FutureArc November 2018

NOVEMBER 2018

Canary Wharf An ambitious landscaping scheme

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Regeneration Major development in Eastbourne

The Interview Andrew Cottage Liz Lake Associates

Lighting A residential building is rejuvenated

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WELCOME

WELCOME Welcome to the November issue of FutureArc. This month we focus on major developments in the seaside town of Eastbourne, where the main shopping complex is being regenerated and further work is ongoing to make the Devonshire Quarter a new cultural and conference destination.

We also interview the president of the Hong Kong Landscape Institute, as the organisation celebrates its 30th anniversary.

Also featured is a residential development in London’s Canary Wharf which is designed to support biodiversity and create a link between people and water.

This month’s Materials focus is on Portland Stone, so Albion Stone talk us through the main features and benefits of the material. Coincidentally, one of our Portfolio projects – the striking Wilkins Terrace development in London – features Portland Stone.

Other Portfolios include the stylish extension to a cookery school in Hampshire and further afield, we look at a luxury development in Saigon, Vietnam. Special features on lighting, paving and fencing round off this issue.

Here at FutureArc, we look forward to hearing all your news and if you have any interesting projects, please get in touch.

Enjoy the read…

Gill Langham Features editor gill.langham@eljays44.com

www.futurearc.co.uk

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WELCOME

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40 21

CONTENTS

NEWS

FEATURES

PORTFOLIOs

MATERIALS

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12

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PORTLAND STONE

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FENCINg products

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PAVING

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LIGHTINg

NEWS A round up of the latest industry news from around the UK

10 INTERNATIONAL NEWS

INTERVIEW Andrew Cottage, Liz Lake Associates

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What’s going on further afield in the world of landscape architecture

london’s unexpected oasis REGENERATION Major developments in Eastbourne town centre

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iris hoi Interview with the president of the Hong Kong Institute of Landscape Architects

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The new courtyard terrace at University College London

by Levitt Bernstein

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the Kitchen Chewton Glen Hotel’s cookery school in Hampshire

by Terence O’Rourke

An ambitious landscaping scheme in Canary Wharf

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WILKINS TERRACE

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INDOCHINA VILLAS Landscape design company ONE Landscape on their luxury residential villa complex in Saigon, Vietnam

Focus on this strong and significant material mined in Dorset by Albion Stone

Three specialists showcase recent projects

CED Stone Group looks at how paving is used in urban design

A striking project by Nulty Lighting Design Consultants

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WELCOME

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12 EDITORIAL Features Editor – Gill Langham gill.langham@eljays44.com Managing Editor – Joe Wilkinson joe.wilkinson@eljays44.com PRODUCTION Subeditor – Kia Wilson kia.wilson@eljays44.com Design: Kara Thomas

SALES Business Development Manager – Jamie Wilkinson jamie.wilkinson@eljays44.com Sales Manager – Jessica McCabe jessica.mccabe@eljays44.com Sales Executive – Ellie Yapicioz ellie.yapicioz@eljays44.com MANAGEMENT Managing Director – Jim Wilkinson jim.wilkinson@eljays44.com

Eljays44 Ltd

3 Churchill Court, 112 The Street, Rustington, West Sussex BN16 2DA Tel: 01903 777 570 Published by ©Eljays44 Ltd – Connecting Horticulture Printed by Pensord Press Ltd, Gwent, UK The 2018 subscription price for FutureArch is £125.

Subscription records are maintained at Eljays44 Ltd, 3 Churchill Court, 112 The Street, Rustington, West Sussex BN16 3DA, UK. Articles and information contained in this publication are the copyright of Eljays44 Ltd and may not be reproduced in any form without the written permission of the publishers. The publishers cannot accept responsibility for loss of, or damage to, uncommissioned photographs or manuscripts.

Whilst every effort has been made to maintain the integrity of our advertisers, we accept no responsibility for any problem, complaints, or subsequent litigation arising from readers’ responses to advertisements in the magazine.

We also wish to emphasise that views expressed by editorial contributors are not necessarily those of the publishers. Reproduction of any part of this magazine is strictly forbidden.

Cover image ©Ben Blossom

Editorial Director – Lisa Wilkinson lisa.wilkinson@eljays44.com

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NEWS P6 News P10 International News

NEWS HS2’s vision for Curzon Street Station features urban realm design by Grant Associates Plans have been unveiled by HS2 for a new station at Curzon Street, Birmingham, with a design by WSP, Grimshaw, Glenn Howells Architects with landscape architecture by Grant Associates. Due to open in 2026, the new station will offer seven high speed platforms, along with significant new public spaces around the new station.

The station will be fully integrated into an extended tram network, as well as offering pedestrian, cycle, taxi, bus and conventional rail connections to the rest of the city and the wider West Midlands.

HS2 has a set of key design ambitions based around People, Time and Place which was the starting point for the design of the urban realm at Curzon Street and will include four key areas: • Station Square is the most significant new public space, located in front of the station it gives a sense of arrival into Birmingham. Visible to rail passengers arriving at the city, it provides a large welcoming area to people and easy links into the city centre and Digbeth.

• Curzon Promenade provides views of Old Curzon Street Station and complements the setting of Eastside City Park. It provides an active and interesting

space with links to other travel amenities.

• Curzon Square reflects the historic setting and buildings and links well to Digbeth, offering space for outdoor public events.

• Curzon Street provides a flexible lawn space, an extension of Eastside City Park and links into wider plans for future development of the area.

Each of these public spaces will incorporate cycle lanes and cycle parks as well as clear pedestrian routes, trees, planting and gardens.

They form a part of HS2’s wider aim of delivering a ‘green corridor’ across the whole route, creating new ecological habitats, community and amenity spaces to help integrate the new line and stations into the surrounding landscape and environment.

Keith French, director at Grant Associates, says: “We want to enable everyone to enjoy the experience of Curzon Street, making the most of its city views while encouraging wildlife and biodiversity into this most urban of environments by creating space for nature.” www.grant-associates.uk.com

Gillespies appointed to undertake Landscape and Visual Sensitivity Study

Shropshire Council has appointed landscape planners Gillespies to prepare landscape and visual sensitivity studies.

These will inform the selection of suitable sites for allocation in the Local Plan Review and provide a sound basis for the determination of planning applications.

The studies will assess how land around the 60 settlements identified in the Local Plan Review is appropriate for development. They will also look at any potential strategic sites that may be affected by this. The studies will help to ensure that such development aims are at the most appropriate locations.

In addition, they will identify mitigation measures as necessary.

Joy Tetsill, senior planning officer from Shropshire Council, comments: “The results will form an integral part of the site selection process for housing and employment land.

“It will also provide a good foundation for assessing the impact of future development proposals on landscape character and visual amenity around many of Shropshire’s settlements.” www.gillespies.co.uk

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NEWS

Civic Engineers appointed to help re-shape Catford town centre A major initiative to redesign Catford town centre has been launched by Lewisham Council.

The council have commissioned Civic Engineers alongside Studio Egret West with Carl Turner Architects and Greengage to carry out the project.

One of the project’s main aims will be to transform the South Circular road as well as the interchange of Catford and Catford Bridge stations to release higher quality public realm and a more welcoming town centre environment.

Redevelopment proposals for numerous sites including Laurence House, the Old Town Hall, the Catford Shopping Centre and Milford Towers, will be explored to provide new town centre leisure, culture, retail and community uses as well as workspace and homes. Catford was identified in the Mayor’s London plan as an

opportunity and intensification area which means it has scope for growth, regeneration and renewal.

Studio Egret West founding director, David West says: “The opportunity area spans 11ha, and with its multitude of infrastructural, ecological and cultural layers, represents a significant challenge and an exceptional opportunity to revive a special place”.

Carl Turner adds: “This will be a placemaking story that is written as it goes along, building on the talents and aspirations of local people”.

London director of Civic Engineers, Gareth Atkinson adds, “This project is an incredible opportunity to reimagine Catford

and create a masterplan that brings together buildings, roads and spaces with a view to improving the town for all those who live, work and visit it.

“From an engineering perspective, there are a number of challenges, a key one being the fact that two key transport routes run straight through the town centre. Our considerable experience delivering projects like this, means we understand the importance of bringing together the structural, civil and transport elements to deliver public realm improvements that result in real, demonstrable economic, social and environmental benefits.”

Consultation is underway, and the first draft of the masterplan is being developed which will be a blueprint to guide development of Catford over the next 10–15 years. www.egretwest.com www.civicengineers.com

Creative Studio launched within Planit-IE Planit-IE has joined forces with a collective of designers, makers and urbanists to form a studio with the aim of bringing about authentic change across our towns and cities. Formerly known as OH OK LTD, Joe Hartley, Jess Higham and Ben Young have joined Altrincham-based design practice Planit-IE to establish a parallel, integrated ‘studio within a studio’, operating in the overlap between design, fabrication, performance and architecture.

Standard Practice will take a DIY approach to the built environment, making sure that the human component of public spaces is not overlooked.

Ben Young, creative principal, says: “Joe, Jess and I have been

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working alongside Planit-IE since our founding. We share common values, goals and a love of honest community engagement. What we do should be standard practice for anyone working within new and changing communities.

When a new place is designed, beautiful CGIs are populated with communities of people that simply don’t exist yet; too often there is no clear plan to ensure that the drawings develop into the thriving and well performing communities that they depict.”

Lindsay Humblet, design director of Planit-IE comments: “At Planit-IE we strive to conceive, design and deliver intelligent, people-centred environments.

The team is expert in ensuring

that these places are activated and adopted by their communities and remain exciting, collaborative and critically engaging beyond completion dates.”

Standard Practice will consult on public spaces, throw neighbourhood parties and operate urban fabrication facilities.

Their current projects include a 12-month creative residency in Old Bank, a screen-printing workshop reimagined as the third Everest Basecamp, and a nomadic cycle café and pottery. www.standardpractice.studio

Planit-IE appoint new associate directors

Planit-IE has announced the appointment of Georgina Baines, Jamie Newborn and Kevin Redhead as new associate directors; taking an active role in the practice’s future growth and strategic direction.

Baines and Redhead’s promotions reflect their long-term contribution to the business over a combined period of almost 40 years.

Having been integral to the development of the business, they provide invaluable support as the company embarks on its transition to become an employee-owned practice/company.

Georgina will continue to work with the directors to move forward the Liverpool studio and also explore the setting up of a Charitable Trust, linked with Planit-IE’s projects.

Kevin will take up a more active role across the Greater Manchester region to grow the company’s wider contribution to Social Value across its projects; building on his experience from the ‘Our Town Hall’ project.

Jamie Newborn joins PlanitIE’s London studio to work alongside director, James King. His appointment as associate director recognises his extensive experience in both the UK and overseas, and his role to push forward the growth and reach of the London studio. www.planit-ie.com

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NEWS

INTERNATIONAL

NEWS

Anders Berensson Architects propose ‘wooden skyscraper city’ for Stockholm Plans for a conceptual housing development on Stockholm’s waterfront containing 31 crosslaminated timber towers have been unveiled by Anders

Berensson Architects. Designed to be environmentally friendly, the architects describe the proposed new district as a “wooden skyscraper city” bringing 5,000 new homes to the central docklands area of Masthamnen.

“Wood is the building material that releases the least carbon dioxide in today’s construction industry and is therefore the obvious choice to build a new Swedish city area in,” they explain.

Constructed from crosslaminated timber (CLT), the 31 towers would rise above the development as self-contained city blocks containing 3,000 homes and 30 restaurants. At street level the development would comprise 19 blocks of between six and 10 floors, with more homes as well as 60,000 square metres of office space and 90 shops and restaurants.

Anders Berensson Architects’ proposal covers the roofs of all the lower blocks with public parks and connects them with bridges, with the aim of creating a new area for residents to stroll through.

A pedestrian and cycle bridge would connect the development from the east, and an existing ferry terminal would be kept in place, with some adjustments. www.andersberenssonarchitects. com

Grant Associates part of design team for Australia’s tallest building Landscape architect Grant Associates was part of the winning team led by UN Studio and Cox Architecture to design Southbank by Beulah, a £1.1bn (Aus$2bn) mixed use development in Melbourne, Australia. Known as Green Spine, the scheme involves constructing two twisting ‘green’ skyscrapers with the highest standing at 356.2m, making it Australia’s tallest building.

The skyscraper will be topped by a publicly accessible garden space, while extended planted terraces will characterise the facing facades of the two towers as they twist towards each other.

Dutch architecture practice UN Studio teamed up with Australian company Cox Architecture, along with British company Grant Associates, environmental design

consultant Atelier 10 and engineer Arup, to win an international design competition to create the landmark development for Beulah International. The taller of the two towers will be residential, with the mixed-use tower opposite accommodating office use, a hotel, restaurants and bars.

The scheme’s design concept centres on the planted facades and outdoor spaces that connect with the public realm and stretches from the street to the top of both towers.A podium connecting the two buildings will contain a school, daycare centre, library, cinema, auditorium and a BMW experience centre.

This podium will be topped by a terraced landscape space for public amenity use. www.grant-associates.uk.com

Award for development and preservation of Dutch landscape

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owned by Utrechts Landschap.

Presenting the award, jury chairman Willem Ferwerda (Commonland) said: “Adriaan Geuze’s fascination for landscape, and certainly also for the Dutch landscape, is a source of inspiration for many. “

The aim of the Klinkenbergh Award is to propagate the ideas of the Dutch Provincial Landscapes and their trusts for landscape management.

The annual Landscape Symposium was dedicated to the topic ‘The landscape of tomorrow’. *Adriaan also received ©Carel van Hees

Adriaan Geuze, from urban design and landscape architecture company West 8, has received the Klinkenbergh Award from LandschappenNL for his vision and role in the development and preservation of the Dutch landscape.

The award was presented at the annual Landscape Symposium at the Soesterberg airbase,

this year’s ARC18 Oeuvre Award for his significant work in the field of architecture, urban design and landscape and the significance of his work for the coming years.

The Oeuvre Award is hosted by the Dutch professional architecture magazine “De Architect” and the official award ceremony takes place on 22 November. www.west8.com

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FEATURES P12 Interview Andrew Cottage, Liz Lake Associates

P16 Canary Wharf An ambitious residential landscaping scheme, linking people and water

P21 Regeneration in Eastbourne Major developments in the seaside town centre

P26 Iris Hoi Interview with the president of the Hong Kong Institute of Landscape Architects

INTERVIEW

ANDREW COTTAGE LIZ LAKE ASSOCIATES

senior associate and landscape architect andrew cottage talks about his diverse career and how Liz Lake Associates is making its mark in the midlands Could you tell me a little about the background of the company?

The company was founded by Liz Lake in 1985. Liz is a fellow of the Landscape Institute and very active in the industry. She plays a key role within one of our sites and is passionate about the development of young professionals coming into the industry.

In 2014 the company was bought out by Mark Flatman and Sean Vessey – both directors of the company. We divide our work into two broad headings: landscape planning and landscape design.

Sean heads up the design arm and Mark heads up landscape planning but there is, of course, a fair amount of overlap.

The first office was in Stansted and a second office opened in Bristol, led by Samantha Leathers, one of our senior associates, with a focus on the West Country. A couple of years ago we ventured further north and set up the Nottingham office.

Could you explain your role within the company?

I was taken on in May 2016 to establish a presence in the Midlands area. My role was to develop the client base, bring in the project work and establish a

good network of other people we could work with. By Christmas 2016, we took on our second employee, John Gudalajtys, as the workload had increased to a level to justify that. The workload continued to increase so we were able to take on Oliver Chapman, our third team member. He brought a lot of knowledge and expertise with him and that’s been important because

“WE FELT THAT NOTTINGHAM WAS THE BEST PLACE FOR US TO BE AND THERE IS A SHORTFALL OF LANDSCAPE ARCHITECTS HERE” we’ve been securing some design work which fits in with his expertise. He is working on public realm schemes, some of which are local. He’s working on the redevelopment of a brown field site in Beeston, a suburb of Nottingham.

How have things gone since the Nottingham office opened?

With a notable shortfall of landscape architects but a concentration of like-minded professionals, Nottingham is a good base for us. There are opportunities for collabortion and a number of significant development opportunities within Nottingham itself, including various large brownfield sites which are ripe for development.

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FEATURES

Are there any projects underway in Nottingham that you are particularly proud of?

Trent Basin has been an important anchor for us. It involves the regeneration of a large area of industrial riverside just on the outskirts of Nottingham. This will provide housing and public realm within easy reach of the city centre, so it’s a very sustainable location because people will be able to get public transport from there into the city to work. It’s an ongoing project and we’re just moving into phase three. Phase one is complete, phase two is under construction and phase three is in for planning. It’s an interesting site with a very enlightened and design-aware client.

Does the company specialise in a particular field?

We’re increasingly working in the care sector and we have one extra care development being built in Hauxton near Cambridge. We’re working on a similar development in Letchworth and have just been appointed to a similar facility in Merton near Bicester.

We see this as a potential growth area, but it’s also an area where landscape can really add value. It’s important that the residents have access to external space where they can socialise, be active and participate in activities.

Education is another sector that we’re active in.

Oliver’s been working on a forest school near Bedford and, again, that’s a project where the landscape adds a lot of value to the school so that they’re seeing the external areas very much as an extension to the teaching environment.

The architects, Lungfish, have been keen that we have almost a creative freehand with the landscape because they recognise the value that a good landscape design brings to the project.

1 Another mainstay for our office is our heritage work. It’s an area that I’m particularly interested in and one of our notable heritage projects is our work at Harlaxton College, near Grantham, which is set within a large registered landscape.

We’re preparing a parkland management plan which is part-funded by Historic England. The landscape has been on the at-risk register, so part of our role has been to reassure Historic England that it is being properly managed and has a sustainable future.

The parkland management plan will identify future restoration projects that the university can take forward as funds become available.

A lot of the historic landscapes that we work on are public landscapes, so Harlaxton is very different as it’s not about accommodating large numbers of visitors, but about looking at how to maximise the

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“WE CAN COLLABORATE WITH A MUCH WIDER RANGE OF OTHER COMPANIES AND CONSULTANTS”

1 Bridge End Garden 2 Eel Pie Farm ©UKSD

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FEATURES

educational potential of the grounds in a way that is sensitive to the history.

One project we’re really proud of is the Forever Stars project, a locally based charity which provides support for families who have suffered the bereavement of either a newborn or a very young child.

The charity is creating a memorial garden in a city centre park and we’ve had a couple of consultations with them as part of the design development. Again, it’s somewhere we feel the landscape can really offer something of value to those families, providing an attractive place to go and reflect, whilst remaining subtly playful for young families to enjoy.

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What do you feel is the strength of the practice?

We concentrate solely on landscape architecture, so we haven’t branched into architecture or planning or anything else and I think that’s good for us as it enables us to concentrate on our core discipline. It also means that we’re not treading on anyone’s toes so we can collaborate with a much wider range of other companies and consultants.

What inspired you to get into landscape architecture?

I’ve always been into nature and natural landscapes. The first things I drew were birds and I enjoyed gardening with my mum. Art is something I’ve also always been interested in. That developed from drawing birds into an interest in art in the broader sense. I think landscape architecture was the natural combination of those two interests, so I studied art at school along with biology and physics.

I then discovered landscape architecture as a profession, so I’ve studied it from the word ‘go’.

I did a landscape degree at what was then Thames Polytechnic, now Greenwich University. I studied under Tom Turner who was an inspirational tutor and the college was well connected to the landscape profession.

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How did your career progress?

After three years at university, I had to do a year out in practice, so I worked for the Vale of Glamorgan Borough Council in Barry. It was a fantastic year, I lived in Cardiff and it was the beginning of the city’s regeneration. The Cardiff Bay Barrage hadn’t been built but it was being planned and debated.

Being in Cardiff then was an exciting period for landscape. It was inspiring because the city was undergoing a renaissance; the Ebbw Vale Garden Festival was a significant landscape-led project and there was just a real buzz about the profession at that time in that place. Then, it was back to university for a year to do a

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FEATURES

post graduate diploma. I then joined Broadway Malyan, which was interesting as it exposed me to planners and involved working closely with architects and architectural technologists.

Being able to concentrate on the integration between architecture and landscape was a really good opportunity. I then went travelling in New Zealand, Australia and South East Asia for five months and again that was an incredible experience that I still draw from.

After that I worked for Allen Pyke Associates, which was very enjoyable. From there I went to PRC Fewster, another mixed practice, and then on to a planning practice where I learnt a lot about the planning system.

I then joined LDA Design, and from there to here.

What are your design inspirations?

Nature is a definite inspiration. Local context and creating something of value to the local community, all blended into something beautiful is also an inspiration.

I love seeing the transformative effect our work can have. I have worked a lot on regenerating public parks so being able to see a park’s journey from an underused and undervalued facility to becoming something active and vibrant is really rewarding.

Creating a fantastic place where you see children and families of different cultures, abilities and ages all mixing together, that’s rewarding as well.

A good public realm scheme can be a catalyst for much wider economic regeneration. I’ve worked on projects where we’ve regenerated the public realm, and this becomes an attraction in its own right as well as creating a more viable economic environment allowing the quality of the commercial offering to improve and become more robust.

Brexit, so prices are bound to go up, which might make it more economic for domestic producers.

Some of our developments are funded by European funders so I guess that might also change.

It’s the uncertainty that will probably have the biggest effect for the time being, but that will settle down.

What are the advantages of being based locally?

With Trent Basin the client is literally around the corner. It’s as effective to pop over for a face to face chat as it is to have a phone call, and they definitely appreciate that.

It is important for us to work locally and not try to spread our tentacles too far afield. I see the value in working more locally so that you understand the market and you can offer that value to your clients.

You know and understand the people you’re dealing with. We’ve got good relationships with the planning authority so that’s something we can offer clients and this hopefully eases their project through the planning process.

Finally, what is the next step for the Nottingham office?

Year one was about establishing ourselves, year two was about consolidating our presence here and year three will be about building on the firm foundation that we’ve built.

“I SEE THE VALUE IN WORKING MORE LOCALLY SO THAT YOU UNDERSTAND THE MARKET AND YOU CAN OFFER THAT VALUE TO YOUR CLIENTS” 4 Harlaxton Manor 5 Trent Basin ©Blueprint 6 Lincoln Science and Innovation Park 7 (L-R) Oliver Chapman, John Gudalajtys and Andrew Cottage 8 The Forever Stars memorial garden: artist’s impression

LIZ LAKE ASSOCIATES Founded in 1985, Liz Lake Associates has steadily grown to a practice of 25 people across three offices in Stansted, Bristol and Nottingham.

They provide the full range of landscape architectural services and work across a wide range of sectors including homes, education, care, public realm, historic landscapes, leisure and commercial schemes.

W: www.lizlake.com

What advice would you give to young people looking to become landscape architects?

I think it’s a really exciting profession to get into and I would recommend it for anyone who’s interested in design and creating great places and strong communities.

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Do you think Brexit will affect the industry?

Brexit will definitely affect the industry. The other day we were talking about the nursery trade and, at the moment, if we specify large trees they will usually come from the Continent. Even if it comes from a UK nursery that tree probably originated in Europe.

That works because it’s more economical to produce trees in Europe, their land values are lower, and they have a longer standing history in tree production. But I think the economics will change with

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FEATURES

LONDON’S UNEXPECTED OASIS 1

Creating a strong link between people and water and supporting biodiversity are the pillars of the landscaping scheme at the Canary Wharf Group’s upcoming residential development

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t’s lunchtime and Montgomery Square is a riot of colours, sounds and smells. The air is filled with the aromas of chargrilled beef, pulled pork and freshly baked pizza, as a cluster of vintage food vans do a roaring trade feeding dozens of hungry Canary Wharf employees. A group of young men in nearidentical navy suits unwinds playing a round of mini golf on the nine-hole course. Up on the trees, fairy lights sparkle red, green and blue, adding a festive touch to an ordinary autumn day – almost a harbinger of January’s Winter Lights festival, when the estate comes alive with some of the world’s best lighting-art installations.

But Montgomery Square is also a bridge to the new residential quarter that’s being built at Canary Wharf: Wood Wharf.

The new neighbourhood, which will extend north and east of One Park Drive – a

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Stephen Andrews

spectacular sculpted tower designed by Pritzker-Prize winning architects Herzog & de Meuron – brings a completely new dimension to what had, until now, been a quintessentially commercial district. It also builds another nine acres of green space and public realm on top of Canary Wharf’s existing 20 acres.

As Canary Wharf’s director of residential sales, Brian De’ath explains, Wood Wharf is unusual in that, normally, developments begin from the housing, to which office and retail space are added over time.

The opposite is true here, where 97 acres of the estate are already crammed full of offices, shops and sculpture-studded gardens—Canary Wharf has London’s largest collection of outdoor public art—as well as public squares and venues hosting a packed calendar of events. This is great for incoming buyers, but also means the Group has to ensure that the new residential development blends into an area that already has a well-developed atmosphere and identity.

Thus, landscaping Wood Wharf is no mean feat because the designs have to create an element of

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FEATURES

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“THE GROUP HAS TO ENSURE THAT THE NEW RESIDENTIAL DEVELOPMENT BLENDS INTO AN AREA THAT ALREADY HAS A WELL-DEVELOPED ATMOSPHERE AND IDENTITY” continuity with Montgomery Square and the commercial district beyond it, while serving the needs of new residents and fitting into a unique context marked by distinctive architecture and the backdrop of the docks.

How to achieve this best was an issue that Stephen Andrews, project design executive at the Canary Wharf Group, and his colleagues contended with for a long time. “The scheme,” Stephen admits, “has changed considerably over the last 12 years.” Although the Group felt the new spaces at Wood Wharf should have ‘an aesthetic connection’ to Canary Wharf, they really wanted to ‘make a step change’ and create a better link between the new neighbourhood and the docks.

“If you look back at the rest of Canary Wharf, the connection to the docks is not particularly strong—it’s

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the buildings that have a link to the water, not the open spaces or the people,” notes Stephen.

This is because, when the estate was built in the 1990s, the wider area around it was rather run-down, so Canary Wharf was developed a little like a keep, with the buildings along the edges and the green spaces safely tucked in the middle. Not only is there no longer any need to do this today, but Wood Wharf’s landscaping scheme also has to cater for a very different population— whether they be families with children or people who buy into the development specifically because they enjoy waterside living. After a number of false starts, the Group eventually chose Wirtz International Landscape Architects and, together, they decided to wrap a series of parks and green spaces around the buildings. This would create a transition space between the towers and the docks and forge a strong link between people and water.

“Peter [Wirtz] was the designer for [Canary Wharf’s] Jubilee Park, which is one of those spaces that people relate to on

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Martin Gettings

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an emotive level,” Stephen explains. “He got our vision straight away and I think it’s possibly because he has an expertise in the traditional European garden. Peter used that same philosophy going forward at Wood Wharf.”

Once complete, the design will create ‘a counterpoint to the buildings’. It will unfold from the foot of the 58-storey One Park Drive, where a garden will conceptually join the iconic skyscraper with the two buildings opposite it through a series of sinuous hedges. Curving around One Park Drive, the garden will then reach down towards the docks, where it will open up into a linear park—called South Dock Gardens— stretching parallel to the water. Complementing the new park will be the tree-studded Harbord Square and, beyond it, a multisport area. Trees and greenery will also give Wood Wharf’s streets their own individual character: “Some might have evergreen oak (Quercus Fulhamensis), redwoods (Metasequoia), plane trees (Platanus Hispanica) and Gleditsia, which has beautiful leaves and changes colour through the year,” says Stephen. “We have some Sorbus, various cherry trees—there’s quite a lot.”

Compared to Canary Wharf’s existing gardens, the new scheme—and South Dock Gardens, in particular— will have a much more organic feel, according to Stephen. “It becomes something that meanders; it also tries to play with the heights, so the landscape is mounded. You have a lot of beautiful street trees that make the transition between the big buildings and the dock edge of the water, so there’s a tapering in height as you get towards the edge.”

South Dock Gardens will also have beech hedging, which is trimmed to form curves. “Some of it is quite wide, some of it is quite high: it moves and part of that is reminiscent of water – it looks a little bit like waves.”

In between the hedges and the specimen trees will be swathes of prairie planting, which have “quite vibrant colours but very, low water usage, so it starts to think about the environment in a better way.” Mountain grasses and winter-flowering shrubs like viburnum will provide ‘a different flavour’ over the cold months.

“The idea is to make something that varies in terms of height and in terms of profile,” says Stephen. “The colour changes all year round and yet what it also does is it thinks about the environment. We tried to put in a much better biodiverse portfolio of planting in here.”

Perhaps surprisingly for what looks like the architecturally edgy core of urban London, the estate is home to a huge variety of animals – so much so that it runs an annual wildlife photography competition attracting more than 600 entries. Nightingales, herons, terns and peregrine falcons have all been sighted

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around the buildings, many of which have ecofriendly green or sedum roofs. The docks even have a resident seal. Last summer, coots, great crested grebes, moorhens, swans and a pair of endangered black redstarts made their nests in and around Wood Wharf. The redstarts, of which less than 100 breeding pairs remain in the UK, settled in the insulation cladding of one of the new towers while the coots chose one of the construction crews’ safety boats— and each pair was left undisturbed until the chicks had fled the nest. So, it’s hardly surprising to hear that sustainability and biodiversity are both cornerstones of the Group’s landscaping strategy.

“What we have covering the whole estate is a long-term biodiversity action plan,” explains Martin Gettings, who is group head of sustainability. “We have produced an ecologically sound management strategy that doesn’t just take into account the protection of all the existing flora and fauna on the estate but helps inform some of the design.”

In particular, notes Martin, the Group operates a ‘net-gains principle’ so that over the lifecycle of the development there will be more species brought into the built environment than there is currently. “For example”, adds Stephen, “because redstarts prefer building debris to greenery, some of the new builds will have a rubble-type top to encourage the birds to nest.” Other initiatives include installing 10 tern rafts, putting in some 400sqm of reed beds across the docks—plus an innovative project to create several wildlife-only spaces on the water off the west end of

“SUSTAINABILITY AND BIODIVERSITY ARE BOTH CORNERSTONES OF THE GROUP’S LANDSCAPING STRATEGY” Wood Wharf, next to what will become a new primary school. Reminiscent of the eyots that dot the Thames all the way from Sunbury to Kent, these floating ecological islands also anchor the Wood Wharf landscape in the wider context of riverside London.

“People will be prohibited from going there but they can actually get quite close and can see what goes on with the wildlife – so it becomes something that is educational,” says Stephen.

Alongside supporting wildlife, Wood Wharf’s green areas also help deliver climate-change resilience, whether by choosing planting that reduces flood risk or by installing green roofs that cool off the buildings.

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8 Above all, though, “the whole purpose of the biodiversity action plan is to improve the ecosystem service value,” says Martin. “We are looking at biodiversity as a means of adding value in different ways, not just through greenery but also by creating forms and shapes that help human health and wellbeing, by creating spaces that people can use and want to be involved in.”

Martin is not only talking of Wood Wharf’s future residents. The estate sees landscaping as a way both to connect with the wider Tower Hamlet borough and to put Canary Wharf, which already attracts a staggering 50 million visitors every year, onto the map of London’s top destinations. “We want Wood Wharf to be really bright and lively and full of people – it’s really important that we give something back to the community,” says Stephen.

With such a complex, ambitious landscaping vision, the Group is understandably particular about the consultants it employs to deliver it. “A lot of us here come from design backgrounds so we know a fair bit about other design firms,” Stephen explains.

“We will have a feel for what we might want and will find a number of firms we think might be compatible with that. What we’d normally do then is to have a competition, usually involving some form of honorarium so they don’t do work for nothing, and we’ll try something that really works.”

“I think we have the expertise in placemaking and whatever the mix has to be to deliver the right solution, we are going to find it,” explains Martin.

“Throughout our contacts, we are going to select the leading consultants in this space in the world.

That’s it in a nutshell – well, that, and a little bit of serendipity.”

9 1J ubilee Park 2 Wood Wharf’s One Park Drive and Ten Park Drive 3 Montgomery Square 4 Aerial view of how Canary Wharf will look once Wood Wharf is built 5 Wildlife at Jubilee Park 6 Bob Allen’s It Takes Two sculpture 7 The gardens at One Park Drive 8 Water features at Jubilee Park 9 Great crested grebe at Canary Wharf

canary wharf group A fully integrated property development, investment, and management company, the Canary Wharf Group has turned 97 acres of derelict Docklands into one of London’s most vibrant business districts. Today, it is in the process of adding a new residential neighbourhood, Wood Wharf, to the existing estate.

W: www.group.canarywharf.com

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Introducing the new overhauled Horticulture Careers job portal...

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Tel: 01903 777584 01/11/2018 10:27

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SEA CHANGE major regeneration projects in Eastbourne WILL inject A DIVERSE MIX OF RETAIL, CULTURE, SPORT AND BUSINESS OPPORTUNITIEs into the town centre

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he resort town of Eastbourne is currently the focus of major investment from the £85m regeneration of the Arndale Centre, the town’s main shopping complex since the Eighties, to the development of the Devonshire Quarter into a new cultural, sporting and conference exhibition destination.

Elsewhere in the town, work has also started on the £6.5m transformation of Langney Shopping Centre and the development of the Sovereign Harbour Innovation Park is ongoing, bringing fresh employment opportunities. The significant injection of capital into the town is expected to contribute to the wider regeneration of the local area.

Speaking about developments in the town, Councillor David Tutt, leader of Eastbourne Borough Council, says: “The council has been keen to see the regeneration of the town centre for many years and after several false dawns it is really good to see this £85m

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privately funded project reaching completion. This exciting scheme will complement the investment that the council is making to regenerate the Devonshire Park complex. These are two gamechanging projects which will bring about big improvements for our town and provide a boost for the local economy.”

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4 1 T he Beacon and public realm development works 2 Eastbourne Pier 3 The Bandstand and Pier at sunrise 4 The ‘ship’s nose’ on the station junction 5 The Beacon and its surrounding context 6 Terminus Road main entrance to mall 7 Overview of the new Devonshire Quarter

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The Arndale Centre Following the addition of its £85m extension, the Arndale Centre will be rebranded as The Beacon and will bring 22 new shops, seven new restaurants and an eight-screen cinema to the town.

Designed by architects TP Bennett, the development acts as a new gateway to the town centre, improving the linkage between its retail core and the train station. The existing centre will be updated to include new entrances, a new façade to Terminus Road, an extended car park and refreshed interiors.

Chris Wieszczycki, the principal director in charge of the project, says: “The nautical design theme of the Beacon reflects Eastbourne’s distinctive coastal town character.”

The nautical theme has been extended to the landscaping features around the upgraded shopping centre. Public realm landscaping fronting the development was carried out by WSP. The concept behind the scheme design lay in Eastbourne’s distinctive coastline with its broad beach spanned by contrasting groins.

This is represented through the paving design with a sand coloured materials palette broken up by darker ‘breaker’ paving strips.

Waves of planting weave down the street, reducing the dominance of hard materials helping to create a more welcoming space for shoppers to gather along the widened footways.

New specimen trees have also been proposed along the street, located in both hard and soft landscaped areas, to add height to the street and soften building frontages.

Speaking about the project, Martin Smith, associate landscape architect at WSP, says: “We’ve tried to take inspiration from the local area, so the buffs and sandy colours have been selected to reflect the warm colours that you would find at the beach.”

For the street furniture, an emphasis has been given to using raw, natural materials where possible. Large granite bespoke benches have been individually designed to sit within the ‘breaker’

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“THESE ARE TWO GAME-CHANGING PROJECTS WHICH WILL BRING ABOUT BIG IMPROVEMENTS FOR OUR TOWN AND PROVIDE A BOOST FOR THE LOCAL ECONOMY” paving strips, many strategically placed to provide seating amongst the planting.

A variety of Corten steel features are also planned to create continuity between different areas, with Corten steel tree grilles, cube seating bollards and various elements of seating placed across the whole scheme.

Apart from the hard and soft landscaping along Terminus Road and Cornfield Road, other changes include a reduction in bus movements outside the new Arndale Centre and the repositioning of busstops to Cornfield and Gildredge Road.

“At the moment Terminus Road is a busy bus interchange, so these changes will make a big difference and help modernise Eastbourne’s town centre by creating an attractive pedestrian-friendly environment addressing current issues of pedestrian congestion experienced along Terminus Road,” explains Martin.

The landscaping work is expected to be completed in 2019. Speaking about the development, Councillor Gill Mattock, Mayor of Eastbourne, says: “The work taking place in our town centre will make Eastbourne the freshest shopping centre in the South East.

“Coupled with the refurbished roads and pavements Eastbourne’s new Beacon centre, along

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with its well established local independent shops, will offer a first class retail experience for local visitors and residents alike.” The first store in the new extension, H&M, opened in October.

The Devonshire Quarter Eastbourne Borough Council’s vision to transform the Devonshire Park area into a cultural, conference and sporting complex, to be known as the Devonshire Quarter is also on schedule for completion in 2019.

Dating from 1874, Devonshire Park is Eastbourne’s oldest park and was originally laid out with terraces, walks and a cricket ground. Later additions included racquets and skating for the Victorian middle classes with the first tennis courts being laid out in 1880 and tournament in 1881.

The new development – which incorporates major improvements to the international tennis centre, including extensive enhancements to the courts and a new Player’s Village already built – includes the refurbishment of the Winter Garden, Devonshire Park Theatre and the Congress Theatre, as well as the creation of a new Welcome Building.

The Welcome Building will result in state-of-the-art conference halls and hospitality areas.

When completed, the new cultural, conference and sporting complex will allow the council to compete for conference business worth around £10m to the town’s economy and will create around 100 additional jobs across the economy.

Cllr Tutt says: “It is a project which will transform Eastbourne and bring wonderful cultural and economic benefits. It’s going to bring renewed tennis, theatre and conference facilities to our town and create a distinctive gateway.

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Councillor David Tutt

Martin Smith, WSP

Mayor of Eastbourne, Councillor Gill Mattock

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“THE VISION IS FOR THE DEVONSHIRE QUARTER TO BECOME A PLACE FOR LOCAL PEOPLE AND VISITORS TO ENJOY, ENSURING THE SUSTAINABILITY OF THE PARK FOR FUTURE GENERATIONS” “It’s a wonderful opportunity, not just for Eastbourne but for the whole of East Sussex to welcome visitors to our town and to show them what Eastbourne has to offer.”

The final touch to complete the new cultural quarter will be the construction of a new plaza which will provide an attractive gateway into the theatres, conference facilities and gallery. There will be a new piazza, more green public spaces and a disabled drop-off near the entrances to the buildings. This will provide opportunities for outdoor events as well as areas with retained trees and new planting.

The vision is for the Devonshire Quarter to become a place for local people and visitors to enjoy, ensuring the sustainability of the park for future generations.

As part of the development, the Devonshire Park Halls have been demolished to make way for two new practice tennis courts.

Work on the new practice courts will begin in January 2019 so they are finished in time for the town’s international tennis tournament in June 2020.

Langney transformation Just out of town, work is ongoing on the £6.5m transformation of Langney Shopping Centre.

The project includes the creation of 13 new shops, a 24-hour gym, a resurfaced car park with an improved layout, plus additional living accommodation over the centre. Langney Shopping Centre manager, Neil Avis, says: “We’re bucking the national trend by investing in our shopping centre and this investment will ensure we have much to offer our customers for years to come.”

Sovereign Harbour Innovation Park Developed on a 5.5 acre site within four miles of the town centre and train station, the Sovereign Harbour Innovation Park provides companies with high-quality sites and premises. The first development on the Innovation Park is Pacific House – a modern business centre for small, medium and large companies. Most of the offices are being offered on flexible leases to respond to changing markets.

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8 8 The Welcome Building and Plaza 9 Pacific House on the Sovereign Harbour Innovation Park 10 S overeign Harbour Innovation Park site plan

WSP WSP is one of the world’s leading engineering professional services firms, with 42,000 employees, based in more than 550 offices, across 40 countries.

W: www.wsp.com/en-GB

TP Bennett

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TP Bennett has been at the forefront of architecture and design for almost 100 years, offering cross sector expertise from a world-class team.

W: www.tpbennett.com

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What is the vision for the Hong Kong Institute of Landscape Architects (HKILA) and how does it help people in the industry?

HKILA wants to promote the highest quality and standard of landscape architecture in Hong Kong to the extent we can influence. There is also an increased focus on awareness for the environment, for quality outdoor spaces, and for a liveable city.

IRIS HOI HONG KONG INSTITUTE OF LANDSCAPE ARCHITECTS

president of the hong kong institute of landscape architects (hkila) IRIS HOI, talks about her vision for positive change and facing challenges in her industry

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With the HKILA celebrating its 30th anniversary this year, please tell us about the organisation’s aims and activities.

The HKILA is a small organisation and our resources are limited. Joining forces with local and regional institutions helps to create events and produce papers that are meaningful. One of these will be a therapeutic gardens conference and tour in Japan.

This event is co-organised with the Hong Kong University of Science and Technology (HKUST) and we have invited speakers with various expert backgrounds. It should be an informative event.

The other project is our collaboration with Guangdong Landscape Society (a group of landscape designers and nursery practitioners in China’s southern region – an area that produces plant materials for Hong Kong) to rewrite the standard soft landscape specifications.

This project is significant because it will align China and Hong Kong’s plant material standards for the first time. Once completed we hope the specification will replace the current government specifications and be widely used in the industry. The highlight of the year will be our annual dinner, the publication of our journal ‘Yuan Lin’, and the design awards.

What made you take on the role of president of the HKILA? I’ve lived in Hong Kong for almost the entire history of the HKILA. I witnessed the institute and the city’s growth in tandem, and today there are more opportunities for landscape architecture than ever as liveability debates rage on while the need to expand becomes unavoidably self-evident. I hope by being the president of the HKILA I can help bring some positive impact to the change.

What are your personal ambitions for your time as president?

I hope to be able to help raise the standard of landscape architectural practice within the membership, and to be able to bring awareness to city builders that a landscape architectural approach is a necessary tool towards building a sustainable city.

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What inspired you to become a landscape architect?

Growing up near Beijing I often visited the Imperial Gardens. Not only did I get to take the sumptuous gardens for granted, but I also had an urban playground of streets and hutongs that were interesting to explore, regardless of scale and function. As an eight-year-old I already took wellplanned garden spaces for granted, and now I still yearn for spaces where trees can grow old and the only sound in the air is trickling water. This is the drive that makes me want to do more and better for landscape architecture today.

“THERE IS AN INCREASED FOCUS ON AWARENESS FOR THE ENVIRONMENT, FOR QUALITY OUTDOOR SPACES, AND FOR A LIVEABLE CITY”

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International Finance Centre podium garden H ong Kong Wetland Park K ai Tak Development engineering study S alisbury Garden, Hong Kong

Are there any projects in your career that stand out, or that you are particularly proud of?

Jordan Valley Park is a sizeable park, built on spaces reclaimed over a landfill. To see it as successful and well-used by city dwellers is a pleasure and motivates me to do the best I can to find more spaces to build sizeable parks.

What is the biggest challenge facing the industry, and how can it be overcome?

Hong Kong is such a unique city, somehow vastly uninhabited and yet one of the most densely populated. It is a challenge for this modern city of 7.43 million to live on only 268 square kilometres of land. It is a greater challenge to make the smaller area of land liveable and memorable, and the bigger area naturally rich and beautiful.

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Are there any specific challenges faced by the industry in Hong Kong?

The fundamental challenges for landscape architecture in Hong Kong are a need to break conventional bureaucracies to build creative landscapes, and an unintended lack of awareness of non-landscape architects, particularly regarding the need for space. In my experience clients, architects and engineers often think in more ‘static’ realms, overlooking the fact that plants need space and time to grow, that they need as much space

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both above and below ground. Just as a building needs space around it to be appreciated, a good landscape needs its own space to grow its own character.

Are there any trends you’re currently noticing in landscape architecture, particularly in Hong Kong?

Three-dimensional landscapes are becoming increasingly popular, ones that are not ‘rooted in the ground’ but rather use engineering and fabricated shapes to let plants ‘climb’ with the building and extend the reach and coverage of greenery.

Landscape architects thinking like engineers and looking to grow plants in all sorts of weird and wonderful places is a dramatic change from convention and I think this is a positive step.

Could you highlight any major landscape architecture projects currently being planned in the region.

The Kai Tak regeneration scheme is a rare opportunity for landscape architects and planners to redraw an existing urban area based on modern visions. The HKSAR Government wants a ‘more pleasant and environmentally friendly place than many existing districts in Hong Kong’ and landscape architects jumped at the opportunity. We crafted many urban design and landscape guidelines. I look forward to the completion of all the neighbourhoods and events spaces in the area.

5 In the UK we are looking at how to encourage young people into the industry – how do you think this can be achieved?

Landscape architecture is the combination of arts and science in the outdoors. It is unencumbered and free. We need to inspire the younger generation to appreciate the beauty of nature, while educating and empowering them to make concrete positive impacts on its sustainability. By continuing to build beautiful outdoor spaces for them to grow up in, I believe we can inspire them to ‘take for granted’, the desire to preserve, expand, or even be a part of creating beautiful environments.

5 J ordan Valley Park 6 M an Kuk Lane Park Photographs ©Urbis

Hong Kong Institute of Landscape Architects Founded in 1988, the HKILA is a professional body for those engaged in the practice of landscape architecture in Hong Kong with the main aim of promoting the highest standards in the arts and sciences of landscape architecture and management.

W: www.hkila.com

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01/11/2018 14:08

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01/11/2018 15:57

PORTFOLIOS

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WILKINS TERRACE UCL, LONDON Levitt Bernstein

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P30 Wilkins Terrace, UCL Levitt Bernstein

P34 The Kitchen Cookery School, Chewton Glen Hotel Terence O’Rourke

P37 Indochina Villas, Saigon, Vietnam ONE Landscape

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1 The split level terrace 2 Stepped planters create informal seating areas 3 The ‘fourth façade’ reflects classical Georgian proportions 4 The lower terrace extends the refectory and offers social and study spaces for students 5 The integrated, indirect lighting, designed by BDP Photographs ©Ben Blossom

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Architect Levitt Bernstein Client University College London Project Value £9.3m Build Time 2015–2017 Size of Project 1,300m2 Awards RIBA Awards 2018, London: Shortlisted • AJ Architecture Awards 2018, Landscape Project of the Year: Finalist • New London Awards 2018, Public Spaces: Shortlisted • Lux Awards 2018, Hospitality, Leisure and Faith Project of the Year: Shortlisted • New London Awards 2014, Education: Shortlisted

new courtyard terrace for University College London (UCL) in Wilkins Terrace has transformed the former physics yard into a striking social, events and amenity space for the university. The terrace area is landscaped in Portland stone; a natural, sustainable choice with a high fossil content that provides a textured finish and sensitively responds to its historic surroundings.

Despite the scale of UCL’s estate in Bloomsbury, the university lacked good quality collegiate external space. Through their masterplan, an opportunity was identified to create a new courtyard terrace above an existing service yard and provide a new high-quality landscape space for both staff and students. It was also part of the university’s wider strategy to improve accessibility, and in particular, east-west movement across the campus. Although overlooked by several important university buildings, the existing service yard was unsightly with single story buildings, skips and containers on display.

Architects Levitt Bernstein faced the challenge of connecting these disparate elements with one cohesive design solution – all the more problematic considering the adjacent Wilkins Building is Grade I listed. Apart from the creation of the new terrace, there were several practical issues to be solved: providing good access and maintaining building services to the surrounding buildings.

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“THE SUCCESS OF THIS MAGICAL, ELEGANT NEW SPACE, CONJURED OUT OF WHAT WAS AN OLD PHYSICS YARD, IS THAT IT MANAGES TO FEEL NEW, CONTEMPORARY AND UPLIFTING WHILST BEING SO SYMPATHETIC TO THE ORIGINAL ARCHITECTURE” Professor Susan Collins, Director, Slade School of Fine Art

The design team developed the idea of enclosing the services yard as an undercroft, allowing the external space above to form a new focal courtyard.

This is conceived as a contemporary, stone landscaped terrace set within the historic setting.

The terrace itself is split level with the lower space serving the new Lower Refectory.

The planting was devised as part of the public art strategy to create a scheme with year-round movement, texture and colour of a quality to complement the hard materials palette of the terrace and offer a range of benefits and engage the student community. Scented plants are positioned around seating clusters, with foliage changing in character and form as planters step down to paving level.

Climbing white wisterias trail along steel shade structures giving summer shading and further vertical layers of interest. Classically shaped native pleached trees and fruiting espaliers soften the built form. The

majority of the planting is located in the sunniest south-facing area. A number of edible species also allow staff and students to further interact with the new space.

The material palette for the terrace is informed by the adjacent Grade I listed Wilkins Building: Portland Stone supplied by Albion Stone, London stock brick and painted steel metalwork with bronze features.

However, a creative approach was taken with the specification of the stone, which is available in many varieties with different characteristics – from very consistent and smooth to an open textured surface that reveals an abundance of fossils. Four types were selected to highlight specific geometries and to achieve a sculptural quality across the space. Integrated LED accent lighting also enhances many of the stone features within the façade and the terrace itself.

The London stock brick on the fourth façade, made to imperial dimensions, has been carefully

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7 matched to the colour of the two adjacent elevations.

The balustrading is simple black painted steel with a bronze rectangular section handrail, and the stair treads have matching bronze inlaid strips to address contrast requirements.

A new ‘fourth façade’ completes the composition, working in harmony with the surrounding buildings.

Designed to classical proportions, this also conceals

BEFORE

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the myriad services required for the wider campus and new Lower Refectory. A light well along the northern edge of the terrace provides daylight to the lower levels of the physics building, in addition to ventilation to the service yard below.

The terrace also opens up a new east-west route to improve accessibility across the campus, increasing the levels of activity and ensuring easy access to the Bloomsbury Theatre and new student centre, both of which are due to complete at the end of 2018.

Professor Susan Collins, director of the Slade School of Fine Art, says: “The success of this magical, elegant new space, conjured out of what was an old physics yard, is that it manages to feel new, contemporary and uplifting whilst being so sympathetic to the original architecture that it feels as though it’s always been here.”

Andrew Grainger, director of UCL Estates, says: “This is a significant milestone for our Transforming UCL programme delivering flexible outdoor space at the heart of our Bloomsbury campus within an existing Grade I listed building.

“It is a fabulous space developed for our staff, students and visitors and will benefit and inspire our entire academic community for generations to come.”

6 Wilkins Terrace is a critical access point, allowing for east-west movement across the campus 7 Sectional perspective showing new piazza above existing service yard and relationship to surrounding building Photographs ©Ben Blossom

Levitt Bernstein Levitt Bernstein is an award-winning practice with a progressive outlook towards the design and development process. As architects, landscape architects and urban designers, the company creates award winning buildings, living landscapes and thriving urban spaces, using inventive design to solve real life challenges.

Each project is different but the driving force behind every one is the desire to create something that is inherently both beautiful and useful.

W: www.levittbernstein.co.uk

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THE KITCHEN COOKERY SCHOOL

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CHEWTON GLEN HOTEL, HAMPSHIRE Terence O’Rourke

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erence O’Rourke have followed up their work at the Treehouse Suites at Chewton Glen Hotel in Hampshire with the introduction of The Kitchen, which features ornamental kitchen gardens.

Endorsed by celebrity chef James Martin, The Kitchen is a 12-place cookery school, where budding chefs can take part in a range of day courses and gain experience of the skills and preparation involved in the catering industry.

Alongside the demonstration kitchens is a new informal, open plan restaurant space that allows diners to watch chefs at work in the professional kitchen and enjoy the rural setting.

Chewton Glen and Terence O’Rourke worked together over several years to make the cookery school a reality. From initial feasibility assessments in 2013, the entire process through to completion took more than four years.

As the hotel sits within a green belt area, Terence O’Rourke’s landscape architects, architects and planning team had to work hard to establish special circumstances.

In part, the case was founded on the contribution of the hotel to the local economy and its active support in training and inspiring local students.

Landscape also played a key role, ensuring the development assimilates with its rural surroundings.

Having overcome this hurdle, the detailed design was no less challenging. Terence O’Rourke’s brief was to create a garden that was not just aesthetically beautiful but also a fully-functioning productive garden and an uplifting and inspiring setting for alfresco dining. To achieve this, the team worked closely with the estate manager, Darren Venables, developing ideas to help showcase local suppliers and nurture home-grown produce.

The connection between the school, restaurant and the landscape is not just notional. Wherever possible, both restaurant and cookery school use produce grown on site and foraged from the estate, utilising the gardens for practical demonstrations.

Visual ties between the internal and external spaces help emphasise the importance of understanding food origin. The Kitchen garden is punctuated by a series of life-size, sculpted farm animals produced by sculptor Rupert Till. Terence O’Rourke produced concept sketches on which the artist based his work. These were then used to laser print the glazing manifestations, etched into the kick plates on internal doors and the bar.

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4 Project Value £2.6m Architects Terence O’Rourke Landscape architects Terence O’Rourke Contractor Dribuild Build Time 12 months Size of Project 0.7ha

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PORTFOLIO

6 Approaching The Kitchen, a striking row of pleached Fagus sylvatica, underplanted with a low clipped Ilex hedgerow, Allium ‘Globemaster’ and Anemone, create a strong architectural boundary and are designed to frame, rather than obscure views, of the gardens. Up-lit Silver Ilex standard lollipop trees with a backdrop of Lavandula ‘Hidcote’ lead guests to the main entrance via a small orchard of heritage apple varieties and a simple groundcover of fragrant, edible herbs.

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Highly ornamental planting forms the underlying structure, with species enclosing the outdoor seating area chosen for their scent and tactile qualities. A simple colour palette of blue and white hues predominates. Stipa tenuissima, Perovskia, Salvia and Lavandula are the main components, planted informally and framed by a tightly clipped Ilex crenata hedge. Planting and trees for the project were supplied by Everton Nurseries, Hillier and Deepdale Trees.

Edible stock and species were selected to maximise productivity within a relatively small space. A simple oak pergola frames views from the demonstration kitchens and incorporates a stainlesssteel rebar to support hardy grape varieties.

Ficus, Prunus persica and plum have all been espaliered on the south east facing walls of the building and frame a small formalised kitchen garden centred on a new Victorian style greenhouse, supplied by Alitex. The greenhouse provides a space for propagation but most importantly for demonstrations, completing the link between field and table.

1 lluminated Ilex standards 2&3 Alfresco dining overlooking the attractive gardens 4 One of Rupert Till’s charming farmyard sculptures 5 Stipa tenuissima and Lavandula ‘Hidcote’ planting 6 Clipped Ilex crenata hedgerow providing structure 7 The Kitchen gardens

Terence O’Rourke Terence O’Rourke is an interdisciplinary team who provide design and planning solutions from inception to implementation.

W: www.torltd.co.uk

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INTERNATIONAL PORTFOLIO

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INDOCHINA VILLAS SAIGON, VIETNAM ONE LANDSCAPE

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andscape design company ONE Landscape drew inspiration from the vast paddy fields of Vietnam’s dramatic landscape for the design of a luxury residential villa complex in Saigon, Vietnam. The development includes a series of vibrant community spaces that are interconnected through a safe and secure public realm based on an ‘access for all’ philosophy.

These community spaces – a waterfront park, community swimming pool plaza, neighbourhood park and children’s play park are linked by the unifying geometrical abstraction of rice grain, representing an extension of the paddy fields concept.

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INTERNATIONAL PORTFOLIO

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Design objectives Situated less than 200m from the crossroads with Ho Chi Minh City inner ring road, the site was bought

by Indochina Land to develop a luxury residential development in Vietnam.

ONE landscape was asked to transform the site and achieve the following objectives as part of the brief: 1. Create a residential development with a resort feel.

2. Protect and celebrate the natural features of the local landscape.

3. Develop a safe and attractive neighbourhood, where houses have a high degree of security and privacy.

4. Build public networks that work for pedestrians, cyclists, children and cars.

5. Provide streets that are safe and attractive.

6. Provide a high degree of social opportunity for interaction within the neighbourhood.

7. Create a residential enclave with a strong sense of community and livability with a lush environment in relation to the tropical climate of Vietnam.

Design and build The landscape experience begins with a strong entry statement at its frontage to the main road. Inspired by the rice pattern the boundary wall creates a strong identity and character. The boundary wall further merges with the art wall – the most important feature of the entry experience. The wall with its sculpted pattern with deep shadows changes character in the evening when the light box installed behind the wall glows to create a dramatic statement. The rice-inspired pattern acts as a unifying design element throughout the project particularly in the community pool area located just inside

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INTERNATIONAL PORTFOLIO

Project value £1.53m ($2m) Build time 2014 Size of project 8ha Awards International Property Award 2015/Architecture & Design (A&D) Trophy Awards Asia Pacific 2015/Hong Kong Institute of Landscape Architects Award 2018

6 the entrance. Designed as the key public area, the infinity swimming pool features a linear deck canopy structure and connects with the adjacent lake. With its rich patterned panels as both horizontal and vertical support elements, the canopy is an elegant structure with sculptural qualities.

A shaded corridor of similar design connects the Tai Chi Plaza with the waterfront BBQ deck and features a children’s water fountain. Inspired by the lotus and conceived as a feature play fountain the sculptural installation is as much artwork as it is a water feature. Dramatic lighting in this area highlights the sculptural elements and brings a boutique resort feel to the development.

The neighbourhood park is the other key public space within the project and is conceived as a green oasis and can be accessed from the linear waterfront park. Here the shape inspired by the geometrical pattern of the rice grain is reflected in the design of the feature screen.

Set against lush planting the screens create a new setting within this park. A series of platforms with benches act as places for relaxation and contemplation. The park also contains a central floating canopy hovering within the trees. Supported by a series of slender metal columns its sculptural quality is further enhanced by a series of cutout shapes to reduce load and create shadows.

A series of stepping stones on the lawn in the same geometric shape adds unity to the theme.

Sculptural seats are interspersed among the greenery and lighting creates interest by highlighting these key landscape features within the park.

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How materials were sourced for the job The selection of materials focused on sustainability, energy conservation, environmental friendliness and innovation, where materials such as 3D panels, bamboo flooring, GFRC, as well as clay tiles and cobble stone over sand bed were extensively used in the overall design. In addition, soil from minimal onsite excavation was retained and reused as landforms and topsoil for new planting, while the original pool material was kept and refurbished to avoid wastage.

The challenges A major part of ONE Landscape’s key concept was to find a cultural link with Vietnam’s agricultural landscape dominated by rice fields. The approach of integrating art and culture in this project creates a striking landscape to be enjoyed by both residents and visitors.

1 T he lotus inspired sculpture next to the covered walkway 2 The richly patterned horizontal and vertical panels of the pool canopy 3 The elegant floating canopy hovers amid the greenery 4 The play of shadows creates a unique pattern on the paving 5 The entrance and frontage to the main road 6 Beneath the feature canopy, a shaded seating area for viewing and contemplation 7 Set against lush planting, the feature screen’s geometric abstract rice pattern

ONE LANDSCAPE ONE Landscape is a boutique design studio that specialises in high-end contemporary landscape architecture, urban design, public art and environmental planning in China, Southeast Asia, India and the Middle East with head office in Hong Kong.

W: www.one-landscape.com

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MATERIALS

MATERIAL FOCUS

PORTLAND STONE supplier ALBION STONE attributes the longstanding historical significance and numerous qualities of portland stone to why it is used worldwide today

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ortland Stone is known to have been worked for almost 1,000 years, originally on local Dorset projects. From the early 1600s it started to become London’s dominant stone, with English architect Inigo Jones using it on The Banqueting House, Whitehall.

Vast quantities of the stone went into London after the Great Fire of London in 1666 and as demand continued into the 18th century, quarries opened along the northern coast of Portland and during the 19th and 20th centuries in the centre of the Island.

Today most Portland Stone is mined not quarried. Albion Stone was the first operator on

the island to attempt to mine Portland Stone and opened their Bowers trial mine in 2002.

Many of London’s most recognisable buildings and monuments are constructed either wholly or partially from Portland Stone. St Paul’s Cathedral, the British Museum, the Bank of England, the New London Stock Exchange in Paternoster Square, the Bomber Command Memorial and Wilkins Terrace at UCL, are all built using this material.

Portland Stone has also been widely used throughout the rest of the UK as well as having been exported for use in many other countries throughout Europe and worldwide such as the USA, Australia, Pakistan and Japan.

MAIN BENEFITS • Strong enough to resist the effects of rain and frost but not so strong that it can’t be readily cut and shaped by stonemasons.

• British stone with historical significance • Sustainable stone with a low carbon footprint

P40 Portland Stone Albion Stone on this dependable material

P45 Fencing focus Three suppliers showcase their projects

P47 Paving CED Stone Group reviews paving schemes

P49 Lighting A case study from architectural lighting design practice Nulty

Portland Jordans Basebed

KEY FACTS • Portland Stone is available in three beds: Basebed, Whitbed and Roach • Portland Stone was laid down at the end of the Jurassic period (around 145m years ago) • It was popularised by Sir Christopher Wren, who rebuilt more than 50 London churches after the Great Fire in 1666. His masterpiece was St. Paul’s Cathedral.

Portland Grove Whitbed

Portland Jordans Roach

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FOCUS ON PORTLAND STONE

CASE STUDY

©Albion Stone

©Albion Stone

BRITISH MUSEUM

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ith its subtle exterior, the World Conservation and Exhibitions Centre (WCEC) at the British Museum sits effortlessly alongside the original building due to its elegant stone and glass façade. First opened in Bloomsbury in 1759, the British Museum is dedicated to human history and culture. With more than 8m works, it is among the largest museums in the world.

The £135m project, which was shortlisted for the Stirling Prize and is one of the largest in the museum’s history, provides it with a new gallery, laboratories, studios and storage areas to catalogue and support the museum’s extensive UK and international loans programme.

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Project British Museum World Conservation and Exhibitions Centre Location London Product Portland Bowers Reach Project status Completed 2014

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MATERIALS

The team at Rogers Stirk Harbour and Partners (RSH+P) won a competition to design the new facilities at the museum in 2007. Their design represented the architectural legacy of the Grade I listed building while improving and enhancing the existing infrastructure.

The design is sensitive to the museum’s existing architecture and of the surrounding Bloomsbury Conservation area – the WCEC is bordered by seven listed buildings. Located in the north-west corner of its Bloomsbury estate, the new nine-storey building consists of five pavilions – one of them underground.

Albion Stone supplied 1,600m² of Portland Bowers Roach for the stone and glass façade of the new centre pavilions. RSH+P’s decision to use the Roach Stone was a result of their collaboration with Albion to understand the physical characteristics of the material, its performance over time and its visual qualities both at the quarry and in its use on numerous prestigious buildings.

The Portland stone and kiln-formed glass used on the pavilions are inspired by the existing buildings.

Speaking about the project Peter Worrall, contracts director at Albion Stone, says: “We were incredibly proud to supply our Portland Bowers Roach for this prestigious project. We worked very closely with Rogers Stirk Harbour + Partners, dry laying the stone to achieve the look they desired. Being involved in a project that was shortlisted for the Stirling Prize was a huge honour. The stone looks fantastic and complements the existing building beautifully.”

And John McElgunn, a partner at RSH+P, says: “Portland Stone was selected for the WCEC to make a philosophical reference to the existing British Museum campus. Working in collaboration with Albion Stone we studied the various quarries and beds on Portland and found that ‘Roach’ stone had the most wonderful visual qualities. The Roach stone has a spectacular and varied surface, filled with the fossiliferous voids of the turreted gastropods laid down during the Jurassic period. The Bowers Roach stone provided the colour, texture, variation and intrigue that we sought as well as an expression of its geological formation.”

Albion Stone Albion Stone exclusively mine natural Portland Stone. Their Limestone production facilities are one of the largest and most technically advanced in the UK. It produces a wide range of Portland stone products from slabs, cladding panels, pavers and tiles to the most intricate hand carved stones. BES 6001 “excellent”.

W: www.albionstone.com

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01/11/2018 11:17

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MATERIALS

FENCING PRODUCTS

three fencing specialists showcase recent projects and offer advice and inspiration on selecting and installing their products

DECORATIVE STONE FENCE MAKES IMPACT AT TITANIC WALKWAY

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new walkway connecting the Titanic Slipways to HMS Caroline and the Thompson Dock in Belfast features one of the longest runs of decorative stone fence in the UK. Work on the project began in June 2017, when MacAvoy Contracts approached CLD Fencing, UK manufacturers and suppliers of rigid mesh fencing systems and security gates.

The project required a natural fencing system to screen the multiple areas of the 185-acre Titanic Quarter bordered by the Titanic Walkway.Situated on Victoria Wharf, the Titanic Walkway is a 500m maritime walkway connecting the Titanic Slipways to HMS Caroline and Thompson Dock.

Gaius Roberts, senior sales executive with CLD Fencing Systems, says: “MacAvoy first

contacted us as their client Titanic Quarter had seen our stone fence system and wanted to utilise it in their new project. Working alongside MacAvoy allowed us to create a feature for the whole project.” And James Eyre, commercial director of Titanic Quarter, says: “We are delighted to see the completion of the Titanic Walkway. The Titanic Walkway now provides a seamless connection between our maritime heritage assets from the heart of the city centre to HMS Caroline and the Thompson Dock.”

In total, more than 300m of 2.4m decorative stone fence was manufactured and shipped to Belfast by the CLD Fencing Systems team.

Local stone was sourced for the infill which helped cut down on both transport costs and the carbon footprint of the project.

Stone fence comes in a range of finishes and heights and can be bespoke configured to match the requirements of a specific project. www.cld-fencing.com

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MATERIALS

SELECTING A FENCING CONTRACTOR

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here are a variety of factors to consider when selecting a fencing contractor and fencing system. Key points to consider when choosing include: 1. Materials are from a reputable company and are responsibly sourced 2. Products are coated and galvanised correctly to prevent corrosion 3. Installers adhere to standards to ensure quality of workmanship 4. P roduct and installation guarantees are available While product quality is a major consideration in the buying process more customers are looking for the full package – product quality plus installation guarantees.

Fence manufacturers Betafence offer an independently audited 10-year installation guarantee – BEKassure. The BEKassure audit covers everything from bolts to foundations and is not issued until the installation is 100% perfect.

The company’s fencing systems are installed

by Betafence’s national network of PRO-net licenced contractors.

With more than 7,000 installations to date, the BEKassure guarantee has been established for more than 20 years. www.betafence.co.uk

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WROUGHT IRON FENCES AND GATES

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ozafer design bespoke wrought iron fences and gates for historic building projects requiring replica items. The company has a team of designers who plan out the format of the design and determine the size of each piece. These parts are then assembled and made into the finished product.

Most of Forzafer’s commissions are for bespoke gates and fences, meaning customers can choose their own components and final design.

The company employs 1,400 people who are involved in the manufacturing or design of products from carving to form shapes, to forming moulds and casting and forging the solid metals into the desired shapes.

For replication and restoration projects, photographs or any remains of the object are used as the starting point and then the

carving process is undertaken (this is done on a trunk of wood) then moulding and then casting.

If wrought iron is involved, the photograph is used as a guide and the solid iron is shaped into the required design.

In some cases, specification is provided as a PDF. The company is currently working on 17th-century lanterns for a listed building. The process of carving and casting takes about six weeks to complete and in more complicated cases around three months.

Most commissions are for gates with associated fences. Fences can be designed to complement specific gates.

As well as bespoke options which can be made of any height or length, Forzafer has a range of around 78 designs of gates and associated fences. www.forzafer.co.uk

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MATERIALS

PAVING IN URBAN DESIGN giles heap, managing director of the ced stone group, reviews paving construction using British natural stone paving materials

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he UK has some of the best landscape and urban designers in the world, but with a rapidly increasing population placing greater pressure on our finite water supply, it is important that more environmentally aware paving schemes, using sustainably sourced materials, are considered.

Home-grown natural stone that is long-lasting and laid permeably is a good option. There are two basic types of construction for paving: 1. Bound (rigid construction, generally utilising concrete and cement mortars) 2. Unbound (flexible construction, usually without concrete and cement mortars) Within each of those two basic principles, there are then two choices: a. Non-permeable. Water is designed to flow into drains and not “through” the system b. Permeable (designed to allow the vertical and horizontal movement of water within the system) It is possible to have a bound paving system that is highly permeable, just as it is possible to have an unbound (flexible) system that is impermeable, but the general tendency is to associate permeability with unbound and bound with impermeable, but this need not be the case. A brief description of the four options follows:

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BOUND (NON-PERMEABLE) Traditionally, paving would be laid on a sub-base of either concrete, or Type 1, the exact specification dictated by the levels of traffic expected. With the introduction of better engineered, proprietary mortars and BS7533, specifications using thinner stone units, with longer expected lifespans, in heavier traffic is now achievable. There are many good examples of this method of paving and almost any paving scheme with British Yorkstone is likely to be laid in this way.

However, an example of a bound construction with a new and striking British paving product, would be the Green Schist, currently being laid at the AELTC, Wimbledon.

With some permeable bedding and jointing mortars, it is now possible to design a bound scheme with high levels of permeability. Previously, if a rigid paving was required with high levels of permeability, the choice was restricted to certain types of block paving – not the most aesthetic nor the longest lasting of surfaces. However, with bound and permeable natural stone surface now being utilised, designers can achieve the best of both aesthetics, and longevity.

Essentially, a permeable/bound system is built around the use of high strength, permeable mortar bedding products, along with a permeable jointing. If laid on a concrete base (for higher traffic loadings and areas with poor structural sub-soils, like clay), then the concrete base needs to allow the water to drain away, either to drainage in the concrete, alongside it, or through drainage holes drilled through the concrete base. If laid on a Type 1, then the water will slowly seep down through the subbase, as long as the subbase is also permeable.

This permeable system is seen at Tottenham Football Stadium, covering around 50% of the site and is laid on Steintec’s ‘tuffBed’ bedding mortar, with their ‘tuffFlow’ jointing mortar. This doesn’t give the most aesthetic joints, but if you want a permeable paving system that can withstand heavy traffic conditions, this is a possible solution.

BOUND (PERMEABLE)

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MATERIALS

UNBOUND (PERMEABLE) Ruskin Square in Croydon is a good example of an unbound, permeable public space. To achieve the levels of permeability required, sawn sided Grampian Granite (from Scotland) was laid on a specially graded, clean granite bedding aggregate, with structural spacers laid between the flags. These structural spacers do two things. First, they provide set joint widths, but more importantly they mitigate the lateral movement of the sawn paving on the bedding aggregate. These joints (nominally 8mm wide) are then filled with a free draining jointing aggregate. The finished scheme allows huge amounts of water to drain through the paving (reducing localised flooding issues etc), but it also allows the paving to dry faster, reducing the amount of commonly found staining on the surface. Issues such as picture framing, efflorescence and frost heave will not affect this scheme. On the down side, the maintenance regime needs to be considered carefully, as a vacuum street cleaning machine will very quickly suck up all the aggregate in the joints, so cleaning and maintenance teams need to be aware of the requirements to ensure a good, long lasting paving.

UNBOUND (NON-PERMEABLE) A good example of an unbound scheme that has stood the test of time, would be in Fort William. This was laid around 15 years ago, and still looks amazing today. The images showing the scheme were only taken in October of this year, and as can be seen in the images, it still looks good. There is no reason why this shouldn’t work, if the correct materials and dimensions are used.

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MATERIALS

LIGHTING CASE STUDY

architectural lighting design practice NULTY turn a stark 1960S school into a striking residential community using the transformative effects of light

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ighting played a key role in transforming a Brutalist-style Grade II listed secondary school in London into an award-winning residential community.

In the development, conversions and new builds sit alongside secluded courtyards, landscaped gardens, squares and passages. giving the site its distinctive character.

In their brief for the Baylis Old School project, developers Henley Homes called for an external lighting solution to bring out the quality of the architecture and turn an old school building into a modern setting for apartments.

The design concept was to keep it simple and to highlight surfaces while aiding orientation around the estate. The resulting exterior lighting scheme, devised by lighting design

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consultants Nulty Lighting, helps people navigate the intricate space: interlinking long stark walls have been washed with light.

Features include a reflection pool, water fountains and planting, all subtly illuminated.

Speaking about the company’s work on the project, Paul Nulty, the founder of Nulty, says: “We used light to tell the story of the buildings, celebrating the architecture, helping bring life and energy back to the former school yards.

“We wanted to create a safe but dramatic atmosphere, somewhere that was easy to navigate so it felt quite homely, while also highlighting the interesting architecture.”

Speaking about the project, Suze Jones, of Henley Homes, says: “We came to Nulty because we needed to add a dynamic and responsive

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MATERIALS

lighting scheme, to ensure that the award-winning Brutalist architecture remained inviting and exciting after dark. The team intuitively understood our needs and the result is extraordinary.”

To reduce visual clutter, Nulty’s design avoided the use of columns and bollards as these often require visible lighting sources.

“The retro 1960s structures are full of stark contours, textures and tones, and this is where the power of light comes into play.

“By gently emphasising the exterior surfaces with concealed lights, creating ample ambient illumination, we were able to reveal and accentuate

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the architecture’s honesty and boldness, but also make the space feel calm, safe and welcoming,” adds Paul.

A different design philosophy was adopted for the old and new buildings. More façade lighting was used on the older buildings to highlight the textures and create visual interest. As newer buildings were slicker with more glass, Nulty let them recede into the background and instead highlighted the inside of the building.

Colour temperatures used in the project were mostly 3000k to keep it convivial and this warm colour temperature helped bring out the colours in the building materials such as the red brick. Cooler colour temperatures were used at some points for contrast and to create permeability and rhythm through the space.

An additional special feature is an astronomical clock that activates the lighting throughout the year.

The original school was completed in 1964 and designed by ACP Architects, acquiring its name from theatre producer and manager Lilian Baylis.

Lighting design by Nulty Photography ©James French

Nulty Nulty is an architectural lighting design practice with offices in London, Dubai, Beirut and Miami.

W: www.nultylighting.co.uk

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31/10/2018 16:25

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