CLAY

A Spa conceived as a series of vessels for cleansing and sustenance. Defining a strong enclosure to the spa’s exposed northern approach, these vessels develop into an internal arrangement of interlocking curved forms, describing a seamless series of spaces that open into one another and out into the landscape beyond.

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The repetition of vessels define an elemental character within the pristine site, denoting a clear crafted identity for the spa. Each of these curved containers is used to house building resources or singular physical activities; bathing, massage, s

The repetition of vessels define an elemental character within the pristine site, denoting a clear crafted identity for the spa. Each of these curved containers is used to house building resources or singular physical activities; bathing, massage, showering or sweating in the sauna. They fluidly connect private and collective spaces to enable the guests to enjoy the surrounding stillness of the forest as part of the ritualistic experience of the spa.

The use of simple pre-fabricated glass reinforced concrete vessels provides a simple lightweight structure that was easy to fabricate, assemble and maintain, within the isolated location of the spa. They house the resources that enable the spa to regulate itself and provide for self-sufficient and ecologically sustainable inhabitation.

Materials and detailing bond together the new and old elements of the complex. The barn-like structure of the new cookery school exploit the spectacular views and evening sunlight across the rural valley to the west with a crisp fully glazed wall, w
This substantial house addition stretches out from the pitches of the original arts and crafts style building, folding and stepping down into the steep surrounding site. Its fold’s open fissures that highlight views around its interlocking rooms. Oc
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This installation for part of the London Design Festival achieved a big impact with a minimum of means. The 70x7m grid system holds a pixelated array of panels, which are orientated to reflect or provide glimpses of the foliage beyond, merging the a
The circular form defines an arrival and orientation point from multiple directions, by local rail, car or long-distance footpath, connecting all the centre’s operations under one roof such that each component can operate individually or as part of
The building’s plan and roof forms are a direct response to its tight site, setting it back from the surrounding trees and gardens, and pitching to minimise its volume. Built to an extremely tight budget, its main entrance is sculpted and cantilever
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 The form of the centre embraces the park as the landscape rises to meet with the building. The plan inflects to create a sheltered external space that acts as a transitional zone between the centre and the park. The building’s circulation is c
A low turf roofed stone-faced building abuts a cross-laminated timber two-storey construction with a sculpted roof form that folds down to respect to the existing buildings and a ridge point defined by a cart shed beyond, housing the plant. The farm
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Inclined floor planes unsettle and embrace visitors, leaning out to the seemingly fragile edges of the structure. This instability aims to promote a heightened engagement with its spaces that is entirely open, free and non-prescriptive. It is a pl
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London’s parks have traditionally defined their identity and territory through their own ornate bespoke ironwork. The role of these formal park gates has been equally representational and functional. They act as individual spatial markers within the
The Marriott Portsmouth hotel required extensive updating and remodelling to revitalise its appearance and operation while improving its thermal and acoustic performance. Taking advantage of a highly visible position on the main route into the city

MANIFEST

to make clear or evident to the eye or understanding