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CARMODY GROARKE

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SPECIAL THANKS TO Alcino Delgado Ana Ferreira Andy Groarke António Amaral Artur Sousa Deyan Sudjic Emma Wright Filipa Delgado Sousa Hélder Gonçalves Humberto Martins Javier Prado Jenny Barcelos José Manuel Pedreirinho José Maria Ferreira Kevin Carmody Konrad Profanter Laura Maifreni Laura Torchio Pedro Magalhães Rita Leite de Castro Silvia Caborni Sofia Teodósio Thomas Allaert

AMAG 23 PUBLISHER AMAG publisher COLLECTION AMAG magazine NUMBER 23 TITLE CARMODY GROARKE ISBN 978-989-54938-2-1 ISSN I2182-472X LEGAL DEPOSIT 377392/14 ERC REGISTRATION 126 164 PUBLICATION DATE 2021 June EDITOR Ana Leal GENERAL MANAGER Filipa Figueiredo Ferreira EDITORIAL TEAM Ana Leal Carolina Feijó Filipa Figueiredo Ferreira João Soares Tomás Lobo TRANSLATIONS Clementine Dobbelaar PRINTING LusoImpress RUN NUMBER 5000 copies OWNER AMAG editora VAT NUMBER 513 818 367 CONTACTS info@amagpublisher.com www.amagpublisher.com ADVERTISING adv@amagpublisher.com

NOTE Portuguese published texts are not written under the Orthographic Agreement of 2009, unless indicated by the respective author

ROBBIALAC

Viero – SISTEMA VISOLCALCE MARMORIN HYDRO com ACQUA PROTECTION Hotel Santa Clara 1728 – Restaurante Ceia

Imagem Nelson Garrido

HOTEL LIRA, PORTO | ON GOING | INSIDE HOME INTERIORES

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thoughts from the editor CONSISTENT DIVERSITY

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josé manuel pedreirinho A SENSE OF TIME

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deyan sudjic ABOUT CARMODY GROARKE

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7 JULY MEMORIAL temporary installations STUDIO EAST DINING FRIEZE ART FAIR THE FILLING STATION HIGHGATE HOUSE WADDESDON MANOR PAVILION TWO PAVILIONS MEMBERS’ ROOM LAMBETH HOUSE AND STUDIO WINDERMERE JETTY MUSEUM THE HILL HOUSE BOX

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BFI SOUTHBANK HAMBURG PAVILION SPECIAL EXHIBITIONS GALLERY

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under construction DESIGN MUSEUM GENT BRITISH LIBRARY BOSTON SPA HAMBURG DOCK 10 STEINDAMM ENSEMBLE POWER HALL

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CREDITS

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CARMODY GROARKE

ABOUT JOSÉ MANUEL PEDREIRINHO José Manuel Pedreirinho, architect, graduated from ESBAL (1976) and PhD from the Faculty of Architecture of the University of Seville (2012). Activity in the liberal profession since 1980 and as a teacher since 1985, in Porto and as Director of the EUAC in Coimbra (1990-2014). Since 1979 collaborator in several newspapers and magazines, and author of several books on themes of “History of Portuguese Architecture of the 20th century”. From January 2017 to 2020 President of the Order of Architects, and of Fundación Docomomo Ibérico, and member of the Executive Committee of the Council of Architects of Europe (2018-2020). Vice-president of the International Council of Portuguese Language Architects.

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A SENSE OF TIME

As creators with a very heterogeneous architectural repertoire, it is in the way in which they express the various dimensions of time and space that we find the common thread running through their body of work.

Créateurs d’une architecture très variée, c’est dans la manière dont ils expriment les différentes dimensions du temps et de l’espace que l’on trouve un lien entre leurs multiples œuvres.

Fazedores de arquitecturas muito diversas, é no modo como nelas exprimem as variadas dimensões do tempo e do espaço que encontramos a ligação entre as suas múltiplas obras.

A temporal dimension manifests itself in ephemeral buildings, which are meant for temporary events but go hand in hand with permanent works, as well as in the restoration or repurposing projects, where the need to focus on change and the need to successfully adapt the old to the requirements of the present are reconciled, at times in a radical way.

Des dimensions temporelles s’expriment dans des projets éphémères, faits pour des événements temporaires, mais qui vont de pair avec des œuvres à caractère permanent, ainsi que dans des projets de réhabilitation ou de réutilisation où il est possible de concilier, parfois de façon radicale, la nécessité de changement et la nécessité d’adapter l’ancien aux exigences contemporaines.

Dimensões temporais que se exprimem em edifícios efémeros, para eventos temporários, mas que andam a par com obras de carácter permanente; projectos de reabilitação, ou de reuso, onde se concilia, por vezes radicalizando, a necessidade de trabalhar a mudança e de conseguir a adaptação do antigo às novas necessidades do presente.

We’ll also notice a spatial dimension in their work, in which small rural projects lay side-by-side with large urban projects, which in turn may also include smaller undertakings.

On voit aussi des dimensions spatiales dans leur travail, dans lequel de petites interventions dans la nature se trouvent côte à côte à de grandes interventions urbaines, celles-ci parfois aussi comprenant des interventions moins conséquentes.

These dimensions become even more important when they are paired with another responsibility – one that is fundamental to the times we live in: an ecological dimension, not always very obvious in the way it expresses itself in architecture, but clearly underlying the process through which the studio embarks on its projects, whether it is by using waste material, recycling the leftovers that construction work always produces in great excess, or by optimising the technical capabilities of each material used. Doing so while maintaining a focus on producing highquality architecture is, of course, the evidence of a great coherence in their objectives. A coherence that, in the work of Kevin Carmody and Andy Groarke, is also paired with great refinement in their choice of materials and finishes, in a clear demonstration that the quality of the work has much more to do with this coherence in their principles than with the different situations that architecture has to respond to. This coherence extends to the way in which they approach larger projects, such as the one they recently took on for Rectory Farm, which will be London’s largest urban park, located on the outskirts of the city. The 44-hectare green zone will be essential to the provision of more leisure space and to the creation of stronger community ties within the densely populated area it finds itself in, as well as being an area identified as necessary for the future extraction of materials from its subsoil. A contradiction in objectives, which they are working on with the international team of landscape architects Vogt, with whom they are exploring innovative proposals combining mineral extraction with commercial or recreational activities. Other good examples of this close relationship with nature – featured in this issue – are contributions to a natural reserve in Scotland, the pavilion in Buckinghamshire, or the two small pavilions in Sussex, perhaps the most poetic of all the projects presented here. In these designs, architecture has a strong presence, albeit in a contained manner, in the right dose, without any excesses or absurd manifestations of its presence.

Ce sont des dimensions d’autant plus importantes qu’elles se complètent avec une autre préoccupation, fondamentale pour l’époque que nous vivons: une dimension écologique, pas toujours très évidente dans la manière dont elle s’exprime dans l’architecture, mais clairement sous-jacente au processus de développement des œuvres, que ce soit en utilisant des déchets, en recyclant une grande partie des restes de construction qui sont toujours produits en grand excès, ou en optimisant les capacités techniques de chacun des matériaux qu’ils utilisent. Le faire tout en restant focalisé sur la production d’une architecture de qualité est, bien entendu, la preuve d’une grande cohérence dans leurs objectifs. Une cohérence qui, dans le travail de Kevin Carmody et Andy Groarke, se réconcilie aussi avec des œuvres d’un grand raffinement dans le choix des matériaux et des finitions, démontrant clairement que la qualité des œuvres a beaucoup plus à voir avec cette cohérence dans leurs principes qu’avec les différentes situations auxquelles l’architecture doit répondre. Cette cohérence implique aussi la présence de ces principes dans la manière dont ils abordent des projets plus grands comme celui qu’ils ont récemment développé pour Rectory Farm, qui sera l’un des plus grands parcs urbains de Londres, situé en périphérie de la ville. Une zone verte de 44 hectares, indispensable pour offrir des loisirs ou de créer des liens sociaux au sein de la population très dense qui l’entoure, mais qui est aussi une zone identifiée comme nécessaire pour une future extraction de matériaux de son sous-sol. Une contradiction dans les objectifs, sur lesquels ils travaillent avec l’équipe internationale d’architectes paysagistes Vogt, avec qui ils explorent des propositions innovantes combinant l’extraction minérale avec des activités commerciales ou de loisir. D’autres bons exemples de cette relation étroite avec la nature, aussi présentés ici, sont les interventions dans une réserve naturelle en Ecosse, le pavillon dans le Buckinghamshire, ou les deux petits pavillons dans le Sussex – qui est probablement la plus poétique de toutes les œuvres présentées ici.

Dimensões espaciais porque nas suas obras encontramos, lado a lado, a pequena intervenção na natureza ou a grande intervenção urbana, por vezes também feita com intervenções de pequena dimensão. Dimensões tão mais importantes porque se complementam com uma outra preocupação, bem actual nos tempos que vivemos. Uma dimensão ecológica, nem sempre muito óbvia no modo como se exprime na arquitectura, mas claramente subjacente ao processo como desenvolvem as suas obras, seja ao utilizarem desperdícios de materiais, reciclando muitas das sobras que a construção civil sempre produziu em grande excesso, seja ao optimizarem as capacidades técnicas de cada um dos materiais que empregam. Fazê-lo mantendo o foco na produção de uma arquitectura de qualidade é desde logo a manifestação de uma grande coerência de objectivos. Uma coerência que, na obra de Kevin Carmody e Andy Groarke, se concilia também com trabalhos de grande requinte de materiais e acabamentos, numa demonstração clara que a qualidade das obras tem muito mais a ver com essa coerência dos princípios do que com as diversas conjunturas a que a arquitectura tem de dar resposta. Uma coerência que faz com que estas preocupações estejam também presentes no modo como abordam projectos de maior dimensão como o que recentemente desenvolveram para Rectory Farm, um dos maiores Parques urbanos situado nos arredores de Londres. Uma zona verde de 44Ha, essencial para apoio de lazer, ou o estabelecimento de conexões entre uma população bastante densa que a rodeia, mas também uma zona identificada como necessária para futura extracção de materiais do seu subsolo. Uma contradição de objectivos, que estão a trabalhar com a equipa internacional de arquitectos paisagistas Vogt, onde estão a explorar propostas inovadoras em que se concilia a extracção mineral, com as actividades comerciais ou recreativas. Outros bons exemplos dessa atenta relação com a natureza, e aqui documentados, são as intervenções no parque dentro de uma reserva natural na Escócia, o pavilhão no Buckinghamshire, ou os dois pequenos pavihões no Sussex, talvez a mais poética de todas as obras aqui apresentadas. Trabalhos onde a arquitectura está bem presente, mas sempre contida, com a dimensão necessária, sem excessos ou absurdas manifestações da sua presença.

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7 JULY MEMORIAL Hyde Park, London

A permanent memorial to commemorate the worst terrorist attacks in peacetime London was designed working closely with the bereaved families of the victims killed by the 7 July, 2005 bombings.

Un monument permanent pour commémorer les plus graves attaques terroristes en temps de paix à Londres a été conçu en étroite collaboration avec les familles des victimes qui ont trouvé la mort dans les attentats du 7 juillet 2005.

Located in Hyde Park, the memorials setting on a new park path provides a place for quiet contemplation within one of the largest public places in London. The singular and collective loss inflicted by the bombings has informed the character of the memorial. Fifty-two 850kg stainless-steel cast vertical pillars (or stelae), each representing one of the fifty-two lives lost, are arranged in an open pattern of four interlinked clusters representing the four locations of the bombs.

Situé à Hyde Park, l’emplacement du monument commémoratif sur un nouveau chemin du parc offre un lieu de contemplation silencieux dans l’un des plus grands lieux publics de Londres. La perte individuelle et collective infligée par les attentats à la bombe a défini le caractère du mémorial. Cinquante-deux piliers verticaux moulés en acier inoxydable de 850kg (ou stèles) – chacun représentant l’une des cinquante-deux vies perdues – sont disposés selon un schéma ouvert de quatre groupes interconnectés, représentant les quatre emplacements des bombes.

Each stelae is characterised by the unique marks in its surfaces caused by the open-cast process, as well as an inscription carried at eye-level describing the date, exact timing and location of each life lost. Visitors are encouraged to walk amongst the stelae and ponder their meaning. A plaque is located on a berm at the end of the path and records the names of each victim. Through the language of abstract architecture, the memorial is intended to be a symbol of reconciliation for the families, as well as a permanent reminder for generations to come of the devastating effects of the bombings.

Chaque stèle est caractérisée par des traces uniques sur sa surface – causées par le processus de fabrication à mine ouverte – ainsi que par une inscription gravée à la hauteur des yeux décrivant la date, le moment exact et le lieu de chaque vie perdue. Les visiteurs sont incités à marcher parmi les stèles et à réfléchir sur leur signification. Une plaque est située sur une berme au bout du chemin et contient les noms de chaque victime. A travers le langage d’une architecture abstraite, le mémorial se veut un symbole de réconciliation pour les familles, ainsi qu’un rappel permanent pour les prochaines générations de l’effet dévastateur des bombardements.

Num trabalho desenvolvido, em estreita colaboração com as famílias das vítimas mortais dos atentados de 7 de julho de 2005, desenhamos um memorial permanente, para homenagear os piores ataques terroristas ocorridos em Londres, em tempos de paz. Inserido no Hyde Park, um dos maiores espaços públicos de Londres, o memorial faz parte de um novo caminho para o parque, e proporciona um espaço de tranquila contemplação. A perda singular e colectiva infligida pelos bombardeios, deu forma ao caráter do memorial. Cinquenta e dois pilares (ou estacas) verticais fundidos em aço inoxidável de 850 kg, dispostos num padrão aberto de quatro grupos interligados entre si, simbolizam os quatro locais das bombas e representam as 52 vidas perdidas. Cada pilar tem um carácter único. Conferido pelas marcas singulares na sua superfície, consequentes do processo de fundição aberta e de uma inscrição presente ao nível dos olhos, que descreve a data, o tempo e locais exactos de cada vida perdida. Os visitantes são incentivados a caminhar entre os pilares e refletir sobre o seu significado. No final do percurso, uma placa posicionada na berma, identifica o nome de cada vítima mortal. Através de uma linguagem formal abstracta, o memorial pretende ser um símbolo de reconciliação para as famílias, bem como uma memória permanente para as gerações futuras, dos efeitos devastadores dos bombardeios.

CARMODY GROARKE

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TEMPORARY INSTALLATION

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STUDIO EAST DINING Stratford, London

During the summer of 2010, Studio East Dining was built on top of a 35m high multi-storey car park within the live construction site of a major new commercial mixed development in Stratford, East London. The temporary pavilion provided a unique elevated vantagepoint across London’s 2012 Olympic site. A cluster of interlocking timber-lined rooms sheltered by angled translucent roofs, formed a large, singular restaurant space. This allows up to one hundred and forty guests to enjoy an intimate dining experience at communal tables whose orientation were aligned to key views of London’s emerging skyline. The project was designed and built within ten weeks from initial briefing to opening night. With a life-span of only three weeks, the 800m2 lightweight structure was constructed with materials borrowed from the existing construction site including scaffolding boards, scaffolding poles and an industrial grade heat retractable polyethylene roof membrane. All building materials were selected for their ability to be 100% recycled following the closure of the restaurant.

Au cours de l’été 2010, le Studio East Dining a été construit au-dessus d’un parking à plusieurs étages de 35 mètres de haut en plein chantier de construction d’un grand nouveau développement commercial à usage mixte à Stratford, dans l’est de Londres.

Durante o verão de 2010, o Studio East Dining foi construído no último piso de um estacionamento com uma altura de 35m, inserido numa área em obras de um grande empreendimento comercial em Stratford, East London.

Le pavillon temporaire offrait un point de vue unique en hauteur, donnant sur le site Olympique de Londres de 2012. Un ensemble de pièces entrecroisées, tapissées de bois, abritées par des toits translucides inclinés formait un grand espace de restaurant unique. Cela permettait à près de cent quarante invités de profiter d’une expérience culinaire intime à des tables communes dont l’orientation était alignée sur des vues clés de la ligne d’horizon émergente de Londres.

O pavilhão temporário permitiu aos seus utilizadores, usufruir uma vista única sobre o recinto olímpico de Londres no ano de 2012. Um conjunto de espaços entrelaçados, revestidos a madeira e protegidos por telhados translúcidos inclinados, deram lugar a um grande e singular restaurante, capaz de acolher até cento e quarenta convidados, e proporcionar uma experiência de jantar privada, em mesas partilhadas, com uma orientação privilegiada sobre as principais vistas do horizonte emergente de Londres.

Le projet a été conçu et réalisé en dix semaines, du briefing initial à la soirée d’ouverture. D’une durée de vie de seulement trois semaines, la structure légère de 800 m2 a été construite avec des matériaux empruntés au chantier de construction existant, notamment des planches d’échafaudage, des poteaux d’échafaudage et une membrane de toit en polyéthylène rétractable de qualité industrielle. Tous les matériaux de construction ont été sélectionnés pour leur capacité à être recyclés à 100% suite à la fermeture du restaurant.

O projecto foi projectado e construído em dez semanas, desde o briefing inicial até a noite de inauguração, e teve uma vida útil de apenas três semanas. A estrutura leve, de 800m2, foi construída com materiais cedidos pelas obras circundantes, incluindo placas e postes de andaimes, e a membrana do telhado em polietileno retrátil, com um desempenho térmico de nível industrial. Todos os materiais de construção foram selecionados pela sua total capacidade de reciclagem após o fecho do restaurante.

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STUDIO EAST DINNING

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CARMODY GROARKE STUDIO EAST DINNING

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FRIEZE ART FAIR Regent’s Park, London

Each autumn, Frieze Art Fair shows works by more than 1,000 artists represented by contemporary British and international galleries. The fair is hosted within a 20,000m² temporary venue built from tent structures within the remarkable context of Regent’s Park, London. Frieze Art Fair promotes living artists and hosts a curated programme of talks, commissioned art installations and film projects – many of which are interactive and performance based – thereby encouraging visitors to engage with art and artists directly during the four-day fair. Over three consecutive years, Carmody Groarke developed a concept for Frieze that balanced the quality of the art space, the social experience and the existing context. The architectural idea was to construct a series of interlinked, translucent pavilions surrounding the perimeter of the large exhibition tents. The pavilions, located adjacent to the exhibition spaces, were constructed as timber-lined “rooms” arranged around the existing trees within the park and contained the public hospitality and VIP functions. The project proposed the masterplan of the gallery layout as an urban strategy of avenues, streets and squares. The arrangement aimed to give legibility to public circulation within the large-scale tents and created a series of architectural installations which orientated the visitor and provided opportunities for rest and refreshment.

Chaque automne, la Frieze Art Fair est un salon qui présente les œuvres de plus de 1000 artistes, représentés par des galeries contemporaines britanniques et internationales. Le salon est organisé dans un lieu temporaire de 20 000 m², construit à partir de structures de tentes dans le contexte unique de Regent’s Park, à Londres. La Frieze Art Fair promeut des artistes vivants et accueille un programme de conférences, de commandes d’installations artistiques et de projets de films, dont beaucoup sont interactifs et basés sur des performances, encourageant ainsi les visiteurs à participer directement avec l’art et les artistes pendant les quatre jours du salon.

A cada outono, a Frieze Art Fair acolhe obras de mais de 1.000 artistas representados por galerias contemporâneas britânicas e internacionais. A feira é realizada num espaço de ocupação temporária de 20.000 m², construído a partir de estruturas de tendas, inseridas do reconhecido contexto do Regent’s Park, em Londres. A Frieze Art Fair promove artistas vivos e recebe um programa com curadoria de conferências, instalações de arte comissionadas e projecção de filmes, muitos dos quais interativos e com base em performances, estimulando os visitantes a interagirem diretamente com a arte e os artistas, durante os quatro dias da feira.

Pendant trois années consécutives, Carmody Groarke a développé un concept pour Frieze qui combinait la qualité de l’espace artistique, l’expérience sociale et le contexte existant. L’idée architecturale était de construire une série de pavillons interconnectés et translucides entourant le périmètre des grandes tentes d’exposition.

Ao longo de três anos consecutivos, Carmody Groarke desenvolveu um conceito para a Frieze que equilibrava a qualidade do espaço de arte, a experiência social e o contexto existente. O princípio conceptual foi construir um conjunto de pavilhões translúcidos interligados em torno do perímetro das grandes tendas de exposição.

Les pavillons, situés à côté des espaces d’exposition, ont été construits comme des “salles” tapissées de bois et aménagées autour des arbres existants dans le parc et contenaient les services de restauration et les fonctions VIP. Le projet a conçu le plan directeur de l’aménagement de la galerie comme une stratégie urbaine d’avenues, de rues et de squares. L’agencement visait à donner de la lisibilité à la circulation publique dans les grandes tentes et créait une série d’installations architecturales qui orientaient le visiteur et offraient des possibilités de repos et de rafraîchissement.

Os pavilhões, adjacentes aos espaços de exposição, foram construídos como “salas” revestidas a madeira, dispostas em torno das árvores pré-existentes no parque e acolhiam as funções de hospitalidade pública e funções VIP. O projecto propôs o layout masterplan da galeria como estratégia urbana de avenidas, ruas e praças, contribuindo para a legibilidade da circulação do público nas tendas e para criação de uma série de instalações que orientaram os visitantes e lhes proporcionaram simultaneamente oportunidades de descanso e relaxamento.

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01. Poly carbonate roof 02. Birch plywood 03. Timber I-Joist 04. Festoon site lighting

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THE FILLING STATION King’s Cross, London

The conversion of a derelict petrol station in King’s Cross in 2012 was an opportunity to create a new sense-of-place in a part of London that was seeing radical regeneration through a commercial estate masterplan. Taking account of the quickly evolving post-industrial context, a new external public events space and diner-style restaurant was created overlooking the Regent’s Canal. Utilising the existing petrol station canopy and forecourt, a new public space enabled the venue to be programmed for diverse cultural activities including performances, exhibitions, lectures and artistic collaborations. These new programmes were enclosed by a curvaceous, 200m long, prefabricated fibreglass screen that corresponded to the site’s existing features and offered protection and respite from the surrounding busy arterial roads. The material quality of the translucent screen took on very different characteristics with natural land artificial light and provided a strong new identity for the site, by day and by night. The existing kiosk was re-purposed as the restaurant’s dining room. Following its three-year lifespan, The Filling Station was removed to make way for a new mixed-use development. The legacy of this relatively short-term project has been to develop a point of continuity for a part of London that has seen dramatic large-scale social, physical and economic transformation. Without erasing or denying The Filling Station’s previous structure or use, the intervention suggested alternative ways of inhabiting and participating in a city and alluded to the future uses for this site.

Le réaménagement d’une station-service abandonnée à King’s Cross en 2012 a été l’occasion de créer un nouveau sentiment d’appartenance dans un quartier de Londres qui vivait une régénération radicale grâce à un plan directeur de domaine commercial. Tenant compte du contexte postindustriel en rapide évolution, un nouvel espace extérieur pour événements publics et un restaurant de style diner ont été créés, surplombant le Regent’s Canal.

Esta reconversão, de um posto de gasolina abandonado em King’s Cross, no ano de 2012, foi a oportunidade para desenvolver um novo espaço, numa zona em franca e radical regeneração em Londres, consequência da implementação de um novo plano director comercial. Tendo em consideração a rápida evolução do contexto pós-industrial, foi desenvolvido um novo espaço exterior para acolher eventos públicos e um restaurante, com vista para o Canal Regent.

En utilisant la verrière et l’avant-cour existantes de la stationservice, un nouvel espace public a permis au lieu d’être utilisable pour de diverses activités culturelles, notamment des performances, des expositions, des conférences et des collaborations artistiques. Ces nouveaux programmes étaient clôturés par un écran en fibre de verre préfabriqué de 200 mètres de long, tout en courbe, qui correspondait aux caractéristiques existantes du site et offrait une protection et une sensation d’abri face aux artères très fréquentées qui l’entouraient.

A cobertura e o pátio pré-existentes, permitiram acolher e reajustar o novo programa, integrando atividades culturais, performances, exposições, conferências e colaborações artísticas neste espaço. Uma tela curvilínea e pré-fabricada de fibra de vidro, com 200m de comprimento, corresponde às características pré -existentes do local, e proporciona privacidade e protecção, ao movimento proveniente das estradas arteriais circundantes.

La qualité matérielle de l’écran translucide prenait des caractéristiques très différentes avec la lumière naturelle et artificielle et a fourni une nouvelle identité puissante à l’endroit, de jour comme de nuit. Le kiosque existant a été reconverti en salle à manger du restaurant. Après sa durée de vie de trois ans, le Filling Station a été désactivé pour faire place à un nouveau développement à usage mixte. L’héritage de ce projet d’une durée relativement courte a été de développer un point de continuité pour une partie de Londres qui a connu une transformation sociale, physique et économique à grande échelle. Sans effacer ni nier la structure ou l’usage antérieur du Filling Station, l’intervention a fait surgir de nouvelles idées à propos de comment habiter et participer à la vie de la ville et a fait allusion aux possibles utilisations futures de ce lieu.

A presença e o uso da tela translúcida como revestimento, permite ainda o desfrutar de diferentes tonalidades de luz, seja natural ou artificial, e confere uma nova e forte identidade ao local, quer de dia quer de noite. O quiosque existente foi adaptado e acolhe a sala de jantar do restaurante. Após três anos de uso, The Filling Station, foi demolida para dar lugar a um novo equipamento de uso misto. O legado deste projecto, de relativamente curto prazo, foi desenvolver um ponto de continuidade e ligação a uma área de Londres que atravessou transformações sociais, físicas e econômicas de grande escala. Sem apagar ou negar a estrutura ou uso anterior, a intervenção sugeriu formas alternativas de habitar e participar na cidade, insitando aos futuros usos neste espaço.

CARMODY GROARKE

CARMODY GROARKE THE FILLING STATION

049

GROUND FLOOR PLAN

NORTH ELEVATION

CARMODY GROARKE

THE FILLING STATION

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2014 055

HIGHGATE HOUSE Highgate, London

Highgate House, which replaced an existing detached Edwardian house, creates a strong relationship between its context, its external form, and the composition of its internal spaces.

Highgate House, qui a remplacé une maison édouardienne individuelle existante, crée une relation forte entre son contexte, sa forme externe et la composition de ses espaces internes.

The treatment of thresholds between interior and exterior space varies greatly in scale and proportion according to each room’s physical and visual connection to the street, the gardens and Highgate Wood beyond.

Le traitement des seuils entre l’espace intérieur et l’espace extérieur varie considérablement en échelle et en proportion en fonction de la connexion physique et visuelle de chaque pièce à la rue, aux jardins et à la forêt de Highgate Wood.

The front elevation is divided into three tightly-packed, angled gables of varying heights, a proportional device to reference the surrounding vernacular architecture. The rear elevation contrasts in character with more generously proportioned windows and terraces linking inside and outside.

La façade avant de la maison est divisée en trois pignons en angle, serrés l’un contre l’autre et de différentes hauteurs, une astuce de proportion qui fait référence à l’architecture vernaculaire environnante. La façade arrière crée un contraste de caractères avec ses fenêtres et ses terrasses aux proportions plus grandes, reliant l’intérieur à l’extérieur.

The large central hall defines the centrepiece of the radiating arrangement of masses which relate in scale and grain to the neighbouring houses. The hall also reinforces a hierarchy of rooms within the house: open plan living spaces on the ground floor and more conventional cellular rooms on the upper levels. Its architecture is given physical consistency and presence throughout by its sculptural use of brick. This provides coherence with the surrounding detached houses, and retains the association of traditional craft embedded in the eclectic architecture of the North London suburb. Brick is complemented by only a few additional materials which strengthen the overall spatial character. Large slabs of silver granite create an external tectonic plinth that physically grounds the brick house into its gently sloping topography. The internal ground floor is covered entirely with white travertine, interrupted only by black travertine which lines a swimming pool and spa. To accentuate the scale of the central hall, the staircase and gallery are expressed as a large furniture installation crafted in black fumed-oak. The reflective sheen of the white polished plaster ceiling with its central circular oculus further reinforces the extraordinary vertical proportions of the room.

Le grand hall central définit la pièce maîtresse de la disposition en rayon des volumes, qui se rapproche des maisons voisines en termes d’échelle et de finitions. Le hall met également en évidence une hiérarchie des pièces au sein de la maison: des espaces de vie ouverts au rez-de-chaussée et des pièces fermées plus conventionnelles aux niveaux supérieurs. Son architecture reçoit sa cohérence physique et a une présence dans l’ensemble par l’utilisation sculpturale de la brique. Cela assure une cohérence avec les maisons individuelles environnantes et conserve son rapport à l’artisanat traditionnel intégré dans l’architecture éclectique de la banlieue du nord de Londres. La brique est complémentée par peu de matériaux supplémentaires, qui renforcent le caractère spatial général. De grandes dalles de granit argenté créent un socle tectonique externe qui enracine physiquement la maison en brique dans sa topographie en pente douce. Le rez-de-chaussée intérieur est entièrement recouvert de travertin blanc, interrompu uniquement par du travertin noir qui tapisse une piscine et un spa. Pour accentuer l’échelle du hall central, l’escalier et la galerie sont façonnés comme une grande installation de meubles, réalisée en chêne fumé noir. L’éclat du reflet du plafond en plâtre poli blanc avec son oculus circulaire central souligne encore les proportions verticales extraordinaires de la pièce.

A Highgate House, surge no lugar de uma casa Eduardina pré-existente, e apresenta uma forte relação com o contexto na qual esta inserida, quer pela sua forma exterior, quer pela composição dos seus espaços interiores.

O tratamento dos limites entre o espaço interior e exterior varia de acordo com a escala, proporção, e relação física e visual estabelecida com a rua, jardins e o bosque Highgate. O alçado frontal é dividido em três volumes estreitos, cegos e angulares, de proporções e diferentes alturas, que remetem à arquitectura vernacular circundante. O alçado posterior contrasta com janelas de proporções mais generosas e terraços que estabelecem a relação entre o interior e o exterior. O grande espaço central define o encontro dos diferentes volumes, que se relacionam em escala com as casas vizinhas, e reforça a hierarquia dos espaços dentro da casa: áreas de estar abertas no piso térreo e espaços de carácter mais convencional e de uso privado nos pisos superiores. A consistência física e a presença da arquitectura como um todo, é conferida pelo uso escultórico de tijolos, que proporciona uma coerência e enquadramento com as casas circundantes, mantendo o carácter de artesanato tradicional presente na arquitectura eclética tão característica dos subúrbios do norte de Londres. O tijolo é associado a alguns materiais complementares que reforçam o seu carácter espacial geral. Grandes lajes de granito cinzento, constituem a base de suporte que estabelece a ligação fisica da casa, em tijolo, à topografia suavemente inclinada do terreno. O espaço interior do rés-do-chão é totalmente revestido a travertino, branco, interrompido apenas pelo uso de travertino preto, no revestimento da piscina e do spa. Para reforçar a escala do hall de entrada central, a escadaria e a galeria são desenvolvidas como uma grande instalação de mobiliário, trabalhado em carvalho escuro. Por sua vez, o brilho proveniente do revestimento em gesso polido do tecto, simultaneamente com a presença de uma claraboia central, reforçam as extraordinárias proporções verticais da sala.

CARMODY GROARKE

SECTION B

CARMODY GROARKE HIGHGATE HOUSE

061

GROUND FLOOR PLAN

SECTION C

CARMODY GROARKE

0.25

01. Brick coping system 02. Support plate and DPC 03. Clay facing brickwork 04. Cavity wall ties 05. Lead flashing 06. Bitumen membrane warm deck roof covering 07. Vapour control layer 08. Flexible sheet cavity tray 09. Perpend joint plastic weep holes 10. Precast concrete lintel 11. Prefabricated steel lintel (brick faced) 12. Clay facing brickwork (hit and miss) 13. Metal louvre 14. Mechanical ventilation damper 15. Rooflight 16. Gypsum skim plaster on plasterboard 17. Plywood lining 18. Partial fill cavity insulation 19. Warm deck insulation 20. Vapour control layer 21. Firring 22. Timber roof deck 23. Steel section

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HIGHGATE HOUSE

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2016 067

WADDESDON MANOR PAVILION Waddesdon, Buckinghamshire

Waddesdon Manor was built in 1874 as a French Renaissance-style chateau by Baron Ferdinand de Rothschild to entertain and house his collection of fine art.

Waddesdon Manor a été construit en 1874 par le baron Ferdinand de Rothschild comme un château français de style Renaissance pour recevoir des gens et abriter sa collection d’art.

Waddesdon Manor foi construído em 1874 pelo Barão Ferdinand de Rothschild, como um château de estilo renascentista francês, para entreter e acolher a sua colecção de belas-artes.

The Manor sits within the grounds of Waddesdon Estate, a vast, manmade park landscape, punctuated by several ornamental architectural structures used for cultural attractions. Waddesdon Manor Estate constitutes one of the most popular stately home visitor attractions in the United Kingdom.

Le manoir se trouve dans l’enceinte du domaine de Waddesdon, un vaste parc artificiel, ponctué de plusieurs structures architecturales ornementales utilisées comme des attractions culturelles. Le Waddesdon Manor Estate constitue l’une des attractions de château touristique les plus populaires du Royaume-Uni.

The purpose of the new pavilion is to manage the enormous volume of visitors arriving to the Waddesdon Estate and to offer welcome, orientation and transport connections to the manor and around the park.

Le but du nouveau pavillon est de mieux gérer l’énorme volume de visiteurs qui arrivent au domaine de Waddesdon, ainsi que d’offrir un accueil, de l’orientation et des connexions de transport vers le manoir et à l’intérieur du parc.

The Manor insere-se no terreno de Waddesdon Estate, numa vasta paisagem de parque artificial, pontuada por diferentes estruturas arquitectónicas ornamentais usadas para atracções culturais. Waddesdon Manor Estate representa uma das atracções turísticas mais populares por entre os visitantes de casas senhoriais no Reino Unido.

The pavilion’s architectural identity is confirmed by a large, elemental steel canopy, generated from its primary purpose of providing shelter within the park landscape.

L’identité architecturale du pavillon est marquée par un grand auvent structurel en acier, remplissant l’objectif principal de fournir un abri dans l’enceinte du parc.

This form introduces a horizontal landmark quality when seen from all points of approach and creates a generous outdoor undercover space beneath framing views outwards to the estate and manor.

Ce volume améliore la qualité de repère horizontal de tous les points de vue et crée un grand espace couvert, à l’extérieur, encadrant la vue sur le domaine et le manoir.

In contrast to the canopy’s dark cantilevering form, a white-frosted glass and polycarbonate room is sheltered beneath, containing all of the visitor facilities.

En contraste avec la forme sombre en porte-à-faux de l’auvent, celui-ci abrite une salle en verre dépoli blanc et polycarbonate, contenant toutes les installations pour les visiteurs.

O objectivo do novo pavilhão é acolher o enorme volume de visitantes que chegam ao Waddesdon Estate e oferecer-lhes as boas-vindas, orientação e conexões de transporte para o Manor e o parque em redor. A identidade do pavilhão é conferida substancialmente pela grande cobertura de aço elementar, gerada a partir do seu objectivo principal: constituir um abrigo por entre a vasta paisagem do parque. Esta forma introduz um marco horizontal de todos os pontos de vista e garante um espaço exterior coberto, e vistas emolduradas sobre a propriedade e a casa senhorial. Em contraste com a forma escura do dossel em balanço, uma sala de vidro fosco e policarbonato destaca-se na zona inferior, acolhendo todas as instalações necessárias aos visitantes.

CARMODY GROARKE WADDESDON MANOR PAVILION

0.25

01. Metal edge trim 02. Waterproof membrane 03. 240 x 8 Plate welded on top of RHS 04. 42,4 Dia x 4 CHS with full penetration butt weld to RHS top and bottom ground smooth 05. M30 Countersunk bott 06. 168 x 168 x 10 Steel bearing plate below beam 07. Bar bolted through column cap plate 08. Asphalt 09. Concrete binding 10. Holding down bolts cast in to pad footings 11. Shim 12. Reinforced concrete pad 13. Thermal insulant 14. Aluminium pressure plate 15. Double glazed unit 16. Mild steel supports 17. Tapered insulation 18. Vapour control layer 19. Metal deck 20. Primary steelwork 21. Loose laid insulation 22. Steel support bracketry 23. Suspended ceiling system 24. Plasterboard 25. Resin floor 26. Screed

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WADDESDON MANOR PAVILION

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2017 073

TWO PAVILIONS East Sussex, England

An existing rural family farmhouse has been extended to provide additional residential and creative spaces. The scale and composition of the existing main house could not sustain any further adaptations, and so two separate pavilions were created within the landscape.

Une ferme familiale rurale existante a été agrandie pour pouvoir offrir des espaces résidentiels et créatifs supplémentaires. L’échelle et la composition de la maison principale existante ne pouvaient pas supporter d’autres aménagements, donc deux pavillons séparés ont été créés dans le paysage.

Uma quinta rural familiar, pré-existente, foi ampliada com o objectivo de acolher espaços de carácter criativo e multifuncional adicionais. Visto que a escala e a estrutura da casa principal pré-existente não permitiam mais adaptações, foram desenvolvidos e inseridos na propriedade, dois espaços independentes.

The first pavilion is designed as a ‘hermitage’ – a self-sufficient guest suite. It is conceived as a singular, square, oak-lined room given orientation by a single large window overlooking a beautiful man-made lake and small island. Externally, the pavilion is made from horizontally board-marked, in-situ concrete and is embedded into the steeply sloped banks of the lake, giving it an archaic, almost geological character.

Le premier pavillon est conçu comme un ‘ermitage’ - une suite d’hôtes autonome. Il est organisé comme une pièce individuelle, carrée et tapissée de chêne, orientée par une seule grande fenêtre donnant sur un magnifique lac artificiel et une petite île. A l’extérieur, le pavillon est fait de béton brut in situ et est encastré dans les rives en forte pente du lac, lui donnant un caractère archaïque, presque géologique.

The suite is only accessible from the existing main house, via a 3m diameter, 40m-long, galvanised-steel underground tunnel. An oak jetty projecting over the lake edge creates an extension to this very special and secluded experience.

La suite n’est accessible que depuis la maison principale existante, par un tunnel souterrain en acier galvanisé de 3 mètres de diamètre et 40 mètres de long. Une jetée en chêne surplombant le lac crée une extension à cette expérience très spéciale et isolée.

O primeiro espaço foi desenhado como um “convento” - uma casa para convidados totalmente independente e autosuficiente, pensada como um só espaço, quadrado, revestido a madeira de carvalho, com somente uma grande janela voltada para um lago artificial com uma pequena ilha. Do lado exterior, o pavilhão é construído em betão aparente, cofrado in-situ, de forma perfeitamente integrada nas margens íngremes do lago, que lhe conferem um carácter arcaico, quase geológico.

The second pavilion is intended to be of very different architectural character. It repurposes a dilapidated eighteenth century farm building, as the unselfconscious character and handmade quality to the existing brickwork structure provided the correct starting point to create a space for an artist’s studio. The existing brickwork has been retained and the figure of the original walls has been completed inside-and-out in polished in situ concrete. The distinction between old and new remains clear, whilst appearing coherent as a completed whole.

Le deuxième pavillon se veut d’un caractère architectural très différent. Il réutilise un bâtiment de ferme délabré du XVIIIe siècle, comme le caractère désinvolte et la qualité artisanale de la structure de maçonnerie existante fournissaient un bon point de départ pour créer un espace pour un atelier d’artiste. La maçonnerie existante a été conservée et les ouvertures dans les murs d’origine ont été remplies à l’intérieur et à l’extérieur avec du béton poli in situ. La distinction entre l’ancien et le nouveau reste claire, tout en paraissant cohérente dans son ensemble.

A new plate-steel roof provides an elemental expression to the large studio hall inside. Balancing on the repaired structure, it overhangs the existing footprint to create covered outside spaces to work.

Un nouveau toit en tôle d’acier donne une expression structurale à la grande salle de studio à l’intérieur. En équilibre sur la structure restaurée, il surplombe l’empreinte existante pour créer des espaces de travail couverts à l’extérieur.

Its structure is balanced on four large windows which are organised to specific views and topographical levels of the surrounding farmland. The marsh landscape will eventually envelope the perimeter of the building, leaving only the steel roof emerging visible above the long grasses.

Sa structure est basée sur quatre grandes fenêtres qui sont placées de façon à donner sur des vues et des niveaux topographiques des terres agricoles environnantes précis. Le paysage marécageux finira par envelopper le périmètre du bâtiment, ne laissant visible que le toit en acier, en émergence audessus de l’herbe haute.

O espaço só é acessível a partir da casa principal, através de um túnel subterrâneo em aço galvanizado, com 3m de diâmetro e 40m de comprimento. Um cais em madeira de carvalho proporciona uma extensão a esta particular experiência. Por contraposição, o segundo pavilhão de carácter absolutamente distinto, reaproveita um antigo espaço agrícola delapidado do século XVIII, que tira partido da inconsistência e qualidade artesanal da estrutura de alvenaria existente como ponto de partida para o desenvolvimento de um estúdio para um artista. A alvenaria pré-existente e as paredes originais foram mantidas do lado interior e consolidadas através do revestimento em betão, polido, pelo lado exterior. A distinção entre a nova intervenção e as pré-existências é clara, muito embora se apresente de forma coerente e consistente, como um todo. A presença de um novo telhado, continuo em chapa de ferro, reforça a leitura do grande espaço interior existente e tira partido da estrutura pré-existente, proporcionando espaços adicionais cobertos no exterior, para trabalhar. A estrutura espacial é equilibrada através do posicionamento estratégico de quatro grandes janelas com orientações visuais particulares, adaptadas à diferente topografia natural circundante. A paisagem natural do pântano que envolve o pavilhão, deixa apenas o telhado de ferro como o grande elemento visível, que emerge por entre a alta vegetação.

CARMODY GROARKE TWO PAVILIONS

075

PAVILION 02

PAVILION 01

SITE PLAN

PAVILION 01

SECTION B

CARMODY GROARKE TWO PAVILIONS

079

PAVILION 01

SOUTH ELEVATION

CARMODY GROARKE TWO PAVILIONS

PAVILION 01 01. Corten plate steps 02. 8mm Corten plate stringer 03. Concrete blockwork 04. Concrete cast to fall 05. Concrete infill to existing brickwork 06. Fixed corten clad wall 07. Corten T-section 08. Solid corten plate 09. Removeable corten sheet for slot drain 10. Corten cladding on fixed wall to oversail concrete floor 11. Gutter

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TWO PAVILIONS

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CARMODY GROARKE

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TWO PAVILIONS

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PAVILION 02 01. Timber floor finish 02. Solid timber lipping 03. Batt Insulation 04. Internal floor screed 05. Bedding screed

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CARMODY GROARKE

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PAVILION 02 01. Concrete collar connection 02. External waterproofing 03. Fixing to match tunnel bolts; equal spacing 04. Batten insulation 05. Cementitous flexible waterproofing 06. Rigid insulation 07. Removable wall panel for access maintenance

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TWO PAVILIONS

089

2017 091

MEMBERS’ ROOM V&A, London

The new Members’ Room converts a top-floor, top-lit gallery space in Aston Webb’s Grade I Listed 1909 wing of the Victoria & Albert Museum. Through a rich accumulation of details and design references – of tradition and invention – the intention has been to create a subtle but atmospheric backdrop to the Members’ Room, one where visitors feel welcome, comfortable and inspired. The atmosphere of the majestic gallery is preserved as an open-plan, daylight-filled room. The new architectural interventions accentuate the qualities of the original building, as well as providing visitor comfort with bespoke-designed furniture which creates smaller rooms within the whole. The original floor level of the gallery has been elevated to enable visitors to take in views from the existing windows to the Sackler Courtyard overlooking the new Sainsbury Gallery. Large mirror installations amplify the energy and activity within the room. They also create new perspectives from inside-tooutside, and to other levels within the museum via a light well which connects the existing galleries. The project includes a series of unique furniture pieces and products, designed exclusively for the Members’ Room. Substantial decorative marble tables harmonise with subtly coloured, luxurious leather fixed seating to form a spatial counterpoint to the more lightweight, loose furniture and create a mixture of formal and informal areas within the overall room. Original gallery light fittings have been re-interpreted in the design of a new fluted glass luminaries hanging in softly-glowing clusters overhead. The centrepiece of the room is a huge, monolithic terrazzo bar, whose material is a contemporary interpretation of the white marble entrance staircase and whose sculptural, sectional form is intended to rhyme with the mouldings of the ceiling above.

La nouvelle Salle des Membres convertit un espace de galerie illuminé par des verrières au dernier étage de l’aile d’Aston Webb de 1909 – classée Grade I – du Victoria & Albert Museum. Grâce à une riche accumulation de détails et de références de design – de tradition et d’invention – l’intention a été de créer une toile de fond subtile mais atmosphérique pour la Salle des Membres, où les visiteurs se sentent les bienvenus, à l’aise et inspirés.

A nova sala de membros do Victoria & Albert Museum, ocupa o último piso do edifício, um espaço em galeria fortemente iluminado na ala de Aston Webb’s Grade I. Através de uma forte presença de detalhes e referências - de tradição e contemporaneidade - a intenção foi desenvolver e conferir uma atmosfera subtil ao espaço, que permita os seus usuários e visitantes uma sensação de inspiração, conforto e bem-estar.

L’atmosphère de la majestueuse galerie est préservée dans cette pièce ouverte et baignée de lumière du jour. Les nouvelles interventions architecturales accentuent les qualités du bâtiment d’origine et améliorent le confort des visiteurs avec un mobilier conçu sur mesure qui crée un effet de pièces plus petites dans un ensemble plus grand. Le niveau de la galerie a été surélevé pour permettre aux visiteurs d’admirer la vue depuis les fenêtres existantes sur la cour Sackler, qui donne sur la nouvelle galerie Sainsbury. Les grandes installations de miroirs amplifient l’énergie et l’activité dans la salle. Elles créent également de nouvelles perspectives de l’intérieur vers l’extérieur et vers d’autres niveaux du musée via un puits de lumière qui relie les galeries existantes.

A atmosfera majestosa da galeria é mantida e o espaço usado como uma grande sala aberta, profunda e intensamente iluminada naturalmente. As novas intervenções tiram partido e acentuam as qualidades naturais do edifício original, e proporcionam um especial conforto aos visitantes através do uso de móveis desenhados sob medida que criam múltiplos nichos, pequenos espaços de estar na grande sala. O piso original da galeria foi elevado para permitir que os visitantes tirem partido das vistas das janelas existentes sobre o Sackler e a nova Sainsbury Gallery. A instalação de grandes espelhos reforça e amplia a energia e a atividade dentro da sala e simultaneamente permite criar novas perspectivas de dentro para fora e entre os diferentes níveis do Museu por meio de um poço de luz, que estabelece uma ligação entre as galerias existentes.

Le projet comprend une série de meubles et de produits uniques, conçus exclusivement pour la Salle des Membres. De grandes tables en marbre décoratives sont en harmonie avec les bancs fixes recouverts d’un luxueux cuir subtilement coloré, pour former un contrepoint spatial aux meubles détachés plus légers et pour créer un mélange de zones formelles et informelles à l’intérieur de la salle. Les luminaires d’origine de la galerie ont été réinterprétés dans le design de nouveaux luminaires en verre cannelé, organisés en groupes qui forment des suspensions dégageant une lumière douce. La pièce centrale de la salle est un immense et monolithique bar en terrazzo, dont le matériau est une interprétation contemporaine de l’escalier d’entrée en marbre blanc et dont la forme sculpturale et modulaire vise à rimer avec les moulures du plafond.

Uma série de peças de mobiliário e produtos foram desenhados pelo escritório, Carmody Groarke, exclusivamente para a sala de membros do Museu. Mesas em mármore e bancos fixos em pele natural estabelecem um contraponto espacial aos móveis mais leves e soltos desenhados que complementam o espaço, e criam uma mistura de áreas formais e informais na sala de forma consistente e equilibrada. A iluminação original da galeria foi reinterpretada através do desenho e inserção de uma nova iluminaria de vidro canelado, estrategicamente pendurada de forma agrupada conferindo um brilho e uma luz suavemente difusa. A peça central da Sala é um grande e monolítico bar terrazzo, cujo material surge como consequente interpretação contemporânea da escadaria em mármore branco e cuja forma escultural e de secção, estabelece uma relação directa com as molduras do tecto.

CARMODY GROARKE

CARMODY GROARKE V&A MEMBERS ROOM

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INTERIOR PLAN

SECTION A

CARMODY GROARKE

01. Polished silver down rod 02. Inset machined polished aluminium top 03. Flame polished glass rim 04. Silicon O-ring washer 05. 100mm diameter glass tube 06. Frosted diffuser 07. LED light source 2200-2700 K 08. Machined polished aluminium base 09. Internal aluminium LED heat sink

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V&A MEMBERS ROOM

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CARMODY GROARKE V&A MEMBERS ROOM

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01. Stainless steel trim 02. LED housing 03. Carabiner clip 04. STD MDF fixing block 05. 6mm mirror 06. Hardwood wedge block to match angle 07. 18mm ply substrate 08. Adjustable stainless steel finish wire to allow angle to be set 09. Wall packer 10. Wall bracket with fixed bolt to act as pin 11. Nut on bolt to allow leveling 12. Mirror bracket with oval opening to accept bolt / pin 13. Steel wall bracket with brace. Fixed bolt through to act as seating pin

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2017 101

LAMBETH HOUSE AND STUDIO Lambeth, London

A mixed use residential and office development is landlocked on all sides by Victorian housing, with only two existing entrances for access. Its previous use was industrial and the project proposes rebuilding a large area of office space across the entire ground floor of the site with a single storey ‘pavilion’ residence at first floor. The project retains the vestiges of the Victorian warehouse walls at the boundary of the site, to give character to the new ground floor offices. Above, the architecture of the ‘pavilion’ is broken down into a cluster of small buildings, brick externally and exposed concrete inside – each designed according to the sensitivities of the neighbouring Victorian houses. The residence nestles within a landscape roof garden to give a visual amenity to the neighbours and character to the new house.

Un développement à usage mixte résidentiel et de bureaux est entouré de tous les côtés par des logements victoriens, n’ayant que deux entrées existantes comme accès. Son utilisation précédente était industrielle et le projet propose de reconstruire une grande surface de bureaux sur tout le rez-de-chaussée du site avec une résidence de style ‘pavillon’ sur un niveau au premier étage. Le projet conserve les vestiges des murs de l’entrepôt victorien qui délimitent l’emplacement pour donner du caractère aux nouveaux bureaux du rez-de-chaussée. Au-dessus, l’architecture du ‘pavillon’ est décomposée en un groupe de petits bâtiments – en brique à l’extérieur et en béton brut à l’intérieur – chacun d’entre eux étant conçu en fonction des caractéristiques des maisons victoriennes voisines. La résidence est placée dans un jardin sur le toit, pour donner une amélioration visuelle aux voisins ainsi que du caractère à la nouvelle maison.

Uma área de uso misto, residencial e de escritórios, é circunscrita por casas vitorianas em todos os seus lados, possuindo apenas duas entradas de acesso. A ocupação do espaço pré existente era de uso industrial e o projecto propõe a reconstrução de uma grande área de escritórios no piso térreo, e um espaço residencial de um piso no primeiro andar do “pavilhão” No piso inferior, o projecto mantém os vestígios das paredes pré-existentes do armazém vitoriano nos limites do local, para reforçar o carácter dos novos escritórios. No piso superior, a arquitectura do “pavilhão” divide-se num conjunto de pequenos espaços, tijolo nas paredes exteriores e betão a vista nas paredes interiores - cada um pensado segundo o carácter das casas vitorianas vizinhas. O espaço de habitação no piso superior, tira partido do jardim inserido na cobertura, que proporciona uma amenidade visual aos vizinhos e simultaneamente personalidade à nova casa.

CARMODY GROARKE

LAMBETH HOUSE AND STUDIO

103

CARMODY GROARKE LAMBETH HOUSE AND STUDIO

01. Bitumen Membrane Warm Deck Roof Covering 02. Warm Deck Insulation 03. Fair Faced Concrete Slab 04. Fair Faced Concrete Bath 05. Power Floated Concrete 06. Floating Construction - Insulation 07. Tiling to Pool Walls and Floor 08. Waterproof Concrete 09. Tanking Membrane 10. Underslab Insulation 11. Binding 12. Existing Made Ground 13. Perimeter Trim Coping 14. Clay Facing Brick Work 15. Recessed Lighting Detail 16. Partial Fill Cavity Insulation 17. Cavity Wall Ties 18. Cavity Tray 19. Cover Flashings 20. Existing Masonry Wall 21. Rooflight 22. Insulation 23. Gravel 24. Inverted Roof Insulation 25. Insulation to Basement Walls 26. Expanded Polystyrene Void Former

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HOUSE AND STUDIO LAMBETH

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2019 109

WINDERMERE JETTY MUSEUM Lake District, England

The new museum rehouses an internationally significant historic boat collection on the shores of Windermere in the Lake District National Park. The building includes exhibition spaces for the display of steam launches, motorboats, yachts and other vessels, telling the stories of their construction and use on the lake. A wet dock allows the display of boats on water within the museum, and the site’s boatyard re-purposes a historic gravel-extraction plant, continuing the working life of the place, with an active conservation programme of the boats. Emphasis is placed on a visitor experience amongst buildings in a park landscape that creates a strong connection between people, boats and water, as well as providing a reinterpretation of the site’s industrial and picturesque heritage. The language of the architecture deliberately breaks down the scale of a very large museum into a cluster of pitched roof forms arranged around the wet dock and all aligned spatially to the lakeshore. Extended canopies distinguish the function of each building as part of the overall museum ensemble and extend the inside spaces of the building with all-weather shelter into the landscape. Oxidised copper cladding covers all external surfaces and consolidates the appearance of a collection of buildings working together as a single museum. The cladding will gradually weather over time and blend the appearance of the structures into the natural environment.

Le nouveau musée abrite une collection de bateaux historiques d’importance internationale sur les rives de Windermere, dans le parc national du Lake District. Le bâtiment comprend des espaces permettant l’exposition de bateaux à vapeur, de bateaux à moteur, de yachts et d’autres navires, racontant les histoires de leur fabrication et de leur utilisation sur le lac. Un bassin à flot permet d’exposer des bateaux sur l’eau à l’intérieur du musée et le chantier naval du site reconvertit une usine historique d’extraction de gravier, maintenant ainsi le fonctionnement du lieu avec un programme dynamique de conservation des bateaux. L’accent est mis sur l’expérience en tant que visiteur de se trouver parmi des bâtiments dans un paysage de parc qui crée un lien fort entre les gens, les bateaux et l’eau, ainsi que sur une réinterprétation du patrimoine industriel et pittoresque du site.

O novo museu, inserido nas margens de Windermere, no Parque Nacional de Lake District, acolhe uma colecção de barcos de importância significativa e de carácter internacional. O edifício inclui espaços expositivos para exposição de lanchas a vapor, lanchas, iates e outras embarcações, que contam histórias da sua construção e tiram partido do uso do lago. Uma doca molhada permite a exposição de barcos na água e o estaleiro local irá requalificar uma planta histórica de extracção de cascalho, dando continuidade à vida útil do local com um programa e papel activo de conservação dos barcos. A ênfase é colocada na experiência do visitante, entre edifícios inseridos na paisagem natural do parque, que proporcionam uma forte ligação entre pessoas, barcos e água, para além de fornecer uma reinterpretação do património industrial e pitoresco local.

Le langage de l’architecture décompose intentionnellement l’échelle d’un très grand musée en un groupe de volumes de toits en pente arrangés autour du bassin à flot et tous alignés spatialement à la rive du lac. Des auvents étendus différencient la fonction de chaque bâtiment au sein du musée et prolongent les espaces intérieurs du bâtiment en leur donnant un abri pour tout type de météo au sein du paysage.

A linguagem da arquitectura decompõe propositadamente a escala de um museu de grandes dimensões num conjunto de espaços de telhado inclinado, dispostos estrategicamente ao longo do cais húmido, alinhados espacialmente nas margens do lago. Os longos dosséis distinguem a função de cada edifício como parte do conjunto geral do museu e permitem estender o espaço interior dos edifícios de forma abrigada e protegida de todas as possíveis condições climatéricas.

Le revêtement en cuivre oxydé recouvre toutes les surfaces extérieures et accentue l’apparence d’un regroupement de bâtiments qui, ensemble, fonctionnent comme un seul musée. Le revêtement vieillira progressivement au fil du temps et permettra à l’apparence des structures de se fondre dans l’environnement naturel.

O revestimento de cobre oxidado em todas as superfícies externas, consolida o aspecto visual e formal dos edifícios conferindo-lhes um carácter de conjunto. As alterações gradativas que o cobre ira sofrer ao longo do tempo, reforçará a integração do museu com o ambiente natural. Este projecto foi o resultado premiado de um concurso internacional aberto, organizado pelo Royal Institute of British Architects.

CARMODY GROARKE

WINDERMERE JETTY MUSEUM

111

CARMODY GROARKE

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01. Copper standing seam roof sheeting 02. Plywood/rigid insulation roof deck 03. Structural steel roof deck 04. Zone for recessed lighting 05. Exhibition strong point 06. External roof void 07. Rigid insulation 08. Thermally broken insulation steel gutter 09. External expanded metal copper soffit panels 10. Profiled copper sheets 11. Bracketry 12. Rigid insulation 13. Structural framing system 14. Fibre board with paint finish

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2019 121

HILL HOUSE BOX Helensburgh, Scotland

The Hill House is one of Charles Rennie Mackintosh’s most significant works and a seminal part of early 20th century European architecture. Although the architecture was embedded in the tradition of Scottish Baronial, Mackintosh was also influenced by the contemporary technological advances of Modernism happening elsewhere in Europe. This unusual hybridisation of tradition and invention in the construction of the building has led to some fundamental long-term problems of prolonged water damage that require a major conservation project to help the house survive. Rather than incarcerate the house away from view whilst the 15 year restoration is undertaken, a more radical approach to active conservation has been taken. The project places a ‘big-box’ temporary museum on the site to contain and protect the Hill House as an ‘artefact’, whilst also maintaining access to the house for visitors. The new museum’s architectural identity is an abstracted garden pavilion whose walls are covered entirely with a stainless-steel chainmail mesh. This semi-permanent enclosure provides a basic ‘drying-room’ shelter to the original house whilst its rain-soaked existing construction is slowly repaired. This delicate enclosure also allows uninterrupted views, night-and-day, to-and-from the landscape to Mackintosh’s architectural icon. The cross-braced steel frame is designed to be grounded with minimum impact on the existing terraced garden landscape. Within this safe, sheltered construction working territory, the “museum” provides a remarkable visitor experience of the conservation in progress, achieved by an elevated walkway which loops around and over the Hill House at high level. The museum’s enclosure also contains visitor facilities in a timber standalone building.

La Hill House est l’une des œuvres les plus importantes de Charles Rennie Mackintosh et fait partie intégrante de l’architecture européenne du début du XXe siècle. Bien que l’architecture soit ancrée dans la tradition du style Scottish Baronial, Mackintosh a également été influencé par les progrès technologiques du modernisme qui se produisaient ailleurs en Europe à l’époque. Cette hybridation inhabituelle de la tradition et de l’invention dans la construction du bâtiment a conduit à des problèmes structurels à long terme de dégâts d’eau, qui nécessitaient d’un projet de conservation important pour pouvoir sauver le bâtiment.

The Hill House é uma das obras mais significativas de Charles Rennie Mackintosh e uma parte seminal da arquitectura europeia do início do século XX. Embora a arquitectura se insira na tradição Scottish Baronial, Mackintosh sofreu também uma forte influência por parte dos avanços tecnológicos contemporâneos do modernismo presente na altura, na Europa. Esta hibridação incomum de tradição e invenção na construção do edifício, desencadeou alguns problemas de fundo a longo prazo, sobretudo de danos causados pela água, que exigiram um grande projecto de conservação e recuperação que permitisse a sobrevivência da casa.

Plutôt que de cacher la maison, hors de vue, pendant sa restauration d’une durée de 15 ans, une approche plus radicale envers la restauration en cours a été adoptée. Le projet introduit le placement d’un musée temporaire en ‘grande boîte’ sur le site, contenant et protégeant la Hill House comme un ‘artefact’, tout en maintenant l’accès à la maison pour les visiteurs.

Em vez de encerrar a casa, durante o longo período, de pelo menos 15 anos de restauro, foi adoptada uma abordagem mais radical e incomum. O projecto prevê a instalação no local de uma grande caixa, ‘big-box’, enquanto museu temporário, que permita simultaneamente acolher e proteger a Hill House como um ‘artefacto’, e o continuar do acesso os visitantes.

L’identité architecturale du nouveau musée est un pavillon de jardin abstrait dont les murs sont entièrement recouverts d’une cotte de mailles en acier inoxydable. Cette enceinte semi-permanente fournit un abri simple, comme une ‘salle de séchage’ pour la maison d’origine pendant que le bâtiment existant, mouillé par la pluie, est lentement restauré. Cette enceinte délicate permet également des vues ininterrompues, de nuit et de jour, de et vers le paysage et l’emblème architectural de Mackintosh. Le cadre en acier croisé est conçu de façon à avoir un impact minimal sur le paysage du jardin en terrassess existant.

A identidade do novo museu é conferida por um pavilhão delicado e abstrato no jardim, cujas paredes são inteiramente cobertas por uma malha de aço inoxidável. Este espaço semipermanente proporciona um abrigo e “sala de secagem” à casa original enquanto a construção existente e é lentamente reparada, e permite uma vista ininterrupta, de noite e de dia, de e para a paisagem, do ícone arquitectónico de Mackintosh. A estrutura de aço cruzada usada garante um impacto mínimo na paisagem existente do jardim.

A l’intérieur de ce chantier de construction solide et à l’abri, le “musée” offre aux visiteurs une expérience remarquable du projet de conservation en cours, cette visite étant faite à partir d’une passerelle surélevée qui fait le tour et surmonte la Hill House d’un haut niveau. L’enceinte du musée contient également des installations pour les visiteurs dans un autre bâtiment, en bois.

Dentro deste território de trabalho e construção, seguro e protegido, o “museu” oferece uma experiência extraordinária ao visitante do estado de conservação em curso, através do percurso feito no passadiço superior que garante a circulação ao redor e sobre a Hill House. O recinto do museu disponibiliza ainda serviços de apoio aos visitantes num edifício autónomo construido para o efeito em madeira.

CARMODY GROARKE

EAST ELEVATION

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01. Solid hardwood balustrade 02. Weatherboarding System 03. Breather Membrane 04. Structural hardwood plywood 05. Balustrade support 06. Thermal break 07. Glu-lam perimeter beam 08. Soil vent pipe 09. Metal bracketry 10. High Bond DPC 11. Cavity Barrier 12. Aluminium Flashing 13. Masonry paint finish 14. Strucutral foundation 15. Weatherboarding System 16. Glu-lam perimeter joists 17. Kitchen extract 18. Plasterboard 19. Vapour barrier 20. High Performance DPM 21. Ventilation

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2019 133

BFI SOUTHBANK Southbank, London

The British Film Institute (BFI) Southbank was originally built beneath the arches of Waterloo Bridge in the 1950s to accommodates the UK’s largest independent cinema house and National Film Archive. Its prominent location facing the River Thames benefits from the footfall of the Southbank, however, given the building’s age, the public image entrance and general circulation spaces of the entire complex were tired, outdated and poorly equipped to welcome visitors. The project announces a new identity and entrance to BFI Southbank with a grand canopy which cantilevers east and west. Maintaining the ‘caves’ of the cinemas beneath the bridge, this new pavilion becomes a landmark visible from both banks of the river and offers a generous new entrance from all sides. It increases the hospitality spaces at pavement level as well as providing a new VIP room and terrace above. All new architectural interventions are defined inside and out through the predominant use of highly textured, cast fibreglass. As a robust material counterpoint to the aged Brutalism of Waterloo Bridge, the main canopy intervention will be backlit to announce its cultural presence amongst other civic event architecture on Southbank. The ground floor room will be fully glazed with sliding doors to blur the territories between the inside and the public space of the promenade. The new upper room fitted within the gigantic concrete rib structures beneath Waterloo Bridge will create a unique 350m-long, elevated vista across the Thames. In contrast to the exterior architecture, the interior of the new rooms will be deliberately dark and broody, heightening the atmospheric qualities of a visit to the cinema and acknowledging the arts institution’s responsibility to both subculture as well as high-culture.

Le British Film Institute (BFI) Southbank a été construit à l’origine sous les arches du pont de Waterloo dans les années 1950 pour accueillir le plus grand cinéma indépendant du Royaume-Uni, ainsi que le National Film Archive. Son emplacement de premier plan face à la Tamise bénéficie du mouvement de personnes dans la zone de la Southbank. Cependant, étant donné l’âge du bâtiment, l’entrée publique et les espaces de circulation dans l’ensemble du complexe étaient démodés et mal équipés pour pouvoir bien accueillir les visiteurs.

O Southbank do British Film Institute (BFI) - originalmente construído sob os arcos da ponte Waterloo na década de 1950 – acolhe a maior casa de cinema independente do Reino Unido e o National Film Archive. A sua localização proeminente de frente para o Rio Tamisa beneficia da pegada de Southbank, no entanto, dada a idade do edifício, a entrada da imagem pública e os espaços de circulação gerais de todo o complexo encontravam-se cansados, desactualizados e mal equipados para receber os visitantes.

Le projet comprend une nouvelle identité et une nouvelle entrée pour le BFI Southbank, avec un grand auvent qui se trouve en porte-à-faux est et ouest. Tout en conservant les ‘grottes’ des cinémas sous le pont, ce nouveau pavillon devient un repère visible des deux rives du fleuve et offre une nouvelle entrée grande de tous les côtés. Cela permet d’augmenter les espaces d’accueil au niveau de la rue, ainsi que de fournir une nouvelle salle VIP et une terrasse sur le toit.

O projecto confere uma nova identidade e entrada no BFI Southbank, através da introdução de um grande dossel voltado para leste e oeste. Mantendo as “cavernas” dos cinemas sob a ponte, este novo pavilhão constitui um marco visível a ambas as margens do rio, e oferece uma nova e generosa entrada de ambos os lados, aumentando os espaços de hospitalidade ao nível do pavimento, e acolher uma nova sala VIP e um terraço superior.

Toutes les nouvelles interventions architecturales sont définies à l’intérieur comme à l’extérieur par l’utilisation prédominante de fibre de verre à finition texturée. Comme fort contrepoint matériel au vieux brutalisme du pont de Waterloo, l’intervention principale de cet auvent sera rétroéclairée pour marquer sa présence culturelle parmi les autres éléments architecturaux destinés aux événements publics qui se trouvent sur la Southbank. La salle du rez-de-chaussée sera entièrement vitrée avec des portes coulissantes pour brouiller la séparation entre l’intérieur et l’espace public du quai. La nouvelle salle qui se trouve au-dessus, aménagée dans les gigantesques structures de nervures en béton du pont de Waterloo, créera une vue unique en hauteur, donnant une visibilité de 350 mètres sur la Tamise.

Todas as novas intervenções são identificadas quer pelo lado interior quer pelo lado exterior, pelo uso predominante de fibra de vidro fundida altamente texturizada. Como um contraponto material robusto ao antigo Brutalismo da Ponte de Waterloo, a principal intervenção do dossel será iluminada para anunciar a presença cultural entre outros eventos de arquitetura cívica em Southbank. A sala do piso térreo será totalmente envidraçada, equipada com portas de correr para permitir uma fusão entre o espaço interior e o espaço público do passeio. A nova sala superior instalada nas gigantescas estruturas de betão sob a ponte Waterloo permitira uma vista elevada e exclusiva de 350m ao longo do rio Tâmisa.

Contrairement à l’architecture extérieure, l’intérieur des nouvelles salles sera intentionnellement sombre et intime, renforçant les qualités atmosphériques d’une visite au cinéma et reconnaissant la responsabilité de cette institution artistique envers non seulement la subculture mais aussi la haute culture.

Em contraste com a arquitetura exterior, o interior dos novos espaços será deliberadamente escuro e sombrio, aumentando a qualidade espacial de uma visita ao cinema e reconhecendo a responsabilidade da instituição artística tanto para com a subcultura quanto para a alta cultura.

CARMODY GROARKE

BFI SOUTHBANK

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01. Hot dip galvanised steel handrail 02. Glass frames 03. Etched glass 04. Diffuser 05. Primary steelwork 06. LED pixel matrix 07. Graze lighting 08. Weep holes for drainage 09. Hot dip galvanised steel kick plate 10. Galvanised access deck 11. Deck pedestal 12. Clear zone 13. Single layer roof membrane 14. Upstand to support insulation and vapour membranes 15. Composite deck slab 16. Fabricated tees welded to cord 17. Metal suspended ceiling hangers

18. Insect control mesh 19. Zone for LED pixel matrix and bracketry 20. Suspended expanded carbon steel mesh ceiling 21. Fixed external signage 22. Secondary support for LED pixel matrix 23. Heating and security 24. Hot dipped galvanised steel handrail 25. Fixed external signage 26. Etched glass 27. Glass frames 28. Galvanised access deck 29. Single layer roof membrane 30. Composite deck slab 31. Primary steelwork 32. Insect control mesh 33. Suspended expanded carbon steel mesh ceiling

BFI SOUTHBANK

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CREDITS COVER HILL HOUSE BOX image © Johan Dehlin INDEX HAMBURG PAVILLION image © Johan Dehlin PORTRAIT image © Benjamin MCmahon

7 JULY MEMORIAL project: 2009 area: 120m2 location: Hyde Park, London team: Alex Stevens, Andy Groarke, Kevin Carmody and Lewis Kinneir images © Christian Richters and © Gautier Deblonde STUDIO EAST DINING temporary installation project: 2010 area: 800m2 location: Stratford, London team: Andy Groarke, Kevin Carmody, Lewis Kinneir, Lukas Barry and Tomohiro Fujisawa images © Christian Richters FRIEZE ART FAIR temporary installation project: 2011, 2012, 2013 area: 24,000m2 location: Regent’s Park, London team: Andy Groarke, Anna Nilsson, James Taylor, Kevin Carmody, Lukas Barry Rain Wu and Wynn Chandra images © Christian Richters THE FILLING STATION temporary installation project: 2014 area: 200m2 location: King’s Cross, London team: Andy Groarke, Anna Nilsson, James Taylor, Kevin Carmody, Lewis Kinneir and Lukas Barry images © Luke Hayes HIGHGATE HOUSE project: 2014 area: 600m2 location: Highgate, London team: Alex Stevens, Andrew House, Andy Groarke, Emily Thurlow, James Taylor, Joshua Heasman, Justine Bell, Kevin Carmody and Nick Hunter images © Hélène Binet WADDESDON MANOR PAVILION project: 2016 area: 400m2 location: Waddesdon, Buckinghamshire team: Andy Groarke, Jack Mutton, James Alder, Kevin Carmody, Lukas Barry and Neil Michels images © Johan Dehlin TWO PAVILIONS project: 2017 area: 150m2 location: East Sussex, England team: Andy Groarke, Kevin Carmody, Lukas Barry and Wynn Chandra images © Johan Dehlin MEMBERS’ ROOM project: 2017 area: 500m2 location: V&A, London team: Andrew Choptiany, Andrew House, Andy Groarke, Bradley Sumner, Felix Hof, Han Wang, James Retief, Kevin Carmody, Marcus Andren, Miriam Stierle, Neil Michels, Oliver Hay, Rowan Seaford, Sara Brandao, Sofia Sjodin, Stephanie Misseri and Wynn Chandra images © Rory Gardiner and © Carmody Groarke

LAMBETH HOUSE AND STUDIO project: 2017 area: 1,300m2 location: Lambeth, London team: Akira Yamaguchi, Ana Maria Ferreira, Andrew Choptiany, Andrew House, Andy Groarke, Emily Thurlow, Josh Heaseman, Justine Bell, Kevin Carmody, Lewis Kinneir, Neil Michels, Rae Moore, Rowan Seaford and Sara Brandão images © Gilbert McCarragher

UNDER CONSTRUTION

WINDERMERE JETTY MUSEUM project: 2019 area: 3,500m2 location: Lake District, England team: Alex Stevens, Ana Maria Ferreira, Andy Groarke, Anna Nilsson, Araminta Sainsbury, Ed Soden, Jack Mutton, James Taylor, Justine Bell, Katrin Tacke, Kevin Carmody, Lewis Kinneir, Lukas Barry, Neil Michels Nora Heinzle, Ross Tredget and Rowan Seaford, images © Christian Richters and © Johan Dehlin

BRITISH LIBRARY BOSTON SPA area: 40,000m2 location: Boston Spa, England team: Andy Groarke, Anna Russell, Bradley Sumner, Carolin Bongartz, Cecelia Vincent, Chiara Barrett, Dominika Kubicka, Ed Soden, Jack Broad, James Dalley, James Hignett, James Taylor, Jerome Wren, Joe Walker, Jonathan Anderson, Kevin Carmody, Matt Lee, Neil Michels, Peter Lee, Rory Cariss, Rowan Seaford and Sian Ricketts images © SLAB

HILL HOUSE BOX project: 2019 area: 1,700m2 location: Helensburgh, Scotland team: Andrew Choptiany, Andy Groarke, Graham Baldwin, Iman Hadzhalie, Jack Broad, Jack Mutton, Johannes Duber, Kevin Carmody, Lewis Kinneir, Marcus Andren, Neil Michels and Peter Lee images © Johan Dehlin BFI SOUTHBANK project: 2019 area: 1,000m2 location: Southbank, London team: Andy Groarke, Dan Sweeting, Hugh Ebdy, James Taylor, Kevin Carmody, Lewis Kinneir, Lukas Barry, Neil Michels, Peter Lee and Wynn Chandra images © Carmody Groarke and © Luke Hayes HAMBURG PAVILION project: 2020 area: 1,200m2 location: Hamburg, Germany team: Andy Groarke, Anna Russell, Badley Sumner, Claudia Tschunko, Jack Broad, Jacob Hoeppner, James Hignett, James Taylor, Kevin Carmody, Lukas Barry and Matt Lee images © Johan Dehlin SPECIAL EXHIBITIONS GALLERY project: 2021 area: 1,100m2 location: Manchester, England team: Ana Maria Ferreira, Andrew Choptiany, Alex Stevens, Andy Groarke, Bradley Sumner, Han Wang, James Taylor, Johannes Duber, Kevin Carmody, Neil Michels, Oliver Hay, Peter Lee, Phelan Heinsohn and Rowan Seaford images © SLAB

DESIGN MUSEUM GENT area: 4000m2 location: Ghent, Belgium team: Alex Awramenko, Andy Groarke, Angus Brown, Cecelia Vincent, Claudia Tschunko, Dominika Kubicka, Jack Broad, James Hignett, Joe Walker, Kevin Carmody, Matt Lee, Minh Le Pham, Neil Michels, Rory Cariss, Sian Ricketts and Wynn Chandra images © Filippo Bolognese

HAMBURG DOCK 10 project: 2020 area: 10,750m2 location: Hamburg, Germany team: Andy Groarke, Anna Russell, Bradley Sumner, Carolin Bongartz, James Dalley, Joe Walker, Kevin Carmody Lukaz Barry and Peter Lee images © Carmody Groarke STEINDAMM ENSEMBLE area: 34,000m2 location: Hamburg, Germany team: Andy Groarke, Anna Russell, Carolin Bongartz, Hannes Siefert, Jacob Hoeppner, Jason Good, Josh Heasman, Kevin Carmody, Minh Le Pham, Rory Cariss and Sabrah Islam images © Carmody Groarke POWER HALL area: 2,500m2 location: Manchester, England team: Ana Maria Ferreira, Andy Groarke, Carolin Bongartz, Cecelia Vincent, Kevin Carmody, Rory Cariss and Rowan Seaford images © SLAB

ALL PAST AND PRESENT STUDIO MEMBERS : Alex Awramenko, Alex Pringle, Alex Stevens, Amanda Hart, Amy Rowntree, Ana Maria Ferreira, Andrew Choptiany, Andrew House, Anna Russell, Annecy Attlee, Andy Groarke, Bradley Sumner, Carolin Bongartz, Cecelia Vincent, Charlotte Sorensen, Chiara Barrett, Chris Raven, Ciara McCurtin, Cicely Stanford, Claudia Tschunko, Corinne Timmins, David Murphy, Dominika Kubica, Duncan Cole, Ed Soden, Emily Thurlow, Emma Wright, Esther Giangrande, Filipa Botelho, Gabriella Gullberg, Graham Baldwin, Hannes Siefert, Hugh Ebdy, Iman Hadzhalie, Jack Broad, Jack Mutton, Jacob Hoeppner, Jade Yianni, James Dalley, James Hignett, James Retief, James Taylor, Jamie Hignett, Jason Good, Jenny Barcelos, Jerome Wren, Joe Walker, Jonas Altorfer, Jonathan Anderson, Joshua Heasman, Julia Cabanas, Lewis Kinneir, Lukas Barry, Kevin Carmody, Marcus Andren, Mary Bravard, Matt Lee, Minh Le Pham, Moana Ghiandoni, Monica Lal, Nadia Hamani, Naomi Howell-Sivosh, Neil Michels, Paul Bisbrown, Peter Lee, Phelan Heinsohn, Rebecca Ploj, Rory Cariss, Ross Tredget, Rowan Seaford, Ryan Hart, Sabrah Islam, Sara Brandao, Sian Ricketts, Simon Jenkins, Sofia Sjodin, Stephanie Misseri, Tamsin Lewis, Tristan Zelic, Wynn Chandra

CARMODY GROARKE Kevin Carmody was born in Canberra (Australia) in 1974. He studied architecture at Canberra University (Australia) and then completed his studies at Royal Melbourne Institute of Technology (RMIT, Australia) 189 in 1998. Following graduation, he moved to London (UK) in 1999, and worked for David Chipperfield Architects from 2000 – 2005 prior to establishing Carmody Groarke in London with Andy Groarke in 2006. He has lectured about the work of the practice internationally and taught at several schools of architecture including The Bartlett School of Architecture (University College London), The Royal College of Art , The University of Stuttgart, Cornell University (Ithaca) and Yale School of Architecture where he was William Henry Bishop Visiting Professor. Andrew Groarke was born in Manchester (UK) in 1971. He studied architecture at the University of Sheffield between 1990 and 1995 gaining professional qualification in 1996. He worked for Stephenson Somerville Bell in Manchester, Hawkins Brown, David Chipperfield Architects and Haworth Tompkins in London prior to establishing Carmody Groarke in London with Kevin Carmody in 2006. He has lectured about the work of the practice internationally and taught at several schools of architecture including The Bartlett School of Architecture (University College London), The Royal College of Art, The University of Stuttgart, Cornell University (Ithaca) and Yale School of Architecture where he was William Henry Bishop Visiting Professor. He has been a Visiting Professor at the University of Sheffield since 2012. Studio Profile Carmody Groarke was established in 2006 in London and has since received several prestigious national and international distinctions. In 2007, Carmody Groarke was distinguished with the Building Design Young Architect of the Year (YAYA). In 2010 they were recipients of the Architectural Record’s Design Vanguard and the Architectural Review’s (global) Emerging Architecture Award Thereafter, they have won several RIBA National and Regional Awards for completed projects. In 2018 the studio was awarded the Building Design Architect of the Year (AYA) Gold Award and in 2019 the National Panel Special Award by the Civic Trust and The Architects’ Journal’s Design of the Year and Cultural Building of the Year for Windermere Jetty Museum. In 2020 their Hamburg Pavilion won the BDA Hamburg Building of the Year and in 2021 they were finalists for the prestigious Swiss Architecture Award.

Kevin Carmody

Andy Groarke