Designer Magazine February 2022 by designerati Magazine

THE SUSTAINABILITY ISSUE FEBRUARY 2022 258

designer Light and Natural The enduring appeal of Scandi style

Solving the Puzzle

Why design must be a vital piece of the climate change picture

Going Bold with Gold

A lesson in ﬂamboyant minimalism

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Making places versatile

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DESIGNER MAGAZINE FEBRUARY 2022 / ISSUE 258

Welcome to the February issue of Designer. There are plenty of recurring themes in the life of a magazine like ours, but none are more important than sustainability. Last year’s COP26 conference in Glasgow focused attention on the work that governments around the world need to do if we are to stand any chance of arresting the potential catastrophic rise in global temperatures and slow the speed of climate change. It’s true that much of the power to fix things rests in the political sphere, but while the scale of what is required can seem daunting, there is a significant role to play for everyone at an individual level – and nowhere is that more the case than in design and architecture. According to government figures, 19% of the UK’s total emissions come from heating our buildings: homes comprise 77%, commercial buildings 14%; and public buildings 10%. New buildings are typically more energy efficient of course, but it is estimated that around 80% of the buildings that will be in operation by 2050 have already been built, so it is clear that there is work to do at all stages of the process, not just in new builds.

From energy efficiency, water conservation, innovative material selection, and designing for longevity, all of these topics and more will feature prominently in our upcoming content. It is no longer a ‘nice to have’ or a premium extra – sustainable thinking throughout the design process needs to truly transition from good practice to standard practice.

M ar t in Martin Allen-Smith Editor, Designer

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e: martin@thedsgroup.co.uk w: designerati.co.uk

@designeratiUK designeratiUK @designeratiUK

SOCIAL

Our recent roundtable discussion – featured in this issue – considered the role of design circularity, and how we can remove waste throughout all stages of design, building, and manufacturing. But it was also clear from the conversation that this is a hugely complex, diverse, and challenging topic to get to grips with. That’s why we’ll be returning to its many facets frequently throughout the coming months, helping to arm designers with the knowledge they need to bring clients and other stakeholders along on the journey.

designerati

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DESIGNER MAGAZINE FEBRUARY 2022 / ISSUE 258

CONTENTS 28

08 SOURCE Our monthly round-up of the people, products and events that matter from across the design sector

brought together a panel of creative experts to consider what more needs to be done to shift the mindset towards better ways of doing things

18 SHOWROOMS A visit to the new Los Angeles showroom of Danish textile brand Kvadrat – a striking space designed by Ronan and Erwan Bouroullec

40 A TASTE OF ORIENTAL HERITAGE Inspired by the glamour of Oriental Art Deco, this Japanesestyle restaurant in Dubai combines the essence of 1920’s aesthetics with a fresh, contemporary edge

22 GREEN THINKING Exploring some sustainable inspiration from across the design sector 28 MAKING GOOD USE Exploring circularity in the design process, Designer

44 LIGHT AND NATURE The enduring appeal of Scandinavian style has much to do with a yearning for nature, warmth and simplicity in the spaces we occupy

52 INDUSTRIAL WAREHOUSE TO CREATIVE POWERHOUSE A former factory has been transformed into a mixed-use venue fusing hospitality and high-tech, sustainable business space 58 THE GOLDEN TOUCH Gold can sometimes lead a design down a somewhat ostentatious path, but when combined with super-minimalist styling, something rather special happens 62 THE HIGH LIFE A meticulous design scheme brings fine materials and luxury living to a city centre apartment in Vienna 66 EXIT A coffee machine with plenty of front

58 05

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Looks different because it works differently The fastest energy efficient HEPA-filtered hand dryer

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DESIGNER MAGAZINE FEBRUARY 2022 / ISSUE 258

EDITORIAL EDITOR MARTIN ALLEN-SMITH martin@thedsgroup.co.uk CONTRIBUTOR ANNA-MARIE CASAS PUBLISHING PUBLISHING DIRECTOR CLARA DEEKS clara@thedsgroup.co.uk MANAGING DIRECTOR ALLISTAIR HUNTER OPERATIONS DIRECTOR TRACY MEAD

MARTIN ALLEN-SMITH

CLARA DEEKS

ANNA-MARIE CASAS

STUART SINCLAIR

DOM LITTLER

AMY NICE

ADVERTISING BRAND MANAGER STUART SINCLAIR stuart@thedsgroup.co.uk MARKETING CREATIVE MARKETING MANAGER DOM LITTLER dom@thedsgroup.co.uk DIGITAL MARKETING APPRENTICE AMY NICE PRODUCTION ART DIRECTOR LEE THOMAS GRAPHIC DESIGNER BEN EMMERSON ACCOUNTS FINANCE DIRECTOR CHRIS CORKE accounts@thedsgroup.co.uk

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THE SUSTAINABILITY ISSUE FEBRUARY 2022 258

designer Light and Natural The enduring appeal of Scandi style

Solving the Puzzle

designerati.co.uk

Why design must be a vital piece of the climate change picture

Going Bold with Gold

A lesson in ﬂamboyant minimalism

Designer Cover Feb 2022 Final.indd 1

INSPIRING PROJECT CREATIVITY 20/01/2022 11:20

Why compromise? +44 (0)1761 241133 sales@bathroom-engineering.co.uk www.bathroom-engineering.co.uk The Boat House, Wirral Park, Glastonbury, Somerset, England BA6 9XE

Choose the design and the finish to match your high standards.

Bathroom Engineering Ltd. is a joint venture and the sole U.K. trading division of TECE GmbH

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DESIGNER MAGAZINE FEBRUARY 2022

Green Supreme

The Oasi kitchen, designed by Studio Boeri Architetti for ARAN Cucine, focuses attention on the vegetation in the kitchen. It can incorporate a fruit tree, herbs or other plants within a versatile range of configurations. The design’s sustainability goal extends to material choices too. The doors of the island are in oxidized oak from recycled wood, while the worktop is made from long lasting solid surface.

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DESIGNER MAGAZINE FEBRUARY 2022

designerati.co.uk

BATH MASTER

Adding a traditional element to the bathroom, the shape and lines of the Cian Marble-effect Bampton bath have been inspired by early 20th Century fire clay baths. Suitable for smaller spaces, the bath is only 1555mm long but provides a large bathing area, thanks to its ultra-thin rim. Barrie Cutchie, Design Director at BC Designs, said: “Marble is a majestic material that we associate with some of the most lavish interiors in the world. However, it’s a material that is both extremely expensive and requires specialist care to maintain it.

Aran Cucine / arancucine.com

“Replicating marble is a fantastic alternative and can bring that glamorous, sophisticated look to the home without the cons. Marble is also a material that we associated with the spa trend, which continues to be a big hitter in the bathroom world. Our new marble bath adds a new dimension to the trend and can be used as a standalone piece, or alongside other marble-inspired items such as large format tiles.”

BC Designs / bcdesigns.co.uk

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DESIGNER MAGAZINE FEBRUARY 2022

Fresh Flooring Flooring brand Amtico has refreshed its Spacia range of luxury vinyl tiles. The range now features over 90 products – 46 woods and 48 stones – intended to help architects, designers and speciﬁers meet client briefs, and create a sense of calm through the wellbeing beneﬁts of biophilia.

Amtico / amtico.com/commercial

Woods have been arranged into six palettes – including Cool, Warm and the new Golden tones – to provide a variety of texture and colour. Also added for 2022, Heritage Oaks offer a reclaimed timber aesthetic with worn grains and sawn mark detailing. Spacia’s Stones have also undergone a refresh, with 48 products now available across seven palettes, including Marble, Terrazzo and Tones. Lorna Williams, Amtico’s Head of Product Design and Visual Creation, said: “The new 2022 collection has been designed to inspire and create a sense of calm, with our design team also addressing the need for subtle yet contemporary colours and patterns in commercial interiors. The results are new products, textures and patterns that not only look impressive when speciﬁed on their own to ﬂood an area, but also work together beautifully, either to zone open-plan spaces or within different rooms of a project.”

Setting a High Bar Danish Eco-design brand TAKT has added new finish options to its Pearson Lloyddesigned range Cross, including this bar chair in a range of finishes. The chair is available at two seat heights – 75cm for bars and 65cm for countertops – and in two material variants. The Cross Bar Chair is made entirely from oak, while the Cross Bar Chair Tube features a black frame in recyclable high-pressure steel. With three timber finishes – oiled oak, smoked oak and black-lacquered oak – and optional upholstery materials including cognac and black leather, and three textiles (sand grey, dark petrol and golden ochre), both versions of the chair can be adapted to suit interiors of different styles.

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TAKT / taktcph.com Pearson Lloyd / pearsonlloyd.com

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The tap that does it all 100°C BOILING, CHILLED AND SPARKLING WATER With a Quooker in your showroom you can offer your customers the only tap in the world that dispenses true 100°C boiling, chilled and sparkling water. Well-known, extremely popular, and already sought after by your customers thanks to our extensive national marketing campaigns. Quooker offers high-quality, innovative kitchen taps that are already being used by millions of households throughout the world. As an official Quooker dealer, our in-house service team will take care of all after sales matters for you, and we can even arrange installation by a Quooker engineer. We also have a unique industry-leading virtual online platform that enables consumers to choose the right product for their kitchen without your involvement. This way, you can focus on what you are good at: selling beautiful kitchens. Contact us for more information on how to become a Quooker dealer.

Quooker UK Ltd. Beaumont Buildings Great Ducie Street Manchester M3 1PQ +44 (0)1617 685 900 enquiries@quooker.co.uk www.quooker.co.uk

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DESIGNER MAGAZINE FEBRUARY 2022

STRIVING FOR IMPERFECTON

Inspired by the ancient Japanese aesthetic of wabi-sabi and acceptance of the imperfect and transient, Imperfection is the new sustainable carpet tile collection designed and made in Belgium by IVC Commercial. Imperfection explores the idea that beauty is found in the impermanent and incomplete and that by being more accepting of flaws, defects and marks, we can achieve a mindset that finds beauty

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in the imperfect, creating a mood of open-mindedness and relaxation in offices. Vanessa Van Overmeeren, Product Director Carpet Tiles at IVC, is responsible for the design of imperfection. She said: “We exist in a world where there is consistent expectation to achieve perfection in our work. The natural human response to this is to feel stress and pressure, which affect our wellbeing and mindset. We believe

that it’s our role to provide a counterbalance to these negative influences through design, so that stakeholders feel they are in an environment that is both supportive and encouraging. “Imperfection is a pure translation of this duty, a design inspired by the ancient Japanese worldview that beauty is found in the impermanent and incomplete. It encourages us to embrace mistakes, adopt an accepting

mindset and be more accommodating of flaws – it’s a carpet tile for open-minded, collaborative and encouraging places to work.” The Imperfection carpet tile collection is available in three designs – Grit, Bruut and Rupture. Grit is an all-over grain, Bruut is a raw textured design, and Rupture’s golden crack is a homage to the ancient Japanese craft of Kintsugi. The designs can be used together in any combination.

IVC Commercial / ivc-commercial.com

20/01/2022 21:18

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ASH ELM BAVARIAN BRASILICA BEECH OAK IROKO CHERRY MAHOGANY WENGE

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MORE THAN A SURFACE

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DESIGNER MAGAZINE FEBRUARY 2022

Richard Rogers (1933-2021)

One of the most important and influential architects of the modern era, Richard Rogers has died, aged 88. Responsible for some of the most iconic and groundbreaking architectural projects of the past century, Rogers leaves a legacy of work that has challenged and inspired in equal measure, writes Martin Allen-Smith

Often controversial when first built, some of Rogers’ most striking designs – such as the Pompidou Centre in Paris (designed with Italian architect Renzo Piano) and the headquarters of Lloyd’s of London in the City of London – turned conventional architecture on its head, creating new ways of viewing buildings and the components that made them tick. In both cases, lifts, ducting, and other amenities were exposed on the outside of the building, creating large, open, and flexible internal spaces and an outside perspective that was both unusual and – to many – shocking. Rogers was born in Florence, Italy, moving to Britain when he was just six, to escape the rise of fascism. The change in lifestyle was tough, with his family living in a single room in a London boarding house and at a time of rationing. He later recalled, “life switched from colour to black and white”. He subsequently went to boarding school where things were equally tough, having to cope with bullying and the impact of dyslexia. He left school in 1951 without A-levels. He overcame his difficulties with both writing and drawing to train at the Architectural Association School of Architecture in London before graduating with a master’s degree from Yale University. He went on to set up his Team 4 architecture practice with three other architects, including Norman Foster, before later joining forces with Renzo Piano and going on to create his breakthrough project, the Pompidou Centre. Other creations during a remarkable career included the European Court of Human Rights in Strasbourg, the Welsh Parliament Senedd building in Cardiff, Terminal 5 at Heathrow Airport, and

Terminal 4 of Madrid’s Barajas Airport. He also built 3 World Trade Centre in New York, an 80-storey skyscraper on the site of the former Twin Towers. Leading the tributes to Rogers, his former fellow student and colleague Norman Foster said: “Richard was gregarious, outgoing, generous and possessed an infectious zest for life. His buildings are a social mirror of that personality – open, welcoming and, like his wardrobe, elegantly colourful. “The Rogers signature is an architecture that makes manifest and celebrates the role of the structure. Technology comes to mind in my reference to his architecture, but it is always as a means to the social agenda. Given Richard’s passion for the community spirit of a building, it is perhaps no surprise that he was a lover of cities and championed their cause as a committed urbanist. “Richard Rogers was a great pioneering architect of the modern age, socially committed and an influential protagonist for the best of city life – such a legacy. I will miss you dearly.” Rogers, who was knighted in 1991 for services to architecture, won many of the profession’s highest honours, including the RIBA Royal Gold Medal in 1985, the Stirling Prize in 2006 and 2009, and in 2007 was made Laureate of The Pritzker Prize. He was made a peer in 1996, becoming Baron Rogers of Riverside. In a statement issued by Rogers Stirk Harbour + Partners, the practice he founded, colleagues paid tribute to its figurehead: “For the four decades and more that we have all variously shared with him, he will be remembered as a colleague and friend, who was gregarious, always

“You’d better take it again – I think I had my eyes closed.”

There was a lavish dinner to announce the winners of the 2014 London Design Medal, and a standing ovation for Sir Richard Rogers, who was there to receive the Lifetime Achievement Award. Sir Richard was given the Coutts Lifetime Achievement Medal, which “honours an individual who has made significant and fundamental contributions to the design industry over their career”. Photography: Barbara Chandler (@sunnygran) completely free of status, always inclusive, always exploring and looking ahead. “A man of immense drive and charisma, he was equally a man of civility and integrity, dedicated to the art and science of architecture, of urbanism, the life of the city, of political commitment and positive social change. “His love of people, of discussion, the sharing of views, of exploring new paths and of co-operative and creative working, was reflected in the practice he founded, and which continues to espouse and develop those ideals today.”

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and new g n u o y n o g in s les focu urney jo ir e th d n a A series of artic e c es they fa g n e ll a h c e th co.uk , i. t a r e n ig s designers e d to read on le b a il a v a w o so far. N

New

tale

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Rudi Hynes

Junior designer, Milc Interiors

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DESIGNER MAGAZINE SHOWROOMS

Photography: Studio Bouroullec

KVADRAT

Danish textile manufacturer Kvadrat has opened a new flagship showroom in the US, designed by Ronan and Erwan Bouroullec. The new Los Angeles location – Kvadrat’s second showroom in America – is located in LA’s Arts District, and marks the latest chapter in an ongoing collaboration between the brand and the acclaimed Bouroullec brothers. The designers have created a two-storey wooden construction within the showroom: the raw, over-dimensioned beams are reminiscent of the original settler homes. It is crafted from Douglas Fir Wood harvested from responsibly managed forests, and in front of the wooden structure, a light-filled gallery space welcomes visitors. Erwan Bouroullec said: “North America and Europe may have a lot in common, but they also adopt many different approaches when it comes to design. In developing the showroom, we wanted to convey Kvadrat’s design philosophy and culture across the Atlantic. So, we created a space that illuminates Kvadrat’s clear approach to materiality and design – and direct yet understated, distinctively warm culture.”

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DESIGNER MAGAZINE SHOWROOMS

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DESIGNER MAGAZINE SHOWROOMS

The wooden E-shaped house incorporates work zones on its top level and a social area at its heart, with meeting rooms on the ground floor. Bold textile panels, featuring a unique graphic knitted design created by Erwan Bouroullec with Kvadrat Febrik, adorn the walls. Sculptural art textiles by Erwan Bouroullec – part of the Color Bloc series also created for the showroom launch – add a further dimension of colour and materiality to the experience of the meeting rooms. They are fabricated with a thin metal backing and can be shaped into intriguing forms that are characterised as ‘hyper textures’. The shelving and hanging system originally developed by the Bouroullecs for Kvadrat’s Copenhagen flagship showroom, further defines the space. Made from CNC milled anodised aluminium and hung from a flexible track system, it displays large pieces of upholstery textiles, curtains and rugs from the brands in the Kvadrat portfolio.

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Anders Byriel, Kvadrat’s CEO, said: “We have received an extremely warm welcome in the US. Our team has already built a strong client base and we have many exiting projects in the pipeline. Our new flagship showroom in LA embodies everything Kvadrat stands for – materiality, colour, and engineering. It also shines a light on Ronan and Erwan Bouroullec’s deep understanding of our brand in a truly immersive fashion. It’s a vibrant yet tranquil space that tempts you to stay awhile and explore the novelties on display.”

We're ranked top 1% in sustainability performance

Kvadrat Los Angeles / 691 Imperial Street, Los Angeles, CA 90021, USA / kvadrat.dk/en/ la-showroom

W: EGECARPETS.COM / E: LONDON.SHOWROOM@EGECARPETS.COM T: 020 7336 0992 / LINKEDIN.COM/EGECARPETSUK

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DESIGNER MAGAZINE SUSTAINABLE DESIGN

GREEN THINKING Exploring some sustainable inspiration from across the design sector…

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DESIGNER MAGAZINE SUSTAINABLE DESIGN

NATURAL LIVING

The Forestias is a property development in Thailand centered around 48,000 sqm of urban forest. As well as residential buildings, the project includes the striking Forest Pavilion, created by TK Studio. Currently functioning as a sales gallery, it will be converted into an ecosystem learning centre for sharing knowledge about the site and the beneﬁts of living side-by-side with nature. TK Studio / tkstudio.co.th

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DESIGNER MAGAZINE SUSTAINABLE DESIGN

MATERIAL MERIT PaperStone is a sustainable material made from recycled paper and natural petroleum-free phenolic resin with natural pigments. Available in the UK through CDUK, the material has obtained environmental certiﬁcations from the Forest Stewardship Council and the material qualiﬁes for bio-building use and assignment of LEED credits. Selected colours are produced from 100% FSC recycled paper and cardboard. Paperstone / cdukltd.co.uk/paperstone

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PLASTIC FANTASTIC

DESIGNER MAGAZINE SUSTAINABLE DESIGN

HÅG Tion by Flokk has been created in collaboration with no less than three design studios and is designed for use in any kind of workspace, whether a home office or traditional office. It is the result of work between the Flokk in-house design team, and three highly revered design studios: Oslo’s Anderssen & Voll; Swiss designers BIGGAME; and Londonbased Norwegians Hunting & Narud. The use of colour-sorted postconsumer plastics marks a major breakthrough for the brand, allowing Flokk to broaden its plastic colour palette – previously limited to black – to include a range of different shades. Made with energy-efficient processes using recycled and renewable materials wherever possible – including 94% post-consumer plastics to form the seat and backrest shells and 97 – 98% recycled aluminium for the base and optional armrests, it has the lowest carbon footprint of any task chair in the Flokk portfolio, making it the brand’s most sustainable to date. Versions featuring wood will be made using responsibly sourced timber, and easily removable upholstery options include a variety of sustainable fabrics, selected to meet EU Ecolabel criteria. Textiles available include both wool and postconsumer recycled polyester, chosen for their durability and longevity. Atle Thiis-Messel, Vice President for Sustainability at Flokk, said: “With the introduction of colour-sorted post-consumer plastics, HÅG Tion is breaking barriers for Flokk by setting the standard for how to transfer more trash and resources astray into beautiful high-quality products. HÅG Tion is a true manifestation of Flokk’s ongoing efforts to reach several of our 2030 sustainability goals – such as using 1,500 tonnes of recycled plastics in our products by 2025 and having 60% recycled materials on average in our entire portfolio by 2030.” Flokk / flokk.com

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DESIGNER MAGAZINE SUSTAINABLE DESIGN

Fritz Hansen’s NO2 Recycle chair has been designed in collaboration with Japanese studio Nendo and crafted using plastic household waste, processed and upcycled in central Europe. It is available in 4-leg, sledge and swivel base versions and variable heights. Christian Andresen, head of design at Fritz Hansen, said: “We wanted to do a versatile, plastic stacking chair in recycled materials. Collaborating with Studio Nendo meant the design would be simple and elegant – the perfect blend of Scandinavian and Japanese aesthetics.” Fritz Hansen / fritzhansen.com

Tile manufacturer Mosa says 99% of its products which were previously certified at the Silver level, are now Gold certified according to version 3.1 of the Cradle to Cradle Certified Product Standard. Awarded by the Cradle to Cradle Products Innovation Institute, the certification is a science-based standard for ensuring sustainable products. Mosa adopted cradle to cradle principles over a decade ago, becoming the first ceramic tile manufacturer to achieve certification for its products. Frank Spikker, Mosa’s CEO, said: “Reaching Cradle to Cradle Certified Gold is a milestone that demonstrates the importance of continually pushing the boundaries of sustainability for our products, our processes and our industry. This achievement is the culmination of years of investment, innovation and commitment from everyone within our organization and from valued partners across our supply chain.” Mosa / mosa.com

UK shower manufacturer Roman recently achieved carbon neutral certiﬁcation from the Carbon Trust. With a signiﬁcant focus on materials and the circular economy, Roman has introduced a host of measures at its factory in Newton Aycliffe, Country Durham, including a commitment to only using recycled aluminium and ensuring all packaging is recycled cardboard. The companywide emphasis on recycling has also led to many initiatives within the business to eliminate single use plastics within day-to-day operations, as well as focusing on reducing emissions from employee’s commuting and business travel. The company’s progress was acknowledged by the Bathroom Manufacturers Association late last year, winning the circular economy category at the BMA’s inaugural Sustainability Awards. Roman / roman-showers.com

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Timeless Elegance... the stunning Coupe range from Knightsbridge Furniture.

Knightsbridge handcrafts beautifully designed contract furniture in the heart of Yorkshire. Contact 01274 731 900 or enquiries@knightsbridge-furniture.co.uk to find out more.

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20/01/2022 20:35

DESIGNER MAGAZINE ROUNDTABLE / CIRCULARITY IN DESIGN

GOING FULL CIRCLE With climate change at the forefront of political and societal thinking after last year’s COP26 conference, how has the architecture and design sector raised its game to help head off the global warming emergency we face?

We brought together a panel of sustainability experts to consider the need to evolve towards waste reduction by designing circularity into every stage of the design and manufacturing process…

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DESIGNER MAGAZINE ROUNDTABLE / CIRCULARITY IN DESIGN

THE PANEL Ella Fathi, Design Director, Oktra Joanna Knight, Sustainability and Circular Economy Manager, Women in Oﬃce Design Ana Rita Martins, Senior Associate for Sustainability & Design, Woodalls Deepak Parmar, Design Director, MCM Lydia Randall, Director, BDG architecture + design Ian Weddell, CEO, USM UK

IAN WEDDELL

ELLA FATHI ANA RITA MARTINS

DEEPAK PARMAR JOANNA KNIGHT

Chair: Martin Allen-Smith LYDIA RANDALL

In association with

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DESIGNER MAGAZINE ROUNDTABLE / CIRCULARITY IN DESIGN

The built environment accounts for around 40% of the UK’s total carbon footprint, with almost half of that from energy used in buildings. Newly constructed buildings are of course more energy efficient, but 80% of buildings in 2050 have already been built, so a major priority is decarbonising existing stock. Everyone working in architecture and interiors has a vital role to play in helping to ensure every project they work on adopts sustainable principles, from reducing energy emissions, utilising sustainable materials, and considering what happens at the end of the life of a product or building. So where does design and architecture stand right now? How much progress has been made on the journey? Joanna Knight, Sustainability and Circular Economy Manager for Women in Office Design, said: “There’s a lot of talk and recognition that change needs to happen, and we’ve come a long way even in the last 18 months or so. But in terms of actually making change happen, we’ve got a hell of a long way to go and design has a big part to play in that. Product design has got to change – and I mean fundamentally rather than some of the recent focus which has been on just making existing processes a little bit ‘greener’ – but also the fit-out process has got to change from a logistics point of view. How do you reverse products back logistically so that they can be reintroduced. “Some designers say that they will only use recycled products from now on, but that is a fundamental problem because there is not enough out there at the moment, therefore that approach compromises your design. So the big question is how do we facilitate that change as an industry?” Deepak Parmar, Design Director at MCM, added: “I think ‘industry’ is the key word there. I get the sense that over the past couple of years or so, many have looked to

“Being able to measure product sustainability can be a real grey area. It’s not only furniture, but there are different ways of measuring wall finishes or pretty much anything else. It’s a minefield out there” Deepak Parmar, Design Director, MCM

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use sustainability as a competitive advantage when actually this is part of something more important. I was speaking to a structural engineer recently whose company has developed a tool to not only measure carbon structurally across a project, and link it up with the RICS so that it can be shared with all structural engineers, but they’ve also created a marketplace for recycled steel. Obviously, it’s far more difficult for our industry because we have hundreds and thousands of products so the management of that would be insane, but I think much more has to be done across an industry level. “The challenge for manufacturers is in being able to make that kind of big change, given the huge potential costs involved.”

CLIENT-DRIVEN DEMAND

“Designers should be more conscious of adaptive re-use in their designs… it’s important that they consider what happens at the end of the lifecycle, either for interiors or buildings as a whole” Ian Weddell, CEO, USM UK

Ian Weddell, CEO of USM UK, which hosted the roundtable discussion at its showroom in Clerkenwell, London, believes that it has to come from the client, not necessarily from the industry. “In the last couple of years, this has become a conversation that clients are prepared to have, and by clients, I mean everyone from CEO’s of blue-chip companies in commercial projects through to private home owners. Our own product has been circular in its production since 1965, but it has not been until the last year or so that anyone has shown any specific interest in that aspect in reality. There were some visionaries who ‘got it’, and have been customers for 40 years or so and re-used the product when they have redesigned their offices. “But I think it has to come from the client, and then the industry has to deliver. I think many within the industry don’t quite understand what they need to do. Some think that creating one product with a circular label on it is enough, but it has to go far wider and deeper than that.”

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Fundamentally, creating waste represents a real failing in the design process. In their book Frugal Innovation, Navi Radjou and Jaideep Prabhu point out: “Over 70% of a product’s lifecycle costs and environmental footprint is determined during its design phase.” They add that the current model for taking finite resources, using them for a short period of time, and then permanently losing them from the economy, is a waste of not just materials, but also the creativity, labour, and energy that went into them. Ana Rita Martins, Senior Associate for Sustainability & Design at Woodalls said: “What I find is that clients are keen to make commitments, set goals, but are not always sure how to get there. Sometimes it is about thinking a little differently. For example, if you’re doing a workspace fit-out that is going to be for only three-years or so, why not rent the furniture instead of buying it. It leads us to go beyond a ‘re-use’ way of thinking.” Weddell asked over what period companies are looking to re-coup carbon from a project – do they need to think about the impact over 100 years, or are they focused more on the short term? Knight said: “The problem is, we’re probably talking 3-5 years roughly speaking. It is why extending manufacturer responsibility is probably the only way to drive it because it is the manufacturers who have the knowledge to be able to introduce a circular approach. If its left to the end user, yes of course they need to buy into the concept, but they won’t know how to actually implement it.”

SERVICE-ORIENTED APPROACH

A shift to a service-oriented approach could offer part of the solution, said Lydia Randall, Director at BDG architecture + design, pointing to the example of Philips Lighting and its

“There are so many individual factors that make up the true picture of whether a product is sustainable and it all needs to be added into the equation” Ana Rita Martins, Senior Associate for Sustainability & Design, Woodalls

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“I think it’s very difficult if you as a designer don’t really understand what sustainability or circularity really means for you, because if you’re not asking the right questions then you won’t get the full picture” Ella Fathi, Design Director, Oktra

‘light as a service’ model implemented at Amsterdam’s Schiphol Airport since 2015. It sees the manufacturer maintain responsibility for the performance and durability of the system and ultimately its re-use and recycling at end of life. Weddell says furniture as a service is something USM is looking at. “If you’re a CEO of a big firm, you may have no idea how you will want your office to look in two years’ time. So how on earth do you furnish it? The problem is of course that the furniture industry as a whole isn’t geared up for it. We’ve had 50 years of ‘selling’ furniture so to switch to a different model represents a big change. But it’s that sort of model I think we should be open to.” While clients in some areas of the market are switched on to sustainability as an important priority in a project, not all sectors are the same. Ella Fathi, Design Director at Oktra, explained: “It’s interesting to hear about clients who are talking about what they want in terms of these kinds of goals. I don’t have the privilege of that type of client. Fitout in the areas I’m involved with is designed on speed. That is the model, and it is set up to be quick and as a result it is more wasteful. “I do not think it will change – and I say this having spent many years thinking I can change the industry and the business model. I can’t. The model is primarily based on making money. If there is going to be progress, it will have to be top-down from the business leaders, who need to be thinking about how they are making their money. “At this point in time, it’s more beneficial for them to tear something down and re-build, going into a fully usable Cat B space, and pulling it down and starting again. Even where there is an opportunity for re-using or keeping areas, when it comes to money, there is just not a commercial case for it.

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So something else will have to force the change.” Knight asked: “Perhaps taxation would help that? Getting rid of waste is far too cheap.” “A lot of our clients are landlords,” said Fathi. “If there was pressure on landlords in terms of what they need to be doing with the property that they own, then they would be making decisions from the topdown, which would then potentially go to the person who will be taking over that lease, and then on to us as designers who are tasked with fitting out that space. That’s how the cycle could start. “We know what we need to do, and why we need to do it. The next challenge is working out how. In our industry, after many years of frustration, I realise I can’t wait for the top-down – I need to push things from the bottom up, which means educating people. It means looking at how to share knowledge in an open-source way with my team and everyone we work with. Sustainability should not be a monetised piece of knowledge to sit on and keep to yourself. If we are taking these concepts and thinking solely about how to make more money from them then we are really not doing the right things to begin with.”

CHANGING THE MINDSET

BDG’s Randall said: “In terms of where are we now, I think people are much more aware of the issues, but it is going to take pressure from both directions – top-down and bottom-up – to really create change.” Fathi replied that within the design industry as a whole, things are typically driven by ‘new and shiny’; it’s what is promoted in magazines or seen as what we should strive towards. “So there is a sense for both designer and client that this is something you

“I think people are much more aware of the issues, but it is going to take pressure from both directions – topdown and bottom-up – to really create change” Lydia Randall, Director, BDG architecture + design

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need to achieve. I wonder if we need to be thinking more about this and what it represents, and instead to see how it could become more attractive to work on projects in which we are re-using things that do not have to look new. “It comes down to defining what is ‘best practice’. It is really important because it shapes the outlook of new, up-and-coming designers.” But does such a shift mean accepting a compromise on aesthetics in order to achieve sustainable goals? MCM’s Parmar said: “I think it comes down to how you define aesthetics. Someone said to me recently that it would make sense for all companies to use serviced offices. After all, they all have the same kinds of needs in terms of desks, equipment, meeting spaces etc. But my response is, bring me a client who doesn’t have the word ‘unique’ in their brief. Every single client says they want this bespoke office, perhaps because it is so important to shape that company’s own culture. “But perhaps the issue is more about that aspiration that Ella mentions of everything having to be new and shiny. If we just changed the perception of is good design – and I think we can all agree that good design should fundamentally be sustainable – then some of this could progress.” Fathi suggests that a good parallel could be found in fashion, where it does not always have to be about ‘new’: “There is merit in re-using old clothes from vintage stores. Your form of expression through clothes doesn’t change because you go from new to old; you still have your flair, your aesthetic. But the mindset has shifted away from it always having to be brand new. “This is where we need to get to with clients, who are proud of their office not because of the high-tech newness of it all, but how much was re-used.”

It can be a storytelling device, said Parmar. “The easiest way to sell an idea to a client is if there is a compelling story behind it. We can tell that narrative in a different way – and it doesn’t have to be hard. After all, all my clients have really aggressive and committed sustainability strategies, but they don’t all know exactly how to implement these aims in design decisions for example.” Woodalls’ Martins added: “If you can demonstrate the long-term cost savings of certain products then it can help to focus the mind. Some product types are quite easy to do this – tap fittings or light fittings for example – but it is not always so straightforward for furniture in terms of showing the benefits of the durability, flexibility as a sustainability or green cost.

“But it also goes back to an industry business model that makes it more expensive for you to ask a new supplier to take back old furniture than it is for you to dispose of it yourself.”

CUTTING THROUGH THE GREENWASH

Weddell asked the rest of the panel: “So when you’re talking to manufacturers, they will all be telling you they have the greenest product in the world. Clearly some have and some haven’t. How do you tell who is telling the true story?” Fathi replied: “I think it’s very difficult if you as a designer don’t really understand what sustainability or circularity really means for you, because if you’re not asking the right questions then you won’t get the full picture from whoever is coming in to show you their products. So, a manufacturer could come to you and tell you that they re-use 45% of fishing nets from a particular country. You may say, ‘great, but can you tell me what your takeback policy is?’, and if they don’t even know what you’re asking them then you realise there is a degree of greenwashing going on there.” Parmar agreed: “Being able to measure it all is a real grey area. It’s not only furniture, but there are different ways of measuring wall finishes or pretty much anything else. It’s a minefield out there.” Martins of Woodalls believes that there are a complex set of elements that need to be considered: “There are so many individual factors that make up the true picture of whether a product is sustainable and it all needs to be added into the equation. You have to consider transport, assembly whether a product is easy to dissemble, is it easy to recycle. We need an efficient way to make sense of all this, perhaps through thirdparty certification.”

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Knight replied: “But then there could be many innovative manufacturers that would be excluded from the process purely because they cannot afford the certification process.” Weddell said: “At USM, we’re signed up to science-based targets for example, which gives a measure of performance. We are measuring upstream and downstream with a carbon audit, which will help shape our future decisions as a business on how we can improve our carbon footprint in incremental steps. We’re a steel-based product manufacturer, and our objective by 2030 is to procure green steel. I think manufacturers can take a lead by committing to some of the established norms such as science-based targets which are online and visible.” BDG’s Randall pointed out: “It is about education, and in pitches to clients we discuss all of these factors. But crucially, money does talk, so you also need to detail the payback period of certain costs. I think the sustainable return on investment is a really important aspect – profit shouldn’t be considered a dirty word because ultimately it is what everyone is in business to do.”

“We’ve come a long way even in the last 18 months or so. But in terms of actually making change happen, we’ve got a hell of a long way to go and design has a big part to play in that” Joanna Knight, Sustainability and Circular Economy Manager, Women in Office Design

POOLING IDEAS

Oktra’s Fathi believes that sharing knowledge is vitally important. “We talk about urban mining when it comes to products – what’s in the urban environment and how we can mine it into a different space – but what about urban mining in terms of knowledge? Everyone around this table has ideas and experiences, but how do we make sure we’re not reinventing the wheel all the time? “I think of other industries that are good at this, and I consider healthcare and science, where there are journals where innovative work is shared. How can we make sure there is a platform within design where we hear

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about and understand what other people are doing?” Knight played devil’s advocate: “I agree, but if an architecture practice has spent a lot of money on researching ways to come up with these answers, they may question why they should give it away for nothing.” Fathi replied: “If they did it for the right reasons, they may not have a problem sharing it because it will make it all the more impactful throughout the industry.” Post COP26, has decision-making changed towards a more circular approach to design and architecture, or do we still face a huge task in focusing principles and practice on towards new ways of working? Perhaps the recent case of Marks & Spencer’s controversial proposal to demolish and rebuild its flagship Oxford Street store in London rather than refurbish it, suggests a continued disconnect between those who feel re-use is the way ahead, versus those who believe the long-term payback of starting from scratch with a more modern building would prove more beneficial. Either way, the reputational storm clouds that gathered around a retailer which prides itself on its sustainable responsibility have been significant. Fathi said: “In a way, on a broader level it is a good thing that such a storm is happening, because it sends a signal. Even if this particular building

does not end up being a successful precedent project, it could help other large corporations to understand that such commercial decisions have implications on a societal level. So, it’s a healthy conversation to be having.” With so many ‘big picture’ issues to address, it can be dispiriting for designers and architects on an individual level in trying to identify meaningful ways they can make a difference. We asked the panel for some practical objectives that they feel could help us all to raise our sustainability game in the here and now. USM’s Weddell said: “Designers should be more conscious of adaptive re-use in their designs. Even if they’re just looking three years ahead, it’s important that they consider what happens at the end of that, either for interiors or buildings as a whole.”

JOINED-UP THINKING

Oktra’s Fathi believes that a radical approach to knowledge sharing is particularly important. “If you see something that could make a difference in any context, share that. By opening up these conversations, hearing about other people’s challenges and solutions, we can make a massive impact moving forward. It’s how grassroots organisations grow strong, by sharing information and linking up. We just need to link up more as an industry.”

Bridging the gap between ideas and reality are key for Ana Rita Martins of Woodalls. She explains: “Make sure that your concept and sustainability approach flows through to reality. It is not just a case of meeting the requirements of certification and getting good ratings on paper – it needs to flow through operationally to ensure that the resulting building really does what it needs to in the short and long term.” Knight added that customers will most definitely have a big role to play: “Designers and clients combined will be fundamental to driving change within the manufacturing sector. Demand will commercially force change.” Randall agreed, adding: “I would also say stakeholder engagement throughout the process is really important, right from the initial pitch stage, through developing the brief and setting targets that the board can buy into.” On a basic level, there is something everyone – designer and nondesigner alike – can do, and that is to consume less. MCM’s Parmar said: “There is a perception that we should have everything. It’s a consumerist perception that I think fundamentally we need to change. We shouldn’t necessarily have it all. It would be good if people reevaluated their needs – or even sense of entitlement – and help to address some of the challenges we all face.”

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DESIGNER MAGAZINE RESTAURANT DESIGN

A Taste of Oriental Heritage Inspired by the glamour of Oriental Art Deco, this Japanese-style restaurant in Dubai combines the essence of 1920’s aesthetics with a fresh, contemporary edge

ondon-based design studio Pirajean Lees developed the interior concept behind Dubai restaurant Mimi Kakushi. Inspired by traditional Japanese joinery and principles of living, the space is a celebration of oriental art deco, blending Japanese heritage with new thinking. The interiors feature a carefully composed selection of architectural elements, original furniture and handcrafted accessories. With light taking a prominent role, bespoke stained-glass windows and indirect architectural lighting highlight the restaurant’s decorative details, varying textures and natural materials used throughout the space.

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Pirajean Lees aimed to create a sophisticated space offering a unique client experience to help the restaurant to differentiate itself within Dubai’s saturated restaurant scene. Formerly a nightclub, the space had been stripped back to an empty shell requiring a complete transformation. From the largescale architectural elements to the relationship between tableware and tables, every aspect of the design was considered as part of the project. The interior design concept is built around 1920s Japan and follows the persona of Sessue Hayakwa, a Hollywood heartthrob and the first Asian movie star of the

1920s. Known for his lavish parties, gold-plated car and castle-style mansion, Hayakwa’s story became the foundation for the design, allowing Clémence Pirajean and James Lees, co-founders of Pirajean Lees, to create a space that captured his character and essence through the use of textures, materials, mood and atmosphere. Respecting the building’s original structure and architectural features – including level changes in the ceiling and structural columns – shaped the spatial layout. Guests are guided through the restaurant, exploring the interiors on their journey. They are welcomed by hand

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painted walls, meeting the concierge at reception, past the colonial Japanese bar and viewing across the sushi counter to the tables. The open kitchen is visible throughout the space, creating a dynamic atmosphere while the chefs are at work and the fire of the grill is burning. All mechanical equipment and ventilation is concealed above the straw ceiling grid, ventilating discreetly between dark wooden beams, helping to preserve something of a residential feel in a commercial space. Due to its elevated position, double exposure and fully glazed elevations, Pirajean Lees had to

carefully control and guide the light into the space, giving it a prominent role in the design. To the east, a bespoke stained window of amber and red glass dresses the existing facade whilst allowing warm light to bathe the space during the day. To the south, the duo created a bespoke curtain of wooden beads and introduced mirrored tables and walls, reflecting light through the space, transforming the sunset into an interior feature. Red high gloss lacquer used throughout the interiors absorbs the light for a more tamed experience where necessary.

In addition to creating the architectural details, Pirajean Lees has designed all lighting, tables and a selection of seating to furnish the space. The tables feature scalloped edges that soften their geometry. Turned wood beams, wallpapers, handpainted Japanese landscapes, all add layers of detail to the space. The sliding screens divide the open space into a sequence of smaller areas and volumes, giving flexibility on how to use the restaurant, while a layered lattice of dark timber provides a balance of transparency versus privacy.

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DESIGNER MAGAZINE SCANDI DESIGN

LIGHT & NATURE

The enduring appeal of Scandinavian style has much to do with a yearning for natural, warm simplicity in the spaces we occupy…

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DESIGNER MAGAZINE SCANDI DESIGN

Commercial and hospitality chair specialist Summit fitted out this café with its BUGG chair design which combines a steel chassis with elegantly-shaped wood. Summit / summitchairs.co.uk BerryAlloc flooring shown in Lime Oak from the Pure Click 55 Collection. BerryAlloc / berryalloc.com

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DESIGNER MAGAZINE SCANDI DESIGN

Photography: Billy Bolton

The kitchen of a West London home designed by TR Studio and featuring furniture by Sebastian Cox for deVOL. It includes black stained beech cabinetry, a marble backsplash, and copper worktop. TR Studio / trstudio.co.uk

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DESIGNER MAGAZINE SCANDI DESIGN

Naturewall offers an alternative way to achieve texture for walls. Its collection includes woodwall paneling, easilyapplied 3D rustic panels, and selfadhesive planks in a Scandinavian design. Naturewall / naturewall.co.uk

Scandinavian-style kitchens made possible by British designer and manufacturer Daval in the form of two new contemporary finishes: Alaskan Oak, a white-washed oak effect with naturalistic knots and cracks; and Talpa, a contemporary matt finish in taupe. Daval Furniture / daval-furniture.co.uk

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DESIGNER MAGAZINE SCANDI DESIGN

Natural flooring and rug brand Sisal & Seagrass Coastline Dune natural sisal floor. Sisal & Seagrass / sisalandseagrass.co.uk

Linear Edge kitchen design by Harvey Jones, demonstrating Scandi simplicity. Harvey Jones / harveyjones.com

An outdoor kitchen on the coast of southern Norway utilises Lundhs Royal surfaces and integrated sink to top the Accoya wood cabinetry fronts of the bespoke design. Lundhs Real Stone / lundhsrealstone.com/uk

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Poggenpohl has 17 points of sale throughout the UK & Ireland · uk@poggenpohl.com For your nearest Poggenpohl Studio please go to www.poggenpohl.com

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The Boutique Hotel Boathouse in Paddington, launched in partnership with interior design brand made.com and available to hire through Borrow A Boat, is a wide beam barge fitted out with contemporary Scandinavian décor. Borrow A Boat / borrowaboat.com A Scandinavian-inspired kitchen by The Main Company fills this open-plan space in a North London home. Subtle variations in the birch plywood create a striking organic pattern. The Main Company / maincompany.com

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DESIGNER MAGAZINE W O R K S PA C E D E S I G N

From Industrial Warehouse to Creative Powerhouse A former factory has been transformed into a mixed-use venue fusing hospitality and high-tech, sustainable business space Photography: Philip Vile

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ondon-based architecture practice Barr Gazetas has completed the refurbishment of Cottam House, a listed Victorian warehouse building, for its client Endurance Land. Barr Gazetas’ retrofit of the property sees it transformed into a landmark innovation hub for Hong Kong-based techstyle platform The Mills Fabrica in what is the organisation’s first centre outside of Hong Kong. Barr Gazetas worked alongside Untold Interiors to create a building that will encompass an experiential concept store and innovation gallery for sustainable brands, a café by Mouse Tail Coffee, membership-led workspaces, a tech lab for prototyping, a powerful start-up incubation programme and curated events that aims to nurture a community of sustainable innovators.

Situated in the north-west corner of the Regent Quarter, across the road from King’s Cross Station, Cottam House was originally built in 1866, and likely took its name from Cottam & Cottam ironworks, one of the many industrial uses served by the building before it was eventually left vacant in the 1980s. By retaining and upcycling much of the building’s original fabric, Barr Gazetas has brought together its light industrial past with The Mills Fabrica’s focus on sustainable innovations driving tomorrow’s industry. Barr Gazetas has transformed the building’s entrance, establishing its street presence with contemporary black painted metal framed glass doors, set back from the original Victorian gateway to maintain its historic frontage. Once an open vehicular entrance that allowed

access for carriages and deliveries to the yard behind, the space is now an enclosed lobby, with translucent glass brick walls creating a lightfilled link between the building’s two symmetrical halves. Working with design house Untold Interiors and fit-out specialists BW, Barr Gazetas overhauled the ground floor of the building, reconfiguring to create a spacious showroom and events space, as well as a cafe. Parquet flooring (salvaged from the earlier redevelopment of the building), has been reused across the communal areas, while office spaces, reception and the co-working area feature a cream terrazzo floor and skirting, with a bold black border. The sustainable terrazzo gives a seamless finish and purity, complementing the exposed surfaces and original fabric of the building.

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Untold Interiors continued their sustainable approach when incorporating works by Dirk van der Kooij who was commissioned to design two oversized 4.5m tables made from melted down plastic. These act as focal pieces on the upper workspace floors, bringing people together for meetings. Also commissioned by Untold Interiors was British sustainable designer Charlotte Kidger, responsible for side tables located around the building made from polyurethane foam dust moulded into shape, adding colour and texture to corners throughout. On the upper floors, office spaces have been reconfigured using Crittall partitioning and glass blockwork, to maximise daylight and create an airy and inviting space. The fabric of the building has been carefully restored,

and the renewal of historic beams in the open plan eaves space – along with the refurbishment of the original Victorian window frames – are examples of this attention to detail. Finally, Untold Interiors filled the main entrance hall with hanging indoor plants and, in collaboration with landscape architect Wayward, designed vertical farming units that will be harvested and used in the kitchen of the ground-floor café, further supporting the aim of delivering an environmentallyfriendly scheme from start to finish. Jon Eaglesham, Managing Director at Barr Gazetas, said: “To be selected as the architects in charge of the first historic refurbishment project in the Regent Quarter masterplan was a great privilege and challenge set by Endurance Land. We are thrilled with the results; the historic fabric

has been revealed, the contemporary materials inserted compliment the more industrial finishes and play with light, shadows, and views. It’s a generously light place to work.” Annabel Hickton, Founder of Untold Interiors, added: “It has been a joy to work on such a rich and characterful building, restoring the original features throughout, whilst working with British designers to commission new sustainable furniture. We have also had the opportunity to think about how natural materials and plants can enhance a space, making it more inviting, calming and even more productive for everyone to work in. We are delighted with the results at Cottam House and the industrial but refined vibes that radiate from the space. We look forward to seeing the building buzzing with activity.”

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Kbsa – supporting the independent kitchen and bathroom retailer The Kbsa is the only association that supports the independent kitchen and bathroom retailer, championing their interests and providing valuable benefits. The association has grown over the course of the pandemic as retailers have realised the value of the benefits and of working together. The Kbsa membership benefits are unrivalled in the marketplace, offering retailers a full support package to help keep their business operating efficiently and profitably. Additions to the benefits package in the last 6 months include free access to a tax investigation service, discounted rates for consumer finance, and a range of discounts on selected IT, with business technology support from a partnership with Dell Technologies. The HR and legal support provided by Croner and the optional consumer deposit scheme have proved invaluable to members during the last 12 months, as they have negotiated masses of guidance and legislation from the government during the pandemic. The Kbsa Designer Awards remain one of the most worthwhile awards in the industry because they come from the only trade association for independent kitchen and bathroom retailers in the UK. With the emphasis firmly on design excellence, the Kbsa Designer Awards have developed and adapted over the years to ensure that they are best in class, truly transparent with anonymous judging so that everyone has a fair chance of winning. Retailers that display the Kbsa badge offer consumers an unrivalled level of confidence that they are dealing with a reputable company, and customers know it's their guarantee of excellence in design, planning and installation.

Apply for membership now and give your business a clear advantage

With an uncertain economic outlook and challenging times ahead, there has never been a better time to become involved with the Kbsa, the only trade association to support you, the independent retailer.

To receive your membership pack call 01623 818808 or visit our website www.kbsa.org

Adverts 257.indd 41

15/12/2021 23:50

DESIGNER MAGAZINE KITCHEN DESIGN

THE GOLDEN TOUCH Gold can sometimes lead a design down a somewhat ostentatious path, but when combined with super-minimalist styling, something rather special happens…

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20/01/2022 23:15

DESIGNER MAGAZINE KITCHEN DESIGN

A new and imposing metallic monolith design from Minotticucine is the Maya kitchen. Designed by Alberto Minotti and crafted from 24k gold, the creation is the latest in the brand’s ‘age of metals’ series, following on from the Terra kitchen in cast bronze, designed by Claudio Silvestrin. Characterised by its cool shimmering finish, Maya utilises gold thanks to a galvanisation process unique to minotticucine, creating a precious metal finish in a minimal style. What started out in 2004 as a stone and lightly burnished aluminium kitchen has evolved into an iconic precious metal minimal design. Maya features clean lines and an elegant aesthetic, capturing what Minotticucine describes as its philosophy of ‘visual silence’ – the elimination of every unnecessary element that would otherwise disturb the linearity of the kitchen.

Gold.indd 59

20/01/2022 23:15

DESIGNER MAGAZINE KITCHEN DESIGN

“The possibilities of stylistic intervention on a model characterised by such essential lines were extremely limited,” said Alberto Minotti, Art Director of the Minotticucine group. “For this reason, we decided to focus on an innovation that exploited the latest technologies, combining a timeless kitchen project with today’s innovative technological materials. Maya Oro was born from the desire to create a kitchen project that is only apparently simple, a model behind which research and innovation are hidden, but also art and culture, ingredients that have always been present in our production.” The 24k door features narrow widths, with optional alternating suspended plinths, ground and low bases. Doors open with a 7mm protrusion from the stone surface above without any handle or groove while a door width of 3mm runs all around the kitchen.

Gold.indd 60

Minotticucine / minotticucinelondon.com

20/01/2022 23:16

SEE YOU IN BIRMINGHAM Hall 19

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21/01/2022 12:20

DESIGNER MAGAZINE RESIDENTIAL DESIGN

THE HIGH LIFE A meticulous design scheme brings ﬁne materials and luxury living to a city centre apartment in Vienna

With a three-sided terrace offering views above the rooftops of Vienna, this penthouse apartment already has plenty going for it. Located on the 9th and 10th ﬂoors of a new building, the home extends to a 165 sqm living area, while the terrace space includes an outdoor sauna, whirlpool, and inﬁnity pool.

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20/01/2022 23:18

DESIGNER MAGAZINE The Destilat team: Harald Hatschenberger, Thomas Neuber, and Henning Weimer (photo: Joachim Haslinger)

RESIDENTIAL DESIGN

Photography: Monika Nguyen

The interior scheme, led by Harald Hatschenberger and Sophie Kessler from Austrian practice Destilat, brings a real sense of luxury too though. Many of the custommade wooden ﬁxtures look as if they are ﬂoating – from the dressing room and bedroom with ensuite bathroom, to the bedroom with a statement dressing table.

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20/01/2022 23:18

DESIGNER MAGAZINE RESIDENTIAL DESIGN

Plenty of storage space and many a hidden door have been invisibly built into the walls using laminated walnut. The earthy wood elements form a clear contrast to the floors, which are shiny bright and large-format porcelain stoneware with a marble look in the hall spaces, and high-pile velour in the private rooms. These materials offer subtle nods to the 70s, with backlit mirrors. The spacious kitchen has a ship-like appearance. Behind white high-gloss fronts, its dark walnut interior has been intricately designed, down to the smallest detail. Meanwhile, the central element of the living room is the bioethanol fireplace. Slightly elevated and set in a light marble base, it is backed by a large-format, dark porcelain stoneware wall with a marble look. The base is also the first step of the metal staircase to the upper floor, whose filigree strut railing takes on a supporting role and makes the structure appear weightless.

Destilat / destilat.at

P3 Austrian.indd 64

20/01/2022 23:18

Featuring

FINAL CHANCE TO JOIN THE UK’S MOST CREATIVE SHOWCASE FOR ARCHITECTS AND DESIGNERS

Explore the best innovative surfaces and network with your industry Be inspired and educated to drive your business forward!

FREE TICKET REGISTRATION surfacedesignshow.com Adverts 258.indd 51

20/01/2022 20:37

DESIGNER MAGAZINE EXIT / NEW BREW

EXIT

One last thing from this month’s magazine…

Material versatility is big in the kitchen, but this creation takes material ingenuity to a whole new level. Created in Stavanger, Norway, the Anza coffee machine incorporates materials not usually found on such appliances to create a highly unusual aesthetic. The idea started in 2014 when the company’s design team shared a space with an espresso machine repair shop. As months went by, they noticed that the world of espresso was dominated by nearly identical stainless steel machines. They wondered how, if every machine at a certain price point looked the same (and made the same quality coffee), could anyone choose which one to buy? They decided to sketch an alternative espresso machine with a different approach, using unorthodox materials such as concrete, brass, Corian, and wood to transform a mechanical tool into an object of beauty. After much experimentation with different knobs, switches, materials, colours, and finishes, the products were crowdfunded and launched into production with two material finishes. AnZa Concrete is the opposite of bent stainless steel. Instead of being shiny, precise, or smooth, it is matte, rough, organic, and heavy. AnZa White meanwhile, has many of the properties of concrete with its own modern edge. The polished wood and brass elements add a warm contrast to the seamless white shell. Andrew Smith, Designer and Co-Founder at AnZa, said: “AnZa is about choosing different materials – materials that seem strange to some and heartwarming to others, ones that provoke a response and encourage a relationship. Our goal is to reward the user with a unique ownership experience.” His fellow Designer and Co-Founder, Per Ivar Selvaag, added: “We were surprised by how little new thinking had taken place in the world of espresso machines – especially given how much attention is paid to interior architecture and how much real estate these machines take up in the kitchen.”

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AnZa / anzacoffee.com

20/01/2022 23:20

Adverts 256.indd 67

21/01/2022 14:04

ALL 32 CRAFTED BRITISH KITCHEN STYLES AVAILABLE FROM STOCK! N

E R U LU LO O B CO IG D EW IN

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EXCLUSIVELY FROM WATERLINE Made in Britain. Lifestyle, a stylish range of kitchens manufactured in the UK to the highest European standards by Crown - lifestylekitchens.com

SALES HOTLINE: 03330 149 149

Adverts 257.indd 52 2022 - Jan.indd 4 1669-Crown Trade Averts

waterline.co.uk

15/12/2021 13:15 23:48 09/12/2021