Since 2005, Tom Greenall has worked with award-winning architects DSDHA, completing projects in the education, residential, hotel, cultural and community sectors. 

Tom’s first completed building, the Canon Popham Foundation Unit in Doncaster, represented a continuation of the practice’s investigation into design for early years education and was honoured with a Royal Institute of British Architects award in 2008. The building’s carved form is a carefully articulated response to both the existing context and the requirements of the brief, while simultaneously addressing the environmental ambitions of the client. The building is entirely clad in one material to further abstract the form, reinforcing the impression that it has been crafted from a single piece.

More recently, Tom has been involved in a number of urban design and public realm projects, including the recently completed entrance to Vauxhall Spring Gardens in Lambeth.

Acting as research assistant to Deborah Saunt, Tom Greenall aided in the development of a new vision for the public realm surrounding both the Royal Albert Hall and Albert Memorial, undertaken as part of the 1851 Royal Commission’s 2010 Fellowship in the Built Environment.

Independently, Tom Greenall has undertaken a number of commissions for a diverse range of clients, including the Old Vic Theatre, the Architecture Foundation and writer Alain de Botton.

Through these commissions, Tom Greenall has produced projects that critically and rigorously address the notion of the city. Through set design, writing, illustration, exhibition design and architecture, he has sought to challenge received expectations of the built environment and to celebrate contemporary urban culture.

As well as providing solutions to a variety of briefs, Tom Greenall’s work is also concerned with exploring the complex and often contradictory world around us. His projects seek to analyse key shifts in society in order to address the new behaviours they bring with them.

At the beginning of 2011, Tom Greenall collaborated with designers House of Jonn on a project that became known as ‘At His Majesty’s Pleasure’. The project was concerned with the privatisation of the prison service and presented a possible future scenario through theatre, art exhibition, dining and debate. With the Government’s subsequent announcement that its first fully privatised prison was shortly to open, the project served as a cautionary tale that forced the audience to question their current position on ‘value for money’.