Cambridge bakery converted into family home by NRAP Architects

British architect Richard Overs has converted a deserted bakery in Cambridge, England, into a modern home for his family (+ slideshow).

From Bake-House to Our House by NRAP Architects

Overs, a director at NRAP Architects, renovated both the bakery and a small accompanying house to create the two-storey residence called The Nook, then tied the two buildings together by adding a black-painted timber structure in between.

From Bake-House to Our House by NRAP Architects

The architect said the two separate structures lent themselves perfectly to the arrangement of a home: “The large space within the bakery provides flexible living space, whilst the smaller rooms within the baker’s house are ideally suited to bedrooms.”

From Bake-House to Our House by NRAP Architects

Accessed via a private lane, the house’s facade is a wall made from a combination of light and dark bricks. An entrance leads through the wall into the new wooden structure, which contains a lobby and staircase.

From Bake-House to Our House by NRAP Architects

The hallway leads through to the large room formerly used as bakery. With high ceilings and white-painted wooden trusses, the space creates a flexible living, dining and kitchen space.

From Bake-House to Our House by NRAP Architects

A wall of glazing opens the kitchen out to a secluded courtyard located behind the facade, while a series of glass doors also lead out to a second courtyard at the rear.

From Bake-House to Our House by NRAP Architects

Skylights bring additional daylight into the living space, while floors are covered with painted plywood boards. The kitchen worktops are salvaged from the architect’s previous kitchen.

From Bake-House to Our House by NRAP Architects

“Our attitude to the fabric of the building was quite relaxed; elements of value were retained, others were removed,” explained Overs.

From Bake-House to Our House by NRAP Architects

The hallway features a wall of exposed clay bricks, revealing the former facade of the small detached house, which contains a pair of bedrooms on each floor.

From Bake-House to Our House by NRAP Architects

Here’s a project description from architect Richard Owers:


From Bakehouse to our House

Richard Owers, director of NRAP Architects, describes the process of converting a disused bakery in Cambridge into a home for his family.

From Bake-House to Our House by NRAP Architects

 

The Nook …….. is where the hearth is!

“Converting The Nook was an important moment in my architectural career, the significance of which was increased by the death of my father the previous year. He had inspired me at a very early age to become an architect and throughout my career suggested it was important to live in ones own creation. Finally firing up the hearth at The Nook was therefore rather poignant.”

From Bake-House to Our House by NRAP Architects

Rescue Operation

“An often overlooked challenge for architects interested in sustainability is how to adapt existing buildings in a creative and cost effective manner. This project demonstrates how a building with little apparent architectural value can be rescued through good design. It also illustrates that demanding physical and budgetary constraints require creative solutions, and that calculated risk-taking can overcome the difficulties of a cautious mortgage market.”

From Bake-House to Our House by NRAP Architects

Dereliction

In October 2010 Richard Owers of NRAP Architects spotted a ramshackle bakery and detached house in south Cambridge. The bakery, more recently used as a launderette, was disused and boarded up. The baker’s house had been privately rented and was in very poor condition. The two buildings were stranded behind a parade of shops, within a sea of car parking, at the end of a tarmac drive. As a place to live it had little going for it – or that was the general perception.

From Bake-House to Our House by NRAP Architects

The existing two-up-two-down house was entered off a forecourt, directly into a central room that doubled as entrance hall and dining room. A living room and kitchen were accessed off opposing corners of the dining room. The same pattern was repeated at first floor, with entry to the bathroom via a bedroom.

From Bake-House to Our House by NRAP Architects

The Solution

A walled garden in front of the bakery provides privacy to the living spaces and definition to the forecourt. A black-stained, timber-clad structure was added to the house to link it to the bakery and provide a new entrance hall and staircase. The existing staircase was removed to provide storage space in bedrooms. A right of way, passing along the north edge of the bakery, presented a privacy and security problem that was overcome by blocking-up all but one of the existing openings on the north façade. In the remaining opening translucent glass replaces a timber door. Large windows in the south facade were introduced to re-orientate the living spaces to the back garden.

From Bake-House to Our House by NRAP Architects

Expanding Space

In a tight urban context the balance between privacy, light, and views is hard won. An increased sense of space, achieved through large openings with strong connections to the outside, is often at odds with privacy requirements. The following images show how this was achieved.

From Bake-House to Our House by NRAP Architects
Image showing the original bakery and detached house

Inside Outside

The walled garden has the feeling of a living room, carpeted in white pebbles with a planted edge and a Tibetan Cherry tree for shade. A large sliding-folding door allows the living spaces to extend into the garden, and the garden to extend into the living space.

Ground floor plan of From Bake-House to Our House by NRAP Architects
Ground floor plan – click for larger image

Controlled Views

Views through the building and of external spaces are carefully controlled. The walled garden is first glimpsed from the front doormat and again at the foot of the staircase. It is not until one enters the living space that uninterrupted views of both front and back gardens are possible. Natural light plays on the different materials and surfaces to create an ethereal atmosphere that changes throughout the day and with the seasons.

First floor plan of From Bake-House to Our House by NRAP Architects
First floor plan – click for larger image

Top Lighting

The space within the entrance hall expands vertically up to the first floor as you penetrate the building. A roof light above brings natural light into the heart of the space.

Roof plan of From Bake-House to Our House by NRAP Architects
Roof plan – click for larger image

Open-plan Living

A compelling architectural diagram for contemporary living combines a compact arrangement of bedrooms with open-plan living spaces. The contrasting form and geometries of the two existing buildings lent itself perfectly to this arrangement. The large space within the bakery provides flexible living space, divided by free-standing storage and island units, whilst the smaller rooms within the baker’s house are ideally suited to bedrooms.

Section through garden of From Bake-House to Our House by NRAP Architects
Cross section – click for larger image

Special Places

The staircase is an exciting place to stop. In recognition of this we created an extended landing at the top, overlooking the entrance hall. The landing is large enough for a writing desk and chair.

Section through courtyard of From Bake-House to Our House by NRAP Architects
Long section – click for larger image

Re-use, Recycle, Reclaim

Rescuing a dilapidated building is an intrinsically sustainable thing to do. Our attitude to the fabric of the building was quite relaxed; elements of value were retained, others were removed. The lintel over the original front door for example was reused above the fire place as a focus to the living space.

Brickwork to the original external wall of the house is exposed in the hallway, in contrast with the smooth plaster used elsewhere. Painted plywood, usually used as a sub-floor, has been laid directly on rigid insulation over the original concrete floor. Low energy florescent lights are discretely hidden behind a timber pelmet, and kitchen worktops and units were salvaged from my previous kitchen.

North elevation of From Bake-House to Our House by NRAP Architects
North elevation – click for larger image

Process

As soon as our offer on the property was accepted I commenced the design to enable a planning application to be lodged immediately after ‘exchange’ of contracts. A period of six weeks between exchange and completion was agreed, to parallel the statutory planning period and allow just enough time to prepare construction information. Unfortunately the council took three weeks to merely validate the application, so construction was commenced, at some risk, prior to receiving planning permission. The pressure of paying two mortgages made it essential to compress the construction program. A contract was negotiated with a local builder prepared to wait until we had re-mortgaged to get the majority of his money. Construction was completed in three months and the property re-mortgaged immediately after.

East elevation of From Bake-House to Our House by NRAP Architects
East elevation – click for larger image

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family home by NRAP Architects
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Garden Workshop designed around an old workbench and a collection of handmade tools

Ben Davidson of London studio Rodić Davidson Architects designed this garden shed in Cambridge, England, to the exact proportions of his grandfather’s old workbench and added pegboard walls for displaying a collection of handmade tools (+ slideshow).

Garden workshop in Cambridge by Rodic Davidson Architects

The Garden Workshop is one of two wooden sheds that Rodić Davidson Architects has built at the end of Davidson’s garden. The other functions as a home office, but this one is used by the architect as a model-making workshop.

Garden workshop in Cambridge by Rodic Davidson Architects

The building is designed around the size of two components. The first is a series of glazed panels the architect had been given for free by a contractor several years earlier, and the second is an old workbench originally belonging to his grandfather that he inherited after the recent death of his father.

Garden workshop in Cambridge by Rodic Davidson Architects

“My grandfather was a carpenter by trade and extraordinarily talented; he should have been a cabinet maker,” said Davidson. “I recall many summers in my early teens, being packed off for two weeks to go and stay with my grandparents in Norfolk and spending the entire time with him in his workshop.”

Garden workshop in Cambridge by Rodic Davidson Architects

“My father sadly died in 2012 and this led me to inherit my grandfather’s workbench and tools which had sat in the garage, unused and rusting, for almost 30 years since his death in 1985,” he added.

Garden workshop in Cambridge by Rodic Davidson Architects

The building has a simple wooden box frame that is left exposed inside, fitting exactly around the old workbench.

Garden workshop in Cambridge by Rodic Davidson Architects

The square recesses around the frame are infilled with pieces of lacquered pegboard that accommodate hooks for hanging the old tools, many of which Davidson says he made with his grandfather at the age of ten.

Garden workshop in Cambridge by Rodic Davidson Architects

Modular wooden shelving boxes also slot into the recesses, while an extra workbench made from maple runs along one wall beneath a window.

Garden workshop in Cambridge by Rodic Davidson Architects

Two skylights offer a view up to the sky through the canopy of an adjacent tree and a concrete base gives the shed its floor.

Garden workshop in Cambridge by Rodic Davidson Architects

The exterior is clad with black-stained plywood over a layer of rubber waterproofing.

Garden workshop in Cambridge by Rodic Davidson Architects

Photography is by the architect.

Here’s a project description from Rodić Davidson Architects:


Garden Studio, Cambridge

A black timber garden studio and model-making workshop

Hidden in amongst the trees at the end of a long garden in Cambridge, we have designed and built two separate timber-framed buildings for use as a home office/studio and a model-making workshop. The structures are clad in vertical black-stained softwood boarding of varying widths – wider on the studio and narrower on the workshop. On the studio, the cladding forms a continuous rainscreen and wraps the entire building. The larger studio building is very highly insulated (using 150mm Cellotex combined with Super Tri-Iso) and incorporates a super efficient air-source heat pump. Calculations indicate that the annual heating bill will cost less than £21 in electricity costs. The building is wrapped with a black timber rain screen over a complete wrapper of a rubber membrane for water-proofing.

Garden workshop in Cambridge by Rodic Davidson Architects

Free glass

We moved to Cambridge in 2008 and, not long after having done so, I was offered – free of charge – some large Velfac glazed panels from a contractor that we were working with who had incorrectly ordered them for a new school. If I hadn’t have taken them, they would have gone in the skip.

The panels arrived at my new house in Cambridge on the same day that we moved in. For 4 years they sat in the garden under a blue tarpaulin.

Garden workshop in Cambridge by Rodic Davidson Architects

Beautiful tools to restore and display

My father sadly died in 2012 and this led me to inherit my grandfather’s workbench and tools which had sat in his garage, unused and rusting, for almost 30 years since his death in 1985. My grandfather was a carpenter by trade and extraordinarily talented: he should have been a cabinet maker. I recall many summers, in my early teens, being packed off for two weeks to go and stay with my grandparents in Norfolk and spending the entire time with him in his workshop.

Garden workshop in Cambridge by Rodic Davidson Architects

The two events – my father’s death and came together and led me to design and build the workshop. The design was led by numerous very specific criteria: The size of my grandfathers workbench, the size and number of glass units, the wish to not only store – but to display the wonderful tools (most of which my grandfather had made – indeed some we made together when I was 10).

The final briefing constraint was the wish to build the buildings under Permitted Development.

Garden workshop in Cambridge by Rodic Davidson Architects
Floor plan

The design

The workshop is made using a timber frame on a concrete base. The frame is set out precisely so as to form internal square sections. The timber is cheap 6×2 softwood used for stud work. The frame was clad with ply (2 sheets on the roof) and then cross battened and clad again with staggered roofing battens (50x25mm). Internally, pegboard was cut and placed between the stud work squares and the entire internal space was then prepared and sprayed with 7 coats of Morrells satin lacquer. This was extremely time consuming. Birch ply cupboards were then fitted into the openings.

Garden workshop in Cambridge by Rodic Davidson Architects
Cross section

A workbench was made from maple accommodating a lower platform for the Meddings pillar drill and a sink. The elevation above the workbench is fully glazed and north facing.

Two roof lights were installed which look up into the canopy of the lime tree over.

The post Garden Workshop designed around an old
workbench and a collection of handmade tools
appeared first on Dezeen.

Novalia Drum Poster: The Cambridge-based technology firm is transforming paper into a usable interface

Novalia Drum Poster


Novalia is a team of seven scientists, programmers and designers from Cambridge, England whose members love all things creative. The small technology firm wants to put their platform in the hands of musicians, artists and other…

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Interview: Alan Stanton on the Stirling Prize-winning Sainsbury Laboratory

Sainsbury Laboratory by Stanton Williams

“The social challenge of designing a laboratory is almost as demanding as the technical challenge,” Stanton Williams‘ Alan Stanton told Dezeen at the 2012 RIBA Stirling Prize award ceremony this weekend, where his firm picked up the big prize for their design of the Sainsbury Laboratory in Cambridge, England (+ audio).

Located in the botanic gardens of Cambridge University, the laboratory is a centre for plant research and Stanton explained how they designed spaces that would encourage interaction between researchers. “You’re trying to get scientists to talk to one another, to share their experiences and talk about the research they’re doing, because science then produces accidental discoveries,” he said, before explaining how even the location of the coffee machine can be critical to innovation.

Sainsbury Laboratory by Stanton Williams

Stanton also talked about how the laboratory has a special relationship with nineteenth-century plant scientist Charles Darwin, as not only did his tutor at Cambridge plan the surrounding gardens, but there is also a collection of Darwin’s plants within the building. ”It’s the past and the future of plant science,” he said.

Sainsbury Laboratory by Stanton Williams

Find out more about the Sainsbury Laboratory in our earlier story, or see more stories about Stanton Williams.

Sainsbury Laboratory by Stanton Williams

Photography is by Hufton + Crow.

The post Interview: Alan Stanton on the
Stirling Prize-winning Sainsbury Laboratory
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Sainsbury Laboratory by Stanton Williams wins 2012 RIBA Stirling Prize

Sainsbury Laboratory by Stanton Williams

News: the Sainsbury Laboratory by Stanton Williams has been awarded the 2012 RIBA Stirling Prize for the most significant contribution to British architecture this year.

Sainsbury Laboratory by Stanton Williams

A combination of limestone columns and concrete bands surrounds the exterior of the building, which provides scientific research facilities in the botanic gardens of Cambridge University.

Sainsbury Laboratory by Stanton Williams

Glass-fronted laboratories allow scientists to look out onto a courtyard at the centre of the building, beyond a double-height corridor filled with informal meeting areas.

Sainsbury Laboratory by Stanton Williams

Read more about the project in our earlier story.

The building was one of six shortlisted entries, including projects by OMA and David Chipperfield  – read more about each one here.

Previous winners include Zaha Hadid for the Evelyn Grace Academy (2011) and the MAXXI Museum (2010), and Rogers Stirk Harbour + Partners for the Maggie’s Centre in London (2009) – see all our stories about previous winners here.

See more stories about Stanton Williams »

Photography is by Hufton + Crow.

The post Sainsbury Laboratory by Stanton Williams
wins 2012 RIBA Stirling Prize
appeared first on Dezeen.

Sainsbury Laboratory by Stanton Williams

Sainsbury Laboratory by Stanton Williams

An unusual combination of limestone columns and concrete bands surrounds the exterior of a laboratory by UK architects Stanton Williams in the botanic gardens of Cambridge University.

Sainsbury Laboratory by Stanton Williams

The Sainsbury Laboratory provides facilities for botanical research, spread over two upper storeys and a basement.

Sainsbury Laboratory by Stanton Williams

The stone piers screen a glass curtain wall on the north and east elevations, whilst the south and east facades feature gridded windows that overlook a courtyard.

Sainsbury Laboratory by Stanton Williams

Glass-fronted laboratories allow scientists to see across a double-height circulation corridor to the courtyard beyond.

Sainsbury Laboratory by Stanton Williams

This continuous corridor winds through the building and provides informal meeting areas.

Sainsbury Laboratory by Stanton Williams

Elsewhere, the building contains a herbarium, an auditorium, meeting rooms, a public cafe, garden-staff quarters and social spaces.

Sainsbury Laboratory by Stanton Williams

The laboratory is named after Lord Sainsbury, whose charitable foundation was responsible for funding the project.

Sainsbury Laboratory by Stanton Williams

The columned facade of the building presents a similar mix of modernism and classicism to David Chipperfield’s Museum of Modern Literature completed in 2006 – see our earlier story.

Sainsbury Laboratory by Stanton Williams

Other laboratories from the Dezeen archive facilitate research into natural history, genomics and nanotechnology to name a few – see all our stories about laboratories here.

Sainsbury Laboratory by Stanton Williams

Photography is by Hufton + Crow.

Sainsbury Laboratory by Stanton Williams

Here are some more details from Stanton Williams:


Sainsbury Laboratory

The Sainsbury Laboratory, an 11,000 sq.m. plant science research centre set in the University of Cambridge’s Botanic Garden, brings together world-leading scientists in a working environment of the highest quality. The design reconciles complex scientific requirements with the need for a piece of architecture that also responds to its landscape setting.

Sainsbury Laboratory by Stanton Williams

It provides a collegial, stimulating environment for innovative research and collaboration. The building is situated within the private, ‘working’ part of the Garden, and houses research laboratories and their associated support areas. It also contains the University’s Herbarium, meeting rooms, an auditorium, social spaces, and upgraded ancillary areas for Botanic Garden staff, plus a new public café. The project was completed in December 2010.

Sainsbury Laboratory by Stanton Williams

Cambridge University Botanic Garden was conceived in 1831 by Charles Darwin’s guide and mentor, Professor Henslow, as a working research tool in which the diversity of plant species would be systematically ordered and catalogued. The Sainsbury Laboratory develops Henslow’s agenda in seeking to advance understanding of how this diversity comes about. Its design was therefore shaped by the intention that the Laboratory’s architecture would express its integral relationship with the Garden beyond.

Sainsbury Laboratory by Stanton Williams

The building as a whole is rooted in its setting. There are two storeys visible above ground and a further subterranean level, partly in order to ensure efficient environmental control, but also to reduce the height of the building. The overall effect is strongly horizontal as a result. Solidity is implied by the use of bands of limestone and exposed insitu concrete, recalling geological strata and indeed the Darwinian idea of evolution over time as well as the permanence which one might expect of a major research centre. At the same time, however, permeability and connections – both real and visual – between the building and the Garden have been central to its conception.

Sainsbury Laboratory by Stanton Williams

The building’s identity is established externally by the way in which it is expressed and experienced as a series of interlinked yet distinct volumes of differing height grouped around three sides of a central courtyard, the fourth side of which is made up of trees planted by Henslow in the nineteenth century. The internal circulation and communal areas focus upon this central court, opening into it at ground level and onto a raised terrace above in order to provide immediate physical connections between the Laboratory and its surroundings.

Sainsbury Laboratory by Stanton Williams

Further visual connections are created by the careful use of glazing in the building. At ground level, extensive windows provide views of the courtyard and the Garden beyond, allowing these internal areas to be read as integral elements of the outdoor landscape. The first floor is also largely glazed. Its windows are screened by narrow vertical bands of stone that imbue the elevation with a regular consistency, behind which the pattern of fenestration could potentially be altered in response to future requirements.

Sainsbury Laboratory by Stanton Williams

Related to the conception of the building in terms of its landscape setting is the way that its internal areas are connected by a continuous route which recalls Darwin’s ‘thinking path’, a way to reconcile nature and thought through the activity of walking. Here the ‘thinking path’ functions as a space for reflection and debate.

Sainsbury Laboratory by Stanton Williams

It is intended to promote encounters and interaction between the scientists working in the building, and between them and the landscape. With glazed windows facing the court on one side and internal windows offering glimpses of the laboratories on the other, it operates as a transitional zone between the top-lit working areas at the centre of the building and the Botanic Garden itself. In this respect, the ‘path’ reinterprets the tradition of the Greek stoa, the monastic cloister, and the collegiate court, all of which were intended to some extent as semi-outdoor spaces for contemplation and meetings. As a result, past, present, and future are connected. The work of the laboratories will seek to understand the plant diversity that is glorified by the arrangement of the historic Botanic Garden in which it is set and which, though pleasant to visit, continues to function as a working space devoted to groundbreaking research.

Sainsbury Laboratory by Stanton Williams

Professor Sir Leszek Borysiewicz, Vice-Chancellor of the University of Cambridge, said: “Cambridge has a strong record in the study of plant biology – a science which is now accepted as critical for our planet. This makes the Gatsby Foundation’s award to the University both natural and transformational – we are truly grateful.”

Sainsbury Laboratory by Stanton Williams

Lord Sainsbury said: “This is one of the most exciting projects with which my Charitable Foundation has been involved. It combines an inspirational research programme, an historic site in the Botanic Garden and a beautiful laboratory designed by Stanton Williams, and I believe it will become a worldclass centre of excellent plant science.”

Sainsbury Laboratory by Stanton Williams

Professor John Parker, the recently retired Director of the Botanic Garden who has been the sole representative of the Garden at project meetings, said: “The Garden looks forward in the 21st Century to maintaining its position with the study of plant diversity in the most modern way. The Laboratory will be dedicated to the advancement of curiosity-driven research. However it is hard to imagine that increasing our knowledge of the fundamental mechanisms of plant development is not going to have a very significant impact on the improvement of agriculture in years to come.”

Sainsbury Laboratory by Stanton Williams

Key Values

Project Value: £82 million
Contract value: £69 million
Construction value: £65 million (contract value less the consultants fees)
Cost per sq m: £4,975/sq m for the main laboratory


Sainsbury Laboratory by Stanton Williams
Click above for larger image

Key dates
Construction Start date: February 2008
Completion Date: December 2010
Date of Occupation: January 2011
Project Duration: June 2006 – January 2011
Planning phase: June 2006 – February 2008
Construction phase: February 2008 – January 2011

Sainsbury Laboratory by Stanton Williams
Click above for larger image

Building Details
Postal Address: The Sainsbury Laboratory, Bateman Street,
Cambridge, CB2 1LR
Number of Occupants: 150
Gross Internal Area: 11,000m2 (incl. all buildings, excl. external landscaped areas)

Sainsbury Laboratory by Stanton Williams

Click above for larger image

Project Team
Client: The University of Cambridge
Funder: The Gatsby Charitable Foundation
Strategic Project Manager: Stuart A. Johnson Consulting Ltd
Project and Contract Administrator: Hannah – Reed
Project Officer: University of Cambridge Estate Management
Representative Users: Cambridge University Botanic Garden,
The Gatsby Charitable Foundation
Main Contractor: Kier Regional
Architect: Stanton Williams
Civil and Structural Engineer: Adams Kara Taylor
Building Services Engineer: Arup
Cost Consultant: Gardiner & Theobald
Landscape Architects:Christopher Bradley-Hole Landscape and
Schoenaich Landscape Architects
CDM Coordinator: Hannah – Reed
Approved Building Inspector: Cambridge City Council

Sainsbury Laboratory by Stanton Williams
Click above for larger image


See also:

.

Van Leeuwenhoek Laboratory  by DHV Architecten Facebook Headquarters by Studio O+A Mensa Triangle by SOMAA
Van Leeuwenhoek
Laboratory by DHV
Facebook Headquarters
by Studio O+A

Mensa Triangle
by SOMAA

Parkour Showreel

Une bande demo / showreel 2011 sur la discipline du Parkour : une pratique physique consistant à transformer des éléments du milieu urbain en obstacles à franchir par des sauts et des escalades. Une courte compilation par le photographe Scott Bass, basé à Cambridge.



scott2

scott1

Galerie + Portfolio Scott Bass.

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