Níall McLaughlin Architects Names New Directors
November 2025
Níall McLaughlin Architects is excited to announce significant changes to its leadership, with four long-standing Associates being promoted to Directors. With a combined seven decades of experience at the practice between them, Anne Schroell, Tim Allen-Booth, Tilo Guenther and Tom McGlynn will shape the future of Níall McLaughlin Architects. This promotion rewards their commitment and contribution to the practice, recognising their leadership, work on key projects, business development and office wide initiatives. The new Directors will work closely with founding Principal Níall McLaughlin to build on the practice’s reputation for design excellence and promote a model of practice that is equitable, diverse and inclusive, and sustainable.
Tom McGlynn joined the practice in 2014 and was the Project Associate on The International Rugby Experience in Limerick voted as Ireland’s favourite building in 2023, and West Court Jesus College in Cambridge winning an RIBA Project Architect of the Year Award in 2018.
Tim Allen-Booth joined the practice in 2006 and was the Project Associate on The Bishop Edward King Chapel in Oxfordshire which was RIBA Stirling Prize Shortlisted in 2013, and The New Library Magdalene College in Cambridge winning the RIBA Stirling Prize in 2022.
Anne Schroell joined the practice in 2006 and was the Project Associate on the Faith Museum in Bishop Auckland which won the RIBA North East Building of the Year in 2024 and Grand Prize Winner of the Building Beauty Awards in 2024, and is currently the Project Associate on the Maggie’s Centre in Cambridge.
Tilo Guenther joined the practice in 2006 and was Project Associate on Darbishire Place in Whitechapel, which was RIBA Stirling Prize Shortlisted in 2015, and Saltmarsh House, which was Shortlisted for House of the Year in 2023.
Large-scale model making
September 2014
The use of physical models by architects is well established, and can be seen throughout history as the natural partner to drawings for exhibiting a proposal of the building prior to construction. Within our practice, models are rarely produced as mere presentation pieces, but rather as tools for exploration. This role makes them less precious and complete, with the ability to change and adapt the design following the feedback that the model has initiated.
The type of models that I enjoy most are those of a larger scale, of 1:20 and above where you are able to get your head inside and truly appreciate the space. In addition to the final form of such models, much is learnt through the process of construction. Structure, surfaces and junctions are some of the issues that require resolution during the making of the model. Within our studio space, we have a large area dedicated to model making, which allows for building and display of sizeable pieces.
During our work on a new build private residence in Hampshire, we carried out much of the design work on the external envelope through the use of physical models. They were worked up in increasing scales including a 1:10 piece of the facade. In particular, we were considering the form of the heavy external piers, fascias and cornices against the lighter timber elements that sat within them. We made the model using a similar sequence to the proposed building construction. We put the more solid facade elements in place so that we could begin considering a number of different forms for the timber window framing that sat within. The glazing was again produced in a similar method to the full-scale building, with a timber-framed bay built separately prior to installation in to the existing facade. We fixed these delicately so that removal would be possible.
We worked on a number of iterations of the window form, adapting the frames and constructing new versions when modification was not possible. Each time, the model was left on display within the studio so that everyone in the practice could consider the alternative versions and provide feedback. Once we had a favoured form, we used the same model to illustrate the proposal to the clients for approval.
I believe that such iterative assessments and amendments would only have been possible through the use of a large-scale physical model. Building models is about constructing space, and many of the activities are similar in technique and execution as the construction of a real building. By carrying out these actions in miniature we may appreciate the building as a physical form and understand the three dimensional mass. Building of models is our primary opportunity to test and refine our building form, whilst experiencing and discovering an approximation of the processes that will be required to make it.
Alastair Crockett studied at the University of Bath, University College London and London Metropolitan University. Since joining Niall McLaughlin Architects in 2012 he has worked on the T1 building in King’s Cross; a private residence in Hampshire and the Nazrin Shah Building for Worcester College in Oxford.
