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Understanding Embodied Energy

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According to the World Green Building Council, the built environment is currently responsible for 39% of global energy related carbon emissions, split between operational (28%) and materials and construction (11%).

In Europe, the construction sector accounts for 40% of the continents energy and CO2 emissions, more than aviation and shipping combined.

As we reported in our previous blog on Eco Homes, emissions have hit a new high in the sector, and it is the largest single contributor to greenhouse gases with the gap growing between its current standing and the decarbonisation targets of 2050.

Mill Hill House, North London – Designed with superior windows, ventilation with heat recovery, quality insulation and airtight construction.

With projections that the world’s population will reach 10billion by the middle of the century, leading scientists have stated we can only support 0.5 to 1 billion in terms of resources and emissions if drastic change does not occur.

Whilst many of us think of emissions resulting from the operational use of a building, the heating, lighting, cooling etc it is the upfront carbon emissions or embodied energy and its reduction that is critical as we look to achieve net zero.

In this article we examine this very topical and critical issue in the fight against climate change. As architects, how can we reduce the embodied energy of a building at the design stage, ensure sustainable development, and create buildings which are truly low carbon?

What is embodied energy?

When looking at the total whole life energy of a building and the resultant emissions, it comprises operational energy and embodied energy.

Operational energy is that used through the consumption of heating, lighting, cooling, electricity etc.

To date Government legislation and the general focus has been on reducing the operational energy of buildings, through using renewables such as solar, heat pumps, triple glazing etc and a shift away from fossil fuels.

As we strive to meet net zero targets by 2050 and aim to achieve a 68% reduction in carbon emissions by 2030 the spotlight is now on embodied energy.

When it comes to a definition it is best described in the Climate Emergency Design Guide published by the London Energy Transformation Initiative 2020 as ‘the carbon emissions associated with the extraction and processing of materials, the energy and water consumption used by the factory in producing products, transporting materials to site and constructing the building.’

More simplistically, once a building is complete it embodies all the non-renewable energy and ‘upfront’ emissions associated with its build, from the extraction, processing, manufacture, and transportation of materials through to its eventual maintenance (in-use stage) and demolition/disposal (end-of-life).

It is for this reason that it is sometimes referred to as an invisible threat or even by some as ‘the dark side of the construction industry’ as unlike pollution coming from factories, cars, and homes you cannot see it, and that is what makes it so dangerous to the future of the planet as our population expands.

Even the most efficient of buildings can see 95% of their life-cycle carbon expenditures occur during initial construction.

It can be defined in two separate ways dependent on how you are assessing it:

  • Cradle-to-site this approach looks at the processing and manufacturing of all individual building elements up to transportation to and assembly on site.
  • Cradle-to grave – the energy consumed by a building throughout its life. This approach can be broken down to the initial energy required to produce a building; that needed to refurbish and maintain the building, and that required when it is demolished. This does not include operational energy.

How do you measure embodied energy?

The more highly processed a product the greater its embodied energy whereas a sustainable material or product has low levels. Cement production for example counts for 5% to 7% of global emissions with one ton releasing 900kg of carbon into the atmosphere whereas.

The UK construction industry is the largest consumer of resources, consuming more than 400million tonnes of material a year with this accounting for around 10% of UK carbon emissions.

As buildings and other projects in the built environment are made up of diverse types of materials utilising various construction systems there are varying levels of embodied energy which makes calculation complex.

Even if you use the same product, the efficiency of the production processes, the sources of energy and how the materials are transported can differ greatly. In addition, varied materials and products have different capacities when it comes to reuse and recycling.

As you would expect International Standards have been developed for reaching a calculation these include ISO 14067:2018 Greenhouse gases – Carbon footprint of products – Requirements and guidelines for quantification.

Any calculation tends to be performed as a subset of a Lifecycle Assessment Framework (LCA). This widely used tool assesses the environmental impacts of processing systems and decisions related to the life cycle of a product or service (cradle-to-grave) by:

  • Assessing and compiling an inventory of energy, waste, and material inputs and environmental releases related to a particular product or service this will range from the extraction of raw materials, refinement, manufacturing, and transportation to site
  • Evaluating the potential environmental impact of these inputs e.g., global warming and emissions
  • Interpreting the results to help shape and inform any design and planning decisions

There are also a range of databases available which provide information on the embodied energy of a wide variety of materials used in construction, such as the Environmental Performance in Construction (EPC) Database produced by the University of Melbourne.

As an approximation and according to the Climate Emergency Design Guide per average building, 64% of the embodied energy comes from the product and materials used, 25% from maintenance and replacements, and 8% from transport.

How can architects help to reduce embodied energy?

With greenhouse gases emitted at every stage of the construction cycle and an increasing sense of urgency, the UK design and build community has stepped up to the challenge of combating embodied energy, re-thinking design, and making a positive impact on the world around us.

As a RIBA Chartered Practice we follow the RIBA plan of work which has embedded sustainability outcomes across all eight stages, we are also committed to the RIBA 2030 Climate Challenge and Architects Declare both of which are placing the climate emergency front and centre.

Alongside this we have formed a close working relationship with expert sustainable design and construction consultants Eight Versa who specialise in building performance analysis, ecology appraisal and enhancement, and environmental assessment.

These activities and our continued professional development in the field will help us to ensure we continue to design with a climate conscious and forward-thinking mindset, creating efficient, attractive, and effective buildings which in their selection of materials and processes help to reduce embodied energy and our carbon footprint.

With sustainable building beginning long before construction, the initial design stages have a major part to play, and we look to incorporate the following where appropriate:

  • Utilising alternative materials such as timber, hempcrete and rammed earth which all have low embodied energy content
  • Limiting carbon-intensive materials such as aluminium and plastics
  • Sourcing materials close to site to reduce transportation
  • Considering the reuse, recycling, and salvaging of materials from other projects where applicable such as brick, metals, concrete, and wood
  • Striving for maximum structural and space efficiency thereby limiting the quantity of materials needed for construction without of course reducing the end quality
  • Designing for the reuse and recovery of the building, when you destroy a building the total of its embodied energy is wasted to then start all over
  • Designing for future use, thinking about the ways a building can be adapted throughout its lifespan to reduce retrofit
  • Looking to limit materials used in finishes i.e., rather than carpeting, polished concrete flooring utilises the existing structure as does unfinished ceilings
  • Reducing waste with approaches such as off-site construction

It is important to achieve a balance however when designing buildings which use materials with low embodied energy as they may require higher operational energy in terms of heating and cooling and vice-versa.

For example, using substantial amounts of thermal mass such as concrete which as we have seen in high in embodied energy can reduce operational heating and cooling needs in homes that are well-designed and insulated, and which incorporate passive design principles.

As the global population increases, reducing the amount of embodied energy in buildings is critical to our future.

Whilst those within the built environment have embraced the move towards lowering operational energy related emissions, combatting climate change means we must now do the same at every life-cycle stage of a building.

Radical and co-ordinated thinking is required if we are going to tackle this emergency as an industry.

Please contact us at mail@risedesignstudio.co.uk to discover more about the steps we are taking and how they can benefit your project.

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

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

Timber – the solution to the global housing and environmental crisis?

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We are facing a global housing crisis.

Projected population levels according to the UN will reach 8.6billion by 2030, with 96000 affordable new homes needed to be built daily to house the estimated additional three billion.

It is expected that the creation of these homes will be in urban areas, with resulting megacities, a modern phenomenon in which 630million will live in forty cities worldwide.

These are eyewatering statistics, and they present a pressing question for society.

As we face an ever-ageing population, unaffordable housing, and drastic population growth, how do we create buildings which meet this demand but in so doing do not contribute to the colossal environmental damage caused by the built environment?

In this blog we examine the rise in popularity of timber construction to find out how ‘using wood for good’ could be the answer.

Climate change and the global housing crisis

When it comes to climate change, we are at a defining crossroads, and the built environment has a crucial role to play in where we go from here.

Globally approximately 20% of greenhouse gas emissions come from building materials and related construction, with another 27% from the operations of these buildings.

To create what is needed in terms of housing and infrastructure without a catastrophic effect on our environment would appear to be impossible.

There is significant pressure therefore on the construction industry and everyone involved to find alternative building materials to cement and concrete, which in themselves account for 11% of gas emissions, iron, and steel another 10%.

It is this very real scenario that has led to the accelerated interest in the use of timber as a viable construction and design option and a climate friendly solution to what we now face.

The history of timber in UK construction

One of the oldest known building methods, we can trace the use of timber in UK construction back centuries, with archaeologists discovering remains of timber framed homes dating back as far as 10,000 years.

This was in part down to the plentiful supply of strong and durable English Oak which lasted until the 17th century when it became required for ship building.

The Great Fire of London in 1666 and the subsequent London Building Act 1667 saw timber facades banned in the City of London and stated the use of masonry in its place, this meant that certainly in the capital its use faded.

Such was the power of this legislation that the use of timber within the City of London all but vanished until the redevelopment of the Globe Theatre in 1997, a building constructed entirely of English Oak with no structural steel.

However, throughout the rest of the UK timber remained an important building method from the 1600s until the Victorian era with the renaissance of brick and stone, and the Industrial revolution which saw mass produced concrete, iron, and steel replace it as ‘practical, affordable, and feasible’ alternative.

Timber use in the modern world

The 1990s saw the advent of Cross Laminated Timber (CLT) first developed in Austria and championed by researcher Gerard Schickhofer through his work at Graz University’s Institute of Timber and Wood Technology, the Institute he began in 2004.

His work on the potential of these laminated timber panels placed perpendicular on top of each other culminated with his theory-focused thesis in 1994.

He compared its behaviour to that of plastic panels, focusing on cross layering of wooden panels which up to that point had received little in the way of engineering focus. It was through this research that he discovered the potential such timber materials had for commercial use.

This research work came at a time when other people were looking into timber panel systems, including Merk a Bavarian timber company, and Pius Schuler who subsequently set up a company specialising in three panel systems for domestic housing.

Schickhofer’s research examined the strength, optimum pressure, and application of the panels and their different configurations, to meet technical standards and European strength grades. It also looked at which adhesives would be most effective.

The results of the testing were submitted in mid-1996, with approval for further research and the first CLT production granted by the Austrian Government in 1998.

Early use saw it incorporated into bridge projects such as the Kohibacher bridge, and operational production lines coming into place. This led to the testing and development of pilot, regional and national CLT projects including the Federal Forestry HQ in Vienna.

The early to mid-2000s saw Germany, Norway, Sweden, and the UK through the pioneering company Eurban look to develop large scale solid timber projects.

Widely used across Europe, Australia, and Japan, momentum is now gathering in the USA with CLT incorporated into International Building Code in 2015.

Here at RISE Design Studio, we recently designed a zero-carbon sustainable yoga retreat in Norway’s Lake Krøderen, using a timber frame construction which perfectly complements its mountain and lake setting.

The world’s tallest CLT building is currently Brock Commons at the University of British Columbia, 174feet high, the 35 story Baobab building in Paris is underway and research is progressing to build an 80 story timber framed structure a ‘plyscraper’, Oakwood Tower in London.

What is Mass Timber?

Mass timber is engineered wood, a next-generation forest product which is natural and renewable.

It involves attaching softwood (pine, spruce, or fir) or hardwood (birch, ash, or beech) together to form thick compressed panels or structural elements such as posts or beams.

Lamination, adhesives, or fasteners holds the panels together. This results in timber that is strong, fire-resistant, and lightweight.

Mnaufacturing for load bearing wall, roof and floors, tends to happen off-site particularly for taller wood building projects.

There are two types of mass timber:

Cross Laminated Timber (CLT) – this is the most popular type of mass timber. It is formed by compressing three to nine dried lumber boards cut from a single log into bonded together layers. The grain in each lies perpendicular to each other.

Adjustments to the depth of each panel occur by changing the number of layers and multiple panels that are joined together. It is this structure which gives it strength allowing its use for floors, walls, ceilings, and buildings.

Glue Laminated Timber (Glulam) – here the lumber boards are arranged with the grain running in the same direction. Used mostly for beams and columns, it can be readily formed into curved shapes.

There are other forms such as dowel laminated timber, nail laminated timber, and parallel strand lumber.

What are the advantages of mass timber in construction?

Increasingly mass timber is seen as a safe and real alternative to traditional building methods which use concrete and steel.

With the Paris agreement setting targets to restrict global warming to 1.5degrees, one of the most prolific advantages is that mass timber can reduce a buildings carbon impact and in turn lower greenhouse gas emissions.

A number of experts advocate this approach most notably scientist Hans Joachim Schellnhuber founder of the Potsdam Climate Impact Research Institute and Bauhaus Earth.

It is his belief that in harvesting timber to build the cities of the future, you achieve the promotion of forest growth, and substantial amounts of stored carbon can be held in buildings for the long term. This is due to trees ability to absorb and store carbon in their trunk for hundreds of years, even after felling and manufacturing takes place.

Bauhaus Earth’s cemented its focus on the rapid transformation of construction as it relates to environmental impact taking it from ‘climate villain to climate hero’ at their ‘Reconstructing the Future for People and Planet’ conference held at the Vatican in June 2022.

The fundamental approach is that by building with timber you are creating a carbon sink whereby more carbon is absorbed than released. Sustainable forestry practices would see the associated growth and preservation of forests themselves the largest land-based carbon sink.

Recent academic research as published in the Journal of Academic Engineering in July 2022 supports this. It states that there is approximately a 40% reduction in carbon footprint when using CLT in comparison to traditional materials on a multi-story project.

There are also lower emissions associated with the production and manufacturing of a wooden building as opposed to one made from steel or concrete. End of life disposal when the building use ends also results in less emissions when compared to a traditional build. Some research states 50% to 80% less.

Other key advantages of working with mass timber are:

  • Buildings constructed faster with less waste, less noise, and lower labour costs as panels are cut to the precise size off-site and delivered when required avoiding on-site disruption
  • Working with sustainable forestry practices ensures that weak or younger growth trees with smaller diameters can be used, allowing older trees to be left intact for healthier forests
  • It results in buildings which are aesthetically pleasing as they combine architectural creativity with mother nature. Take for example London’s Olympic Velodrome or the Glulam arches on Sheffield’s Winter Gardens
  • They can enhance an occupant’s feelings of wellbeing with their closeness to nature
  • Surprisingly, large, and compressed masses of wood are difficult to ignite. Steel frames are often surrounded by casings of CLT. This outer layer of timber will burn effectively, self-extinguishing and shielding the interior, allowing the structural integrity to remain for several hours

Timber construction in London and the UK

It would appear in recent years,’ that London has embraced timbers sustainable and aesthetic benefits as illustrated by a variety of high-profile projects:

  • Hackney’s Dalston Lane development, at the time of build, the first tall urban housing project constructed entirely from prefabricated cross-laminated timber
  • Black and White Building, central London’s tallest mass timber office building
  • The proposed Oak Tower
  • The 2021 approval for Transport of London to build a 17-storey hybrid timber office in Southwark

However, in September 2021 the London Mayor announced a set of conditions for those applying for cash from the new Affordable Housing Programme that mean combustible materials are not now used in external walls.

This limits the use of mass timber products including CLT, grouping them together with combustible cladding.

There are those within the architectural and design industry that view this as a step backwards, with concrete and steel yet again the ‘go-to’ and timber pushed aside without proper consideration given to implementing new standards and regulations when it comes to its safe use.

Elsewhere in Europe and the UK, timber frame construction for new homes continues apace. From bespoke residences in the Isle of Skye to stackable homes for the homeless in Wokingham.

In Scotland, where 2025 targets are for all new build homes to be ‘zero carbon ready’ over 85% of those properties new to the market have timber frames.

Why you need an architect for your timber frame construction

With more individuals considering timber frame construction for their bespoke residential or commercial projects, it is important to look at the benefits an architect will bring to the design and the overall result even when using a prefabricated frame.

  • They will help to tailor the design to the plot and its surroundings, ensuring that the finished build is reflective of nature down to the fixtures and fittings used
  • In line with the above they can advise on the best location for the build to achieve the optimum results in terms of views, shading, sunlight etc, which is beneficial in terms of energy efficiency and sustainability goals
  • They will help to guide you through the entire design and planning process ensuring consistent and clear dialogue with the local planning authority
  • They can advise on any potential issues and work around them accordingly
  • When using an architect familiar with timber design construction such as here at RISE Design Studio, they will help to bring your ideas and vision to life working to your budget in terms of size, style, and layout
  • Working with the timber frame construction company they will ensure the coordination of plans to achieve a successful outcome
  • They can act as a project manager throughout the duration keeping it on track in both a timely and financially efficient manner

The benefits of mass timber when it comes to construction, the environment and the future of the built environment are far reaching. It represents a forward-thinking approach, a socially responsible way of constructing and a high performance and innovative way to navigate the challenges we face.

Whilst some remain doubtful that it can take on the might of concrete and steel, it appears that mass timber is not only here to stay but will indeed prove to be a worthy competitor, and one we may not be able to do without.

For further information on timber construction and design please contact mail@risedesignstudio.co.uk or give us a call on 020 3290 1003

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

Overheating and How to Cool Buildings through Architectural Design

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Did you spend the summer of 2022 feeling hot, restless, and uncomfortable in your home or office? Given that it was the UK’s joint hottest summer on record, it was likely that you did experience all or some of these feelings.

Europe and North Africa also suffered from periods of unusually hot weather leading to forest fires, drought, and like the UK national emergencies in places.

When it comes to our buildings particularly new builds, offices, and south facing single aspect high rise blocks, we are not prepared in the UK for such extreme weathers or the subsequent overheating.

Uncomfortable and stifling working and living circumstances coupled with an over-reliance on air-conditioning which is detrimental to energy efficiency targets, and the predicted rise in global temperatures mean something needs to be done.

With new UK building regulations in force to address overheating, we examine the issue from an architectural perspective and answer how do we create a naturally cool building?

The Avenue Brick House, Pinner, North London
The Avenue Brick House, Pinner, North London

What is overheating in a building?

There is no agreed definition but in general terms when related to a commercial or domestic building it means the build-up of heat within that building, coupled with lack of airflow, and the resultant negative health consequences.

In 2006, The Chartered Institute of Building Services Engineers (CIBSE) defined overheating as ‘conditions when the comfortable internal temperature threshold of 28°C is surpassed for more than 1% of occupied hours or where 25°C is surpassed for 5% of occupied (working) hours.’

Overheating tends to occur more in apartment buildings with data from the English Housing Survey 2019 showing that 30% of living rooms overheated compared to 12% of houses. The prevalence of overheating in these rooms as well as bedrooms was higher in London than elsewhere.

In non-residential buildings such as hospitals and schools, there is evidence of overheating with 90% of hospital wards in England at risk according to an NHS data report 2019/20, and 90% of teachers surveyed by the Environmental Audit Committee in 2020, saying they take additional measures to reduce classroom heat.

Dynamic Stimulation Modelling software measures overheating, analysing the performance of the space against CIBSE criteria.

The analysis looks at the number of hours in a summers day where the expected temperature exceeds a comfortable level, the number of hours a building experiences elevated temperatures, and that no occupied room reaches a maximum temperature. If two of these three are reached, then the building has failed.

What causes a building to overheat?

There are a variety of reasons why buildings are susceptible to overheating:

  • Urban Heat Island (UHI) effect – caused by poor city planning resulting in hard smooth dark surfaces such as roads, paved areas, roofs which absorb heat and release it at night, coupled with a lack of green space and waste heat produced by transport.
  • Solar gain – when light from the sun enters the building (solar radiation) and objects absorb this and emit heat within the living space increasing the temperature.
  • Prevalence of glazing – excessive use of double-glazed windows and floor to ceiling windows, traps warm air in buildings.
  • Climate change – increasingly hot summers and extreme heatwaves especially in the southern areas of the UK such as London means properties in those areas are at risk of overheating.
  • Internal heat gains – overuse of technology, lighting, boilers, beams, pipes, and human activity all generate heat.
  • Modern building fabric standards – increased levels of air tightness to retain winter heat and windows which do not open, or which remain closed due to urban pollution and noise means a lack of air flow.
  • Old housing stock – the UK has the oldest housing stock in Europe, these tend to be poorly insulated and not built to cope with hot temperatures.
  • Modern and rapid construction methods – thermally lightweight construction materials such as thin metal, plasterboard, and wood, used in modular homes are quicker to respond to temperature changes making them more susceptible to overheating.
  • Size of property – flats are more prone to overheating due to smaller size, denser occupation, and proximity to other homes.
  • Property additions – extensions, and conservatories can reduce ventilation and increase overheating.

The human consequences of overheating in the built environment

On average we spend 142 hours a week indoors. Any extreme change in the ambient temperature within those surroundings therefore presents an immediate threat to wellbeing, health, and productivity.

Overheating can reduce work rates, lower concentration levels, increase feelings of discomfort, and at worse cause fatalities. The CIBSE predicts 4500 UK premature deaths by 2050 if this issue is ignored.

Those at significant risk are the elderly, immobile, children, and pregnant women.

When it comes to productivity, heat stress and discomfort can lead to increased breaks, reduced activity, and a lack of alertness.

It can also lead to a reduction in the quantity and quality of sleep which can affect cognitive performance, mental health, and overall feelings of wellbeing.

Architectural design to prevent overheating

In the UK design has tended to focus on keeping houses warm in the winter, building properties to retain heat as opposed to worrying about releasing that heat in the summer. The prevention of illness and fatalities has focused on those that arise in the winter as opposed to when the weather heats up.

However, as the climate continues to warm in both frequency and intensity, and bodies such as the International Energy Agency warn that ‘if left unchecked energy demand from air conditioners will more than triple by 2050’ architectural design techniques which design out overheating, cool a building and leave behind little carbon footprint are in demand.

These focus on what are known as passive design and unlike mechanical active methods such as air conditioning they do not increase home energy costs, contribute to the urban island heat effect, or add waste heat to the environment.

The most well-known approach in this vein for new buildings is the fabric first Passivhaus (passive house) movement which originated in 1990s Germany. It works to strict criteria creating buildings which are comfortable to live in whilst using little energy for heating and cooling.

At RISE Design Studio we are in the process of offering a comprehensive Passivhaus design process for our clients. Currently we use a variety of the techniques to create comfortable, healthy, efficient, and beautiful buildings.

So how do you design a building to keep it cool in hot weather?

There are several effective passive and natural techniques to balance the temperature of a building, minimise heat gain and maximise heat loss:

  • External/Internal shading – reduces heat gains through windows by externally looking at awnings, overhangs, balconies, deep porches, and shutters. Internally blinds and curtains can help but are not the main source of effective shading
  • Exposed thermal mass – thermal mass is the ability of heavy and mid weight construction materials to store, absorb and release heat.

Buildings with a high exposed thermal mass such as concrete, rammed earth, stone, or brick, when used correctly help to maintain the internal temperature.

They absorb heat during the day and release it in the evening allowing for night time warmth as well as cooler buildings the next day.

  • Natural ventilation techniques – large and openable windows on both sides of a room encourage cross ventilation and blow heat out.
  • Enhanced insulation – insulation in roof and walls is the key to keeping heat in during the winter but reducing heat gains in the summer as it slows the movement of heat.

Recent innovations have led to the creation of highly insulating material such as hempcrete (marketed under names like Hempcrete, Canobiote, Canosmose, Isochanvre and IsoHemp) which combines hemp shiv and lime binder to provide natural vapour-permeable thermal mass without the carbon emissions.

  • High performance windows – triple glazing can be up to two times more efficient than double glazing for keeping the heat outside when it is excessively warm. The two air or gas-filled gaps between the panes reduces the amount of heat transfer between the exterior and interior.
  • Solar control glass – this prevents heat build-up thanks to a microscopic thin coating on one side of the pane to reflect the infrared rays of the sun. It is of particular use in large, glazed areas such as conservatories or on rooflights. It also helps to reduce excessive glare.
  • Constructing low level buildings – low lying buildings stay cooler as the ground maintains an even temperature.
  • Orientation of the building – newly designed buildings should face south as in the summer the greatest risk from the sun is low lying sun in the east and west.
  • Designing green environments – if the building sits within a cool environment with less tarmac, paving etc and more in the way of green roofs and walls, then the urban heat island effect is negated.
  • Reflective surfaces – incorporating paler walls, roofs and paving into the design increases reflectivity and prevents light absorption.

Our recent Light House project in London saw us incorporate a number of these techniques. These included the use of additional insulation to the external skin of the building; incorporating solar control on the glazing and encouraging passive cooling with kitchen doors and openable rooflights to ensure cross ventilation.

Building overheating in London and the UK

In line with the rest of the UK, London faces considerable threat from climate change, with overheating sitting alongside flooding as the greatest challenge for the capital. This summer the Met Office put in place a red weather warning with temperatures across the city soaring to 40degrees.

Due to the urban heat island effect experienced in the city and the ageing inner city housing stock, which is harder to retrofit with better insulation, it can be 10degrees hotter in the capital than other areas.

Climate experts predict that the likelihood of temperatures in the UK reaching this level is now ten times more likely than in the pre-industrial era with consequences for London including 59-76% of flats and up to 29% of detached properties overheating by 2030.

The Mayor’s office has made a number of long-term commitments and policy changes to tackle these including the latest update to the London Plan which requires planning applications to demonstrate the thermal performance and energy efficiency of new developments.

It looks at limiting solar and internal heat gain, as well as providing adequate passive ventilation. Mechanical cooling such as air conditioning is seen as the last step.

In June, the Government introduced new legislation stating that on new homes, ‘reasonable provision’ must be made to limit heating in summer and ‘provide adequate provision’ to cool them.

The built environment is responsible for 44% of global carbon emissions, with air conditioning systems alone representing up to 40% of their energy output. Architects stand at the front-line in addressing this and the environmental impact of overheating as temperatures rise.

Through planning and design of both new buildings, and in retrofit projects, a careful well-considered approach can help to alleviate the risk of overheating in a sustainable sense, and create buildings that are healthy, beautiful and comfortable.

As design-led architects here at RISE Design Studio we are very much committed to this ethos. For more information and to discuss your project please contact mail@risedesignstudio.co.uk or give us a call on 020 3290 1003

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

The Rise in Popularity of Green Roofs

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Living roofs or green roofs, were until recent years a rarity in the UK building landscape, seen as a luxurious design addition implemented by the few with adoption much greater in countries such as Switzerland and Germany.

Today, alongside other forms of sustainable architecture and design, or green technology, they are growing in popularity.

Seen as not only aesthetically pleasing in densely populated urban areas, but increasingly as a method to reduce energy use and carbon emissions, they are key along with green walls, roof terraces, and solar to improving our resilience to climate change and safeguarding our environmental future.

Green roof provision has grown considerably across the capital as shown in the 2019 London Green Roof Report this has been in part to key policy drivers like the 2008 amends to the London Plan, stating in planning policy 5.1 ‘the Mayor will, and boroughs, should expect major developments to incorporate living roofs and walls, where feasible’ .

With this in mind, we examine green roofs, the distinct types, the benefits they bring, architectural and design considerations, and the future outlook.

The Lexi Cinema extensive green roof

What are green roofs?

Installed on flat or low-pitched roofs with an angle of no more than 30degrees, green roofs also referred to as living or eco roofs are found on small residential buildings through to large commercial and industrial buildings.

They consist of engineered soil (substrate) especially designed to hold the correct amounts of moisture, nutrients, and air for successful plant growth. They are either intensively or extensively planted with vegetation, then laid over a waterproof membrane or moisture retention fleece to prevent leakage and remain watertight in all conditions.

As well as these elements, a typical green roof layer/system will consist of a root barrier, thermal insulation, and drainage/irrigation systems.

They offer minimum or maximum levels of pedestrian access and use dependent on space and roof structure, and with grasses, herbs, mosses, and wildflowers can improve biodiversity by providing a habitat for birds, and insects.

In addition, they have an array of environmental benefits which we will discuss further on.

What are the different types of green roof?

There are three main types of green roof, intensive, extensive, and semi-intensive. Each differ and are unique in terms of use, maintenance, design implications, weight, and cost.

  • Intensive green roof

You will typically see an intensive green roof or roof garden designed for accessible recreational use on large commercial buildings such as those at Jubilee Park in Canary Wharf, 55 Broadway, or at New Providence Wharf in Docklands which covers an area of 8.3 hectares. Prince of Wales Drive is a good example of an intensive green roof in a residential setting.

Due to the scale of an intensive green roof and with its tendency to feature extensive lawns, trees, paved areas and even water features they can weigh a significant amount and usually need to be designed with a heavy-supporting structure typically with reinforced concrete to take a load of up to 200kg/m2.

The soil on an intensive green roof is planted quite deeply at over 200mm and once planted are labour intensive requiring regular maintenance, fertilisation, weeding, and pruning.

Due to their need for regular watering, they will have dedicated rooftop irrigation such as a dripline system laid below the soil surface at root level.

Considering all these factors, they are the costliest green roof.

  • Extensive green roof

Compared to intensive green roofs, extensive systems are lighter in weight (40-110kg/m2) and are shallower ranging from 2cm to 12cm in depth, because of this they require less maintenance normally just once a year weeding, are less costly, and can be self-sustaining.

Their shallow depth means that extensive green roofs in London and the UK tend to comprise of hardier sedum or stonecrops. Sedums are low growing succulents (which store water) which look to be sitting on the soil, with the word coming from the Latin ‘sedeo’ which means to sit.

It is because of their shallowness that they do not add great weight to a roof, they also tend to be drought and frost proof which means they require little watering.

Easier to implement, a popular choice is to use a pre-grown sedum mat-based system incorporating a variety of plants and flowers. Delivered as a roll, they are typically, 20mm thick, and laid out onto crushed brick or light clay aggregate, with a waterproof layer often on top.

They are a good option in comparison to loose planting which is more labour intensive as it involves preparing the ground, laying the soil, sowing seeds, and then maintenance. However, there are UK nurseries that now supply plants and advice for green roofs

Due to their minimal maintenance, and relatively low cost, extensive green roofs are the preferred choice for residential properties. Although you can find them in commercial settings such as at Canary Wharf which has 5000 to 6000 square metres incorporating five extensive green roofs. This makes it one of the largest green roof spaces in the UK.

Here at Rise Design Studio we used a sedum roof on our Lexi cinema project in London’s Kensal Rise, with our work being shortlisted for a prestigious 2022 FX International Interior Design Award.

Semi-intensive green roofs

These are of course a cross between intensive and extensive green roofs, with slightly greater depth than the latter.

They include a wider variety of plants compared to an extensive green roof, often akin to a wildflower meadow, therefore they require moderate maintenance, fertilisation, and watering.

What are the benefits of green roofs?

Whilst appealing in terms of breaking up the monotony of the urban landscape, along with the resultant inner-city opportunities for recreational and social green space and general improvement in wellbeing and productivity, the principal benefits of green roofs are extensively environmental.

  • They help to improve and preserve urban biodiversity by creating habitats for animals, birds, butterflies, and insects. Some of which may be endangered and at risk of extinction such as Black Redstarts whose preservation was a part of the driving force behind many early London green roofs
  • They help to cool building temperature and improve insulation by absorbing heat therefore reducing the ‘urban heat island’ phenomenon, decreasing surface air temperature by up to 16.4 degrees
  • They improve air quality by producing oxygen
  • They can contribute to reduced air pollution by removing harmful toxins from the air including nitrates and carbon dioxide
  • Help to reduce flooding and improve stormwater management, as they can absorb anywhere between 50% and 100% of rainwater, and then release it through condensation and transpiration
  • Reduce the need for air conditioning and heating requirements leading to less emissions and more efficient energy consumption as they cool the building in summer and warm it in winter
  • Improve noise and sound reduction
  • They can produce opportunities for urban agriculture

Such is their environmental impact, that the UK Green Building Council has called for all new buildings and infrastructure to have ‘nature-based solutions’ such as green roofs, by 2030 to combat the ever-growing threat of global warming.

In addition to this, other benefits are that a green roof can add value to your property due to its appearance and the fact it contributes to reduced energy costs, as well as roof longevity by protecting it from natural exposures.

Green roofs in London

In comparison to major cities worldwide London has been ‘late to the party’ when it comes to green roofs. Much of this down to policy implementation, or lack of.

However progression was made with the 2008 amends to the London Plan, the spatial development strategy for Greater London, which saw a much more proactive approach to green roof adoption and greater policy towards urban greening as a whole.

This was echoed by the 2019 creation of the Urban Greening Factor by the Greater London Authority (GLA) which measures the quantity and quality of greening on any new development proposal at the planning stage.

The effectiveness of both of these measures is demonstrated by the recent City of London monitoring reports, on the subject, which show that between 2011/12 and 2019/2020, green roofs went from 23 to 64, covering an area, from 8,200m2 to 25,900m2. This London City Hall map shows the location of these green roofs.

City of London projects that in 2026, green roof spaces which are predominantly extensive will comprise of 82.

There are currently a number of major innovative new green developments planned for the city such as Google’s new Kings Cross headquarters which promises to have a ‘grass-laden plateau’ and ‘green walkways’ as well as an extension to Blackfriars Crown Court which will be topped by a 100-tree forest and a retail development in Greenwich which is to have one of the largest green roofs in the borough.

Nationwide the Government are set to launch further incentives related to planning through The Environment Bill which contains a provision that all planning applications increase the biodiversity of the site in question by 10 per cent. The aim is to leave nature in a better state than before.

How much does a green roof cost?

Costs will vary dependent on the green roof system and the property in question, and whether professional contractors or landscape designers are employed

A professionally designed and installed extensive residential green roof can cost from £50 to £100 per square metre.

This cost is just an average and it will depend on things such as whether the roof needs extra support, how accessible the roof is, and which plants you are using.

Do I need planning permission for a green roof?

Due to Permitted Development Rights, in most cases it is unlikely that you will need planning permission if installing a green roof on an existing residential building, such as a garage or garden shed.

However, it is of course dependent on the property and the local planning department. This is especially important if the property is listed or within a conservation area.

Building regulation approval will be needed if it is a new build or an extension/alteration to a current one, this is due to load capacity and fire regulations.

As part of a new build planning application for large-scale developments, they can be beneficial in terms of gaining credits with BREEAM (Building Research Establishment Environmental Assessment Method) which assesses a building’s environmental performance.

How an architect can help with a green roof

Green roofs are becoming a significant part of architectural design and innovation, after all design is about more than creating buildings of beauty but rather achieving multi-functional buildings that add to and enhance people’s wellbeing and their surroundings, for present and future generations.

When considering a green roof for your home or property, employing an architect such as our team at Rise Design Studio, will help ensure that you get the desired effect and result with all implications considered in reference to the Green Roof Code of Best Practice:

  • They can help you understand the slope of the roof, maximum load capacity (when saturated, snow covered or through pedestrian access), and structure
  • Which green roof system will work best for your vision, location, and use, based on the above
  • They will look at orientation, wind exposure, sunlight, and shading
  • Examine the impact on areas such as skylights, vents, and chimneys
  • Determine what planning permissions are required if any
  • How roof access and egress will work based on safety and the system you employ
  • Offer guidance on the most appropriate water management and drainage
  • Specify fire safety requirements as related to building regulations
  • Help advise on external contractors/manufacturers, and manage that process and overall project management
  • Look at the proposed maintenance schedule

There is no doubt that green roofs look great and it is not surprising to see their popularity grow, but more than their aesthetic appeal, they sit alongside solar, and wind turbines, as sustainable energy solutions that counteract greenhouse gas emissions and encourage biodiversity.

We each understand that climate change is happening now, employing a green roof whether it be on a home or commercial building is a step to addressing this challenge. It is positive to see that the Government is keen to increase the uptake and prevalence of them especially in larger cities.

For further information on the forward-thinking green roof design techniques RISE Design Studio can bring to your project please contact mail@risedesignstudio.co.uk or give us a call on 020 3290 1003

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

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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.

Spotlight on Jan Kaplický

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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.

Spotlight on Charles Correa

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An aspect of our work that we are proud of is our ability to combine traditional architectural values with the use of modern materials. One architect who provides us with inspiration in this regard is Charles Correa, an Indian architect and urban planner who designed buildings that respect the local landscape while simultaneously meeting the practical needs of inhabitants. In 1984, RIBA declared Correa ‘India’s greatest architect’ – we look at some of his most important works and how they demonstrate his unique and deep-rooted understanding of Indian society and vernacular.

RISE Design Studio - Charles Corea - Cricket

Modernism in non-Western culture

While studying architecture in the US, Correa was influenced by the use of striking concrete forms developed by Le Corbusier (a collaborator of Jean Prouvé, another architect that we draw inspiration from in our work). This, along with careful consideration of the Indian climate, drove many of Correa’s design decisions. For example, he recognised the potential for residents of a hot country to experience a better quality of life with access to outside living spaces, such as terraces and courtyards. He also created traditional, symmetrical spaces, often in ‘modules’ that could be scaled up to the desired size.

A famous example of this is in the Gandhi Memorial Museum in the Ashram, which was Correa’s first important work in private practice. Completing the project in 1963, he used 6mx6m modular units to reflect the simplicity of Gandhi’s life and allow for eventual expansion (the incremental nature of a living institution). Using a simple post and beam structure, brick columns support concrete channels and a wooden roof and the modules reflect the isotopy (like fractals) found in the decorative elements of Hindu temples.

From low income to luxury

Correa designed nearly 100 buildings in India, ranging from low-income housing to luxury condos and cultural buildings. In the late 1960s, when developing his career as an urban planner, he created New Bombay (Navi Mumbai). Preferring ‘quasi-rural’ housing to the high-rise solutions more typical of towns and cities, he designed the low-cost Belapur housing in Navi Mumbai in the 1980s. These dwellings included communal spaces and facilities to create a sense of community and emphasise the importance of the human scale.

His later works included cultural projects such as university buildings in Maharashtra and an arts complex in Jaipur. Even in these projects he continued to believe that buildings must respond to their surroundings and take into account the particular needs of those using them. The arts centre, for example, is a clever fusion of past and present, inspired by both the traditional Hindu system of architecture and the ancient beliefs of using geometric patterns and symmetry.

A pioneer in passive techniques

Correa discouraged the use of mechanical heating and cooling methods, instead preferring to use ‘smart shading’, intelligent building orientation and methods to enhance the heat absorption capacity of masonry. He was passionate about using different parts of the house at different times of the day and embraced the notion of ‘open-to-sky’ architecture with open walls and courtyard spaces.

Correa passed away in 2015 and will be remembered for the great respect and love he had for the cities he worked in. He founded the Urban Design Research Institute in Mumbai in 1984 to improve low-quality buildings. He saw cities as places of hope and worked hard to provide city dwellers with low cost shelter, reasonable living conditions and a sense of community.

The work of Charles Correa provided inspiration in our Langley Vale Visitor Hub project.

Spotlight on Lina Bo Bardi

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Recycling or converting buildings came naturally to Italian-born Brazilian architect, Lina Bo Bardi. Inspired by the use and reuse of basic materials, she devoted her working life to engaging with every facet of culture and designing ‘people-friendly’ buildings. Described as “the most underrated architect of the 20th century”, it is pleasing to see her finally receive the attention she deserves. We take inspiration from Lina Bo Bardi here at RISE Design Studio, particularly her respect for authentic objects and how to preserve and celebrate them in the home.

RISE Design Studio - Lina Bo Bardi

Buildings flowing with the natural environment

In 1951, Bo Bardi created the ‘Casa de Vidrio’ in the rainforest surrounding São Paulo. An early example of the use of reinforced concrete in domestic architecture, she found a Brazilian context for the Italian modernism she was trained in. The landscape ‘flows’ underneath the building and the main living area is almost wholly open, apart from a courtyard that allows the trees in the garden to grow up into the heart of the house (perhaps a source of inspiration for Sverre Fehn’s Nordic pavilion). This celebration of the local environment is a theme that runs through her work.

Engaged public places

Bo Bardi’s designs were used in the the Solar do Unhão cultural centre in Salvador, and the Museum of Art, the Teatro Oficina, and Centro de Lazer Fábrica de Pompéia in São Paulo. In what she termed ‘poor architecture’, she sought to design public spaces that embodied a simple form of monumental architecture. The São Paulo Museum of Art is formed from ‘raw and efficient’ pre-stressed concrete, allowing unobstructed views to the lower-lying parts of the city.

She expertly restored buildings in a manner which neither pandered to nostalgia nor ignored context – the restoration of a 17th century sugar mill into the Solar do Unhão left the colonial exterior intact, with a modern staircase added. This reflected her belief that a museum should be a place for education – an active site of knowledge rather than a mausoleum of the past.

When she was commissioned in the 1980s to turn a burnt out office building into a theatre, she designed the new space almost completely out of painted scaffolding. The intense theatre space is designed to make the members of the audience feel as if they are engaged with the act on the stage.

Simplicity and the historical present

Lina Bo Bardi also designed furniture and she often used plywood and native Brazilian woods in her design. Wanting each object to display its own ‘natural logic’, her designs embodied simplicity and reduction and rawness of material.

Bo Bardi’s work has become much more widely acknowledged in recent years and support has grown for the proper preservation of her buildings. In a lecture at the University of São Paulo in 1989, she was asked to describe her ideas for the preservation of historic buildings. She replied that she sees no such thing as ‘the past’ in architectural practice. Whatever still exists today is what she termed ‘the historical present’ – you have to preserve the typical features and characteristics of a time that is part of our human heritage.

Nominated – ArchDaily Building of the Year 2021

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🎉 Exciting news to share! Our project, Mill Hill House 🏡 has been nominated for the prestigious ArchDaily Building of the Year 2021 🌟. 

Influenced by the aesthetic charm of traditional Georgian facade at the front, and replete with staggered minimalist cubes at the rear, Mill Hill House is a seamless blend of old-world allure and contemporary design.

Mill Hill House was nominated for ArchDaily Building of the Year 2021
Mill Hill House was nominated for ArchDaily Building of the Year 2021

Our principal motivation was to craft a space that utilises optimal arrangements and lighting, while still respecting and harmonising with the more traditional adjacent architecture. As a result, we’ve achieved an intriguing progression of spaces that coalesce to form a structure both aggregated and nuanced. 🏛️🌐

The use of materials also echo our design ethos. The Dutch bricks 🧱, with their sintered purple tones, contrast strikingly against the lush green backdrop, while the large glazed surfaces offer a modern dialogue with the site. 🍃🌳

Mill Hill House, new build five bedroom house in North London
Mill Hill House, new build five bedroom house in North London

Inside, we’ve focused on local craftsmanship, creating harmony through fluent transitions, allowing distinct environments to exist within larger, uninterrupted spaces. Central to the house is a ten-meter high atrium, acting as the home’s beating heart, providing a dramatic transition between the front and the back gardens. 🎨🛋️

Above all, we’re proud of our commitment to sustainable design, incorporating Passivhaus principles, including mechanical ventilation heat recovery system, airtightness, high-performance glazing, green roofs, and solar panels, all seamlessly integrated with the design. 🌿☀️🌏

Thank you to an amazing client and the team involved in this project. This nomination is a testament to our shared passion for creating beautiful, sustainable, and innovative spaces.

Mill Hill House was nominated for ArchDaily Building of the Year 2021

A full list of the nominated projects is available on ArchDaily’s website. Winners are announced on 12th March 2021.

To vote for our project please go here. 

A review of the project by Chris Foges with photographs by Edmund Sumner was featured in Architecture Today, please see here for the article. 

Christo & Jeanne Claude

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Christo and Jeanne Claude RISE Design Studio

“The work of art is a scream of freedom.”
– Christo

It is with both joy and a tang of sadness that we present this post today. With joy because of the incredible work that the couple carried out; a lifetime of art full of brightness. And sadness because, now that they are both gone, it has left us wondering – who will fill their void? Who will be as inventive, as playful, and as daring?

Christos and Jeanne Claude’s wrapping of landmarks was a breath of fresh air. An idea both monumental and ephemeral which never failed to trigger a sense of awe. The work was particularly powerful because it went beyond talking about itself to talk about us.

It talked about us and our monuments and buildings, putting in perspective our place in history and our scale in the world. It made us realise that we are not gods, that we come and go and that our creations are only a little sturdier than we are. Like Christos said on one occasion: “We believe that nothing exists that is forever, not even the dinosaurs; if well maintained, it could remain for four to five thousand years, (…) that is definitely not forever.”

There is a great relief in the realisation that, however long our temples or bridges have been standing there, it is comparatively little when regarded in cosmic time. The gift wrapping of these awe-inspiring monuments made them objects again; and us, children. The lightness that comes with knowing that there are much bigger things than ourselves, that we are relatively insignificant in the grand scheme of things is a burden taken off humanity’s shoulders.

Christo and Jeanne Claude changed our cities and our landscapes, covering them up to show them in a new light. They made us think about the world we live in and the world we build in a quiet way that harnessed so much power. Perhaps unsurprisingly, many never got to see their art in person – some of the installations lasted weeks; others, only days. But the playful way in which they wrapped the world and let people walk on water remains documented for everyone to be inspired. For us, as architects, it is an immense gift that has allowed us to think about our own creations in a completely new light.