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.

Wyndham's Theatre
WorkStudioActivityNewsContact
Curl la Tourelle Head
Work
  • Wyndham's Theatre

  • Grade II* Listed

  • Soho, London

Client
  • Delfont Mackintosh Theatres

Grade II* Listed Wyndham’s Theatre in London’s West End was designed by W. G. R. Sprague.

The functions of the stage door and its keeper have evolved and expanded over time, the space is now filled to capacity on all planes and the operatives of this space are nestled within a complex network of services. We investigated design options for making the existing Theatre stage door entrance and stage door keepers office more secure. Improving the security of the stage door entrance would include better incident containment, access control, surveillance and sight-lines.

The existing stage door keeper is ‘spaced out’ in a sense, confined to a narrow enclosure. Likewise, the stage door entrance is cramped, awkward and in need of interior design to improve Thespian, staff and visitor movement through this space. The key security measures to be considered are primarily manual attack, ballast attack which includes use of fire arms and disorderly individuals who may be either intoxicated or suffer with poor mental health.

Our approach looked very carefully at the current local situation and its wider internal context, also looking outside the realms of architecture. Work-groups were held with the stage door keeper to better understand the stage door programme and understand the unique characteristics of the existing neighbourhood.

Key objectives were improving sight lines and flow of staff, visitors, deliveries and thespians through the space. The designs were to improve the stage door interior quality to equal that of the main spaces while rationalising and making better use of space, as well as more pragmatic provision of additional storage, counter space and kitchenette.

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