Grandioso  +



Grandioso was a commissioned Artwork undertaken for the Howard de Walden Estates for a contemporary new building in the heart of The West End of London. The objective was to reinterpret the notion of a grand gate or entrance; the gates embodiment was not solely to be of pure rational function, it was the provision of a modern reinterpretation of an antiquated technique that has historical gravitas.

The essence for the door derived from the antiquated stonemasonry technique of rusticated – vermiculated- ashlar. The stone technique can be seen to have a strong visual prominence along the gates residing place of 77 Wimpole Street, London. The visual presence of this technique on the lower ground floor façades of Wimpole Street has a repetitive rhythm that one felt was fitting to pay homage to, as with the context in mind that 77 Wimpole Street was to be the first new façade along the street for nearly 100 years, as many listed buildings occupy this conservation area of special architectural and historic interest.

Rusticated – Vermiculated- Ashlar can be found to have its origins in renaissance architecture. The purpose of the technique was to give a visual grounding to prominent buildings on their lower floors. This was often juxtaposed with smooth finished masonry of the upper floors. The stonework can be seen to take on a narrative between a disguised primitive rock-like appearance, versus the civilized, smooth architectural façades on the upper floors.

Drawing upon this historical and cultural narrative that can be found in this most unassuming technique, was fundamental to the gates manifestation, solely not just to function as a means to allow access and security, it was to offer a grand foundation to the building that pays homage to the layers of antiquity that civilization’s have given to this most unassuming technique.

The base for conceptualisation was to extract sections of the masonry into two-dimensional studies; the studies were then post – formed into a series of extruded three – dimensional forms, which gives a modern perspective to this antiquated technique. Sections were digitally machined forming 1100 individual columns that were in turn cast in aluminum, using the traditional technique of sand casting. Two varying finish’s were applied, a mirror polish pays reference to super smoothness of modernity verses the roughness of antiquation. The technique of rustication could be perceived as creating a presence of irregularity, however one has approached this to create a meticulous and precise kind of irregularity.

The resulting manifestation of the piece is that this functional object has been elevated to give a new contextualisation of an antiquated technique that is steeped in tradition of grandeur and opulence.

‘A futurist – rustication is the incarnation’.


Date:                2014

Dimensions:   1800 x 2820 x 300 mm

Material:         Aluminium & Stainless Steel

Confessions At the Bench  +

Confessions At the Bench

Confessions At the Bench.

The Sculptural Bench was the culminating project for Lee’s Royal College of Art show. The bench was divided into four segments; each of which can accommodate two to three people. The intention is to create personal spaces on a communal bench, allowing individual privacy while not completely disconnecting the user from neighbours and the surrounding environment. The perforated metal screens create an effect reminiscent of a Catholic confessional box, encouraging the user to peer through the perforated sheet.

The Bench is fabricated from 10 mm core steel sheet, which has been fabricated without the need for welding and mechanical fixings. This allows for ease of installation and possible storage. It was purchased during the show for the Royal College of Arts collection and now sits within the grounds in the courtyard. 


Date:                2011

Dimensions:   2000 x 2000 x 1800mm

Material:          Corten Steel

St Ledger Stakes 2012  +

St Ledger Stakes 2012

St Ledger Stakes 2012

The founding inspiration for the 2012 winners Rose Bowl centrepiece has its routes in the beginnings of 18th century motion pictures in particularly the work of Eadweard Muybridge, who was a pioneer in capturing the beauty and movement of a horse in full gallop through stop action photographs using multiple cameras.

This striking movement has been translated into the decorative grill of the rose bowl, which is constructed from several cast elements that echo the movement of the horse in motion around the perimeter of the bowl.

The surrounding horses are centralised by the Yorkshire rose which is constructed from two cast silver elements with 24ct gold plating.

The Race -
Established in 1776, the St. Leger is the oldest of Britain’s five Classics. It is the last of the five to be run each year, and its distance is longer than any of the other four. The St. Leger is the final leg of the English Triple Crown, which begins with the 2,000 Guineas and continues with the Derby. It also completes the Fillies’ Triple Crown, following on from the 1,000 Guineas and the Oaks. The St. Leger has rarely featured Triple Crown contenders in recent decades, with the only one in recent years being the 2012 2000 Guineas and Derby winner Camelot, who finished second in the St Leger.


Date:                2012

Dimensions:   240 x 240 x 50mm

Material:          Sterling Silver & 24ct Gold

Lectern  +



A private commission for The Worshipful Company of Saddlers to design and craft a sterling silver lectern that was to celebrate Her Majesty’s Diamond Jubilee.

The Worshipful Company of Saddlers is one of the very oldest of the City of London Livery companies. The earliest surviving records of a Guild of Saddlers in London date from circa 1160 AD, although the guild could well pre-date that.

Drawing on inspiration from Her Majesty’s Diamond Jubilee the lecterns form pays subtle reference to her years severed as Queen. The lectern is constructed from 30 hand-forged silver segments that intern create 30 negative spaces paying homage to the 60 years Her Majesty has severed. An adjustable glass reading plate is suspended from a silver arm that carries an important emblem of the company which is a ceremonial horse called a Palfrey that can be found on the company’s Royal Charter, which dates back
James I 1607.

The lectern offers a visual focal point when key members from the company use the lectern to place reading notes on to address the audience at important dinners through out the year.


Date:                2012

Dimensions:   320 x 285 x 520mm

Material:          Sterling Silver & Glass


Ephemera  +



Ephemera was a project in response to disposal of throwaway printed ephemeral objects that surround daily routine. 

The project culminated in the functional use of a fruit bowl which was fabricated from photo-etched stainless steel sheet. Four tube rivets create a layered effect of perforated metal, drawing inspiration from layers of throwaway paper objects. 
The etching is constructed from a typographical description on printed ephemera.


Date:                2008

Dimensions:   260 x 440 x 50mm

Material:          Stainless Steel, Acrylic

12 Fins  +

12 Fins

12 Fins

This project was commissioned by a primary school that wanted to create an area within the school’s grounds where pupils could go outside for lessons and have a quiet time and space to reflect. 

Its design made use of a pre existing space that occurred within the building. The surrounding school building centralized the area as it offered three sheltered sides and easy access from the building out into the space. 

The form had its grounding and inspiration in an earlier project of the silver ‘Reflection Cup’. Its initial form was constructed from 1.2 mm silver sheet, and this was translated into 10 mm stainless steel with a mirror-polished finish. The central cup was replaced by a column of water that falls down onto a cast bronze base with a sculpted surface, which appears as if it has been formed by the surface of moving water. The water then cascades over the edge of the bronze disc down into a reservoir of water. This reservoir is covered by perforated steel sheet that allows the water to flow back into the reservoir; which was then covered up by large pieces of slate.


Date:                2012

Dimensions:   3000 x 3000 x 1250mm

Material:          Stainless Steel, Cast Bronze, Stone

Encaged Jug  +

Encaged Jug

Encaged Jug

Designed to play with the visual language of a handle, the Encaged Jug is surrounded by a series of fins, similar to the ‘Reflection Cup’, though there is a significant difference in the way that these two objects function. The jug cannot be removed from its structure as the fins are used as a device to highlight attention on the ascending handle. The intention of the handle is to give a clear semantic as to where the object should be picked up. 

The jug was fabricated from sterling silver that has been formed using computer numerical control spinning chucks. The fins have been profile cut from 3 mm titanium sheet that has then been anodized and given a shot blast finish.


Date:                2009

Dimensions:   160 x 160 x 180mm

Material:          Sterling Silver, Anodized Titanium


Twin Handle Jug  +

Twin Handle Jug

Twin Handle Jug

Twin Handle Jug was a research project to examine what constitutes a handle. For instance, how many hands does one need to use the jug? 

This jug was developed through various tests of how handles interact. In conjunction with this, the spout was subjected to tests that would allow for a controlled pour. The resulting outcome was that the handle created an element of interaction with the table, as the handle was extruded under the body to allow a sense of rocking when on the table. This gradual rocking motion was controlled by the volume of liquid in the vessel. 


Date:                2009

Dimensions:   290 x 210 x 200mm

Material:          Sterling Silver, Titanium


Reflection Cup  +

Reflection Cup

Reflection Cup

The concept of the Refection cup was to explore the themes of what constitutes a drinking vessel. The purpose was to create a moment of reflection as to how the cup functions. 

The development led to creating a cup that could be removed from a supporting structure so as to be drunk from. As the cup cannot stand upright on its own, this confronts the user to reflect upon the situation and return the cup to its supporting structure when finished. The intention of the movement is to incite the user to pause for a brief moment of reflection so as to appreciate the object and its contents. 

The cup has been constructed from a series of self-jigging joints, which are mechanically pinned together. 


Date:                2009

Dimensions:   120 x 120 x 100mm

Material:          Sterling Silver & 24ct Gold

Water & Wine  +

Water & Wine

Water & Wine

A private commission to design and produce a pair of water and wine cruets that were to be used in a church ceremony. An accompanying tray was also designed, as this was crucial to unify the two cruets with a chalice which the client had previously purchased. 

As the liquids have to be permanently covered in the ceremony, a cover was designed that could be removed when necessary for cleaning. When the liquid is poured, a small opening allows the liquid to run directly into the spout. 

As this a collective ritual involving others, the intention was to illustrate a spout with an extended opening that would create a sense of honesty and drama highlighting the importance of these liquids on their journey from the body of the cruet to their end destination in the chalice. 

The tray’s intention was to create a simple altar-like appearance that allows the sacred ritual to be the focal point of the piece. The size and proportion of the tray was designed to create a simple ergonomic design that would allow enough space to hold the chalice in conjunction with the two cruets and allow sufficient space when pouring.


Date:                2012

Dimensions:   380 x 320 x 190mm

Material:          Silver, Brass, Aluminium, Gold , Glass



Lee Simmons

“The theory of a synthesis that brings together art, architecture and design.” Lee Simmons induces this relationship and works between these blurred peripheries.

“Am I an artist, a technician of design or craftsmen? To answer this question would manifest itself in ones inhibition. I am a creative that thrives on having flexibility to straddle the line between all disciplines.”

Lee employs numerous skills and technologies to convey his ideas. To realise them, he adopts a healthy marriage of traditional skills and modern techniques and technologies. Neither is more important than the other, and although they should bare a focal point within the work, he believes they should remain in the background.

lee simmons

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