The Design Ethos of EPR Architects

Versatility & flexibility The design ethos of EPR Architects Project editor Emily Booth Writer Pamela Buxton Art director Brad Yendle Production editor Alan Gordon Deputy production editor Simon Aldous

AJ editor-in-chief Christine Murray Editorial director Paul Finch Group commercial director Beth Pedersen Business development manager Elizabeth Burke Managing director architecture Richard Baker Chief executive officer Natasha Christie-Miller

Cover Concept sketch for new residential development

All photography courtesy of EPR Architects Contents

INTRODUCTION ESSAY IDENTITY Chris Castle 5 Paul Finch 7 12

STUDIO EXPERIENCE COLLABORATION CULTURE AND EXPERTISE 28 18 20

ARTIST LOOKING PRACTICE COLLABORATION FORWARD TIMELINE 34 36 48

In many ways EPR is the is fascinating to see how these youngest ‘old’ practice in building types have evolved over Introduction London, combining both the lifetime of the practice and the energy of youth and the the design journeys that have efficient infrastructure of a large been travelled. ‘EPR is the youngest established design-house. Research and design Now in its fourth generation, exploration have always been the practice continues to grow essential, and today technology ‘old’ practice in from strength to strength. We is evolving at an ever-increasing have an exciting portfolio of pace. Success comes from current projects championed by combining an awareness of London, combining forward-thinking and talented current and evolving technologies clients, and a large studio with with an understanding of the a supportive collegiate ethos human constants: perception, pursuing a positive, open-minded emotion and the physiological both the energy of and public-spirited approach to responses to space. architecture, art and people. In our working practices we A change in generation always have always embraced new youth and the efficient heralds a busy period in the life technologies, as can be seen in of a practice, but it is also a good the early adoption of computer opportunity to reflect on what aided design in the 1970s through infrastructure of a has been achieved and to refocus to our advanced use of BIM today. on the values and goals that will Nevertheless, we continue to drive the work of the studio in celebrate the importance of hand large established the future. sketching and enjoy regular life- EPR’s design process is drawing classes in the studio – underpinned by a respect for we will never be a fully paperless design-house’ people and the desire to create office as any visit to the studio spaces that resonate with a sense will testify. of place. We design contextually – It is our intention that life in this was the founding ethos of the the studio should be balanced Chris Castle practice in 1947 and it continues to and supportive – architecture is this day. We purposefully do not a team sport and we have worked have a prescriptive house style or hard to ensure that EPR is a happy design code, but rather allow each and fulfilling place to work. building to respond to its site, Here at EPR we have always technical brief, social context and believed in the dual priorities place in time. Context, history, of design and delivery, and we social understanding, materiality, continue to focus on ensuring that sustainability, efficiency and we deliver the highest standards beauty must all be considered, of client care. explored and integrated into the We will endeavour to built form. uphold the best traditional Over time the practice has principles of contextual design developed specific and highly and professional service regarded expertise across while embracing the latest a number of sectors, with a developments in technology. particular focus on office, We are looking forward to residential and hotel projects. It the future.

24 Savile Row, Mayfair, London, projecting windows (opposite)

07 07

I first became aware of EPR, by conventional buildings in (or Elsom Pack & Roberts, as front of it, in an act of ecumenical Essay the practice was then known), generosity the Church in the early 1970s when I was Commission client agreed to split working as a property journalist. the linear office development to ‘This is a rare example, I would occasionally see Bill create a splendid piazza, finally Pack or Alan Roberts at industry giving the cathedral the setting events; they were always happy it deserved. at least in London, of to talk about projects and the Fast-forward to the first decade occasional tribulations of of the 21st century and we find the working for an emerging breed of architect, now rebranded EPR, an architect working speculative developers. taking a further opportunity to At that time the practice’s reinforce the setting and views best-known work was Eastbourne of the splendid Westminster Terrace, where a fine piece of Cathedral campanile, this time on either side of late-1950s Modernist commercial working for Land Securities. architecture dominated the street, Cardinal Place takes two complementing the Denys Lasdun design opportunities to respond the same street at social housing estate nearby. to the cathedral: firstly by the However, its architecture was shaping of the prow building at undergoing a rethink, particularly the railway station end of the site different times – around Victoria in London, (also a response to rights of light where it completed a series of considerations); and secondly by commissions over five decades. the insertion of a cut between two made possible by the The most striking of these was buildings, offering a near-axial Ashdown House, a striking route from the development to the geometrical exercise combining street opposite that campanile. practice’s longevity’ glass, steel and stone in a way This is a rare example, at least that was distinctive yet referential in London, of an architect working to its context – you might even on either side of the same street say deferential, in respect of the at different times – made possible Paul Finch key architectural landmark in the by the practice’s longevity. At 70, immediate vicinity: Westminster EPR’s success can be measured Cathedral, the 19th-century partly by its expansion in recent Neo-Byzantine masterpiece by years, and partly by chronicling JF Bentley. Previously masked the many studios that for one

Cardinal Place, responding to Westminster Cathedral (opposite and sketch, right) 08 | epr Architects — Essay 09

reason or another failed to stay huge site, but two – in completely The work of the the course. Its success is partly a different styles: one Modern, one function of size and endurance, in Postmodern. Debate raged in firm today is the sense that firms which design the practice about whether this most certainly large numbers of buildings over a was an acceptable approach to prolonged period garner expertise take, but nonetheless two EPR contemporary in and knowledge, which make them teams set to work. The client feel, as seen in as experienced at delivery as they preferred the Postmodern version are at design. and it was delivered. Recounting projects such as The past is indeed another this story is not to criticise in 24 Savile Row, country, and some younger retrospect, but to note that architects would scarcely this foray into Postmodernism and its hotel and recognise the philosophical was a stylistic endpoint – the residential work battles that took place around work of the firm today is most architecture in the 1980s as certainly contemporary in feel, Britain in general and London as seen in flagship projects in particular came to grips with such as 24 Savile Row, and its the phenomenon of Postmodern hotel and residential work, not architecture. This presented a game-playing in a trivial stylistic challenge to Modernist offices sense. In short, that ancient whose clients, whether or not Hammersmith design direction influenced by the historicist was discounted in the formation leanings of the Prince of Wales, of the ongoing practice, and EPR began to ask for major buildings is better for it. in this new style. Growth at home and abroad For EPR this marked what brings its own challenges, in retrospect looks like a key but a practice like EPR, which moment in the life of the practice: understands its past (especially the redevelopment of the island such a long past) will have a site in Hammersmith for the sound basis for responding Dutch developer Bredero. The intelligently to whatever the client asked the practice to market, and the wider world, may produce not one proposal for this demand of it.

Ace Hotel, Shoreditch (above left); York House, Marble Arch (far left); Riverlight, Nine Elms, in collaboration with Rogers Stirk Harbour + Partners (left); and masterplan model for The Ram Quarter, Wandsworth (right) 24 Savile Row, Mayfair, in collaboration with ceramicist Kate Malone (this image and opposite) 13 Identity Is having no particular house style an impediment to success? Not at all, judging by the fortunes of EPR, the London and Poland- based practice, which is celebrating its 70th anniversary

With 180 staff, including 98 without a big-name personality architects, EPR stepped up at the helm, EPR relies primarily the AJ100 rankings from 22nd on recommendations and repeat to 15th in 2016 and is clearly work from existing clients. Its getting something very right continued success can only indeed. With long-established be down to the quality of the specialisms in the hotel, work and service the practice residential and commercial delivers, combined with its long office sectors, its work ranges track record. Yet its buildings from large new builds, such as frequently go unrecognised the American Express offices in as being designed by EPR, Brighton, through to sensitive something that might bother transformations of existing more image-driven architects buildings, including the former but which the practice seems Pearl Assurance offices, now relaxed about. reborn as the luxury Rosewood ‘We deliberately don’t have hotel in Holborn, central London. a design style,’ says managing While most of EPR’s projects director Chris Castle. ‘As a are in the UK, the practice is result, people don’t necessarily also working as far afield as recognise an EPR building EPR’s American Express offices in Brighton (above the Caribbean. as an EPR building, which and main image, left) With little self-promotion and doesn’t particularly concern us 13

With 180 staff, including 98 without a big-name personality architects, EPR stepped up at the helm, EPR relies primarily the AJ100 rankings from 22nd on recommendations and repeat to 15th in 2016 and is clearly work from existing clients. Its getting something very right continued success can only indeed. With long-established be down to the quality of the specialisms in the hotel, work and service the practice residential and commercial delivers, combined with its long office sectors, its work ranges track record. Yet its buildings from large new builds, such as frequently go unrecognised the American Express offices in as being designed by EPR, Brighton, through to sensitive something that might bother transformations of existing more image-driven architects buildings, including the former but which the practice seems Pearl Assurance offices, now relaxed about. reborn as the luxury Rosewood ‘We deliberately don’t have hotel in Holborn, central London. a design style,’ says managing While most of EPR’s projects director Chris Castle. ‘As a are in the UK, the practice is result, people don’t necessarily also working as far afield as recognise an EPR building as EPR’s American Express American Express offices in offices in Brighton (above the Caribbean. an EPR building, which doesn’t Brighton, elevation and main image, left) With little self-promotion and particularly concern us 14 | EPR Architects — Identity

– although of course it’s always both function beautifully and sit plug into, develop and enjoy. nice to have the quality of our elegantly in its place. We’re really passionate about It’s all about design work acknowledged.’ It’s all about creating a sense of working in such a dynamic city as On the contrary, the lack of place, and this can only be done London, where everything we do creating a sense of a signature style is embraced by understanding the nuances is complex.’ place, and this can by the practice as a positive of the site and its past, whether This approach is particularly indication of a more important a city-centre site brimming with successful at the practice’s only be done by common thread underpinning past associations or a rural recent project, 24 Savile Row understanding the its work: a deeply considered landscape shaped by centuries (2015), designed in the heart of response to site context, free of farming. the tailoring district in London’s nuances of the site of preordained styles and ‘We do think about sites a Mayfair. The very particular assumptions. This approach is great deal to understand their nature of the context resulted in a central to EPR’s ethos, along complexities,’ says Castle. ‘In building that visually references way in Wandsworth, south- with an emphasis on the user particular the layers of history the tailoring and craft of the west London, the architect experience of the building the and memories that are so rich area’s heritage as well as fitting is looking to key aspects of practice is creating. While wherever you build in London. into the rhythm of the street by the site’s context such as its instinct is important in design, the Then we let the architecture reinstating historic plot widths. long association with Young’s practice believes this needs to be emerge from that understanding. For the regeneration of the Ram Brewery and its relationship to fully informed if the building is to There’s always plenty for us to Quarter site currently under the previously inaccessible River

Jacobs Engineering, Reading (above) Sketch of Jacobs Engineering at IQ Winnersh (below) 100 Cheapside, City of London (opposite)

‘We’re really passionate about working in such a dynamic city as London, where everything we do is complex’ Chris Castle 16 | EPR Architects — Identity 17

also have the benefit of different ‘By coming at a development cycles, which has helped the practice weather project with no downturns such as the previous preconceptions of recession relatively well – and should position it strongly for style or approach, any economic turbulence ahead. we can make the Its specialist heritage staff work on projects across all three design the best sectors, as distinctive but under- it can be for its used buildings are increasingly reimagined for high-end particular location’ residential or hotel use. This large-scale commercial work is interspersed with Wandle. These elements are experimental projects of shorter being drawn on to create a new duration. These balance the sense of place growing from the larger projects, which can roots of its past with better links take at least three years to to the surrounding community. realise, and include a recent Importantly, as well as a high- window installation for retailer rise residential tower and Anthropologie as part of the associated retail and museum, RIBA’s Regent Street Windows the masterplan includes a craft initiative. Here, EPR collaborated brewery, which will continue with the Materials Council to more than 400 years of brewing on create a field of sculpted bamboo the site. with painted tips to catch the ‘By coming at a project with attention of passing shoppers. no preconceptions of style or Such smaller-scale projects are approach, we can make the embraced as a fun way of testing design the best it can be for its the team’s design reflexes on particular location,’ says Castle’s shorter gestation work, and of fellow main board director enabling some of the more junior James Everitt, adding that, as a staff members to take a lead role. result, there is no danger of the As well as its breadth of work, production-line architecture of another important factor in EPR’s many a big-name practice. ‘We success, reckon the directors, look to pursue elegance over the is the practice’s deliberate fashion of the moment,’ he says. avoidance of ego-driven design. Instead of promoting a ‘Clients enjoy working with us particular practice style, Castle because our egos don’t get in the and his fellow partners are way of the right solution,’ says keen to convey the practice’s Everitt. ‘We have strong empathy architectural rigour – something skills that allow us to push the a ‘safe pair of hands’ which can not always associated with client so far, but know how far to ensure that a design concept commercial architects of yore – go. The ideal client is one who is translated right through and it is clear that this will be a comes on the journey with us as the project from inception priority during their stewardship part of the design team.’ to completion. In complex, of the practice. Not that they’re shrinking multilayered cities such as ‘We want to be recognised violets when it comes to making London, this invariably requires as every bit as dedicated to site projects happen. A reputation for deft handling of planners, context and as having the same getting projects built has led to consultees and stakeholders; architectural rigour as our most EPR taking on many projects as a sometimes arduous process competent peers,’ says Mark executive architect. which EPR embraces. At the Ram Bruce, main board director This ability is thanks in no small Quarter project in Wandsworth, and head of EPR’s hotels and part to its technical services this involved completely hospitality team. group. Led by director Dieter redesigning the scheme to take Not wishing to be pigeon- Bentley-Gockmann, it provides account of new health and safety holed, the practice is deliberately technical audits of projects from regulations for gasholders, diverse in its scope of work. an early stage to supplement the prompted by the Buncefield gas ‘We’ve reclaimed the river and Rather than generalists, EPR design audits. explosion of 2005. revealed the historic brewery prefers to see itself as a group ‘We’re very good at hard- ‘Making sure we can deliver is Bay of Kotor, Montenegro of specialists offering high nosed delivery, optimising our an important part of who we are,’ buildings as focal points to the hotel concept (top) levels of expertise in their fields experience and keeping the same says Castle, ‘and we have plenty Window design for of hotel, office and residential. team from design to completion,’ of people who really enjoy the Anthropologie on London’s says Castle. public realm’ Regent Street (above) These three areas of specialism, nitty-gritty of this process. We Ram Quarter, Wandsworth which each make up roughly He takes it as a compliment design to build, not just to get Pascal Wensink (opposite) one third of current workload, that EPR is often thought of as projects through planning.’ 18 | EPR Architects — Studio culture 19

‘By being properly inclusive of issues in the profession with and celebrating difference, the homophobia in the office and on ‘It’s nice to be in a practice benefits from a diversity site, especially out of London,’ of thinking that positively feeds he says. ‘Hopefully everyone back into its designs. It makes us working for and with EPR will studio where there’s better architects and EPR a better have the confidence that if there practice by having architects and are out, gay, vocal architects at designers with all these different board level, EPR’s management a lot of laughter’ backgrounds,’ says director strategy and style is such that Dieter Bentley-Gockmann, who they can talk about anything.’ joined EPR a decade or so ago. A positive studio culture Dieter Bentley- ‘You hear all sorts of languages is not only about diversity. around the office; it’s very EPR has an active mentoring international and that’s one of the strategy and the directors are Gockmann reasons I love working here.’ clearly committed to fostering a In the past 10 years he’s seen supportive working environment some considerable changes. for all, with an emphasis on an More than a third of EPR’s open culture that encourages staff is female, including 29 architects to raise issues and per cent – and rising – of its share problems or concerns. architects, with its Polish studio This attitude is reflected in having a 50:50 gender split. The the design review sessions, practice is also LGBT‑friendly, which aim to be constructive supportive of flexible working, and rather than combative very cosmopolitan. ordeals experienced at some ‘It’s nice to be in a studio where other practices. there’s a lot of laughter,’ he says, This more softly-softly adding that a contributory factor approach can be deceptive. to the convivial atmosphere is ‘We’re quite gentle the practice’s no headphones in personalities but we have a lot working time policy, introduced of energy and passion,’ says to encourage more interaction managing director Chris Castle. between colleagues. (There’s Bentley-Gockmann is also also football, tennis and boules, flying the flag himself for regular yoga classes, and life flexible working – for both drawing lessons with tutors from parents and non-parents – the Chelsea College of Art.) by working four days a week Many of these changes are including one day from home. down to the new generation of ‘We’re sending the message directors at the helm, including that this can happen and Bentley-Gockmann, who is a happen successfully at all levels member of the RIBA’s equality throughout the organisation,’ and diversity forum Architects he says. for Change and takes a leading As well as benefiting the role in non-design-related individuals concerned, a more practice matters. EPR is also inclusive culture can enhance a partner of the Women in the practice as a whole, he adds. Architecture campaign. ‘The studio mindset has changed,’ he says. ‘Representation of women Life at EPR (above) includes has improved and women are a cycle-to-work scheme, starting to move up through the several sporting events management structure. Ethnic- throughout the year, minority representation isn’t as mentoring schemes and free on-site life drawing good as we would like yet, but this classes (opposite) is changing. I can certainly see a broader mix in the office than even 18-24 months ago.’ Bentley-Gockmann is also an LGBT mentor for the RIBA/ Construction Industry Council’s ‘Physical models are still FLUID Diversity Mentoring a really intuitive way of Programme and hopes to get involved in the new LGBT exploring design’ architects network launched recently at the RIBA. Jason Balls ‘Many gay architects face a lot 20 21 Experience and expertise As the fourth generation of partners, the EPR management team is mindful of its role as custodian of such a long- established practice

EPR was established in 1947 place-making, longevity and by Cecil Elsom, later joined by contextual design as well as William Pack and Alan Roberts. an emphasis on strong client Capitalising on a period of relationships. rapid post-war repair and ‘EPR’s work was always redevelopment, the practice a very considered, sensitive swiftly grew into a substantial take on Modernism,’ he says. commercial ﬁrm, best known for ‘They worked with what was buildings such as Eastbourne worth preserving.’ Terrace in Paddington (1958) Today, EPR is building on a – at 18 storeys one of the considerable pedigree in all highest offices in Britain when three of its specialisms: office, completed – and the 24-storey residential and hotels. London Weekend Television ‘We know the nuances Centre on the South Bank (1973). of all the different sectors,’ Seven decades on, is it possible says director James Everitt. to discern any common threads ‘There’s an inﬁnite amount of between EPR’s Modernist past cross-fertilisation of ideas, Cardinal Place, Victoria, and its diverse work today? which makes our processes London (above) Imagination Technologies, Yes, says managing director increasingly rich.’ Kings Langley (main Chris Castle, who highlights Throughout these sectors, image, left) a long-rooted commitment to the practice is clearly striving 20 21

EPR was established in 1947 place-making, longevity and by Cecil Elsom, later joined by contextual design as well as William Pack and Alan Roberts. an emphasis on strong client Capitalising on a period of relationships. rapid post-war repair and ‘EPR’s work was always redevelopment, the practice a very considered, sensitive swiftly grew into a substantial take on Modernism,’ he says. commercial ﬁrm, best known for ‘They worked with what was buildings such as Eastbourne worth preserving.’ Terrace in Paddington (1958) Today, EPR is building on a – at 18 storeys one of the considerable pedigree in all highest offices in Britain when three of its specialisms: office, completed – and the 24-storey residential and hotels. London Weekend Television ‘We know the nuances Centre on the South Bank (1973). of all the different sectors,’ Seven decades on, is it possible says director James Everitt. to discern any common threads ‘There’s an inﬁnite amount of between EPR’s Modernist past cross-fertilisation of ideas, Cardinal Place, Victoria, and its diverse work today? which makes our processes London (above) Imagination Technologies, Yes, says managing director increasingly rich.’ Elevation sketch of Cardinal Kings Langley (main Chris Castle, who highlights Throughout these sectors, the Place, Victoria, London image, left) a long-rooted commitment to practice is clearly striving 22 | epr Architects — Experience and expertise 23

aesthetically, Castle remarks that the 32,600m2 project was generous This ambition is in urban terms; in the way it opened up Victoria Street to the more likely to Byzantine-style Westminster succeed if the Cathedral precinct for the first time. new buildings are ‘It could have been so much compatible with greedier, but instead it created a piece of city that will always be the conditions of there,’ he says. their context Just across Victoria Street, decades later EPR completed Cardinal Place (2006). Designed that has aged well. Although for Land Securities, this in many completed more than 30 years ways prefigured the ongoing ago, ‘it wouldn’t look out of place commercial regeneration of the on the (metaphorical) drawing area by combining busy retail and board today,’ says Castle. More restaurants at ground floor with recently, the practice has been office accommodation above. An striving to reinvent business- emphasis on landscaped public park architecture at Winnersh space to the rear gives office (2006, ongoing). In an effort to workers a quiet place to go during create a sense of place instead lunchtime or after work. Again of the typical sea of parked cars, the practice strove to address EPR’s masterplan arranged four the surrounding context, with the new blocks totalling 32,000m2 building’s tapering ‘nose’ form around a landscaped public designed to preserve key long space, with car parks banished vistas towards the cathedral. to below the office podium. As a This attitude to site context result, the open landscape takes remains fundamental to more centre stage. recent key projects such as On the City of London border, Ram Quarter in Wandsworth EPR played an important role (ongoing) and the American in the extension of the financial Express headquarters (2012) district towards Spitalfields by at 1 John Street in Brighton, drawing up a masterplan for where EPR worked hard to knit the redevelopment of the Old the new developments into their Spitalfields Market site (1991). contexts. In Brighton, the location The practice also designed the was particularly sensitive – in first of the new buildings in the the background to the Brighton masterplan area: an angular glass Pavilion World Heritage Site. headquarters for Dutch bank At 33,600m2, the new 12-storey ABN AMRO at 250 Bishopsgate 1000 Aztec West, Bristol development was considerable (1998). Further projects such (top), Cardinal Place, Victoria (above), Qube, in scale, but the architects paid as Riverbank House (2010, with Fitzrovia (opposite) particular attention to breaking David Walker Architects) and 100 up the massing and allowing Cheapside (2015) have reinforced each elevation to respond to its City credentials. to react to the wider context of ‘We’re always interrogating its particular setting. On the EPR appears equally at home the site, and to consider how how our buildings will fit into the north-east elevation on Carlton reworking existing buildings as those who live there, work there urban framework,’ says Everitt. Hill, for example, the building building anew. Its recent trio or simply pass by might engage ‘You have to make your move steps down in height towards of West End retrofits reflects with the new development and but also be cognisant of the the street in response to smaller- the current popularity of more its surroundings. The emphasis wider strategy.’ scale buildings nearby, including informal, non-corporate-style is on sustainability, not just in EPR’s office portfolio reflects a school opposite. Colourful offices with a character that the ‘green’ building sense – the full diversity of the sector, cladding also diminishes the instead draws on the site although EPR’s credentials from out-of-town business parks overall impact by drawing the context, whether it be the 1930s include the pioneering Eland through to City of London offices, eye to these lower levels while industrial warehouse character House office for the Department West End retrofits and sensitive at the same time referencing the of 20 Rathbone Place in Fitzrovia of the Environment (1996) new builds, such as its recent brightly painted terraced houses (2012) or the Pathé film heritage of in Victoria, and Greenwich project, 24 Savile Row. Looking further along the street. 76 Wardour Street in Soho (2014). Millennium Village (2000) with far back over the practice’s past Greenfield contexts provide ‘We’re reimagining them and Ralph Erskine – but in the broader work, the partners pick out its different challenges to creating breathing new life into them, sense of designing to last. And Ashdown House development on a sense of place for new maybe adding a few floors, this ambition is more likely to Victoria Street (1975) as a good developments. Delving back in the adding in a terrace and bringing succeed if the new buildings are example of its commitment to portfolio, the partners single out them back to life,’ says Castle. compatible with the conditions of ‘knitting’ into the urban fabric. 1000 Aztec West in Bristol (1984) ‘The result is a more sustainable their context. While very much of its time for a ‘timeless’, elegant design approach and projects that 24 | epr Architects — Experience and expertise 25

resonate with the character of public and private space and scale of the largely medieval their place.’ prioritisation of pedestrian palace buildings. The West End EPR’s residential work reflects access. Also significant was More recent luxury apartment retrofits reflect the ‘We’re always interrogating two key trends in the London the picturesque approach to projects, such as St James’s market: the seemingly inexorable massing; the collaboration House (2016), a renovation of a current popularity how our buildings will fit into rise of high-end central London with Ralph Erskine giving the Grade II*-listed building near apartment developments; and 300-apartment development a St James’s Palace, and 67 Tufton of more informal, the urban framework. You have the drift eastwards to encompass highly distinctive character. Street (2015) in Westminster, non-corporate- brownfield regeneration With Parliament View (2001), demonstrate the cross- to make your move but also be sites, such as the Greenwich EPR designed one of the first fertilisation between residential style offices that cognisant of the wider strategy’ Millennium Village (GMV) back of the luxury London riverside and hotel expertise. Many of the instead draw on in 2000 – the first UK project to developments that are now so key areas of upmarket residential, the site context James Everitt receive an Ecohomes excellent prevalent along the Thames. such as the entrances, share award as well as winning This project required huge common characteristics with the more than 30 other awards for sensitivity, given its proximity glamorous foyers of luxury hotels. its design, construction and to Lambeth Palace, and the Down in Walton-on-Thames in built above a naturally lit shopping sustainability strategies. practice was able to get the Surrey, The Heart (2007) may not centre. EPR is pleased with the Ideas at GMV that seemed so support of the palace and the have had such a prime site, but was result, which it feels – somewhat pioneering at the time have now Royal Fine Art Commission notable for being the practice’s against the odds – is successful in moved if not into, then toward the through the quality of the design first large, award-winning mixed- creating a neighbourly, community mainstream. These include reed and by bringing the scale of the use residential scheme to be feel through careful separation bed filtration, passive design conservation area development built as part of a town-centre of public and private zones, and a buy-local philosophy as from a peak of 14 storeys to regeneration. Here, 379 high- and the provision of a generous Parliament View, Lambeth (below) and Greenwich well as its careful treatment of the west down towards the density residential units were podium garden. Millennium Village (opposite) 26 | epr Architects — Experience and expertise 27

When EPR first began its Hilton Hotel wraps around the luxury hotel market with the designing hotels, its projects stadium bowl, with pitch-facing completion of the Rosewood were predominantly hotel- guest rooms used as hospitality London (2014) in the 1914 operator led, such as Marriott suites on match days. This Edwardian former Pearl Assurance (1999) at Heathrow, where the project builds on other sports Building on High Holborn, and 27 practice, progressively for the sector work, such as the Marriott Poultry (due for completion in 2017) time, developed a very efficient Hotel (2010) in Lingfield Park, within Edwin Lutyens’ 1930s former floorplan around a central social Surrey, and Killanin Stand (2007) Midland Bank in the City of London. atrium space where guests could at Galway Racecourse in Ireland. EPR has also created hotels in have food and refreshments as Instead of the hotel brand, it’s more recent buildings, including well as checking in and out. increasingly the location that is the 1970s Sea Containers House on Now, instead of being operator- key, whether attached to a world- London’s South Bank, which now led, hotel projects are typically class sporting venue or in a plum houses a 359-bedroom Mondrian led by the owners, developers and city centre location. Hotel (2014) with rooftop bar, and investors, with an emphasis on ‘Hotel design suits us as the Ace Hotel in Shoreditch (2013). the locale and brand identities architects, since the architecture Here, as in many new hotels, rather than on global brand is about place,’ says Bruce. ‘A non-guests are welcome to use standards, with more on that hotel in Hoxton or Mayfair will be what were, traditionally, the front- all-important sense of place, completely different and that’s of-house areas as an informal as hotel bars and restaurants what we love as architects – work and social space, a sign of become destinations in their taking the history of the place and the increasing impact hotels are own right. creating a new sense of place.’ having on their wider communities. This suits the practice just fine. As is the case with many of This is something EPR is keen ‘Hotel design has changed,’ its recent office and residential to facilitate within its designs says main board director Mark projects, several of EPR’s London and collaborations. Bruce. ‘Previously it was about projects involve transforming ‘Hotels used to be about the implementing brand standards. existing, architecturally bedrooms. Now they’re about Now owners and developers see significant buildings. ground-floor connections with the the value of creative design. We EPR has established itself city,’ says Bruce. enjoy it even more now that you’re in the luxury hotel market with This brings us neatly back to not as restricted to definitive projects such as Gainsborough the practice’s stated desire to brand standards.’ Bath + Spa (2015) in Bath and create a sense of place and context EPR has found its previous Coworth Park (2010), which in its projects – something that experience working for operators renovated a Berkshire manor EPR clearly strives for whatever appeals to the new breed of house dating back to the 18th the sector it’s working in and hotel clients. At the Ageas Bowl century. In London, it recently will continue to do so as it looks cricket stadium in Southampton, boosted its credentials in the forward to the next 70 years.

‘That’s what we love as architects, taking the history of the place and The Ageas Bowl, Southampton (left); creating a new sense Coworth Park, Berkshire (opposite above); of place’ 27-35 Poultry, City of London (right) Mark Bruce 28 29 Collaboration is an art that requires a certain generosity of spirit and open‑mindedness unhindered by ego

While many a practice may working with luminaries such claim to enjoy sharing the billing as Ralph Erskine on Greenwich or playing a supporting role, Millennium Village and Rogers there’s often the suspicion that Stirk Harbour + Partners, they’d really rather be the sole with which it has worked as main attraction. co-architect on the Merano Not so with EPR, which Residences and the Riverlight can genuinely claim a long luxury residential scheme under collaborative pedigree, both with construction at Nine Elms in fellow architects and with other London’s Vauxhall. creatives including the ceramic ‘Design can be stronger artist Kate Malone (see page 34). through collaboration,’ says ‘Architecture is a team sport,’ director James Everitt. ‘Clients says managing director Chris come to us because they know Castle. ‘It’s about working we question and challenge in a together and understanding very positive way.’ different approaches, In such collaborations, EPR’s particularly those of artists, who role is to implement/develop EPR’s Qube office building do see things very differently.’ the lead architect’s creative in London, which features The practice has a vision without compromising or a wall painting by Ian Davenport (above and main particularly strong record as stifling it – a task that requires image, left) implementation architect, both delicacy and confidence as 28 29

While many a practice may working with luminaries such claim to enjoy sharing the billing as Ralph Erskine on Greenwich or playing a supporting role, Millennium Village and Rogers there’s often the suspicion that Stirk Harbour + Partners, they’d really rather be the sole with which it has worked as main attraction. co-architect on the Merano Not so with EPR, which Residences and the Riverlight can genuinely claim a long luxury residential scheme under collaborative pedigree, both with construction at Nine Elms in fellow architects and with other London’s Vauxhall. creatives including the ceramic ‘Design can be stronger artist Kate Malone (see page 34). through collaboration,’ says ‘Architecture is a team sport,’ director James Everitt. ‘Clients says managing director Chris come to us because they know Castle. ‘It’s about working we question and challenge in a together and understanding very positive way.’ different approaches, In such collaborations, EPR’s particularly those of artists, who role is to implement/develop the EPR’s Qube office building do see things very differently.’ lead architect’s creative vision in London, which features The practice has a without compromising or stifling a wall painting by Ian Davenport (above and main particularly strong record as it – a task that requires both Sketch of Qube office building image, left) implementation architect, delicacy and confidence as 30 | epr Architects — Collaboration 31

well as technical rigour, creative there’s a mutual respect between somehow fits together in line with sensitivity and all the ‘soft’ social the two parties.’ the overall design vision. In certain cases skills of dialogue and negotiation EPR gets a lot from ‘We create the canvas and that these entail. collaborative working itself; in framework to enable the interior the designer may ‘You do need to bring people particular the chance to form designers to express themselves,’ be contributing a with you as a team so that fulfilling relationships with says Everitt, adding that clients everyone collaborates genuinely fellow creatives. often see the practice as the glue concept design; with each other,’ says Everitt. This is especially the case on that holds everything together. other times ‘I hope designers like working hotel projects, where its role as Rather than shrinking from with us because we don’t lead architect frequently entails what could potentially be a delivering a fully diminish their vision. There’s co-ordinating large design nightmarish clash of egos, EPR detailed scheme always opportunity to contribute teams, with up to half a dozen gives every indication that it to the design process.’ different designers involved at enjoys the ride when it takes on Castle adds: ‘We build these any one time on key areas such the role of overseeing the various collaborate on different aspects positive relationships with as food and beverage spaces design teams. The practice of the hotel. In certain cases the people based around trust and and guest rooms. EPR’s task is recently worked with furniture designer may be contributing demonstration of ability. I hope to ensure the resulting medley and interior designer Tom Dixon a concept design; other times on the design of a Mondrian hotel delivering a fully detailed within Sea Containers House scheme. on London’s South Bank, and is ‘Some interior designers currently collaborating with Tara understand production and Bernerd & Partners on Hotel construction techniques, wear Russell in Bloomsbury. and tear, and health and safety The EPR studio also issues,’ says Hull. ‘Then there collaborated on the conversion are other interior designers who of Edwin Lutyens’ Grade I-listed have a creative energy that the former Midland Bank at 27 Poultry client enjoys.’ in the City of London into a major The crucial challenge for new lifestyle hotel. Here EPR is EPR, he says, is to understand lead architect, working with the what level of input the designer hotel operator’s in-house creative is likely to have, and provide team. ‘It’s great to have the team the amount of support they sitting next to you working and require accordingly. sketching. You’re literally on Choosing the right personnel the same page,’ says director to complement the often strong Geoff Hull. characters involved is also key. The nature of every ‘We try to manage the collaboration is different personalities,’ says Mark Bruce, depending on the design main board director and head of partner’s degree of involvement. the hotels and hospitality team. Sometimes EPR is working with ‘You need an extraordinarily designers already appointed open dialogue. If it’s not a good directly by the client; on other relationship, the project won’t occasions the practice is involved work out well in the end.’ in bringing in practices to For EPR, which has usually

‘Designers like working with Riverlight, London, residential scheme designed us because we don’t diminish with Rogers Stirk Harbour + Partners (this page) their vision. There’s always Mondrian Hotel at Sea Containers House on London’s South Bank opportunity to contribute to (opposite top) Riverbank House, in the design process’ collaboration with David Walker Architects James Everitt (opposite bottom) 33

Rosewood London, refurbished Grade II-listed Edwardian hotel on High Holborn (opposite and below)

been involved with the hotel The bronze gallery, through client for several years through which guests pass on their way the planning approval processes, in from the entrance courtyard, is the moment when the interior particularly eye-catching. designers come on board can ‘He set high aspirations,’ says be galvanising. Hull. ‘When you walk around the He points to the Rosewood Rosewood you can see that it’s London hotel, a reinvention of exquisitely designed and finished; the Grade II-listed Edwardian not one thing has been left to hotel on High Holborn, as one chance. It’s absolutely stunning.’ of the best recent examples of a The project also involved creatively fulfilling partnership a collaboration with Martin with other designers. Here, EPR Brudnizki Design Studio on the as project architect collaborated hotel’s Holborn Dining Room and with the US designer Tony Chi, Scarfes Bar. who bowled them over with the ‘I love the different extent of his creative vision. This personalities and creatives,’ ranged from operational issues says Hull. ‘It’s what I enjoy about right down to such details as the doing hotels.’ type of stitching on the uniforms. Collaboration can be an intense process. But when it goes well with mutual trust and understanding, it can be rich and ‘When you walk rewarding as well, according around the to Bruce. ‘One of the joys of hotels is Rosewood, you that on every single project we get can see that it’s to have that special relationship with another creative designer. exquisitely finished We think we’re very lucky getting – not one thing has to work with extraordinary people. We learn from them and they been left to chance’ learn from us. And the client gets the benefit.’

34 | epr Architects — Collaboration 35

‘EPR was fabulous to work He adds that it was important with; the project swept us off that neither architect nor artist ‘We take pride our feet,’ says Malone. ‘It was dictated the result: ‘It had to be wonderful that EPR had faith in a real collaboration.’ me being able to do it.’ A glazing expert, Malone in championing At first sight, it’s something spent 18 months in collaboration of an unlikely pairing. The with Pey, painstakingly ceramic artist is best known for formulating the exact recipe public art – her exuberantly bulbous pieces and method to achieve the inspired by natural forms such desired crystalline effects in as fruit and vegetables. However, the glazes, which are created integrating craft she had always also carried as the glaze cools after being out public art commissions for fired at 1,270°C. This was no hospitals, parks and schools as small task, involving some 1,000 into the fabric of community projects alongside sample glazes as well as a huge her luxury studio ceramics work. commitment from artist, glazer, This interest led to her first architect and client alike. collaboration with EPR: a 163m2 ‘This was genuine architecture’ ‘story-wall’ at the base of the craftsmanship. The results practice’s building for American were quite remarkable,’ says Express in Brighton. Altogether, Pey, explaining that without Stephen Pey Malone created 16,000 hand- the collaboration with Malone, made tiles shaped to reference the building would have the tactile cobbles of flint found had a very different façade on nearby buildings. These are treatment, probably of brick or interspersed with feature tiles, Portland stone. including pieces created through Malone produced three collaborations with children from different types of ‘white’ glazes a school opposite the site. These and one ‘midnight black’ for the ‘fossil’ tiles range from starfish 30 x 30cm tiles that respectively and shells through to faces, form the façade’s light and animals, trains, even ghosts. It dark elements. was a learning experience for ‘Often if you push something both Malone and director Scott further and further, you get a Paton, who spent many hours at better result,’ she says, adding her east London studio learning that even the smallest variation about glazes and ceramics while in clay, water, glaze, heat or the potter got to grips with the movement could ruin the effect. architectural specifications The crystalline finish was and performance standards, also the inspiration for the cast as well as the production and bronze plinth at the base of the co-ordination of so many pieces. building, which was formed ‘She’s someone we by maker Michael Eden in a ‘I can only thank EPR for the collaborated with exceptionally low-relief pattern derived from experience, even though it nearly easily,’ says Paton. ‘She engaged Malone’s crystalline glazes. killed me!’ laughs Kate Malone very well with any stakeholders.’ She is clearly revelling of the collaboration to create the ‘It was an extraordinary in the chance to work 10,000 bespoke tiles that give 24 experience,’ says Malone of with EPR on these Savile Row such a distinctive the two-year project. ‘It’s in a architectural-scale projects. appearance. Joking apart, the crystalline glaze and, when you ‘I love communities and ceramic artist is thrilled at the look closely, the grouting glitters.’ teams. I get adventure, outcome of what she describes At Savile Row, her creation of friendship and great as a ‘fairytale’ project to clad the alluringly textured tiled façade satisfaction, and it stretches the seven-storey building with was integral to the success of the my glazing technology to new her painstakingly created overall building design. levels,’ she says. crystalline glazing. Her early involvement in the EPR meanwhile is looking ‘It’s a work of craft on a sharp, design process was crucial. forward to developing the modern building in Mayfair,’ ‘The architectural vision was for collaboration further on a she says. white and darker elements on major refurbishment project in It was clearly a hugely the façade to match the grain of London. Here the practice is successful and mutually the street,’ says director Stephen working with Malone on highly beneficial collaboration. EPR has Pey. ‘Kate took that concept and crafted terracotta tiling for the Kate Malone’s hand-glazed worked with many artists over the ran with it, coming up with ideas reveals of the reclad façade. ceramic tiles for 24 Savile years, but it’s the collaboration and samples. It was a continuous As Pey explains: ‘We’ve Row (opposite top left and with Malone that has proved evolution and ebb and flow spent so long developing our bottom) and her public the most fruitful, with the two between us and her about details, relationship; now we’re looking art for American Express, Brighton (opposite top currently combining on their glazes, and the position of the at how we can move this right) fourth project. tiles on the building.’ on further.’ 36 37 Looking forward As EPR celebrates its 70th anniversary, the practice is very much looking to the future

EPR’s ambitions aren’t pushing up the quality of its particularly about getting bigger. design work and attract like- Although managing director minded staff while targeting Chris Castle concedes that it an increasingly high calibre of would be satisfying to move from commissions across its three its current 98 architects to above key sectors. the three-figure milestone, there EPR would dearly love to be is no particular desire to expand better recognised for the quality much further. of its designs and the next crop Nor are there plans to build of projects currently in design an overseas empire, despite development could be a great the success of the practice’s opportunity to build on the recently established Polish success of recent high-profile office in Wroclaw – European projects and really show off Capital of Culture 2016 – which what it can do. A key project is is actively pursuing new work. likely to be its plum commission Instead, EPR intends to remain to convert the Old War Office firmly rooted in the UK and in opposite Horse Guards Parade particular the London market, in the heart of Whitehall. Peruvian Wharf, Newham, where the majority of its If ever a project needed the London (above), West End Office development (main projects are located. Plans are high design quality and sense of image, left) deceptively modest: to continue place that the partners espouse, 38 37

EPR’s ambitions aren’t pushing up the quality of its particularly about getting bigger. design work and attract like- Although managing director minded staff while targeting Chris Castle concedes that it an increasingly high calibre of would be satisfying to move from commissions across its three its current 98 architects to above key sectors. the three-figure milestone, there EPR would dearly love to be is no particular desire to expand better recognised for the quality much further. of its designs and the next crop Nor are there plans to build of projects currently in design an overseas empire, despite development could be a great the success of the practice’s opportunity to build on the recently established Polish success of recent high-profile office in Wroclaw – European projects and really show off Capital of Culture 2016 – which what it can do. A key project is is actively pursuing new work. likely to be its plum commission Instead, EPR intends to remain to convert the Old War Office firmly rooted in the UK and in opposite Horse Guards Parade particular the London market, in the heart of Whitehall. Peruvian Wharf, Newham, where the majority of its If ever a project needed the London (above), West End Office development (main projects are located. Plans are high design quality and sense of Sketches for Kuwait Culture Centre image, left) deceptively modest: to continue place that the partners espouse, 38 | epr Architects — Looking forward 39

it’s this one. The once-in-a- lifetime opportunity is potentially The practice is in a tremendous showcase for EPR’s work, involving sensitive the early design adaptation as well as a careful stages of a number repurposing of the Grade II*-listed fabric. of large-scale, In terms of size, sensitivity mixed-use projects and prestige, this commission is hard to beat. Sold by the that will create not UK government in 2014, this just buildings, but 54,000m2 building was designed by architect William Young in new urban districts a grand Edwardian Baroque style in 1906 and has more than two miles of corridors. Over and have never been seen by the years, its 1,100 rooms have the public before,’ says Castle. housed secretaries of state Lord ‘It’s an opportunity to draw on Kitchener and Winston Churchill all the skills and expertise that as well as TE Lawrence and John we’ve built up designing high- Profumo. Now the client has end residential and hotels as well briefed EPR to create ‘the best as our track record with listed hotel and residential address in buildings.’ London’ – no small task – as well As well as consolidating as creating high-end residential its reputation for luxury for those after a truly centre-of- hotel design, the practice is town address. interested in expanding into The project will draw on other complementary areas such EPR’s heritage skills, already as international resort design, demonstrated in its new dining and has already landed a major room at the House of Lords resort project in an emerging as well as its many recent and potentially fast-developing luxury hotel restorations and market overseas. conversions. The grandly In the office sector, EPR will decorated historic rooms where be hoping to keep up its aim war committees once met are of working simultaneously on likely to be retained as function significant projects in both the rooms in the new hotel while the City of London and the West End. courtyard at the centre of the While the practice might have to block will be opened up to public wait a while to realise its dream access for the first time. of delivering a zero-carbon office ‘The spaces are beautiful, in central London, it has several

Concept development for two residential towers in London (above left); The Old War Office, Whitehall (above); and sketch for an international resort (left); 1 Grosvenor Square, Mayfair, in collaboration with Eric Parry Architects (right) 40 | epr Architects — Looking forward 41

major projects in the offing, such rhythm along London Wall, whilst as the forthcoming 60 London maintaining a solidity achieved by Wall office development 300m the brise soleil. The upper levels north of the Bank of England. The step back creating sky gardens for site is occupied by a 24,300m2 the amenity and wellbeing of the Postmodern building, which workplace. EPR plans to completely rework ‘Future office design is all for client LaSalle Investment about wellbeing,’ says main board Management. After stripping director Jason Balls. ‘Creating the building right back to its a variety of spaces for differing frame and creating a new core work patterns in a healthy, well arrangement, it will be given a designed environment is essential new modern façade highlighted to retain and attract the highly with bronze bays creating a skilled talent that makes the City of London tick. The desk is not ‘Creating a variety of spaces dead but technology allows work Whether pursuing to take place in the garden or on for differing work patterns in a luxury resort the terrace. In the City the spaces in-between the buildings are healthy, well designed environment design or City of just as important as the offices is essential to retain and attract London offices, the themselves.’ New City offices at 60 London Meanwhile EPR is working the highly skilled talent that Wall (above); concept design practice wants to on one of its most substantial for a Grade II-listed park continue enjoying West End commissions to date. regeneration project (above The project will refurbish, reclad makes the City of London tick’ right); design development 2 for Broadwater Road, Welwyn the work it does and extend a 10,000m property Jason Balls Garden City (far right) to create a headquarters office 42 | epr Architects — Looking forward 4543

building in the heart of Soho. In Newham in east London, EPR EPR’s future residential is looking forward to realising a workload is also promising. The substantial residential/mixed- practice is in the early design use project at Peruvian Wharf. stages of a number of large- Its masterplan for the 4ha scale, mixed-use projects that site includes 1,000 beautifully will create not just new buildings, designed homes, broken down but new urban districts. These into three unique typologies include a new urban quarter to achieve a coordinated at Welwyn Garden City in architectural variety focused Hertfordshire, billed as the first around a series of gardens and major expansion of the garden public spaces. The design will city since its creation nearly a follow the historic linear pattern century ago. EPR won a design of the wharves that once occupied The practice competition to masterplan and the site, and will accommodate a promises a modern design the 827-home project, surviving aggregate facility. which will regenerate an 8ha More projects in less central interpretation brownfield site previously zones are likely to follow of garden-city occupied by the Shredded as developers respond to a Wheat factory on Broadwater changing residential market. principles, drawing Road. The practice promises a While wider feedback in the on the industrial modern interpretation of garden- industry suggest the trend Temple Court refurbishment, city principles, drawing on the for large lateral apartments heritage to create Birmingham (above); concept industrial heritage to create a has peaked, EPR continues to design for a ground-hugging new identity for the area. The work on numerous high-profile a new identity hotel in Lerwick, Shetland Islands (opposite, above); Modernist 1920s factory buildings developments in central London. for the area Peruvian Wharf, Newham will be restored alongside new However, the practice welcomes (opposite) buildings and public spaces. the opportunity to focus on 44 | epr Architects — Looking forward 4745

the continuation of the strong Fun is a word relationships it has with the established major players in that crops up in both new-build and heritage conversations refurbishment hotel projects. It’s impossible to predict how with the directors the fall-out from the Brexit vote about their work will affect the development landscape in the years to come. almost as much as But EPR’s long pedigree, with its its commitment to multiple specialisms and strong track record in project delivery, design quality should stand it in good stead in these uncertain times. Throughout everything, more affordable housing, with whether pursuing luxury resort prospects including sites in design or City of London offices, Orpington and Lewisham as well the practice wants to continue as Wandsworth, where its Ram enjoying the work it does – Quarter development is due to ‘fun’ is a word that crops up in complete by 2019. conversations with the directors On the hotel front, a number about their work almost as much of exciting new commissions as its commitment to design continue to build upon the quality. One senses that the two practice’s legacy of working are inextricably linked and vital to on trendsetting, high-profile EPR’s working ethos. projects. EPR is developing ‘You go into architecture designs for a number of well- because it’s creative and known lifestyle brands and new of course you want to leave hotel projects which will see something good behind,’ says the introduction of successful managing director Chris Castle. world-class names into London ‘We want to do great work and for the first time, alongside enjoy the journey as well.’

Sketch for Doha waterfront (right); design development for the Royal Academy of Arts masterplan, Mayfair, (above and opposite)

‘We design buildings to reflect the site’s genius loci – the local character of a place that dictates the architectural solution. True architecture is a reflection of space irrespective of when it is created’ Zlatko Slijepcevic The Killanin Stand, Galway Racecourse, ‘You go into architecture because it’s Ireland creative and of course you want to leave something good behind. We want to do great work, but we want to enjoy the journey as well’ Chris Castle Practice timeline 1947–2020

2001 Parliament View, Lambeth and Expo ’98, Lisbon 2015 1984 The Ageas Bowl, Southampton and 1000 Aztec West, Bristol and 2012 the Gainsborough Bath & Spa, Bath Victoria Plaza, Victoria American Express HQ, Brighton and Belgraves Hotel, Belgravia 2020 57 Whitehall: Old War Office and 1 Grosvenor Square, Mayfair in collaboration with Eric Parry 2007 2007 Architects Qube, Fitzrovia The Heart, Walton-on-Thames 1973 1999 2017 South Bank Television Centre, Southwark Marriot Hotel Heathrow 27-35 Poultry, City of 2013 London Bernard Weatherill 2016 1947 House, Croydon Riverlight, Nine Elms Welwyn Garden City Town Hall

2014 Mondrian Hotel at Sea 1996 Containers House, Eland House, Victoria and Southwark 1958 ABN Amro, Bishopsgate Eastbourne Terrace, 2007 2010 Paddington The Killanin Stand, Coworth Park, Berkshire 2000 Galway Greenwich Millennium Village, Greenwich 2019 The Ram Quarter, 2015 Wandsworth 2006 24 Savile Row, Mayfair Cardinal Place, Victoria and 1975 Marriot Hotel Leicester 2020 Victoria Street, Westminster Broadwater Road, Welwyn Garden City (phase 1) and Peruvian Wharf, Newham (phase 1)

2007 2011 2014 2016 York House, Marble Arch Hilton Hotel, Heathrow T5 Rosewood London, High Holborn St James’s House, St James’s and Ace Hotel, Shoreditch