CREATING

HIDDEN GEMS

Decisions made, things discovered, and features recovered. Here are four hidden gems around the studio to look out for.

Numbered staircase

In the vaults we found some old oak planks, each marked with Roman numerals, but with no explanation of what they referred to. We loved this quirky link to a past life and used them to construct the staircase linking the quayside to the ground floor. Take a close look and you’ll find the numerals perfectly preserved.

Hidden void

We left a little void in the mezzanine floorplate tucked away over in the north-east corner of the studio. It brings natural daylight into what would otherwise be a dark corner, and those close by use it for little conversations between floors.

Unsolved mysteries

There is something fascinating about the patina of historic buildings. The slow wear and tear of everyday life over decades or centuries that inflicts scars and marks that give a place character and a sense of authenticity. If you look carefully, Pennington Street Warehouse guards its own secrets, offering tantalising clues of a past life that defies explanation.

We found traces of a window opening on an external wall, but no sign of it ever existing on the inside. We discovered a strange alteration to the brick patterning ... but why? And down in the vaults, a change in the curvature of the wall, and an unexplained hollow that left us scratching our heads. We love these unsolved mysteries, which add to the day-to-day pleasure of inhabiting this enigmatic place.

Seconds out

The bricks on the eastern wall of the Print Works are all different colours. These are obviously ‘seconds’ bricks of slightly inferior quality originating from various clays across different parts of London. They were never meant to be seen, but we’re delighted to put them on show.

THE TECHNICAL STUFF

There are many people out there facing exactly the same challenges we’ve faced when it comes to sustainability, so sharing some lessons seems in order.

The greatest challenge for the creative reuse of Pennington Street Warehouse was the provision of natural daylight and ventilation. Exactly how can a 315-metre-long listed building, designed for storage and with very limited openings, accommodate an extraordinary workspace?

Natural daylight

We’ve explained how the vaults were transformed by the painstaking removal of four stone columns and a section of vaulted arches, to create a 14-metre-high atrium. Topped by a new glazed rooflight, this brought natural daylight flooding into all three levels of the studio. At the entrance, daylighting was achieved by creating a single volume under a timber truss roof which is lit by the glazed lantern above.

Elsewhere, arches set in the external walls have been opened up for the first time in 200 years to create new entrances and windows. Clearly, bringing natural light into the interior both reduces electricity required for lighting and provides solar gains to reduce heating. The majority of studio spaces meet the criteria for limiting solar gains, but where mitigation was required, we’ve incorporated sensitively designed fabric blinds and sails into the design.

Heating and ventilation

Our strategy, which seeks to minimise energy consumption and carbon emissions, is built around the characteristics of the existing warehouse – high thermal mass, limited openings in the façades, and an extensive area of rooflights. Internal brickwork walls have been left unfinished to expose their thermal mass and help reduce fluctuations in internal temperatures.

Heating and cooling solution is provided through a variable refrigerant volume system (VRV). This incorporates heat recovery, which manages the different spatial and environmental characteristics of the studio, in some cases providing cooling to one space and heating another simultaneously. This enables heat that would be otherwise wasted to be recovered and recycled. Cooling of the server room also presented opportunities to be sustainable. Rather than discharging excess heat to the outside as is normal practice, heat generated by the computer servers is utilised to provide 20% of the heating requirements for the studio, further reducing running costs and carbon emissions. Dealing with the different spatial and environmental characteristics of Pennington Street Warehouse also required a bespoke design response for each floor.

In the Vaults, the beautiful brickwork arches needed a design solution that provided ventilation but minimised visual intrusion. So, ducts have been carefully concealed within the floor void and also hidden in fixed furniture on the north elevation. On the ground floor, we wanted to retain a sense of volume, so we limited exposed ceiling ducts to the north and east walls. Then, floor-mounted VRV units on the south were designed to be concealed within the fixed furniture. Up in The Mezzanine, we avoided cluttering The Atrium and kept ducts within the roof void on either side.

Here a ‘Gripple Systeme’ of brackets and clamps suspends all the services, including the electrical supply, lighting and ductwork, between the steel roof trusses and brickwork walls. Elegant, understated and honest.

Energy consumption

Here are some facts and figures for those who like that kind of thing. Our regulated energy use, calculated on the technical specification of the installed equipment and lighting, is 24.9 kg of CO2/m2 per year. Unregulated energy use, based on the energy consumption identified within the BRUKL prepared for the project, is 17.66 kg of CO2/m2 per year. This equates to total CO2 emissions of 42.56 kg of CO2/m2 per year.

But what does that actually mean? Basically, we’ve achieved a significantly lower level of energy use and CO2 emissions than your average office building – in a 200-year-old listed structure. We did this by capitalising on a lower window-to-wall ratio and high thermal mass building envelope, then adding a high-performance mechanical plant and very energy-efficient lighting. Bingo!

Cradle to grave

All specified materials and products throughout the studio have cradle-to-grave Environmental Product accreditation, to ensure we took account of whole life-cycle impacts.

Flooring throughout is either timber or Milliken carpet tiles, which are made of recycled, ethically sourced and locally produced materials. The cushion backing is 90% recycled polyurethane. To ensure ongoing flexibility we specified TractionBack adhesivefree backing for the installation of the carpet tiles. This natural, non-adhesive wax backing allows tiles to be easily removed, repaired or re-used elsewhere.

Cradle-to-grave materials which we specified include Milliken Quadrus Entrance Matting, British Gypsum Gyproc SoundBloc Insulation and British Gypsum Moisture Resistant Insulation. Our reception desk and kitchen servery are made from Richlite, a solid paper composite sheet formed from 65% recycled paper and 35% resin. Although this doesn’t have accreditation, the resin minimises energy consumption and it is manufactured through a waste-to-energy technology. We thought this was a reasonable compromise.

Oh, and before we forget, the steel roof trusses installed on the building in the 1980s were adapted and reused to allow installation of the mezzanine floor.

VOC free

This was the hard one. For three years we scrutinised every single material – adhesives, paints, timber, fabrics, finishes, furniture and even cleaning products – to purge the studio of unhealthy volatile organic compounds. Our post-occupancy assessment found concentrations of formaldehyde below the limit of detection. We’ve been told that achieving this is no mean feat and hope it inspires others in their pursuit of healthy buildings.

Embodied carbon

We’ve maximised the use of timber because it is a renewable, recyclable resource and a great carbon store. The mezzanine floor is made of timber joists with plywood soffits set within a steel structure. Both the mezzanine and staircases were constructed and supplied by Rayward, a manufacturer in Cranleigh, less than 40 miles away.

Water

We set out a baseline for water consumption, then devised a strategy that has delivered a 35% improvement on it. How so? Hot water is provided by an energy-efficient site-wide district heating system, and instant hot water taps have been installed to reduce energy consumption from kettle usage.

Recycling

We’ve spent many years changing behaviours to reduce waste. One of the best ways to achieve this is not to create it in the first place. At Pennington Street Warehouse, we’re working towards a paper-free studio with significantly less storage and a clear desk policy, which staff have quickly embraced. What waste we do create, including food scraps, gets recycled, and we have no landfill bins. Yes, you read that right. Not a single one.

A quick comparison between our former studio in March 2018 and our new studio in March 2019 showed overall recycling rates had increased from 85% to 93%. Specifically, our paper usage has reduced by 76% from 1,655kg to 398kg, so we’ve already saved the equivalent of 12 trees. Food waste for anaerobic digestion has also increased by 200% from 47 kg to 99kg.

Biophilia

Plants have been placed throughout the studio where they can be seen from workspaces to enhance well-being, lift the spirits, increase productivity and bring calm to the space. It’s a very large volume, so trees and shrubs were selected for their robust forms, with large, simple leaf shapes and varied canopies. The lush green is beautifully heightened by the deep red of the brick walls.

Changing behaviours

Sustainability has also meant new initiatives to change our behaviours – every member of staff is provided with reusable water bottles to encourage hydration and eco-friendly coffee cups and hessian lunch bags to reduce waste. Plastic bags are banned from the studio. We also provide daily fruit and healthy snacks, and locally sourced lunches every Monday, and have introduced a free daily breakfast for all.

Post-occupation evaluation

The issue with sustainability is that there is often a gap between the theory and the reality. So we’re committed to an ongoing postoccupation evaluation of the studio. This includes a thorough review of data to monitor daily, weekly and seasonal trends for use of resources, to quickly understand any deviations from our set ambition and to allow for continual improvement. We’ll also be seeking feedback on the studio environment through surveys of our staff and tenants; and assessments of working efficiency, occupancy levels, staff attendance, sick leave and staff turnover to understand the role of the new studio in these areas. In other words, we remain a work in progress.

REFLECTIONS

THOUGHTS ON A ROAD WELL TRAVELLED

What have we achieved?

Hindsight is a wonderful thing. As you end a learning journey and look back at all the twists and turns, avenues of investigation and cul-de-sacs, the simple path to the solution begins to reveal itself. Why did it take so long to reach those realisations and approaches, which now seem so obvious?

Because that is the elusive nature of innovation! However long our odyssey took, we believe we were right to remain faithful to our process of Collaborative Placemaking. NEIGHBOURHOOD

We firmly believe that, with a bigger footprint and more bodies, we have a greater opportunity to influence what our new local neighbourhood becomes as it blossoms back into life. We’re part of a pioneering community, cheerleaders for a fascinating but overlooked area of the city.

We’ve looked and listened hard to what’s around us, and responded with something creative and inclusive, different from what was here before, but deeply connected to the spirit of the place.

In Clerkenwell, we may have spent time and money on our studio, but we’ve dropped anchor in London Dock – put down roots and invested our heart and soul in making it a better place than we found it. Today, we buy locally, eat locally, draw interesting people here from across the city, but wish for nothing more than to become a part of the furniture.

For the record, we have little experience of designing offices. Sure, we have talented architects and placemakers, but over the past decade, workplace design has become a highly specialised field of endeavour. Since opening our doors, we’ve hosted tours for the great and the good of the office world – the best workplace developers, owners of feted co-working spaces, and all manner of other individuals and organisations we greatly admire for the quality and thoughtfulness of their product. What do they see?

An idiosyncratic building artfully brought to life, with a sense of camaraderie, friendliness and intimacy, where you feel encouraged to debate, discuss and linger. A studio that nurtures interaction, facilitates collaboration and inspires creativity. An extraordinary human-centric place, with a clear commitment to well-being.

These are not our words; they are the recurring thoughts of visitors, experts in the built environment – people we trust to tell us how it is. What’s fascinating is that they constantly describe not what they see, but what it encourages them to do, and how it makes them feel. Sure, they pass comments on materials, colours and architectural details, but what they truly enthuse about is the overall atmosphere of the office.

Reflecting on this, we think it is a consequence of staying true to our own approach. The studio is not just a workplace built for us, by us – but rather a physical embodiment of who we are and what we believe in. CULTURE

Since changing places and bringing life to our new studio, there’s been a subtle shift in the culture of the office, the ways people go about things, how they relate to each other, and the quality of work they produce.

This is not a chance outcome. It’s the happy result of a careful process of change management – that began before a single line was drawn and still continues after we’ve moved in. Hours of careful listening, dialogue around emerging ideas, and wholesale changes to design, alongside artful persuasion and gentle cajoling, embracing the enthusiasts, reassuring the nervous, and convincing the naysayers.

For some, the idea of a nomadic existence without a fixed desk, getting rid of the comforting stuff surrounding them that served no purpose, or even communal eating at lunchtime, were unsettling ideas. But the results are in and all of these things, and more besides, have been embraced and have transformed life at JTP.

Where people once called each other, they now walk over and meet face-to-face. Teams see what each other is doing, listen in, and make contributions. We’ve moved from an office where work gets done to an inspiring place where new ideas happen and then spread like wildfire. Beyond working processes, change management has been trained on sustainability and wellbeing, which sit at the heart of our ethos. From every direction people are being gently nudged towards behaviours that dramatically reduce energy and waste and nurture physical and mental health. Careful thought has been put into the food we’re eating, the water we’re drinking, the materials we’re touching, light, air quality and biophilia. Beyond this, it’s making time and space for yoga, running, cycling and, for some, a call to faith. We hear talk of the liberating effect of getting rid of stuff, of serenity, being uplifted, and people having renewed enthusiasm for what they do.

Of all the things we’ve heard, a ‘sense of pride’ in the new studio is probably the most gratifying. When over 300 people are brought along to your ‘Friends and Family’ day, you know something is afoot. Husbands, wives and partners, children of every age, mums and dads, grandparents and friends were all hauled away from their normal Saturday routine to be toured around not just a new studio space, but rather something our employees felt represented who they are and what they stand for in life. Our collective spirit – a sense of family – has had a new lease of life. People are choosing to eat together at breakfast and lunch, socialise after hours in The Hub, and share their personal lives throughout the day and after hours.

Encouraging our creative tenants to participate makes this bigger than JTP – the seed of a new community we hope will flourish as more of the warehouse and surrounding neighbourhood is brought to life. Nurturing this cultural change is not just the right thing to do; it makes for good business. This is because in today’s world the ‘battle for talent’ in knowledge and creative industries grows ever more challenging, as the dynamic young people we seek are increasingly looking for meaningful work and drawn to environments in which they can pursue their passions while learning and thriving.

But don’t take our word for it. We always say the best judgement of the success in placemaking lies not with us, our professional peers, or the architectural media – but rather with the people who visit, live or work there on a habitual basis. So, let’s leave the final say to them – and listen to their reflections on JTP Changing Places.

STEPHANOS SPIRAKIS

Senior Architect Joined JTP in 2014

I don’t refer to Pennington Street Warehouse as ‘the office’ because it is so much more. There were certain aspects of the old building that were really good: it was bright, airy and centrally located, but it had started to feel like an ‘office’. The refurbishment of our new studio has been completed with such integrity that I have, momentarily, caught myself forgetting that this is actually where I work.

The building in itself is beautiful. But in this restoration the team has managed to reveal its scars, its history, its original beauty and celebrate them, giving us a home that no one else has – and that’s an achievement, it really is. I find great joy in many of the building’s subtleties. Whenever I open the door to the lavatories it makes me smile because they feel as though you’re entering a luxurious spa or an exclusive nightclub. It gets me every time.

There’s a certain curiosity about the space. Visitors come in and naturally meander around – something the building invites you to do. So, in every sense, it is not an office, but a place where we gather to do what we love. ALEC BORRILL

Associate Joined JTP in 2017

In many ways Pennington Street Warehouse is a subtle and quiet conversation. The details of the building express something unspoken – something just waiting to communicate with you.

The original craftsmanship is allowed to speak for itself. There are cracks, there are imperfections, it’s rough at times, but it’s part of the story. The variety of bricks used in the walls alone are a dialogue on London’s history. It imperceptibly communicates something that I cannot put into words. Something intangible. Something of how we run our practice. It’s an acknowledgment of our values. This, coupled with the work we do, is rooted in leaving a legacy for the future while showing a respect and appreciation for the past.

GAVIN MCGILLIVRAY

Associate Joined JTP in 2015

JTP’s new studio is a reflection of collective success. It encapsulates the ethos of the practice in a physical form. The level of thought and care that has gone into making this place bespoke to us is extraordinary. All the analysis around our ways and habits of working, that’s all been synthesised into a physical design and a lot of love went into that process. And look at what’s been achieved! It’s such a serene environment. From the acoustics to the lighting, the circulation space to the details which peek out of the most unassuming places –it’s really bang on!

REBECCA FROST

Associate Joined JTP in 2013

We always talk about this idea of breathing life into old places and we’ve actually done it with Pennington Street Warehouse. The structure itself has a calmness to it; the space, the materiality, the location.

It also has something to do with this new transparency and openness; you can see everything that’s going on. And not only has that really encouraged collaboration and sociability, but it also adds a layer of animation to the space. People are engaging with the building and each other in a really positive way. The studio feels more like home and we feel much more of a family within it.

LEIGH YEATS

Community Planner Joined JTP in 2015

I remember my first time in the building vividly. It was amazing. There was a scent of familiarity, the sun had just gone down, so it was dark outside, but the lighting in the space made you feel like you were at home. The openness, the brick, wood and metal, the mezzanine, I was just blown away. And every time I enter the studio, I get that same feeling. It’s really changed the way I behave and interact with my peers. I find myself walking around more, rather than picking up the phone or emailing people. It perpetuates better human interactions, and that can only be a good thing. ELVINA CRASTO DE SILVA

Associate Joined JTP in 2010

PSW isn’t a building; it’s an identity. And it’s given us a new confidence. A confidence to embrace the new and welcome change. I think this confidence has led us to work in a considerably different way than we did before. We’re more agile; no longer tethered to a desk. A fixed desk means that there is a tendency to pin up personal photos, cards, etc (which I did in the previous office). With flexible working there is no hanging onto memories. Instead you’re interacting with new people, in the present. I like that. The visibility and transparency in the new studio has been really defining. It’s vitally important to see what other people are doing; it cross-seeds ideas. More and more I find myself engaging in conversations which lead to an idea that hadn’t been thought of and that feed into my own projects. That didn’t happen so easily before.

LIZ LIDDELL-GRAINGER

Associate Joined JTP in 2015

It’s given everyone a renewed enthusiasm. The new studio feels more naturally collaborative and having the flexibility to move around is great. There are so many types of spaces – for focussing, collaborating, socialising and learning – it’s very refreshing.

ALEXANDER MACAULEY

Senior Architect Joined JTP in 2018

I was looking at the JTP sign over the reception desk painted onto the brickwork, and I thought, ‘that’s a bit odd’. Normally an architect would seek out clean lines and crisp simplicity. Later, I was looking at the original signs along Pennington Street and noticed how they are always painted onto the brickwork over the arches. So, what seems like a mistake is actually a very deliberate decision, one that respectfully pays homage to the building’s heritage. It’s been painted with egg whites, which would have been the traditional way to paint signage when the building was constructed. Yes, you could equally just bang up a sign and it would have the same function, but what’s been done is something quite special. And just like every other detail in the building, it is humble and honest. It doesn’t compete for attention.

Marcus Adams presents Creating Great Places, a celebration of John Thompson's (JTP Founder Chairman) career to Tony Pidgley ANTHONY (TONY) PIDGLEY CBE

Founder and Chairman Berkeley Group Holdings

As we were finalising this book, we were met with very sad news of the untimely passing of Tony Pidgley, a long-standing client and good friend who shared our passion for placemaking. We are pleased that we had the opportunity to show Tony around our studio and will always remember his visit and candour with fondness.

Firstly, let me thank you, and indeed your whole team, for the courtesy extended to us yesterday during our visit to your new home. It really was a quite a wonderful experience and I was very impressed not only with the work environment but the general camaraderie that you pick up (or not sometimes!) when you visit any office.

I was very impressed with your flexible working, but what impressed me even more was the VOC-free environment. No VOC is quite an achievement. Congratulations to you and your whole team.

I have never had any doubt about your passion and commitment to placemaking. It’s very inspirational and I can see that it’s rubbed off on your whole team. They are very courteous, wanted to engage, and understood the subject matter. It always impresses me when people are committed to what they are doing.

All that remains is for me to congratulate you and your whole team. It was quite wonderful to see everybody working in such a fantastic environment and yet have such a good work ethic and atmosphere at the same time.

Marcus Blake, Managing Director of St George City, Marcus Adams, Janet Lewis, Mr Tony Pidgley CBE, Founder and Chairman of the Berkeley Group, and Piers Clanford, Managing Director of St George plc

CRAIG CARSON

Land & Planning Director, Joseph Homes Former Managing Director of St George City Ltd & London Dock DAVID MOONEY

Director of Development, London Wildlife Trust

I always knew this was going to be special. The way the historic fabric has been incorporated is excellent, a simple approach to creating a space that has outstanding presence and a charmingly intimate quality. The selection of materials has been excellent – from the exposed beams to the recycled newspaper worktops. We, as an industry, need to give greater consideration to the materials being used in buildings and you have certainly started to raise the awareness on what can be done. Pennington Street Warehouse has evolved over its 200-year history and I feel that JTP has captured the best of this in creating the next chapter. This is an entirely different world from the old studio. I felt like I could have stayed all day. It was like visiting the most stylish, well-planned public library. A public library that has married a high-end New York restaurant and given birth to a design studio in Wapping. I feel like moving my entire ecology consultancy in and leaving them here to create green towns and cities of the future. RICHARD COPPELL

Group Development Director, Urban&Civic plc ROB TINCKNELL

Partner, ARELI Real Estate Ltd Former CEO, Battersea Power Station Company

Clients and visitors are met by a welcoming entrance befitting of the JTP brand: straight into the shop floor. Rather than hidden away on a multitude of floors and concealed offices, sightlines through the layered space give us an immediate experience of JTP.

There is an overriding sense of cosiness at the new studio without ever losing the sense that this is a place of creativity and work. The clichéd architectural approach of clinical white walls has now been eschewed in favour of the warm textual tones of the historic brickwork and brown steel-framed internal doors and windows, which have artfully been brought to life through canny lighting. installations. JTP’s fantastic new studio clearly demonstrates the creativity, determination and commitment of this great practice. From cosy two-person alcoves to large vaulted meeting rooms, the open-plan space is naturally relaxing, allowing the team to focus, merge and create. The huge commitment made by the team to provide such an amazing environment clearly shows JTP’s focus on people-centred design; an attitude which permeates into the architectural solutions they create.

ACKNOWLEDGEMENTS

CREDIT WHERE CREDIT IS DUE

Who made it possible?

From start to finish, the new studio has been a vast collaborative undertaking. Truly a case of practising what we preach. Huge credit is due to all the design, technical and construction teams involved, with special thanks to the exceptional individuals overleaf, who orchestrated success. Because every great project requires champions.

DESIGN TEAM

ARCHITECTS JTP

STRUCTURAL ENGINEER Alan Baxter Associates

M&E DESIGNER XCO2

COST CONSULTANT BWA

FIRE ENGINEER H&H

DRAINAGE ENGINEER DSA

APPROVED INSPECTORS MLM

ACOUSTIC CONSULTANTS Sharps Redmore

SPACE PLANNING Spacelab HERITAGE CONSULTANT Nicola de Quincey

BREEAM CONSULTANT Norman Disney & Young

PRINCIPAL DESIGNERS Gardiner & Theobald

PRINCIPAL CONTRACTOR Construction + Management Ltd (Stewart Black, Phil Pollard, who came out of retirement for this, and Christian Purcell)

MECHANICAL CONTRACTOR JPS (Wayne Peck & Steve Burl)

ELECTRICAL CONTRACTOR VBS (Michael Quartermain & Steven Harding)

STEEELWORK CONTRACTOR Rayward Installations (James Rayward) GLAZED SCREENS Fabco Sanctuary

INDOOR BOTANICAL DESIGNER Roco

SECURITY CONSULTANT WLS

AUDIO VISUAL Carillion Communications

SIGNWRITER Nick Garrett

FURNITURE Opendesk

SHELL & CORE

CLIENT St George City Ltd

ARCHITECT Richard Griffiths Architects

STRUCTURAL ENGINEER Alan Baxter Associates

The Client

JANET LEWIS

JTP HR & Operations Partner

Janet was responsible for working out first how we bought the building, and then how it should be owned, dealing with the pension fund and taking responsibility for drafting the Members’ Agreement.

She was the mastermind behind the staff engagement process, seeking feedback and refinement at every stage, and preparing the JTP team not just for the move but also for the operational change that came with our new workspace.

The detailed and expansive brief she created covered everything from room names to IT provision, and project zones to details of the reception desk. While not an architect by training, Janet has an excellent eye, and was relentless in pursuit of what was the right solution, as opposed to what might appear the most obvious or easiest.

Totally absorbed, and committed to the studio being the best it could possibly be, she spent her weekends researching lights, taps, toilet roll holders and easy chairs.

The studio would have been very different without her involvement and contribution.

The Project Architect

JOE WORRALL

JTP Senior Architect

Joe had the best, and at the same time probably the trickiest, architectural project in the practice. He worked incredibly hard and learnt a lot, gaining some new grey hairs in the process.

He can take credit for the simple yet robust detailing and controlled palette of materials and finishes, designed to be timeless and durable in use. As well as being responsible for all the construction and technical details, he oversaw coordination with structural, mechanical and electrical engineers, health and safety issues, and fire safety. Most importantly, he oversaw construction of the works on site, translating the design into built reality and collaborating closely with the contractor to resolve those tricky site issues that inevitably arise when bringing heritage buildings back to life.

Youngsters are often told in the practice that to be a successful architect you need to be an opportunist. Joe certainly grabbed his opportunity with both hands, and then applied skill, hard work and much determination. The two years he spent on this project will undoubtedly have been a very worthwhile investment for his future career.

The Principal Contractor STEWART BLACK

Director, Construction + Management Limited

JTP recognised the importance of having construction expertise within the team at an early stage. Stewart Black, Director at Construction + Management Limited, had been the contractor for the refurbishment of our previous studio at Great Sutton Street back in 2008, and so we called on him again to help shape the detailed design of the project into one that could be delivered efficiently, to programme and to budget.

Stewart spent two years working closely with the project team and was invaluable in establishing how best to build-out the studio and develop the details to deliver the vision in the most cost-effective way. This role in the early design stages also ensured the JTP vision was carried through to the construction team on site.

It was a privilege to watch Stewart effortlessly manage the multiple contractors required for a build of this complexity, to achieve an ambitious (and occasionally unbelievably challenging) project programme. His hard work, focussed approach and sheer determination kept the project on course and it is to his credit that practical completion was achieved on time and to the quality we expected.

Stewart should take as much pride in the studio as we do, and our utmost gratitude goes to him. THANKS ALSO DUE TO:

Scott Perry, Eric Holding and Leeann De Barros, the authors of this book, and to Adam Bowie for the book design.

Liz Liddell-Grainger, who took responsibility for managing the environmental and sustainability issues, ensuring we achieved BREEAM ‘Very Good’ and that we were VOC-free. She achieved exactly that! Eve Denney, who helped find the furniture, commissioned the greenery and organised the huge task of the studio move from Great Sutton Street to Pennington Street Warehouse; a massive undertaking that went like clockwork. Nick Cottle, who had huge responsibility for IT and communications. And amazingly we were up and running in our new studio in less than three days.

Adam Bowie & Leo Allen Cripps, who designed the studio signage and graphics, and commissioned the signwriter.

Emma Blackledge, who told everyone about the move – managing press releases, news items on the website and tweets on social media.

Colin Smith, who made sure we had the money in the bank to buy the building, fund the works and pay the invoices to the contractor.

Kevin Lin, who checked the invoices and made sure our contractor was paid on time. Emmet O’Sullivan, who oversaw the Design & Access Statements for the Listed Building and Planning applications.

Bill Sands & Vincente Florido, who created the computer-generated images and panoramic photography.

Jeremy Yen, who produced the beautiful floor plan artwork for this publication. IMAGE CREDITS & COPYRIGHT

Page 32: London Dock, 1806 © Museum of London

Page 36: London Dock, 1963 © Museum of London

Page 38: The last barrel, 1968 © Museum of London

Page 40: Wapping wasteland 1971 © Paul Webster londonsdocks.com

Page 42: Pennington Street (1975) (Television series, DVD) in The Sweeney: Poppy (S2, Ep. 8) © Euston Films Ltd & Thames Television

Page 42: St Katharine Docks (1980) (Film still, DVD) in The Long Good Friday © Black Lion Films, HandMade Films & Calendar Productions

Page 42: Pennington Street (1983) (Television series, DVD) in The Bill: Burning the Books (S1, Ep. 9) © Thames Television

Page 42: Spirit Quay (1999) (Film still, DVD) in The World is Not Enough © Eon Productions & Metro-Goldwyn-Mayer Pictures

Page 43: Alec Baldwin as Alan Hunley in Pennington Street Vaults (2018) (Film still, Blu-ray) in Mission Impossible: Fallout © Skydance Media, Bad Robot Productions, TC Productions & Alibaba Pictures

Page 43: Tom Holland as Spider-Man and Jake Gyllenhall as Mysterios in Pennington Street Vaults (2019) (Film still, Blu-ray) in Spider-Man: Far from Home © Columbia Pictures, Marvel Studios & Pascal Pictures

Page 43: Dwayne Johnson as Luke Hobbs & Venessa Kirby as Hattie Shaw in Pennington Street Vaults (2018) (Film still, Blu-ray) in Fast & Furious Presents Hobbs & Shaw © Seven Bucks Productions & Chris Morgan Productions

Page 44: Wapping wasteland 1971 © Paul Webster londonsdocks.com

Page 46: The printers' dispute of 1986, Fortress Wapping © Nic Oatridge

Page 48: The printers' dispute of 1986, Fortress Wapping © Nic Oatridge

All studio and architectural photography © Craig Auckland/Fotohaus & JTP respectively

Illustrations by David ‘Harry The Pencil’ Harrison