INEX January 2020

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R IVE R L I N E A perfect choice for almost every location!

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The festive season is officially over; however, the inauguration of crisp and wintry weather conditions are just budding. For landscape designers working within these conditions, inspiration can be troublesome in the colourless and dreary months of January and February. To kick off 2020, we’ve talked to five designers from the Society of Garden Designers (SGD) on how to appreciate the beauty of winter through garden design. Turn to page 70 to read their advice.

JANUARY 2020

As cliche as it may be, January is a prime opportunity for making resolutions. Whether it’s within your personal life or professional, it’s a tradition we all strive to follow. Many designers may be opting for a more eco-friendly approach to interior design; putting the environment first in their everyday lives. This month, we’ve looked at two aspects of design that have pushed the boundaries of sustainability, which just may inspire a new approach.

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Firstly, Soundtect talks to us about the importance of uniting sustainability with sound acoustics. In this article, the Clerkenwell-based acoustician explains how its recycled and recyclable acoustic panels are making a difference to eco-conscious design schemes. Turn to page 110 to find out more. Elsewhere, we take a look at 2019’s Wood Award winners.

Turn to page 98 to learn more about the winning projects and how they took sustainability to the next level.

I hope you enjoy this edition. Don’t forget, you can also access all of Inex’s features and product inspiration at your fingertips via the magazine’s state-of-the-art app. To download your version free of charge, simply search ‘Inex-online’ on the App Store or Google Play.

Rebecca Cover: Inex takes a look at 2019’s Wood Award winners.

See page 98.

Editorial: Rebecca Kemp rebecca@crossplatformmedia.co.uk Digital Advertising: Sam Ball sam@crossplatformmedia.co.uk Jim Moore jim@crossplatformmedia.co.uk Print Design Manager: Jack Witcomb jack@crossplatformmedia.co.uk

Rebecca Kemp rebecca@crossplatformmedia.co.uk Follow us on Twitter: @INEXonline

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CONTENTS JANUARY 2020

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EVENTS

INSIGHT

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Inex rounds up this month’s must-visit events, trade shows, seminars and inspirational exhibitions, so you never miss a thing.

This month, Inex talks to Nataly Bolshakova, Founder of Bolshakova Interiors, about her career as an Interior Designer and what drives her inspiration.

One of Japan’s most celebrated graffiti writers, Suiko, has revealed his first residential project commission right here in the UK.

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LANDSCAPING

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Caroline Birdsall, Marketing Manager at Millboard, puts together her top five tips for throwing off convention and embracing ingenuity when it comes to designing outdoor spaces.

Space Copenhagen has created the interior design concept for the Stratford’s lobby, hotel guestrooms, mezzanine, groundfloor brasserie and seventh-floor restaurant.

Five expert designers from the Society of Garden Designers (SGD) share their top tips on creating a winter-friendly garden for your seasonal landscaping project.

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FLOORS, WALLS & CEILINGS

SURFACES & FINISHES

IN FOCUS: WORKPLACE

Digital printing offers so many creative benefits for interior decor, as Michelle Dellow, Product Manager at Papergraphics, explains.

Inex looks at a design-led quirky storage solution for The Video Collections Repository (VCR) at the Faculty of Fine Arts at Concordia University in Montreal, Canada.

Here, Planet Partitioning looks at the way specifiers can work with their clients to ensure an office design is fitfor-purpose.

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FABRICS & ACOUSTICS

PRODUCT SPOTLIGHT

In this feature, Inex looks at the winners of the recent Wood Awards. Here, we filter through each category and highlight the commended projects.

Clerkenwell-based acoustic consultant Soundtect looks at why sustainable acoustic treatment in today’s buildings is so important.

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Inex rounds up the latest innovative products and high-performance solutions entering the interior design marketplace.

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JANUARY EVENTS Inex rounds up this month’s industry must-see events, trade shows, seminars and exciting exhibitions from all over the globe so you never miss a thing.

TOP DRAWER Olympia, London 12-14 January

Top Drawer is a premier design-led lifestyle trade show – giving retail buyers and interior designers exclusive access to the very best and newest products ahead of the next season.

The show’s unique global edit showcases 1500 brands across several sectors: Home, Gift, Greetings & Stationery, Fashion, Play, Food Emporium, Craft, Wellbeing and Pulse | Spotted. topdrawer.co.uk

THE DECORATIVE ANTIQUES & TEXTILES FAIR Battersea Evolution, Battersea Park, London 22-26 January

The first of the three annual Decorative Fairs of 2020, the winter event kicks off the New Year with a bright and beautiful bang. Exhibitors at the Decorative Fair have a knack for finding unique items to finish an interior scheme or a garden room.

The show includes every discipline of antique, art and 20th-century design from the 1700s to the 1970s at a wide range of price points. decorativefair.com

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LONDON ART FAIR 2020

The Business Design Centre, Islington, London 22-26 January

London Art Fair provides a space to showcase the most exceptional modern and contemporary art of our time, to discover and to buy. The fair is an established destination for both museumquality modern and contemporary work, nurturing collecting at all levels, from prints and editions to major works by internationally renowned artists. londonartfair.co.uk

THE MAYFAIR ANTIQUES & FINE ART FAIR The London Marriott Hotel Grosvenor Square, London 9–12 January

The Mayfair Antiques & Fine Art Fair features some 40 distinguished specialist exhibitors, drawn primarily from BADA and LAPADA; The Association of Art & Antiques Dealers. The aim is to present a varied selection of high-quality art and antiques, giving visitors the opportunity to browse and acquire the finest period furniture, enamels and boxes, traditional and contemporary sculpture, oil paintings and much more. mayfairfair.com

THE LONDON TEXTILE FAIR

The Business Design Centre, Islington, London 15-16 January

The London Textile Fair provides manufacturers and their agents with the opportunity to showcase their products to the most influential British buyers and designers. The show is one of the top industry events within the UK with an increasing international appeal. thelondontextilefair.co.uk

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STOCKHOLM FURNITURE & LIGHT FAIR TURNS 70

Stockholm Furniture & Light Fair is celebrating its 70th anniversary with a number of exciting features. The leading event for Scandinavian furniture and lighting design will be held from February 4 to 8th at Stockholmsmässan.

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round 40,000 national and international visitors will be visiting to see the installations, innovations, new products, technical solutions and current trends, as 700 exhibitors present the latest in interior design and lighting for the home and public environments.

Design studio Doshi Levien is this year’s Guests of Honour

One of the fair’s highlights is the Guest of Honour installation, which was designed this year by the London-based studio Doshi Levien, run by married couple Nipa Doshi and Jonathan Levien.

Doshi Levien has an international reputation for combining culture, technology, industrial design and true craftsmanship.

What makes Doshi Levien’s work so distinctive is not just its confident relationship with colour, material and form, but also its ability to translate meticulous design ideas to the context of production. This has enabled them to remain true to their I N E X

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design approach across industries and categories – from textiles and footwear to lighting, furniture and ceramics.

Doshi Levien has created works for leading manufacturers such as B&B Italia, Moroso, Kvadrat, Kettal and Cappellini.

Tivoli-inspired Design Bar by Fredrik Paulsen

The Design Bar, a cross between an exhibition and a top-class restaurant, continues to explore contemporary aesthetics and gastronomy. This year, it takes on a Tivoli-inspired look, created by boundary-pushing Designer Fredrik Paulsen.

“Stockholm can be bleak in February, so I want to transport visitors to the place of their dreams.

I’ve looked at the promenades of the French Riviera, bars on the Balearic Islands, casinos in Las Vegas and amusement parks such as Coney Island. I’m hoping to design a meeting place where people feel welcome and inspired,” says Fredrik Paulsen.

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The menu has been composed by chefs Marion Ringborg and Linn Söderström from pop-up restaurant Garba.

Greenhouse – the international platform for up-and-coming designers

One of Stockholm Furniture & Light Fair’s most popular areas is the Greenhouse, an international platform for up-and-coming designers. The initiative, which was launched in 2003 and has produced such names as Front, GamFratesi and Form Us With Love, is gaining a specially designed venue this year by the acclaimed Wang & Söderström.

The Copenhagen-based pair of designers and artists have worked with big names such as Nike and Iittala.

“Our ambition is to create an environment that merges the futuristic and the contemporary, the digital and the physical,” explain Anny Wang and Tim Söderström.

“We are a little hard to pin down.

We’re trained architects, but we work just as much in the digital world. Traditionally, these have been seen as polar opposites: one real, the other pretend. But we don’t see that division. We approach both with the same level of pragmatism.”

At the Stockholm Furniture & Light Fair, this cross-pollination will manifest itself in a 120m-long and 3.5m-tall enclosure, a combination of digital screens and large-format images. stockholmfurniturelightfair.se

SURFACE DESIGN SHOW 2020: THE BEST IN MATERIAL INNOVATION

Interior designers can discover the best in material innovation from across the world, all in one place at this year’s Surface Design Show. Held at the Business Design Centre in Islington from 11 to 13th February 2020, the show – now in its 15th year – will focus on the thoughtprovoking topic of ‘Close to Home’.

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s well as over 170 exhibitors, interior designers can also enjoy a packed programme of talks and CPDs, plus the everpopular Opening Night Debate and the lively PechaKucha evening, which will be hosted by Phil Coffey of Coffey Architects. The winners of the prestigious Surface Design Awards will also be revealed during the two and a half days.

The ‘Close to Home’ theme will look beyond aesthetics and into manufacturers’ impact on the environment, from the processes used in mining or manufacture, through to the carbon footprint sustained during sales and distribution. How to specify for design and architecture projects with a conscience will also be examined, from reusing waste materials to looking at what happens at the end of a product’s life cycle.

New exhibitors to the 2020 Surface Design Show include Wonderwall Studios, creator of

joyous panelling from salvaged woods that enriches surfaces and enhances interiors, and Mortise Concrete, producer of individually designed and hand-crafted polished concrete countertops and products.

Returning exhibitors include Reading-based natural stone supplier Amarestone.

As well as established brands, Surface Design Show is dedicated to promoting up-and-coming designers in the materials sector with its New Talent section, curated by internationally acclaimed speaker and forward-thinking Chief Creative Director at Trendease International Jennifer Castoldi.

In addition to materials for indoor and outdoor architectural applications, Light School is a key component of the show.

Here, leading manufacturers will demonstrate the relationship between light and surfaces, as well as showcasing the latest architectural lighting products.

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supported by the Institution of Lighting Professionals and collated by Rebecca Weir from Lightbout.IQ, will underpin this knowledge sharing.

Surface Design Show 2020 will host approximately 30 presentations from 50 speakers across the purpose-built stages, all highly relevant for the architecture community.

Renowned practices including Steven Holl Architects, Mikhail Riches, AECOM, WilkinsonEyre and Chris Dyson Architects are among those shortlisted for 2020 Surface Design Awards, which exemplify creative use of surface materials and lighting. There are an impressive 39 projects across 14 categories in total, from retail and public buildings to commercial projects and housing, including new categories in the public realm and affordable housing for 2020. Demonstrating the truly international reach of the awards, now in their sixth year, projects on the shortlist spanned 13 countries from 34 different organisations with emerging practices represented, as well as established firms.

The esteemed judging panel is cochaired by Paul Priestman, Designer, Co-Founder and Chairman of global design consultancy PriestmanGoode, and Amin Taha, Chairman of Groupwork and Director of Amin Taha Architects.

The remaining judges are Nikki Barton, Head of Digital Design at British Airways; Sean Griffiths, an Artist, Architect and academic practicing at Modern Architect; Charles Holland, Principal at Charles Holland Architects; Glenn Johnson, Director of Design at the Advanced Design Group of Collins Aerospace; Daniel Mota Veiga, Global Head of Product Design for KEF / GP Acoustics; and Steve Webb, CoFounder of Webb Yates Engineers.

For all things innovative in surfaces and materials, the Surface Design Show provides the perfect platform for interior designers to explore. Tickets are free to professional and trade visitors. surfacedesignshow.com /register I N E X

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ARCHITECT@ WORK RETURNS FOR 2020 The 2020 edition of ARCHITECT@WORK (running from 29 to 30th January at the Old Truman Brewery, London) focuses on ways design and architecture intersect with nature.

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his theme is illustrated throughout the exciting talks programme, which is always one of this trade fair’s hotly-anticipated features. Timber revolutionary Waugh Thistleton Architects is confirmed in the line-up, as are architectural practices Invisible Studio, Palladian London, Sarah Wigglesworth Architects and Tate Harmer.

Talks touching on how natural materials are being brought into our spaces, the importance of natural learning

environments and a hot debate on the pros and cons of designing for countryside vs city.

There is no clearer example of the relationship between urbanism and nature than along the green belt, which was created to protect against the sprawl of London.

However, some believe it has become a stranglehold on development. Peter Murray, of New London Architecture who has played a key role in promoting the green belt

concept, will use his talk at ARCHITECT@WORK as a platform detailing why he is calling for a review of the idea to ensure it is still fit for purpose.

Landscape Designer and personality Dan Pearson will be ‘in-conversation’ with Journalist Helen Parton as the final talks event. Also on site, RIBA will present its pop-up bookshop, and the Material Driven exhibition is a must-see for all material-o-philes. As a design agency and materials library, Material Driven curates exhibitions by working with both established and emerging material manufacturers, supporting and promoting their journey from prototype to product.

Visitors should allow plenty of time to explore the wide variety of manufacturers exhibiting their latest wares at the show. Architects, specifiers and interior/landscape designers can explore the latest product innovations from dozens of exhibitors from all over the world. Leading international architectural product suppliers are showing over 200 innovative products and offering the latest innovations in surface solutions, lighting technology as well as interior and exterior fixtures and fittings. All exhibitors go through a rigorous selection process, with an external judging panel overseeing the product selection, to ensure that this is one of the UK’s most highly respected trade shows of its kind.

This two-day event allows visitors to get a deeper understanding of how particular new products can add value within both large- and small-scale projects.

Product categories:

Carcass/building envelope Exterior joinery, facade and exterior cladding, insulation, air- and watertightness, roof construction, load-bearing structures, roof covering, drainage and rainwater systems.

Building systems Fixed lighting, sanitaryware, heating, air conditioning, electricity and controls, plumbing and renewable energy.

Interior finishing Interior layout/design, interior joinery, floor coverings, wall coverings, partition walls and ceilings, paints and adhesives and door fittings. architect-at-work.co.uk I N E X

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MAISON&OBJET GETS READY FOR (RE)GENERATION

Since 1995, MAISON&OBJET has been inspiring the international design community, helping them find creative ideas and products that will soon thrill millions of people around the world. Twice a year, the trade-only exhibition becomes the one-stop-shop for more than 85,000 visitors coming from all around the world to meet and discover more than 3000 brands across the five days of the show. Covering the entire design sector, the show is accordingly divided into two main hubs, MAISON and OBJET, to efficiently meet visitors’ needs.

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AISON is a hub for interior designers, hoteliers and specifiers on the lookout for inspiration, furniture and bespoke products for their projects. The sector is divided into four divisions: CRAFT for unique artisan pieces of arts, UNIQUE&ECLECTIC for a blend of unique products from all around the world, TODAY for contemporary design and FOREVER for timeless designs. Each of these divisions encompasses a ‘Signature’ area showcasing a high-end and luxurious product selection.

OBJET, on the other hand, is specifically designed for retailers looking for decorative objects that will ravish worldwide buyers, through six product categories: Smart Gift, Fashion Accessories, Kids & Family, Cook & Share, Home accessories and Home Fragrance.

Celebrating its 25th anniversary this year, MAISON&OBJET will delve into what design could look like in 25 years. For 2020, both the January and September edition will explore the needs and expectations of Generation Y and Z and how their eagerness for setting new rules, new ways to consume and create with ecofriendliness in mind will shape the future of design.

The January event, taking place from 17th to 21st January, will focus more specifically on the expectation of the ‘engaged generation’ and their thrive for more equality, sustainability and wellbeing, motivated by climate change and public figures such as Greta Thunberg.

To illustrate these behavioural changes and trends, Designer Ramy Fisher will create an XL installation while Elizabeth Leriche, François Bernard and 1 1

François Delclaux will once again offer their visions of future trends in the What’s New exhibition areas.

The conference programme will also address this key theme, with the presence of leading design companies. Amongst them, Heidi Pettersvold Nygaard from Snøhetta will explore the story behind the conception of the largest underwater restaurant in the world settled in Norway; Maria Speake, Founder of Retrouvius and expert in second-hand furniture, will give her tips on how pre-loved furniture is, in fact, making trendy interiors; and young designers living with the ideal of creating a better world will inform visitors on how (re)using materials and pushing the boundaries of design can help create more sustainable products. maison-objet.com I N E X

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BIID HOSTS SUCCESSFUL 2019 ANNUAL CONFERENCE The British Institute of Interior Design (BIID) is celebrating the success of its annual conference, ‘Inside Knowledge 2019: What is an Interior Designer Worth?’, which took place on Thursday 7th November at 30 Euston Square, London.

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he theme of the conference focused on the hot topic of fees and exploring a designer’s ‘worth’. The event was enjoyed by a large audience of interior designers, students, media and industry professionals with a packed programme of inspirational talks throughout the day.

Following a welcome and introduction from BIID President, Harriet Forde, and a short talk from headline sponsor, Havwoods, the first insightful session of the day saw ‘Designer of the Decade’, Katharine Pooley, take to the stage 1 2

in a keynote conversation with Carole Annett, Interiors Editor of Country and Townhouse Magazine.

Katharine shared her secrets on what makes a successful interior design business, gave insights into her favourite projects and provided tips for anyone starting their own business in the interiors sector.

Next, Lisa McCrudden from Houzz presented the 2019 Interior Design Fees Research, sharing some key insights from the in-depth survey for the first time. Providing a wealth of industry insight, the audience discovered how interior designers are charging

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for their services, the difference in fee structures, and how designers charge for the sourcing and supplying of FF&E. The first panel discussion of the day, The Big Fee Discussion, was hosted by Charles Leon and looked at whether there is a ‘right’ way to price your design services. Charles was joined by BIID Members Susie Rumbold, Brian Woulfe and Kia Stanford, who shared their thoughts on fee transparency and how they build and calculate their design fees.

After a short break, BIID Member Tamara Tymovski joined BIID President Harriet Forde on stage to discuss her experience of Designing for AirBnB properties.

She shared her insights into how

she found her niche and how it has helped her to grow her specialist business niche.

In the first practical session, Fiona Cotterill from Alfi Media advised the audience on how to add value by connecting with clients. Her session, ‘Powerful Presentations’, provided practical advice on what makes a fantastic presentation and how to show your business’ worth with impact and authority, with a wealth of techniques and tips on how to engage an audience and create exciting, dynamic content.

Following a networking lunch break, BIID Director Lindsey Rendall hosted the Life Outside London panel discussion. Joined

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Designers Caroline Palk, Phoebe Oldrey, Anna Campbell-Jones and Richard Wilkinson, the lively discussion saw panellists explore the benefits and challenges of working in interior design practices outside London, and what London designers can learn from their experiences.

As the last session of the day, Heeral Gudka, Leadership Coach and Founder of Convergent Consulting, spoke about ‘Knowing Your Worth’ and how to lead yourself as well as others. She gave the audience practical advice on leading a team and how to achieve confidence in your worth as an interior designer. biid.org.uk I N E X

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Maysa Lyndon 342 Swindon Rd Cheltenham GL51 9JZ

lyndon.co.uk

Showroom 7 Clerkenwell Rd London EC1M 5RN sales@lyndon.co.uk

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THE MASTERMIND BEHIND BOLSHAKOVA INTERIORS Bolshakova Interiors is an international interior design studio founded

by Nataly Bolshakova. The brand creates exceptional living spaces in a high segment of residential properties in countries such as France, Switzerland, Monaco, Ukraine, Cyprus, Austria and UAE. This month, Inex talks to Nataly about her career as an Interior Designer and finds out what drives her inspiration.

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What inspired you to become an interior designer?

I’d have to say, the prospect of creating something beautiful. And when a real task arises, it all comes together.

Who has been your greatest source of inspiration throughout your career?

My husband! But I also find inspiration from cities, countries, communicating with interesting people and exhibitions. All this creates my experience, my outlook and inspiration for new ideas. For me, inspiration is a voluntary and natural process. To disconnect and trust my instinct is key before starting on a new project.

How do you approach your projects?

With great attention, respect and honesty with the client. ‘We are in a meeting now; we will call back later’ – these are words that our clients will never hear from any of my team. It is important to maintain a great relationship with each client – without any exception. Most of our projects are private interiors, which require close cooperation with the client, their family and their understanding of the state of happiness. What does our client dream of? How do they want to spend time in their house? These are our main questions. We know how to get this information, even if the client does not understand what they want at first.

The visual and aesthetic results of the first stage of our work into real life is very important. This involves budgeting, timing, implementation and quality. This is all essential. Our approach to projects is a continuous improvement of our service and results. As a result, we have very happy customers.

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Would you say that you have a design style? If so, how would you describe this style?

The whole philosophy of the company is built on this. We are creating a space that won’t go out of fashion in a couple of years; it will be relevant for many generations.

What has been your biggest accomplishment to date?

We are constantly growing and developing, which is why our achievements are getting bigger and bigger every year. We opened an office in France last year, and we have projects worldwide in Monaco, France, Switzerland, Great Britain, Cyprus and Ukraine.

We are able to work on a project in any country – to work without borders took me a few years. It’s a significant achievement.

What has been your most notable project to date?

It’s difficult to choose, but I would say either the private residence in Sunny Valley or Emerald Villa.

Have you witnessed any recurring requests from your clients?

I actually have very different requests from my clients, but usually, the clients’ questions are the same.

Do you have a preferred colour palette you enjoy working with?

Not really; I prefer to tune in to the client’s wave. I always like to experiment and try something new.

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What advice would you offer to those that are considering a career in interior design?

Be ready to learn a lot and to practice, and you can’t be afraid. Young designers should understand that in this profession, only about 15% of the work is creativity; the rest is technological, planning, calculations, numbers and responsibility.

What do you believe is the biggest challenge for newly qualified interior designers?

Inexperience, but that’s not a problem. Most importantly, don’t promise too much and take what you can answer for. All famous designers were young designers once and went their own way to fame. Everyone has their own path.

Do you have any favourite suppliers you use for your interior schemes?

Poliform, Poltrona Frau, Minotti, Frato, Flos, Loro Piana Interiors, Dedar, Hermes Home collection and many, many others.

What can we expect to see from you over the next year?

More new and beautiful projects. My dream is to release a mobile application, as well as open a couple of new directions. I have a lot of plans, so stay tuned!. bolshakova-interiors.com

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THE WRITING’S ON THE WALL London’s Wembley Park offers a unique blend of culture, social opportunities and the vibrancy that comes with living in the heart of such a thriving new district. So, when the time came for lifestyle-led rental homes brand Tipi to decorate some of the walls of its newest development – Ferrum – residents knew they would be in for something rather special.

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e consider every element of life at Tipi with residents firmly in mind, from building design to the range of shops and services in the local area. When it came to the walls within Ferrum, we saw an exciting opportunity to inspire and challenge through art, while also reflecting the urban industrial chic that has been such an influence over the design of these brand-new apartments,” says Jeremy Fletcher, COO at Tipi.

Perhaps the boldest statement building on the Wembley Park site to date, Ferrum will feature loft-style apartments with a New York-esque feel. Bright solid colour blocks will meet exposed steel and raw timber in these exciting new homes.

The individual tasked with delighting Tipi residents with his artwork is Japanese Graffiti Artist Suiko. One of Japan’s most celebrated Graffiti Writers, Suiko has a unique style that blends bubbling shapes with dynamic lines and vibrant colour schemes – precisely the vibe that Ferrum will encapsulate.

As part of his exciting Tipi commission, his first residential project, Suiko has shared some insights into his origins and how his art can enrich the lives of Ferrum’s residents.

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How did you become interested in graffiti, and what inspires your style?

I discovered graffiti through skateboarding when I was about 16 years old in Japan. I was fascinated by its potential as an expressive art form.

To me, graffiti means freedom. My style is inspired by a love of calligraphy and by my home, Hiroshima. It is known in Japan as the City of Seven Rivers, with waterways flowing through the city on their journey down from the mountains to the sea. Hiroshima has the perfect balance in terms of vibrations of humidity, colour...everything really. It is a real influence for my style of graffiti.

How has your style evolved since you began painting backgrounds?

I try to keep my style evolving all the time. My original work focused on using curved lines; then I was gradually drawn towards straight lines. And now I’m trying to break my existing style and discover a new flow.

Why are you drawn to the UK graffiti scene in particular?

I’ve worked with artists from around the world and have a lot of friends in the UK who share my passion for graffiti. In the past, I’ve done everything from joining a graffiti jam in Brighton with around 100 artists to painting a bar in London.

The UK is a great place for collaborating with other artists and for enjoying freedom of expression. London, in particular, has a great street art scene, with artists innovating and going in their own directions to develop new styles.

What makes Tipi’s Ferrum the ideal canvas for graffiti and your work?

This was my first residential project, and it was really exciting to have the opportunity to reach over 1000 Tipi residents with my art as part of their daily lives. My painting was dictated by the space and the background and how it felt to me. I don’t preach with my art – it’s there to make people think.

It’s natural for people to respond to it in different ways, and I like that freedom of perception. I think it fits well with the Ferrum vibe. tipi.london I N E X

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DESIGNING AN OUTDOOR PUBLIC SPACE: THROWING OFF THE SHACKLES OF ‘DURABILITY’ 3 7

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Outdoor public space design has historically been hamstrung by the need to make every surface ‘people-proof’.

By prioritising durability, many city centres and public parks have been compromised by this municipal and uninspiring perspective.

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ut when despairing over concrete ‘play areas’ punctuated by pebbledash dustbins, we have to remember that when much of this infrastructure was built, there wasn’t much choice. During the ‘70s, ‘80s and ‘90s, landscapers, architects and designers often faced the stark choice of aesthetic or function.

This is no longer the case, as many innovative materials have emerged that combine both endurance and good looks.

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This means that designers can approach their briefs with creative vigour, to fashion original spaces that truly do stand the test of time (and footfall).

By reframing the outdoor design process, we can build better destinations.

But eliminating that civicengineering outlook requires a ‘back-to-basics’ mindset.

Millboard’s Caroline Birdsall has put together her top five tips for throwing off convention and embracing ingenuity.

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1. Work out how much space you’ve got and what the functions of the space are

Get your fundamentals in order by looking at the space itself.

How much room do you have to play with? What health and safety considerations do you need to take into account? Once you’ve got those essentials locked down, you can let your imagination run free.

You can now think about how people might use that

space – help to guide these future visitors with clever design. If your space is a recreational public park, for example, encourage people to drift around by introducing meandering pathways and points of interest. Conversely, spaces between buildings on a business park will need direct routes and clear signage.

Put yourself in the shoes of the space’s visitors and ask yourself what guidance you’d need if you were them.

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Public spaces include retail outlets, public gardens, private businesses (such as theme parks and hotel lobbies) and leisure facilities.

You’ll want to strike the right tone by thinking about what it is that sets your space apart, and bring those qualities out in your design.

Chester Zoo recently revamped its Komodo dragon enclosure and opted to use Millboard’s weathered oak boards for the walkways, to

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2. Create a distinct ‘sense of place’

intensify the ‘wild’ element of the experience. These durable, slipresistant and stain-resistant boards are perfect for public spaces, and their aged appearance adds perfectly to the zoo’s jungle vibe.

Use of such distinctive and cuttingedge materials can maximise the potential of a space and enhance its character too.

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3. Use inspired street furniture

Public space designers have seen their options explode over the past few years as design-led companies have arrived on the scene. Bland concrete seating, depressing planters and utilitarian bins are becoming a thing of the past with the emergence of revolutionary paint coatings and imaginative shapes.

London’s Studio RHE used seating from Vestre in their recent installation of a public water garden in the East India Docks. The Oslo-based street furniture company bring contemporary Scandi chic and ergonomic design to cityscapes all over the world. Their playful and colourful designs elevate public spaces from ‘convenient seating’ areas to destination centres.

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4. Create a mood

How do you want your space to make people feel? Use texture and colour to energise, focus or relax visitors in your space. Richard Hywel Evans, Director of Studio RHE, used bright flashes of yellow in the East India Docks project to inspire ‘joy and vibrancy’. Conversely, Tony Wood’s ‘Floating Pocket Park’ in London was inspired by a 2016 report that confirmed that waterside living fosters a calm state of mind.

The designer, therefore, fully embraced the watery environment, and his floating decked platforms surround visitors with ‘urban blue space’, encouraging them to unwind. His choice of decking in such an environment would’ve been unthinkable just a few decades ago, but Millboard’s enhanced grain wood-look decking in golden oak is specifically engineered to withstand footfall and the elements. It’s perfect for wet environments as it offers superior slip-resistance, which ensures high health and safety standards.

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In 2018, Kew Gardens commissioned Landscape Designer Suzie Jewell to create a 350-acre ‘children’s garden’ on a disused part of the site – the most ambitious design project in Kew’s recent history.

This project resulted in four interactive gardens themed around the elements that plants need in order to grow: earth, air, sun and water. This attraction was specifically created to encourage children to ‘get up close and personal’ with nature, so durability was key to project success.

The space has made great use of engineered walkways and child-friendly interactive exhibits. Parents are used to telling their children not to touch the exhibits, but in Kew’s new garden, children are encouraged to physically engage with the environment. Every millimetre has been landscaped to be exciting, inspiring and, most importantly, memorable. Since opening in May 2019, the space has been a big hit with children and parents alike.

So, in summary, designing a public space can be an incredibly exciting process.

The broader your imagination, the greater the results will be.

Throw out any preconceptions that you might have about what’s possible and think about what you’d like to see.

New materials open out the possibilities, so have fun and embrace all the great innovations now at your fingertips.

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5. Make it memorable

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The Stratford is a hotel located within the ambitious new East London skyscraper pioneered by Harry Handelsman, Founder of Chiltern Firehouse and the restored St Pancras Hotel.

The spectacular doublecantilevered 42-storey building is designed by Skidmore, Owings & Merrill (SOM) and situated in the upcoming cultural hub of Queen Elizabeth Olympic Park, East London.

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ccupying the first seven storeys of the building with 145 guestrooms and suites, The Stratford combines worldclass design, hospitality and culture. The concept celebrates timeless glamour, future cityscapes and the notion of longterm residents of 1950s New York’s legendary Chelsea hotel.

Space Copenhagen has created the interior design concept for the building’s lobby, hotel guestrooms, mezzanine, the ground-floor Stratford Brasserie, as well as seventhfloor restaurant, Allegra. The public areas each have distinctive design characteristics but overall seek to interweave, allowing visitors to move seamlessly between the spaces. Gently textured plastered walls, natural oak in earthy tones, warm metals and natural stones framed by a polished and dark pigmented concrete floor, serve to softly contrast the strong modern structure of the tower itself.

Upon entering the building, the architectural experience on the ground floor pivots around a large 9m-high fireplace that anchors the triple-height lobby, providing a sophisticated and dramatic community space. Guests are then drawn towards the handcrafted reception desk, which is produced from oak with darkened brass detailing and offset by sculptural lighting.

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“We are fascinated by the location and having the opportunity to be a part of creating a future identity for Stratford” – Space Copenhagen’s Signe Bindslev Henriksen and Peter Bundgaard Rützou

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Mezzanine

Space Copenhagen’s Signe Bindslev Henriksen and Peter Bundgaard Rützou comment: “We are fascinated by the location and having the opportunity to be a part of creating a future identity for Stratford. We cannot wait to spend a whole day at the Stratford starting with drinks around the fireplace in the lobby, ascending the staircase into the mezzanine club for intimate conversation and a light snack; completing the evening by dining at Allegra.

Harry is incredibly inspiring and energetic, fuelled by vision and capable of mobilising his desire to go there.

From start to finish, Harry’s proportionate combination of good sense and curiosity has been as stimulating as it has been instrumental for the many conversations that are paramount when venturing into a concept like this.

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“We cannot wait to spend a whole day at the Stratford starting with drinks around the fireplace in the lobby, ascending the staircase into the mezzanine club for intimate conversation and a light snack; completing the evening by dining at Allegra” – Space Copenhagen’s Signe Bindslev Henriksen and Peter Bundgaard Rützou

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Allegra

Allegra comprises four main spaces, each designed to flow seamlessly between one another – The Lounge & Bar Dining Counter, The Dining Room, The Bar Terrace and The Restaurant Terrace – and is able to cater for up to 162 covers.

The communal atmosphere that defines The Stratford is reflected in the design and layout of Allegra.

Space Copenhagen looked to the space itself – its location within the structure, and its position relative to the surrounding area – to inform their design narrative. Guests are immediately greeted by natural stone flooring formed in a pattern arrangement which references historic courtyard configurations.

The sense of openness is further enhanced by the window partitions, which add layers of softness through the application of handcrafted blinds: evocative of the minimal and natural feeling that characterises the restaurant.

Allegra’s interiors are established by natural stones, woods, fabrics and a crisp, subdued colour palette.

These elements were selected by Space Copenhagen to enhance and contribute to the culinary experience developed by Patrick Powell.

Bespoke seating arrangements and tables of varying sizes – made especially for Allegra – populate the space; whilst iconic pieces – such as Space Copenhagen’s Loafer Chair by &Tradition – particularly contribute to shaping its identity.

Allegra’s spaces are designed to facilitate a range of guests, from those having dinner to those simply stopping by for a glass of wine – celebrating exuberant hospitality and inventive, seasonal cooking against the backdrop of a modern, elegant interior. spacecph.dk

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THE WINTER GARDEN: ADD SOME COLOUR TO YOUR LANDSCAPING PROJECT Winter is often a forgotten season in the garden, but it doesn’t have to be; there are plenty of opportunities to carry a garden through the colder months in style. A well-designed winter garden can be full of elegant, architectural foliage, vibrant stems and dramatic colours.

Here, five designers from the Society of Garden Designers share their tips.

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Incorporate colourful stems

Plants with colourful stems and bark really come into their own in winter especially planted en masse for maximum impact. “If you have space, there’s nothing more heartwarming on a dull winter’s day than a border of dogwoods,” says Debbie Roberts MSGD. “Their colourful winter stems range from yellow and gold through to bright orange, red and purple. Punctuated with the white stems of birch trees and evergreen mounds of rhododendron, they can create a spectacular winter display.”

“Plant them in a spot where they’ll catch the sun, and they can play an even bigger role,” says Lisa Cox MSGD. Her favourites include Acer griseum, rich coppery bark that lights up when the sun catches it.

Use ornamental grasses

Grasses are a firm favourite in autumn gardens, but many of them will retain their billowing shape through winter to early spring. “Resist the temptation to cut down the spent foliage,” says Debbie Roberts; who favours the low billowy form of Hackonechloa macra for its russet winter tones that provide a soft orange fringe when lit by the winter sun.

“On sparkling cold days in the depths of winter, the best and longest-lasting grasses can transform gardens into Narnia,” says Cheryl Cummings MSGD, “as their fine lines and elegant shapes are coated in hoarfrost.”

“Mixing grasses with evergreen plants is also a good idea,” says Lisa Cox, “the movement and softness creating a different dimension against the solid structure of evergreens.” Try Miscanthus ‘Morning Light’, Calamagrostis ‘Karl Foerster’, Pennisetum ‘Hameln’ and Poa labillardieri.

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“Structure forms the backbone to a garden throughout the year; but is especially important in winter,” says Lisa Cox. Evergreen plants and shrubs play a leading role, but the hard landscaping can also provide interest when the softer summery foliage and flowers have disappeared. An interesting wall, for example, or intricate detail in the paving, can really help to bring additional interest when bare soil is on show.

Louisa Bell MSGD recommends including a framework of skeletal trees with multi-stems or fantrained figs but also acknowledges the importance of evergreens.

“Buxus, Taxus and Ilex create great structure in the winter garden giving form to borders and creating a foil to emerging bulbs.” Be sure to knock any snow off box balls though or they will splay apart.

Other evergreens offer contrast to more feathery grasses. Lorenzo Soprani Volpini uses Arbutus unedo for its dark green leathery leaves; Euphorbia x martini for texture and Viburnum tinus for the small clusters of white and pink flowers that bloom in January and February.

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Go for structural plants and features

Don’t forget bulbs and pots

Window boxes and pots are an easy way to keep a garden looking colourful in winter, but you will need to edit them throughout the season.

“I encourage my clients to bring a table close to a window,” says Louisa Bell, “and to keep a succession of pots filled with bulbs, ivy, cyclamen and auricula. They provide a wonderful splash of colour and form close to the house, whilst everything behind has died back.” Auriculas start to flower from November and can be brought into the house along with forced bulbs.

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Make the most of winter foliage and colour

Winter foliage can add the most beautiful textures and muted colours to a garden which is worth remembering when combining plants in a border.

Debbie Roberts recommends the strong vertical stems of Miscanthus and Pennisetum grasses combined with Perovskia Blue Spire to create a pale, soft and wispy contrast to spent flower heads.

Cheryl Cummings suggests concentrating the effects of flower colour by gathering winter flowering species such as Helleborus and Crocus close together within view of a window or by a path for an uplifting splash of colour. Underplant with early Narcissus and Galanthus for extra flower power.

Take advantage of the low winter sun

The low winter sunlight can create magical effects in the garden, silhouetting leafless trees and backlighting tall plants and grasses, especially on frosty mornings.

“Positioning plants to make the most will add another dimension to the winter garden,” says Debbie Roberts. while Cheryl Cummings recommends “positioning a sculpture to add focus and charm whatever the weather.” sgd.org.uk

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WA COME WITH D PRIN

Digital printing creative benefits as Michelle Dellow, at Papergraph

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offers so many for interior decor, w, Product Manager hics, explains.

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W A L L S

W

hen you look at a blank wall, what do you see?

Is there a rush of ideas that allow your creativity to run wild?

Do you then come back to earth with a bump when you think about the designs and styles that might actually be possible?

In the past, we’ve been at the mercy of traditional printing techniques that, in the main, offer a range of repeating patterns and designs restricted by colour. However, all of this has changed with the growth of digital printing. The print and design you choose can utterly transform a space, and creativity now no longer needs to be restricted by a print run.

Bring new energy to an office, breathe fresh life into a hotel or add a splash of brand personality to a retail space; whatever the motivation, customisation and personalisation is a hugely desirable and important aspect for all types of interior design projects, from hospitality, leisure and retail markets to public spaces and residential interiors. Within these market sectors, digital printing comes into its own, offering creative possibilities to convey branding or create a particular look and feel, stimulate atmosphere or even craft experiential environments. Establish a space that is truly unique for each individual client.

Why digital?

Digital large-format printing, as opposed to traditional print methods, offers far greater autonomy of design. Traditional analogue printing processes, such as gravure or screen-printing, impose limitations for designers because your pattern or design can only be as large as the circumference of the print cylinder (typically between 53 and 80cm).

These methods also require a separate cylinder to be used for each colour used in the design – obviously posing cost implications for multi-coloured artwork, but these methods also have a total maximum number of cylinders (colours) that can be used for one design. So, when using these traditional print methods, on a (not even very large) wall, your design would have to be limited in colour and a repeating pattern or design, to cover the space.

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However, with digital printing, there are no such boundaries and restrictions; you could produce a single, giant photographic mural on one whole wall, or a bespoke work of art or graphic design; your design can be as large in scale and use as many colours as desired, with no need to repeat.

It’s not possible to realise this total creative freedom by any other method of print.

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Digitally printed wallcoverings are an endlessly versatile, reliable and high-quality medium for designers to work with. They can be installed quickly, are simple to maintain, and can be updated when required without damage to the wall surface.

Digitally printed wallcoverings, such as those within Papergraphics’ Digimura 2.1 range, offer further creative benefits to interior designers. Available 8 2

in different embossed finishes, these wallcoverings can serve to enhance artwork and even become part of the design, adding depth and texture, creating a true ‘interiors’ quality look and feel. As an added benefit, these textures can also work with printed designs as a clever, practical solution for masking uneven wall surfaces such as can be encountered in renovation projects.

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Image and installatio n ŠSignbox Ltd

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Alongside the creative possibilities, quality digital wallcoverings also present significant practical advantages to interior designers and specifiers.

The significant advancements in digital printing technology in recent years make digital wallcoverings a fast and costeffective option for interior decor.

Even when printed, wallcoverings offer superior durability even in high-traffic areas, being resistant to marking and scuffing, and can be cleaned with a suitable mild detergent. The Digimura 2.1 range also contains an anti-fungal/antimicrobial biocide, adding to the list of robust credentials and making this particular wallcovering range suitable even for healthcare environments.

While providing an exciting medium to consider for design possibilities, there are some important considerations that design professionals should take into account when selecting an appropriate material to specify wall decorations. All products supplied for hanging onto interior walls by means of an adhesive are covered by the Construction Product Regulations EN 15102:2007+A1:2011 and must conform to strict Building Regulations and fire safety standards. Those products that are fit for purpose and fully meet these criteria will carry a CE mark and Declaration of Performance.

When installed correctly, a true digital wallcovering can truly reinvigorate a space to bring colour, individuality and beautiful depth of design to otherwise under-utilised and potentially bland spaces. Designers have the capability to use digitally printed wallcoverings to enhance an interior environment to the benefit of occupants, whether it be for the purpose of reinforcing a brand and image, or simply to make an indoor space that much more exciting and interesting to the eye. paper-graphics.com

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Image ©Paul Quinn, installation by Digital Space Ltd

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STATEMENT STORAGE The Video Collections Repository (VCR) is a project created by the Faculty of Fine Arts at Concordia University to collect a significant collection of art in different formats in one place.

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he VCR includes the Faculty of Fine Arts Slide Collection, which is one of the largest in Canada with over 350,000 catalogued 35mm slides and data bands of over 18,000 high-resolution digital images, and the Moving Image collection, which consists of over 41,000 titles dating back to 1895 in all types of formats as well as the Canadian Women Artists History Initiative. The VCR stores, catalogues and displays all these different collections while simultaneously serving as a discovery space and a platform for informal gatherings.

The collection of art is at the heart of the renovation project concept. It becomes a series of inhabited walls that allow users to consult and discover this significant repertoire. The thousands of slides, cassettes and discs are displayed and stored in a large wooden wall that spreads across the space. This focal point, whose laser engraving is inspired by the different digital formats used throughout history, reminds the users of the wealth of knowledge available in the media bank.

The large wood panels create a uniform treatment for the storage of diverse documents and act as a separator between the different programme elements while ensuring acoustic and visual insulation. Indeed, some rooms are bright; and others are plunged into darkness for projection purposes.

The collective workspace adjacent to the collection provides an opportunity to consult, either individually or collectively, to foster an educational dialogue within Concordia University’s Faculty of Fine Arts. kanva.ca

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BRINGING SURFACES TO LIFE EXPLORE THE UK’S LEADING DESIGN SHOWCASE WWW.SURFACEDESIGNSHOW.COM

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DESIGNING FOR YOUR CLIENT

An unproductive employee who is not happy with their work environment can have a financial impact on any organisation. We are also seeing from the latest research undertaken in Europe that the number of people on ‘stress-related’ leave has skyrocketed to 30% in some countries, at a huge cost to the company and the individual. Here, Planet Partitioning looks at the way specifiers can work with their clients to ensure an office design is fit-for-purpose.

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hen you consider that people spend an average of over 82,000 hours at work during their lifetime, it is essential that employers get the best out of their workforce. Part of this is ensuring these workers have the right environment in which to operate. For an office to be a great place for people to come to work, it should not only reflect the ethos of a company, but it must also enhance employee wellbeing, creativity and engagement.

From the outset, it’s important to work with the client to ensure spaces are functional as well as aesthetically pleasing. It’s important to have a briefing process, or possibly one-to-one meetings with staff to get under the skin of a company and understand their working culture. When designing the layout of an office, it’s imperative to get the balance right between the collaborative and open, agile spaces, and the more enclosed quieter areas which give people their own territory.

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If the focus is on gathering places rather than areas for quiet work, staff can think their privacy is compromised, especially if their work requires focus and a great deal of concentration. It’s about creating spaces that provide a diversity of impact.

Acoustically-sound glass partitions

The advent of videoconferencing has seen rapid growth, but in the modern open office environment, this has a knock-on effect with

acoustical challenges for the designer. Glass, drywall, wood and concrete surfaces only exacerbate the issue.

There is a need for these spaces to be soundproof so that confidential discussions can be held.

Therefore, it is a case of keeping noise out, as well as in. However, there is also the need for these 9 1

spaces to feel open and airy rather than claustrophobic and enclosed. This is why the acoustic performance of glazed partitions is so important. When an office’s acoustic performance is below par, it can have negative repercussions on employees, affecting concentration, productivity and health.

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In many office layouts, there is now a need for focus zones and telephone booths.

Glass office partitioning enables a designer to create these small rooms as an alternative to a member of staff using and monopolising a conference room designed for six or more people simply to make a call on their mobile. These rooms will often feature a sliding door to save space without compromising on acoustic performance. With a soft, soundless openand-close function which maintains acoustic comfort, glass sliding doors are elegant, effortless design solutions; perfect for agile working environments where user comfort and maximising usable space is fundamental. Conversations can, therefore, take place behind acoustic partitions whether it is a confidential discussion, client meeting or simply for private working.

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The benefits of daylight

According to research, daylight is now the most desired natural element in workplace design, surpassing other features such as plants and foliage. Not only is it good for employee stress and happiness levels, but natural daylight also boosts productivity and work rates. It’s why designers are turning to other design possibilities to maximise the stream of natural light in modern offices. But designing a workspace which utilises natural light takes careful planning, research and conscientious thought, especially in openplan spaces where natural light and privacy are high priorities for occupants.

Glass partitions and doors are an excellent design solution to ensure both daylight and privacy are not compromised. Overall, this design solution ensures the open-plan aesthetic is not compromised by practical necessities, such as privacy and acoustics.

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Open to change

Moving forward, office design needs to not only reflect the current climate of a business, but it must also be flexible and designed for adaptability.

Offering more versatility, demountable glass partitions are great solutions which ensure designers create spaces that can adapt to the changing needs of the workforce. This cost-effective design assures partitions can be moved instead of replaced, all the while utilising natural light within office spaces.

Office design has moved on considerably from the 1950s where co-workers sat sideby-side using typewriters.

Ensuring office spaces are fit for purpose has never been more important in such a competitively driven world.

Good design must always be there in order to support people who occupy the space to be the best they can be. planetpartitioning.co.uk

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Office design has moved on considerably from the 1950s where co-workers sat sideby-side using typewriters 9 7

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WINNERS OF THE 2019 WOOD AWARDS

The winners of the annual Wood Awards were announced at a ceremony held on 19th November at Carpenters’ Hall in London. Here, Inex runs through 2019’s winners and looks at the commended projects.

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1. Cork House:

Gold Award & Private Winner

Cork House is built almost entirely from cork and timber. Monolithic walls and corbelled roof pyramids are built with load-bearing expanded cork made from the bark of the cork oak tree, a byproduct from wine stoppers. The house, which is adorned with five skylight-topped ziggurats, is a prefabricated kit of parts. Blocks of expanded cork were CNC-machined off-site and then assembled on-site by hand without mortar or glue. All 1268 pure cork blocks will be available at end-of-building-life as either biological or technical nutrients.

Location: Eton Architect: Matthew Barnett Howland with Dido Milne and Oliver Wilton Client: Matthew Barnett Howland and Dido Milne Structural engineer: Arup Main contractor: Matthew Barnett Howland with M&P London Contractors Joinery: Whyte & Wood CNC machining of cork blocks: Wup Doodle Internal joinery: Nic Rhode Furniture Furniture: Tom Graham Workshop Wood supplier: NFP Europe Wood species: Portuguese cork oak, New Zealand pine, Estonian spruce, American/ Canadian western red cedar, Austrian spruce and American white oak

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2. Royal Opera House ‘Open Up’: Commercial & Leisure

Striking the right balance between heritage and 21st-century life, the transformation of the Royal Opera House reimagines the world-renowned home of ballet and opera. Improved access and transparency, a completely new Linbury Theatre and new foyers, terraces, cafes, bars, restaurant and retail facilities extend the building’s life outside of performance hours. At entrance level, subtle timber elements inlaid in the stone floor offer a warm welcome.

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Location: London Architect: Stanton Williams Client: Royal Opera House Structural engineers: Arup, Robert Bird Group Main contractor: Swift Crafted Joinery: Birmingham Veneers, TT Gillard, Thornell Veneers Construction manager: Rise Wood supplier: Missouri Walnut LLC Veneer supplier: Reliance Veneer Co Wood species: American black walnut

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3. Cambridge Central Mosque: Education & Public Sector

The first purpose-built mosque in Cambridge is a calm oasis of contemplation within a grove of trees, inspired by an image of the garden of paradise – with its water fountain symbolising the source of all life. Timber was chosen for its natural, warm and calming qualities.

Location: Cambridge Architect: Marks Barfield Architects Client: Cambridge Mosque Trust Structural engineer: Price & Myers Main contractor: Gilbert-Ash Joinery: The Deluxe Group Wood supplier: Mayr-Melnhof Holz Reuthe GmbH Timber frame engineer and installer: Blumer Lehmann Project manager: Bidwells Building services and sustainability consultant: Skelly & Couch Wood species: European spruce, oak and mahogany

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4. Battersea Arts Centre: Interiors

In March 2015, a fire broke out in the northern half of the 1890s Grade II* Listed building destroying the roof to the largest performance space. The original decorative plaster barrelvaulted ceiling was completely lost. Rather than replicating the lost ceiling, a contemporary plywood lattice ceiling was conceived.

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Location: London Architect: Haworth Tompkins Structural engineer: Heyne Tillett Steel Main contractor: 8build Lattice ceiling joinery: Joinery Fixing and Finishing Wood supplier: IBL Wood species: European poplar plywood with birch faces

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5. MultiPly: Small Project

MultiPly is a carbon-neutral-engineered timber pavilion, made from hardwood CLT. The vertical maze of stacked modules and staircases creates labyrinthine spaces which intertwine, inviting people to explore the use of wood in architecture and reflect on how we build our homes and cities.

Architect: Waugh Thistleton Architects Client: American Hardwood Export Council Structural engineer: Arup Main contractor: Stage One CLT panel manufacturer: Construction Scotland Innovation Centre (CSIC) Lighting design: SEAM Wood supplier: Glenalmond Timber Company Wood species: American tulipwood

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6. House in a Garden: Structural Award

Replacing a dilapidated bungalow built in the 1960s in the garden of an 1840s villa, the house is on ground and two basement floors surrounded by gardens, light wells and skylights.

The ground-floor, pavilion-like structure floats, creating distant views through gaps in the city skyline. Wood is used throughout the project: structurally for the roof; as wall, floor and ceiling linings; and for the floating staircase.

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Location: London Architect: Gianni Botsford Architects Structural engineer: Built Engineers Main contractor: New Wave Roof structure: ZĂœBLIN Timber GmbH Joinery: New Wave Stair manufacturer: SteelOne srl Wood supplier: Roof ZĂœBLIN Timber GmbH, Floors, Walls, Ceilings, Stairs Dinesen Landscape architect: Todd Longstaffe-Gowan Wood species: European spruce, birch and Douglas fir

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7. The Kissing Benches: Bespoke

The Kissing Benches were made for the newly reinvented Figaro Garden at Glyndebourne.

The garden required something that would complement and not draw attention away from the Henry Moore sculpture. These benches are a contemporary take on an old style of outdoor seating, designed to enable people to engage in conversation, embrace or kiss.

Designer/maker: Alison Crowther Client/owner: Glyndebourne Wood supplier: Neil Humphries Timber conversion: Vastern Timber Photography: Jacqui Hurst Wood species: English oak

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8. Littoral Chances 1&2 Bespoke

This unmatched pair of collecting cabinets is based on the beauty of chance composition.

Gates is drawn to industrial and agricultural architecture, including jetties and pylons, and the paraphernalia that populates these sites, such as containers and crates.

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Designer/maker: David Gates Vitreous enamel on steel panels: Helen Carnac Wood supplier: Adamson & Low, English Woodland Timber and Timberline Wood species: European oak, bog oak, ripple sycamore, cedar of Lebanon and Douglas fir, American bird’s eye maple

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9. Ian McChesney Bench: Production

These highly crafted benches are made in two sizes. The gallery bench is designed to sit in the middle of a room and is 900mm deep to allow for sitting on both sides. The foyer bench is designed to sit at the edge of the room and is 600mm deep to allow for sitting on one side only. The gently pillowed top and bottom give the benches a very natural feel.

Designer: Ian McChesney Manufacturer: Benchmark Wood supplier: PB hardwoods and English woodlands timber wood Species: European oak or American black walnut

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10. Bio Iridescent Sequin: Student Designer

Bio Iridescent Sequin is a response to the unsustainable shimmering beads and sequins currently used in fashion and textiles.

Brunato’s sequin uses bio-technologies to create colourful, shimmering sequins from naturally abundant wood.

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Designer/maker: Elissa Brunato University/college: Central Saint Martins, Material Futures Bio-engineering wood/cellulose: Research Institutes of Sweden (RISE), Hjalmar Granberg and Tiffany Abitbol Wood species: Canadian softwood Kraft pulp

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11. Anton Mikkonen:

Student Designer People’s Choice Award

As a young boy, Mikkonen was fascinated by woodgrain and knots. He would look for knots near each other and create faces and other shapes. With the Udon Stool, Mikkonen has matched the uniqueness of wood grain with a very unique aesthetic. The stool consists of five parts; all CNC routed with a 2D CNC machine.

Designer: Anton Mikkonen University/college: The Sir John Cass School of Art Wood species: Ash

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A SOUND SOLUTION TO BYPASSING LANDFILL Roughly 12 million tonnes of plastic enter the ocean every year. It’s a sobering thought and finally seems to have the Government’s attention but some of us are already committed to the environment – with Soundtect one of many companies that uses more than 70% of recycled polyester to manufacture its acoustic solutions.

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ong gone are the days when a business was judged solely by its ability to deliver goods. Today, the way of delivery and how the products themselves impact the environment and society are also considered important, and rightfully so.

In fact, Soundtect panels are a third-generation product, having been recycled from post-consumer plastic to exhibition carpets before their next use as sound-absorbing solutions, and guess what?

They can be recycled again; so the cycle continues.

But why is sustainable acoustic treatment in today’s buildings so important?

Besides awe-inspiring decor, sound ambience is often the most direct factor impacting a customer’s experience at a restaurant, a child’s ability to learn at school, an employee’s productivity and a significant factor in stress management in a public place.

An overwhelming majority of the harsh noise you experience in a room is the result of sound bouncing off the ceilings, floors and any other hard surfaces in that room. As a result, reverberant sound mixes with direct sound and causes an acoustic issue that makes listening and communicating extremely difficult.

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Given that only a mere 5% of the echoes produced in the room can be absorbed by hard, reflective surfaces, the remaining 95% will continue to carry through the space, creating an unpleasant background noise that pushes conversations to raise in volume; compromising privacy and reducing wellbeing.

So how do they work? There are generally two types of treatment for reverberation – absorption and diffusion.

Absorption is the trapping of noise by the fabric of the acoustic panel and diffusion is the breaking up and scattering of the soundwaves. Most acoustic panels on the market address sound absorption.

Sound diffusion, on the other hand, is more challenging to address because it requires acoustic panels to have (instead of a flat, linear surface) surfaces with varying depths, curves or other threedimensional construction.

An acoustic product that addresses both absorption and diffusion is far more effective in controlling noise, and for this reason, many acoustic panels are manufactured from fabric.

Wool, polyester fibres and foam are all porous so allow the sound that hits them to be absorbed into the panel themselves where it becomes trapped. Soundtect goes a little bit further, however, by working with the environment – not against it – and using wasted PET to manufacture its products. This sustainable approach to noise control is as important to the business as the products themselves.

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Clerkenwell-based Soundtect offers a wide range of solutions to cover any sector and noise issue. Its 3D panel range is both highly decorative and super absorbent, adding a touch of something special to a room whilst addressing the noise with ease. The Class range of suspended baffles, rafts and circles and flat wall panels are a proven superb solution to reverberation – especially in areas with a large volume of people such as call centres, school sports halls and restaurants – and the newly launched ‘Freestyle’ is the latest string to its bow.

This latest offering is proving highly popular as it offers designers complete freedom to create something entirely unique and the Timba range is already a highly sought-after product, offering a lightweight, absorbent and sustainable alternative to heavy wood products.

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Whether you need to install acoustic panels for your office, conference room, classroom, auditorium, retail outlet, restaurant, theatre or any other setting where managing the level and quality of sound is paramount, you can heave a sigh of relief that you won’t have to sweat over it. Installation is very straightforward. In fact, most manufacturers have created systems that are very easy to install for wall or ceiling applications.

And whilst it is easy to retrofit acoustic panels into a building, it is challenging to upheave an office and costly to the company in lost working hours while the building is treated.

The beauty of the acoustic solutions on offer in today’s market allows the reverberation treatment to be very much a part of the design and in many cases, the feature in an otherwise understated concept. It seems we are finally listening to the roar of the people to create the silence we crave. soundtect.com

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S P O T L I G H T P R O D U C T

Product Spotlight This month’s selection of innovative new products not to be missed.

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ITC NATURAL LUXURY FLOORING

ITC has a beautiful collection of high-quality, naturally woven luxury carpets and rugs, made from a variety of fibres including Sisal, Coir, 100% New Zealand wool, Silk, Viscose, Banana fibre and Bamboo fibre.

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iverline – an eco-friendly carpet – is a fine example of craftsmanship by achieving a high-definition, textured cable rib design.

Constructed using six and twoply hard-wearing construction of 100% New Zealand wool

with a VOC-free environmentally responsible backing, Riverline in 5m width, is an ideal choice for residential and general commercial locations. The six clean colours will appeal to those seeking a wool carpet that delivers on performance and good looks.

When high performance and super fine finish are required when specifying a velvet carpet, Richmond ticks all the boxes.

Available in two widths – 4 and 5m – as well as 11 contemporary shades, together with a heavy commercial rating, makes this carpet product exceptional.

Architects and interior designers have fallen in love with the Richmond range due to its style, good looks and excellent suitability for both residential and commercial applications.

Riverline, Richmond and all other broadloom carpets which make up the Campeone and Connoisseur collections by ITC Natural Luxury Flooring, are available in madeto-measure rugs in sizes up to 500cm wide. Additionally, a selection of tape finishes are available, which are exclusive, chic and coordinate with its carpets. itcnaturalluxuryflooring.com info@itcnaturalluxuryflooring.com 01622 534041

AMTICO FLOORING EXPANDS SIGNATURE COLLECTION WITH DÉCOR STATEMENT FLOORS

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MALMO EXTENDS ITS LUXURY VINYL FLOORING RANGE WITH 17 NEW DESIGNS

IDS has extended its flooring portfolio with 17 new additions to the Malmo Luxury Vinyl Tile (LVT) collection, ranging from authentic dark wood tones to whitewashed effects and statement tiles, reflecting market demand for the product which offers 52 designs in total. Adding to the Malmo range is the brand-new Senses Rigid Registered Embossed collection offering 12 designs, which replicate the look and feel of reclaimed wood with a registered embossed texture that’s perfectly in line with the visual pattern of the wood grain. Malmo LVT has a warranty of up to 25 years for domestic use and 10 years for commercial applications.

Amtico has introduced Décor statement floors as part of the expansion of its Signature collection of Luxury Vinyl Tiles (LVT).

The 19 products have been crafted following extensive research into traditional ceramic styles. The end result is a bespoke, yet easy-to-maintain, perfect look for commercial applications, including contemporary hospitality and leisure environments. Décor consists of five key looks: Geo, Corona, Corona Black and White, Echo and Marble. Each design, different from the next, offers a wide range of design possibilities and carries a 20-year commercial warranty. Designed and manufactured at the Coventry factory, Décor’s toughened upper 1mm wear layer and overall 2.5mm thickness provides the same resilience and premium construction also found in the Signature collection.

idsurfaces.co.uk 08457 298298 info@idsurfaces.co.uk

amtico.com/commercial 0121 745 0800 info@amtico.com

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BLANCO UK’S NEW QUATRUS SINK FOR MAXIMUM BOWL AND CABINET SPACE

New to the popular Pescara tap family is the XL pulldown model, combining high functionality with an elegant, modern design.

Standing taller than average at 500mm high and with a slim 46mm tap body, Pescara Pull Down XL features a graceful spout that rotates a full 360˚ and includes a pull-out spray with an integrated rocker switch to easily adjust the water flow from a powerful needle spray to a straight aerated stream, offering a convenient way of rinsing and cleaning at the sink space.

The Pescara Pull Down XL is available in a highquality, polished chrome finish and is backed by a five-year warranty on working parts and one-year warranty on the finish.

BLANCO’s stunning new stainless steel QUATRUS sink showcases the company’s well-known intelligent design capability. The modern rectangular bowl of the sink offers plenty of space for all the user’s culinary and utility needs while leaving lots of free space within the cabinet. The large sink space is also perfect for today’s clever taps; it can be fitted with boiling-water taps and filter taps to provide an optimal functioning kitchen. Available in two different sizes, BLANCO QUATRUS 550-U and the slightly larger BLANCO QUATRUS 700-U, the sink design is the perfect complement in any kitchen scheme.

0161 436 6280 franke.co.uk info.uk@franke.com

P R O D U C T

FRANKE’S NEW PESCARA XL PULL DOWN TAP

01923 635200 blanco.co.uk info@blanco.co.uk

PHOENIX CONTINUOUS HINGE BY COOKE BROTHERS

The Phoenix Continuous Hinge, produced and supplied by Cooke Brothers for over 100 years, is often referred to as a piano hinge following its use securing the lids of piano keyboards.

Continuous hinges provide a visually neat and high-quality hinging solution for any lid, door, cupboard or hatch, compared to the use of several shorter individual butt hinges. Rebating is not required, with the hinges being surface fitted to both door and frame. Able to be cut down to match the full length of the door, continuous hinges provide accurate alignment, a strong and secure installation, and even load distribution over the full length of a door. cookebrothers.co.uk 01922 740001 sales@cookebrothers.co.uk

STUNNING KÖNIGSTONE SHOWROOM IS A FEAST OF HIGH-END WORKTOPS

Worktop supplier Königstone has opened its new 2200ft2 showroom in Market Harborough. On display, is a kitchen island which showcases one of the concrete colours from the KönigQuartz range, Concrete Fossil.

The worktop is built around a clad sink and a glass leg, which demonstrates the adaptability of the surfaces to fit around any kitchen scheme. The showroom is also home to L-shaped kitchen units covered in KönigQuartz Lausanne. These worktops have been fitted together with Königstone’s Premium Joint which ensures a seamless finish between two different pieces of worktop. All of the displays showcase the variety of options available from Königstone. konigstone.co.uk 0333 577 2903 info@konigstone.co.uk

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LATHAMS LAUNCH DEMO ZONE AT SDS2020 Many people see James Latham as simply a timber supplier, and after 262 years in the business, you can see why.

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owever, with this year’s ‘How Well Do You Know Us’ campaign, the leading timber and panel products distributor has been broadening the awareness of its

entire product range, from the very latest decors, melamines, laminates and veneers, through to solid surfaces, natural acrylic stone, thermoformable plastics and more.

IMAGES: James L atham’s stand will feature a number o f sur face solutions including STUDIO Collection® (top image) and KYDEX® (bo t tom image)

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And at this year’s Surface Design Show, Latham’s stand (208) will be taking this one step further. As well as featuring all the new and exclusive product ranges from its supplier partners, it will also be adding two elements to the stand that customers have said they wanted to see; demonstrations and interaction.

Stuart Devoil, Group Head of Marketing at James Latham, explained: “In the ‘Demo Zone’, visitors will be invited to take a seat at a counter in front of a specially constructed ‘demo booth’ and choose from a selection of product samples displayed in front of them. Once they have chosen, they will pass the sample to our operative behind the counter, who will then undertake a demo of thermoforming, shaping, sublimation, coating or whatever is suitable for the chosen material. They will then be handed the sample to take away with them, but will also receive a token and an invite to come up to our private showroom (suite 301) where they can enjoy a free drink and try the process themselves (whilst also having the opportunity to browse our greater range and consult with our specialists).

“In the ‘interactive zone’, visitors will be encouraged to take a selection of the 250 A4 samples we’ll have on display, and form their own ‘mood board’ by sticking them to a large, 4 x 3m magnetic wall, mixing and matching until they have their perfect colour/ texture/decor combo.

“We’ll then photograph the mood board and post it on our Instagram, Pinterest and other social channels, for other designers to check out. Is it inspiration, or competition? We’ll leave that up to you to decide.

“All in all, this insight-led approach is designed to bring greater interaction with our design-focused customers, whilst also displaying the huge and diverse array of products we can provide. We hope to see you there on stand 208.”

The Surface Design Show takes place at the Business Design Centre, 52, Upper Street, Islington, London, N1 OQH between 11 and 13th February 2020. lathamtimber.co.uk 0116 257 3415 marketing@lathams.co.uk

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THE GEBERIT WASHROOM

RESHAPING THE HOTEL GUESTROOM

As the trend for selling experiences and creating an escapism for hotel guests continues, so too does the value of creating a unique, positive guest experience to help build stronger memories and ensure guests keep coming back.

In the latest White Paper report from Geberit, we explore the latest trends and the challenges they collectively pose as they shape the way in which designers approach hotel washroom projects.

Download the latest White Paper report from Geberit at geberit.co.uk/science