Mansard Roof Extensions


A feeling of lack of space within the home is a common issue nowadays. No matter the size of family or household an often-limited floorplan means there never seems to be room to grow or do the things you want to.

Home working and modern life has brought this issue of lack of space to the fore, but with house moves expensive, disruptive, and stressful, more homeowners are left asking, “How can I stay in my community, create more liveable space and a better family lifestyle?”

With limitations around side and rear extensions particularly in densely populated urban areas such as London, the option which presents itself is to extend upwards. In this article we examine how to achieve this with mansard roof extensions.


These extensions effectively add an extra floor to a property by raising the ceiling height. Throughout the years they have proved to be an affordable and aesthetically pleasing solution for homeowners, particularly those living in Victorian and Georgian terraced properties built for smaller families over a century ago.

What is a mansard roof?
Before we look at mansard roof extensions, we need to examine what a mansard roof is. Sometimes confused with a gambrel roof, a mansard roof often known has a French roof or curb roof, has two slopes on each four sides. It is less steep at the top and very steep at the sides, the top is often flat or very nearly flat.

The lower slope characteristically contains box-shaped dormer windows (a window typically set vertically into a sloping roof).

Built to the front or the rear of a property usually with natural slate, when viewed from the ground, the upper slope is rarely visible.

There are design variations and which one a client chooses will depend upon the environment in which they live and the structure of their home. The variations are:

Straight: slight slope on the upward panel portion
Convex: curved outside on its lower slope portion
Concave: curved inside on its lower slope portion, with a steep angle on the bottom

History of a mansard roof
We can trace the earliest known example of a mansard roof back to French Renaissance architect Pierre Lescot (1515-1578) who designed a double pitched mansard roof for the Lescot wing of the Louvre in 1550.

One of the most influential buildings of the Renaissance, this led to Francois Mansart (1598-1666), an accomplished architect of the French baroque popularising the design and giving the roof profile his name.

Seen as elegant, effective, and fashionable, the adoption of mansard roofs became widespread in Europe and North America following Haussmann’s renovation and rebuilding of Paris in the 1850s as instructed by Napoleon III.

Alongside the transformation of the city’s boulevards and public buildings, this saw modern apartment buildings created, characterised by mansard roofs and cream coloured limestone, such as those found to this day on Boulevard Haussmann.

His work underpinned a wider architectural movement, second empire style marked by an eclectic and decorative style which flourished between 1852 and 1871 and was widely used in large municipal and corporate buildings such as The Palais Garnier.

Mansard roofs in London
It was not until the late 18th Century that mansard roofs appeared in London and grew in popularity during the Georgian and Victorian eras due to a lack of space, replacing the traditional butterfly roof associated with terraced properties.

Named the London roof due to the prevalence within the city, the Victorian butterfly roof or a V roof is characterised by the inversion of a standard roof form, two surfaces which slope down and meet with a valley gutter in the middle. The look is of a butterfly’s wings hence the name.

The slope of this roof at 37.5 degrees allows them to accommodate a mansard roof extension building a mansard roof with a 70-degree slope, which effectively adds an extra floor to a property.

The very reasons why homeowners desired mansard roof extensions in the 18th and 19th Century exist up until this day, particularly in crowded and space-starved London as a front and rear extension allows up to 32.5sq m of generous indoor space compared to a loft conversion which may only add 23sq m.

This typically means an additional double bedroom with en-suite, or multi-functional open plan family living space. They can where practical also offer the opportunity to incorporate a roof terrace.

Compared to adding a rear or side extension this is a cost-effective way for people to maximise their living space and remain in their communities. It also in most cases adds significant value to the property.
Today mansard roof extensions are widespread across London with a desire by homeowners to ‘improve not move.’ They are particularly prevalent areas such as Fulham, Hammersmith, Kensington, Primrose Hill, Paddington, Bayswater, and Notting Hill.

At RISE Design Studio we have worked on a variety of London based projects which have seen the replacement of the traditional butterfly roof into a mansard roof extension such as our Queen’s Gate Sky home project in South Kensington.

Mansard roof extensions and roof terraces
In London as with any densely populated city private outdoor space is at a premium. As well as extra living space a mansard roof extension where feasible can give clients the option to add in an enviable external roof terrace.

They also add considerable value to a property with reports saying this can be between 10% and 30%. As with a mansard roof extension this return in investment is far greater than the outlaying costs.

Mansard roofs and planning
Due to the architectural importance of uniformed British terraces built in the 18th and 19th century, and their historical significance within London, successive Building Acts and Building Regulations governing height, windows, chimneys, and materials have meant that the design and form differs to that in France and other European countries.

In some areas such as Tower Hamlets in Bow, the design was even banned in the 1990s as local heritage officers felt it affected the look of the traditional London ‘butterfly’ roof. It was also in part because many of these historical terraces had survived the Blitz. This decision was reversed in 2017 with a view to have a more ‘permissable approach’.

Today in Bow and across London, it is almost always necessary to apply for full planning permission to construct a mansard roof. As discussed, this is due in part to historical significance as well as the structural alterations and the implication on the current roof profile.

All alterations conducted need to preserve the structure, character and appearance of a building looking at how that property fits into the wider context of the street and surrounds.

In conservation areas it can be difficult to get planning when the property sits alongside others which remain unchanged. However recent developments such as those in Primrose Hill, and across London, have seen neighbours come together so that several adjoining properties or a whole terrace applies at the same time.

This helps achieve uniformity, timeless design, and avoid the strange uneven ‘gap-tooth’ effect where some houses have extended upwards, and others have been refused.

A group application such as this can cost as little as £339 and as long as owners are informed you do not need their permission to proceed with the application. Furthermore, normally once planning is granted you have three years before it lapses so in practice as long as the person who made the application begins work in that time the other households don’t need to.

This kind of group application may be stemmed in the future due to the introduction of Community Infrastructure Levies for those applications adding more than 100 sq m (1076 sq ft) of floor space to a street. Consideration for smaller batches of group applications may need to be the way forward.

It is essential when applying for listed building consent whether individually or as a group, to hold pre-application discussions with the conservation officer within the local authority at an early stage, this helps avoid later problems and establishes a clear line of communication.

Our professional team will consult with the appropriate departments throughout the process from design through to build. We will also assist with Party Wall Agreements which are required if the work impacts on adjoining properties.

In addition, many local authorities have published residential design guides if they are in an area with a high number of mansard roof extensions. These guidance notes such as this one from City of Westminster Council will answer questions including:

– Maximum floor to ceiling height allowed – 2.3m
– Maximum pitch of the front and back walls, usually 72-degree angle – set back from existing elevation
– Which materials to use in line with the appearance of the building

The local authority planning department will inspect the renovations to ensure that all of the regulations are followed.

With considerable experience in historic building renovation, planning applications, and mansard roof extensions we guide clients through the process to put forward the strongest case for their design. Our applications are always supported with photographs and detailed architectural drawings in line with PPG15 ‘Planning and the Historic Environment’.

If you live in an area where there are no listed buildings,’ then it is easier to gain planning permission under permitted developing rights. These allow you to perform certain works without the need for planning permission and the Local Authority will have that information. Again, we can help to guide you through this process.

How much does a mansard roof extension cost?
There is a considerable amount of structural work involved in adding a mansard roof extension to a property. It is for this reason that they are not cheap.

In London for example costs would range dependent on the building and quality of installation, from £40,000 on average to £70,000 and over.

However, what must be considered is the financial value that they bring to a home in adding what is in essence a whole extra floor. A property which costs approx. £1000 per sq ft, can increase roughly by £100,000 when a front and rear mansard roof extension is added.

As well as that, putting in an additional floor and going from three to four floors for example, will still work out to be considerably cheaper than a house moves. Relocating from say a £1.2million home to something further up the scale which may not even be in the same area could set you back £80,000 in Stamp Duty alone.

Advantages and disadvantages of Mansard roofs
As with any significant alteration to a home, it is important to consider upfront the advantages and disadvantages that a mansard roof extension presents.

Here at RISE Design Studio, we always advise our clients thoroughly and present them with the most appropriate and sensible solution for their property, environment, budget, and needs.

As well as being aesthetically pleasing, the primary advantage of constructing a mansard roof extension is that it increases the volume of the interior of a property thereby creating additional space and functionality.

The almost vertical bottom slope achieves this. The use of dormer windows along this slope also ensures that the space benefits from ventilation and plentiful natural light further adding to a sense of space.

Extending upwards means that homeowners retain their garden space. In addition, the space created can often be more significant and cost-effective than a rear or basement extension and offer a more discreet design.

Whilst popular amongst terraced properties, they are also suitable for most homes where the finish can match an existing building style.

The disadvantages are that you are creating an entire new roof, which is a significant and often costly undertaking and, in most cases, full planning permission is required, which can be stringent particularly in conservation areas. However, our team will help advise on local authority regulations.

In today’s congested urban environment with tightly packed housing well-designed mansard roof extensions present numerous benefits.

Not only do they solve immediate problems modern households have by creating contemporary liveable space, adding value, and ensuring families remain in their communities, but in a wider sense as evidenced by Dr Samuel Hughes proposal ‘Living Tradition’, adding to and adapting these historic properties can improve housing supply and regenerate neighbourhoods and local areas.

Furthermore, in environmental terms, they do not encroach on green spaces, have a lower carbon footprint as a new building is not being constructed and if done correctly have little impact on the skyline.

Why employ an architect to design your mansard roof extension?
There are many specialist builders who work on loft conversions and mansard roof extensions, an architect however brings with them an independent design approach to help you achieve your specific and bespoke brief, as opposed to a firm’s in-house designer who may have a more generalistic ‘cookie cutter’ approach based around reducing costings.

They see the bigger picture
Rather than a generic one-size fits all design based around saving money and time, a reputable and experienced architect will work collaboratively with you to understand your vision. They will look at your property holistically to create a well-thought-out design that meets your needs, budget, and your overall aesthetic.

Working alongside you they will give your home much-needed bespoke space, maximising the potential of your property and adding value to it whilst enhancing your lifestyle.

They can also present different spatial options that you may have not considered, suggest new technologies in terms of energy efficient heating and lighting, allowing you to reach your desired outcome and get the most from the space in ways you may not have considered.

They are up to date on planning and legislation
Architects are well-versed in current planning and legislation, and usually have established relationships with local authorities, conservation departments, and planning.

Planning applications, and permissions can seem daunting, and an experienced architect can help to navigate these and any challenges, with professional guidance and advice, ensuring a smoother process which is timely and a lot less stressful.

• They use innovative technology to bring your vision to life
Architects such as ourselves at RISE Design Studio use the latest in technology such as Virtual Reality (VR) to help you to experience and visualise your design in superb detail before construction even begins.

Not only does this ensure that you get the design you want but it helps to avoid any issues with contractors and specialists as the build progresses because every little detail has been taken into account in advance.

• They can act as a contract administrator
If you employ a specialist company to carry out your mansard roof extension there is no-one overseeing the work apart from the company themselves, they are carrying out the work and project managing it.
An architect can act independently with your interests at heart to oversee the work and ensure the quality is as expected in both build and finish, and nothing is rushed through.

At RISE Design Studio we have considerable experience in mansard roof extensions and roof terraces. For more information and to discuss your project contact us at mail@risedesignstudio.co.uk or give us a call on 020 3290 1003.

RISE Design Studio Architects company reg no: 08129708 VAT no: GB158316403 © RISE Design Studio. Trading since 2011.

RIBA Plan of Work 2020

RISE-Design-Studio-Burrows-Road-Glazed-Envelope Architects like most professions welcome industry led guidelines and approaches to inform and improve their work both for their clients, collaborators, and their own progression. The RIBA Plan of Work 2020 is a guidance document set out by the Royal Institute of British Architects (RIBA) and is seen as the definitive design and process management tool for the UK construction industry. First established in 1963 to provide a framework for architects to use on client projects to bring greater clarity to each stage of the process, it has evolved over the years to become an industry wide tool. To reflect the changing approaches to building design, construction and use, and the associated advances in digital technology, increased ethics awareness, and the prioritisation of sustainable outcomes in line with the RIBA 2030 Climate Challenge, it received its biggest overhaul in 2020. In this article we examine the eight stages of the RIBA Plan of Work 2020. We look at how this formal roadmap, whilst not a contractual document provides vital guidance and helps to deliver successful outcomes for stakeholders by informing the briefing, design, construction, handover, and use of a building. Each of the eight key stages has an expected outcome; core tasks; core statutory processes in relation to planning and building processes; and crucial information exchanges, all of which impact the success of the next stage. RIBA-plan-of-work-2020-RISE-Design-Studio Stage Zero – Strategic Definition ‘What do you want to achieve from your building project, and what are your best options?’ This stage is not about design or practical details, but rather a chance for us to get to know the client, developing their requirements and helping shape the business case to achieve them. At this stage all those involved in the client team, alongside ourselves and any other professional advisors must consider that the proposed building project is the appropriate means to meet the client’s stated objectives, and then determine the best way forward. For example, perhaps a new building is not the answer, and the solution could be refurbishment or an extension. To come to a decision, information is gathered for each option. This involves examining previous similar projects, the current building if applicable, analysis of project risk (where appropriate site appraisals and surveys carried out), and consideration of project budgets. We will look at the size, location, scope, and special considerations around the clients’ needs to further refine the vision. From this exercise a recommendation is made on the best option, and a business case is completed. RISE-Design-Studio-Cecilia-Road Stage One – Preparation and Briefing ‘Developing the initial project brief and setting out the timescales – the official start of the project’ Once it has been determined that the chosen project and site is the best way forward, stage one, is the process of preparing a comprehensive project brief and choosing the collaborative project team, allocating specific roles and responsibilities. The project team will include:

Design team – headed up by Lead Designer and overseeing the design programme – Client team – headed up by Project Manager and overseeing the project programme – Construction team – headed up by Project Director and overseeing the construction programme

Feasibility studies and site surveys may be required at this stage to test the brief against the chosen site and budget i.e. are there any access issues? Is it a sloping site? What is the spatial overview and relationships with neighbouring buildings? This is often the time for us to discuss options regarding the site with the local planning authority and make sure there are no constraints. We like to establish clear and positive communication with these departments from the outset. Discussions around building regulations and other legal requirements should happen at this stage including whether the site is within a listed buildings or conservation area It is at this point that objectives are finalised and recorded under:

– Project Outcomes – Sustainability Outcomes – Quality Aspirations – Spatial Requirements

Working with the client, we will at the end of this stage, produce a timescale for the project as well as a project execution plan setting out delivery. RISE-Design-Studio-Casa-Plywood Stage Two – Concept Design ‘The design stages begin and the architectural concept is defined ‘ Stage two begins the core design process which culminates at stage four. We work closely at this stage with the client to produce visualisations, 3D models, and drawings of the architectural concept, ensuring it meets their needs and is aligned to the project brief and cost plan. As well as a visual representation of the building with sections and elevations and how it sits within the surrounding environment, these will often include:

– Interior and exterior renders – Landscaping – Specific requests – Strategic engineering requirements

There is as the RIBA states ‘no right or wrong approach’ at this point, it is our initial design response to the brief and will involve regular meetings, discussions and reviews with the client and specialist stakeholders including planners and those across structural and civil engineering, to shape and define it. The robust architectural concept along with the project brief and cost plan are signed off at the end of this stage. RISE-Design-Studio-Douglas-House Stage Three – Spatial Co-ordination ‘The co-ordinated design takes form.’ Formerly the developed design stage, here our team draw up the client approved design in CAD or ever increasingly with BIM, and develop and test it alongside detailed structural design, outline specifications, building services and cost analysis to ensure its viability. Our design will incorporate the practical elements relating to:

– Window, door, stairway, and fire exit locations – Fixtures, fittings – Proposed materials – Load bearing mechanical information – Mechanical, plumbing, and electrical considerations – Tech and security – Green, eco and solar

During this stage, or certainly at the end the design is finalised into a single model, not prone to change, and planning applications are ready for submission incorporating all our detailed drawings and reports. RIBA Plan of Work RISE Design Studio Stage Four – Technical Design ‘Final design stage before construction begins’ We make further refinements of the existing design at this stage, incorporating where relevant detail from specialist sub-contractors such as lighting specialists, kitchen designers or glazing companies. From this our Lead Architect prepares comprehensive drawings, specifications, and documents for tender. The level of detail will depend on the size and scope of the project but by the end of this stage all elements will be prescriptive rather than descriptive for the project to be manufactured and built, i.e., they set out detailed descriptions around the following:

– Requirements relating to regulations and standards – The specific types of products and materials required – The methods of delivery and installation – The building systems in place i.e., flooring, partitions, mechanical and structural

At the end of this stage all information required to construct the project is completed and we send out the tender to 3-4 contractors we have worked with before. Of course, should the client want to add to the list we will do so. RISE-Design-Studio-Doulgas-House2 (1) Stage Five – Manufacturing and Construction ‘All systems go…construction begins’ The design process is now complete and the appointed contractor takes possession of the site to carry out works as per the schedule of works and building contract. This includes manufacturing off-site and construction on-site. Stage four and stage five can overlap or run concurrently dependent on the size and scope of the project, or when the contractor was appointed. The client can choose to appoint us as the contract administrator at this point should they wish. In this role we act as the middle ground between the client and the contractor to ensure that all works are being done in accordance with finalised drawings and specifications. This can entail:

– Chairing construction progress meetings – Preparing and issuing construction progress reports – Co-ordinating site inspections – Dealing with site queries – Agree reporting procedures for defects – Issuing project documentation to the client – Issuing certificates of completion

If appointed, we like to meet weekly with the client and the relevant parties to ensure that everything is running smoothly. The appointment of Building control by the client should take place, to oversee the project and ensure that all is in order in relation to the necessary construction standards. Health and Safety inspectors will review and observe the site at this stage, so it is worth considering an independent consultant to ensure that all the correct procedures are followed. RISE-Design-Studio-The-Bunker Stage Six – Handover ‘The completed building is finished and handed over’ After practical completion, the building is ready for hand over to the client, and the building contract concludes. Feedback and building aftercare exercises take place during this stage to act as future learnings for ourselves, the client, contractor, and consultants, and to address any issues relating to the integrity of the building. These involve light touch post occupancy evaluation and snagging processes, whereby the client compiles a list of defects or incomplete works, overseen by us as the contracts administrator and presented to the contractor to rectify. They then have an agreed Defect Liability Period, usually six to twelve months to address these, after which if all has been made good, building control will sign off the construction and we will sign off the project as a whole. We then issue a final certificate, and this stage is complete. RISE-Design-Studio-Burrows-Road-Glazed-Envelope2 Stage Seven – Use ‘The vision for the building is realised and it is now in use’ This stage starts concurrently with stage six. The building is now occupied and in use. On most projects, our design team will have no duties to fulfil here. However, the incorporation of this stage into the RIBA Plan of Work 2020 gives the client the opportunity to get in touch with us if they require general advice relating to maintenance, energy consumption or management of the facilities. We welcome this communication as we love to hear how the client is finding their new building, and it also allows for effective aftercare, valuable feedback, and building monitoring especially around energy consumption, and is therefore key to the sustainability strategy. The addition of this feedback stage has made the Plan of Work cyclical as it unites the entire process into one, allowing for proper use of the building and then when demands change, and the building reaches an end of life where refurbishment or a new building may be needed, stage zero starts again. Embarking on a design and build project can often be a complex one for all involved, for a client it can be daunting. The RIBA Plan of Work 2020 offers all stakeholders a clear approach to map out the journey collaboratively from vision, through to design, construction and eventual use. At RISE Design Studios, we find that this straightforward process with realistic and measurable targets, the ability to review progress and a provision for valuable learnings allows for enhanced clarity, greater realisation of vision, and successful outcomes no matter the diversity of projects. For more information on the RIBA Plan of Work 2020 visit RIBA Plan of Work (architecture.com) If you would like to talk through your project with the team, please do get in touch at mail@risedesignstudio.co.uk or give us a call on 020 3290 1003.

RISE Design Studio Architects company reg no: 08129708 VAT no: GB158316403 © RISE Design Studio. Trading since 2011.

No more VAT on green home improvements

In March this year, the UK Government removed the requirement for VAT on payments related to the installation of certain energy saving materials in residential property in Great Britain (England, Wales and Scotland). This will be in place until the end of March 2027. Scrapping VAT on green home improvements for the next five years is a welcome move from the government and should mean that more people will be able to afford to improve the energy efficiency of their home.

RISE Design Studio green home improvements

Reducing carbon emissions

The UK Government has committed to achieving ‘net zero’ emissions by 2050. In practice, this means reducing carbon emissions by 78% by 2035 (using the 1990 levels as the baseline). Although this is a legally binding commitment (which should be applauded for its ambition), it is meaningless if no actual action is taken.

Reducing the use of fossil fuels in our homes is an important step on the road to net zero. Over 90% of residential property in the UK is still heated using gas and/or oil, the emissions from which accounts for nearly 20% of all UK carbon emissions. The current cost of living crisis also highlights the unsustainable nature of these types of fuel, particularly when prices are pushed up by global crises such as war, which impact on non-renewably energy supply chains.

Strong support but high costs

There is a huge amount of support amongst the British public for the use of renewable energy in our homes. The growing popularity of ‘green energy’ suppliers is testament to this. Increased awareness of the impacts of climate change, alongside rapidly rising energy prices, strongly motivate us to try to reduce our energy consumption and increase efficiency. However, the uptake of renewable energy installations to provide electricity and heat has been slow. For example, only 36,000 heat pumps were installed in 2020.

This is because the initial cost of installing energy efficient technology and moving away from the use of fossil fuels can be very high. These costs are even higher when VAT is part of the cost. It is therefore good news that the removal of VAT will bring the initial costs down somewhat and, hopefully, make greener electricity and heating accessible to more households.

Still more to be done?

At the time of the change in rules, it was estimated by the government that the removal of VAT on green home improvements would save homeowners installing rooftop solar panels around £1,000 a year (on average). Installing solar panels (or heat pumps or improving insulation) would also save an average of £300 a year on energy bills (although this figure may now be even higher in the context of the increasing prices).

While welcome, there is arguably still more work to be done to enable households that cannot afford new installations to make green improvements to their homes. Removing VAT is unlikely to be the ‘one size fits all’ solution it perhaps set out to be. Now is the time to develop and commit to a national retrofit strategy that would invest in improving all existing housing stock to ensure we all live in healthy and climate smart homes.

What can be done about the global sand shortage?

 

It may come as a surprise to learn that sand is the most exploited resource after water. Globally, we extract around 50 billion tonnes of sand and gravel every year and the United Nations is calling for increased monitoring of extraction and supply chains. We use sand in a very wide range of products, from toothpaste to paint, cosmetics to ceramics. Even in the glass in the screen you reading this on. In particular, huge quantities of sand are used in the construction industry, most commonly in the production of concrete.

Global sand crisis RISE Design Studio

Powering our infrastructure

Sand extraction is predominantly driven by demand for building and infrastructure projects. The industry generally requires river sand, which retains its sharper edges – beach and desert sand is of no use as it has been worn by the sea or wind, which makes it too smooth to function as an aggregate.

Building a single home can require around 200 tonnes of sand to manufacture the required concrete. With increasing global demand for housing, it is therefore unsurprising that several countries have significantly reduced the available supply of river sand. This has sparked a concerning new geopolitical situation, whereby there is substantial illegal trade of river sand. This is underpinned by dredging or mining for sand from poorer countries and then illegally selling this to countries with a shortage of supply.

What can be done?

A recent United Nations report calls for an international standard on extraction. With the global population predicted to reach nearly 10 billion by 2050, and 70% of people expected to live in urban areas, the demand for sand is not likely to slow down. Countries need to wake up to the negative impacts sand extraction has on biodiversity, which means a fundamental shift in how we think about and value sand.

Making changes will be particularly challenging in the context of construction-led post-Covid recovery, which is a driving rhetoric in many countries. There are calls to implement wide-reaching standards that are enforced by agencies. These will require supply chain monitoring and scrutiny of links between governments, industry and other interests. Countries can also try to avoid surplus construction projects, plan more compact urban growth, employ green infrastructure, and design policy to make it easier for buildings to be retrofitted.

What role do architects have to play?

Making these wide-reaching changes will not be easy but architects have a role to play in helping to raise awareness and shift the mindset. First and foremost, they can demand that building materials can either be replaced or reused. In practice, this might mean greater use of materials such as wood, or exploring options like recycled steel or other elements that make up the circular economy. A focus on retrofitting existing buildings, rather than demolishing and rebuilding, would also have a significant impact on the amount of sand required in the overall material input.

 

Spotlight on David Lea and low carbon design

 

When we build we reveal our vision of the future.” These words embody David Lea’s approach to designing buildings that are in harmony with the natural world. Today, this has never been more important and here at RISE Design Studio we will continue to take inspiration from Lea’s work, long after hearing the sad news of his death earlier this year.

RISE Design Studio David Lea

Beautiful buildings, minimal harm

At the heart of Lea’s long career as an architect was his desire to create low-impact buildings. Many of his projects were built mainly from natural products, including timber, hempcrete, locally quarried stone and lime render. His last major project included an auditorium built with seven metre high walls of rammed earth. This now renowned project – the Wales Institute for Sustainable Education (WISE) in mid-Wales – comprises a range of accommodation and workshops, with pools of water, paved terraces and timber-slatted galleries interspersed throughout. This keeps the inside spaces in ‘constant dialogue’ with the outside world with an almost Japanese feel.

The WISE centre, like many of his other projects, were based on design principles that embrace creativity, minimise waste and retain an element of simplicity that complements the natural world. In his first important work – a sheltered housing scheme in Surrey – Lea implemented a system of easily built timber details so as to avoid any wasteful cutting. In later phases of the same project, he incorporated lime-rendered wall finishes, a method that he used in combination with locally quarried stone in his other work.

Growing concern for the natural world

As Lea progressed through his career, his concern for the natural world grew and he became increasingly restless with life in London. Relocating to Snowdonia in North Wales, he focused increasingly on rebuilding his own property and cultivating his land as part of the wider ‘back-to-the-earth’ movement.

While in Wales, and through his work at the WISE centre, he was able to showcase his use of hempcrete – a mixture of hemp and lime – as a sustainable alternative to concrete. Students and staff continue to experiment with this material at the Welsh School of Architecture and there is growing interest and use in hempcrete in a wide range of architecture, construction and scientific circles.

An activist at heart

Most inspirational is the way in which Lea instilled in his students a crucial need to think about the future that they build. His appreciation of changing light, combined with creativity, simplicity and responsibility towards the environment, was distilled into the minds of so many architects who now have the opportunity to learn from and carry on his important work.

What is the difference between Passivhaus and BREEAM?

 

At a time when energy prices are rising, it is helpful to know about options in the home for reducing energy consumption. From an architectural and design point of view, this equates to much more than having a shorter shower or reducing the time the heating is turned on. Today, there are several ways to deliver a high standard in energy-efficient construction, using well-developed design principles and sustainability assessment methods. We work with two approaches in particular – Passive House and BREEAM (Building Research Establishment Environmental Assessment Method).

RISE Design Studio Passive House London

Passive House – Energy savings of up to 90%

In recent years, there has been growing awareness of the benefits of a Passive House (or Passivhaus). This is a construction concept that dramatically reduces the need for space heating/cooling and primary energy consumption, while at the same time creating good, healthy indoor air quality. In Europe, a Passive House generally uses as little as 10% of the energy used by a typical building, or 25% when compared with the average new build designed for low energy consumption.

A Passive House relies on energy sources from inside the building, such as body heat, light bulbs, heat from the sun, or heat from indoor appliances to create a comfortable and healthy living environment. A mechanical heat recovery ventilation system is used to enable fresh air to enter the building without letting heat out, and allows heat contained in exhaust air to be reused.

For a building to achieve the Passive House standard, there is strong focus on energy conservation, particularly via insulation, air tightness and optimal glazing.  It is quite a simple approach and checking the design and build against the standard is straightforward.

BREEAM – thinking about carbon emissions

Although more complex to apply in practice, the BREEAM standard is concerned with more than energy conservation. The standard takes into account carbon emissions as well as energy consumption, and is more holistic than the Passive House approach. BREEAM considers the environment/infrastructure surrounding the house – good management, water consumption, biodiversity, transport, pollution, waste management, etc.

This broad-reaching approach allows careful master planning of projects, infrastructure and buildings, which is increasingly important in areas where pressure for housing development is high. BREEAM ratings focus particularly on the reduction of carbon emissions, low impact design, biodiversity protection and climate change adaptation, allowing the client or other stakeholders to compare building performance. To date, an ‘Outstanding’ BREEAM rating has been awarded to less than 1% of new non-domestic buildings in the UK and serves to inspire developers and others to improve, innovate and make effective use of resources.

Sustainability assessment at RISE Design Studio

We regularly work with both the Passive House and BREEAM standards, on both new build and retrofit projects. Our recent work that follows Passive House principles of sustainable design has incorporated the use of air source heat pumps, solar panels, airtightness, mechanical ventilation with heat recovery, and additional insulation.

The focus on sustainable value and efficiency makes Passive House and BREEAM certified projects a worthwhile investment, not least for creating a healthy home or work environment with reduced operational costs, and contributing to sustainability both within and outside the home.

Francis Kéré, materiality and place

 

In 2022, Francis Kéré was awarded architecture’s highest international accolade, the Pritzker Prize. Kéré’s many projects show us the power of materiality rooted in place, which is something that we emphasise through the use of local materials in our architecture and design work.

Francis Kere RISE Design Studio

Against the odds

Kéré was born in a remote village in Burkina Faso, with no electricity, running water or a local school. He left his family at age seven to study at a city school, where he later trained as a carpenter. After receiving a scholarship for an apprenticeship in Germany, he went on to study architecture in Berlin. Despite being far from home, one of his first projects was to design a school for the village he grew up in, in collaboration with members of the community and using local materials. For this, he was awarded the Aga Khan Award in 2004 and the Global Award for Sustainable Architecture in 2009.

Innovative use of local materials

The Burkina Faso school project included the use of clay-earth bricks and suspended, corrugated metal roofs, to encourage stack ventilation for students learning in a hot, arid climate. By placing the overhanging metal roofs like this – rather than in the common way that makes houses hot inside – cool air is drawn in through the building’s windows and hot air is then released through holes in the ceiling. The innovative use of local materials and adaptation of traditional building techniques, combined with insight and involvement from the community, have been central to Kéré’s renowned approach.

Impact and investment

As awareness of his work grew, Kéré received widespread recognition for his experimentation with different materials to create cool and comfortable buildings in the hot African climate. He has also managed to raise funds for several projects focused on improving schools and other educational buildings for Africa’s young people, often involving buildings’ users in its construction, as he did in his home village.

Continuing to experiment with natural alternatives to air conditioning, one of his most recent projects – a technology campus in Kenya – uses wind towers shaped like termite mounds. In another project – a secondary school in Burkina Faso – he used local, laterite stone as the main building material. By orienting the building east to west, the amount of direct solar radiation on the walls was reduced, and a sharply protruding metal roof (like that used in the school in his home village) creates a large amount of shade.

Other projects in Africa have used a modular approach, with local people employed in the construction of modules, using local materials such as clay, laterite, cement bricks, gum wood and loam. Once again, large walls and impressive overhanging roofs remove the need for air conditioning in most buildings – a vital outcome in the changing climate and in communities without electricity for air conditioning, or the means with which to pay for powering cooling systems.

Inspiration

As the first black architect to win the Pritzker Prize in its 43-year history, Kéré acknowledges that he hopes to inspire young people in Africa to realise that paths like the one he has taken are open to them too. He continues to draw inspiration from local environments and there is a sense that his most impressive works may be yet to come.

Spotlight on Ricardo Bofill as we set up our new studio in Barcelona

 

Later this year, we will be opening a RISE Design Studio in Barcelona. We are excited about this, not least because we take a lot of inspiration from Spanish architecture in our work. Last month, we were very sad to hear the news that renowned Catalonian architect, Ricardo Bofill, had passed away at the age of 82. Bofill’s wide range of impressive buildings have influenced our projects and those of many others. He leaves a lasting legacy for us all.

RISE Design Studio Ricardo Bofill

Early influences and approaches

After an education in Spain and Switzerland, Bofill and a group of friends created ‘Ricardo Bofill Taller de Arquitectura’ in 1963 in the centre of Barcelona. From the outset, he worked in a multi-disciplinary environment, collaborating not only with engineers and other architects, but also artists and writers. This approach later developed into the holistic urban planning/design method that we are more familiar with today. His early projects were seen as exemplars of critical regionalism, with several viewed as a political reaction against the Francoist dictatorship in Spain at the time and a ‘shunning’ of architectural modernism.

In the 1970s, Bofill relocated to France, where his work echoed French traditions of classical architecture. His work in France culminated with the design of the new Antigone district in Montpellier, which combined large-scale industrialisation in precast concrete with classical forms. Described by Bofill himself as modern classicism, his projects like this led to his being referred to as one of the most significant postmodern architects in Europe.

Modular geometry

One of the best-known projects delivered by Bofill and his firm is Walden 7, a modular block of 450 apartments built on the outskirts of Barcelona in 1975. Located on the site of a former cement factory, the modules of the 14-storey building are linked by footbridges and arranged around courtyards. The intention of this design was that the building serves the evolving needs of its residents. On the same site, Bofill built his family home and office, within the original cement factory (see the image above). His stylish and innovative renovation of the factory included a large, central meeting room and exhibition space (the Cathedral), with 10-metre high ceilings and features of the original factory intact in the surrounding décor.

A similarly innovative and impressive project is the ‘monumental’ apartment block Les Espaces d’Abraxas in eastern Paris. Featuring prefabricated stone, cement facades and reference to baroque architecture, one building includes a semi-circular structure that encloses an amphitheatre (that was used as a filming location in The Hunger Games).

From concrete to other materials

Bofill increasingly moved from working with concrete to glass and steel, while still featuring classical elements like columns in his projects. Notable projects from the 1980s include the extension of Barcelona airport before the 1992 Olympics and the National Theatre of Catalonia. His designs gradually lost the classical aspects yet retained his love of a highly formal sense of geometry such as in the Mohammed VI Polytechnic University in Morocco.

A lasting legacy

Over his lifetime, Bofill’s portfolio spanned a wide range of settings, from public buildings to transport infrastructure and urban design. Although Bofill has passed away, his firm in Barcelona continues under the co-leadership of his two sons and we will continue to take inspiration from his work while we establish our new studio in the city.

Passive House – a luxurious way to take climate action

 

At RISE Design Studio, we work hard to minimise the environmental impact and energy consumption of our projects. One way we do this is by working with the Passive House and EnerPHit standards. In October 2021, publisher and editor of Passive House Plus magazine, Jeff Colley, gave a TEdx talk in Tralee on ‘How Passive Houses can improve your life and help the planet’. Jeff’s talk highlighted some of the key reasons why the Passive House is key to tackling the climate emergency.

Passive House RISE Design Stdio

What is a Passive House?

A Passive House (or Passivhaus) tends to use energy sources from within the building, such as body heat, heat from the sun or light bulbs, or heat from indoor appliances to create a comfortable, healthy living environment. Typically, a Passive House features high levels of insulation to roofs, external walls, ground floors (with no heat loss at junctions), triple glazing and air tightness. A ventilation system recovers heat from stale outbound air and passes it onto incoming fresh air that is then filtered when entering the house.

Your home is your sanctuary

In an increasingly uncertain world, we are often made to feel that taking climate action equates with making sacrifices in our lives. However, the Passive House shows us how climate action does not need to feel like this. Instead, it can improve life in several ways. Most importantly, a Passive House costs very little to heat (and in some cases nothing at all), and the internal environment always feel fresh and comfortable, whatever the weather.

The emphasis on ‘future proofing’ means that a Passive House can withstand any weather and/or temperatures that the future may bring. As Jeff Colley explains in his talk, people who live in Passive Houses regularly describe constant comfort, no ‘cursing at the cold’ in the mornings, and peace and quiet – acoustic performance is very high, making it hard to hear anything outside or between party walls in flats/other shared accommodation.

No need for heating

Impressively, there are many examples of Passive Houses whose residents rarely or never turn on the heating system. In some houses, a heating system is not even needed, with only small battery-powered back-up if required. For example, of 18 sheltered housing units built in Devon for elderly people, the heating had not been turned on in nine of the units five years after construction. Similar accounts relate to Passive Houses in which there has been a boiler issue but this is not an urgent problem, as in more standard homes.

A healthy home is a happy home

In the west, we spend about 90% of our time in our buildings, making it important that our home is a healthy place to be. Experiences during the pandemic have also made us think more about air quality and ventilation. Recent research in Ireland suggests that the benefits of Passive Houses go even further than reducing energy use and creating a comfortable living environment. Over 200,000 global lung cancer deaths each year are estimated to be caused by the presence of radon in buildings. This is a particular issue when the weather is cold outside and the indoor environment is warm – radon can rise up from the ground into the living environment. The average levels of radon in a Passive House have been found to be much lower than in an average home.

Drawbacks?

Some critics have questioned whether the Passive House standard restricts architectural freedom. However, the standard is remarkably flexible and accommodates good design, in both retrofit and new build projects. The standard can be applied to any building, including commercial and residential, and even listed period buildings.

The first Passive House hospital is nearing completion in Frankfurt and Passive House schools are becoming increasingly common, such as the Harris Academy in Sutton. Impressively, the standard has also been used in a very progressive council housing scheme in Norwich. The standard can be used to create a good indoor environment for ‘things’ rather than people as well. For example, an Imperial War Museum archive near Cambridge uses the approach to protect its artefacts for future generations.

Jeff Colley suggested that the main drawback of living in a Passive House is that it may become hard to stay in other people’s homes when one has become so accustomed to such high comfort levels. Joking aside, the Passive House is an excellent example of how ‘being green’ doesn’t have to mean sacrifice. As Jeff argues, it is one form of radical climate action that everybody can agree to. We fully support this argument and we continue to work with clients on new build and retrofit projects that apply the Passive House and/or EnerPHit standard.

Photo: Hervé Abbadie and Karawitz

Spotlight on Jan Kaplický

 

There are very few Londoners (and international cricket fans) who are not familiar with the Media Centre at the Lord’s Cricket Ground. Designed by avant-garde Czech architect, Jan Kaplický, this is one of his most renowned ‘spacecraft-like’ architecture projects. Completed in 1999, it received the RIBA Stirling Prize for its futuristic design and has become one of the icons of the sporting world. Kaplický provides us with inspiration here at RISE Design Studio, not only for his futuristic work but also for his interest in his later years in nature and the incorporation of organic shapes in his work.

RISE Design Studio Jan Kaplicky drawings

A new life in London

After beginning his career as an Academic Architect in Prague, Kaplický fled to London in the wake of the Soviet invasion of Czechoslovakia in 1968. He described a need to escape a country where empowerment was very limited at the time and it was “impossible to achieve anything that was even slightly out of the ordinary”. Not allowed to go to university, buy books, or exhibit his work in public, his move provided him with creative freedom and he soon found himself working on the design for the Centre Pompidou in Paris, under the direction of Richard Rogers and Renzo Piano before they relocated to the French capital.

He set up his own architectural practice in London – Future Systems – in 1979, and produced many intricate drawings of orbiting robots and homes transportable by helicopter. Although none of these drawings became real buildings, they drew a lot of attention to his ‘elegantly radical’ ideas, opening the doors for him to design the Lord’s Media Centre and later the Selfridge’s shopping store in Birmingham in 2003. Described as “the ultimate rejoinder to what was then Birmingham’s reputation as a decaying concrete jungle”, Kaplický’s work once again brought inspiration through his visionary designs.

From outlandish to organic

In the mid-1980s, Kaplický suddenly started to look to nature for organic inspiration for his architecture. Perhaps as a result of the death of his mother around that time – she was a well-known illustrator of plants – he had a renewed appreciation of the value of his mother’s work, using shapes of cobwebs, sea shells, mushrooms, flowers and other plants in his later work. Blending these shapes with a harsh and often controversial futuristic edge created a unique style that interrogated the relationship between nature and technology.

The business of buildings

Kaplický’s designs were generally not possible to build using conventional techniques. For example, the Lord’s Media Centre is an aluminum semi-monocoque shell – a sort of ‘boat shape’ – and there was no standard contractor in Britain who could build it at the time. Instead, Kaplický and his life partner, Amanda Levete, found a boatyard contractor in Cornwall to do the work. Combining Levete’s business experience with Kaplický’s designs worked well for several years.

In his later years, Kaplický designed a National Library building for Letná in Prague. Despite the work winning an international competition, its construction was blocked by the Czech authorities and caused much public and political debate. In interviews with Kaplický before his death, it was clear that he was sad not to have been able to build something in his home country.