38
PROJECT REPORT
forms a second horizon just 40 metres away at the southern corner of the site, informed AHMM’s decision to subdivide the building into seven distinct blocks.
Three smaller blocks face the streetfront, three are positioned behind and the higher density tower is positioned at the back, close to the canal where it is less visible to local residents.
The massing was also a strategic move aimed at repairing the urban fabric by restoring the continuity of the street edge, completing the line of urban blocks to the east and west of the site, and reinstating a coherent perimeter structure.
“The project has lots of neighbours who, through consultation, had concerns about the form of the building, and how that was going to impact on their daily life,” says Hazel Joseph, “We had to work quite hard on how to respond to issues with overlooking, noise and light pollution.” Following consultation with residents
and Westminster City Council, the height of the tower was reduced from the originally proposed 16 storeys to 12 storeys, it was also reshaped to reduce its mass and the position was moved away from the more sensitive residential properties. In addition, setbacks at upper levels on the three street-facing blocks were introduced to protect daylight to properties directly opposite.
The westerly facade also “steps back and has very deep reveals with planted window boxes so that residents concerned about overlooking would have some sort of screening and veiling to minimise that issue,” says Joseph.
Vernacular response
The architectural fabric of the surrounding area refl ects its 19th and early 20th century origins, featuring multiple variations of red and yellow London brick, along with a preponderance for industrial steelwork. The material strategy for Westbourne Park was shaped by this palette with a strong focus on brick. Variation was introduced through detailing techniques, such as changing brick reveal depths and bonding patterns, spandrel treatments, and perforated metal screening, helping create a complex architectural language. Along Woodfi eld Road, the facade are rhythmically ordered to refl ect the fi ner urban grain with three different bricks specifi ed to give each of the blocks a unique character. “It was about both creating a
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