grow Places’ approach seems to be: ‘How do we not fuck this place up?’ as Tom Larsson put it, somewhat earthily. Pick a team of local architects, seems to be the answer. The design team includes BGY as masterplanner and architect, Carmody Groarke, Morris + Company Chris Dyson Architects and Henley Halebrown. All are known for their ‘sensitive’ contemporary approach. The object from the start of the brewery’s new life has been to create a commercial and cultural hub, but large areas of the site have yet to realise their full potential and the benefits this could bring to area. Notably some of the large hard-standing areas, hidden from view for hundreds of years where barrels of beer were stored for national distribution. It’s here the majority of new buildings are proposed. New and retained/refurbed buildings are distributed around two new narrow ‘yards’. Chimney Yard to the east of the Truman chimney above the listed boiler house, and then further east, Cooperage Yard in front of the retained listed cooperage. New links from these spaces are created to Buxton Street to the north and Spital Street to the east, where the current Banglatown cash and carry warehouse, a distinctive local retailer, will be relocated in a new building. Above left: View looking south from Allen Park. Two workspace buildings by Morris + Company on Buxton Street Above right: View west with, left of pic, new residental building by Henley Halebrown, including new ground floor Banglatown store Images of each of the new buildings illustrate their relatively modest scale, in keeping with existing retained buildings and the site’s surrounds, and a materiality that is sensitive in terms of colour and form to that of the site and the neighbourhood’s industrial heritage. Brick predominates in a range of hues. Buildings are robust, orthogonal , softened by detailing, and their chamfered shapes, generating a familial resemblance. The overall effect should make it harder to judge where the neighbourhood stops and the Brewery begins, knitting the site back into its Brick Lane fabric. Above left: Cooperage Yard, with buildings by BGY and Carmody Groarke Above right: Spital Street on the site’s eastern edge, with new public entrance to Cooperage Yard Proposed uses are very mixed and distributed around buildings and spaces. Affordable housing, affordable workspace, retail and community spaces are included. Cinema, exhibition, events, and market spaces are also proposed, with cafés and restaurants (although locals were keen to limit new competition for Brick Lane’s famous eateries). On the western extremity of the site two new blocks designed by Morris + Company will include workspace and a date centre. Some of the smaller buildings on the eastern part, by Carmody Groarke, and other elements will be timber-framed, or concrete-timber hybrids. All are designed with flexibility in mind, and the delivery of services and buildings in phases. The Truman chimney will still dominate. Cheers!

A Visit to Panorama St Paul’s

Panorama St Paul’s is an ambitious adaptive reuse project developed by Orion, transforming a substantial office building in the heart of London. Before visiting, I had heard a bit about the project from the architects, and chat in the market – particularly around HSBC’s pre-let – so was wondering what the fuss was all about. Upon arrival at the site, there was a long walk along safe routes to the site meeting rooms, which allowed a cheeky preview of the types of interventions that the building has seen, hinting at the extensive work being done. After a presentation from Paul Simovic (Principal at architects KPF) and Louis Harrison (Project Director at Mace), and now fully clad in PPE, I was eager to see the changes up close. The existing building – 81 Newgate – dates from the early 1980s, and was designed by the government’s Property Services Agency for BT. The existing cores were in the ‘wrong place’ for modern office use, leading to short core-to-glass distances. During the tour, we saw how new cores had been formed within previous atrium space, creating deeper floor plates and enhancing future flexibility. Through extensive reuse of structural and façade materials, the up-front carbon of the scheme has been estimated to be less than half that of the equivalent new-build. As well as designing alterations to the concrete frame, structural engineers AKT II have designed a new steel frame with composite slabs to infill the south-west quadrant of the building. By demolishing several storeys of heavier reinforced concrete flat slabs and rebuilding using a lighter construction, four additional floors could be added whilst avoiding changes to the foundations. We observed how these new elements connected with the existing frame, using a range of some ingeniously elegant and some awkwardly industrial connections, depending on how the constraints of levels and existing reinforcement density at these interfaces have conspired to help or hinder the design. One of the most impressive aspects of the project is the reuse of stone. The previous building was clad in hand-set stone, of which 95% has been successfully recovered, cleaned and reused in the new precast façade.  This includes 388m3 of Portland stone and 37m3 of granite, with a new panel arrangement optimised to achieve such a high level of reuse. The project is nearing completion as a shell and core, allowing for HSBC’s fit-out team to complete the new office product. However, the new roof terraces are being completed in the base-build, with finishes and landscaping in progress during our visit. These private terraces are the standout feature of the building from a future occupant’s point-of-view, with the main roof offering stunning views of St Paul’s Cathedral and the skyline beyond. During construction, the client team instructed a significant change to improve the floor plate, by combining two grids of relatively closely-spaced columns into one. This has resulted in the creation of a enjoyably striking steelwork detail, with large shear heads cantilevered from the new columns to support the existing concrete slabs. I really hope that HSBC and their fit-out team retain some of the visibility of these details and the various interfaces between new and old, so generations of bankers to come can appreciate the history of the building and the clever technical solutions the construction industry has devised to grant 81 Newgate another life. 

Art & Architecture in the City

Artworks taking root within architectural and urban surroundings inspire us and challenge our thinking. Any doubts you may have had about their importance in our daily lives would have been lifted during last week’s talk on “Art and Architecture in the City”. Their production and their influence make for fascinating stories, from the structural prowess needed to hold up a sculpture, to public art events uplifting children’s lives as they become candid art critics. Successfully combining art and architecture takes a certain level of risk, and it’s well worth it. We heard different approaches through inspiring presentations interspersed with a lively and thoughtful discussion, wonderfully chaired by Michael Cassidy, in a packed lecture theatre at Temple Bar. Art and architecture come together in two different ways: by juxtaposition or being interwoven. A “sculpture at the entrance” type of juxtaposition, where the two form a dialogue and remain independent from each other, is exactly what happens at 23 Savile Row. Eric Parry presented the prominent sculpture by American sculptor Joel Shapiro which announces the building’s entrance, hovering above it as an abstract giant bird, as tall as two storeys high. On the other hand the Salisbury Square development integrates an entire façade of glass panels with colourful artwork by Shirazeh Houshiary, celebrating nature, to enliven what would have been the very hermetic street level frontage of the new Law courts – security taking over from transparency, for obvious reasons. To successfully embed an artwork into architecture, Eric Parry considers that architects cannot view their building to be the work of art. It is perhaps more nuanced. It takes confidence as well as boldness from everyone involved: the client, the artist and the architect, who need to work as a team towards one goal. And neither the architect nor the artist can be too precious either. When an artist’s work is so intertwined with the architect’s design, the boundary is blurred between the two: the artist’s work does not exist without the architecture, and the architect’s work is not complete without the artwork. As one of the largest employers in the City, Deutsche Bank are giving their staff visual wonders and food for thought, using walls of their new headquarters building at 21 Moorfields as a gallery displaying works from their collection. These are almost exclusively paper or photography, for practical reasons, they can be framed and protected. People lean on them. “The collection is there for people who work at the bank to engage in debates”, explains Mary Findlay, International Art Curator at the bank. Themes include post-colonialism, identity, climate crisis. The collection is now so vast it is stored in a separate facility outside London. But as part of the new building, the bank has also commissioned pieces from three contemporary artists on the themes of inclusion, Simeon Barclay, Claire Hopper and Rene Matić, for large pieces works integrated on some of the plain walls. “Art is a powerful tool, used to bridge cultural divides”, confirms Stella Ioannou of Lacuna, who presented the impressive 14-year-old Sculpture in the City programme which has supported some 137 artists, showing contemporary art in relation to contemporary architecture. Around themes such as Architecture as canvas, Street encounters, Looking up, Superscale, Civic engagement and Emerging artists are grafted a series of activations: dance workshops, tours, cocktail & create sessions, and perhaps the most impactful: “Little Art Critics “. Children are the art critics; you can trust them for speaking the truth. Stella told us the most moving story about one boy who gets bullied at school. His mother told her that whenever that happens, he watches the video of him speaking on the programme Little Art Critic, and that makes him feel better about himself. There are poetic works like the Kissing Gate by Maya Rose Edwards, to stop people in their steps; gigantic ones like The Good, The Bad, The Ugly by Jake and Dinos Chapman, that look minute in front of the Gherkin; intriguing ones like the translucent cube Pacific Red by Larry Bell. Public art cannot be precious: people will touch it, climb it, hug it, kick it, even lick it. Stella is certain some children must have licked the Pacific Red cube, it looks too much like a lollipop. All these works are temporary. This means you can take additional risks you wouldn’t be able to take if they were permanent. Risk in technique, such as Bridging Home by Do-Ho Suh’s, a house on a bridge, hanging over a TfL route and 4 lanes of traffic, atop a bridge which acts as a fire escape. And risk in content. When asked “what constitutes a successful art piece”, Stella becomes very thoughtful, takes a while to answer. Eventually, she tells the anecdote of how Martin Creed’s Work No. 2814, made of 48 plastic bags “blossoming” in a tree, became the subject of a furore. “How could you call this art ?” she was asked by one furious viewer who hated it, but eventually came to understand it and love it, walking past it for 10 months. We heard a lot from the curators and the architects during this talk. Next time, it would be wonderful to hear it all from the artists.

CAF Annual Dinner 2024: Delivering Destination City

The City Corporation will work “collaboratively and transparently” with developers, architects and their teams alongside businesses to deliver “Destination City”, the object of City Plan 2040, the new Director of Environment, Katie Stewart (below, middle right), told a packed City Architecture Forum annual dinner. 88 CAF members and guests filled the Mercer restaurant with a senior cohort of City politicians and officers including Planning and Transportation chair Shravan Joshi (above left), his deputy Graham Packham, and Planning and Development director Gwyn Richards. “It is about delivering a world leading business and leisure destination and a seven-day-a-week Square Mile. The tricky bit is how you deliver that on the ground,” she said, speaking alongside architecture critic and 20th Century Society chair, Hugh Pearman (above right). “We cannot be prescriptive about how we get there and it’s critical for this next era of the City’s development it is done in the same way as previous moments in its history – by the private and public sectors coming together.” She thought current issues were perhaps more challenging than previous crises. The City has to get a grasp on its emissions, on bio-diversity, on the impact of new AI technology, and not least the changes imposed by post-Covid working. We are still “frankly, working out what life and work post-Covid actually is”. “Destination City – although it [the City Plan 2040] doesn’t say it explicitly – is all about making the City fit for the future, resilient and sustainable – and not just environmentally. Activating the public realm at ground floor and at height, making all those spaces more inclusive, more exciting.” It was not a task the Corporation could deliver on its own, or without controversy given the historic built environment. “This is tough stuff” but the City will welcome “creative tensions” and is prepared to take “collective risks” because “without taking risks, we will not succeed”. The City’s team, politicians and officers, will work “collaboratively and transparently” with developers, she promised. With flexibility around policies such as change of use and locating tall buildings and how these impact the City’s built environment. The City would also seek a more “open and frank relationships” with its eight Business Improvement Districts (raised at a recent Policy and Resources Committee). And “we are working to understand what businesses really want out of the City,” she said. The Corporation wanted to build Team City of London – a working partnership between the Corporation, developers and businesses to help achieve Destination City. She concluded with a tribute to CAF’s co-founder  Michael Cassidy CBE, who will not seek re-election in the City’s elections in March and who helped establish and champion the Forum with incredible energy and enthusiasm, providing a place for discussion. The Forum she said was “a lasting legacy of his vision” which had “helped shape this fantastic city”. “I’m sure everyone here tonight is grateful for the contribution he’s made to the City.” “Temporary” solution for City offices Architecture critic, trustee and chair of the 20th Century Society, Hugh Pearman, provided a more “oblique” take on the City’s built environment, past and future including a list of buildings that, he said, were in the society’s sights for future listing.  “The City is not that old a place really is it?” he teased. “St Albans, Colchester and Canterbury have longer histories, despite impudent makeovers by the Romans. And like ancient Rome itself, this new town we’re in, is in a perpetual state of demolition and new building.” The best fun to be had when starting out as an “architectural hack” he said, was scouring planning applications to see what “hopeful monsters” were evolving. He found London Wall was often where developers and architect “let rip” and Terry Farrell’s Alban Gate development, he discovered, was only one of several proposals to bridge “that canyon” – “and I think luckily the only one. It should be listed but isn’t.” If London is a “city state” then the Square Mile can be regarded as “state within a state” – but what are its rules? Steeped in tradition, the paradox is it is “so unsentimental” about its buildings. And it is the toughest place to get a recent building listed, he said, or even a not-so-recent building. Visit Broadgate for example he suggested, described by Simon Bradley editor of Pevsner, as “far and away the best office precinct in London”, where there are now “only architectural fragments” of the original Arup and Peter Foggo-designed elements. “Turns out it just wasn’t good enough!” joked Pearman. One Finsbury Avenue, the remnant, he suggested should be upgraded from its Grade II listing to Grade II*. It was built in a time when it didn’t seem especially necessary to build tall, but today even James Stirling’s No 1 Poultry seems “positively modest” while Richard Rogers’ Lloyds of London even though it is quite tall, merely comes across as “big”. And the Gherkin is reduced to “a tiddler” he said. The City has always reinvented itself. And today “you don’t even need the excuse of a fire”. There are some “real peaches” of buildings now under threat he said: “There’s Farrell’s Alban Gate. There’s Denys Lasdun’s only surviving unlisted building – the extraordinary faceted emerald Milton Gate. And..the ultimate B-movie building, GMW’s Minster Court, of which architect Piers Gough was moved to remark “they do Gothic better than vampires”. “No one does quality kitsch like that anymore, and yes the 20th Century Society is being pressed to ask for it to be listed.” Perhaps the City had a special dispensation under planning law, considering its amazing churn in buildings. Like parts of a petro-chemical refinery that can change their structures within a curtilage without needing planning permission. But this isn’t the case, so Pearman had a proposal for the City. “Why don’t we stop pretending and declare all speculative office buildings in the City to be temporary structures? After all that’s what they seem to be. Instead make them lightweight, smaller, more sustainable, with recycled materials, […]

Hold the front page for Fleet Street’s renaissance

So the City Corporation sponsored the establishment of a fourth BID in the City, the Fleet Street Quarter Business Improvement District, which opened for business in 2022.

Two years on, Mike Fairmaner, former Westminster planner, now head of placemaking for the BID, Introduced an update for CAF members (ironically in the relocated, but possibly mislocated, Temple Bar) made it clear any diminution in vibrancy has not dimmed enthusiasm for major new development.

2 Finsbury Avenue – Research based design thinking in the pursuit of innovation

The business of attracting visitors to hotels and restaurants, customers into shops to buy retail products, and tenants into offices has, in recent times, become hugely challenging – and the competition is fierce. Leasing agents would have us believe we are in an ‘arms race’ to persuade people back into offices, where workplaces must now be part of an overall ‘experience’, offering amenities of all kinds to attract and differentiate themselves from the next if they are to succeed commercially. Looking at it another way, though, we could argue this is a ‘golden age’ for offices. Why? Because the finest office buildings are not only consistently surpassing themselves in terms of their design, quality and style, they are simultaneously showing care and consideration for the environment and our well-being. 2 Finsbury Avenue is promising to take all this to another level. The architects for the project, 3XN from Denmark, are exceptional designers, and British Land, the client and developer, chose them after staging a limited competition to find the ‘best of the best’ for their flagship Broadgate development. 3XN’s task has been no less than to re-define what makes a great building, to re-think the genre, and set new and exemplary standards for the workplace. How have 3XN gone about this? For 2 Finsbury Avenue, they have delved deep into their locker of creativity and drawn on research, proposing a design driven by sustainability, circularity and behavioural science, and not simply fad or fashion.  Working closely with collaborators and sister company, GXN, they have explored how culture and behaviours shape the spaces we are drawn to. The behavioural brief they have conceived is to create a human centred design, which examines the sensorial as well as the spatial qualities of a building. The aim of this project is not simply to design a workplace, it is (to paraphrase) to create an experience that includes a workplace. GXN – an independent design led research studio – are an unusual and intriguing addition to the project team. They pioneer what they call strategic sustainability, which focusses on an architecture that is better for the planet and better for the people using the building. They synthesise science and research into design guidance, which in turn informs an architectural concept and its development. Human experience is placed at the centre of design and is critical for the evaluation of/engagement with the built environment. Circular design is another primary focus, where their aim is to make buildings ‘part of the solution and not the problem’. The collaboration with 3XN is a powerful mix, resulting in a project that is highly relevant and infused with purpose, direction and innovation. The combination of ideas about architecture, the environment, social and behavioural science is not new, of course. Students of architecture will have encountered books covering these areas of thought during the period 1960’s through to the 1980’s – a time of significant social and political change – by writers such as Reyner Banham, Steen Eiler Rasmussen, Oscar Newman and Anthony King, among many others, as well as architects such as Frank Duffy and John Worthington, who wrote about these themes specifically in relation to the office. Indeed, Duffy and his colleagues at architectural firm, DEGW, initiated ORBIT (Office Research: Buildings and Information Technology) looking at the impact of information technology on office design, which had a substantial impact on major office developments such as Broadgate and Stockley Park. It is interesting how research driven design is once again to be found at the forefront of a leading workplace project at 2 Finsbury Avenue. The City Architecture Forum invited 3XN and GXN, and their client and developer, British Land, to expand on all this, hosting a sell-out event earlier this month held at 100 Liverpool Street (another impressive Broadgate development in the British Land portfolio). Matt Secker of British Land opened up by describing the Company’s involvement in the re-invention of Broadgate (a fascinating study in the evolution of the City and office design in itself), and their aim to create a world-class mixed use destination. A part of this vision – a vision of the future of offices – is 2 Finsbury Avenue, and they are to be applauded for the bold and innovative approach they have taken here. They have encouraged and fostered the development of fresh thinking, creating a project team environment that actively promotes and supports this. Juan Ramirez and Jessica Barton of 3XN, and Susan Thams Carruth of GXN, followed to tell us more about the design. The building consists of a12 storey podium linking two towers – one at 21 storeys and the other at 36 storeys – described as ‘vertical campuses’ with a public and community offering, which interact with the public realm at street level, providing amenity spaces – terraces, winter garden, social lobby, etc – and mixed-use offerings. The architectural form has been derived partly by the constraints of the LVMF and townscape, and partly by parametric design. Extensive research and design work has gone into future proofing, sustainable design, the choice of materials, circularity and human centred design. The spaces will respond to different needs and different moods, provide for neurodiversity (extroverted and introverted spaces), and create micro zones and environments, spatial archetypes and hierarchies. This is a sophisticated approach which, stated simply, will provide a sustainable office building that is flexible and adaptable and will accommodate future needs. Its great attraction lies in how the design proposes to respond to users’ needs for the new workplace, and how that narrative is focussed on well-being and humanised space. The story of the design for 2 Finsbury Avenue is refreshingly different and engaging. The project will, no doubt, set new standards for the post Covid office and, at the very least, provide a cogent and thoughtful commentary on it. British Land, and the team they have chosen, are setting us all a challenge to try to match these standards, and it will be interesting to see how their […]

Beyond the fringe at Norton Folgate

A world away from the city’ promises one of the headings on British Land’s website for its £225m, 330,000 sq ft office-led mixed-use reincarnation of the Norton Folgate site in Spitalfields that was so controversial in its nascent stages back in 2013 when AHMM prepared their first feasibility study for the developer. Planning skirmishes dated back to 1977, however, when earlier plans stirred resistance from local residents. Yet CAF members on their recent ‘Behind the Scenes’ tour of the development, whose cobbled streets and compact elements of public realm are about to open to the public, might be heard muttering ‘so what was all the fuss about?’   Maybe the ‘fuss’ influenced this sensitive outcome which appears capable of allowing new wine to be put into a handsome mix of old and new bottles in a way that will sooth local opinion. This was certainly the positive response of CAF members at first viewing of the development, which might be regarded as atypical of British Land and its varied portfolio in which historic or heritage elements have not featured prominently, other than Plantation House perhaps, now known as 30 Fenchurch Street. Norton Folgate is indeed a ‘world away’ from British Land’s neighbouring Broadgate, now being very boldly redeveloped.  And although the two schemes are vastly different in scale, typology, materiality, massing, context – there are some echoes between the two. Broadgate’s success was to draw in the City’s higher economic values using a new spacious public realm to create an architecturally-branded enclave of value, replete with public art on the former Broad Street station site. Norton Folgate does something similar on a much more intimate scale, weaving revitalised and restored public realm between its six buildings. Some of this new space is semi-public and pedestrian, some is restored historic and public cobbled street. Norton Folgate slips you back into an historic series of alleys, places and streets, their interest intensified by the mix of refurbished historical and characterful new elements, mostly minimal, some more ornate. All new building components, pay homage to local scales and materialities to build a coherent overall character. The scheme applies a building-by-building approach, using restoration, refurbishment, extension, remodelling and façade retention. AHMM were masterplanners and designed three of the six buildings – Blossom Yard and Studios, Nicholls and Clarke’s new building, and Loom Court which includes a secluded internal courtyard space for office workers and restaurants. Stanton Williams, Morris + Company, and DSDHA designed Elder Yard and Studios, 15 Norton Folgate, and 16 Blossom Street respectively, with East leading the public realm strategy. DSDHA’s southern elevation to Blossom Yard features light stone cladding that catches northern light while large golden window units add elegant and unexpected opulence. Almost everwhere else, a variety of brick types and hues, is used for robustness, quality and its suitability for the Conservation Area’s character. Embedded between the new ‘tech-city’ hub of Shoreditch, about to be extended by the development of Bishopsgate Goodsyard, Norton Folgate hints at the Boho-hotel character desired by the post-Covid occupiers. Not ‘financial’ but creative professional, with hints of ‘loft’ and a clubby feel. Internally the main Blossom Yard’s building’s entrance ‘lounge’, for example, is wide, low and long, with wide composite floorboards that have a sawn timber finish (think Tate Gallery, but wider), revealed brickwork walls and a bare concrete soffit with tidy minimal services suspended. There are lots of plants and red leather perimeter benches. Very comfy, not too corporate, nor wasteful of space. Much effort and patient experimentation has clearly gone into maximising the presence of retained elements and their transformation into fully functioning spaces capable of modern occupation. Elements of facades, floors, beams, soffits, where they offer desirable character have been retained and upgraded to meet modern regulations, but keeping the ‘look’ occupiers will appreciate – and presumably pay for. A range of office types is on offer, with retail at the ground floor, and should appeal to a wide range of tenants from start-ups and SMEs to more mature organisations, including local tech and creative industries. And the very healthy pre-letting of 126,800 sq ft to law firm Reed Smith in Blossom Yard & Studios, taking a third of the space, is proof of the pudding. More natural ventilation and less sealed windows in some of the spaces would perhaps be more appropriate for today’s market, but this was not high on the agenda when the scheme was conceived pre-Covid. And some of the fantastic high-ceilinged restaurant units in the historic retained buildings will probably prefer opening windows onto those cobbled streets in warmer days, rather than the large sealed units now installed. These are minor niggles that British Land or occupiers will be able to adjust. What the team have achieved is a welcome, highly sensitive resuscitation of a site in need of renewal for many decades. Which is not to say local protestors were wrong-headed, or to deny that British Land or the entire property industry for that matter, might well have produced something of less character and value if the site had been tackled in earlier eras. It’s tempting to think Spitalfields pioneers, now affluent property owners rather than the squatters they once were, or possibly even an original Huguenot refugee, might admire the new mix of uses and spaces created that can continue Spitalfields’ traditions of a culturally diverse and industrious community pursuing a variety of  enterprises – hopefully for decades to come. Lee Mallett Forum Committee Member With thanks to Peter Mayhew, Paul de Hoxar and Alireza Iravani of AHMM, and David Hills of DSDHA, for hosting CAF’s Behind the Scenes visit.

The City 2040: perspiration outweighs inspiration

The draft City of London local plan, at 44,000 words, is a prodigious effort, suggesting future development can be directed or fine-tuned to suit a very decent set of strategies reaching 2040. The product of a process which began in 2016, which has been subject to five public consultations so far, the latest version of the draft is still open to addition or amendment if you get your comments in quickly. So the CAF event at Temple Bar on 14 May, chaired by Lee Mallett, was a timely opportunity to hear about the plan from the horse’s mouth, as it were. Or rather two horses, the first of whom was Shravan Joshi, Chair of the City’s Planning and Transportation Committee, who stressed the importance of metrics and  data in the planning process. This showed that while footfall in the City had risen to about 80% of pre-Covid levels, the people in the Square Mile now are very different to the previous world of traditional business office-workers. More tourists, more digital tech start-up types, more media-tech folk. Having said that, legal and insurance sectors were still critical to City activity – with no sign that demand for office space would evaporate. In fact quite the opposite. Joshi noted that predicted demand for additional office space suggested a minimum of 1.2m sq m of space would be required, with that sum increasing to a potential maximum of 1.9m. These figures take into account hybrid working and are partly based on current activity, with 0.5m sq m of space under construction currently – 18 Gherkins, as Joshi noted. The City may be changing, but the assumption is that it will continue to be an engine for growth, the first priority of the City plan, which is intended to enable and encourage rather than prescribe (though there is proscription too, for example, a ban on any automatic conversion to residential use of redundant office space). But along with growth comes policies aimed at whole-life carbon ‘optioneering’, with a retrofit first test applied to new development; protection of heritage given greater priority, perhaps, than has been evident in the recent past; taking into account the visitor implications of the Elizabeth Line; and not least the opening up of the planning process, providing ‘more security for stakeholders’. A confident and coherent overview was supplemented by the second ‘horse’ in the person of Rob McNichol, Assistant Director (Policy and Strategy) at the City, who put some flesh on the bones of the overview, talking about the suite of policies which would achieve the vision that had been set, which apart from economic growth included the importance of making the City ‘vibrant’, which everywhere wants to be these days, and welcoming to all, irrespective of gender, ethnicity and all the other wokescript definitions of people making up what used to be called the general public. Some refreshing pointers to new ways of thinking included the idea of fast-tracking retrofit projects through the planning process, and the importance of educational and cultural facilities forming part of major development proposals. All this would be combined with clear guidance on the location of tall buildings in respect of views and heritage, without any instruction as to style or appropriate height. We were invited to think of the policy on height contours as being like a ‘trellis’ with, as it were, different sorts of plants with different dimensions. We also heard that sustainability should mean designs showing the possibility of dismantling buildings which had outlived their usefulness, in order for building elements to be re-used or recycled in the line with circular economy principles, though there is little in the document showing exactly how 50-storey towers would be made in such a manner, or indeed what longevity might be expected of the contemporary City office. Thoughtful responses came from a handful of invited contributors, and then the audience as a whole. Taking the positives first, the development growth strategy was warmly welcomed by David Ainsworth of CO-RE London, who noted the incredible demand that still existed for space in what is London’s Central Business District, including companies migrating back from Docklands like HSBC – what a change from the era when some thought the City would ‘be the Latin Quarter of Canary Wharf’. It was the creation of Lloyd’s of London which had changed all that. His plea to the planners was not to become too prescriptive about height, style and precise location – he didn’t want to be blocked or boxed (he might have cited Bing Crosby’s yesteryear hit, ‘Don’t fence me in’, particularly in relation to a trellis . . .) The other developer speaker was Jay Ahluwalia of Dominus, who welcomed the diversity of development envisaged in the plan, not surprisingly given his company’s successful activities in the hotel and student housing sectors. He welcomed the 2040 plan approach of identifying key change areas and urged the City not to underestimate the importance of the non-office market. Urbanist Kathryn Firth of Arup liked the retrofit-first approach, the concept of the provision of ‘affordable offices, and the way the plans addresses diversity, edges and delivery. She had some warnings, however, including what she thought were inadequate additional housing numbers (though in good locations), given the City’s ambition to be a seven-days-a-week hub. This in turn would have implication for the location and nature of the retail offer envisaged. She also worried about the dependency on big developments to supply cultural facilities which might result from  ground-plane voids, and the too-heavy reliance on the private sector to deliver public realm benefits. What happens if there is an economic downturn? Would it result in a rash of ‘stranded assets’? Townscape consultant Peter Stewart had a more fundamental criticism of the plan, which referenced a point made by Lee Mallett in his introduction about the architectural relationship between plan and section: ‘If the plan is prose, the section is poetry’. Stewart was concerned that the enormous quantity of words in the plan […]

Retrofit and Re-use First : The City’s journey to net-zero

In the world of sustainable architecture and design, the conversation for the built environment is evolving rapidly, challenging industry norms and pushing for innovative solutions. With the Draft 2040 City Plan focusing on a ‘retrofit first’ approach there is a need to prioritise retention and retrofit of existing building in the journey to achieve net-zero carbon. At the City Architecture Forum event, Retrofit & Re-use First, the City’s journey to net-zero held at the beautiful Temple Bar with time spent in the exceptional Sir Christopher Wren’s working room, the audience had the pleasure of hearing from three of this industry leading experts. Kerstin Kane, Principal Planning Officer (sustainability), City of London Corporation; Tina Paillet, President of RICS and co-founder of Circotrade; and Dr Barbara Marino, Strategic Development & Compliance Director, Keltbray. These esteemed speakers shared valuable insights that shed light on the current challenges faced and the opportunity for change. Michelle McDowell as event Chair emphasised the importance of retrofitting and reusing existing structures, highlighting the need for smart design and collaboration. With a focus on achieving the highest sustainability targets, retrofit first approach advocates for optioneering and considering the environmental, social, and economic impacts of design choices. This approach aligns with the growing trend towards circular economy practices, where materials are reused and repurposed to minimise waste and maximise efficiency.Kerstin brought a fresh perspective to the table, emphasising the need for flexibility in design and a shift towards more sustainable building practices. By singing and dancing to the tune of highest sustainability targets, Kerstin challenges the industry to think beyond traditional norms and define aspirations clearly, then encouraging all to look at optioneering at the initial stage of any project. Collaboration and consultation are key, as stakeholders should work together to define aspirations and create a workshop-style environment that fosters innovation and creativity. 62% of all waste from the UK is from the construction industry which in 2021 equates to 1.5M tonnes and only 1% of materials are reused across the UK & Europe. Tina highlighted that the industry is not changing as we think it should with lots of talk and less doing. The insights into waste statistics were depressing, noting the need for material savings, and the importance of checking plans for opportunities further demonstrate a requirement for a holistic approach to sustainable design. With pressure from EPC regulations and a staggering amount of waste generated by the industry, Tina advocates for action over mere talk, pushing for tangible results and measurable impact. By rethinking procurement routes and engaging with stakeholders early on, Tina believes that real change can be achieved. As Barbara aptly put it, “anything is possible – everything is achievable.” With a focus on repurposing existing structures and embracing new technologies, Barbara challenges the industry to adapt and evolve. By understanding the challenges of retrofitting and deconstructing steel structures, Barbara highlighted the importance of warranty and the need for continuous improvement in building practices.In conclusion, the future of sustainable architecture lies in collaboration, innovation, and a commitment to change. By embracing the insights shared by the City Architecture Forum, Kerstin, Tina, and Barbara, the industry can move towards a more sustainable and efficient built environment. With a focus on circular economy practices, flexible design solutions, and proactive engagement with stakeholders, the possibilities for transformation are endless. It’s time to dance to a new tune and create a built environment that not only meets our needs today but also ensures a sustainable future for generations to come. Kara Thompson

A New Museum for London pt II

On a crisp and sunny February afternoon, a privileged group of 10 CAF members assembled at West Smithfields in anticipation of an early glimpse of the new Museum of London spaces as they begin to take shape. We were met by Museum Director Sharon Ament and Stephanie Kirkness from Museum of London and whilst booting up in PPE, Sharon shared a few slides to set out her vision for the new museum. Described as a series of interlocking exhibition galleries around a common theme of ‘Time’, allowing the visitor to time-travel through a procession of differing spaces. “Our time, past time, real time, imagined time, deep time…. “the list of galleries becomes a time traveler’s odyssey.  For now these time travels are all promises for the future as the interiors, designed by Stanton Williams, Asif Khan, Julian Harrup and Atelier Bruckners, are yet to materialise. Instead, our voyage is one of architecture… pure in its naked, stripped back form revealing a hidden heritage and beautiful craftsmanship.   Our journey is nonetheless a journey through time, as we are taken from the 1860’s Victorian splendor and deep vaulted brickwork basements and culminating at the 1960’s heroic space of the poultry market.  It is evident that the vision of time travel will not only be a narrative to the exhibits but one of the building fabric itself. There are two principle spaces, The General Market and The Poultry Market.  These are separated by a street, ‘West Poultry Avenue’, a legacy of the transportation lanes of the former market use.  This street acts as buffer between the two galleries and as Sharon explains “is a fundamental part of the visitor experience”. This connecting street and indeed the surrounding streets are conceived as a shared territory, where open space and public realm merge with multiple exhibition entrances to allow the visitor unfettered access to the museum spaces, creating a permeable piece of city. We leave the West Poultry Avenue and enter The General Market, a double height Victorian hall, stripped of decades of clutter to reveal the carcass of Victorian splendor.  Beautiful cast iron columns order the plan whilst old cast iron fireplaces hang precariously in what must have once been rooms on an upper floor.  We are told the mezzanine floor is to be reinstated, which makes the timing of our visit all the more special as we enjoy the proportions and grandeur of the double height space. Almost Square in plan, The General Market is arranged around the central dome with its radial cast iron structure and clerestory windows.  This expressed structure is a prominent focal point of the space, Sharon described how earlier designs looked to provide a spiral staircase below the dome as vertical circulation, but these ideas were rejected as they would diminish the sense of space.  Instead, a new large public stair sits off centre, which takes the visitor below ground to the subterranean galleries.  The walls to this stair are built with pigmented concrete, pink in hue with an uneven horizontal line, alluding to geological strata, as the visitor descends through layers into ‘past time’ galleries below. The below ground spaces are more intimate, a late discovery behind bricked up openings revealed a previously unknown world of brick vaults and buttress walls. All the brickwork had been cleaned and preserved to reveal the stoic London walls, uncomplicated and monolithic. The services are to run within floor voids to allow the brickwork vaulted ceiling to be expressed and enjoyed. There is to be a new “shop window” within the perimeter wall, which will reveal the adjacent Thameslink train line.  This will allow train passengers to see into the museum as a passing vista and will become a wonderful opportunity to advertise the Museum and attract new visitors. We continued our journey, up and through more intimate spaces, timber structures and mansard roofs, until we emerge onto the roof with wonderful views across to St Paul’s, the Shard and the Old Bailey.    The newly crafted bronze roof of the cupola glints in the sun. On we go, back down to ground and towards the poultry market. We rise to the first floor, through a series of compressed spaces to arrive at the big reveal.  The enormity of the single span roof of the Poultry Market is extraordinary.  The Victorian market had burned down in the 1950’s and a new building was completed in 1962.  Its roof is claimed to be the largest concrete shell structure ever built, and the largest clear spanning dome roof in Europe.  Designed by Ove Arup this feat of engineering is column-less over its 70m span and it is only 9 cm thick at its thinnest, peppered with glass lens to provide beautiful top light to the galleries below.  The Main contractor only took possession in August 2023 when the traders vacated, and the space is already cleared to uncover the true potential of this space, as a crescendo to the visitor experience. Sharon described the construction journey ahead of phased completion, with the first galleries opening in 2026 and subsequent phases in 2027 and 2028.  She sees this as a blessing, as an opportunity to keep up construction quality whilst providing the museum with multiple opportunities for multiple inaugurations, allowing the museum to take its place as one of London’s key cultural attractions in the heart of the City. Thank you to Andrew and Rowena for organising this privileged viewing and to Sharon Ament and Stephanie Kirkness and for their time and wonderful insight. Lee Higson, words & photos Member of City Architecture Forum

Transport for a changing Square Mile

Tuesday, 12 December 2023 City Architecture Forum set up an enlightening presentation by Bruce McVean, Assistant Director, Policy & Projects, City of London Corporation and Roy McGowan, Managing Director at Momentum Transport, followed by a lively discussion with the members of CAF attending the event. Will the UK meet the government’s Decarbonising Transport objectives? Roy McGowan set off to answer the question describing the national context, and how there are as many strategic documents as transport modes. Transport is responsible for 26% of the UK greenhouse emissions, but the strategy for Decarbonising Transport, aiming to achieve Net Zero emissions by 2050, has been pushed back. Despite the encouraging 40% overall reduction since 1990, currently the carbon emissions from road transport have flatlined and the figures do not line up with the targets. Roy was clear in the importance of setting a vision, and not just measuring targets against emission levels expected in the future. The scale of investments needed to meet the electricity demand cannot be achieved with the volatile conditions of public commitments in the past years, but in the meantime the UK workers spend more time commuting than in almost all of the OECD countries. Major transport decisions are being pushed back or cancelled, whilst the health costs to society (air pollution, urban noise, obesity…) will reach £50bn a year by 2050, enough to fund two Elisabeth Lines every year. So then, how do we secure a long-term transport strategy? Well, the response is related to a long-sighted approach: a strategy for all modes of transport; early involvement of stakeholders; building independent institutions; and devolution deals to support local investment decisions. All these sounded very convincing, and Bruce McVean demonstrated how impactful local authorities can be, working with an efficient team that combines policy and delivery. How is transport in the City of London changing after Covid? Bruce described recent trends in travel and how the City is responding to them. Workers are returning to the office, with a 75% level from Tuesday to Thursday respect to the pre-Covid figures, and the GLA employment projections are in the rise. In other good news, the number of cyclists has increased fourfold since 1999, with a steep curve since 2021, whilst drivers have declined by two-thirds in the same period. Bruce defends that it is time to prepare for growth. The City of London Corporation adopted a Transport Strategy in 2019, and following the pandemic are now consulting the public on revisions to the document (open until 7th of January 2024), with a focus on inclusive policies. Some of the priorities relate to walking strategies, improving bike lanes, introducing sustainable drainage, or a smarter approach to Congestion Charge. How are changes in transport reflected in the public realm? The projects presented by Bruce were inspiring, but also an example of quiet changes that have a big impact. They demonstrate how local policymaking can reflect society trends, improving the public realm in a city where space is limited and must be negotiated between tourists and office workers, cyclists and drivers, pedestrians and amenities. From the handful of initiatives, the opportunities at Bank and St Paul concentrated most of the queries from the CAF members. All Change at Bank is a model of street space reallocation, where the pedestrian areas are widened significantly and allow new activities such as bar terraces, bike doctors, or enough space for tourist groups. By 2024 cars will not be allowed to circulate at Bank, and Threadneedle St and Queen Victoria St will become cycle only. St Paul’s Gyratory will experiment a radical transformation and become one of the largest public spaces in the City, stretching from the Museum of London roundabout to St Paul’s underground station. The evening closed with a lively Q&A session. Some CAF members were surprised by the changes in traffic restrictions, others queried about the coordination between national and local initiatives, and Peter Murray OBE questioned if the Worshipful Company of Chartered Architects would be consulted in future policies by the city of London. Gonzalo Coello de Portugal, words Member of City Architecture Forum

All rise for Fleet Street’s super-court

Tuesday, 12 September 2023 City Architecture Forum members were treated to a preview of the City Corporation’s new court complex at its Salisbury Square Development on Fleet Street by Lee Higson, director, Eric Parry Architects, and Tim Cutter, director, Avison Young (City of London). If you think a major city office building is complex, try combining eight crown courts, five magistrates’ courts, and five civil courts in one building, while simultaneously delivering a new linked police headquarters and a speculative office building, within a new public realm. Now under construction, this is the Corporation’s ‘gift to the nation’ a flagship ‘Court of the Future’ specialising in cyber-crime, with an innovative spatial arrangement that improves the operational efficiency of courtrooms, increasing the number of cases can be heard when compared to a traditional court. The new Court building, fronting Fleet Street, will be the frontispiece of the Salisbury Square Development, lying between the home of England’s legal professions in the Inns of Court and Royal Courts of Justice to the west and the Old Bailey to the east. It will bolster the City’s global status which rests on the UK’s rule of law and timely justice. A new City of London police will sit south on Whitefriars Street, overlooking a new Salisbury Square to the east. The City police is also the national force dealing with economic crime. It will consolidate the police estate enabling re-use of the Grade II*-listed Wood Street and Grade II-listed Snow Hill stations. Southernmost on Whitefriars is a new office development completing the city block. Existing buildings are unloved offices from earlier eras – with one exception – the Grade II-Listed 2-7 Salisbury Court, where the first edition of The Times was published in 1822, to be retained as a pub, also overlooking Salisbury Square and Salisbury Court. Eric Parry Architects’ task, said director Lee Higson presenting the scheme, was to accommodate a hierarchy of 18 new courts. These are of diminishing scale rising up through the building, threading between them circulation, a spaghetti of lifts and stairs that physically separate the various parties to all actions. Criminal defendants in custody brought up from basement cells below, civil litigants, judges, juries, lawyers and the visiting public, all must be kept apart, while meeting safety and highest level security requirements. Judges, barristers and other functionaries have suites above the courts and a nice roof garden. The three buildings will be separated by two east west walks between Whitefriars Street and Salisbury Square, continuing east to St Bride’s Church. All three buildings enclose on three sides the reimagined square, with entrances at ground level off it. Three levels of basement lie beneath, linking the police and the Court building. Durable stone facades are used for the impressive Court building and weathering steel for the police to last a minimum of 125 years, and perhaps convey something of their respective civic duties. Pale stone for the Court’s substantial Fleet Street façade adds dignity to London’s main ceremonial thoroughfare, projected by the symmetry of its two splayed outer wings and central entrance bay. Also by the classical layering and prominent judicial insignia high above a deep set portico leading to the main public entrance and three-storey lobby within. The main façade’s composition and materiality counterpoints its civic function with the neighbouring media pretensions of an earlier era – sober ex-Reuters next door and exuberant ex-Telegraph and Express buildings opposite, all listed. The office building will be clad in a rich earthy colours, composed of a ruby red terrazzo-effect polished pre-cast concrete, matt, unglazed and glazed terracotta panels and tiles, with inlaid decorative bosses. Lee Mallett words Member of City Architecture Forum

Behind the Scenes: 8 Bishopsgate

Wednesday, 10 May 2023 With less than a month until Practical Completion and with the building still a hive of finishing and commissioning activities the CAF were privileged to be given a tour of 8 Bishopsgate by Ollie Tyler of Wilkinson Eyre. Mitsubishi’s latest addition to the London skyline is at the centre of the City at the corner of Bishopsgate and Leadenhall. Began in 2013 with the acquisition of two neighbouring sites the following years saw the City continue its inexorable evolution upwards with 22 Bishopsgate by PLP consented at 62 storeys, and 40 Leadenhall by Make at 40 storeys. In response it therefore made sense to grow 8 Bishopsgate from the original consent at 40 storeys up to 50 to provide a stepped massing across the three projects. This decade long journey also permitted the evolution of several other design features. The building presents itself as an amalgam of 3 distinct forms; an 9 storey stone box, a 26 storey braced box, and rising above it at 20m wide, a slender tower topping out at 50 storeys. The staggered massing of three elements accommodates floorplates varying from 20,000 sqft and 15,000 sqft up to 8,500 sqft. as you ascend. The clever structural resolution by Arup gives rise to an elegant architectural expression in that the top 24 storeys take their bracing from the box below using just the in-situ core located on the north elevation for stability. Unusually for a core the north wall here benefits from glazed openings framing tantalising glimpses out to works by Lutyens and Rogers amongst others. The rest of the building is skilfully clad in a 200mm deep CCF [closed cavity facade] facade formed with semi-low iron glass. Tyler and his team’s efforts to keep the outer pane dead flat have paid off with incredibly crisp detailing and the flattest of flat facades. The other distinctive feature of this facade is that these units are at 3m widths giving a generous and open feel the building’s skin. Added drama comes form the 26 storey box cantilevering out to the pavement’s edge, and whose slender solar fins are cropped along the line of the bracing to accentuate the structural gymnastics at play within. Further interest is provided by a terrace for occupants at level 11. But what steals the show is the public viewing gallery at level 49. This floor plate benefits from stunning views to the panorama of the Thames beyond. The feeling on arrival is one of being amongst a series of chess pieces with the sensation that the neighbouring Cheesegrater and Walkie Talkie are within touching distance. Additional public engagement comes in the form of the double storey entrance off Bishopsgate, where flanking meeting and town hall spaces are provided at mezzanine level. The security line is pushed back to allow the public access into these areas. A facetted timber ceiling along with a glazed balcony are all detailed with the Wilkinson Eyre customary aplomb. On the main floors the fit out spec includes acoustic rafts at 2.785m above FFL. Ceilings are otherwise open with services on show making the most of the 3.850m typical floor to floor heights. The structural bays extend to 12m, but vary around the building according to how the plan responds to the site constraints. Meanwhile the potential embodied CO2 implications of these relatively long spans are offset by engineering the beam flanges to reduce according to structural requirements rather than architectural alignment. Something that can and should be done across the industry. The building is on course for BREEAM Outstanding and an A EPC rating. We all felt this was a very well thought out and crisply detailed building and with some of its best spaces directly accessible to the public, so a welcome addition to the City. As well as Wilkinson Eyre and Mitsubishi, credit must also go to Stanhope, the Development Managers, and the rest of the design and delivery team. Double height entry to 8 Bishopsgate Thanks to Ollie for hosting and a return visit in a couple of months to see see the finished building would be much appreciated by CAF! Mike Taylor words and photos Member of City Architecture Forum

Behind the Scenes: Urbanest City

On the 28th of March 2023 I had the great pleasure of joining the CAF’s tour of Urbanest’s Emperor House development on Vine Street, in the City of London. It was a project that I was unfamiliar with, designed by a practice whose work I used to know well when I was studying but who, over the years, I had no longer found myself following. I arrived just about on time and made my way into a meeting room off the entrance lobby to the student accommodation. Here, before starting the building tour, Jim Greaves and Alex McCartney of Hopkins, who designed the scheme up to Stage 02 and Nat Lee of Apt Architects, who delivered the design through to completion, provided us with a highly informative background to the project and the considerable challenges they had overcome since its inception in 2010 through to its completion in 2022. As an overview, the development is comprised of three built forms containing its two principal uses of student accommodation and flexible office space. The main built form is a linear building that runs alongside a new piazza on Vine Street, with 11 storeys of office space occupying the northern end and 14 storeys of student accommodation to the south, arranged within the same overall height as the office by virtue of its lower floor to floor heights. The building is characterised by its louvred barrel vaulted roof that extends over both uses and slopes down its Vine Street elevation to respect the constraints of rights to light and, in so doing, cleverly belies the height of the building when viewed from the street. In addition to sharing the same roof, both uses share a material palette of metal, glass and concrete but are subtly differentiated in appearance by the extensive glazing and greater floor to floor heights of the office building. Further student accommodation is provided in two secondary built forms that employ the same material palette and architectural language, with a wing of accommodation offset and angled away from the main building to continue the line of the street frontage onto Jewry Street, whilst on Crosswall a simple infill building sits quietly but assuredly between its neighbours. The tour started by exiting out of the student accommodation entrance lobby onto the newly created piazza followed by the group looking up at the Vine Street elevation to experience how modest the building felt despite its height thanks to the previously mentioned sloping elevation whose five-storey ‘eaves’ was set at the predominant building height of its neighbours. Here we were also shown the joint-line, where the two different uses with their different storey heights meet. This could have been a difficult relationship but at lower level the change happens within a recess whilst at higher level the connection was covered by the continuity of the louvred sloping elevation. Following this, we arrived at the generously sized double height entrance space to the offices, via a well-choreographed change in level. Here the same changes in level we had experienced externally had been used to create a series of terraced informal seating and working areas that served to not only break down the space in plan but also vary the space volumetrically in what might otherwise have felt a slightly oversized and empty space. The office floors were relatively modestly sized clean rectangles of space with raised access floor and exposed services above*. So far, so normal. However, what I was struck by and found quite magical were the views out all three sides of the office space onto the close-up elevations of the three surrounding neighbouring buildings. Seen through the full height glazing and framed top and bottom by the floor and soffit, the three different ages of the architecture became a theatrical backdrop to the space and started to make me begin to appreciate what this project was doing so well. It was a growing sense that, from the outside in and from the inside out, the building was engaged in conversation with every aspect of the City’s context. *(For those interested in their office specifications, of particular note was that the height of the office the space felt generous despite the relatively low floor to floor height of 3.3m, which, thanks to some impressively well co-ordinated services, still achieved a clear height of 2.6m to the underside of the light fittings and felt more than ample for the size of the floorplate. This feeling continued as we departed the office building and followed a well-groomed landscaped planter that mediated the changes in level along Jewry Street until we reached an entrance to the next unexpected moment. Here was a glazed elevation with views down into a space that re-enshrined the significant remains of a Roman wall. Once unceremoniously hidden away in the basement of the previous office building on the site, it was now fittingly and ingeniously opened to view to the passing pedestrian by the introduction of a public cut through the building and housed in its very own independent space to allow the public to inspect the wall at close quarters and learn about its history from the accompanying exhibition. This was remarkably well done and increased my sense of the relationship the building had with its context; on this occasion its topographic and historic context as well as the contribution its permeability and accessibility gave to its urban context. The discoveries continued with the next part of the tour through the 8,000 sq.ft of University incubator space that had been accommodated in the lower levels, adding further richness to the mix of uses and life that the buildings contribute to the city. This was followed by a journey up through the student accommodation, the largest of the two uses. Here we sampled generously sized well-appointed rooms beneath the sloping roof. My observation here was that the rooms could have benefitted from more natural light and the treatment of windows and louvres felt heavy, leading to a slight […]

Behind the Scenes: Leathersellers’ Hall

Thursday, 8 September 2022 I joined the tour of the of the Leathersellers’ Hall as a learning opportunity. I am an architect and I am always keen to visit good architecture and expand my pool of references. “The Leathersellers’ Company has occupied this site continuously since 1543. Whilst earlier halls were located within St Helen’s Place, the new 7th hall has now returned to the site of its earliest historical location.” The Leathersellers’ Company is thought to have its origins amongst the whittawyers (makers of fine white leather) and pouchmakers who congregated along London Wall in the early thirteenth century. By 1444 the Leathersellers’ were sufficiently organised and powerful to apply to Henry VI for a charter of incorporation. The house of the company has been redesigned with its rich history in mind. The entrance to this address is signalled by a draped bronze canopy and magnificent wrought-iron gates. Our visit started from the reception room – a room that orbits around a sculptural chandelier designed by the American artist Dale Chihuly. This room is about light. One of the walls is fully glazed with a curtain veiling the cathedral next door. The masonry wall of the church becomes part of the room, tainting the light of a warmer tone. The room is an essay about light and reflection, delivered using lacquered wood. Subtle colour differences varying tints of white and grey. Cracked and smooth lacquered panels make up for the envelope of this room. Walls are thick. They are hosting air handling units and all the services necessary to a functional space. The room serves the adjacent board room. A walnut room warm but still bright. Through the vision glass above the doors, you can appreciate the transition between the two worlds. Walnut panels chandeliers and soft carpet characterize this second room. Trophies on the wall such as the original statutes of incorporation. Extraordinary artefacts within bespoke niches are wonderfully crafted and very well curated to make the point about the importance of the leather trade in history. A bright generous vestibule hosts the start of the descending journey. Like a museum room, with an extraordinary self-supporting spiral staircase. Walking downstairs offers an extremely dynamic experience, the view is always comforted by an accurate selection of finishes. Calm, elegant, sound absorbing, warm textures to soften and compliment the architecture. We stepped in the bathrooms, which have been designed with elegance and good manners in mind. The final room that we visited was the actual dining hall which can seat up to 120 people at dinners. This room is also covered in American walnut panels. The main feature of this large room is the tapestry hanging along the upper part of three of its walls. It is forty metres long and contains a wealth of interesting images and allusions, all relating to the Leathersellers’ Company. Fabrizio Cazzulo words and photos City Architecture Forum member

Behind the Scenes: The Gilbert & One Lackington (City Gate House)

Thursday, 14 July 2022 As we seek sympathetic and practical update of our City offices and rich heritage it was refreshing to join and learn about the recent architectural revamp of The Gilbert & One Lackington (‘The Gilbert’) carried out by Brookfield Properties. The Gilbert never was intended as offices, designed by Frederick Gould and Giles Gilbert Scott originally as a Member’s Club for BP in the 1930s, so no wonder it was compromised or creatively added too, termed ‘eccentric’ by some. The history of the building is not easily attained, whether incidental or not to the original use, we understand its physical form to have been modified as the needs for the building have changed. What we experienced on touring the completed office scheme by Stiff + Trevillion (S+T) is its almost seamless transition to high quality office accommodation with a centralised new core allowing simplified circulation and unifying the historic buildings, which has only been possible through modern intervention. As with many of Giles Gilbert Scott’s creations, thinking of one of his most seminal of works – the red telephone box, they have required necessary modernisation as the needs of society and technology have evolved. So have his buildings. The robust City Gate House (as it was formerly known) is testament to this in how it has been adapted from a club to offices and more recently in this phase of office modernisation to allow more flexible workspace. We see, now more than ever, the requirement to update the office buildings of the City. What is tricky in achieving these modern updates to the City’s historic building stock is finding the balance of retaining the important historic elements whilst still delivering relevant office space with a capacity to serve the needs of new working habits. The Gilbert delivers in this regard. The numerous structural columns throughout can be viewed as a nuisance to flexible workspace but are not without their purpose. At The Gilbert the columns are unapologetic in a deep charcoal paint and strong in how they identify with other architectural features and could in fact inspire the office layout of new future tenants as sprawling open office floors becomes less in vogue. For a significant portion of The Gilbert’s lifespan, it accommodated the offices of Bloomberg who were somewhat reluctant to depart the charming City Gate House to occupy their new home at Bank, although an exceptional office redevelopment with considerable foresight and achievement in City office architecture. We gained a first-hand account from John Robertson Architects who worked on the buildings with Bloomberg, giving the tour a layered insight into the multiple lives of these buildings. An element of the S+T design approach that makes a clear and beneficial change to the internal spaces is running the air conditioning system underfloor, freeing up ceiling space and allowing greater appreciation of the surviving architectural elements, as well as improved air circulation. Future occupiers will of course want to remain cool under pressure but it would also be a crying shame not to understand the historic internal proportions or variation in fenestration to their full potential. The multiple new contemporary terraces added in the internal extensions to The Gilbert add new substance to the buildings robust character and unlock new perspectives within the buildings as well as views outwards to the varied character of the City from this historic location, elevating the user opportunity. This introduces new sensory experiences of transitioning from enclosed to open spaces across the development. Great care and resourcefulness has been taken in utilising the existing structure and architectural elements (a whopping 90% of the building is retained), incorporating the elements that make The Gilbert interesting, even celebrating the patchwork of changes, and continuing its rich history with more sustainable updates. This has been a mindful building retention project that has achieved Net Zero Carbon in Construction and improved energy performance throughout the upgraded office building which will ensure this building operates successfully for many years more. A commendable project in building retrofit. Ailish Killilea, words City Architecture Forum member Ailish Killilea and Andy Stagg (for Stiff + Trevillion), photos

Behind the Scenes: 21 Moorfields

Thursday, 26 May 2022 New York was rebuilt on large plots of land, in a new grid network, with new ordinances that, for example, forbade the use of wood and encouraged tall buildings. But today, even New York is zoned into conservation areas and plots where tall buildings are allowed. Here in the City of London, we continue to see developments of varying approaches: those that exploit the envelope and those that must work within a listed building or a conservation area. Nothing is straightforward. Every decision is weighed up and evaluated carefully, so as not to upset the balance. Because we understand that one of the qualities that draws business to our great city is this fine grain, its dynamic relationship between old and new – and the sense of the future it creates, alongside respect for the past. WilkinsonEyre is responsible for three City buildings: 8 Finsbury Circus, which won the City Building of the Year Award in 2017, 8 Bishopsgate tower, and 21 Moorfields – the latter two are under construction. In each case, the context drives the design. The Moorfields site was last developed with three buildings in the early 1970’s, but had remained largely empty since Lazard’s vacated in 2003. Landsec acquired the land in January 2015 and committed to delivering a high-quality, office-led development on this most complex site. The new building rises 16 storeys above Moorgate station and provides 60,000sqm of space. The station had to remain operational and no further columns were permitted within the station box, so all structure was limited to an asymmetrical arrangement either side of the tracks. It is a contemporary solution to the modern conundrum of how to place large dealing floors and a company headquarters for Deutsche Bank in the dense heart of the city – and it does so with great panache! Giles Martin, Director at WilkinsonEyre Architects and David Seel of Robert Bird Group Engineers took us carefully around the building site. It was a rare treat to see the building in its closing stages before completion. The project will take 18 months to handover, as TP Bennett work on the interior fit-out. One cannot help thinking that it was this unique approach to the design that won the project for WEA and RBG – and it’s perhaps fortuitous that the contract was signed by the Bank before Brexit, Covid-19 and its fall-out on the global economy. With a footprint the size of a football pitch – 110 x 60 metres – it presented the opportunity to create 4 huge dealing floors for 600 people. As someone mentioned, if each trader generates profits of £1million for the bank in a year, this investment will have been worthwhile! As a young architect, working on a massive interchange in Bilbao, I recall the late, great Chris Wilkinson’s excellent book ‘Super-sheds’ analysing the great sheds of the past, just before the practice built its first big shed at Stratford in East London. Here at 21 Moorfields, we see that same big thinking applied to a major office building. Wilkinson Eyre, working alongside Robert Bird Group, has crafted a building that displays some of the most innovative new engineering in the UK – and the world. The design team has shown what is possible for other stations in the City by driving piles 65 metres into the Thanet sands to exploit the advantages of the location. These ‘super piles’ – the highest capacity strength in London, supporting 65 mega newtons – are 2.4metres in diameter and support giant trusses, which in turn support huge 7 bridging arches that are creatively integrated into he structural frame of the building, from which the floors hang. When Robert Bird Group started pile testing, it was a surprise to discover this unique development potential in the City of London – something simply not as possible elsewhere in the capital, such as Canary Wharf. Unusually, the cores in this building are non-structural and placed at the sides. They float above the station and provide all the required air treatment, toilet, and kitchen areas. WilkinsonEyre is renowned for their marriage of art and science, and this project is no different. The exposed steel frame forms the memorable entrance elevation towards Moorgate and Finsbury Circus, creates a dynamic patterned façade and shades the building from the rising sun. This makes a powerful contribution to the architecture of the street and marks the station, which had otherwise been buried under conventional-looking office buildings. In doing so, it recalls that great age of stations, which Chris Wilkinson loved so much. The building’s crown is focused on the centre line of Finsbury Circus, its sloping setback reflecting the sky. No doubt the architects’ gentle art of persuasion convinced the city planners to approve the massing. The bowstring trusses of the Piano Nobile, above station level, give the building character and form its cavernous entrance lobby. Certainly, on our visit, one could see the essence of the spaces, the voids, and its overall character. We also learnt that the building can move by +/- 100mm in any direction! This squidgy movement joint is ingeniously laced around the plant room level, which is neatly inserted under the entrance lobby and directly over the protected station box. Andy Sturgeon has designed the landscape throughout the building and often, ingeniously, within its facades, as well as in the open spaces. The planting is integrated at many levels within and around the structure, particularly at the lobby level, where it extends into a series of stepped atria gardens. An innovative long section culminates in the west at the Barbican, where a wellness suite exclusively for the use of the Bank’s employees overlooks a courtyard garden. All of this is publicly accessible via the raised walkways, which weave through the Grade-II-listed and conservation-area-protected Barbican Estate. The new building, costing several hundred million, is planned as Deutsche Bank’s London Headquarters for the next 25 years. The tour was a real treat, and as we […]

Behind the Scenes: 135 & 155 Bishopsgate

Wednesday, 3 November For those who recall the mid-80s development scene in the City the huge Broadgate redevelopment represented a step change from the dismal multitude of dull buildings provided by so-called ‘developers architects’ of that time. The wholesale demolition of historic, characterful, useable City buildings that redevelopment entailed was lamented loudly, but with limited success in turning the tide. Broadgate was something new. Albeit huge in size the vast spread of buildings were carefully designed, with public assets a major feature. Despite its size Broadgate was well received and an acknowledged success. The offices have worn well, being of composite steel frame and concrete construction. At the heart of the scheme came a unique pedestrian square encircled by a colonnade clad in marble. There might have been twinges of regret for the loss of Broad Street Station’s lively facade of 1865, but the listed Liverpool Street Station, in conjunction with Broadgate, was notably well repaired and upgraded with improved access and new through routes. New retail outlets at the station added liveliness and increased income. A broad new pedestrian route led through to Bishopsgate‘s west side, also part of Broadgate, where a raised walkway had been created lifting pedestrians away from noise and traffic fumes. This civilised gesture was much welcomed and has been retained and enlivened in the new scheme we examined. Did I hear right?? Yes I did! British Land is the developer of the west Bishopsgate scheme we visited, in their new guise as mixed-use and brownfield site developers who are also getting into regeneration – in a change of focus that is proving worthwhile. The tenants are remaining in situ at No. 155, and No. 135 is letting well. We looked into two separate buildings at 135 and 155 Bishopsgate that front the walkway, but separated by an intervening Broadgate block now being refitted by others. 155 Bishopsgate offers 160,000 sq. ft of office space. Fletcher Priest is the architectural practice appointed to refresh the buildings we focussed on. Central to their thinking was the retention of embodied carbon. The Broadgate structures were well built and have stood the test of time, but a measure of redesign and upgrading was called for to suit 2021 needs and activities. This has been the practice’s endeavour, satisfying both requirements. Partner Ed Williams, who led us round, was in charge of the scheme, blending the skills of the practice in master planning, urban design, interior design and spacial planning to produce an imaginative ,sustainable result that respects the embodied energy and quality of the existing structures. The walkway has been widened significantly, refreshed and re-imagined to provide a welcome, distinctive range of eateries in former offices on its west side, with well-lit outdoor cafe spaces and attractive landscaping on the east of the walkway. A magnificent view of Christ Church Spitalfields is available. The venues are lively, well patronised and lit at night, so catering to the burgeoning evening economy. The re-imagining of the (now setback) offices has been accomplished with flair and imagination, retaining attractive features such as marble flooring and sculpture from the earlier scheme at No. 155 and impressive classical stone arching at No. 135. Setting the offices back allowed more welcoming glazed facades to be introduced, revealing the retained travertine walling inside. There is a sense of light, air, and space throughout. Internal atria have been retained. A soft colour palette has been introduced into the offices and older installations are being retained where appropriate and feasible. Sterile spaces have been re-energised by careful lighting. Rooms for receptions are welcoming. Roof top views from high buildings in the City are usually magnificent, including at night, and there are are no exceptions here. At No.135 a rooftop outdoor garden ingeniously masks servicing installations. Carbon capture was a focus of discussion, especially as we were in the immediate aftermath of the Glasgow Climate conference and all too aware of the challenges that lie ahead. Re-imagining the potential for upgrading these buildings had significant beneficial outcomes — with the embodied carbon in both buildings calculated to be about one third of that required for new-build on the same sites. This has to be the way forward, surely? It has long been argued that re-purposing and successfully adapting existing structures is generally a kinder, more environmentally friendly, and less expensive approach. We should embrace the practice ASAP. That is the next challenge. This project maps one way . Words & Photos : Dr Jenny Freeman OBE City Architecture Forum member

Behind the Scenes: 22 Bishopsgate

Tuesday, 12 October 2021 It is always a pleasure to experience the physical manifestation of one’s endeavours, particularly after such a long break away from being able to move around freely, let alone visit buildings, but it was even more exciting to be afforded the opportunity to tour the new 22 Bishopsgate, currently the pinnacle of the City’s famed cluster, and to be hosted by PLP Architects. ’22 Bish’ was developed by Lipton Rogers and AXA IM Real Assets and comprises 196,950 sqm of mixed use, predominantly office, space in a building of 62storeys and 278 m in height and is surrounded by established tall buildings such as The Leadenhall Building, new ones in construction (8 Bishopsgate) and others to come (1 Undershaft). We met in the main entrance off Bishopsgate in a lobby that is very human in scale given the quantum of people that will passing through when fully occupied and had the good fortune to bump into Sir Stuart Lipton and Peter Rogers en route to a publicity shoot in the public viewing gallery atop the building. We duly followed in rapid double decker lifts and were greeted with a spectacular triple height space. One can never tire of such views and to be freely available will make it a hugely successful public facility. The chance to look down and see the ‘Nat West’ tower’s branded imprint is very rare as is the reported ability to see the Channel on a clear day and, as with The Shard, one can see the Hornby scale trains and rail lines that help orientate and identify the increasingly polycentric neighbourhoods that describe London’s geography. The lift down took us to grade and the dedicated public entrance off Bishopsgate, adjacent to the main entrance, and scaled to allow for queuing, ticket and security checking. Then into the guts of the building where we were shown around the 1,699 cycle parking spaces, colour coded (Peter Rogers’ influence made obvious) and ordered at a stadium/airport scale, together with an array of storage solutions and mechanic and spray washing bays and easy access to street level. Back up again, we were able to enjoy the specially commissioned glass printed art work by Bruce McLean that line each lift car, seemingly humanising the otherwise robotic nature of movement within buildings, and entered the building’s heart; the Market Place (fitted out by Blue Crow), comprising an array of food and drink offer. It was great to see so many people enjoying a relaxing drink after work (it was by now 6.30pm) within the building itself and this area will be a huge success and a testament to the wellbeing movement. 22 Bish will undoubtedly be a huge success and the supporting functions and features make it stand out amongst its peers. With special thanks to Karen Cook and Amy Holtz from PLP Architecture, as well as Lydia Morrow from Lipton Rogers Developments for an enlightening tour. Words: Barnaby Collins City Architecture Forum member, DP9

A New Museum for London pt I

Friday, 7th February 2020 On Friday, a group of City Architecture Forum (CAF) Members were fortunate enough to tour the Museum of London’s new home at the historic West Smithfield. A planning application to support the relocation from the Museum’s current site at London Wall was submitted during December 2019 led by Stanton Williams Architects. Sharon Ament, the Director of the Museum of London (MoL) introduced her vision for the proposals from her appointment in September 2012 and how she had shared her passion for a new location with improved access for all. Paul Williams of Stanton Williams, the lead architects and designers of the MoL then explained how the design proposals evolved and how the project expanded into the Poultry Market. The application site itself comprises four buildings; the General Market, the Poultry Market, the Annexe and Engine House located within the northern section of the City of London (CoL) within Smithfield Market. The site itself is bound by Farringdon Road to the west, Charterhouse Street to the north, and West Smithfield to the south. To the east of the site lies the Smithfield Central Market which is made up of the East and West Markets. The Annexe is the collective name for the Fish Market, Iron Mountain and Red House buildings, separated from the Engine House by Smithfield Street. The Annexe and Engine House buildings are a CoL Corporation development and will be a mixture of retail (A1-A4), office (B1) and cultural/leisure uses (D1-D2). Whilst the General Market and Annexe and Engine House have been largely derelict since 1999 and 1983 respectively, a small number of traders are still seen to operate within the Poultry Market. Sales of meat, poultry, oils and cheese operates from 02:00-08:00 on weekdays within the East and West Markets. The development proposals for the General and Poultry Market are museum-led (D1) land uses, supported with ancillary café and restaurant (A3) and back of house office (B1) uses. West Poultry Avenue lies between the two market buildings, and will form the main entrance for the new Museum. This forms the destination entrance, connecting visitors from street level and presents a “Real Time” environment where visitors are immersed into the Museum from the living, breathing city streets outside. During the tour, CAF members learnt of how the General Market ground floor will represent the period “Our Time” encapsulating London from 1945 to today; where history becomes living memory. This large open space will be occupied by programming events as well with visitor attractions such as restaurants and cafes. Beneath this at basement level the General Market basement “Past Time” exhibitions will focus around purposeful permanent galleries, illustrating London’s story from the beginning until around 1945. Within the Poultry Market at basement level, visitors drop into “Deep Time”; this open and active London collection is held for research. The Poultry Market ground floor will be occupied by the contemporary “Show Time” where 2-3 temporary exhibition galleries will be displayed a year. Above this lies “Imagined Time” on the first floor encompassing London’s influence worldwide for example through the works of JK Rowling and Charles Dickens. The development proposals for the General and Poultry Market are museum-led (D1) land uses, supported with ancillary café and restaurant (A3) and back of house office (B1) uses. From the project’s conception, the Museum’s desires were to provide a permeable and connective space for users. The MoL offices at the new site are designed to open straight onto the public area, providing a unique opportunity to dissolve the barriers between visitors and Museum staff. As a result, there is no staff entrance proposed; staff and visitors alike will come in through West Poultry Avenue, reflective of how different groups are already interacting on the streets of London around the site. Within the outer ‘crust’ of the General Market, individual units referred to as the Houses will provide a range of flexible uses; A1-A4, B1 and D1-D2. A coach drop-off space will be provided on East Poultry Avenue in line with key aspirations of the Museum to increase school visits to the new site as an active learning destination. The Museum’s relocation to West Smithfield can be seen as a catalyst for renewal with significant public realm improvements planned for the Smithfield area. The Culture Mile proposals are a joint initiative through the City of London Corporation, Museum of London, London Symphony Orchestra, Guildhall School of Music and Drama and the Barbican looks to provide “an unrivalled visitor experience” through significant public realm improvements such as greening, wayfinding and public art from Farringdon to Moorgate. Furthermore, introduction of Crossrail services at Farringdon station will further increase pedestrian footfall around the site. “If we can get MoL to be more like London it will be the best Museum in London as it will connect with all people” said Sharon Ament and her passion for the vision and delivery of this world-class development was clear for us all to see. Words & Images: Roy McGowan City Architecture Forum member, Momentum Transport Consultancy

Behind the Scenes: Bracken House

Thursday, 24 October 2019 A select group of City Architecture Forum Members were privileged to have an insightful visit around the newly refurbished Bracken House. The building sees the return of The Financial Times to its historic headquarters and their Global Facilities Director, Darren Long, welcomed us to their new home. The tour was conducted by John Robertson Architects Director, David Magyar and Project Director, Zemien Lee. It was fascinating to see the building brought back to life as a contemporary state of the art headquarters for the FT and lovely to see them return to their iconic home so close to St Paul’s. Bracken House was first designed by Sir Albert Richardson in 1959 and then significantly redeveloped in 1988 by Sir Michael Hopkins, replacing the central printing works between two brick and pink sandstone wings (reflecting the colour of the FT) with new, large post ‘Big Bang’ open office floors. The building is Grade II Listed and within the constraints of the St Paul’s Heights Grid, so the team has done a wonderfully sympathetic refurbishment, which enhances the iconic architecture of two great knighted architects to bring the building up to the most contemporary standards and expectations. On arrival, the entrance has been doubled in size, with two single storey areas either side of the double height existing entrance lobby, to provide generous waiting lounges. This allows the reception desks to be moved off axis to open up the magnificent central view of the atrium and lifts. The distinctive lift bank sitting at the centre of the atrium is constructed of exposed concrete, gunmetal painted steelwork and glass blocks to floors and roof. The architects have sensitively replaced the central section of roof with full glass panels flooding the otherwise faithfully maintained area with natural light. The two wings, being from an earlier era, have different floor heights and much smaller floor plates. They have been very cleverly connected into the large central office floors by new light wells that replace old solid cores of WCs and risers. These have stairs and bridges, are flooded with light and transform the connections of the building wings. Materials are faithful to the modernity of the 1980s building with glass, steel and concrete panels, and a clever use of oak floors and wall panels providing warmth and contrast to an otherwise neutral palette. The side wings now provide appealing, bright, intimate office spaces as a contrast to the large open plan floors, and a choice of work places for the FT team who are all working flexibly with a fully agile office designed by interior architects Perkins + Will. Another transformation is the new ceiling and lighting, providing bright working areas. Old 1980s fittings are replaced with the latest contemporary, seamless, linear LED fittings. These are now running towards the perimeter, rather than parallel to the facades, helping to better express the radial geometry of the Hopkins office floors. Sensitive contemporary circular fittings have been used for the wings, similar to the original arrangements. We visited the old Bracken House boardroom with its magnificent picture window facing St Paul’s, where Churchill often met his long-term political friend and colleague, and FT Editor, Viscount Bracken. This is now a contemporarily designed dining and meeting room. Perhaps the most stunning improvement is the new accessible roof terrace. With severe planning restrictions allowing no interventions breaching St Paul’s heights the landscape is cleverly integrated to provide an amazing amenity for the FT staff with stunning 360 degree views. A beautifully curved planter of external quality polished Corian forms benches and planters and sits alongside radial paving. This is inspired by the dome of Palazzo Carignano’s Baroque masterpiece that had originally influenced the design of Hopkins’ Bracken House. The whole team is to be congratulated on improving what was already an inspired building. Words: Richard Beastall City Architecture Forum member, tp bennett Images: © John Robertson Architects

Behind the Scenes: One Fen Court

Monday, 30 September 2019 One Fen Court is a new building located in the heart of the City of London designed by Eric Parry Architect (EPA) and owned by Generali. You’ve probably already seen its colourful iridescent top the peaking put atop the City’s winding streets. We had the rare opportunity to hear from most of the project team, in addition to EPA and Generali, occupier and end user, M&G Investments and Interior Designers, tp bennett presented. The presentations were followed by a tour of M&G’s office spaces. Philip Vaughan, Director of Development noted that M&G, occupier since November 2018, wanted to create a destination for their business and were attracted by the prime location and opportunity to occupy a landmark building. They have a dedicated entrance at 10 Fenchurch Street which brings visitors into a grand entrance lobby leading to the lifts and up to the company’s auditorium, where the evening’s presentation was hosted. Interior designers, tp bennett were able to translate the company’s ambitious vision into reality, providing an agile workplace supplemented with a variety of support spaces to suit the diversity of departments within the business. Tina Palliet, Head of Projects Development at Generali, spoke of the challenges that the team faced which started with the complexity of 7 different land ownerships on the site and an extensive archaeological excavation. The project offers a net lettable office area of 38,000sm over 13 floors and has six retail units. The project’s crowning glory is the City’s largest public roof garden with a 360 degree view. The restaurant on the 14th floor should be open by the end of the year, so keep it on your radar! The project had received numerous accolades even before completion and was awarded BREEAM Excellent. The focal point of the public passage through the building is a large LED screen, also signifying entry to the roof garden. Currently on display is ‘Botanic’ by Jennifer Steinkamp, part of Sculpture in the City, a flowing digital floral composition. Eric Parry, Founder and Principal at EPA, described the building design process and aspirations for the project. From the onset of the project the planners wanted the building to be a city block building, not a tower. EPA created porosity through the block with a public passage. In elevation the building is organised in a tripartite manner with a base, middle and top. The loggia at its base, signifies entry and retail, the centre is the main office space, which creates a neutral backdrop to the Crown, a sculptural form lined with dichroic film, the site of which can brighten even the darkest of days! The office space is column-free with the structure integrated in the perimeter façade. Richard Beastall, Principal Director at tp bennett, described how they embraced M&G’s aspirations within their design. They tied together a flexible working environment, a staff restaurant, a signature double height arrival space and executive floor, by using a central organising circulation spine throughout the fitout. This spine is well-used and creates a buzz, one of the many spaces which encourages staff interaction. The primary neutral palette uses rich materials which can be seen in the main reception, so take a peek! In contrast the variety of meeting and touchdown spaces have been thoughtfully curated and using exciting furniture selection and an array of colours throughout, creating a variety of collaborative workspaces. The success of the project is a credit to the collaboration of a talented and progressive team, and a brave client! Words and images: Etain Fitzpatrick City Architecture Forum member, John Robertson Architects

Frederick’s Place in the world

Frederick’s Place Wednesday, 10 July 2019 I think Robert Adam would be very pleased with fellow architect and Scotsman John Robertson for not only extending the life several of his buildings, but also for respecting his original work that survived bomb damage during the Second World War. 7/8 Frederick’s Place which sits off Old Jewry a few yards from Cheapside, the busiest shopping street in the City, and forms part of a group of buildings all owned by The Mercers’ Company. The Company asked Robertson and his team at JRA to work on a masterplan for the buildings in this small street, that in its time was home to Sir John Frederick (Lord Mayor 1661), Prime Minister Benjamin Disraeli (1821-1824) and the offices of what was to become accountants Price Waterhouse. Simon Taylor, The Mercers’ Company Property Director, asset managed the street to vacant possession to enable the whole to come together and allow regeneration to take place under a JRA master plan. This has seen the Livery Company secure a new entrance into its Hall through No.6 Frederick’s Place, Nos. 7/8 refurbished while Nos. 1/3 will complete their upgrade in November this year. Planning consent for other buildings has been or is in the process of being obtained. Nos. 6/7 offer contemporary and functional office in a very good location only 200 yards from Bank which has seen all the offices fully leased only a short time after completion, while a ground floor café operation is expected to be signed shortly. Excellent rents have also been achieved underlining that the Mercers have produced the right product at the right time given the changing market due to the impact of Serviced Office operators. Throughout the building a mixture of brickwork has been left exposed – some original, some Victorian and some post war – while two Adam fireplaces, an original ceiling and staircase have all been restored. Each floor has been opened up so that small office suites could be offered if required, although each floor has subsequently been let to single tenants attracted by interesting, yet functional space with modern kitchen and toilet facilities all served by a new lift and a VRF cooling system. The tall ceilings allow in plenty of light while a covered lightwell brings a brightness into the café area. Other spaces have a contemporary white cladding to the walls, which does not reach full height leaving exposed brickwork above, with uplighting carefully hidden behind the cladding. Steel beams are also on show giving an almost industrial feel in places. The City Corporation is currently resurfacing Frederick’s Place, paid for by the Mercers which will create a pedestrianised approach to the buildings. All the office space in Nos. 1/3 is currently under offer, so I feel sure Robert Adam would be very grateful to the Mercers’ for respecting his original buildings and admire the creative design of JRA in bringing these buildings back to life in a sensitive yet also profitable way. I can’t wait to return later in the year to see the completed project. Words and images: Simon O’Donnell City Architecture Forum member Priority Real Estate

Green Pleasure

33 King William Street Tuesday, 11 June 2019 On Tuesday 11thJune, we had the pleasure to join John Robertson, Director at John Robertson Architects, to explore 33 King William Street, a new landmark designed and delivered by his team for the international property developer HB Reavis, the latter’s first major development in the UK. The development is located in a privileged spot in the City of London, where King William Street meets London Bridge. A combination of a very popular area with continuous heavy traffic. The site context was a key driver behind the design of the building. From the outset the building was conceived as a complimentary backdrop to Grade 1 listed Fishmonger’s Hall, which sits in front of it, and Art Deco Adelaide House, opposite. The elevation on Arthur Street is generated by its surroundings. Its design has been inspired by the colours and tones of the buildings it faces. The result is a promenade of reflected light and earthy brick tones that marries this contemporary new building with its historical surroundings. 33 King William Street building perfectly captures this role, as it raises a green landscaped roof that compensates for the tough, dense and polluted location catalogued as the most contaminated point in London. The purpose of the visit was to admire the building from the deck and the facade and enjoy its meeting and enjoyment green space. The combination of the urban environment with the roof’s landscaping is impressive. Access to the roof is designed so that everyone enjoys the green space, the views and the environment specially designed between NE, SE and W directions. The project is totally defined or limited by the visuals between Greenwich and Saint Paul’s Cathedral, so that all elements of the roof have had to limit their height. This has led to the sinking of the building’s facilities and losing part of the free height of the last floor, but leaving an impeccable roof. The gondola’s route is very well integrated with the walking path that runs along the perimeter. The work done by Townshend Landscape Architects is impeccable in the selection of the different species, the colour of the flowers, the smells that emerge and the overall arrangement. The drawing of the floor plan is very expressive of the intentions being sought. It is worth highlighting the installation of photovoltaic panels on the roof that achieve 4% of the total capacity of the building, achieving greater parameters when not working at maximum capacity. Words and images: Xavier Aguiló City Architecture Forum member BAC-evolve consulting engineers

Feeling Uplifted

London Wall Place 29 April 2019 Brookfield and Oxford Properties have made a bold move to knock down a large stretch of London Wall; the 1950’s version, that is. The impermeable podium building that once spanned the full length of the site is gone, and through close collaboration with many stakeholders, two new office buildings designed by Make have been elevated above the site, creating a significant new piece of public realm layered with pedestrian paths, intimate pockets of gardens and seating, elevated walkways, and retail space; much appreciated by the City dwellers. As the project architect Chris Jones described the development of their concept following a successful competition bid in 2008, the importance of understanding the history of the site was clearly paramount since its inception. Chris explained their objective of adding a new layer rather than wiping the slate clean. However as we explored the site, it became clear that the new development does more than adding a layer; it respectfully reveals and enhances many more layers of history. The pavement along London Wall now widens and steps down to reveal the remains of St Alphage Church, and a new tiered garden seamlessly extends the existing garden of the Salters Institute bound by a section of the original London Wall. A new paved route dissects the site at street level, whilst sweeping walkways above the site reinstate existing connections to the Museum of London as well as bridging the road of London Wall. The use of consistent materials throughout the landscape provides clarity, and distinguishes the public spaces and routes from the new buildings on the site; for example corten steel is used as a robust maintenance-free finish to the planters, public stairs, railings, and bridges. The layers at street level continue upwards breaking down the scale of both buildings by creating stepped elevations with a vertical emphasis, in contrast to the horizontality of the previous podium building. The use of distinctly contrasting facade materials also emphasises the layers of the facades. The chalk-white GRC panels are split by the intricately curved iridescent panels of blue-black glazed terracotta, reminiscent of the flint used in the Roman remains. Care has been taken to wrap the facade materials under the soffits of the elevated buildings, and where the expansive use of dark terracotta may seem counter-intuitive, the highly glazed finish responds to the changing daylight and reflects many colours from the surrounding landscape. The buildings provide the quality of modern office space we expect in the City; 580,000sqft of flexible floor plates designed to accommodate multiple tenants at an occupancy density of 1 person per 8m2; 1.5m spaceplanning grid; floor to ceiling glazing; landscaped terraces; and BREEAM Excellent. What makes this project unique is the opportunities that have been realised by working closely with the stakeholders, in particular the freeholder, the City of London. The importance of this collaboration has enhanced connectivity across an acre of new landscaping at street level, balanced by the successful negotiation of extensive cantilevers on both buildings along London Wall, coordinated with the City’s traffic calming measures – a reduction in the number of the traffic lanes and widening of the pavements. As Carlin Fier from Brookfield explained, the project reflects their ambition to reinvest in, and activate public spaces within their developments, with a programme of events already underway including a free concert by the London Symphony Orchestra in June. Brookfield Oxford’s approach not only offers quality space, but a new sense of place for the wider community in the City. Words and Images: Liam O’Grady City Architecture Forum member Hutchinson & Partners, Associate

Republic at East India Dock

Forum members and their guests joined Robert Wolstenholme, Founder of Trilogy Real Estate to discover the vision behind Republic, the next-gen office campus redefining the workplace in East London. The project is a dramatic reimagining of a tired post-modern office campus, the newly launched Import Building is a 270,000 sq ft refurbishment on a 600,000 sq ft campus delivering affordable rents and a lifestyle offer aimed at creative businesses priced-out of Central London and Shoreditch. Reimagined and refurbished by architect Studio RHE, the project reflects Trilogy’s approach to creative places and features collaborations with artist Scott King, graphic designer Tom Hingston, retailer MagCulture and workspace operator Trampery. The building launched with a collaboration with Courier, the start-up culture magazine, whose first ever festival took place at the campus in September and is accompanied by Clipper, a magazine which celebrates culture in the area. On-site lifestyle benefits include a dedicated Community Management and Wellness team who provide personal training, classes, events and advisory services to tenants; a health and fitness centre operated by PureGym; a Gentlemen Baristas coffee shop.