Case studies matching "architectural salvage"

After a particularly contentious and protracted planning process, this semi-detached, red-bricked house, part of a group of five properties that form Regent’s Mews in affluent London NW8, finally boasts an impressive third storey extension as a result of the erection of a mansard roof.The new dormer windows to its front aspect lend this 1980’s property a delightfully modern aesthetic, whilst the provision of a green roof to the rear aspect underlines its eco-credentials. The installation of Glazing Vision’s elegant sliding-over fixed rooflight above the stairwell, together with 4 additional fixed rooflights, has maximised the light streaming into this new living space, and also provided an all-important source of ventilation.Initial proposals to convert this house from two to three floors were rejected way back in 2001 by the local Planning Department on the grounds of it being “visually intrusive, overbearing massing not part of the existing architectural language and overlooking neighbours”. These same considerations faced Robinson Leigh Architects, whose track record of successful planning application had led to their appointment in 2013 by a client keen to find a solution to the planning impasse.There were a number of challenges for the architects, as they sought to design a scheme that would prove more successful through planning. The house is situated in St John’s Wood Conservation area, where restrictions on the character and appearance of all buildings are strictly applied. Normally any roof extension in this area would not be permitted and the house, indeed the entire mews, had been identified as an “unlisted building of merit”. Consequently the planners insisted that all new work to the house “must match existing original work in terms of choice of materials, method of construction and finished appearance in order to maintain the cohesion of the mews.The variety of roof forms in the mews, however, presented an opportunity for the architects to put forward their proposal of a flat-topped mansard roof as “a modern interpretation of the surrounding architectural precedent” said Leigh. Critically, the new mansard roof would also not add height above the general roof level of the neighbouring properties in Regent’s Mews, and thus would not be visually intrusive. The design of the three new dormer windows at the front of the house did depart from that of the dormer windows on the other mews houses though – they were square in contrast to the prevalent curved headed windows. However, given that they were really only visible from within the actual mews, the planners considered this alteration in form to be acceptable. Furthermore, the recessed glazing of the dormer windows ensured that the privacy of the occupants using the living spaces would not be compromised.The choice of materials also had to conform to the surrounding properties: the dormer windows were lead-clad, and the roof was tiled in Welsh slate, which softens its appearance and reduces the “apparent bulk of the structure.Another complication for Robinson Leigh related to the impact upon the large villas of Langford Place to the rear of the property. Vehement objections from these residents, who were concerned that the roof extension would shatter the illusion that they are set in extensive grounds led the architects to revise their proposal: the pitch of the northwest slope of the mansard roof was adjusted to a 70 degree angle in order to reduce its prominence in the views from these villas, particularly from 5 Langford Place. A second flat roof, which adjoined the house was removed, and Robinson Leigh extended the mansard roof to the parapet. This then gave the client more internal space, eliminated any overlooking issues, and created a more homogenous and symmetrical design.The architects cleverly designed both the main roof level of the mansard to be landscaped with indigenous flora in order to respect the planners’ preference for ecological biodiversity in the area as well as to attenuate water run-off.In conjunction with these structural requirements imposed on Robinson Leigh’s design of the mansard roof, unlocking natural daylight in the “dark zones” in the interior of the new storey was a key priority. Mindful of the rejection of the glazed roof proposal from 2001, which the planners had deemed to be too intrusive on the neighbours and at odds with the surrounding architecture, the architects sought to reduce the amount glazed by 50%, whilst simultaneously addressing the problem of reduced levels of natural daylight resulting from the recessed dormer windows.Robinson Leigh’s solution was to propose a more sympathetic glazing arrangement to the flat-top of the mansard roof, comprising four large fixed rooflights and a sliding over fixed rooflight from Glazing Vision, that would achieve the high specification they desired. These rooflights, pointed upwards to the sky, would maximise the amount of daylight entering the extension and bouncing off the hardwood timber, which had been used extensively, as Leigh points out, to “draw together several disparate elements of the interior design, such as the sliding walls, pocket doors and floor-to-ceiling shelving and cupboards”.Glazing Vision’s sliding over fixed rooflight was to inhabit the space immediately above the stairwell, which had also been lined in timber to subtly link the top floor with the ground floor and to help draw the eye upwards. Timber frames had also been used on the windows. As with the other four rooflights, Glazing Vision’s sliding over fixed rooflight needed to be made to a bespoke size – the architects required it to be the exact size of the stairwell, or indeed over-sized, so that the frames were not visible from below. Precision-engineered at the Glazing Vision factory in Norfolk, the special sliding over fixed rooflight was supplied in two sections, with an overall span of 2400mm and a width of 2240mm. The minimalist internal framework, finished in pure white rather than the standard grey, ensured that there were unfettered, sky-only views from the inside, thereby enhancing the impression of space and loft. Through the clear glazing of the Glazing Vision rooflight natural daylight absolutely flooded the stairwell, permeating also down to the lower floors.Given the stringent planning controls on the appearance of the mansard roof and the concerns of the vociferous neighbours, Glazing Vision’s sliding over fixed rooflight offered another invaluable benefit to Robinson Leigh. The footprint of the unit on the roof remained fixed, both open and close. This meant that there was no bulky additional furniture required, whilst the minimalist exterior framework was finished in slate grey to blend harmoniously with the Welsh slate roof tiles.No less important was the need for natural ventilation in the mansard roof extension. The architects were keen to create a venturi effect in the central core of the house and stairwell by channeling the airflow through the opening of the rooflight. The Glazing Vision rooflight, specified by Robinson Leigh to slide side-to-side rather than up and down, is electronically controlled at the touch of a button from inside the house, retracting the sliding section over the fixed section of glazing. Once the sliding section is fully retracted, there is a 50% clear opening in the rooflight, out towards the sky, thus providing superior air quality within the top floor, as well as intensifying the amount of natural daylight. An essential security feature of the Glazing Vision sliding-over fixed rooflight is that it is supplied with a manual override as standard.The design, approval and erection of the mansard roof extension took three years but Robinson Leigh have succeeded in updating a tired-looking 1980’s mews house with a new, sophisticated, modern exterior, that quietly complements the surrounding properties. The new third storey has exceeded the client’s needs for additional living space, and the clever use of rooflights has ensured the interior is light, bright and inviting.

Eikon Design has successfully undertaken a major renovation of the Spirit AeroSystems main reception area, creating a stylish, energised space that integrates perfectly with the new corporate branding on its recently completed, world-class £28m Aerospace Innovation Centre.Spirit AeroSystems is one of the world’s largest manufacturers of Aerostructures for commercial airplanes, defence platforms, and business and regional jets. Eikon Design won the contract to design and project manage the reception area renovation.From the start, the designer felt that the refurbished reception area needed to reflect the dynamism and vitality projected by the Innovation Centre. The designers first thoughts were that they had to explore ways of using quality lighting and natural daylight on surfaces to create an impressive, engaging experience for visitors.The colour scheme - The designer Susan Anderson chose a neutral colour scheme that would reflect that used on the exterior of the Aerospace Innovation Centre, which was predominantly silver and grey. Surfaces – HARMONY pre-fixed slatted acoustic felt . Susan wanted to bring the reception area to life with surfaces that had different textures, depending on the light available and where the visitor stood in the room. After researching the market, Susan chose the Harmony ribbed-felt wall acoustic panels which Saxen sourced from the manufacturers, Soundtect. They were the perfect solution – grey fibre slats on a black acoustic sheet, as they had the structure, texture and colour she was looking for. Plus they were hypoallergenic and non-toxic, with up to 1.0 NRC (noise reduction co-efficient) – and a totally sustainable addition to the project, having been manufactured third-generation from recycled PET.The PET (polyethylene terephthalate) bottles are first recycled into exhibition carpets and then, at the end of their short second life, converted again into highly efficient acoustic felt by carefully re-layering the fibres to use as the core for this impressive, elegant, ribbed acoustic treatment.The Harmony panels are manufactured with fireproofing built-in, because the original carpet fibres were already fireproof so this critical safety component is integral to the product and not simply sprayed on. The Cause was responsible for fitting all the ribbed Harmony wall panels.The wooden wall panels behind the reception desk were dated, so the designer decided to repurpose them.- they were prepped, base coat applied and sprayed with two beautiful tones of metallic silver by Scottish Architectural Spray painters. Visual contrast was provided by prepped and coated matt white wall areas. LightingHaving found the perfect panelling, the designer had to consider the lighting and the role it would play. She worked with Seren Lighting, using a combination of existing products and bespoke lighting in ways which were both innovative and functional – using light to define spaces and surfaces. Depending on the way they were lit – whether artificial light, natural light or a mixture of both – the texture on the Harmony panels created subtly different moods. Also, as there is a fair amount of daylight flooding into the reception, the atmosphere of the whole space changed with the passing of time and the amount of daylight with both the ribbed and silver metallic panels creating different atmospheres depending on where you stood. All the lights installed in the project follow ‘circular economy’ principles and can be cost-effectively maintained and serviced – parts can be replaced with no need to throw the whole light away and buy a new one. The reception deskFor most of the day in summer and for short periods in winter, the reception area is flooded with natural light from two sides, so lighting the reception desk workstation needed a careful response.The workstation was located behind the reception desk, so using standard lighting methods would have detracted from the overall impression and been unnecessary for long periods. In developing the solution, the designer followed the basic principle, ‘put light where you want it, when you need it’. So an LED ultra-effect strip in diffuse profile was used under the top surface of the reception desk which threw a subtle light onto where the receptionist was working on the computer. The receptionist can switch this strip on or off as appropriate.The Cause remodelled and reformatted the reception desk to the design, which involved removing the angled elements and large posts, and replacing them with a concealed door. They also fitted the reception desk surface with a stylish, matt, dark-grey laminate, installing the lighting, graphic panel and ribbed panelling to the front. The panelling’s flexibility ensured a perfect fit around the curve in the reception desk.The reception desk skirting was painted the same colour as the staircase handrail.The Wing LightsThese were designed to develop the Wing Lights from first principle. The Wing Lights deliver light upwards, so it bounces off the various surfaces to enhance the textures and reflective differences. They also project a visual link to the ‘star’ element of the Spirit AeroSystems logo and took several attempts to create the final geometric shape. However, the Wing Lights now act as dramatic focal point within the space, capturing the essence of Spirit AeroSystems’ business and the designers overall design vision.CeilingThe existing suspended ceiling was off-white in colour, and looked rather tired so it was spray-painted with a dark metallic silver, which transformed the appearance of the ceiling and changed the whole look of the reception area. Lighting the upper-level walkwayThere were issues with uneven wall surfaces on the upper-level walkway. The solution was to apply architecturally inspired Harmony, lit by dramatic custom-made LEDs, to create the total effect – an utterly stunning, modern wall. The lights used were twin gimbal heads – round lights that can swivel in two directions. These were specially adapted from standard lights in the Seren range. The twin gimbal heads were installed in false pockets, clad with ribbed-felt. They provide functional lighting to the walkway, while adding a dramatic effect on the wall panelling.Finally, a pelmet was constructed to conceal a new LED Cob profile, allowing it to wash diffused light between the ribbed features of the Harmony panelling.The panels above the pelmet were spray-painted silver – the same colour as the ceiling – to give a much more dramatic effect.Other features…The wooden bannister handrail was stripped back and layered with different metallic colours to give a changing surface effect with different shadows and highlights. It was then coated in a high-gloss lacquer. This introduced an accent of colour, which also reflected the company’s corporate colours.StructuresDominating the reception area are two high columns, one of which contains a lift. Given the solidity and simplicity of the shapes, the designer decided on a lighting solution that would create an architectural feel, so she used beam-controlled light bars at the top of the structures to project a subtle wash down the full length of the columns.Carpets and furnitureThe existing carpet tiles were removed and upgraded. They were colour coordinated with the new, striking Italian Quadrifoglio furniture, sourced through Saxen. This furniture was the cornerstone of the designers vision vision, and its style, shape, colours and textures tie the space together.ConclusionThe success of the project was very much down to careful planning, creative thought and good people working together. Products used: Freestyle. Harmony