THE SUSTAINABILITY ISSUE FEBRUARY 2021 246
designer signer GOING GREEN
Embedding sustainability as standard
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DESIGNER MAGAZINE FEBRUARY 2021 / ISSUE 246
Welcome to the February issue of Designer. We all tend to talk about the showpiece features of any design scheme, and yet it can often be the unseen aspects that actually make all the difference – particularly in the case of ‘seamless sustainability’. When it comes to sustainable design, we’ve seen a real sea-change over the years as water-saving and energy-saving, responsible sourcing, and a joined-up approach to green-thinking in the home have become increasingly important decision factors for designers and clients alike. The vital shift has been away from sustainable design as a premium option towards something that is now seen as a standard requirement. Growing awareness of its fundamental importance from consumers and commercial clients has largely driven this, and it’s a forward motion that is only likely to gather pace in the years ahead. And yet there is often still too much lip-service paid to this vital aspect of specification. All manufacturers seem to claim that their product is the greenest, or that it ticks all the boxes required by any conscientious client. But these sustainable credentials need to be thoroughly questioned and backed-up at every step to make sure that the materials, manufacture, and supply chain of a product really does meet the standards we have all now come to expect. It’s the difference between talking sustainable design and ultimately doing it.
e: martin@thedsgroup.co.uk w: designerati.co.uk
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Martin Allen-Smith Editor, Designer
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DESIGNER MAGAZINE FEBRUARY 2021 / ISSUE 246
CONTENTS 16
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46 8 SOURCE Our monthly round-up of the people, products and events that matter from across the design sector 14 SHOWROOMS Harvey Jones upgrades its Birmingham presence with a brand new show space 16 GREEN UNSEEN Increasingly, true sustainability is not for show but is embedded into a project as standard. We take a look at some examples of seamless eco-thinking in design‌ 26 LIVING ART Transforming artistic principles into a sculptural-yet-functional space was the aim for this Moscow project
30 IDEAS FACTORY A once derelict industrial building is given a new lease of life with an ambitious office development packed with attention to detail 34 EXPLORING NEW HORIZONS Tile of Spain has announced the winners of its latest awards, celebrating creative and innovative use of ceramics in architecture and design 38 IN THE FRAME A new range of furniture by Carlo Colombo for Italian brand Antonio Lupi sticks to defined shapes to deliver design flexibility
42 ABSTRACT SPIRIT Art meets reality in this striking kitchen concept by Israeli designer Ron Gilad 46 CAPTURING THE ESSENCE A stylish new hotel opens in Osaka next month, utilising a striking design vision to reflect its exuberant surroundings 50 EXIT To infinity and beyond
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FINALIST 2020
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ASH BAMBOO BAVARIAN BRASILICA BEECH OAK IROKO CHERRY MAHOGANY TEAK WALNUT WENGE
Therefore, we manufacture everything ourselves from scratch, something that is unique nowadays. Every single piece of wood is sawed, planed, sanded and glued by hand by our experienced craftsmen. During the journey from raw material to a finished surface individual items are meticulously checked during each of the 9 stages in production, to ensure you receive the very best. We cater for your every wish and have something to offer for every taste and purpose. Visit spekva.com to see the big variety of wood types and solutions. Contact Sales Manager Mark Williams on 07894698682 and visit us online at spekva.com
SPEKVA.COM
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AT SPEKVA WE CARE ABOUT QUALITY MORE THAN A SURFACE
Photography by Sam Lock. Seen in Kitchen Gallery, Mailboxes Birmingham.
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DESIGNER MAGAZINE FEBRUARY 2021 / ISSUE 246
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EDITORIAL EDITOR MARTIN ALLEN-SMITH martin@thedsgroup.co.uk CONTRIBUTOR HELEN PARTON PUBLISHING PUBLISHING DIRECTOR CLARA DEEKS clara@thedsgroup.co.uk MANAGING DIRECTOR ALLISTAIR HUNTER OPERATIONS DIRECTOR TRACY MEAD ADVERTISING PORTFOLIO MANAGER STUART SINCLAIR stuart@thedsgroup.co.uk SALES EXECUTIVE LAUREN MUNSON lauren@thedsgroup.co.uk
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The Shape of Homes to Come
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Homelift company Aritco and trend forecaster Springwise have compiled an insight into some of the innovations that could find their way into homes in the year ahead. The research paper – Future of the Home – details how our domestic lives might be shifting as a result of changes brought about during the pandemic. David Schill, Aritco’s Marketing Director, said: “We see design and innovation as a crucial part of moving forward. So we commissioned this deep-dive into the global innovations that will be shaping how we live in our homes safely and comfortably, without sacrificing style or design. Our research and development team has already begun exploring some of the innovations in this report and we hope it might help other design and architectural brands to take on 2021 with promise and optimism.” Springwise’s Justin Sablich, editor of the research paper, added: “Innovations in tech, materials and processes are quickly pivoting in response to the pandemic, as are their applications. Products previously associated with commercial and public places are increasingly being applied to peoples’ living spaces for instance. And our consumption patterns have drastically shifted. For instance, within six years the air purifier market is expected to attain sales of US$24.6bn and by 2025 the antimicrobial coating market is set to expand to US$5bn. “Beyond hygiene consumption and physical safety we have identified creative new ways that businesses are helping us maintain meaningful connections with the outside world, while we continue to spend more time in our homes.”
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designerati.co.uk The top 18 new global innovations forecast in research paper Future of the Home are: Air purification system disguised as a piece of art; ● Windows that become solar cells when heated; ● Home radiator that uses infrared radiation to save energy; ● A bladeless ceiling fan that kills micro-organisms; ● Smart circadian lightbulbs that provide personalised body clock lighting; ● Self-cleaning antibacterial pop-up home office; ● Ceiling panels that use ultraviolet technology to remove infectious air particles; ● A contactless button system to install in existing lifts to reduce bacteria transmission; ● Shelf that disinfects hands and phones; ● A pop-up office kit to recreate office-like virtual presentations from your bedroom; ● Platform that targets ‘Zoom fatigue’ by injecting lift into virtual meetings; ● Data encryption device that protects home-based information systems; ● Home tech that orders your groceries with voice instructions; ● Augmented reality app that helps visualise what art will look like in your home; ● Artificial intelligence sensors that detect if the washing machine needs repairing; ● Bedside device tracks significant heart rate changes to reduce medical appointments; ● App allows the home-bound to make incredible journeys in real time; ● Music therapy app uses artificial intelligence to create soothing personalised playlist. ●
Aritco / aritco.com Springwise / springwise.com
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Falmec’s Levante hood is equipped with a remotecontrol motorised up and down lift system that allows the adjustment in height by lowering itself down to a maximum of one metre from the ceiling, and then repositioning itself after use. Composed of a rectangular frame in tempered glass, the hood is now available in a graphite finish, in addition to the existing black and white versions.
Falmec / falmec.uk
Level Best Making Space for Work Photography: Gail Herendeen
US brand YOURspace has adapted its office partition range to create office pods designed to offer a modification solution to workers who need a private workspace in their home. The modular office structures can be customised to create productive workspaces in corporate, academic, or residential settings. Designed as a cross between architectural fixture and furniture, the units are equipped with features such as adjustable desks, shelves, lighting, sound reduction, ventilation, and a centralised electrical panel for power access. There are also over a dozen interior and exterior panel finishes for aesthetics or function, such as a whiteboard or pinboard.
Kaldewei / kaldewei.co.uk
YOURspace / yourspaceinc.com
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DESIGNER MAGAZINE FEBRUARY 2021
A Light Touch
Villeroy & Boch Kitchens has introduced its new Scandi-inspired Ontario range. Shown in a textured Halifax oak, it is also available in eight light and dark wood-effect ďŹ nishes including mountain larch and sand barrique oak. The pictured kitchen is a handleless design with matching worksurfaces and wall panelling to achieve a natural look and fusion with outdoor garden spaces.
Villeroy & Boch Kitchens / euromobel.co.uk
Clean Up in Style KEUCO has added a touch of style to the functionality of its sanitiser dispensers. Since the middle of last year, hand sanitisers have become a must for every property whether commercial or residential, and a range of design options offered include subtle style or bold and bright. The storage container is hidden inside the column and can be easily reďŹ lled with a liquid or gel sanitiser. A variety of colours and combinations are available, including plain coloured, multi-coloured, black and white or metallic. Bespoke branding options are also possible for multi-site requirements.
Keuco / keuco.co.uk
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DESIGNER MAGAZINE SHOWROOMS
Handmade kitchen specialist Harvey Jones has opened its new Birmingham showroom. The brand has relocated to Level 2 at the city’s Mailbox, to take up space alongside other popular fashion, lifestyle, homeware and interior stores. Covering 165 sq m, the new showroom displays the entire range of Harvey Jones’ kitchen concepts, including all five Original, Arbor, Shaker, Linear and Linear Edge ranges. The new showroom houses three large sets all of which were designed by Melissa Klink, Harvey Jones’ Head of Design. She said: “In our new space we have two levels of inspirational kitchen displays. The showroom experience presents the incredible quality of our handmade, hand-painted kitchens alongside showcasing all of our available styles from traditional to modern, functional details, design directions, and organisational options. “The showroom is fully equipped with an immersive client planning zone that ensures all the finishing touches are at your fingertips.” John Curwen, CEO at Harvey Jones Kitchens, said: “We are delighted to still have a presence in the Mailbox, Birmingham. We are committed to our Birmingham customers and believe now more than ever it is important to support great British design. “Despite retail facing many challenges in recent months due to the Covid pandemic, it is with great pleasure that Harvey Jones are able to launch our new showroom and that we will continue to bring our kitchen designs to the local area. The site in Mailbox offers the perfect premium location for our customers looking for a luxury kitchen and we look forward to starting a number of new exciting kitchen projects across the area.”
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DESIGNER MAGAZINE SHOWROOMS
HARVEY JONES
Harvey Jones / Level 2, Wharfside Street, Mailbox, Birmingham, B1 1RD / harveyjones.com
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Green Unseen
Increasingly, true sustainability is not for show but is embedded into a project as standard. We take a look at some examples of seamless eco-thinking in design… Power Principles The Ruskin Elwood development in Australia’s New South Wales is 100% electric and is able to be run on 100% renewable energy. Design firm Hip V. Hype invested in solar battery technology, installing solar panels on the roof, which link to a Tesla Powerwall in the garage in order to generate and store power for use within each residence on site. The solar power generated during the day can then be consumed by residents at night. Natural cross flow ventilation is complemented by rainwater collection tanks, electric heat pumps for hot water, high levels of insulation, high performance windows and an advanced Energy Recovery Ventilation (ERV) system. The ERV system serves to further reduce the energy required to heat and cool the homes as well as serves as an air filtration system, ensuring the indoor environment of each residence is protected from dust, allergens and pollens. Strong passive design principles reduce the energy required to cool Ruskin Elwood in summer and heat the homes in winter. The reduced energy required to operate the homes is sourced on site, reducing the cost of purchasing energy for the resident. Each residence has a dual north-south aspect to promote cross ventilation and solar penetration to all habitable rooms. Operable external blinds to the large balcony decks to the north allow residents to control shade and privacy to the outdoor/indoor living space nestled amongst the heritage-listed tree canopy. The four new residences are constructed where possible with locally sourced, natural materials ensuring durability for low environmental impact and enduring long-term performance. As appliances are typically one of the highest energy consumers in the home, Hip v. Hype worked with V-ZUG on a kitchen design that meant that the appliances could use alternative energy sources and the Tesla powerwall to make the homes self-powered. The V-ZUG appliances in the kitchens are all powered from solar panels in the roof of the building and include V-ZUG’s CombiSteam HSL, Combair SEP, Adora SL, and 5-zone Induction hob. HIP V. HYPE / hipvhype.com V-ZUG / vzug.com
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Heading for the Heights A 1.1 acre rooftop forest of over 100 established trees and 10,000 plants has been granted planning by London Borough of Southwark as part of Roots In The Sky, a radical reimagining of the former Blackfriars Crown Court as a next-gen workspace, with just under 385,000 sq ft of contemporary and sustainable office, commercial and community space. Led by investment manager and developer Fabrix, Roots in The Sky will be London’s first office building to deliver an urban forest rooftop with extensive access for the local community and the public, with community gardens and collaborative neighbourhood uses, a rooftop restaurant, bar and swimming pool, and private terraces and for the office space below. Set to be one of the largest urban roof gardens in Europe, the building aims to make a significant contribution to London’s ambitious targets for greening, biodiversity and sustainability. Clive Nichol, CEO of Fabrix said of the scheme: “Our vision for Roots In The Sky is a modern workplace that actively engages with its local surroundings, and helps shape a neighbourhood that is enjoyable, liveable and economically productive. It’s a commercial building that aims to be a ‘good citizen’, offering a genuine place for community uses, contributing to the ongoing regeneration of Bankside and to London’s wider greening targets.” The existing 1960s building – a former stationery office and later a Crown Court – provided a starting point for Fabrix and its design team to develop an office building with generous volumes and adaptable floor plates of up to 40,000 sq ft. Using the existing footings and retaining the first two storeys, the design team introduced a lightweight hybrid steel and CLT frame, with the ability to support the urban forest – and its 1300 tonnes of soil and 1.5m deep tree pits – at the heart of the brief. At street level, amenities include an accessible green atrium, auditorium and community space, a café and retail kiosks. A new thoroughfare between adjoining streets will run through the building, creating further links to the neighbourhood. Placing the services and cooling in the basement liberates the roofspace to re-introduce trees and create space for a new ‘barn’ meeting space, roof gardens, potting shed and seed bank in the wider roofscape, which has been designed by landscape design practice Harris Bugg. The rooftop, which exceeds the urban forest criteria set out by the United Nations, providing canopy cover of 23%, uses a passive water capture and irrigation system and reintroduces wildlife to the city. A publicly accessible restaurant and bar sits between the community and private spaces, next to the glass floored infinity edge swimming pool – heated by the building’s waste heat – and provides glimpses to the workspaces below. Spaced around a lightwell atrium, the timber-clad office spaces provide large volumes with ceiling heights of between 3.2 and 6m, an abundance of natural light and opening sash windows for natural ventilation, filtered displacement air conditioning, as well as removable timber floors to allow maximum flexibility through the space. The building will have best in class environmental and wellbeing accreditations including BREEAM outstanding and WELL Gold. The development is set to begin on site in January 2021, and complete in Q3 2024. Fabrix / fabrix.london
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Sensible Sourcing Sourcing materials from responsible sources has never been as important as it is today. Flooring brand Havwoods sources its wood flooring from reputable timber companies, who work with sustainably managed forests; many of these products are certified by key International forestry accreditations. In addition to the widely recognised certifications, Havwoods has introduced its own seal of approval called HavSeal, awarded to products that exceed the already high standards needed to ensure entry into the company’s portfolio. Havwoods’ Head of Global Product Compliance, Darren Mayes, said: “As regulation and market demands grow for more eco-friendly products we wanted to add our own stamp of approval to products deriving from well-managed sources, considering sustainability, ecology, production and waste. HavSeal not only enhances the profile of each product but also provides a higher-level platform for manufacturers to attain.” Havwoods / havwoods.com Material Matters Victoria + Albert Baths utilises natural properties to manufacture all of its baths and basins from its own Quarrycast material, created from finely-ground volcanic limestone mixed with resin. As a stronger alternative to both cast iron and acrylic, Quarrycast baths are one piece, strong, lightweight, and scratch and stain resistant. Victoria + Albert Baths / vandabaths.com
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Covering All Angles With offices around the world, InfraRed actively manages over 200 infrastructure and real estate projects in 30 countries. After a thorough selective process of suitable spaces for its relocation, InfraRed chose One Bartholomew – a newly built office complex located in the heart of the City of London. The brief was to bring the company’s London-based workforce together on a single open plan floorplate, improve communication across the business and shift to an agile and more collaborative way of working. Their ambition was to promote innovation in a sustainable and diverse environment for their employees. Office design specialists Peldon Rose incorporated a flexible working design philosophy to the project, supporting growth, encourage collaboration and future-proof the office. To reflect InfraRed’s personality, a mix of dedicated workspaces and informal and collaborative spaces were designed to support talent attraction and retention. The vast 379 sq m breakout space (over a third of the floor plate) has beautiful views of St. Pauls Cathedral, which was profiled using soft bench seating facing outwards. It was crucial for employees to have somewhere special to step away from their desks. Biophilia has been incorporated throughout and there is a dedicated wellness room. The workstations nearest to the windows maximise natural light, enhance employee wellbeing and are punctuated with large laptop plugin benches supporting agile working. Adjacent to the working floor plate is a large library for quiet working, featuring two large oak university style tables with suspended acoustic lighting. Sustainability was high on the agenda for InfraRed, so natural, honest materials were important. The timber floors are from responsibility felled trees, and careful consideration for materials such as the carpet, which is manufactured in the UK, and the cork acoustic wall finishes are carbon negative. Peldon Rose / peldonrose.com
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Sustainable Stainless As a material, stainless steel is stylish, hygienic and accents every aspect of our lives. It is also a sustainable choice, given that it is strong and resists corrosion, making it a long-lasting option for interiors, as well as exterior cladding. However, not all stainless steels are the same. While two suppliers might provide raw material that is physically and chemically identical, there could be a disparity in their carbon footprint. Morten Larsen is owner and CEO of Norwegian furniture provider Temoco, a supplier of stainless steel furniture to major hotel and restaurant chains in the Nordics, and a user of the material for its durable and hygienic properties. He said: “Sustainability is important to us because, as an innovative company we can’t afford to do things otherwise – Temoco is turning 30 and we would like to see at least 30 more years. Our only choice is to think ahead and the future for serious companies belongs to those who think and act sustainability.” When he researched the sustainability of materials, Larsen was disappointed to discover that most stainless steel producers do not have strong
environmental credentials. However, he discovered Outokumpu, a Finnish company that is the world’s largest producer of stainless steel. “We chose Outokumpu because they are a responsible producer of stainless steel. They do their best to produce it as sustainably as possible. The fact that 85% of the raw materials used in their business are recycled – and the finished product is 100% recyclable – played a large part in my decision. And being located in the Nordics ensures fair working conditions,” said Larsen. According to researchers at the Fraunhofer Institut, every tonne of austenitic stainless steel scrap that is reused saves 4.3 tonnes of CO2 emissions, so choosing stainless steel made from recycled steel can make a big difference to a project’s sustainability. Larsen added: “We must educate and inform our clients about all the benefits that sustainability gives to the environment and to the economy. We believe that in the near future, more players in the market will begin to pay more attention to sustainability.” Temoco / temoco.no Outokumpu / outokumpu.com
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RESIDENTIAL INTERIORS
Living
Transforming artistic principles into a sculpturalyet-functional space was the aim for this Moscow project
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ince 2013, architect Maxim Kashin has created interiors for numerous brands and companies, working on bars and restaurants, offices and public spaces, exhibition pavilions and installations, as well as highly creative residential interiors. The studio aims to create functional spaces, in which there is a place for a new perspective on the form. Kashin is inspired a lot by the artistic movement of ‘Suprematism’ and weaves its ideas with the latest design trends and modern architecture approach. The main focus of his work is the use of color and shapes to create immersive interiors. A good example is this
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“I wanted to create a three-dimensional installation, with an interior that is submerging into a world of endless white space, colour and geometry”
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70 sq m home in central Moscow’s Golden Mile. Inspired by the Russian avant-garde style, the backdrop is white – the colour of endless space in the Suprematiststyle paintings associated with the artist Kazimir Malevich. The main idea of Suprematism – taken from the Latin ‘supreme’ (highest) – is based on the importance of pure geometry and colour over the existing perception of forms and space. Inspired by this, the interior for the space consists of a white background against which the linear geometric metal sculptures are set, consisting of simple geometric planes connecting in their striking three-dimensional form. Kashin said: “For the interior concept, I wanted to connect these three stages of the 20th Century’s popular Russian avant-garde art movement by creating a threedimensional installation, with an interior that is submerging into the world of the endless white space, colour and geometry.” The metal geometric sculptures deliver the visual impact, while the bathroom offers a shock of colourful contrast, with each of these elements capturing the essence of the components of the artistic style that has inspired the space.
Maxim Kashin Architects / maximkashin.com
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DESIGNER MAGAZINE COMMERCIAL INTERIORS
Photography: Andrew Smith / SG Photography
IDEAS FACTORY A once-derelict industrial building is given a new lease of life with an ambitious office development packed with attention to detail
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workplace scheme for national urban regenerator Muse Developments at Riverside House in Salford has not just revolutionised work processes within the business, but it has also been recognised with success in the Fit Out of Workplace category at the BCO Northern Awards 2020. Riverside House, built in the 1860s, is a Grade II-listed building, adjacent to the old railway goods yard at New Bailey in Salford and located directly alongside the River Irwell. The building was locally listed but had stood in ruins for a number of years, before being acquired by the English Cities Fund for re-development. The main building structure was heavily damaged and the decision was taken by the fund to retain and repair the existing brick façade and construct a new, four-storey CAT A office with a brand-new structure. Developer Muse then took the decision to relocate to Riverside House and signed a lease agreement with the fund. Office design specialists SpaceInvader were commissioned to create the interior scheme. A thorough initial research stage was undertaken at the project’s outset to establish the brief and key objectives, which included prioritising substance over style, whilst at the same time providing a great-looking shop window and incorporating a new approach to ways of working that would promote collaboration and foster mutual appreciation, awareness and recognition within the Muse team. “We really needed to understand the thinking of the senior team and so interviewed the firm’s project managers, office director and central staff,” said John Williams, Founder of SpaceInvader. “The process was very open, thorough and also twoway. Muse were as interested in the thinking behind our questions as we
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were in their answers. The great thing was we had covered everything in such depth that by the time we got to space-planning that there couldn’t have been any other solution. The final designs were entirely rational, as well as being intuitive and responsive.” Sustainability and waste reduction were also major aims of the project, whilst the concept also needed to reflect the building’s proximity to water and nature – with views, biophilia and outdoor decking all key. The intent for the new office was to allow the Muse team to move to an agile way of working, where desks were not allocated to individuals. Desks would be clear at the end of each day, with belongings stored in a locker. The overarching rationale was to provide colleagues with different places to work better suited to their tasks, whilst encouraging improved collaboration. By identifying the differing needs of all colleagues, the team was given options of where to work, knowing also this may change again in the future as the business and the demographic of future employees evolve. The riverside location was also key to the design. Views of the river from Riverside House and the river’s effect on the surrounding city are at the heart of the concept. Not only does the river affect people, but also the built environment, with natural materials which make up the riverbed influencing the surrounding city. The fit-out also makes reference to that, by keeping an underlining industrial aesthetic throughout. The project was about celebrating Salford as well as showing what the company can do for its own tenants, whilst the water outside, its movement, colours and the wildlife it attracts, particularly kingfishers, informed the colour scheme. SpaceInvader liaised with the building’s refurbishment architects to ensure the design reduced waste as well as rendering a suitable space
plan. For example, chilled beams and lighting units were moved to suit the meeting room layout and floor grilles moved to suit desk layouts. This minimised cost, disruption and also waste. There were also some specific enhancements requested by Muse to allow the CAT A design to blend seamlessly with the fit-out design. The wall linings were uplifted in a number of locations and a slatted timber finish created for the perimeter walls to the open plan floor plate, lending a domestic feel to the finishes palette, whilst arched window linings help frame views out towards Salford. The internal space planning of Muse’s two floors – the second and the third – was thoroughly considered. The areas that captured the best views were reserved for the most active environments, such as shared desk space, the project room and staff kitchen. Alongside this, the floors were addressed differently in terms of function and atmosphere, with the second floor providing an open plan workspace with its adjoining alternative settings and the third floor providing the visitor / client experience. “The connection to the outside influenced all the spaces and proximity to the perimeter and natural daylight was a driving factor in the space planning of both floors,” said Williams. “The abstract concept of the river and riverbed was translated into the scheme through a mix of natural colour tones and horizontal layering of materials. The detail is particularly important, because the vast majority of the space is very clean and simple. There are block colours and clean lines throughout, with ‘hints of sunshine.’ This is introduced by timber accents in the joinery and furniture, whilst the layering creates a depth within the scheme, as well as replicating the layers of strata that make up a riverbed.”
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“The connection to the outside influenced all the spaces and proximity to the perimeter and natural daylight was a driving factor in the space planning of both floors”
Living planting throughout the space reflects the recognised and important aspect of biophilic design within the workplace. This is not only with air-purifying qualities and reduction of potential pollutants in mind, but also because the visibility of planting openly promotes employee well-being. Additionally, eight-stand up desks are provided along with a stand-up desk in the project space, allowing colleagues to stand whilst working and move around throughout the day. Fresh fruit and lunches are provided free of charge to all colleagues to encourage socialising and users to be able to move away from their desks.
The SpaceInvader team also reached out to Manchester-based, independent artists to create feature commissions within the space, such as the feature ‘wave’ ceiling within the client/ visitor lounge. In addition, the team commissioned a local art photographer to celebrate the area through a series of location-specific photographic artworks. These feature within the meeting rooms around a theme of ‘Manchester pubs’. The project has revolutionised the way Muse works. Williams said: “Within weeks of moving in, the Muse team was moving around the office using the different spaces and collaborating with different people. The new agility has been a huge success.”
SpaceInvader / spaceinvaderdesign.co.uk
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Tile of Spain has announced the winners of its latest awards, celebrating creative and innovative use of ceramics in architecture and design
Atlantis Gastrobar by Arantxa Manrique Arquitectes (Photo: AdriĂ Goula)
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Clockwise from top left ‘Six homes in Cabrera de Mar’ by TWOBO Arquitectura (Photo: Jose Hevia) La Roca’s Camper store by Tomás Alonso (Photo: Andrés Fraga) Palma Hideaway (Photo: Jose Hevia) The Young Old House by Enrique Espinosa and Lys Villalba (Photo: José Hevia)
he Tile of Spain awards aim to promote the innovative use of Spanish ceramics in interior design and architecture both in Spain and around the world. Now in its 19th edition, the competition is organised by ASCER, the Spanish ceramic tile manufacturers’ association. Following an online jury process, first prize in the Architecture category went to Mesura Architects’ Studio for Casa Ter, a detached home in the La Bisbal area of Catalonia. The jury highlighted the versatile use given to one single material in positions and functions of all kinds. They also praised the reinterpretation of a traditional material in a home that revitalised the landscape and its surroundings. The winner of the Interior Design category was Arantxa Manrique Arquitectes for the Atlantis Gastrobar in Barcelona. Ceramic was used as a star feature of the whole project,
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creating a timeless appeal within the setting and maximising the impact in a small space. The award for the Final Degree Project, a category for architecture students with a prize of 5,000 Euros, went to Andrea Puebla Yubero from CEU San Pablo University in Madrid. This proposal was for a centre for unaccompanied under-age immigrants. The jury was impressed by the invention of a new form of ‘impluvium’, going one step beyond traditional Mediterranean impluvium courtyard homes. They noted how ceramic materials are an intrinsic part of this project and a fundamental factor in its expressive capacity. In addition to the first prizes, the judges awarded two special mentions in each category. For innovation in architecture, the Young Old House by Enrique Espinosa and Lys Villalba stood out for its bold new use of ceramic materials on a local, rural
building. Also honoured was Runnymede College Campus by Rojo / Fernández-Shaw for mixing tiles sympathetically with more industrial materials. In the interior design category, La Roca’s Camper store by Tomás Alonso caught the judging panel’s eye for its intriguing volumetric effect. A special mention also went to the project ‘Six homes in Cabrera de Mar’ by TWOBO Arquitectura for harmonising indoor and outdoor space. Special mentions were also awarded in the Final Degree Category. ‘Courtyards of water and olives’ by Alba Jimenez Navas from the Granada School of Architecture impressed the jury for its shift from interior to exterior and its strong scenic impact. Also honoured was ‘Salam Bir’ by Eduardo Casado Lopez from ETSA Madrid for a capacity to create a new world from a blend of the past and the future.
Tile of Spain / tileofspainawards.com
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DESIGNER MAGAZINE C R E AT I V E C E R A M I C S
Casa Ter in La Bisbal by Mesura Architects’ Studio (Photo: Mesura and Salva López)
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DESIGNER MAGAZINE B AT H R O O M S
In the Frame A new range of furniture by Carlo Colombo for Italian brand Antonio Lupi sticks to defined shapes to deliver design flexibility
The Bemade collection by designer and architect Carlo Colombo is based on a clear set of lines and frames, intended to make the most of the empty spaces within, as well as the lights and shadows around each piece
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Bemade is an evolution of Bespoke, one of Antonio Lupi’s bestselling ranges. It brings the flexibility of composition from its predecessor, but adds the framing and bold volumes to its visual appeal
DESIGNER MAGAZINE B AT H R O O M S
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The range offers a multitude of options for different glass fronts, as well as wooden finishes, or additional open compartments to provide the option for the furniture to be used also in living spaces within the home
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Finishes for the aluminium frame include those already available in the Bespoke range (bronze, titanium, zirconium, and champagne) but Bemade also includes matt black, matt white and lacquered colour options
Antonio Lupi Design / antoniolupi.it Carlo Colombo / carlocolombo.com
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DESIGNER MAGAZINE KITCHEN DESIGN
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Abstract Spirit
Art meets reality in this striking kitchen concept by Israeli designer Ron Gilad‌
The GP kitchen is a concept conceived for a special scheme for a house in the Isola district of Milan. It has been designed with a linear form in a small space and utilises colour as its main component. It comes from the creative imagination of Tel Avivborn designer Ron Gilad, who took inspiration from the iconic 1956 Mark Rothko painting Orange and Yellow for the striking framed space. For this kitchen, Quadrodesign’s Levo tap was chosen, specified In a special PVD rose gold finish.
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Gilad said: “Even if personally I rarely cook, I appreciate food. Talented people around me produce edible artifacts in that room which, in addition to having a good taste, have an aesthetic similar to art; with materials as ingredients. Preparation needs good craftsmanship and the client must be very demanding. As I am.
“The GP kitchen was designed as a kingdom of colours. A space which is a framed Rothko painting, hung on the dining room wall and allows you to enter into its guts. His famous painting Orange and Yellow was appropriated and became the main colour palette. With the help of Quadrodesign’s special finishes, we managed to incorporate the tap to be part of the painting.”
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The Levo kitchen mixer by Quadrodesign was chosen in a special PVD finish
Ron Gilad / rongilad.com Quadrodesign / quadrodesign.it 45
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DESIGNER MAGAZINE HOSPITALITY DESIGN
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DESIGNER MAGAZINE HOSPITALITY DESIGN
Capturing the Essence A stylish new hotel opens in Osaka next month, utilising a striking design vision to reflect its exuberant surroundings The busy urban streetscape of Osaka is the site of the first hotel in Japan from the W hotel group. With a total of 337 guest rooms and suites, W Osaka is located within a 27-story high-rise building by Nikken with a black monolith facade designed by Tadao Ando.
W Osaka’s restaurant, OH.LALA
Created for Sekisui House and Marriott International, and in collaboration with Nikken an Nikken Space Design, the building is due to open in March 2021. The interior scheme is a story of “extravagant simplicity” according to design studio Concrete. 47
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The WET pool and bar at the W Osaka, referencing the neon lights that are characteristic of the city’s bustling nightlife
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The Amsterdam studio’s team of designers explored Osaka’s past, present, and future, its urban and natural landscapes, and its fascinating culture. Visually, they discovered that Osaka is closely connected with water and nature – but also neon and bright colours. They were struck by the contrast between the aesthetic of Japanese minimalism and the extravagance of an urban world saturated with colours, choosing this to be a key to creating the interior look and feel. The goal was to share the spirit of the city with the guests of the hotel and to tell the story of these contrasting facets. Guest room at the W Osaka hotel
Concrete / concreteamsterdam.nl
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DESIGNER MAGAZINE EXIT
EXIT
One last thing from this month’s magazine…
Presented for the first time at the virtual CES exhibition last month, Kohler’s Stillness bath offers a true old-meets-new experience, inspired by ancient Japanese Shinrin-yoku (forest bathing) principles but introducing a host of modern technological touches. For the top-end Infinity Experience version, water fills from the bottom of the bath and overflows into a wood moat, creating a relaxing sound to accompany the lighting options emanating from the base. It also creates fog across the surface of the bath for an extra sensory experience. All the functions of the bath – which will be available in the autumn – can also be controlled using Kohler’s Konnect app.
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