Reflections on a placement

 

Our Part 1 Beth has left us for a little while to return to University and continue her Part 2 sandwich course. Before leaving she wrote the following piece reflecting on her six month placement with CWa. Thanks Beth - looking forward to your return this summer!

Reflections on a Placement

It says something about the current culture of architecture, that CWa’s AJ-declared status as a ‘disruptor’ is a magnet for young architectural workers. It is also challenging to describe what this really means: the philosophy is not really ‘to build or not to build [new]’. It feels like the essence of CWa’s practice lies in the beauty of nuance, of thinking carefully, of finding a balance. In Sweden, perhaps they would describe this as the ‘lagom’ approach (not too much or too little), although that is not to say that the practice is necessarily Scandinavian in approach. I think they’d much prefer to be considered Belgian!

Working in this way has been fascinating; your mindset shifts to see even the most simple, apparently mundane decisions can be crafted and intentional. Maybe this is honed through the love for architecture which permeates the practice culture. There is certainly a healthy enough work-life balance that lunchtime architectural conversation and down-time AJ-reading never feels overbearing.

My first project at CWa was a little barn conversion to form a martial arts studio, already an intriguing, unique brief. While apparently straightforward, this soon became a complex exploration of each timber strut, the varying footings, even the ecology. It was a juggling exercise, keeping one eye on costings and specifications, another on building control and another on brief, all while dealing with a decaying structure. Taking this all the way through tender has been enlightening, not merely career-wise but also to the inherent challenges facing those who wish to restore and revive over starting new.

The Bath Assembly Rooms project, on the other hand, has provided a wholly different experience, not least in its aim to revive the Rooms’ use as a gathering place – ‘un-converting’ from its prior museum use. You think you know BIM until you try to use it on an existing building…! It has been great experience to learn ArchiCAD in this context, and it makes you realise that just because the software says something is a wall, does not mean it has to be a wall – which is actually a very useful fact.

These are only two of a myriad of projects, which have varied so greatly that it has made it very difficult to describe my job to anyone who asks! Sometimes we are analysing the decarbonisation benefits of an environmental system, while at other times we are discussing the relationship between a doorway and its user, or debating the sensitivities of removing historic fabric in favour of equal access. It seems to be one of the most enjoyable aspects of working with existing buildings - that each one requires a bespoke approach, and each decision is imbued with purpose, and contextualised within contemporary social fabric.

Returning to university to continue my Part II, I hope not to forget the value of being deliberate, observant and curious. Whether or not I design new or adapt existing, CWa has fostered an appreciation for continuity – not necessarily of appearance, but of spirit and people. 

Beth

 

Assembly Rooms cold bath uncovered

 

CWa have been working with archaeologists, curators, archivists and contractors across summer and autumn 2023 to uncover the Bath Assembly Rooms' 18thC cold bath – and unpick the mystery surrounding its inclusion in John Wood the Younger’s original designs.

Although cold baths were a common part of an 18thC health regime (and many survive in well-appointed townhouses of the period across London and Bath), they are rare in the context of the entertainment and diversions of an Assembly Rooms. The fragment poses many fascinating questions about the multitude of alternative functions that the site hosted beyond its primary role as a social venue – a great example of what we would call ‘mixed use’ today.

Archive records suggested the bath was last uncovered before the Sir Albert Richardson phase of post-war restoration in the 1950s. When we first visited the site back in 2021 we could see the pool’s rim poking out above the carpet tile, but the only way to confirm how much survived beneath was to dig.

The Trust are continuing their research into the significance of the bath, and we are supporting them in the consideration of how best to conserve and present the artefact to future visitors.

 

New Team Members

 

Back in August we bid farewell to our talented Part I Assistant, Francesca Wren, as she embarks on her next adventure! Francesca has played an integral part in CWa's progress this past year, deeply involved across a range of projects in the studio. Most notably, the development of Grade I listed St. Petroc's Church in Bodmin and assistance with the Bridgwater Town Hall refurbishment project.

Francesca has risen to the challenges presented to her and excelled in various tasks, from creating early concept models to engaging in technical detailing, in addition to observing works in action during site visits (official FW approval for the concrete plinth at Northly Farm) and client meetings. We hope that Francesca's time at CWa has been valuable, and we wish her all the best in the next steps of her career!

As the practice continues to grow we are pleased to welcome two new Part I Assistants to the team.

Bethany Kippin joins us having completed her undergraduate degree at the University of Bath, and being awarded the 2023 University of Bath Chancellor’s Prize for the best undergraduate student. Beth’s final year project was for a social enterprise forum investigating the architectural/ecological context of Oxford’s ‘rural-urban fringe’ – prioritising the adaptive reuse of the surviving fabric from the site’s historic Priory

Callum Purdue joins us having completed his undergraduate degree at the University of the West of England, and being nominated for the RIBA Dissertation Medal. Callum's Dissertation 'Altered Body' is a phenomenological narrative describing a sensory interaction with the Saxon Church of St Lawrence in Bradford on Avon.

Look out for more from Beth and Callum soon!

Charlie

 

Akshara Pulpa nominated for RIBA Rising Stars 2023

 

We are delighted to reveal that our talented Architect Akshara Pulpa has been shortlisted for this year's RIBA Journal’s Rising Stars cohort!

Before joining Connolly Wellingham in 2022, Akshara was the Project Architect at Feilden Fowles, working on the highly acclaimed Homerton Dining Hall in Cambridge. She has now returned to the South-West and is keen to build on her foundation of pragmatic working practice and a passion for craft and making. We are delighted to have her in our team contributing to our re-use first approach to environmental responsibility.

Akshara is currently leading our project on the transformation of a redundant Grade II listed barn complex in Wiltshire to host community programmes focused around nature and health. She is also leading the architectural coordination of the Decarbonisation Project at Spike Island Artspace Limited and has recently completed her qualification as a retrofit coordinator. She can be seen here in action recently leading the internal consultations with artists and tenants to better understand the lived experience of users across the former industrial site.

Winners will be announced at the end of October – good luck Akshara!

Charlie

 

Beneath the surface

 

An initial phase of investigative opening-up works are underway at Bath Assembly Rooms, making careful incisions in fabric of low-significance to better understand areas of the site which are not documented in any existing or historic drawings. Works are being undertaken in dialogue with Local Authority and Historic England, with on-site archaeological supervision to monitor exploratory excavation.

The process is improving our understanding of the building’s evolution; confirming the survival of original 18thC fabric, and establishing the extent of the post-war restoration. It is the ambition of the wider refurbishment proposals to uncover and display some of these historic surfaces for the first time in over 50 years, creating an evocative ‘as found’ backdrop for the new interpretation spaces across the lower ground floor.

 

New appointment

 

We are delighted to announce that Connolly Wellingham have been appointed as Church Architect to St Nicholas, overlooking Bristol Bridge in the heart of the Old City.

A church has stood on this site since the 12thC, with earlier structures incorporating the south gate into the medieval walled city. The majority of the existing structure dates to the 1760s Georgian reconstruction, which was built atop the surviving 15thC vaulted crypt. The nave was gutted during the Bristol Blitz, and subsequently rebuilt and occupied by civic and clerical secular uses from the 1970s. The church was re-opened as a place of worship by the Diocese of Bristol and the Church Revitalisation Trust in 2018 – following an initial phase of refurbishment by our friends at Mal Fryer Architects.

The church is now home to a thriving congregation with ambitions to expand their use of the building and consolidate their identity in the city centre. CWa’s appointment was made after interview of an invited shortlist of practices within the city, and the initial scope of design work is Feasibility Studies in relation to improved access and utilisation of the exquisite medieval crypt space.

 

Shock of the new

 

After many years, and several dozen projects, last year we have finally succumbed to delivering an entirely new build project. Having boldly stated at the founding of our practice that we would work so hard to avoid this, some form of justification feels needed! If nothing else, to demonstrate that this did not happen lightly, and to reflect upon the subsequently opportunities it presented.

In 2019, we were invited by English Heritage to consider a new ticketing kiosk for Old Wardour Castle- and incredible 16th century ruin set within deepest Wiltshire. In stark contrast to the centuries old ruined castle, existing facilities at the visitor destination measured more in the decades, yet were almost as ruinous. A number of off-the-shelf wooden huts had agglomerated as visitor needs grew at the site, leading to a form of small shanty town- clinging to the edge of this breathtaking site yet with no real connection to it. With no infrastructure or substructure, the sheds had begun to dampen, to rot, and to subside. Direct electric heaters provided a modicum of heat within the draughty, uninsulated interiors. In this rare instance, and after more than reasonable consideration, we concluded there was very little to work with. We would have to agree with the client that a new building would be needed, and it was here that things started to get interesting.

What became immediately clear was that building from new is comparably easy. No matter how regularly we do it, working with the existing- or ‘Building on the Built’ as an emerging enclave now terms our shared approach- is rarely without surprise, or curve ball, or the downright esoteric. As almost all architects will surely attest to, it is not an easy way to build. To have such control over so many aspects of the detail, without the sleepless nights of half brick thick walls where you had anticipated brick and a half, or one hundred mm deep footings where you had hoped for five hundred is so incredibly liberating. Our challenge was therefore to maintain a rate of interrogation, to continue to sweat the details, to drive for an architecture stitched into its context; just in the absence of that most intimate context within which we more typically work.

Building from new is a privilege. It is an opportunity to reflect upon- and distill a sense of place. It is a chance to form new relationships with- and enrich- context; to add wholly contemporary layers of architecture and thereby draw forgotten places into our sense of modern relevance and guardianship. It is an opportunity to engage with, and add generosity to the public realm. Perhaps in a time when this has never felt so pressing. Finally, it is a time for sincere ambition around ever pressing issues of embodied and operational carbon.

In our first fully new build project, albeit one with a GIA of 54 square meters, we have sought to speak to all of these challenges, and more. This is a building that recognizes its layers of lifecycles. It can be maintained, it can be repaired, it can be overhauled. It dresses for the occasion, yet is honest in its tectonic. It is legible in its construction. Hopefully it is a gift for future generations of architect to work with. Without the risk of those esoteric details, or sleepless nights. With the boot on the other foot for once, we have duly learnt to consider those who come after us. 

Ferg.

 

2022 in Review

 

We find ourselves in the last week of work before the Christmas break and calling an end to another year. This one has been a particular landmark as it has been our fifth year together as a dedicated practice - and I am pleased to say it has been our busiest and most successful year yet. As the team prepares to wind down and head our separate ways for well deserved breaks, I write with a review of our activities across 2022. 

Project Work

This time last year 2021 ended with CWa winning appointments for two high profile Feasibility Studies - first at the Natural History Museum in South Kensington and second with the National Trust at The Assembly Rooms in Bath. Both have spent 12 months progressing through early stages, preparation of brief and outline concept design - although with such prestigious institutions we are not able to share in any detail the exciting direction that these projects are taking, but we hope to be able to divulge some more content for these schemes in the new year.

Completion

2022 was a year of site visits, covering the commencement and completion of two projects; Phase 1 of refurbishment and retrofit works at Grade II listed Stanley Arts in South Norwood and the new Visitor Admissions Building at Grade I listed Old Wardour Castle in Wiltshire. Any construction project is a real journey and we have had a great time collaborating with the respective client teams at Stanley and English Heritage - and its great to end the year with finished projects we can all be proud of. 

 Awards

Outside of the above CWa remained closely involved with the delivery of the Inner Portico at St.Paul’s Cathedral, working in collaboration with Caroe Architecture Ltd who oversaw the construction phase. The team pulled together to complete the contract ahead of the Queen’s Platinum Jubilee bank holiday weekend celebrations - during which the Cathedral hosted the Service of Thanksgiving for the Queen’s Reign. Since completing the project has gone on to win a prestigious 2022 Wood Award for the best interior project of the year - which is a real achievement and testimony to the team’s efforts. 

Practice culture

2022 has seen the CWa family continue to grow. Our first ever employee (!) Joe F departed the studio in September to return to University and complete his Part II studies at Kingston School of Art. We were delighted to have his position filled by Francesca following her graduation from University of Bath Part I earlier this summer. Joe H has been playing a key role in our site stage projects and consolidating his contractual experience as he progresses through his Part III studies at UWE. 

On a personal note March of 2022 saw the arrival of my daughter, and I have ended the year taking 8 weeks of Shared Parental Leave - a fantastic opportunity to bond with our family’s new addition during this formative first year. I would like to thank my colleagues in the studio for their supportive assistance in my taking this precious time off - it hasn’t been easy to step away from a busy studio workload, and I could not have done it without their rock solid backing. Thanks too to our old friend and former colleague Akshara who was able to step in and assist during this period, effortlessly fitting into the rhythm of our small studio and taking a key role in shaping some of our newest projects. 

CWa staff and families summer party 2022

2023

Which brings me on to 2023! Our big Feasibility Study projects will soon draw to a close, and we will be working with client teams to support them as they assess options for progressing. We have ended 2022 by winning 2 exciting new appointments; first the repair, refurbishment and reuse of a Grade II listed Tithe Barn (with exciting possibilities for new public uses in an idyllic rural context), and second the internal reordering of a Grade I listed church in Cornwall (supporting the PCC in their hugely important outreach work in a community with many economic challenges). Construction projects will continue to be delivered, with our farmhouse retrofit and extension project in Gloucestershire commencing on site in November, targeting a late summer 2023 completion. 

Thank you to all our clients, consultants, contractors, colleagues and peers for making this another energetic year for our young practice. We will see you all in a few weeks time to start it all over again!

Charlie

 

Wood Awards 2022

 

CWa are delighted to announce that the Inner Porch project at St.Paul’s Cathedral has received the  Best Interior project at the 2023 Wood Awards. The Wood Awards exist to recognise excellence in the design and craftsmanship of timber in contemporary architecture. In a time of climate emergency the promotion of carbon neutral construction has never been more important – and to be counted amongst the exceptional winning schemes was an incredible honour.

Fergus was in attendance at the award ceremony alongside Oliver and Bethan from the Caroe Architects team, as well as representatives of Morton Partnership, Robert McAlpine, Neil Burke Joinery and Buckland Timber – a great moment for the team to reflect and celebrate a great collaborative effort.

The judges’ praised the meticulous sourcing of the English oak for the high quality joinery finish, and the careful detailing of the external lining; taking cues from the sculpted surfaces and proportional rigour of Wren’s masterpiece.

Ceremony photos courtesy of the Wood Awards. Photos of the completed project courtesy of NBJ.

 

Nourishment

Having recently joined the studio and been immersed in the contextually sensitive and thoughtful projects that define CWa, I find myself thinking about my bachelor’s degree project and the links it has with the practice’s ethos.

Entitled Nourishment, the proposal was for a health and nutrition centre for Somers Town in Camden, one of the UK's most deprived areas. The centre is aimed at families and individuals suffering from a damaged relationship with food. Providing counselling, education and practical experience of sustainable eating, the structure is a space for the nourishment of the body and mind.

A driving idea was the concept of clarity. This concept suggests an honesty and understanding in and of the space, relating back to the educational and healing purpose of the structure. The exploration of this theme defined - and designed - relationships with context, spaces and people.

Located in the heart of Somers Town on a neglected playground and within walking distance of Kings Cross Station, the centre is able to reach the people most at need.

A crucial aspect of the design was creating a strong sense of belonging.  The structure had to feel welcoming and grounded in its context in order for it to fulfil its function. Responding to the formality of the orthogonal city planning and building to the site's South corner allowed the structure to open up to the park and create a strong relationship with the low  lying community structures to the North. To tie the design to its context and help it belong, I opted for reclaimed brick as the primary facade material. Brick is a known material that is understood by the community. As said by my tutor, "It's wholemeal bread, not brioche". The natural patination of the used material makes the structure sit comfortably within its brick surroundings, and adds warmth and texture to the façade.

Stratifying the building along its types of nourishment felt an appropriate response to spatial and experiential requirements. The ground floor speaks of the culinary experience (cooking, eating, market)  the first of the metabolism and composition of food and the third of the psychological impact of a damaged relationship with food.  The central hall acts as the heart of the centre, with the mezzanine floor  allowing the ground and first floors to interact. Their activities become shared, and the learning experience enhanced.  This lower level connection allows the therapy space to sit above in a more private, intimate and safe setting. The centre is clearly organised into zones - child/ adult, open/private, tasting/talking -  to ensure visitors understand the space they are in.

In keeping with the concept of clarity the elevation reflects the structure and functions within through its regular fin design, that constrict on each floor as the functions become more private. Visitors are able to understand the structure before entering.

The centre's main focus is giving back to community. Creating a nourishing, educational garden for the community to get involved in was a defining part of the brief. As the design evolved, the garden grew and became part of the building itself. The hall opens entirely to the garden, extending its function out onto the landscape. Plants growing in the garden stimulate the senses, through scent, taste and sight.

Defined zones of edible planting are created for visitors to explore, thereby extending the education and nourishment of the centre. As the eye is guided upwards by the stepped terraces, visitors are encouraged to explore the planting and engage with the food they are eating. Each terrace grows different produce to be used within the kitchens and changes according to the seasons.

Of course, reuse and sustainability helped define the design. Materials were chosen for their longevity and reuse capacities. Reclaimed materials for the facade, flooring and furnishings were chosen to add texture and warmth while minimising carbon. The expression of tectonics and details not only strengthens the concept of clarity and understanding within the design but also simplifies the deconstruction process. A lot of research  and analysis was done on the environmental strategy of the structure, there is neither time nor space to go into it on this post!

This project exposed me to the subtleties of creating sensitive, respectful designs and has highlighted the quality of the work CWa produce. Designing spaces that respond to their context are welcomed by a community and talk of the history of the area is hard!

I’m excited to see where work here takes me and to dive into more projects.

Francesca