{"id":613789,"date":"2021-05-25T07:22:52","date_gmt":"2021-05-25T06:22:52","guid":{"rendered":"https:\/\/www.architectsjournal.co.uk\/?p=613789"},"modified":"2021-05-25T09:17:45","modified_gmt":"2021-05-25T08:17:45","slug":"retrofirst-stories-how-ph-converted-a-run-down-black-box-gallery-into-offices","status":"publish","type":"post","link":"https:\/\/www.architectsjournal.co.uk\/news\/retrofirst-stories-how-ph-converted-a-run-down-black-box-gallery-into-offices","title":{"rendered":"RetroFirst Stories: how pH+ converted a run-down \u2018black box gallery\u2019 into offices"},"content":{"rendered":"

\"\"<\/p>\n

With up to 40 per cent of carbon emissions coming from the construction industry, the profession needs to find ways of adapting the type of buildings it designs, and fast.<\/p>\n

In order to tackle the climate crisis the\u00a0default \u2013 and less carbon-hungry \u2013 option for any project should be to adapt and re-use an existing building, one of the key demands of the AJ\u2019s\u00a0RetroFirst campaign<\/a>.<\/p>\n

With the spotlight on retrofit, our series seeks to celebrate the projects that save buildings from ruin or gives them a new, long-term future and to hear from the architects who designed them.<\/p>\n

Today Toby Crane from pH+ Architects<\/a> tells us about how the practice converted a run-down former furniture factory, and one-time \u2018black box\u2019 arts space, into flexible workspace.<\/p>\n

\"\"<\/p>\n

Tell us about the project
\n<\/strong>Symes Mews is a 19th<\/sup> century Victorian warehouse located in the heart of the London Borough of Camden. We worked with client Fabrix<\/a> to refurbish the derelict space to create 975m2<\/sup><\/span> of creative and sustainable contemporary workspace.<\/p>\n

\"\"

Toby Crane of pH+<\/p>\n\t

<\/p><\/p><\/div>\n

The building sits within the Camden Town Conservation area and was initially constructed as a furniture factory in the 1800s. More recently it had been used as an arts space but was in a state of disrepair when Fabrix acquired it in 2018.<\/p>\n

The extensive refurbishment has focused on celebrating the original heritage features, while improving the performance of the building fabric to bring it up to BREAAM \u2018Very Good\u2019 standard.<\/p>\n

The new design has resolved a dark and disjointed layout by creating a series of distinctive, connected open-plan spaces. Working with landscape architects Harris Bugg<\/a>, we\u2019ve introduced new internal courtyards to bring natural light, access to green space and fresh air to the core of the landlocked site.<\/p>\n

The design embraces many of the building\u2019s distinctive historical elements, including the original trapdoor apertures, which have been glazed and now form vertical links throughout the building.<\/p>\n

What were the challenges of the existing building?
\n<\/strong>The renovation has been a true labour of love. One of the most exciting challenges was retaining the character of the existing building while converting its use, ensuring the original features were celebrated while enhancing the overall energy performance of the building.<\/p>\n

Though the site was originally constructed as a furniture factory, there had been a series of extensions and conversions throughout its life. Each building had a unique materiality and the project team spent a lot of time co-ordinating the lighting and services in collaboration with the client so that they did not detract from the intricacy of the existing structure.<\/p>\n

When we first visited the site, it was predominantly a black box gallery. The design of the project was concurrent with the strip-out and as such the design had to develop as different conditions and features were exposed.\"\"<\/p>\n

The scheme has been carefully developed to bring natural light into the deepest parts of building. The footprint of the building covers the majority of the ground floor. Although it was relatively straightforward to design for natural ventilation and lighting for the upper floors, there were challenges in providing a high-quality working environment to deeper parts of the ground-floor plan.<\/p>\n

The response sees the installation of feature lightwells into original trapdoor apertures, creating dramatic vertical connections between the entirety of the building, with courtyard interventions allowing further natural light to penetrate the plan.<\/p>\n

Did the planners and the public back the plans?
\n<\/strong>Both the local council and the general public were supportive of the architectural proposals, with two successful planning applications, including change of use and permission to comprehensively remodel and extend the building.<\/p>\n

Consideration to impact on neighbouring properties had been carefully thought about, additional mass kept to a minimum and the street fa\u00e7ade was lovingly renovated.<\/p>\n

\"\"

Ground floor plans<\/p>\n\t

<\/p><\/p><\/div>\n

Had demolition ever been considered?
\n<\/strong>The drive to re-use the building was the primary objective of the project from the outset. Environmental impact and social responsibility are key drivers for Fabrix, so demolition was never an option.<\/p>\n

Our shared vision was to refurbish and extend the original building, working closely with the unique character of the building to create a sustainable, design-led workspace.<\/p>\n

What have been the main lessons from the project?
\n<\/strong>If one success stands out it is that from the outset the architectural team story-boarded the journey and wayfinding through the building and how best to link the disparate structures together as a whole without compromising their character.<\/p>\n

Apertures have been opened up rather than knocking through entire dividing walls<\/p><\/blockquote>\n

The result of this was to keep the existing passages between rooms and open up more similarly proportioned apertures, rather than knocking through entire dividing walls. Many of the views between rooms are through an opening that has a human scale, so you experience a threshold between each structure whilst being offered a glimpse of the next space through a variety of differently scaled, framed entrances.<\/p>\n

Apart from retaining the original fabric, what other aspects of your design reduced the whole-life carbon impact of the building?
\n<\/strong>The building achieved BREEAM \u2018Very Good\u2019, which means carbon-saving measures around energy use, natural ventilation, daylighting and material selection were well-considered in the building\u2019s design.<\/p>\n

Materials have been retained and re-used wherever possible to minimise landfill. In addition to the retention of existing elements the quantity of new materials has been minimised.<\/p>\n

High-performance insulation and ventilation was fitted, while new windows, roof structures and internal courtyards have been introduced to encourage openable windows and natural ventilation throughout the building.<\/p>\n

\"\"<\/p>\n","protected":false},"excerpt":{"rendered":"

With up to 40 per cent of carbon emissions coming from the construction industry, the profession needs to find ways of adapting the type of buildings it designs, and fast. In order to tackle the climate crisis the\u00a0default \u2013 and less carbon-hungry \u2013 option for any project should be to adapt and re-use an existing …<\/p>\n","protected":false},"author":915,"featured_media":613799,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_oasis_is_in_workflow":0,"_oasis_original":0,"ep_exclude_from_search":false},"categories":[681],"tags":[1380,5950,6196,1342],"yoast_head":"\nRetroFirst Stories: how pH+ converted a run-down \u2018black box gallery\u2019 into offices<\/title>\n<meta name=\"description\" content=\"The latest in an AJ series looking at architects who have saved buildings from the bulldozers or given them a new lease of life\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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