PROJECT REPORT: COMMERCIAL & WORKPLACE ENVIRONMENTS
reconfiguring the arches to provide two identical openings the doors are unique in size and shape to celebrate the original asymmetric design,” says Davis. Original timber loading doors were also refurbished. Using reclaimed materials was something the practice aimed for throughout the project, sourcing recycled materials from other sites and reusing existing materials where they could. Where new materials needed to be sourced, samples were taken from the building and then sourced from the same companies where possible. The windows were a key element in restoring the building. “Although numerous windows had been replaced with PCVu, some original windows remained, but many were damaged and broken,” Riley explains. “Where possible these were repaired, their glass replaced, the graffiti removed, and they were made operable.” Where the windows were beyond repair, new, bespoke steel-framed windows were installed with matching scales and proportions to the originals. Riley explains it wasn’t cost efficient to replace the PVCu windows that had been added later. “They were refurbished and painted in a more complimentary colour to the original dark green windows,” she says. The colours used throughout the refurbishment were taken from heritage palettes and colours uncovered during the project, and new brickwork was laid to replicate patterns found onsite.
The practice stuck to the original open plan floor plan as much as possible, to, says Davis, “create the original industrial utilitarian aesthetic.” This included the uncovering and reopening of a large space stretching up into the gable, complete with metal roof trusses and a timber rooflight running down the entire length of the space. “The large open floor plates allow for flexible subdivision across levels or buildings to suit different uses and tenants,” Davis explains.
In order to make the building more suitable for diverse future tenants, the practice had to consider what changes were necessary from a comfort point of view. They opted to insulate the existing metal frame and timber roofs to increase thermal comfort, as well reduce energy consumption. Externally, as well as the brickwork being uncovered and restored (including polishing quoins and lintels), the building’s original natural slate roof was retained, as well as original chimneys. The entrance’s cobbled yard, which leads
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to the building’s prominent gable end, also remains intact.
A new era
Both since completion and even during the renovation, the building has played host to a variety of events. A number of ‘meanwhile use’ events took place. These included an art exhibition (run in partnership with Creative Debuts) which saw young artists showcase their work, a Christmas fundraiser that raised money for men’s mental health and testicular cancer charities, and various food and beverage and music events. Called The Paperworks, the latter were held in the courtyard over August and September 2020, in partnership with Corsica Studios. Fabrix also worked with Dazed magazine to create a short film, ‘The Qweens Speech’ filmed at The Bottle Factory, highlighting LGBTQ+ issues and featuring singer-songwriter Sam Smith. The client is very happy with the careful and painstaking work done by the studio to restore this building, according to Riley, and is “looking forward to viewings with prospective tenants.” The site is set to benefit further from the council’s Old Kent Road Action Plan which seeks to both preserve the area’s heritage and history, while also driving development. This includes plans for two new Bakerloo tube stations, both of which will sit within 500 metres of The Bottle Factory.
PROJECT FACTFILE
Client: Fabrix Architect: Studio RHE Structural Engineer: Symmetrys M&E: EEP Consultant: CHP
Project manager/contract administrator: Opera
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