Survey surprises

In 2023 I was invited to become Inspecting Architect at Grade II* listed St Nicholas Church in the Old City of Bristol. As well as assisting the church team in developing their next phase of reordering proposals (which will focus on upgrades to entry and accessibility), CWa undertook a Quinquennial Inspection of the church fabric, and identified a suite of repair works that required attention.

This lead to the appointment of Sally Strachey Heritage Conservation (SSHC) rope-access team to undertake some high level surveying of the church spire – both inside and out. Whilst my church work over the years has given me a reasonable ‘head for heights’ I was happy to leave this work to James Preston and his team of professionals.

The tower and spire at St Nicholas are interesting for a number of reasons. The bell frame is made of steel and records suggest was installed after the war in the 1950s, when a number of surviving bells from several of the ‘lost churches’ of the old city were relocated to St Nicholas to create a hybrid peel of varying provenance.

Access to the bell frame became limited during the 1970s when the ringing chamber beneath the frame was filled with air handling plant as part of the church’s conversion into the City Archeology Museum. Much of this plant remains in situ today, despite being long since disused, as it is too challenging to dismantle and remove. Above the bell frame is the clock winding chamber, which local legend suggests is nationally significant as the only church clock in the UK with an hour, minute and second hand.

Above the winding chamber is the access to the tower parapet and a long view upwards to the interior of the 18thC spire. It was this tapering void that was scaled and inspected by James and the SSHC team, as visual inspection from the platforms below indicated the presence of some timber beams at high level, the condition of which required investigation. James’ team were able to confirm that the timber structure supported a lead lined deck which formed the waterproofing layer for the spire beneath the externally visible pierced vents at the spire’s mid-point. However the timber structure also revealed another intriguing discovery – a timber chest tucked away on a shelf (is there anything more exciting to find?)

Inside the chest were a series of enormous flags. This discovery stumped us at the time, as we had never seen any evidence of a flag pole on the tower or spire at St Nicholas, and even then the location of the chest midway up the spire without any adjacent hatches to the exterior compounded the mystery.

The riddle was subsequently solved when a member of the congregation uncovered the below photograph.

I am still not clear the purpose of the flags and their use in this side-hung orientation, but our best collective guess was that it related to the use of the river (by this time made tide-less by Brunel’s ‘floating’ harbour) as a navigable river for large boats. Perhaps the flags performed the function of a weather-vane illustrating the speed and direction of wind at high level above the rooftops that surrounded the busy harborside. We can only speculate! The chest has been safely relocated to ground level whilst works continue within the spire, and the flags will be donated to the City Museum at M Shed as an artefact of Bristol’s maritime heritage.

We continue to work with James in his new venture James Preston Conservation, and the church are fundraising in support of external repairs to the stonework of the spire and nave windows later in 2025. I will have to write another blog soon to share the exciting designs currently being developed for the medieval crypt!

Charlie

Reflections on a placement - Maud Lacoste.

Spending two months immersed in the rhythms of a practice like CWa has been an impactful chapter in my architectural education. I came to the office as part of a two-month Erasmus placement from France, and what I found was not only CWa’s previous works I admired, but a practice rooted in care, curiosity, and purpose - not just in architecture, but also in the way everyone works together.

More than that, I was genuinely looking forward to working in a firm that puts retrofit and sensitive transformation at the heart of its practice. What makes CWa special to me is their focus in reimagining and adapting existing buildings which aligns closely with my own values. And the experience has exceeded my expectations in every way.

Their commitment to retrofit, renovate, and rethink, rather than build from scratch, really resonated with me. It’s a stance that feels ethical, creative, and honest. That mindset has further developed the way I think about architecture and its role today. In France, we often speak of “patrimoine” with pride, but working at CWa made me realise that respecting heritage is not just about preservation, but about negotiation, transformation, and interventions as well, that speak softly but clearly.

One of the highlights of my time here was working on visualisations for the redevelopment of St Nicholas Church in Bristol, particularly focused on the vaulted spaces in the crypt. I loved exploring the vaulted architecture and how the project reimagined the crypt, a space traditionally hidden and quiet, into a vibrant area for collaboration and exchange. That sense of bringing life back into existing structures, of giving them new purpose, felt deeply powerful.

I also had the chance to work on an upcoming project in its very early stage, creating a digital 3D model of the existing site, isometric views, and explanatory diagrams. It was exciting to contribute to the beginning of something, when ideas are still flexible and full of potential. Seeing how concepts take shape, and being able to help communicate the ideas visually was a valuable learning experience.

Furthermore, I created a physical model for Pillar House and absolutely loved the process. There’s a particular kind of focus and satisfaction that comes from making things by hand, and it helped me better understand form and materiality beyond the screen. On top of that, I was kindly involved in conversations, reviews, and site visits throughout my placement.

But beyond the design work, what I’ll remember the most is the atmosphere in the studio: genuine, kind, funny, and full of positive energy. I felt welcome right from the beginning. Whether over coffee, project reviews, or lunchtime chats, the team created a space where it felt easy to be curious, ask questions, share ideas, and simply enjoy the process from day one. For me, that meant stepping into a variety of roles with support and trust, and being able to contribute meaningfully.

The office culture felt different, in a good way, serious, yes, but also generous. There was space for dialogue, curiosity, laughing, and learning. I never felt like “just an intern”, rather, I felt part of an ongoing and meaningful team who welcomed me with open arms.

Returning to university in Bordeaux, I carry with me a renewed appreciation for subtlety, process, and care. I’m grateful not only for what I learned, but for the way I was welcomed into the team with kindness, trust, and encouragement. It’s hard to describe exactly what defines a good architecture practice, but I think this one lives in the balance between intention and openness. I feel lucky to have seen that up close.

To everyone at CWa, thank you - it was a real pleasure to be part of your team. This time with you has left a lasting impression, and I return to my studies with new skills, and a renewed sense of what kind of architect I want to become. I will miss you deeply - Thank you for everything & merci beaucoup!

Maud

Spike Island Open Studios

Connolly Wellingham were pleased to participate in the Spike Island Open Studios event across the May bank holiday weekend, opening our office to members of the public and displaying some of our recent and current work. The weekend is a real highlight in Bristol’s cultural calendar and an opportunity to see behind the scenes of over 50 artists and creative businesses - from painters to sculptors and print makers to ceramicists. 

It was great to meet so many curious and engaged visitors, many of whom shared their own stories and insights into the reuse of historic buildings. Thanks to everyone who popped by to say hello and we hope to see you again next year!

Full Planning Permission and Listed Building Consent at Bath Assembly Rooms

After a busy two years of liaison with the Local Authority, National Amenity Societies and stakeholder groups - we are pleased to announce that Full Planning Permission and Listed Building Consent have been achieved for our proposals at Bath Assembly Rooms.

With a Grade I listed building of the utmost sensitivity, and an appropriately ambitious brief to refurbish and decarbonise the site, the process of iteratively presenting and reviewing proposals with the Local Authority has been patient, thoughtful, and ultimately incredibly rewarding. The Case Officer’s Delegated Report summarised the process similarly: 

“The proposals have benefited from a detailed, careful, informed and commendable collaborative approach. The historic building has been thoroughly and comprehensively assessed, analysed, and understood. This approach will result in significant heritage benefits, both in terms of physical and visual, but also arising the emphasis of the historic building itself as the point of interest for the community and visitors alike. Its significance will be better revealed and its architectural legibility will be increased as a result of the proposals. These heritage benefits are positive for the listed building, the conservation area, and the UNESCO World Heritage City.”

A primary component of the proposals is the proposal to cease the use of fossil fuels on the site by replacing the existing gas boiler infrastructure with new air source heat pump technology. This has been particularly challenging within this tight city centre location with minimal external space within the site boundary. Resolving this meant working closely with Max Fordham LLP to assess multiple options for potential plant at roof level, and ultimately concluded with the proposal for an array of 26 individual domestic scale pumps working in synch to meet the demands of the cultural venue.

John Wood the Younger’s design for the massing of the Assembly Rooms is a masterpiece of urban architecture – establishing 3 triple-storey ‘blocks’ (forming the Ball Room, the Tea Room and the Great Octagon) that respond to the scale and arrangements of their respective streets (Bennet St, Alfred St and Saville Row respectively). This distinctive form offers the opportunity to site the majority of the pumps in the centre of the site, above the low single-storey connecting link, where they can nestle down behind the west entrance portico and be unobserved from any of the surrounding public realm.

Crucial to the proposals for switching from gas to the low-temperature ASHP system is paying attention to heat-loss – with a high priority target being the existing single glazed sash windows, of which there are over 100. Our research in the archive and investigations on site confirmed the anecdotal evidence that almost all of the existing windows dated to the 1950s restoration works following the war time damage, and those few that did survive were likely to date to the comprehensive restorations of the 1930s. We were able to demonstrate that the primary significance of the windows was their aesthetic contributions to the elevations and interiors, rather than the evidential value of their physical fabric. Following this agreement of principles, we worked closely with suppliers and craftspeople to demonstrate the suitability of a vacuum sealed slimline double glazed unit (achieving the thermal performance of a triple glazed casement in just 7mm thickness) – including the procurement of a prototype sash to discuss on site with local and national stakeholders.

Through an open and iterative dialogue we were able to demonstrate that the visual impact of this technology on the site’s aesthetic significance would be negligible, whilst the public benefit of decarbonising the site and setting new bench-marks for low-energy heritage were deemed to be considerable. Due to the scale of the site the proposed joinery upgrades will be implemented in a sequence of phases over the coming years.

The journey to achieving statutory consents has a reputation for being arduous, particularly for listed buildings – but in truth it is a part of all of our projects that we really enjoy. The opportunity to debate proposals – from the philosophical values of a site and its future down to the fine detail of a new physical fixing into an existing element – with enthusiastic, engaged and learned consultees is often a privilege and a pleasure. This last year of consultation for the Bath Assembly Room project has been a great example of this, and we want to thank the teams at BANES, Historic England, Georgian Group, Bath Preservation Trust and Transition Bath particularly for their passionate and knowledgeable contributions.

Charlie

Deep dives in the archives

My recent visit to the Society for the Protection of Ancient Buildings (SPAB) was both enlightening and thought-provoking. This was my first experience of the SPAB archives, and my objective was to uncover valuable insights into the history and significance of the Bath Assembly Rooms during the SPAB’s vital restoration work of the 1930s. The works were completed under the guidance of renowned architect Mowbray Green, and addressed decades of neglect whilst preserving the building's architectural integrity. Charlie and Fergus—both SPAB Scholars—had visited the archives many times before, so they sent me on my way to look for the infamous red door at 37 Spital Square, London.

Upon entering the SPAB office, I was struck by the sense of history that filled the space, surrounded by books and documents detailing centuries of architectural practice. The Assembly Rooms project archive housed an array of correspondence, requests for rent from the occupying shop owners along the North colonnades, historic photographs, and proposals that illustrated the ongoing dialogue surrounding the Assembly Rooms and the challenges of maintaining their integrity.

While navigating the discussions and documentation during this period, I found myself momentarily entangled in local gossip, with one bold individual presenting napkin sketches for what they felt would be a more appropriate new entrance. This spontaneous creativity contrasted sharply with another’s critical remarks about their dislike for a local business, revealing the complex interplay of opinions that often accompanies architectural discussions and changes. These exchanges served as reminders of the human element inherent in our work; we are not just custodians of building fabric but participants in a continuous community narrative.

The archive search revealed sectional details of a new colonnade to the southeast, confirming our suspicions about the late addition, as well as early dressed stone in the southwest lightwell, indicative of the original craftsmanship that defines the building’s character. Through careful examination of the documents, it became evident that many challenges faced in the past resonate with those we confront today. For instance, the correspondence surrounding proposals to remove organic additions, such as the billiard rooms, highlighted ongoing debates about the balance between functionality and aesthetics. The foresight of past architects against such changes is still relevant, as we seek to find uses for the long, narrow corridors that were also a subject of concern prior to the billiard rooms' removal.

As I delved deeper into the tapestry of the Assembly Rooms’ history, I was reminded of the many hands that have shaped its narrative over the years. Each intervention, whether beneficial or detrimental, has contributed to the building’s evolving identity. The conversations that transpired today mirrored those held by stakeholders in previous decades, reinforcing the notion that the Assembly Rooms have always been a focal point of community engagement and cultural significance.

Ultimately, our role today is to honour the past while adding a new layer, ensuring that future generations can appreciate the significance of the Assembly Rooms. As I reflect further on this visit and note the stage we are at in the project, I am filled with a sense of purpose and responsibility. The Assembly Rooms are not merely a collection of walls and ceilings; they are a living testament to the community’s values and aspirations of the City of Bath—UNESCO World Heritage Centre—and I am excited to contribute to that legacy.

 Joe

Reflections on a placement - Beth Kippin

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.