project report – ogilvy and mather “When you arrive it does feel like you are in a cultural type
of environment, where the architecture defines the spaces, rather than lightweight, gimmicky features,” he says. Vertical circulation was a big challenge and, in response, the
team decided to remove substantial parts of the interior and cut out 12 new openings with staircases. “We looked at classic examples in the Royal Festival Hall
and National Theatre where large staircases have over-sized space around them, forming landmarks that are more than just about getting somewhere. Ours not only improve circulation, but the large ones set against the river view windows physically open up the surrounding ceilings and areas on each floor, bringing in extra light and creating a greater sense of space and scale.” These have bigger, deeper treads to create a slower
pace of circulation and can be places for people to sit, spend time or meet. Elsewhere, smaller more domestic-style stairs provide faster-moving, practical links between the various floors. Staircases feature fine wire mesh balustrades which,
the architects’ own trials have shown, create openness as they are actually less visible over distances than reflective glass panels. Pointing out another prominent design feature, Matheson
says: “Vast amounts of concrete were used in the original dense grid structure in a way that could never happen now. Where practical we’ve left this heritage material exposed, again echoing the exhibition space idea.” The amphitheatre at the top of the building is a major focal
point, too, providing a place for “town hall gatherings,” a facility the client did not have before. “Essentially, it’s a very large staircase between the top two
floors with a view over the Thames,” explains Matheson. “You can use it to access the canteen and people can sit on it
to eat if they want but it also has to work as a proper performance space, for pitches, open meetings or client presentations. Given its function, locating it among the other social spaces seems appropriate.” Four covered balconies can be found on the upper levels,
one of which runs along the the length of floor 12, offering yet more choice of social space.
Rewarding
The Sea Containers House project, largely completed last autumn, has won admirers and has been shortlisted for the 2016 New London Architecture Award for office interiors, due to be announced on 7 July. While that’s a laudable achievement, both Macgadie and
Matheson say the most rewarding aspect has been the client’s responsive, progressive approach. Summing up Macgadie says: “They really embraced the
science and a new, flexible way of working to create a best in class environment that’s really suitable for their business. Irrespective of the architecture, that’s definitely the best thing about the project.”
© Maris Mezulis Studio
Architects: BDG architecture + design and Matheson Whiteley Project manager: Bollingbrook M&E consultants: Arup Sustainability: Arup Fire/acoustics: Arup Main contractor: Structure Tone Catering: Green & Fortune Exterior/feature lighting: Jason Bruges Studio Landscape: Schoenaich Landscape Architects Steelwork (secondary): Northvale Feature concrete works: Precise formwork Partitions and ceilings: PACE Services: Phoenix
BUILDING PROJECTS
www.architectsdatafile.co.uk © Gareth Gardner
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