Empathise and engage

If there’s one thing we’ve learned makes better buildings, it’s empathy. Architecture never happens in isolation—and simply by being interested and engaged, we’ve found it’s possible to open up the conversations that connect a scheme to its clients and community.

Weconstraints

We believe that the more constraints there are, the better the architecture. If there aren’t any constraints, we create them. Challenging sites, existing buildings and complex briefs almost always present incredible opportunities for great design.

Passive future

To limit our environmental impact, we start with what is already there. By manipulating the form and fabric of a building—whether new or existing—we can work with the existing conditions of topography, light and orientation, and harness the natural energy sources offered by air, ground and water.

Social detail

If a site’s constraints guide the bigger design decisions, then it’s empathy that informs the smaller, social details. These details frame the human narratives that aren’t included in the brief, anticipating specific moments in the users’ lives.

Mud on our boots

Good architecture is as much about what happens on the building site as it is about what’s on the drawing board. By working alongside contractors as well as clients we can ring-fence the ideas and details that matter, championing quality and sustainability throughout construction.

Gielgud Theatre
WorkStudioActivityNewsContact
Curl la Tourelle Head
Work
  • Gielgud Theatre

  • Grade II Listed

  • Soho, London

Client
  • Delfont Mackintosh Theatres

The Grade II Listed Gielgud Theatre was opened in 1906 under its former name, the Hicks Theatre. It was designed by W. G. R. Sprague and also known as the Globe Theatre for 85 years, until the reopening of Shakespeare’s Globe theatre on the South Bank.

As part of a major remodelling project, we have been updating the many parts that enables the theatre to function. The key objective was to enable improved experiences for modern theatregoers, from enhanced navigation and circulation to optimised bar and toilet areas, reducing queues and reinvigorating the Soho Theatre brand.

We carried out investigations into the Gielgud Theatre stage, backstage and seating areas were conducted, to determine whether the seat count and box provision could be increased, as well as providing more features to improve accessibility. The investigation included examination of the operational stage areas and considerations into increasing seating capacity and improving sight-lines.

Back of house functions and security are carefully rethought, with an in-depth study of these ‘unseen’ hard-working spaces which are reinvigorated with elements of colour, texture, and light, all designed for durability and safety. The auditorium takes centre stage, but it is the sum of all the parts, from costume stores to bathroom facilities, that enables the whole theatre to function. We particularly focused on the stage door, where several activities need to occur in small and overlapping spaces for the theatre to function. Materials choice was also key. The stage door has always needed to be more robust than the foyer, since it works harder. However, if the theatre is to be rebranded, the finishes need to look smart as well as being enduring. We investigated typography for the rebrand with Fraser Muggeridge Studio.

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