welcome to bdp 2015: creativity · welcome to bdp 2015: creativity this year we focus on the theme...

Dear Readers

Welcome to BDP 2015: Creativity This year we focus on the theme of creativity, a subject about

which we are passionate. As an integral part of the design process,

creativity informs everything done by everybody in BDP. It defines

our design output and is what fires up our people.

In this publication, a variety of approaches to the creative process

is explored through a series of thought pieces written by a range of

contributors from across BDP. The pieces are illustrated by some of

our current and recently completed projects. We also celebrate the

George Grenfell Baines Award, named in honour of the founder of

our firm, and given to BDP’s best completed building of the year.

We hope you enjoy reading it.

www.bdp.com

Follow us on Twitter:

@bdp_com

43

WELCOME

C R E A T I V I T Y – – T W E N T Y F I F T E E N

DAVID CASH Chairman

David is an architect and BDP’s

chairman. Responsible for giving

direction to the firm, both as

a business and creatively, he

is dedicated to developing the

practice internationally.

GARRY WILDING Architect Director

Garry is passionate about retail

architecture and design. Having

worked on large scale shopping

centres in China he has

particular experience in working

overseas and the challenges of

the processes involved.

JAMES MILLINGTONLandscape Architect Associate

James jointly leads the

landscape team in the north

of England and is currently

providing expertise for the UK

Pavilion at the Milan Expo 2015

- a true collaboration between

landscape and art.

MICHELLE MCDOWELL Chair, Civil and Structural Engineering

Michelle, a well known industry

figure, chairs our civil and

structural engineering group

and has been responsible for

many of its award winning and

high profile projects.

GRAHAM MCCLEMENTS Director, Architecture and Head of Workplace

Graham leads our workplace

sector and is responsible for

some of our national BCO

award winning projects. He

has strengthened the sector

internationally and is currently

leading our biggest workplace

project for AstraZeneca.

ANDREW SMITH Director, Architecture and Head of Healthcare

Andrew is chair of our northern

studios and leads the practice’s

work in the healthcare sector. He

is responsible for designing and

delivering some of the country’s

most prestigious new hospitals.

MARK RIDLER Lighting Director,Chair of Lighting

With years of experience

in theatre and architecture

and recently named Lighting

Designer of the Year, Mark

leads our lighting profession

and is a leading force in

international lighting design.

SUE EMMS Architect Director

Responsible for delivering some

of our most innovative and

award winning schools, Sue

leads interdisciplinary teams

on a range of projects and is

our education sector advisor for

northern England.

MARK BRAUND Architect Director

Enthusiastic about the role of

architecture in delivering a better

and brighter sustainable future,

Mark is also working on the UK

Pavilion and has completed

many award winning projects

from our Manchester studio.

MARK SIMPSON Interior Design Director

A well regarded industry figure,

Mark is a design director in

our London studio and has

responsibility across our

workplace and retail work to

promote the highest level of

design and creativity.

JOHN MCMANUS Chief Executive

John is the first architect to

become BDP’s chief executive.

A graduate of the Mackintosh

School of Architecture, he is

based in Glasgow and has led

many of our major projects.

CREATIVITY & TECHNOLOGYChairman’s Introduction

TREATING THE PERSON Thought Piece 1

BRITAIN IS BUzzING Thought Piece 2

THE LEARNED GAME Thought Piece 3

ENGINEERING THE DREAMThought Piece 4

BUILDING A RECOVERY Thought Piece 5

DIVERGING TRENDS IN EDUCATION Thought Piece 6

SCIENTIfIC CONNECTIONS Thought Piece 7

DEVELOPING A PERSONALITY fOR THE WORKPLACE – AND Y? Thought Piece 8

CHIEf EXECUTIVE’S REVIEW 2014

GGB AWARDS 2014 Entries

GRADUATE CONfERENCE 2014

OUR VALUES

06

08

14

18

24

28

34

40

44

50

52

56

58

5 6

CONTRIBUTORS

C R E A T I V I T Y – C R E A T I V I T Y –– T W E N T Y F I F T E E N – T W E N T Y F I F T E E N

7 8

Whilst new technologies empower creativity, they can never

replace it. They enable the designers of buildings and

spaces to realise increasingly complex concepts over ever

shorter timescales but they do not have the ability to provide the

vital spark of inspiration needed to create architecture and, probably,

they never will.

The rate of change in so many walks of life nowadays is

amazing but, in the technological world, it seems to be accelerating

exponentially with each passing year. This means the future is

simultaneously incredibly exciting and a little terrifying. Perhaps

apprehension increases with age - in itself a good reason why

organisations like BDP need to be constantly reinvigorated by

recruiting and promoting the best and brightest young talent.

Nevertheless, some chariness is understandable. After all, the switch

from 2D to 3D representation of our designs through BIM (Building

Information Modelling) has been more fundamental than was the

transition from drawing board to computer screen which preceded it

25 years ago. Furthermore, a review of the planned future levels of

the BIM process to 2050 makes the progress achieved to date seem

pedestrian by comparison.

BDP is proud to be at the forefront of the BIM revolution. As

members of a select group of professional and academic institutions,

major contracting organisations and key players in the IT world

amongst others, we are responsible for determining future national

strategy. However, this would count for little if we didn’t practise

what we preach. The good news here is that all new projects in each

of our locations are now being addressed using BIM technology

whenever possible. To maximise the benefits, BIM requires an

integrated approach by all the professional disciplines associated

with the design of the built environment. Our interdisciplinary nature

means that we are particularly well positioned to take advantage of

the latest technology and be leaders in establishing the new working

methods which flow from that.

Whilst new technologies such as BIM have a radical effect on many

aspects of the way in which we design buildings and the ability

to improve greatly the capability and efficiency of construction

activities, there are some things which don’t change.

ThIs YEAR, ThE ThEmE oF ouR REVIEW Is

‘CREATIVITY’ – AN INTRINsICAllY humAN

pRoCEss bECAusE IN ThIs REspECT, ThE

CompuTER CANNoT TAkE ThE plACE oF

ThE humAN bRAIN, EspECIAllY ThAT oF

ThE gIFTEd dEsIgNER.

Furthermore in my experience there is still no digital substitute for

a hand-drawn sketch, especially in the early conceptual stages of a

project. For the architect and engineer, the computer presents not

a threat but an opportunity offering wonderful new possibilities in

many different directions. Deep Blue may have defeated a chess

Grand Master but a computer will never produce great (or even

modest) architecture because it cannot be programmed to have that

vital creative spark of inspiration.

Creativity lies at the heart of everything in BDP and is one of the

firm’s five core values (see the penultimate page of this publication).

Our interdisciplinary teams comprise a wide variety of professions

with expertise across a range of different sectors operating from

locations across the world. For them all, creativity (enhanced by

technology) is a common characteristic. Examples of a few of the

ways in which this is happening, happily with greater frequency this

year as the firm gets busy once again, are contained within this

review. I hope you enjoy reading it.

CoNTRIbuToR:

DAVID CASH

CHAIRMAN’S

INTRODUCTION


AstraZeneca’s new Global R&D Centre and

Corporate Headquarters BIM model

Modern medicine is miraculous.

Its ubiquity in the developed world masks its extraordinary

and ever increasing ability to save lives and cure painful and

debilitating conditions. Its synthesis of care and science

represents one of humanity’s highest achievements, yet many of

the buildings which house modern medicine do not reflect the noble

endeavour undertaken within them.

There are understandable reasons for this. It is very easy for an

organisation procuring a hospital to be overwhelmed by scale,

complexity and the need for efficiency and cost effectiveness. The

resulting hospital buildings can still treat patients’ conditions but

ultimately fail to lift their spirits.

There is a need for spaces which allow caring health professionals

to help patients come to terms with their illnesses, the processes

that they must undergo and their feelings about them - an issue

acknowledged and addressed by the objectives of the Maggie’s

Centres movement.

9 10

CoNTRIbuToR:

ANDREW SMITH

THOUGHTPIECE

1


Southmead Hospital, Bristol


11 12

A new generation of hospital projects is making more overt attempts

to address this need. BDP has achieved this by designing a portfolio

of hospitals in response to the needs of the individual patient, visitor

and member of staff. An experiential approach of ‘how will it feel?’

rather than a more conventional architectural perspective of ‘what

will it look like?’ or ‘how will it work?’ Such an approach permeates

every aspect of our designs, engendering a sense of place, from the

macro level of the city to the micro level of the individual room.

It begins before the patient even reaches the building. Rather

than being isolated from the city, hospitals should be part of them

seamlessly integrated into their routes, spaces and vistas. They need

to be true civic buildings, reflecting their community’s pride in them

and their staff.

Patients attending hospital are already feeling anxious about their

health so the building design shouldn’t exacerbate matters by making

it difficult to find the entrance. It should actively ease the process of

arrival and navigation with the provision of vehicular and pedestrian

circulation scaled more akin to that of an airport or train station.

Simple wayfinding clues in the layout of the site and the form of the

building should lead people intuitively to their destination.

The experience of staying in hospital can be very isolating.

Hospitals, therefore, need to be designed so that patients perceive

that they are still part of life, maintaining physical and visual contact

with the outside world and with opportunities for social interaction

encouraged within the building. Spaces of varying scales and

building elements which maximise openness and transparency allow

patients to see staff and, when they want, to see other patients. Staff

equally need to see one another as they move around the building

and in restaurant settings to promote team cohesion and the cross

fertilisation of ideas between staff, students and researchers.

T R E A T I N G T H E P E R S O N

Southmead Hospital, Bristol

Tobias Rehberger binary clock sculpture

13 14

Conversely at other points in their hospital stay patients may want

privacy. This applies particularly in the ward environment where the

provision of single bedrooms can fundamentally change the sense

of ownership of space so that the bedroom belongs to the patient

rather than the hospital and staff are encouraged to ask whether

it is convenient to enter. Patients can feel at their most vulnerable

during the transfers to and from surgery and typically will not wish

to be observed by the public at that time. This can be achieved with

a carefully interlaced design for the hospital’s circulation to separate

public, patient and logistics flows, simultaneously supporting

flexibility and security.

A sense of claustrophobia associated with being trapped inside

a very big hospital building is a potential consequence of the large

plan area which many hospitals cover. Consequently hospital

buildings need to be articulated as a series of individual linked

elements that function efficiently, and allow daylight to flood into

public, patient and staff spaces.

Recovery and a sense of wellbeing need to be supported by the

ability to sleep whilst staying in hospital. One of the most frequent

obstacles to this is the level of noise from mechanical ventilation,

equipment alarms and the conversations of staff and other patients.

It is therefore essential to achieve a quiet acoustic environment,

through space planning, acoustic insulation and absorption.

Hospitals are traditionally associated with unpleasant disinfectant

smells. Whilst effective infection control measures remain crucial,

the engineering design needs to achieve a fresh air ambience

in the heart of the building. In bedrooms, patients should have

the autonomy of control over their environment either through

mechanical or natural ventilation.

Although the provision of healthcare is a very serious business,

hospitals benefit from elements that are just for fun such as art

programmes and mega-graphics which amuse and distract patients

when they are bored and anxious.

hospITAls NEEd To bE muCh moRE ThAN

mAChINEs FoR TREATINg; ThEY NEEd To

bE REAl plACEs oF hEAlINg, A sYNThEsIs

oF pATIENT FoCusEd CARE ANd pATIENT

CENTREd dEsIgN, WhICh sAVE lIVEs ANd

hElp mAkE lIFE moRE WoRTh lIVINg FoR

EVERYoNE ThEY TouCh.


Llanfrechfa Grange, Wales

Llanfrechfa Grange Walled Garden, Wales Alder Hey Children’s Health Park wayfinding, Liverpool

The ‘Great Exhibition of the Works of Industry of All Nations’

was held in London in 1851 and is universally recognised as

the first modern World Expo as well as the first exhibition of

manufactured products. Since that inaugural event, the purpose of

the Expo has evolved to provide a platform for countries to showcase

their talent, promote trade and investment across the world, offer

a glimpse into the future through ideas and innovation and offer a

great day out.

At the 2010 Expo in Shanghai, Thomas Heatherwick created

the Seed Cathedral for the UK pavilion which attracted 6.5 million

visitors, won the BIE Gold Award for best pavilion design and attracted

international acclaim. This year in Milan, the latest chapter in the

history of the World Expo will be written with the theme ‘Feeding the

Planet, Energy for Life’. Following our successful design of the Liverpool

Pavilion for the Shanghai Expo in 2010, BDP will once again be part of

this prestigious event, working alongside the internationally acclaimed

artist Wolfgang Buttress to design the UK pavilion.

CoNTRIbuToRs:

JAMES MILLINGTON & MARk BRAUND

15 16C R E A T I V I T Y – – T W E N T Y F I F T E E N

THOUGHTPIECE

2

UK Pavilion Milan Expo 2015

Wolfgang’s work is the creation of public and private space through

sculptural intervention. From his Nottingham studio he has developed

skills in metalwork and welding which enable him to realise his multi-

award winning iconic landmark sculptures.

The pavilion explores both the parallels and intrinsic relationship

between bees and humans including the current decline in the honeybee

population and its significance in food production. The intention is to

create an experience which is visceral and immersive. Visitors will be

taken on a journey through British landscape typologies – an orchard,

an undulating wildflower meadow, a piazza and a roof terrace – before

arriving at the focal point of the pavilion, a huge sculptural beehive.

At this point, visitors will be enveloped by pulsating lights and sounds

generated from signals transmitting the movement and bee language

within real beehives.


On entering the orchard to a soundscape of bees humming within

British apple trees, visitors will pass into an enclosed space which

references a traditional beehive. This contains the reception, live

video feeds from hives and a glimpse of the journey beyond. Visitors

then move on into a gently undulating wildflower meadow evoking

the rolling hills of the English countryside. From here, the hive

presents itself glistening like a beacon on the horizon imitating

the sun which enables all life on earth. Multiple paths represent

the orienteering ‘waggle dance’ of the bee so that visitors are free

to explore and navigate their own journeys accompanied by the

continuing sound of bees passing overhead.

AN opEN pIAzzA ACTs As A

CouNTERpoINT To ThE CoNTRollEd

pAThs oF ThE mEAdoW, AlloWINg

VIsIToRs To pAss dIRECTlY uNdER ThE

hIVE WhIlsT ThE souNds INTENsIFY.

sTEps lEAd up To A RooFTop TERRACE

CoNTAININg A CANopIEd loNg bAR.

FRom hERE oNE ENTERs ThE hIVE ITsElF

To ComplETE ThE bEE’s jouRNEY.

Interior spaces below the roof terrace house VIP facilities, back of

house space, a conference room and internal exhibition space.

Unlike previous UK pavilions, the intention for 2015 is to create an

essentially quiet and contemplative experience which says much

through as little as possible.

JAMES MILLINGTON Q&A

FAVOURITE PLACE yOU VISITED THIS yEAR

Paris in Spring. There’s no better place to spend

your 10 year Wedding Anniversary.

FAVOURITE PERSON yOU HAVE WORkED

WITH THIS yEAR

I’d have to say Wolfgang Buttress. You can’t

help but feel better about life when you spend

time with him. He’s Mr Cool personified!

PROFESSIONAL HIGHLIGHT OF THE yEAR

Being instrumental in winning the UK Pavilion

competition alongside Wolfgang and his

team. It really is a collaboration between art,

architecture and landscape.

PERSONAL HIGHLIGHT OF THE yEAR

Celebrating 10 years of marriage to my

gorgeous wife Rebecca. Time flies when you’re

having fun…and bringing up two young

children, and moving house (twice), and taking

over jointly leading the landscape team in the

Manchester office, and...

MARk BRAUND Q&A


I’ve managed to do a bit of travelling this year

to different places in Europe, with a fair few

of those trips out to Stockholm. One of the

highlights was a cycling tour with the team to

revisit for myself Sigurd Lewerentz’s famous

church in Stockholm, a masterpiece in the use

of natural and artificial light and the use of

brick – well worth a visit.


WITH THIS yEAR

There have been quite a few this year. Working

with Vinci on St John Bosco has been a great

experience of a successful design team and main

contractor team relationship; working with Stage

One on the UK pavilion has been an interesting

experience of working with a highly specialist

exhibition contractor with different processes

to get to the end result. I think collaborating

with the artist Wolfgang Buttress has been the

highlight with a fantastic departure from the

norm on the design process for the UK Pavilion.


Working on the UK Pavilion is a once in a

lifetime experience (probably) and a great step

up from the design of the Liverpool Shanghai

Pavilion at the last Expo. Hopefully this vein of

work is something that I can continue with as

it’s a really interesting experience developing

new skills in delivering something temporary,

high quality, on a tight budget and programme.


The news of our next new addition to the family

in the early new year!

B R I T A I N I S B U Z Z I N G

C R E A T I V E H O T S P O T C R E A T I V E H O T S P O T

17 18C R E A T I V I T Y – C R E A T I V I T Y –– T W E N T Y F I F T E E N – T W E N T Y F I F T E E N

When our eyes our open, our

vision accounts for two-thirds

of the electrical activity of the

brain and, overwhelmingly, it is the

most important sense in understanding

our surrounding environment. All vision is

dependent upon light emitted from a

source, reflected from a surface and

received by our

eye. It sounds

obvious but

it means that

without light all architecture is robbed

of form and materiality – it is literally

rendered invisible. Light is therefore the

invisible bond between the human being and

its surrounding. But this is not only a physical

bond but an emotional and spiritual one

too. Thinking about some of the words

that have been used for millennia to

describe light: warm, cold, dramatic,

stark, soft – they are all metaphors

for emotional response.

This is why aesthetics are

so important in lighting design

because it is the subjective that

evokes that emotional response.

There is no prescriptive method of

coming to a design, and there are as

many ways of lighting space as there are

clients and architects.

THOUGHTPIECE

3

CoNTRIbuToR:

MARk RIDLER

2019

The Avenues, Kuwait


“Architecture is the learned game, correct and magnificent, of forms assembled in the light.”Le Corbusier Vers une Architecture [Towards an Architecture] (1923)

21 22

T H E L E A R N E D G A M E

Here are some of the rules of the game:

Work with natural light be it sun, an overcast sky, fire or the

moon. Daylight should always be the primary source of illumination

but even when it is not available and we come to rely on artificial

light, it is how the building works in natural light that gives the clues

to how it can work at night. When possible we work with architects to

help them craft the building to maximise the benefits of daylight.

Hide the source. We always strive to collaborate with our

partners in design to discover how to integrate and secrete; how to

bounce light off and celebrate material. If the luminaires have to

be in view then their appearance should enhance the space or work

within the harmony of the architecture or interior decor.

Decide what not to light. Only through the manipulation of

light and shade can form be modelled and atmosphere created. Light

is an invisible volume that facilitates activity and communication.

At the heart of our work should be a profound understanding and

concern for those that will eventually use, inhabit and encounter our

designs. It is by serving these people, our ultimate clients, that our

concepts become justified and defendable.


Atrium Showroom, London

MARk RIDLER Q&A


Céret in the French Pyrénées. It is an

atmospheric and beautiful sleepy town, full of

art galleries and cafes shaded by enormous

plane trees. At its heart is the wonderful Musée

d’Art Moderne with works by Picasso, Chagall,

Dufy and Dali.


WITH THIS yEAR

Tomislav Dushanov of Herzog & de Meuron is

a talented architect with such a clear vision.

It has been a delight to collaborate and

share ideas with humour and gentleness, and

together to achieve common goals.


Winning Lighting Designer of the Year in March.


Starting to become a mentor with the Backup

Trust, a wonderful charity with a very personal

connection.

C R E A T I V E H O T S P O T

Fashion gallery, V&A Museum, London

We design in four dimensions. The nature of space changes from

the heat of midday to the golden lowlight of dusk. So too does the

use and function. Artificial light needs to follow and support this,

respectful of the natural rhythms of the day and seasons.

It should be sensitive to context be it political, social, environmental,

historic or cultural – whether we aim to harmonise or counterpoint.

Lighting is an art but also a science. Technology is developing

exponentially and creating surprising opportunities. Creativity can

be found in exploring new ways of deploying light and creating

new products to solve problems found in application. But we should

remember novelty is no substitute for quality in the service of our

ultimate aims.

I sEE mY WoRk As A dEsIgNER Is

hAVINg ThE oppoRTuNITY To blENd

ANd bAlANCE ThEsE INspIRATIoNs, To

lIsTEN To ouR ClIENTs, CollAboRATE

WITh ouR dEsIgN pARTNERs ANd

ANTICIpATE ThE NEEds oF ThosE

pEoplE ThAT INhAbIT ouR WoRk. IT

Is AN hoNouR ANd A dElIghT.

23 24

T H E L E A R N E D G A M E

Trinity Leeds

Manchester Town Hall Library

Maggie’s Culture Crawl, Rocca Gallery, London Brown Hart Gardens, London

C R E A T I V I T Y – – T W E N T Y F I F T E E NC R E A T I V I T Y – – T W E N T Y F I F T E E N

“Creativity is like genius – one percent inspiration, ninety-nine perspiration.”

There’s a spark alright - there has to be. But then the work

begins. Great structural engineering needs great creative

ideas realised through a great deal of dedicated and detailed

hard work.

CREATING TECHNICALLY ADVANCED SPACES Creating inspiring and collaborative environments inspires scientists

to push the boundaries of their research. Our engineers need to

understand the science being undertaken in the building to create

the right environment. At the Royal Free Hospital in Hampstead, we

are creating the Pears Building, a world-class research institute, with

Hopkins Architects. We used specialist finite element modelling to

predict vibration from external sources such as the London

underground and heavy traffic and designed the structure to

create ideal conditions in which scientists can operate their highly

sensitive equipment. On AstraZeneca’s new Global R&D Centre

and Corporate Headquarters, our challenge was to achieve Herzog

& de Meuron’s inspirational architectural vision incorporating 8m

cantilevers and still create the necessary structural robustness for

the scientists to carry out their research. We did this through intense

structural optioneering, testing and refinement.

25 26

CoNTRIbuToR:

MICHELLE MCDOWELL

THOUGHTPIECE

4


AstraZeneca’s new Global R&D Centre and Corporate Headquarters, Cambridge with Herzog & de Meuron Pears Building, London with Hopkins Architects

TAKING SUSTAINABILITY TO THE NExT LEVEL We love a challenging brief – a world class building, an inspiring

workspace, a gateway to the university and the greenest building in

the UK. Our engineers worked with Architype architects to achieve

what has never been achieved before. A ‘materials map’, drawn at

100m radius around the site, assisted the team in selecting locally

available materials including timber from Thetford Forest for the

structure and thatch for the cladding panels. The embodied energy

of the finished building will be about 20% of that for a typical

university building. The building is accredited by Professor Feist,

founder of the Passivhaus movement.

RE-USE OF 1960/1970s BUILDINGS THROUGH RADICAL STRUCTURAL INTERVENTIONBringing life back to buildings from the last century gives our

engineers real opportunity to innovate. At 60 Victoria Embankment

overlooking the Thames, JP Morgan Chase wanted to modernise

by creating a large, column-free entrance space – only achievable

by removing two primary columns supporting six storeys of the

building above. Through extensive communication with the client,

comprehensive structural analysis and detailed construction

sequencing, we jacked the building and removed the columns.

Our client, who understood the complexity and magnitude of the

engineering operation, stood shoulder to shoulder with us on site as

it happened. And the result – a stunning column-free space.

EFFICIENT AND AFFORDABLE STEEL FRAME DESIGN The dramatic triangular form of Enterprise South Liverpool

Academy was inspired not only by the shape of the site but by our

engineers working with the architect to avoid deep buried services.

The ground was highly contaminated but our engineers used ground

modelling and capping techniques to create new sports pitches and

avoid the disposal of material off site.

We drove a rational structural grid to fit the complex plan of the

building and used steel trusses up to 31m long to support the roof

and create the dramatic heart space.

ThE AWARd WINNINg buIldINg hAs

RECEIVEd muCh CRITICAl ACClAIm ANd

pRAIsE FRom boTh sTAFF ANd pupIls AT

ThE sChool.

27 28

E N G I N E E R I N G T H E D R E A M


Enterprise Centre, University of East Anglia

Enterprise South Liverpool Academy


MICHELLE MCDOWELL Q&A


Kingham food fair in the Cotswolds - the very

best of local produce all set on an idyllic village

green on a hot sunny day.


WITH THIS yEAR

My team - they are hard-working, highly

motivated, exceptional engineers and

technicians.


Selected by Hopkins as engineers to work on

the world-class Pears Building at the Royal Free

in Hampstead.


Taking my three year old to the Moscow State

Circus - he was mesmerised (and quiet!) for two

whole hours.


60 Victoria Embankment, London

29 30

CoNTRIbuToR:

GARRy WILDING

THOUGHTPIECE

5


The retail market is perpetually evolving and retailers by nature

need to be an adaptive breed.

The internet market share is growing year on year and this

contributes to a more responsive and competitive retail landscape.

One of the biggest issues facing the traditional retailer is how to

compete with internet shopping, given the savings offered there

through low overheads and large turnovers.

For new shopping centres as well as the high street, the challenge

is to produce an offer which exceeds the might of the internet. They

need to raise the bar of the shopping experience so that not only are

existing customers retained but new ones attracted.

Whilst it may be convenient to sit at home or on the bus ordering

your Christmas presents, doesn’t it lack something? You can’t touch,

feel or try on clothes and, as a result, the return rate on fashion goods

is 30-40%. This is frustrating for the consumer and expensive for the

retailer. In terms of experience you cannot smell perfume or pine

needles using your ipad, nor can you sense the excitement of fellow

shoppers and, once you have completed your shop, you cannot go

for a walk in the park, for a meal or to the cinema. In short, internet

shopping is a lonely texture-less experience devoid of sensory stimulus.

Eden Walk, Kingston upon Thames

31 32

High street retailers need to capitalise on whatever advantages they

can offer. Beyond competitive pricing and more interesting shop-fits

there is a key element which is largely outside their control - a more

enticing and attractive built context for their stores to inhabit. This

is where our design skills and experience can make a real difference,

generating a powerful allure and adding value through creativity and

innovation.

In conceiving spectacular locations for these progressive retailers,

we are able to create true city destinations.

ENVIRoNmENTs WhICh ARE CAREFullY

CoNsIdEREd ANd bEAuTIFullY

dEsIgNEd, Full oF lIFE, sTImulus,

ENERgY ANd ExpERIENCE – CRuCIAllY

plACEs WhICh pEoplE WANT To VIsIT.

By incorporating restaurants, cinemas and other leisure activities

within both city centre and out-of-town schemes, we are able to

create spectacular locations with the power to draw large numbers

of people throughout the day and evening. Restaurants and leisure

activities are increasingly important components of sustainable

schemes because not only do they offer something unavailable

through the internet but also increase dwell times and the periods of

operation until late in the evening.

Westgate Oxford is a good example of this. The retail component

is crowned by an expansive restaurant and leisure terrace which will

take advantage of spectacular views over the dreaming spires of the

historic city. This will create a true destination within the city, day or

night, increasing its draw to a wider audience throughout a longer

operational day.

In Bracknell we have designed a series of buildings to re-establish

the town centre. These will add variety thereby enlivening the

townscape. They also enrich the visitor’s experience and, crucially,

aid orientation through improved legibility. An urban grain within

the town is established through streets of varying scale and width. A

key element of the scheme is a ‘restaurant lane’ with al fresco dining

throughout the year. Covered by an elegant roof structure, this lane

will transform perceptions of the town increasing its attractiveness.

At Taby Centrum north of Stockholm, work on site to extend and

refurbish an existing centre will be complete in 2015. Now Sweden’s

largest shopping centre, the new development has become the heart

of the local community. In addition to an internal square which has

been upgraded, the new shops and entrance address a major new

public space surrounded by restaurants, offices and apartments.

B U I L D I N G A R E C O V E R Y


Westgate Oxford

Edinburgh St James with Allan Murray Architects

New Covent Garden Market, London

In China where competition for shopping time/money is fierce,

further leisure elements are being incorporated into the arsenal of

distinctive attractions. Developers continue to demand the creation

of unique retail places with a strong identity to set them apart

from the competition. Besides the retail component, there will

invariably be a diverse mix of uses ranging from hotels, office towers,

residential towers and complementary leisure uses. Fine dining

experiences and fast food offers are increasingly a large component

of the developments. As in other parts of the world, there is a move

to design places which complement and interact with internet

commerce through the use of technology and showcasing as is

illustrated by our project at Taizhou.

Located next to the world’s largest convention centre in

Shanghai, the West Hongqiao Broadway masterplan is conceived

as a unique retail, leisure and themed urban development. A

series of streets and open plaza spaces brings diversity, activity

and vibrancy to the commercial and leisure offer. In addition five

theatres (including a 1200 seat auditorium) are located within the

scheme. These effectively act as anchors, encouraging movement

of people from the adjoining metro and convention centre. Another

strong design driver in the quest for a new concept is the re-adaption

of historic buildings. Many developments evoke a sense of history

by convincingly recreating the past as happens at xin Tian Di in

Shanghai and the Wide and Narrow Alleys in Chengdu. This is a

design driver for our Nanjing Road project in Shanghai.

At the extreme end of the spectrum of Chinese retail destinations

are places such as October Harbour in Shenzhen and our Nanjing

Xianling project. These are predominantly leisure related comprising

restaurants, bars, a theatre and entertainment destinations with

niche retail areas incorporated amongst them.

Many retailers have evolved their shops into showrooms. Their

goods are showcased and, interestingly, a lifestyle is established

through interior spaces resembling stage sets which helps to develop

brand loyalty. Customers view the goods, absorb the experience and

then order their purchases online directly from the retailer’s website.

The new city spaces we are designing create a perfect setting for a

new breed of showroom shops.

In this increasingly optimistic market, there is a real sense

that once again we can push the boundaries of our imagination

to conceive exceptional spaces. Our ideas are supported by a

commercially savvy approach.

WE ARE dEsIgNINg bEAuTIFul sChEmEs

WhICh WIll ChAllENgE ThE AlluRE

oF ThE INTERNET so ThAT pEoplE ARE

dRAWN AWAY FRom ThEIR sCREENs

ANd bACk INTo ouR ToWN ANd CITY

CENTREs.

33 34

B U I L D I N G A R E C O V E R Y

C R E A T I V I T Y – C R E A T I V I T Y –– T W E N T Y F I F T E E N – T W E N T Y F I F T E E NC R E A T I V I T Y – – T W E N T Y F I F T E E NC R E A T I V I T Y – – T W E N T Y F I F T E E N

West Hongqiao Broadway, China

Nanjing Xianling, China

GARRy WILDING Q&A


Bantham Devon, spectacular landscape,

beautiful beach the perfect retreat and refresh

from London life.


WITH THIS yEAR

Helen Moorhouse, a joy to work with, never

cross even when people are late in supplying

information.


Becoming an Associate Director.


Teaching my three year old son to ride a bike,

aside from the bumps and cuts.


35 36

CONTRIBUTOR:

SUE EMMS

THOUGHTPIECE

6

The education sector is a changing landscape of diverging

trends. Whilst the renewal and expansion of schools has

shifted to a challenging low cost, prescriptive design approach,

we seem to be entering a golden age of capital investment in

universities which offers the opportunity to transform teaching,

learning and research on a global scale.

Higher education in the UK has experienced a monumental

change over the past five years with the advent of tuition fees and

the decline in government grants. Next year, the cap on student

numbers will be lifted, intensifying an already hugely competitive

market and rising expectations of students. Universities are now

investing and the impact on the construction industry will be

significant. In May this year the country’s top (Russell Group)

universities announced a £9 billion spending spree on new facilities

over the next three years. This investment focuses on enhancing

the student experience, providing world-class facilities for teaching

and research and developing sustainable estates that can adapt

to changing student numbers as well as hitting the HEFCE carbon

reduction targets.

The masterplan for Liverpool John Moores University

rationalises their existing estate and relocates all key university

activities within one compact, sustainable, city-centre campus.

Whilst it will offer an exceptional student experience, it emphasises

the university’s role in Liverpool’s future. This will be to provide an

engine for economic growth, thereby impacting positively on society

and the city’s cultural life.

Copperas Hill, Liverpool John Moores University


37 38

We hear a lot about the student experience and the physical

environment has a significant role to play in enhancing the

experiences of both students and staff. Traditional university

campuses used to be a collection of separate buildings for different

activities but today we are seeing the emergence of new building

typologies. The Copperas Hill Redevelopment for LJMU will provide

a new heart to the campus housing the university’s library, student

union, student services, teaching and learning academy, sport, health

and wellbeing facilities and retail and food outlets. Social learning

spaces will bring together a diverse suite of activities, providing agile

technologically-enabled and student-centred learning environments to

offer a rich blend of experiences. This is a building with no boundaries

or domains; a building ‘owned by no-one, but used by everyone.’

WITh FouR uk uNIVERsITIEs WIThIN

ThE WoRld’s Top TEN REsEARCh

uNIVERsITIEs ANd moRE NobEl pRIzEs

pER CApITA ThAN ANY oThER lARgE

NATIoN, uk uNIVERsITIEs ARE Also

INVEsTINg hEAVIlY IN NEW WoRld-

ClAss sCIENCE ANd TEChNologY

REsEARCh FACIlITIEs.

A common theme within our designs for these facilities is an

emphasis on interdisciplinary working, both within the university

and with industrial partners. The Technology Innovation Centre

for the University of Strathclyde brings together academics,

researchers, engineers and leading industrial partners to work side

by side in a state-of-the-art building. The design for the Department

of Chemical Engineering and Biotechnology building for the

University of Cambridge creates an uninterrupted, reconfigurable

wrap of serviced laboratory space, enclosing a social hub where

researchers, teachers, undergraduates and administrators converge.

Whilst home student numbers have been maintained, UK

universities are in intense competition for international students

on the global stage. Universities and their selected partners

are providing new facilities to support emergent pathways for

international students leading to enhanced recruitment. Ambitious

UK universities are also branching out, creating satellite campuses

abroad. Our new campus for xi’an Jiaotong Liverpool University in

Suzhou, China accommodates a range of academic buildings and our

recent design for the International Business School Suzhou on this

campus mixes teaching, research and business engagement, offering

a creative and professional context supporting their aspiration to

become one of the top business schools worldwide.


D I V E R G I N G T R E N D S I N E D U C A T I O N

International Business School, Suzhou, China

Cardiff and Vale CollegeSUE EMMS Q&A


Rome - I’ve never been before and my husband

arranged a surprise weekend away for a special

birthday this year. The city works on so many

levels; the mix of historic architecture and urban

morphology, chic Italian shops and restaurants,

great coffee and ice cream and sunshine and

friendly people.


WITH THIS yEAR

Ed Butler, an extremely talented architect that

I’ve had the privilege of working with on both

ESLA and St John Bosco. It is always amazing to

design buildings with like-minded people, where

design and creative talents complement each

other, the process is fun and enjoyable and the

resultant architecture is one to be proud of.


Our award winning night at the NW RIBA 2014

Awards in Liverpool. ESLA won a regional award,

was shortlisted for a National RIBA Award, the

client won NW client of the Year and BDP won

NW Architect of the Year. It was a memorable

night with the team, client and contractor and

the champagne flowed!


Nearly completing the transformation of our

family home which we started three years ago

and, of course, being a Mum to my fantastic

son Dylan; watching him learn, develop and

grow as a young person through his first year

at school.


Common to all these trends in investment is the role of good design

and the provision of dynamic spaces to facilitate a technologically-

enabled, social learning environment which encourages collaboration.

In an age where students have become consumers, universities are

focusing on building a brand. Great architecture has a key role to play

in this to attract and inspire a new generation of students.

The new school buildings programme in England (PSBP) is in stark

contrast to the emerging unique student-centred projects within the

higher education sector. Over the past few years, we have seen the

English government’s thinking on the design of schools change from

an agenda which aspires to create educational transformation and

the creation of learner-centred environments to a new emphasis on

speed, efficiency, value for money and low-cost. The PSBP programme

suggests all schools should be the same; built to one of a small menu

of standard baseline templates with limited user engagement.

In response to challenging new budgets we have developed an

approach promoting more compact, regular and efficient schools,

utilising tried and tested solutions to certain elements consistent

across schools whilst also focusing on the differentials which give

each school its unique identity, character and appeal, as well as

finetuning them to their site specific context. St John Bosco Arts

College in Liverpool takes this approach; a large single-span

‘learning box’ fitted out internally to respond to the school’s specific

transformational approach to delivering flexible pupil-centric

learning spaces. The school is uplifting and inspirational; a long way

from the baseline templates in every respect except for the tight

budget within which it was delivered.

Whilst St John Bosco illustrates that, with a strong creative

and educational approach, much can be achieved on a very tight

budget the wider political agenda and economic circumstances have

resulted in a rigid, cost driven one size fits all approach to school

design based on traditional teaching methods. The new golden age

of capital investment in universities should take note.

ThE NExT gENERATIoN oF sTudENT-

CENTREd lEARNINg ENVIRoNmENTs

should bE TImElEss ANd CApAblE oF

REspoNdINg To FuTuRE ChANgE. AT

ThE sAmE TImE IT should pRomoTE

ThE INdIVIduAl VAluEs oF ThE

INsTITuTIoN ANd ENhANCE usER

ExpERIENCE WIThIN CREATIVE ANd

CollAboRATIVE ENVIRoNmENTs.


above: Lasswade High School, Scotland

left: Eastwood High School, Scotland

left and above: St John Bosco Arts College,

Liverpool

41 42

CoNTRIbuToR:

GRAHAM MCCLEMENTS

THOUGHTPIECE

7


In 1953 James Watson and Francis Crick discovered the structure

of DNA - the code of instructions for all life on earth. In 2003 -

just 50 years later - humankind had developed and exploited the

technology, the computing capability and the financial and social

impetus to record one whole human DNA sequence; some 3 billion

letters of genetic code.

The revolution in life science research continues. It is a revolution

driven by information technology, open innovation, open data and

other new and better tools for research and collaboration.

Importantly, the places created to facilitate research and

development activity are also changing. Design concepts which

adopt traditionally introverted cellular laboratory facilities, often

hidden behind write up and office accommodation, are being

challenged. The drive is to find a typology that responds to the rapid

pace of change and the demand for more collaborative, flexible and

open research environments.

AstraZeneca’s new Global R&D Centre and

Corporate Headquarters, Cambridge

GRAHAM MCCLEMENTS Q&A


Gothenburg, Sweden: soft northern light, great

architecture and maritime history, creativity

and industry…reminded me of Glasgow!


WITH THIS yEAR

I have the good fortune to work alongside some

fantastic multi-talented people and the tactful

(but truthful) answer is that there is no one

favourite.


Enjoying the creative energy, growing activity,

and day to day challenges in what was my 30th

year with BDP.


My son and daughter taking their first tentative

steps towards financial independence by

getting jobs!


43 44

Translational science or research is a key trend for those researching

in life sciences. Some researchers define this as what occurs from

laboratory bench to bedside in the development of new drugs,

devices and treatment options for patients whilst others view it

as translating research into practice. Regardless of the definition,

the benefits of agglomeration of expertise (education, research

and development, treatment), multidisciplinary co-location and

the influence of place have all been recognised as significant

components in attracting those individuals who are delivering

thought leadership in research and innovation.

By creating places and facilities which encourage connections

and a collaborative culture (what Vygostsky termed ‘the zone of

proximal development’), individual and collective achievements

are strengthened and creativity and innovation are nurtured. The

essential social aspects of study, research and care are increasingly

recognised as important as drivers of progress as advances in

robotics and the global reach of open data.

In life sciences, Cambridge has emerged as one of the UK’s

pre-eminent examples of such an agglomeration of expertise with

facilities within the university, the hospitals, the Wellcome Trust

Genome Campus and the Medical Research Council. The result is a

vibrant environment within which the exchange of ideas and shared

research goals has been successful in advancing scientific knowledge

and developing therapies and medicines. Taken together, these

represent major advances in the treatment of chronic disease.

From the outset, the brief for AstraZeneca’s new Global R&D

Centre and Corporate Headquarters on the Cambridge Biomedical

Campus has embodied the principle of creating a place which, by

its organisation of space, encourages and facilitates this potential

for cross flow of ideas. In turn, this stimulates debate and fosters

opportunity for innovation and creativity within the organisation and

the wider science community.

A number of design principles underpin the realisation of a design

which achieves an environment capable of supporting the rapidly

changing demands of research:

• Accessibleandvisuallypermeablebuildingsprovidinggood

visual connection between sciences in action, both within the

facility and from outside, thereby improving access to and from

the wider research community.

• Theprovisionofspaceswhichpromoteopportunitiesforinformal

conversation that can stimulate debate alongside flexible project

space as well as formal facilities for information exchange such as

conference rooms.

• Ontheonehandamoreintensiveuseofspacetocreateavibrant

collaborative environment whilst, on the other, a more diverse

range of work settings which can respond to changing needs for

concentration or privacy.

• Agoodbalancebetweengenericflexible/adaptablelaboratory

space and the specific, fixed specialist core laboratory functions

such as imaging.

• Opportunitiesforjointworkinginflexible,openplanlaboratory

spaces supported by collaborative meeting and project space.

The design of the AstraZeneca new Global R&D Centre and

Corporate Headquarters seeks to embody all of these principles in

a low rise building which interprets, in an entirely new idiom, the

traditional Cambridge collegiate model.

At Norwich Research Park, the new Centrum building is designed

to a similar set of objectives. In this case, it is as a facility for a

range of small and incubator enterprises who wish to be part of

the collective expertise of the research park with its links to both

the university and hospital. The new building is at the heart of our

15 year masterplan strategy for the development of the research

park. It provides flexible laboratory and write up space on the upper

floors, and on the ground floor amenity and collaborative spaces are

designed to act as a social hub within the campus, encouraging both

formal and informal exchange.

As architects, designers and engineers, we are creating innovative

science and research environments for a growing portfolio of

pharmaceutical and research companies, as well as in the higher

education and healthcare sectors. Across this spectrum we recognise

that creating places which celebrate and nurture science as a cultural

activity is as important as designing for the ever advancing technology.

S C I E N T I F I C C O N N E C T I O N S


AstraZeneca’s new Global R&D Centre and Corporate Headquarters,

Cambridge with Herzog & de Meuron

Above and below: Centrum, Norwich Research Park

BDP has been at the forefront of designing for the workplace

for quite some time now – whether that is in the form of new

buildings, fit-outs or refurbishments. We are actually pretty

good at it too. There cannot be too many practices with quite so

many BCO nominations, regional awards, national awards or that

can boast two ‘Best of The Best’ awards.

That said we do not rest on our laurels. The nature of the

workplace and what it offers those who use it is constantly evolving

and we strive to embrace new ideas and continue to innovate.

The impact of technology on the workplace is well known and

continues to present new opportunities. Laptops, tablets and

smartphones mean we can collaborate anywhere, and not always

at the office. We are seeing more emphasis on ‘not-desking’ than

‘hot-desking’ with people choosing to work and meet in any number

of spaces rather than at a desk.

45 46

THOUGHTPIECE

CoNTRIbuToR:

MARk SIMPSON


Atrium, London

The new facilities at Exchange Station in Liverpool (a BCO regional

award winner) provide such spaces for a vibrant multi-tenanted

building which are in constant use and foster interaction and

collaboration between individuals and businesses. In Glasgow we

designed new facilities for Scottish Enterprise in the recently opened

Inovo building (another BCO Regional award winner).

This facility provides space for businesses and academia to co-

locate in a collaborative environment supported by a central cafe,

business lounges and meeting suites.

The demographic of the workplace is also changing however. The

Millennial (or GenY) generation born between 1980 and 1995

will soon make up the majority of workplace occupants and their

expectations are wholly different to those of previous generations.

They are tech savvy, brand aware, environmentally conscious, mobile

and very ambitious.

It is this talent pool that companies look to recruit and retain.

PwC for instance recruits 1500 graduates per year and estimates

that by 2016 almost 80% of its global workforce will be Millennials.

Part of what attracts them, in addition to salary and promotion

prospects, is the working environment and a positive work/life

balance. Research suggests that 88% of GenY prefer a collaborative

working culture with the ability to be mobile and flexible in their

work patterns. Offices are fast becoming destinations or ‘hubs’ for

increasingly mobile workers to meet and collaborate and the design

of them and the facilities they offer is an important tool in recruiting

the best talent.

47 48

D E V E L O P I N G A P E R S O N A L I T Y F O R T H E W O R K P L A C E


Exchange Station, Liverpool

Inovo, Glasgow

49 50

Our recent work for PwC is also a great case in point. We completed

one of the largest London office fit-outs in recent years for them in

2011. 7 More London accommodates over 6000 staff in just under

50,000sqm with only 4,500 workstations. It offers a variety of work-

settings and collaborative areas for a very agile population.

The settings, standards and sharing ratios we developed there

have now started to be implemented across their entire UK portfolio

and we have completed new projects over the last year or so in

Edinburgh, Reading, Belfast, Norwich (another BCO regional award

winner) and Newcastle (a design which is hopefully attracting the

Y-aye Generation!).

Each location subscribes to the workplace criteria and brand

standards we developed and shares standard common elements.

However each is allowed an element of own identity to reflect the

building or location which instils a degree of individual personality

and avoids a corporate cookie-cutter solution. How that is evolved

and incorporated into the design is the result of extensive user

engagement, listening to the views of all – including the millennials –

to develop a design which belongs to them.

The new spaces feel a lot less corporate than they perhaps did

a few years ago with greater use of colour, pattern and texture, a

variety of worksettings reflected in the use of furniture and fittings

and individual graphic treatments.

ThEY ARE pRoVINg To bE VERY

suCCEssFul – NoT jusT WITh ThE bCo

judgEs – buT WITh ThosE ThAT WoRk

IN ThEm, oF All AgEs.

D E V E L O P I N G A P E R S O N A L I T Y F O R T H E W O R K P L A C E


PwC Newcastle

Images from top clockwise:

PwC Newcastle

PwC Norwich

PwC Reading

PwC Newcastle

PwC Edinburgh

MARk SIMPSON Q&A


I went again to The Green Man Festival which

I’ve been going to for eight or nine years with

the kids. It’s a great little festival nestled into

the beautiful Brecon Beacons. Good music and

for once it didn’t rain much.


WITH THIS yEAR

Our clients at Atrium were great to work with.

Although in BDP terms this could be considered

a small project it was one I enjoyed hugely. It

involved the ID team working alongside our M&E

engineers and the London lighting team so it

was a true interdisciplinary project and one that I

think everyone enjoyed. It looks pretty good too.


It was good to see BDP nominated in so many

categories at the BCO Awards this year having

won a number of regional awards. Although

we didn’t win a national award it was a strong

showing from the firm as a whole which did not

go unnoticed by peers and clients alike.

We also won a significant fit–out project this

year for Cambridge Assessment against really

stiff competition which is always nice.


I somehow managed to reach a significant

birthday this year and, while that in itself might

not be considered a highlight, it coincided

with my daughter’s 18th and my son’s 16th

birthdays. They continue to be the most

important people in my life and to see them

develop into actually quite nice human beings

is very rewarding.


I am privileged to be able to spend a good deal of my time

visiting various BDP studios and, regardless of location, I am

always struck by the sense of vibrancy and creativity. It doesn’t

matter if I am in Shanghai or Sheffield, Benthuizen or Bristol, there

is a palpable energy surge evident throughout the practice as our

marketplace unfolds from years of recession. This all-pervading sense

of rejuvenation across our family of studios is much more than just

perception. Our turnover in the past year has increased by 12% and,

on the basis of a thorough review of our locations, professions and

sectors, we are planning on achieving a similar degree of growth

in each of the next two years. The growth in activity this year

has enabled us to introduce new ideas, new methods and, most

importantly, new people to the practice.

ouR RECENT gRAduATE CoNFERENCE

IN mANChEsTER, ATTENdEd bY oVER

50 oF ouR YouNg pRoFEssIoNAls,

WAs A TRulY uplIFTINg ExpERIENCE,

REVEAlINg REmARkAblE lEVEls oF

CREATIVITY ANd INNoVATIoN WIThIN

ouR YouNgER gENERATIoN.

Running in parallel with this new and rejuvenated sense of youthful

vigour, we are strengthening and refreshing the infrastructure of the

practice. Our uncommon financial prudence over the years has paid

dividends for the firm and for the people we employ. Despite the

difficulties of recent times, over the last five years we have carefully

managed to develop a strong network of international studios. In

addition to our UK and Ireland locations, we now have an established

presence in China, the Middle East, India and the Netherlands.

Our international studios combine local knowledge with the vision,

values and infrastructure of a major award-winning practice. We are

also reinforcing substantially our IT infrastructure with increasing

investments in BIM technology, the refresh of our website and the

adoption of new and improved business management systems.

These investments in places and technology will open up ever greater

opportunities for us across the globe.

The last few years have been challenging and achieving a

sustainable level of turnover in a highly competitive market has,

until recently, been our prime focus. This year is different. This year

has been about creating an ideal working environment in each of

our studios to empower our most talented designers to create first

class design solutions for our clients. The improved economic context

has enabled a leaner and fitter BDP to take stock and we have set

ourselves a strong strategic plan for growth and increased excellence

in service. By focusing intensely on precisely how to get from now

to the future, it makes that future state far more real for our people

and for our clients. It also results in a crisper strategy and greater

emphasis on the key initiatives required to achieve our goals.

This has been an excellent year for BDP. We are confident that

next year will be even better. We move forward with a high degree of

determination and positivity and as pioneers in interdisciplinary working

and sustainable design, we stay ahead by providing a complete service,

combining elegance and vitality, excellence and value.

51 52

CoNTRIbuToR:

JOHN MCMANUS

CHIEF

EXECUTIVE’S

REVIEW


CHIEF EXECUTIVE’S REVIEW

Brown Hart Gardens, London g

“A grown-up oasis has been created, capable of being used in many

different ways. This area now has a clear identity and the sense of

community has been strengthened.”

Ebbw Fawr Learning Community & Pen-y-Cwm School, Wales m

“The best new teaching facility and first of its kind in Wales, this project

successfully unites the varied requirements of an Integrated Children’s

Centre, a Primary School and a Special Needs Educational School.”

Norwich Creative Arts Hub i

“Humming with young people exploring the full spectrum of the creative

arts, this building gives the City College a dramatic contemporary new

image inspired by the traditional architecture of Norfolk.”

Livat Centre, Wuxi, China h

“With over 140,000 sqm lettable retail space and 375 shop units over

three levels, this design explores intriguing spatial interrelationships

and the use of the flowing line to produce an ever-changing sequence

of vistas.”

Eastwood High School, Scotland i

“A mature design process not only consults – it listens. The fact

that pupils, staff and the local community were listened to, and

adaptations made on their input, has given the end users of this

building a sense of ownership that is rarely achieved on new

buildings.”

53 54

THE GGB AWARD

The Grenfell Baines Award is presented to the best completed project produced over the previous 12 months by any one of BDP’s studios. It is named in honour of the firm’s founder and the man whose

vision we have become, Professor Sir George Grenfell Baines.

From twelve submitted projects in 2014, the following five received Best Designed Place Awards.


55 56

St John Bosco Arts College, Liverpool “The relationship between the architect and the school was very special and based on trust. The initial ‘learning box’ vision really has been made a reality – the resultant product far outshines many more conventional solutions and demonstrates wonderfully that an inspirational design really can be delivered on a shoestring budget.”


Fifty developing professionals from around BDP attended our

2014 Graduate Conference which took place over two days

within a suite at the BDP designed Emirates Stadium at Old

Trafford, Manchester. The event aimed to give delegates a better

understanding of interdisciplinary working, an opportunity to meet

and learn from some of the firm’s more experienced professionals

and get to know more about each other.

Talks and exercises were interspersed with activities, including a

high energy, very noisy ‘drum jam’ session that got the adrenaline

pumping. The conference ended with a look into what the future

holds for BDP. It was a memorable, stimulating and inspirational

experience with great fun also being had by all.

57 58C R E A T I V I T Y – C R E A T I V I T Y –– T W E N T Y F I F T E E N – T W E N T Y F I F T E E N

CoNTRIbuToR:

DEBRA LARkMAN


PHOTOGRAPHERSColin Ball

David Barbour

John Beswick

Sanna Fisher-Payne

Hufton+Crow

Max McClure

Killian O’Sullivan

Jonathan Towers

Philip Vile

Terrance Zhang

UK Pavilion at Milan Expo 2015

images by Wolfgang Buttress.

Courtesy of the UKTI.

EDITORIALDavid Cash

Vanessa Brown

Helen Moorhouse

Richard Dragun

DESIGNLynda Athey Watson

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