A historic soft drink bottling facility in a formerly run-down part of south east London has been stripped and restored by Studio RHE, bringing its attributes to the fore as a lively commercial and events space. Roseanne Field reports
Located on Ossory Road in Peckham, just off south east London’s main thoroughfare Old Kent Road, is a 30,000 ft2 warehouse – the former home of bottling brand J. Mills & Sons. Dating back to 1895, the building was used for almost a century to produce glass and stoneware bottles and to bottle mineral water, lemonade and ginger beer.
It was later occupied by a furniture manufacturer, and more recently a church, before eventually sitting unoccupied as an unused asset with strong architectural attributes. An extension was added in 1914, and a further, smaller one after the end of World War II.
Despite the building being empty, it was added to Glengall Road Conservation Area in May 2019 when an application to extend the boundary was extended. In 2017 Southwark Council’s Old Kent Road Area Action Plan had identified the former bottling plant as being of architectural and historic interest, and a building that should be retained for future commercial use.
The area surrounding Old Kent Road was undergoing, and continues to undergo, substantial change and regeneration, and it wasn’t long before developer Fabrix identified the building’s potential. They bought it with the intention to refurbish into office and creative space, and renamed the Bottle Factory it now sits in what is an up and coming district.
“Our vision for Old Kent Road is to build on its unique creative character, a place where industry can thrive alongside new homes and quality open spaces,” explains Southwark Councillor and Cabinet Member for Growth, Development and Planning, Johnson Situ. “The loss of this previously undesignated heritage asset would have been detrimental to the whole Old Kent Road area, which has lost the vast majority of its industrial heritage over time.”
Having gained approval to change the building’s use to flexible ‘B1’ office and ‘B2’ industrial accommodation, Fabrix asked Studio RHE, who they’d worked with previously, to complete a site appraisal and feasibility study in June 2019. The team, headed by director Richard Hywel-Evans, comprised Ella Riley (architectural designer), Camilla Wright (architect) and Alex Davis (associate). They were then formally appointed to take the project to Stage 3, and then from Stage 4 to 6.
Peeling back the layers
The key aspect the practice were asked to focus on was restoring the building’s heritage features, but in so doing, removing as many of the additions that had been made over the years as possible. “The client’s overarching brief was to strip back to the building’s original state and bring it up to a ‘Cat A’ fit out,” explains Richard Hywel-Evans. He adds that the architects were asked to “develop and expand on the brief, to add more specific detail.”
Over time, some of the factory’s original architectural features had been replaced, removed and hidden. “The historic identity of the building had been diluted as a result of poor maintenance, insensitive design and disregard for building conservation,” Camilla Wright says. Original steel-framed windows and doors had been replaced with standard white PVCu ones, and various openings, arches and skylights had been either boarded over or filled in with blockwork.
Because of the ongoing discoveries, the studio had to keep their designs and plans relatively flexible for the duration of the project, while taking a careful approach. “Prior to and during the strip-out we continuously inspected the building, and evolved the scope of works as we discovered key features that were hidden by alterations,” says Ella Riley. During the second stage they stripped out test areas, carefully removing plaster from the brick face in the main reception due to mould growth and revealed historical brick arches. So the architect “decided to remove all the plaster to celebrate this feature.”
The interventions the practice could do on the building were limited by a number of factors, not least the site’s location within the Conservation Area, and the client’s key requirements. Other than asking for the building’s heritage features to be restored, Fabrix’s other main requirement was for the buildings to be left as a fairly open shell. “The buildings were to be left open, divided only to allow for safe exit in the event of fire,” says Hywel-Evans.
With some of the space to be used as office space post-completion, the developer wanted the building to remain a fairly blank canvas for prospective tenants. “Communal facilities were planned and connecting pipework installed, but left incomplete to allow for flexibility of letting,” explains Hywel-Evans. “We were instructed to reimagine the internal spaces as a backdrop for future tenant fit-out, with Fabrix taking a directorial role.” The practice were also asked to ‘decorate’ all communal access routes however.
Achieving planning consent meant paying close attention to the site’s location, as well as the building itself. “It is a building of note within the Conservation Area, limiting the scope of new works,” Wright explains. “New additions or extensions to the envelope were not permitted; we were only permitted to complete works on the facade to enhance the original industrial character of the building.” They were also “encouraged to discard any insensitive late additions,” she continues. She gives the example of some “unsightly” plant that was on the roof, and connecting ductwork which she says dominated the roof terrace. They were also given permission to demolish boards or blockwork blocking original openings and archways, and to install new windows.
A new lease of life
As well as remedying a vast array of newer elements and additions, many of the heritage features needed repair and restoration, having been damaged by both previous works, and many years of neglect. As well as removing internal walls, ceilings, finishes, MEP and sanitary equipment were also taken out, exposing the original features and structure. From this point the architects were able to assess what needed specific attention, both in terms of restoration and making sure the building was structurally sound.
Ensuring the building was safe and fit for purpose according to current Building Regulations was naturally of key importance. Project managers Opera explain: “A series of structural and compliancy works were required to respond to the dilapidated condition after years of neglect.” Structural repairs were made to existing lintels, beams, and floors, the existing timber floors were repaired and in some places replaced, and general strengthening works were undertaken where required. A new stair core was added to comply with fire escape requirements, and new fire compartmentation was introduced.
Removing the partitions and plaster that had been added over the years revealed a mixture of original heritage features – a steel frame structure, wrought iron columns, timber beams, floorboards, doors, pitched roof structures, and rooflights. There were various elements of brickwork including archways and corbelling; and steel-framed windows. The building was built using yellow London stock bricks that had also been covered with plaster in places, so this was also removed.
Repairing and restoring these features was a monumental task, involving a variety of works. “The building envelope was fully repaired, including roof works, window and door refurbishment and replacement, and detailed brickwork repair to reinstate heritage features,” Davis explains. He gives the example of two archways leading off what is now the main reception, which had been partially infilled. “The bullnose bricks to one side of the openings had crumbled away and another was in disrepair, so we removed them and used matching reclaimed London stock and blue bullnose engineering bricks, which were toothed in to rebuild them to their original state,” adds Davis.
The practice then installed steel-framed doors within these refurbished archways, bespoke made to fit each one. “Rather than reconfiguring the arches to provide two identical openings the doors are unique in size and shape to celebrate the original asymmetric design,” says Davis. Original timber loading doors were also refurbished.
Using reclaimed materials was something the practice aimed for throughout the project, sourcing recycled materials from other sites and reusing existing materials where they could. Where new materials needed to be sourced, samples were taken from the building and then sourced from the same companies where possible.
The windows were a key element in restoring the building. “Although numerous windows had been replaced with PCVu, some original windows remained, but many were damaged and broken,” Riley explains. “Where possible these were repaired, their glass replaced, the graffiti removed, and they were made operable.” Where the windows were beyond repair, new, bespoke steel-framed windows were installed with matching scales and proportions to the originals. Riley explains it wasn’t cost efficient to replace the PVCu windows that had been added later. “They were refurbished and painted in a more complimentary colour to the original dark green windows,” she says. The colours used throughout the refurbishment were taken from heritage palettes and colours uncovered during the project, and new brickwork was laid to replicate patterns found onsite.
The practice stuck to the original open plan floor plan as much as possible, to, says Davis, “create the original industrial utilitarian aesthetic.” This included the uncovering and reopening of a large space stretching up into the gable, complete with metal roof trusses and a timber rooflight running down the entire length of the space. “The large open floor plates allow for flexible subdivision across levels or buildings to suit different uses and tenants,” Davis explains.
In order to make the building more suitable for diverse future tenants, the practice had to consider what changes were necessary from a comfort point of view. They opted to insulate the existing metal frame and timber roofs to increase thermal comfort, as well reduce energy consumption.
Externally, as well as the brickwork being uncovered and restored (including polishing quoins and lintels), the building’s original natural slate roof was retained, as well as original chimneys.
The entrance’s cobbled yard, which leads to the building’s prominent gable end, also remains intact.
A new era
Both since completion and even during the renovation, the building has played host to a variety of events. A number of ‘meanwhile use’ events took place. These included an art exhibition (run in partnership with Creative Debuts) which saw young artists showcase their work, a Christmas fundraiser that raised money for men’s mental health and testicular cancer charities, and various food and beverage and music events. Called The Paperworks, the latter were held in the courtyard over August and September 2020, in partnership with Corsica Studios. Fabrix also worked with Dazed magazine to create a short film, ‘The Qweens Speech’ filmed at The Bottle Factory, highlighting LGBTQ+ issues and featuring singer-songwriter Sam Smith.
The client is very happy with the careful and painstaking work done by the studio to restore this building, according to Riley, and is “looking forward to viewings with prospective tenants.” The site is set to benefit further from the council’s Old Kent Road Action Plan which seeks to both preserve the area’s heritage and history, while also driving development. This includes plans for two new Bakerloo tube stations, both of which will sit within 500 metres of The Bottle Factory.