From vision to reality: 196-222 King’s Road reaches Practical Completion
At the bustling heart of London's iconic King's Road, a transformation has been underway; an ambitious redevelopment project poised to reshape this historic shopping destination. We talk to Associate Director and project lead, Matthew Jones, as this 14-year project for Cadogan Estates reaches Practical Completion.
Can you provide a brief overview of the project and its main objectives / client brief?
The redevelopment of 196-222 King's Road represents a significant undertaking driven by the need to enhance the quality of retail offerings along this iconic shopping destination. This visionary project embraces a mixed-use concept, encompassing a diverse array of elements, including a large anchor store, cinema, offices, retail spaces, and roof top bar, all meticulously designed to foster a dynamic urban environment. King's Road, despite its historical significance, faces formidable challenges from local competitors and evolving shopping patterns influenced by online retail. To address these challenges, the redevelopment strives to augment foot traffic, introduce fashion anchors, and provide a variety of retail spaces. It also reveres the architectural legacy of the principal existing building (The Gaumont Palace Theatre), committing to a meticulous restoration of its key central facade. Additionally, the project embraces the community’s needs by incorporating residential spaces, ensuring that it revitalises the spirit of King's Road while responding to contemporary retail and lifestyle dynamics. Of note, the introduction of a roof top bar was a direct response to local community consultation, asking for somewhere quiet and calm away from the busy King’s Road, where one could watch the wonderful hustle and bustle of urban life.
What were the primary inspirations behind the design concept for this project?
The primary inspiration was the principal existing building itself; acknowledging the history of it and its importance to the surrounding townscape of Chelsea. We wanted something which met the expectations of modern day living – and all the challenges that brings – whilst creating a design which was reverential to the rich history of the site, and maintained a legibility in its architectural expression: clearly modern, clearly new build but still familiar, rooted to this location and the townscape around. With the main, landmark building (on the corner) we wanted to celebrate the details: framing and expressing windows, respecting the symmetry of the existing frontage etc. Historic photos of the Gaumont Palace Theatre provided inspiration, with the side bays covered in signage boards announcing the upcoming shows and actors, and the interiors beautifully decorated in rich 1930s Art Deco style. We wanted to keep the thread of history running through, and as such took the time to make references. For instance, artwork panels are to adorn the side bays, referencing the original signage, and the detailing throughout the building references the central façade and its Art Deco heritage. The intent was to keep a thread of Art Deco throughout the project.
With the other buildings, we built on the urban language of the King’s Road, looking at the undulations of the roof lines, the proportions, and widths of the facades, ensuring a hierarchy of building types. These considerations have manifested in subtle detailing, such as the window framing popping in and out of the façade on Friese Green House, and the window reveals and coping to the red brick façade referencing the original Trafalgar Public House, all with the intent of ensuring the architecture reads as specific to its location and connected to what was there before.
We also felt it was very important to give the building a base, to ground the building. We took inspiration from the Anthropologie building opposite, with its beautiful, glazed tiles, as well as slightly further afield examples of glazed brickwork in Covent Garden. This glazed brickwork base to the scheme then allowed us to introduce further levels of detailing such as folds in the facades to denote retail units, signage bracketry, awning fixings and so on. All these elements together provide a rich and characterful elevation – which we hope will be received as a positive improvement to The King’s Road.
Could you share some of the key design principles that guided your team's approach?
We were conscious of not being wed to a ‘contemporary’ design and the idea of over-simplification, instead we were driven by embracing the detail work and enjoying the human scale that it can bring to a project. We were privileged to be working with a fantastic client, Cadogan, who have a very long term view of placemaking and townscape. As such, the building was designed to reflect this long term aspiration.
Were there any specific challenges in translating the initial design concept into the final built form?
The biggest challenge was that we adopted the emerging regulations to do with fire safety, despite being mid-programme, so we changed all of the envelope insulation to non-combustible materials. This introduced the need for some interesting detail work. We have been particularly impressed with Techrete’s ability to deliver the detail we wanted in the precast façade - for example in the chevron panels - which are incredibly complex - as well as the metal work spandrels by CSI and louvres by EEC.
What are some of the standout features or innovations in this project that set it apart from others?
I think that the precast panels are a significant achievement, and working with Techcrete and their design team has been a very collaborative process.
In my opinion, the biggest success is that the building doesn’t look complicated despite being hugely complex (with seven different use classes across the site, with overlapping fire escape routes and requirements)! It’s testament to the design team and design process that the building is very calm and uncomplicated with a clear legibility and hierarchy to the scheme
Could you elaborate on any sustainable or contextual design strategies that were employed, including targets or levels achieved (i.e. BREEAM etc.)?
The project is targeting BREEAM Excellent for all of the commercial spaces and Code for Sustainable Homes level 5 for the 47 residential units – yes, it is that old! Of these, 10% are affordable and 10% are wheelchair accessible. We have succeeded in achieving incredibly good air tightness results, far higher than the requirements, and in some areas, Passivhaus standard. This coupled with MVHR and good insulation standards should go a long way to reducing energy demand.
How did you ensure that the project's vision was maintained throughout the collaboration?
The project has been running for 14 years, so it’s really helped that key members of the design team have been working on the project since the start. Fundamentally, the design came about through close collaboration with all involved, so everyone bought into and understood the vision, which has been invaluable. Cadogan also have a keen eye for detail, as has the project manager, which has made the process of maintaining that vision over such a long period of time both easier and enjoyable – a true team effort!
Can you discuss the thought process behind the selection of materials used in the project?
Our primary aim was to choose materials which could be celebrated for their variation and character. It was important to us that the building was not monolithic in appearance, so that variety and absence of uniformity was crucial in achieving a characterful feel to the project. We visited the Petersen brick factory in Denmark (which we highly recommend to anyone interested in the process of making bricks) and spent a long time going through bricks with Cadogan to ensure we were getting that sense of variation without it looking forced; we felt that gave the building its character and helped it to feel grounded.
There are white/buff bricks by Wienerberger for the internal facing elements, which were chosen to maximise the light and provide that feeling of tranquillity which will reflect and enhance the landscaping in the internal courtyards (which will follow in a later phase).
We chose an anodised finish on the panelling at high level because, by its nature, it has character and natural variation brought about by its manufacturing process. There are also areas of render which are a nod to other building typologies in the immediate context.
How does the design enhance the user experience and address the needs of those who will interact with the spaces?
From a residential point of view, I think it offers a wonderful place to live, and the entrance on Chelsea Manor Street adds to the pedestrian route from King’s Road through to St Luke’s Church. When you enter and go up through the double height volume into the podium, you feel like you are in a completely different world; a calm oasis away from the hustle and bustle.
The retail frontages have an artisanal quality courtesy of the glazed brickwork surrounds and timber shopfronts (due to be installed by the end of the year), reinstating that real sense of grandeur. So it’s not just about the users of the building, it’s very much giving back to the people passing by, the local community, the pedestrians on the street.
Were there any specific user-centric design decisions that were particularly important for this project?
The volumes needed to accommodate a column-free, huge space for the cinema areas came with substantial design considerations. The column-free space is roughly 20 by 30 metres in plan and 10 metres high, on top of which sits a six-storey building - so it’s a major feat of engineering and design! But from the street, none of this is evident.
What aspect of the project are you most proud of, and why?
I’m most proud that we were able to hold onto the design aesthetic and quality, whilst dealing with change, the enormous complexity of the project and its duration, to arrive at something which, not only looks great, but provides a positive contribution to the area.
As the architect, how do you envision this project contributing to the architectural landscape in the years to come?
I think it provides a positive addition to a very important part of London, but it does so without shouting. It’s an intelligent, mature, understated design, a much-needed addition to a richly historic street in London: King’s Road. The subtlety of the material palette reflects the nature and the history of the site, and the detailing provides a tailored quality to the building. I’m sure that it will age well – it already looks like it belongs and should always have been there!
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