Moor’s Nook shortlisted for 2018 Building Award, AJ Architecture Award and Brick Award

Moor’s Nook, our recently completed housing development, has been shortlisted for three prestigious industry awards:

/ 2018 AJ Architecture Award, Housing Development up to £10m – shortlisted (judging pending)

/ 2018 Building Award, Housing Project of the Year – shortlisted (judging pending)

/ 2018 Brick Award, Large Housing Development – shortlisted (judging pending)

The 3400 sqm building is a convivial residential community in Surrey, designed for specialist retirement living developer PegasusLife.

In his building study of Moor’s Nook BD architecture critic Ike Ijeh praised the scheme, saying: “Giving architectural expression to sociological conditions is always tricky, particularly as contemporary architecture tends to eschew the tools of didactic decoration or figurative symbolism that enabled older styles to convey their intentions with clarity. But Moor’s Nook provides as eloquent an expression as any of an architecture conceived with the idea of community at its heart.

Urban 4_Moor Courts_Coffey Architects_Photo Credit Tim Soar


Building Study: Moor’s Nook, by Ike Ijeh


This week, BD’s architecture critic Ike Ijeh reviewed Moor’s Nook, our recently completed housing project for retirement living specialists PegasusLife.

“Moor’s Nook provides as eloquent an expression as any of an architecture conceived with the idea of community at its heart,” Ijeh writes.

“Like all the best urban architecture, this is a building experienced in fragments rather than a whole. And what better way to celebrate community than by having a building whose diverse pattern of responses mimics the variety and parallel personalities from which all our communities are formed.”

Read more here on BD.

The Royal Academy of Dramatic… Architecture – Phil Coffey for BD

Coffey Architects Phil CoffeyjpgThis article was originally published on BD, 24/7/2018. Read it here.

At noon on June 21, architects, actors, family and friends gathered to watch a shaft of light pass through a cleft cut into the dense architecture of the Royal Academy of Dramatic Arts on Gower Street. This shaft of light passes deep into the building and gently caresses a bust of George Bernard Shaw. The moment was architecturally choreographed by the late Bryan Avery.

Standing soaked in light alongside the bust, Michael Attenborough expressed how his father Richard had chosen Avery as the architect for the project. He confirmed it was based on his high intellect, his ability to connect to people and, most importantly, his wit. “Wit,” he said, “expresses humanity.”

Expressing humanity through architecture is a fine ambition, but how do we do it? Wit in architecture works when played on a convention. For the deviation to work there must be expectations and familiarity. With no understanding or play on the normal, such moves can look more like an architectural joke. These generally lose their humour pretty quickly.

Following Michael Attenborough’s gracious talk, guests were fortunate enough to get inside the Jerwood Vanbrugh Theatre, a theatre that breaks convention. A practical, delightful and surprising space, for a theatre of this size, it is much admired around the world for its flexibility. It has an unusual modifiable proscenium arch with an enviable number of different performance settings.

The Jerwood Vanbrugh was also the first theatre in the UK to use a wire tension grid for access to the theatre lighting, a practical solution and an incredible experience to walk on for those lucky enough to get the opportunity. The theatre’s balconies also have open balustrades, at once making the space more intimate and “hot” for the students learning their craft on the stage and encouraging viewers to lean forward and intensify the atmosphere.

Perhaps these individual elements aren’t “witty” to lay people. Wit doesn’t necessarily have to be understood to be enjoyed, but to actors these moves are challenging and bring a sense of engagement and joy to their everyday work. They make actors think and make them smile.

In a suitably erudite conversation that took place on the stage, Edward Kemp, the director of Rada, raised the issue of a glazed ocular window that draws light in from the cleft to the rear of the auditorium. Kemp couldn’t say enough about this hidden jewel of a performance space in the heart of London. He had never worked in a theatre that had daylight before. Intriguingly, he declared that every day since he took on the directorship in 2008, he has been determined to devise a setting and a performance that used this natural light.

Perhaps that’s what wit in architecture is. The loss of perceived perfection, traded for surprise. A change of context as a contrast. An irritant in a comfortable space. A composition or element that makes you think and enriches the experience of architecture above the everyday.

In the Jerwood Vanbrugh, Avery challenged the client and users to think about the humanity of the space. He created a space that still engages them today by understanding the deep history of theatre design and offering wit to twist from the mean.

George Bernard Shaw, a renowned member of Rada and a man of acerbic wit, once said: “We don’t stop playing because we grow old; we grow old because we stop playing.” Avery never grew old and Rada is a fine example of how he brought his literally “playful wit” to those who experience his buildings.


Designed for Wallpaper* Handmade 2018 under the theme “Wellness + Wonder”, the Stepwell Table is a collaboration with Spanish surfaces company Compac. Illuminated from within, it presents a “mini-architecture” inspired by an ancient Indian well dedicated to the goddess of joy.

The table was photographed for the August print issue of Wallapaper* magazine, and Coffey Architects’ associate Michael Henriksen, designer of the Stepwell Table, was sketched for the contributors page, too.




Coffey Architects Phil Coffeyjpg

This article was originally published on BD, 10/7/2018. Read it here.

In 2018 we began to accept that climate change was and is the issue of our time and urgently changed the way in which we developed our cities and our architecture for our future good.

We accelerated the greening of our city, we started to value the intangible. Spreadsheets properly valued parks, green public realm, water, rooftop terraces, balconies that have given us the ability to connect to our environment, to work and live outside, to walk to cycle, to shade and cool our public spaces and to remove pollution from our air.

The glut of tall glass towers of 2018 that we will now live with forever were the last spurts of a community that believed that technology and comfort cooling were the equal partner of solid walls, solar shading and passive design. Short-term financial solutions in a long-term existential paradigm.

Today in scorching London we build with depth in our elevations, with solid facades and – with our cleaner air and quieter electric roads – a significant majority of our buildings are naturally ventilated. Why didn’t we think ahead?

Context. Remember that ubiquitous “c” word of architecture in the early 2000s? It all changed in 2018. No longer did we fetishise brick, the then new London vernacular. We recognised that that “pesky” layer of insulation, a response to our climate had led us all to decorated buildings and that the planners knew it. Why clad a building in any other material if London was our closed myopic environment? We began to truly investigate the possibility of lighter materials, quicker to build, less embodied energy, easier to transport, and we used strong environmental arguments to build more intelligently.

Architects began to interrogate the layers of structure, waterproofing and insulation as a driving force in making buildings that respond to our macro and micro climate. Elevations became thresholds for light, air and future inhabitation not just historical narratives of material and décor. Wrapping lightweight timber frame structures with brick skin facades to keep London brown, it all seems so backward now.

In that important year we doubled down on the idea that the global context was just as important as the local and ensured buildings were orientated to the sun, not to the historical twisted and winding streets of the past. We densified London to create shade and more homes and were concerned less about overlooking and privacy. Planning departments employed Design and Environment Officers, rather than Design and Conservation Officers, whose name suggested the problem.

2018 and the following years also changed the public perception of architecture. Architects began a conversation with communities about the importance of an industry whose product consumed over 40% of the world’s energy and directly affected their daily lives in the most crucial way.

Architects truly connected with an issue that would drive design solutions and put the profession at the heart of a global discussion. Incredibly the public began to believe architects were professionals who cared about our shared futures, or at least that’s how I remember it…

…the hot, sticky summer of 2018, when architecture changed, and we all drank iced drinks as England won the World Cup. Or was it all just a dream, an opportunity lost, just more of the same? We all enjoyed the sun, packed up our picnics, went home, applied the after sun and thought nothing more of our devastating impact on the slow and seemingly inevitable warming of our planet.



Our Bermondsey scheme for London Square has been shortlisted for a 2018 New London Award in the Mixed-Use category.

Part of a larger collaborative masterplan by AHMM, we have designed 70 new flats and Tannery Arts’ gallery and maker studios on Plot 1 of London Square Bermondsey.

Our designs complete the perimeter block of terraced housing to the north, adding a new route into the site that is lined with affordable commercial space for a gallery, artists’ studios and display cases for designers and makers on the site. A central hub of circulation is accessed from the east, linking our plot, including the retained Victorian factory building, with other new and existing buildings across the site.


Watch this space, all winners will be announced on 4 July at the NLA Annual Lunch at the Guildhall.Coffey-Architects_Rich-Estate_3Coffey-Architects_Rich-Estate_6

Venice Biennale 2018: Phil Coffey for the Architects’ Journal

DogesBye bye Venice. Leaving in a taxi …The Doges Palace, those columns, those capitals … full of stories … one purportedly portrays the seven deadly sins. Here are mine from the last 24 hours.

Envy. Is a terrible thing…and I’m full of it for the first installation at the Arsenale – an essay in construction and light. I’d have been happy walking in, pushing this heavy wheel of wonder around for four hours and catching a flight home, but after discussing his work, orientation, solstices, stone, structure and celestial movement with an out-of-breath Níall McLaughlin, I decided to stay and take a look at some of the weaker follies to feel better about myself.

Lust. Outside the empty pavilion, spoken-word artist Kate Tempest was asked what her eagerly awaited opening poem was to be about. ‘I thought I’d bring something different to this architectural trade fair.’ Trade fair? I’m not sure the curators would be happy with that label. This is, of course, different to MIPIM. There’s a charming lack of lust for power or money. This is architecture as an art form and this biennale feels like our art is back with a bang. Highlights were Zumthor’s delicious models and Caruso St John’s deep and powerful elevations in the Italian Pavilion … and Kate’s words, which did exactly, what she said they would do.

Wrath. We’ve enjoyed the usual Italian hospitality, warm and welcoming unless you wear shorts to the ever pleasant Monaco terrace – as Jonathon Falkingham discovered. When plumbing the depths of sartorial manners in such a (lack of) fashion you will suffer the significant wrath of the usually mild-mannered waiters. Norman had no such problem, dressed impeccably in a pink shirt, chinos and suede slip-on shoes on the table next to me for my final lunch. Venice suits Lord Foster; he moved with effortless grace and speed between the tables, so elegantly in fact that he stole my water taxi to the airport.

Gluttony. Good to have a long lunch of scallops, clams and spaghetti at the Galeon, located between both major biennale locations. Architecture chit chat with the Howells, Bloxhams, Monaghans, Allfords and Bevans with some innocent drive-bys by many a sunburnt architect and engineer. Ate and drank too much and felt even more gluttonous later when bumping into the new-look Sam Jacob at the British Council Party. I had thought his recent photograph lying down at the RIBA had made him look thin through a trick of perspective, but it turns out our shared gym is working, for him at least. Good exhibition at 66 too, and not quite as far as Venice, or half as expensive.

Greed. Water taxis. On arrival as a group of four to the new water taxi terminal, we were greeted by a rather forceful bouncer who rudely split us into two boats, for their greater gain. 180 euros shared between myself and Duncan of Arrant Land, and that’s only the beginning. Anywhere you go it’s a minimum 70 euros, and everywhere you go, in case you didn’t know…there’s water in the way. In defiant protest, we voted with our tired feet and caught the cheaper alternative, a water bus back from the Giardini, wrong bus, wrong canal, wrong stop. Got off. Hailed a taxi. 70 euros to cross 100m of water. I could have swum it in six minutes. That’ll teach ‘em.

Pride. If you are going to curate a biennale, you’d want to take a look at this one as a case study. A strong selection of architects, a strong theme that is interpreted in many different ways. ‘Freespace’ has got us thinking and talking and has given confidence to the simple things and discussions in architecture. So bravo Grafton Architects. I’m not a big fan of the word ‘proud’, but they should be proud of this.

Sloth. Apologies to the Architects’ Journal for agreeing to blog and then rustling up just the one entry.

Workshop 3: Londonon Milan



Following successful workshops in London and El Ejido, we’re in Milan this week with our rolling research programme, Londonon, exploring the urban section.

Alongside other collaborating London-based studios and the local One Works team, we’ll be investigating intensification, urban regeneration, infrastructure and mixed-use. Watch this space for more.

Coffey Architects and Smeg reveal intricate shadow-casting screen for 2018 RIBA Regent Street Windows

180423 Coffey Architects_Cast for Smeg_Photo credit Tim Soar (1)

For the 2018 RIBA Regent Street Windows competition, Coffey Architects has designed a dynamic window display for Italian cooking brand Smeg’s flagship London store. The installation celebrates the launch Smeg’s new Linea built-in collection.

Through a hands-on process of iterative refinement, and close collaboration with structural engineers Morph Structures, the architects explored installation options that would both market the product range and promote the Smeg brand.

Project architect Ella Wright explained, “In line with Linea’s key features, we were encouraged to work with light reflection, refraction and shadow, both naturally and artificially. What resulted is a display that is engaging, yet true to the company’s history and heritage in producing distinctive cooking appliances.”

Creating intrigue and delight through threshold and repetition, Coffey Architects has utilised the Linea collection’s cast iron pan stand to create an intricate patterned screen.The multiplication of this heavy and industrial component paradoxically creates a landscape that resembles a delicate weave, whilst showcasing Smeg’s rich heritage. It filters and diffuses light, casting beautiful, active shadows inside the store during the day and out onto the pavement at night.

Wright said: “This installation blurs the boundaries of the shop window through the use of layering, transparency, light and shadow. As much as the screen itself, we were excited by the effect it produced. Striking shadows are cast on the pavement and passers-by, appearing to brand whatever surface they touch.”

Whilst from a distance the screen reads as one piece, at closer inspection, visitors can understand the pan stands as individual components. The design showcases two of Smeg’s new products at eye level within the intricate weave, inviting passers-by to engage with the brand, as well as the shadows it casts.

Smeg London opened its doors in September 2017, and since then has welcomed a number of architects and designers to commission its products.

We’re thrilled to be partnering with RIBA on this very special window display”, said head of marketing, John Davies. “The store has been designed specifically to target the architectural market and support the brand’s growing presence in this sector, so this announcement is a very important one for us”.

This is the eighth year of the exclusive design competition run by the RIBA, the official professional body for architects in the UK. The project sees some of Regent Street’s leading retailers partnering with emerging and established RIBA Chartered Architects to create a series of unique shop windows on Regent Street and Regent Street St James’s.

Coffey Architects’ display will run for a minimum of six months.

Coffey Architects shortlisted in competition to design Weavers Quarter


We’re proud to announce that Coffey Architects has been shortlisted in the contest to design the next phases of Weavers Quarter, the redevelopment of the Gascoigne East estate in Barking for the borough’s wholly owned development company, Be First.

Jennie Coombs, head of affordable housing at Be First, said:

“With this competition we’re trying to establish a template for future developments in the borough. We want to create a gold standard for high-quality designed developments which can be built conventionally or off-site, be truly affordable, and attractive to look at.”

Read more here.

A City of Ages – Phil Coffey for BD

Coffey Architects Phil CoffeyjpgThis article was originally published on BD, 5/4/2018. Read it here.


Kevin McCloud once said to me rather pointedly over a Grand Designs judging table… “Phil, you aren’t young any more.”

As architecture currently works to sort out its gender balance (I’ve just returned from Mipim, which seemed significantly more progressive this year), I think we should also ask, “What about the young people?” Forgive the generational generalisations, but here we go…

There are the baby boomers, with assets, with wealth. They can afford to work alone; why would they need others to succeed? Thankfully, however, many buck the stereotypical trend and share their wealth, bringing younger architects into larger projects to enhance their position in the architectural family tree and to bring freshness to their thinking and studio cultures. Many give their time for free at university crits, offer advice when asked and support others by offering jobs of all scales to the smaller practices… but they still lead out on their own, they still have a singular vision… we know who they are, and they have produced some of the finest works of architecture we have.

Then we have the millennials who are struggling to buy a home, to make ends meet in this ever more expensive and exclusive society. They see working together in collectives as a natural and progressive way to forward their impact and make our cities more vibrant and equitable places to live. Co-working, co-habitation… it is in their genes to connect; to live, work and think together. Their attitude is to build a community, to build a new structure to fight for their place in this world. They are the future, scraping at the perimeter wall of development. Not so much a singular artistic vision, but a wider-based design process, both professional community and project community. Granted, they are probably too young to have produced their seminal buildings just yet… but what will their architecture look like?

And there, the piggy in the middle, is Generation X, as I believe we are now called, trying to connect the two. Are we trying to make an architecture that sits between a singular vision, fighting the diluted position in our industry, and a trend to a more equitable, community-based architecture?

Back in the day, architects led the construction industry. Clients came to them first. They built briefs. They designed buildings. And, yes, they even administered contracts, successfully. Did they make better architecture?

These days architects in many projects are consultants, part of the process. Should we aim to get back to where we were kings? Or should we accept our diluted position among the other valued members of a design team? Learn to work together. More cohesively… this is a team game, didn’t you know?

The relationship of procurement, life attitude and the architecture it produces is profound. Sole owners, companies, employee-owned trusts all have a significant commercial and intellectual impact on the architecture that organisations, that groups of people make.

Top down, bottom up and something in between is now how our cities are being made. Maybe it has always been the same… but there is a sense that this time is more critical. Life-change is accelerating, disruption is here… and we better get used to it. Quick.

While the lubrication of the profession is happening, it is important for our cities that the younger generation of architects is encouraged to take part in the making of cities. And please note, I don’t mean by being given a golden kiosk with timber benches on the corner of a street while others eat up the quantum and the associated fee of the Cat B offices and housing blocks behind. To build the cities of the near future, the younger generation needs to be involved in the big conversations because they feel the change, they understand it… and for those who don’t engage with the ways they are thinking of living their lives, they will perish as the pattern of habitation, tenure and work life changes.

On the other hand… let’s hope that the seminal building that raises spirits, that touches souls and lifts communities, that is the work of a talented architect that can truly inspire every generation, isn’t lost to procurement routes, community engagement and the loss of leadership.

Our cities should be a balanced conversation between all ages seeking the ultimate aim of what we all do – making better architecture, better cities, both singularly and collectively, whatever our generation.


Coffey Architects at Wallpaper* Handmade, Salone del Mobile


Coffey Architects will be showing a bespoke piece of design in the 9th Edition of Wallpaper* Handmade at Salone Internazionale del Mobile di Milano, also know as Milan Furniture Fair, 17-21 April 2018.

The theme for this year’s Wallpaper* Handmade is Wellness and Wonder – the quest for mental and corporeal wellbeing, the long and winding journey towards a better you.  Acting as patron and creative director, Wallpaper* has cherry-picked a selection of some of the world’s finest artists, craftsmen, makers and manufacturers, commissioning unique and one-off luxury items of furniture, fittings, food stuffs, fashion and much more.

We’re pleased to be paired with Spanish surfaces company COMPAC on our one-of-a-kind design that has been crafted specifically for Handmade. More to come on the design and installation… 

Londonon: rolling research programme


On 16th February, the collective of participants of the Londonon research programme assembled at the mid-point of Waterloo Bridge to celebrate the launch of the inaugural European workshop to harness the collective knowledge of those practices involved.

Londonon was formed to ask questions of how we can reach out and look beyond our small island. Londonon is a self-funded research and residency programme in cities around the world, starting in Europe. We are pooling resources to question, collaborate, make and experience, to broaden our minds, expand our reach and widen our worldview. Each Londonon practice nominates a researcher in the field, for each week long study period as we travel the globe.

The inaugural international research trip to El Ejido, led by Coffey Architects, is focussed on how light and climate shape how we make and inhabit cities. It is hoped through this approach, we are able to reveal the qualitative aspects of EL Ejido with a specific analysis of how the climate and light have defined this area as it is today. In demystifying intensification in El Ejido, Londonon can overlay relevant conditions onto London to better understand our current issues and constraints.

Read more about the research programme here.

“The Meaning of Light”

Director Phil Coffey was recently interviewed for London Magazine, the city’s monthly glossy publication covering people, places and property.

Looking at the sunlight streaming in through the huge expanse of razor-sharp rooflights in a a modern extension, you’d be forgiven for thinking we’re in southern California, or perhaps somewhere even more exotic. But each of the buildings on these pages are in London, creations of one of architecture’s rising stars, Phil Coffey.

That you can be described as a rising star at the age of 42 says something of how long it takes to establish a successful career as an architect, but Coffey and his studio have made a name for themselves transforming London’s often dark and narrow period houses into buildings so light, spacious and airy, they seem to belong somewhere else altogether. “My first thought on any project is “‘Where’s the sun?’,” Coffey says. “The sun makes spaces fresh and makes it feel like the building is alive.”

Read the rest of Phil’s interview with London Magazine here.


Meet us at MIPIM 2018

Our team will be at MIPIM 2018 from Monday, 12th March to Friday, 16th March…  making the most of the event, and hopefully the sun!

Get in touch via We’d love to meet you.180227 MIPIM Social

The Times names Hidden House as one of ‘the 10 best buildings of 2017’


Coffey Architects’ Hidden House has been named one of The Times’ Top 10 Buildings of 2017. Hidden House was recognised alongside Jean Nouvel’s sublime Louvre Abu Dhabi and Foster + Partner’s Bloomberg HQ in London, the self-proclaimed most-environmentally friendly office in the world – among others. Architectural correspondent Jonathan Morrison praised our clever design on a small and constricted site.

See the article here:

Hidden House Shortlisted for House of the Year

We’re pleased to announce that Hidden House was shortlisted for Grand Designs’ and RIBA’s House of the Year!  Read more about the project here… and see a selection of recent press coverage below.

Channel 4: Grand Designs – House of the Year

The Guardian/ Observer: Jail house rocks… an architectural marvel built over an old prison vault

Dezeen: Coffey Architects sets small brick home atop Victorian prison vaults in London

Wallpaper*: Box clever: it’s hip to be square at Coffey Architects’ Hidden House

City AM: Property of the Week: Hidden House in Clerkenwell is a one-off built above Victorian prison vaults

Architects’ Journal: Coffey Architects’ Hidden House revealed

Modern Detached wins 2017 Brick Award

We are pleased to announce that our project, Modern Detached, has won the Individual Housing Development award at the 2017 Brick Awards. We are grateful to have worked on such a special project for an amazing client.

From the judges:

“The palette of materials resonates with the immediate environment, and it is nice to see the brickwork taken inside the building to provide some much-needed warmth.”



Last week, director Phil Coffey was invited to participate in a PechaKucha at London-based property fair MIPIM UK.

Alongside a great panel including Adam Walker, founder of CRATE, Colin MacGadie, chief creative officer at BDG and Will Notley, senior architect at PDP London, Phil presented a high energy, visually driven talk on the inside/outside-ness of the spaces we work, and making place with light and culture.

PechaKucha was devised in Tokyo in 2003 by the English architect Mark Dytham and has turned into a global celebration of design, with events happening in hundreds of cities around the world. Drawing its name from the Japanese term for the sound of “chit chat”, it rests on a presentation format of 20 images x 20 seconds.




Coffey Architects shortlisted for RIBA Clore Learning Centre


We are delighted to be shortlisted for the new RIBA Clore Learning Centre at 66 Portland Place.

The project is to create a new study room, terrace and display area in an existing space at the iconic grade II* listed building.

RIBA head of learning Elizabeth Grant said the institute had been “thrilled by the sheer enthusiasm” shown for the Clore Learning Centre, noting the thoughtful and creative responses by all who entered the competition.

For more info, check out the Architects’ Journal and BD Online.


C8Lf8FgUAAQ0XEl.jpgWe are seeking a studio manager to join our growing team in the heart of Clerkenwell!

This is an exceptional opportunity for an exceptional candidate who wants to embrace a new challenge and help drive the studio forward into the next step of our development.

Working closely with the practice directors, marketing/communications manager, and front of house team, this person will be pivotal to our continued success. The studio manager will need to be vibrant, proactive and progressive, with a desire to engage and advocate for existing and new members of the team. This role is for a motivated, passionate and adaptable individual.

The ideal candidate will need to be ambitious and process driven to implement new procedures and structure to the studio. Motivation and hunger to get fully immersed in the studio are essential aspects of the role. Experience in a similar role is crucial, and a proven passion and knowledge of the arts/architecture/design industries is preferred.

Please get in contact today with your cover letter and CV. Send to We look forward to hearing from you!

Find more information here.

Croydon Smaller Sites Programme recognised with New London Award

The Croydon Smaller Sites Programme for Brick x Brick, the council’s own development company, has been awarded the 2017 New London award for unbuilt housing.

We’re extremely proud of this honour, as Brick x Brick has created a clever and considerate programme to provide housing for the Borough of Croydon. In addition to our 10 sites, the progamme includes work from HTA, Mae, Pitman Tozer, Stitch, Mikhail Riches and vPPR.





We are pleased to announce that Hidden House has been longlisted for the 2017 RIBA House of the Year award. Keep an eye out for the Channel 4 behind-the-scenes tour later this year.

Judges noted:

‘This single-storey house originates from a rigorously scrutinised floor layout, engaging in a simple and elegant way with the constraints of the site… This building has been rigorously considered in its design and beautifully delivered in its construction.’


Coffey Architects Wins Three RIBA Regional Awards

We are pleased to announce that we have won three 2017 RIBA Regional Awards. We were awarded the accolade for Modern Detached in the East region, and for Hidden House and Science Museum in the London region. We are ever-grateful to our hardworking team and inspired clients!

Award winners pictured at the RIBA East 2017 Awards Evening held at Fitzwilliam College, Cambridge. Photo credit: Richard Marsham
Award winners pictured at the RIBA East 2017 Awards Evening held at Fitzwilliam College, Cambridge.
Photo credit: Richard Marsham

Award winners pictured at the RIBA London 2017 Awards Evening held at RIBA Portland Place, London. Photo credit: Agnese Sanvito
Award winners pictured at the RIBA London 2017 Awards Evening held at RIBA Portland Place, London.
Photo credit: Agnese Sanvito

Read Our MIPIM Review in OnOffice Magazine

We recently spoke to OnOffice Magazine about our experience at MIPIM 2017. Check us out in the latest issue!

I believe it’s good for perception. It instills confidence in our current client base, and is good brand recognition for future clients.

More importantly, I believe it’s good for our team, for our generation of entrepreneurs, to feel like we belong in this industry. We should be involved in the conversations shaping our cities and the larger the presence you have at MIPIM, the greater the chance to get involved with other key players and decision makers.”

Phil Coffey, director


Coffey Architects featured in the Financial Times

Our west London project, Modern Mews, has been featured in the FT’s weekend supplement, ‘How to Spend It’. In her article, ‘The Big Picture’, Ruth Bloomfield writes about extraordinary extensions and exquisite craftsmanship in London period homes. Director Phil Coffey shares insight on ‘noble’ materials and bespoke luxury.


Coffey Architects Shortlisted for Three RIBA Regional Awards

We are pleased to announce that Science Museum, Hidden House and Modern Detached have been shortlisted for RIBA Regional Awards.

Nicolas Tye, Chairman of RIBA East, and past RIBA Awards judge, said:
‘We’ve had an amazing response to the call for Award entries this year and it’s really great to see clients pushing for good design across such a broad spectrum, from schools and religious buildings through to housing schemes and one-off homes. All the architecture practices and their clients are to be congratulated for getting this far. The jury has a difficult task on its hands.’



Visionary Architect of the Year 2016


We are delighted to have won  the Visionary Architect/Master Planner of the Year at this year’s MIPIM UK property expo in Olympia.

We will continue to work hard and innovate.


Reflecting on the Venice Biennale 2016

Coffey Architects were lucky to have our annual office trip to Venice this year, making pilgrimage to the spectacular architecture of the island and exploring the forefront of architectural discourse at the Biennale.

Director Phil Coffey describes this year’s Reporting From the Front as ‘incredibly internal, thought provoking, people centred, political and strangely ‘big building free’ series of installations.’ To read more of his review for the Architects’ Journal please click here.

A month on, we’re reflecting on our experience and observations during the trip and how this can inform our critical thinking and practice. Keep an eye on our Twitter feed @CoffeyArch for our daily musings of the trip!

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Modern Mews, U+I and Science Museum Research Centre Shortlisted for New London Awards 2016

We are very excited to announce our Modern Mews, U+I Headquarters and Science Museum Research Centre have been shortlisted for the New London Awards 2016. The New London Awards recognises the very best new and proposed architecture, planning and development in London.

Modern Mews has been shortlisted in the category Homes.

U+I Headquarters has been shortlisted in the category Conservation & Retrofit as well as Office Interiors.

Science Museum Research Centre has been shortlisted in the category Culture & Community.

We cross fingers for our projects. The announcement of the winners are on 7th July 2016.


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Modern Mews and Modern Side Extension win RIBA Awards

We are happy to announce that our Modern Side Extension and Modern Mews won the RIBA Awards on Tuesday 3rd May.

RIBA Awards celebrates the best architecture in the UK and around the world, no matter the form; size or budget – we believe winning the awards display our commitment to designing and developing buildings and spaces for the improvement and enhancement of people’s lives.

In addition to winning the Regional Award Modern Mews have also made it onto the House of the Year 2016 Longlist which means it will be shown on the series House of the Year on Channel 4 in the Summer 2016. The Shortlist and Winner will be announced in the series – make sure to watch the series on Channel 4 and find out if Modern Mews will be the lucky one.


Terraced housing is a defining feature of many British cities, but families now prefer to live in open plan spaces differing from the traditional cellular rooms for living, dining and cooking. The need to expand and remodel the terraced home is never-ending but, hidden away from the street, it is dominated by poorly thought through and detailed additions. The Modern Side Extension is a typological retrofit solution to offer a truly modern space for living that respects the urbanity of its host building. Reconfiguring the ubiquitous party wall connected to the terraced rear abutment remodels the home, creating a subtle game of solid and void with views to garden and sky.

Conservation-friendly brick, glass and bi-fold doors unite in a complex three-dimensional composition. Respectful to neighbours, the Modern Side Extension shows that the smallest architectural projects can be transformational.



An intricately designed and constructed piece of joinery crafted to live in.

The typical London mews house enjoyed windows only to the front of the property creating difficulty for habitable, comfortable and lit rooms to the back of the house; making practical modern spaces for living in such small constrained sites can be difficult to achieve. The Modern Mews employs many of the design ideas in Japanese tea houses (Chashitsu) to create a home full of light with numerous activities brought together through visual links. Horizontally wooden lattice sliding doors allow for adaptable spaces across each floor and between floors glass panels allow occupants to converse and bring light into the heart of the home from a zenith ocular window.

The home is conceived as a life sized piece of joinery, a Japanese treasure chest for living that sits between the white painted brick finish walls of the adjacent mews neighbours. All walls, floors and ceilings are crafted from white oak whilst elements where water is required are moulded from Corian. The central walls are interlayered with rice paper, glass and oak lattice, sliding to create a master suite or bed and bath at first floor, with bedrooms to the top floor enjoying light gathered from the sky above.

Living spaces to ground and basement enjoy light from the bi-fold sliding doors to the mews and light that penetrates the building from the central stair light well. Kitchen and dining spaces at ground level are visually and acoustically connected to the living space with a central fire warming the home from below. The basement carved into the ground is lined and furnished with elements of powerfloated and hand trowelled in-situ concrete.

The celebration of daily life in London is beautifully orchestrated across these four interlocked and interlayered floors in W1, creating a three bedroom light filled home for family life in less than 100m2.