Submission by DSDHA.
Being a good ancestor
Practice
1. Does the practice have a clearly stated purpose aligned with the planetary emergency? We are looking for a bold ambition here, and a practice culture which recognises the need for long-term thinking. For example, a strong mission, a theory of change, or a sustainability roadmap.
DSDHA describes itself as a values-led studio. Informed by the three pillars of regenerative design, we operate through four clearly stated values – Community is Context, More for less, Time Matters, and Transdisciplinary Design. Collectively, these values set out our approach to environmental justice, social justice, and egalitarian practice. More than that, they form the organisational structure of the practice – three ‘supergroups’ each comprised of three subgroups (e.g. biodiversity group, material innovation group, sustainability group).
To avoid these groups reinforcing previous hierarchical structures in the studio, expressions of interest to lead each were open to everyone in the studio, resulting in a leadership team that extends from Part II level to senior associate level, each with a mandate and budget to implement change in both how we run the studio and how we approach the design of projects
Last month, we relaunched our website to place these values front and centre.
2. Does the practice have a clear succession plan, which passes on ownership and protects the values and legacy of those who built and contributed to the practice? For example is the practice an employee owned trust.
A clear succession plan was established 5-years ago, allowing an extended 10-year period of transition. Ownership of the studio is already shared between the two founding directors and the two appointed directors, both of whom have been with the practice for more than 20-years since they were Part I and Part II assistants respectively. This longevity speaks to the founding principle that the practice would be an environment that mentors, nurtures, and supports its staff – a platform to grow regardless of whether that is within the company or beyond it.
Whilst we have a (healthy) cynicism towards transitioning to an EOT (based on feedback from the employees of other practices) at this current time, we continue to explore alternative legal structures.
For the meantime, we are guided by our constitution, a document that sets out our values, principles, client/project selection criteria, our profit share mechanism, and charitable donations.
3. Does the practice share research and knowledge for the benefit of society and the wider world? For example, you regularly carry out post occupancy evaluation and share information with others.
Research is at the heart of DSDHA’s transdisciplinary approach, and we disseminate our insights widely through writing, speaking, teaching, and broadcasting. By doing so, we aim to share knowledge, democratise the profession, and promote generosity between practices.
In 2019, we published ‘The Business of Research: Knowledge and Learning Redefined in Architectural Practice’, which brought together contributions from 18 people across both academia and practice. In 2024, we published ‘Towards Spatial Justice: A Guide for Achieving Meaningful Participation in Co-Design Processes’. With input from over 20 practitioners from across the globe, this research contributed to the release of a co-design overlay for the RIBA Plan of Work. Just last month, we launched a website (https://codesigning.space/) to further increase the accessibility of the research. In both cases, a (free) public symposium was hosted as part of the research and dissemination process.
Furthermore, we have undertaken research for and with the British Library, Transport for London, the City of London Corporation, the CPA and WPA, the 1851 Royal Commission, and Yale University, amongst others.
Project
1. Does the practice advocate for long-term thinking at the outset of projects? Do you initiate projects with long-term thinking and challenge the client on design life? Also, can the practice demonstrate that this approach has worked – with a shorter or longer design life, or an innovative approach to financing or payback period?
DSDHA advocates for long-term stewardship, and we frequently challenge clients with our mantra that ‘projects are never finished; they are designed to evolve’.
A prime example of this is at the National Youth Theatre, where we created a ‘spatial sharing network’ strategy for the NYT to nurture a new reciprocal ecosystem with West End theatre companies, capitalising on the newly retrofitted and extended building’s potential for longer term partnerships. The redevelopment allows for spaces within the building, when not in use by students, to be rented for rehearsals by West End shows, in parallel with NYT’s performances, rehearsals and training. NYT Patrons who hire studio spaces have a social contract with NYT that goes beyond a purely financial exchange: they help to nurture a learning economy with opportunities for mentoring and theatre work experience. NYT can also make use of venues owned by Patrons in the West End to put on their own theatre productions, introducing the best young theatre talent in the country to a wider audience.
2. Do your projects take account of the future climate and the need for resilience? For example, do the projects demonstrate flexibility, design for adaptation, design for disassembly, non-deterministic solutions, or demountable structures.
Our Sheep Field Barn Gallery for the Henry Moore Foundation is a fully demountable, timber structure designed with regular and repeatable sections primed for re-use. The lightweight structure sits on steel screw piles which can be unscrewed and re-used, allowing the ground to return to its agricultural condition. The ‘lean-to’ extension provides a vast column free area with internal partitions that can be reconfigured as all services are provided through a central spine, which can accommodate future connections and reconfigurations. Internally, the extension reuses the former external cladding, re-planed and re-treated to give the 20-year-old timber another lease of life inside
As landscape architects for the Euston Tower, we have taken an ecological approach to resiliency by designing the public realm around the system services of a wetland. A wetland area is complemented by a ‘riparian’ bed within the central plaza, which is designed to act as a floodable landscape. The system utilises bioretention and is able to accommodate varying volumes of runoff during unprecedented rainfall events.
3. Do the majority of your projects go beyond mitigating negatives and towards optimising positives? For example, are they meeting or exceeding the RIBA 2030 Challenge.
Our new gallery and learning space for the Henry Moore Foundation is predicted to use approximately one-fifth of the RIBA 2030 Embodied Carbon target, and approximately half of the LETI 2030 Embodied Carbon target. Furthermore, the scheme uses ground source heat pumps and PVs to deliver the operational energy demands of the building, whilst giving long term financial stability for the charity. The education spaces are completely naturally ventilated further reducing energy demand. Given the nature of the exhibits, mechanical control of the gallery spaces was required, which we achieved to +/- 1degree through upgrading the fabric of the existing building to be extremely airtight.
Our Hickman building – an office retrofit in Whitechapel, London, achieved the first ever WiredScore SmartScore Platinum rating in the world, signifying that the building is “tech-ready, smart and sustainable”. Crucial to achieving is future proofing. This required the development of a highly detailed BIM digital twin to ensure total understanding of the building and its performance, and to inform/facilitate future adaptation.
Co-evolving with nature
Practice
1. Does the practice use biophilia within the office or regularly host meetings and retreats in natural settings? For example do you have extensive planting within the office or rely on natural patterns and imagery for stress relief or quiet areas.
The studio benefits from a generously planted courtyard, the planting and care of which is overseen by our active gardening club. As well as contributing to local biodiversity and pollination (as we have an annual sunflower competition), it is used for food growing which is harvested for use in our weekly Monday lunches.
Every day at 11am the studio is encouraged to take a coffee break in the courtyard – a chance to catch-up with colleagues other or regain some solo time to better realign for the workday ahead. Internally, each desk has an indoor plant, sourced from the nearby Covent Garden Flower Market.
Visits to nature are part of our regular monthly ‘out-and-about’ trips. Last summer, we took the studio for a day at Horsenden Hill Nature Reserve and farm to learn about the Ealing Beaver Project, which has reintroduced beavers to London after they were hunted to extinction over 400 years ago.
2. Can the practice share examples where it has considered nature in decision making? For example by having a nature proxy to encourage eco-centric decision making, using natural systems as inspiration for the company structure, recognising the seasonal nature of people’s capacity and workload or celebrating equinoxes and solstices together.
Nature and natural systems provide inspiration for both projects and the way we practice.
At Euston Tower we aim to deliver the ‘mosaic of habitats’ that can be found at Hampstead Heath; at 50 Fenchurch Street we are reintroducing a fen (wetland) landscape inspired by the site’s history; at Exchange Square (above Liverpool Street Station), the form of the landscape is borrowed from Tollesbury in Essex, which is found at the end of the trainline.
In the studio, we encourage a diverse range of people and look to accommodate those with different needs. During Ramadan, which is related to the setting of the sun and moon, we allow for our employees to adjust their working hours and lunch times accordingly. To enhance legibility and enjoyment of the courtyard for our blind colleague, Polly, new planting was introduced to heighten the olfactory experience.
Inspired by the first UN Peace Conference that took place in Muir Woods in 1945, we hold our annual away days in rural settings.
3. Is the practice supporting nature locally and nationally? For example, does the practice support local gardens, gardeners, planting programmes, rewilding programmes or advocate for changes in legislation to protect nature.
Since 2005, we have worked to support our local green space – Vauxhall Pleasure Gardens. This started with a modest commission from the council to produce a framework plan but has become a focus of our pro bono work. Most recently, we helped create a new biodiversity garden. Plants for this (as well as for our own courtyard) are sourced from the gardener of the nearby Bonnington Square – a community garden started in the 1980s. In our bathrooms, we use lavender spray produced by the gardener of Vauxhall Park to raise money locally.
Last year, the whole office spent the day volunteering at the Paper Garden in Canada Water, helping to build a cordwood wall for ‘one of the most ambitious circular economy buildings in the UK’.
Three of our staff are currently taking the RHS level 2 horticulture course and one is undertaking the City and Guilds level 2 diploma course in practical horticulture, which involves working one day a week in a local community garden (https://walworthgarden.org.uk/school).
Project
1. Can the practice demonstrate projects which strive to match the performance of a mature ecosystem? As a minimum this would mean achieving biodiversity net gain.
An understanding of local ecologies informs all our projects. This includes analysis of often hidden or lost ecosystems, which our designs strive to return to the site. At 50 Fenchurch Street this is leading to the creation of a new fen (wetland) habitat in the heart of the City of London; at Euston Tower we are creating a ‘mosaic of habitats’ (grassland, moorland, woodland, and wetland) inspired by Hampstead Heath; and at Exchange Square above Liverpool Street Station, we found inspiration in the estuarine landscape of Tollesbury at the end of the trainline. The new park that emerged from this concept has achieved a BNG of 600%. We have recently propagated plants from the Square to be used on the roof terraces of surrounding buildings, including 1 Appold Street on which we are collaborating with Piercy&Company.
The inclusion of a ‘snag’ (a standing dead tree) as part of our wetland at Euston Tower will provide valuable invertebrate habitat and foraging opportunities for local wildlife, imitating conditions found in natural wetlands.
2. Is the practice working on material stewardship? For example, evidence could be shown through repeated use of low carbon materials, extensive material libraries and research or publications supporting responsible use of materials and elimination of waste.
Our new gallery and learning space for the Henry Moore Foundation uses an array of low carbon materials, including locally grown timber and plant-based products. Silver spruce timber has been reclaimed from a local building and transformed into external cladding, while the previous external cladding of the existing building has been reused as internal wall finishes, allowing us to remove significant amounts dry walling from our design.
At Central Somers Town and Crabtree Fields, we worked with Camden Green Spaces team to source materials that were available for reuse from previous council projects, which involved surveying materials stored in Camden’s reusable materials storage facilities at the Kingsway Tram Tunnel.
We collaborate with circular economy specialists on all major projects. At 125 Shaftesbury Avenue this has led to nearly 200,000sqft of raised access flooring being identified for return to the market as well as the donation of full catering kitchens to local churches and soup kitchens.
3. Do the majority of projects demonstrate the use of biologically-inspired approaches such as Bioregionalism, Biophilia, Biomimicry, Ecomimicry (also referred to as Ecosystems Thinking, Industrial Ecology or Industrial Symbiosis) or BioTRIZ?
Ecomimicry is the foundation of our studio’s approach to landscape design (as detailed in previous answers), with the natural history of each site studied at the outset of a project to ensure concepts are rooted in context-specific ecosystems. Whilst these systems are often long gone or buried beneath the city streets, our projects aim to remanifest this history in proposals and ensure the planting communities on site are able to function as intended in their natural settings.
In our designs for the landscape of the new British Library Extension, this approach has extended beyond the site to identify planting and food growing opportunities in the courtyards of the surrounding housing blocks. Working with Global Generation, a ‘hub and spoke’ has been developed that positions the landscape of the library at the heart of a local biodiversity, pollination, and food growing network.
Creating a just space for people
Practice
1. Does the practice have a progressive EDI policy and can you evidence many forms of diversity, which are welcomed and acknowledged, within the practice?
We are a female founded/led practice with a strong queer identity as part of the four directors. Our team is diverse in terms of both gender and ethnicity: 50% are women, 35% are from an ethnic minority, including 7% black (compared to 1% of registered British architects). Crucially, we have a diverse senior leadership team – both our Head of Studio and Head of Social Justice are female and black. Having employed a registered blind person as an architectural assistant, we are pursuing registration as a Disability Confident Employer.
We have a progressive EDI policy that has been developed by our EDI group, which forms part of our Social Justice supergroup, and interrogated by an independent HR consultant. As a result of this group, we have a quiet room, prayer space and generously planted courtyard.
We regularly host mandatory sessions with our external HR consultant and the entire studio to update on policies and to provide training in matters such as discrimination, harassment, bullying unconscious bias, wellbeing, and GDPR.
2. Does the practice operate a no overtime culture, meet the living wage consistently, and stipulate a fair salary ratio between staff of all levels?
Working overtime is discouraged in our studio. DSDHA are an accredited London Living Wage employer, and we pay above the RIBA benchmark. We consistently review salaries against multiple industry benchmarks, including those provides by D3 Survey, the Pay 100 survey, and Adrem, as well as the RIBA. We have a profit share system stated in our practice constitution and last year 15% of salaries as bonuses. We have a salary ratio of 3.5:1.
Resourcing pressures and workload are reviewed weekly by directors and associates to identify risks of overtime so that this can be mitigated. In instances where it occurs, we have a TOIL policy the is clearly set out in our employment manual.
We offer flexitime, flexible working, and have a working from home policy (which includes working from a home outside of the UK to help international colleagues spend extended time in their home countries).
3. Does the practice support charities, community groups, social enterprises, action groups and others through pro-bono work, charitable giving or in-kind donations?
DSDHA’s directors provide pro bono work for a number of charities through unpaid trusteeships: Architects Declare, Christina Smith Foundation, the Jolanta and Max Neufeld Charitable Trust, and the London School of Architecture.
Senior staff offer time pro bono as mentors through various initiatives: Hophop (female mentorship platform), Wren Association Scholarship, People’s Pavilion, and Young Architects and Developers Alliance.
We make annual donations to a number of charities, including Architects Declare. We are a financial supporter of the People’s Pavilion, and already this year have made one-off donations totalling £1,250 to individual staff fund raising activities
DSDHA was a founding partner of the Mayor’s ‘Firm Foundations’ campaign to widen access to and improve diversity within the built environment. We now support their Access Aspiration programme with work experience placements.
The whole studio volunteered for a day at the Paper Garden to help construct ‘the most ambitious circular economy building in the UK’, and worked with pupils from Netley Primary School, Camden, on a pro bono co-design for their playground canopy.
4. Does the practice publicly refuse to work with certain clients, suppliers or organisations on ethical grounds?
Our studio values appear front and centre on our website and we have a strong reputation for socially minded work. We are transparent in our ethical position and, consequently, are rarely approached by clients with misaligned values.
Whilst we have not made public statements refusing to work, we do have a thorough and robust internal assessment criteria that is used to review all new business enquiries. This assessment includes interrogating a clients’ sources of funding and investment as well as their company ownership (leading to us refusing to work for clients with Russian ownership or investment last year). We interrogate their public policies to ensure they consider sustainability and EDI. Furthermore, we seek references from architects and consultants that they have worked with previously and take the time to present to them our own policies and procedures to ensure they are aligned in terms of ethics.
Project
1. Do the projects demonstrate deep engagement with local stakeholders and end users? For example, is there evidence that your project engagement goes beyond consultation towards co-design?
DSDHA is a champion of co-design and recently published ‘Towards Spatial Justice: A Guide for Achieving Meaningful Participation in Co-Design Processes’.
This was the outcome of two years of research funded by the RIBA and UCL and builds on the studio’s nearly 25 years’ experience in pioneering innovative participatory design practice. As part of this, we have launched a website – https://codesigning.space/ – which provides open-source access a Co-design Checklist and Co-Design Assessment Tool. The research also informed the recently released Co-Design overlay for the RIBA Plan of Work.
Projects that have utilised co-design include White Horse Square youth space (with Julia King/Make Space for Girls); British Library landscape and public realm (with Global Generation), Euston Tower (with Beyond the Box), and Central Somers Town (with Edit Collective)
These projects demonstrate our ambition to both engage local communities in co-design but also to provide opportunities for young practices and SMEs as part of the process.
2. Do your projects create connected and resilient places which positively contribute to their neighbourhoods and allow equality of access? For example, do your projects create economic opportunity, retain value locally and generate social value?
At National Youth Theatre, our key ambition was to make the building inclusive and accessible to all. The new front pavilion provides a studio theatre that doubles as an independent community venue that can operate out of hours. It includes a Changing Places Room offering publicly accessible WC facilities.
Our project at Central Somers Town was delivered through Camden’s Community Investment Programme and used the disposal of a small parcel of land to fund the development of a new primary school, new community centre, sports facilities, and social housing, all connected through an extended park landscape that includes a dedicated youth space.
With the British Library extension, we developed a ‘hub and spoke’ model for the landscape design. A new co-designed community food growing garden on the site forms the hub of a network of smaller greening projects integrated into the courtyards of the surrounding housing blocks.
3. Do the majority of your projects promote equity in society, and consider all people, not only the building inhabitants? For example, do your projects show due regard for workers within the supply chain and take active steps to avoid modern slavery?
DSDHA looks beyond the conventional boundaries of a site to understand the community values that form its social context. By listening to, reflecting on, and responding to the specific needs of local people, our projects integrate themselves into existing communities and support the creation of a socially sustainable urban fabric. This generous, inquisitive, and collaborative approach to understanding a place underscores our belief that community is context
With projects for both the Henry Moore Foundation and Alex Monroe Farm, we design with local suppliers, manufacturers, and materials in mind to ensure that these schemes benefit the local economy as well as local culture. We work with circular economy specialists, such as Material Index, to undertake full audits of existing buildings allowing us to identify materials and fixtures that can not only be reused but also redistributed. At 125 Shaftesbury Avenue this led to the donation of catering kitchens to a local church and soup kitchen.