- 10 years of Taikoo Li Chengdu: Pinnacle One fit-out
- Designing for circularity: championing materials re-use at 30 Duke Street St James’s
- 10 years of Taikoo Li Chengdu: Upper House Chengdu (The Temple House)
- For What it’s Worth
- Exploring Thermal Labyrinth Ventilation Systems at the Big Data Institute, University of Oxford
- “Discovering magic in the mundane” – Q&A with Ian Hunter, Materials Council
- Salvaging for a second life: Facade reclamation at 30 Duke Street St James’s
- What is spatial psychology?
- Retrofit or Rebuild: Getting the most area for the least embodied carbon
- Winner of The Architecture Drawing Prize 2023: an interview with Eldry John Infante
- Developing in the City: New Build vs Retrofit
- Transforming Cityscapes with the Power of Nature
- Making luxury circular: rethinking re-use in retail fit-outs
- Is it mean to cut down trees?
- “Drawing as a method of dialogical design” – an interview with Eugene Tan
- “I’m interested in intricate and intimate architecture that directly affects people.” – Samira
- Refresh, repurpose, reimagine: Our approach to retrofit
- Developing in the City: New Build vs Retrofit Part 2
- Make models: Carlisle Health and Wellbeing Centre
- AI integration at Make: shaping the future of architecture
- Optimising the value of build-to-rent
- Tall buildings photo essay
- Reflections on Make Neutral Day 2024: Part 2
- Is it green to cut down trees?
- Make models: Station Row section model
- Make models: Drum
- Make models: Milton Avenue/Station Row
- Reflections on Make Neutral Day 2024: Part 1
- Defining a sustainable workplace – the BCO’s climate emergency challenge
- Discussing exhibitions with Dr Erin McKellar, Assistant Curator (Exhibitions), Sir John Soane’s Museum
- “Spirit is pure, so that’s what I feel here.” – Aunty Margret
- Hydrogen: Solution or ‘Techcrastination’?
- Carbon goggles: looking for facades of the future by reflecting on facades of our past
- Winning the 2022 Architecture Drawing Prize
- Variety in urban living: setting the scene
- Make models: Salford Rise
- Variety in urban living: the challenges and opportunities
- Make models: Seymour Centre
- Wilding the City
- Make models: 20 and 22 Ropemaker Street gift models
- Variety in urban living: innovation is key
- Reflections on Make Neutral Day 2023: Part 1
- Designing Regenerative Travel
- Make models: Jersey South Hill
- World Heritage Day 2023 Photo Essay
- Reflections on Make Neutral Day 2023: Part 2
- “Let’s do something a bit different”
- A deep dive into an amazing ‘Wunderkammer’
- Make models: shopping centre competition facade
- “My first subject was a house. From then on, I started developing my drawing skills.”
- The Spirit of Mountain
- Make models: Brookfield Place Sydney
- Make models: community library model
- Q&A with Maker Michelle Evans, project lead on Capella Sydney
- Challenging structural conventions at 80 Charlotte Street
- The power of creativity and experimentation
- Hyperlocal retail post-Covid
- Architectural Drawing: From Soane’s Time to Today
- New business models for a different retail future
- Internet shopping and the effect on cities
- The value of outreach – reflecting on our school engagement with RIBA Architecture Ambassadors
- Pink light veggies
- “I’ve wanted to be an architect since I was four years old.”
- “I’m learning that architectural designs will need to work in the real world.”
- The town centre in five years’ time: Community [1/3]
- Make–ReMake
- Embodied carbon of transportation
- From listed buildings to 21st-century schools [2/2]
- Drawing Sydney
- Inspired by “art built” – an interview with Marc Brousse
- Embodied carbon in curtain walls
- Reducing embodied carbon isn’t all about materials
- “Tall buildings mesmerise me.”
- Make models: metal etching
- “I’m the first one in my family pursuing architecture.”
- “What can you see behind this building?” – an interview with Fe
- My next getaway
- The town centre in five years’ time: Wellbeing [2/3]
- Make models: 80 Charlotte Street
- Living Architecture: Urban Forest
- “I want to build things that will explore new depths of the sea.”
- Upfront carbon: how good is good enough?
- The town centre in five years’ time: For everyone [3/3]
- Winner of The Architecture Drawing Prize 2020 – an interview with Clement Laurencio
- Restoring Hornsey Town Hall’s clocks
- A Proposed Hierarchy for Embodied Carbon Reduction in Facades
- From listed buildings to 21st-century schools [1/2]
- Comparing embodied carbon in facade systems
- Building Natural Connections with Energy, People, Buildings
- Bridging the gap
- Designing in the wake of coronavirus
- Living employment
- Atlas – Tech City statement
- Four ways residential design might change after COVID-19
- Post COVID-19 – What’s next for higher education design?
- Inspiring Girls
- Stephen Wiltshire
- The future of retail and workplace
- Make models: The Cube
- International Women’s Day 2020
- Architectural Drawing: States of Becoming
- One Make
- Post-COVID
- The Architecture Drawing Prize exhibition reviewed
- ‘Architecture in the frame’ – London Art Fair
- A Hong Kong perspective on a post COVID-19 society
- Chadstone Link: Making new connections
- Improving social ties in our cities
- Design narratives and community bonds
- Behind the scenes at the 2019 World Architecture Festival
- Drawing on the culture that makes the buildings
- Future modelmakers 2020
- The City is Yours
- After coronavirus, how can we accelerate change in workplace design to improve connection and wellbeing?
- The Madison model by Theodore Polwarth
- Q&A with our student modelmakers: Theodore Polwarth
- The Teaching and Learning Building model by James Picot
- Q&A with our student modelmakers: James Picot
- Pablo Bronstein
- The Big Data Institute model by Finlay Whitfield
- Q&A with our student modelmakers: Finlay Whitfield
- Encouraging spaces of conviviality
- The importance and passion of heritage in the built environment
- No show, so what next?
- Choosing architectural modelmaking
- World Heritage Day 2020
- Make models: Agora Budapest
- Drawing in Architecture
- Draw in order to see
- Project delivery at 80 Charlotte Street
- Our commitment to sustainable design
- Asta House – Local living in Fitzrovia
- Make models: Chadstone Link
- Transparency and a sense of investment
- Langlands and Bell – Observing and Observed
- Telling Stories: The power of drawing to change our cities
- Musings on The Architecture Drawing Prize 2020
- What role will hotels play in our society after COVID?
- Sketchbooks: draw like nobody’s watching
- Honest, in-depth learning
- Museum for Architectural Drawing, Berlin
- Make models: 20 Ropemaker Street, part 2
- The value of the drawing
- The hand does not draw superfluous things
- Balance
- Prized hand-drawings return a building to an organically conceived whole
- Draw to Make
- Drawing details – technical and poetic
- Betts Project
- Living with loneliness
- Combating loneliness in the built environment
- An update from Sydney
- Retail innovation beyond the shop door: Lessons from the USA (part 1)
- Make models: 20 Ropemaker Street, part 3
- Sydney born and razed
- Retail innovation beyond the shop door: Lessons from the USA (part 2)
- Make models: 20 Ropemaker Street, part 1
- Retail innovation beyond the shop door: Lessons from the USA (part 3)
- Architecture and Creativity
- High-density living in Hong Kong
- Make’s past, present and future
- The Architecture Drawing Prize – Not just another competition
- Leaving a mark
- Community connections
- My time with the BCO
- The call of the wild
- The art of an art historian
- Mary, queen of hotels
- Make models: Portsoken Pavilion
- The Make Charter
- Why Brexit will see a glass half-full emptied
- Make models: LSQ London
- Disappearing Here – On perspective and other kinds of space
- Drawing and thinking
- Drawing to an end?
- Making shops exciting again: Lessons from the Nordics (part 1)
- Make models: Grosvenor Waterside
- Drawing architecture
- The Hollow Man: poetry of drawing
- Above and beyond
- Making shops exciting again: Lessons from the Nordics (part 2)
- Plein air in the digital age
- A “Plan in Impossible Perspective”
- Art Editor’s picks
- Making shops exciting again: Lessons from the Nordics (part 3)
- The future of bespoke HQs
- Make models: The Luna
- World-class architecture
- The Architecture Drawing Prize exhibition review
- The future is bright but not the same
- Employee ownership
- The tools of drawing
- Trecento re-enactment
- Lessons on future office design from Asia Pacific
- The human office
- How drawing made architecture
- Advocating sustainable facade design
- Make models: FC Barcelona’s Nou Palau Blaugrana
- Drawing as an architect’s tool
- Are you VReady?
- Cycle design for the workplace
- The Architecture Drawing Prize
- Make models: an urban rail station
- Reporting from Berlin
- City-making and Sadiq
- Hand-drawing, the digital (and the archive)
- Ken Shuttleworth on drawing
- The green tiger
- Stefan Davidovici – green Mars architect
- When drawing becomes architecture
- Make models: Swindon Museum and Art Gallery
- The role of the concept sketch
- Make calls for a cultural shift in industry’s approach to fire safety
- 2036: A floor space odyssey
- Harold on tour
- London refocused
- Hotels by Make
- Full court press
- Digital Danube
- Don’t take a pop at POPS
- The future of architecture – Matthew Bugg
- The future of architecture – Jet Chu
- The future of architecture – Robert Lunn
- The future of architecture – David Patterson
- The future of architecture – Rebecca Woffenden
- The future of architecture – Katy Ghahremani
- Safer streets for all
- The importance of post-occupancy evaluation for our future built environment
- Put a lid on it
- Designing for a liveable city
- The future of architecture – Bill Webb
- Bricks – not just for house builders
- Designing in the City of Westminster
- Rolled gold
- How to make a fine suit
- Responsible sourcing starts with design
- Is off-site manufacture the answer?
- Developing a design for the facade of 7-10 Hanover Square
- Curious Sir Christopher Wren
- Responsible resourcing should be an integral part of every project
- The socio-economic value of people-focused cities
Context
As societal and economic demands evolve, the need for urban renewal remains ever present. Awareness surrounding the embodied carbon impact of demolition and new construction has renewed focus on reusing existing building stock, adapting it for new functions and extending its life. This is where adaptive reuse comes in. The question of retrofit vs new-build is, however, nuanced. While retrofitting can significantly reduce embodied carbon emissions, highly environmentally optimised new-builds often yield lower operational energy. Existing massing often limits passive design strategies while compliance can require thick insulation that reduces useable floor area, raising concerns over resource efficiency and economic viability. Nonetheless, these measures may face operational carbon penalties in the long-term. These challenges are compounded by the conflict between Part L’s overprovision of insulation and airtightness on summer overheating risks addressed by Part O in the UK.
Mixed-use builds present an opportunity to address retrofit viability concerns across environmental and economic dimensions, when approached from an occupant-centric perspective. With an estimated 80–90% of people’s time spent indoors, there is a clear imperative to promote occupant health, comfort and productivity. This study challenges the code-driven blanket Part L compliance, which does not inherently improve comfort, and proposes the Environmental Choreography Framework: an occupant-centric, performance-based approach. By layering insulation through integrating transition spaces with supplementary uses such as winter gardens and galleries, the study demonstrates how gradual environmental transitions enhance comfort, maintain resource efficiency, and support sustainable urban growth.
Framework and methodology
The framework begins with understanding the existing building and establishing performance baselines. The Grade II-listed Haggerston Baths and Hoxton Docks in East London served as the case study to validate the approach. Site-specific data informed shoebox models to capture heating and cooling loads, daylighting, and comfort metrics. These were iteratively tested through energy, daylight and comfort simulations against a structured framework:
Baseline shoebox modelling → targeted interventions → massing and spatial choreography → transition-zone sequencing with PET-gradient interventions.
The concept of Environmental Choreography underpins this sequence. Leveraging the distinct IEQ requirements of diverse functions, they can be strategically zoned with targeted retrofit to achieve occupant comfort where needed. The positioning and sequencing of zones curate an intentional flow of environmental experiences the occupant encounters as they move through the building. Physiological Equivalent Temperature (PET) modelling evaluated comfort, maintaining a maximum 3°C differential between zones to minimise physiological stress. Buildings act like a stage, with occupants’ journeys choreographed through transition spaces that increase in intervention, enabling gradual acclimation between exterior conditions and core zones.
The Antivilla project in Berlin, Germany provides a notable precedent, for which this study resolves the issue of underutilised floor space by introducing transition zones of supplementary uses. Winter gardens and galleries were created as semi-conditioned spaces, transforming residual areas into economically viable spaces that enrich the while resolving environmental challenges.
By framing retrofit this way, the methodology offers projects a tool to zone and layer spaces that avoid sudden environmental shifts, reducing physiological stress and discomfort while enhancing energy performance and occupant wellbeing.
Key findings
Balancing and integrating technical conclusions from the shoebox analysis with the project brief, structural appraisals and heritage constraints helped to establish spatial orders and sequences of occupant experiences. Massing proposals were evaluated to reconcile environmental performance with architectural intent.
Baseline assessments revealed the gym as the most energy-intensive space with annual heating and cooling demands reaching 450 kWh/m². After targeted interventions, including airtightness, insulation, and solar-controlled glazing with side fins, this was reduced to 197 kWh/m². Importantly, retaining daylight provision for the occupant experience — conventionally compromised in practice — the guidance 18.0°C cooling set-point was re-appraised. Conditions fell outside the comfort range of the gym users as the low set-point inhibited evaporation, the primary heat-loss mechanism during exercise. Returning to first principles — the parameters of PET — an enhanced air velocity (1.0 m/s) enabled comfort ranges to be met at 21.7°C. This yielded a 62% annual energy reduction, enabling extended periods viable for natural ventilation, achieving 96% savings relative to conventional set-points. Beyond the energy saving and improved thermal comfort, allowing warm light to suffuse the space enlivened its architectural character and occupant wellbeing, reaffirming the harmony between environmental performance and spatial quality.
The sequencing of transition zones reinforced performance. Redirecting access into the Pool Hall created an environmentally choreographed journey through the lobby, gallery and changing rooms. Minimal modifications in the lobby, and in the gallery improving airtightness from 25 to 15 m³/hr/m² at 50 Pa, replacing windows, targeted insulation, and controlled natural ventilation ensured an optimal thermal gradient. These yielded energy savings exceeding 21% in winter and 5% in summer.
A new colonnade connected the development, functioning as both thermal buffer and public social space. By mediating indoor–outdoor temperature differences, the colonnade delivered over 35% winter and 15% summer energy savings. Leveraging latent heat from the Pool Hall and introducing a glazed courtyard enabled the colonnade to remain open through winter extremes. By design, asymmetrical vaults and framed views slow occupant cadence, encouraging the public to pause and engage in dialogue, facilitating thermal acclimation, and reducing the performance gap.
Industry application
Environmental Choreography offers a replicable framework for mixed-use retrofit, demonstrating how targeted interventions can strengthen viability and enhance occupant wellbeing. Thoughtful spatial sequencing proves as critical as technical precision, enabling architectural solutions that improve environmental performance while enriching sensory and social experience.
By moving away from building-wide Part L compliance, the framework identifies where interventions provide genuine value. Core zones receive fabric-first upgrades, while transition spaces moderate environmental conditions and maintain comfort naturally. These spaces function not merely as circulation but as social and cultural nodes: winter gardens, lobbies, galleries and colonnades that extend programme and encourage interaction, transforming thermal buffers into places of exchange and rest. PET-based analysis ensures a 3°C temperature gradient threshold, reducing physiological stress and supporting thermal and visual comfort without compromising energy efficiency.
For practice, the framework is especially valuable at early design stages, where zoning and sequencing shape performance and user experience. It complements existing sustainability tools by aligning environmental metrics with the realities of human comfort and behaviour. Designing from an occupant-centred perspective enables more innovative solutions and moves beyond rigid regulatory compliance toward meaningful comfort outcomes.
More broadly, Environmental Choreography provides a resource-efficient and economically viable path for adaptive reuse, offering an energy-conscious alternative particularly suited to listed buildings exempt from modern regulations and supporting sustainable urban renewal.
Hagi was an MEng Engineering and Architectural Design student at The Bartlett UCL. This blog forms part of his thesis sponsored by and completed while at Make, and written under the mentorship of Oliver Hall, Head of Sustainability and Innovation, and Valerio D’Angelantonio, Sustainable Design Coordinator. Read the full dissertation here.






















