THE COLOUR ISSUE
COLOUR ALCHEMIST Designer Yinka Ilori
JULY 2021 251
brightens up our world
designer INSPIRING PROJECT CREATIVITY
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DESIGNER MAGAZINE J U LY 2 0 2 1 / I S S U E 2 5 1
Welcome to the July issue of Designer. Very little in this complicated world of ours is black and white, so there’s absolutely no reason for our homes and workspaces to be monochrome either. That’s why this month, we take a close-up look at colour. Striking colours can grab the attention in all kinds of environments, and each of us have our own preferred ‘go-to’ colour preferences, whether for the clothes we wear or the car we drive. And of course, colour is used all around us as an informational tool – we never need to even question the colour associations at play when it comes to things like traffic lights or hot and cold water taps. But utilising colour within an interior scheme can have an even deeper impact on our mindset and mood, seemingly affecting the way we feel in that space, often in a hard-to-define, subconscious way. So this month, we gather some views from designers and colour experts to explore the psychology of colour, and to consider how designers can utilise its powerful potential to add more than just aesthetic value to a project. Since colour affects different people in different ways, this can never be an exact science. However, expanding our knowledge of the ways in which colour plays a part in shaping our thoughts adds another potentially valuable string to the designer’s creative bow.
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CONTENTS
46 10 SOURCE Our monthly round-up of the people, products and events that matter from across the design sector 20 SHOWROOMS Flooring brand Tarkett unveils its stunning new showroom in Swedish capital Stockholm 22 COLOUR ALCHEMIST Designer Yinka Ilori on the impact of colour, and why being brave and bold is the key to getting it right 28 MIND CONTROL We all have pre-conceived ideas about how and where to use colour in our lives, but do we really understand the psychological
60 affect colours can have? We ask colour experts and designers for their insight 38 MAKING WELLNESS WORK Anna-Marie Casas speaks to Russell Glover, Head of Design at office design consultants Peldon Rose, about the challenges of creating or re-modelling a workspace for the post-Covid era 46 WELLNESS ON A GRAND SCALE Inspired by the cultural and natural wonders of Madeira, the new Savoy Palace is mammoth in size and features Portugal’s largest spa. Yet there’s nothing monolithic about the look and feel of this sumptuous haven of relaxation
52 DUAL PURPOSE A tricky, challenging space was transformed into two striking contemporary homes through attention to detail and just the right material combinations 58 BRIGHT IDEA Creating a convenient combination with this inventive and visually striking pairing of light and water 60 LIGHT INDUSTRY A former industrial building converted into residential spaces sees a stylish conversion that is true to its efficiently productive heritage 66 EXIT The hammock bath goes metallic
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Working Quarters Office furniture brand Bisley and lighting firm Anglepoise have teamed up to create the new Quarters collection of booth seating with integral secure locker space and lighting. Designed to meet the needs of the post-Covid workplace, the new designs are intended to provide a flexible set of sheltered working spaces for workers returning to the office to be able to team up for face-to-face meetings and collaborations.
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The range can be configured to suit the needs of single or double booth workspaces, or a meeting booth for private group meetings. Richard Costin, CEO of Bisley, said: “The office landscape is constantly changing, and the pandemic has meant that we’ve needed to adapt our working spaces as more individuals embrace a hybrid way of working, with companies providing space for collaboration, as well as places for individuals to focus.”
Quarters features specialised sound-dampening panels which envelop the storage component so users have all the buzz of a busy office, while providing a buffer to prevent the noise becoming a distraction. The booths come in two heights, one a ‘garden fence’ level, giving the option for a quick hello to a passer-by and a higher, more private option for nodistractions meetings. Power is provided under the seat and at table top height for
maximum convenience, while Quarters also incorporates Anglepoise’s Type 80 lamp, which has a halo lightscape effect courtesy of its classic conical lampshade.
Bisley / bisley.co.uk Anglepoise / anglepoise.com
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DESIGNER MAGAZINE J U LY 2 0 2 1
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Seating Solutions Contract furniture manufacturer Morgan has introduced new products to its Porto and Kyoto collections. The Porto collection is now available with a swivel base across the five dining chair options in the range. In addition, the Kyoto collection now comes with seat pads as a standard offering on linear intersecting benches. The simple pads also allow window sills, steps and other surfaces to be turned into seating areas.
Morgan / morganfurniture.co.uk
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Streamlined Style The I-Model pendant light by Danish brand Anour is available in two different versions – with cord or cordless – as well as a choice of surface treatments and materials including copper, brass, steel and wood. The light has integrated touch dimmer for adjusting the light intensity and each lamp is individually surface treated, resulting in a finely structured surface. The I-Model is produced in Denmark and can be made in special sizes on request.
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FLYING HIGH Whiteville Ceramics has launched its WING collection winged and thin-lip washbasins. Based around three different design styles – Edgy, Smooth and Round – the range has been designed by David Emmanuel Michaud with each available in four configurations of inset, countertop, with a semi pedestal and full pedestal.
Material Fusion 14
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Colour options include matt black, white, grey and Brina (as shown). The range can also be matched with Whiteville’s offering of special order close-coupled and wall-hung WCs for a cohesive bathroom look.
Whiteville Ceramics / whitevilleceramics.co.uk
Bathroom brassware brand VADO has introduced new colour combinations to its Individual collection. The Knurled X Fusion additions are a selection of two-tone basin mixers and shower valve options that have been designed to complement the finishes within the range. The new colour combinations include black and nickel and black and gold, each helping to create a very distinct aesthetic when matched with natural materials such as marble tiles and wood accents.
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SITTING PRETTY The Poloplaey chair represents a collaboration which began over a year ago between Loft and Plaey Workshop. Loft’s Robin Daydesigned Polo seats are produced using the original 1970’s injection moulding tool. When the seats are manufactured, as with most mass-produced products, there are inevitably some which have minor superficial imperfections meaning they are structurally sound but deemed unsuitable for full price sale.
Rather than simply recycling these seats Loft wanted to achieve their intended potential whilst also creating something with form, function and environmental responsibility so the brand teamed up with designer and maker Matt Kelly of Plaey Workshop, to pair the Polo seat with a sustainably sourced wooden base. The result is a chair suitable to use in a range of settings including educational, domestic, leisure or office, and with the added versatility of the included side table and laptop/ desk arm. Poloplaey is available with a choice of Polo seats and seven Valchromat base colours.
Loft / loft.co
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DESIGNER MAGAZINE SHOWROOMS
Flooring brand Tarkett has opened its new Stockholm showroom designed in collaboration with Note Design Studio. The space has been created as a forum for sustainability and design talks, in a setting intended to showcase the circular economy being put into practice. The Tarkett Ateljé is built around an auditorium, created as a live arena for talks and knowledge exchange. Kerstin Lagerlöf, Marketing Manager for Tarkett Sweden and Norway, said: “We wanted to show the holistic approach needed for circular transformation. This has driven us to design a new type of showroom that’s not just a material library, but also a place that demonstrates how design and sustainability interact and how circular economy goes from words to actions.” To showcase examples of how the circular economy works in reality, Tarkett and Note Design Studio brought in gigantic sacks filled with recycled raw material from two different projects. One of the sacks is filled with granules recycled from an old floor at IKEA Västerås, set to be reused for new vinyl flooring. The other sack has been filled with yarn recycled from an office, which will become new textile carpet tiles. Note has designed the space with circular economy as the leading star. The material used comes from Tarkett’s post-use recyclable product ranges, which are now presented as part of the Circular Selection. The collection will expand as more products become fully recyclable. The space echoes classic Scandinavian design, with a colour palette that is complimented by a selection of contrasts and details. Among the detailed features are Tarkett’s Intarsia pattern used in the lounge, and bespoke lamps made from the brand’s iQ Megalit material.
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DESIGNER MAGAZINE SHOWROOMS
Tarkett / Tarkett Ateljé, Rosenlundsgatan 40, Stockholm, Sweden / tarkett.com
TARKETT
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Colour Alchemist Martin Allen-Smith talks to multi-disciplinary designer and artist Yinka Ilori MBE about the storytelling properties of colour, and why spreading a little hope and happiness has been so important during such a tough year
DESIGNER: How did your creative journey begin, and what shaped the ideas behind your bold use of colour and shapes? Yinka Ilori: I studied furniture and product design at London Metropolitan University, and the goal was to become a furniture designer. After university, I wanted to find a job and get some experience working within a design studio and I reached out to Lee Broom who was pretty much the first designer to give me a break in design with a placement at his studio. I loved his work – he was one of the few people who were really experimenting with design and art. He had a table that was super-interesting as it had a plywood top surface but underneath it was more like a Persian rug which was inlaid inside underneath the table. I thought it was genius and really pushing the boundaries between art and design. After I left Lee Broom, it was really tough. I couldn’t really see anyone else out there like me who were designing with their own heritage in
Creative Courts project in London’s Canary Wharf
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DESIGNER MAGAZINE INTERVIEW – YINKA ILORI
mind and who were saying the sort of things I wanted to say. So I got a loan from the Princes Trust to set myself up and kick-start my career, and that is how I started to create my first design collection from my back garden in North London. My first projects were chairs. I sourced old chairs and upcycled them, trying to tell stories through these objects, and that’s how it started. DESIGNER: You have worked on a hugely diverse range of projects. What’s your starting point when working with a new client? Ilori: There really isn’t any formula. When I begin a new project, I really want to understand what the client is trying to convey; whether it’s a pavilion, or a playground, or a mural – I did loads of murals last year during lockdown. Each project needs a different approach, but for me, I particularly love work that is centred around the community, work that will really allow people to engage with art, particularly people who perhaps would not normally have much connection with art. When I create work in public spaces, that is what I try to carve out in each project. You’re right, the projects that I do are so diverse, but I just love a challenge. Even if it’s something that I have not done before – or I’m not sure if I can do – then I will give it a try.
Mural by Yinka Ilori
DESIGNER: What kind of design projects come most naturally to you – the larger-scale sets such as the BRITs, the Canary Wharf basketball courts, a mural such as ‘Love Always Wins’, furniture or homeware? Ilori: I grew up in a Nigerian household where storytelling is so powerful, listening to a lot of traditional Nigerian folklore from my parents from a really early age. So storytelling is something that I do in
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every project. But also, my love for colour and pattern is because it is something I have been immersed in since I was a kid, so I guess those things come natural to me when I am creating work because I know they are linked with joy and positivity. Last year, when I was working on lots of murals around London – with slogans such as ‘Love always wins’, ‘Better days are coming I promise’, and ‘As long as we have each other we’ll be ok’ – these are all words of affirmation that my parents would tell us. As I get older, these words stick in my head and take on greater meaning. I try to celebrate them, and to give people insight into my upbringing. I’ve always loved poetry and wordplay, so I’m always comfortable working with them. But at the same time, colour has also always been a huge part of my life because I associate them with positive experiences such as times of celebration. I try to project that into all the work I do, even if it’s in small doses. There are some colours I use in every project. Pinks, oranges, yellows, greens, lilacs, and turquoises – I love those colours because growing up there were always family parties, there was always something to celebrate, whether someone’s birthday, or a church service. I remember going to these joyous events and seeing an array of people wearing colour and I use some of these visions and these colours to paint a picture and give a sense of these moments.
Colour Palace, East Dulwich Picture Gallery (photography: Andy Stagg)
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DESIGNER MAGAZINE
DESIGNER: How important is sustainability to you and how does this shape or influence some of your design ideas? Ilori: It has a huge impact on the work I do. I usually try to have some clarification in any work contract about where my work will end up after the project is over. I want most of the things I do to have a planned afterlife, and not to just one day end up in a skip; whether it gets recycled, turned into something else, or stored away. Most clients share this vision as they also want everything they do to meet these standards too. In my childhood, I used to go with my mum to thrift stores and charity shops for ceramics or clothes. From a young age, we were educated in how to appreciate and love our environment and the things around us.
Colourful playground installation at the Citizen M hotel in Shoreditch, during London Design Festival (photography: Guy Bell)
INTERVIEW – YINKA ILORI
DESIGNER: How have you been affected by lockdown and the pandemic in general – both from a studio perspective and personally? Ilori: It’s been tough. Last year I had some really big commissions lined up and some of the companies they were from went into liquidation. But during the middle of the year when we were in lockdown, I started work
on designing my first homeware collection which I then launched in December. That has gone really well and is stocked in Selfridges, Browns, Matches and some stockists in the US. For me, it was a tough year, and it made me vulnerable and led me to go on to do something I had not done before in the homeware collection. So the situation tested me a bit, and sometimes I think you need that. It is easy to get complacent in your rhythm, but when you get shocked, you have to
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react in a different way. I look at the studio and the work that I do in a different way now. The murals played an important part too. They provide people with optimism and give them a sense of hope – particularly one I did recently which say ‘If you can dream then anything is possible’. That one came at a time when everyone seemed to be really struggling with the pandemic. The third lockdown was the hardest for many, and I had people sending me messages and emails saying that they were going through a tough time but that they had seen my mural in Hackney and it made them smile. That’s what I love about working with public spaces. Everyone deals with anxiety, depression, or mental health in different ways; whether it’s running, swimming, going to the gym, or seeing a therapist. But not everyone can do those things, so if being outside and seeing positivity in public art allows you to read it in your own way, that’s powerful because everyone can access it. DESIGNER: How can interior designers break from the status quo and work more creatively with colour? Ilori: I think we’re seeing more and more interest in maximalism, probably because we have all been spending much more time in our homes over the past year or so. People have also been investing in colour, aware that the home needs to be somewhere they feel comfortable in and has to really be about them. It is a place you have to love, and in order to do that it has to work for you every day. In Plants We Trust installation, part of the Wander Art trail in Mayfair
For interior designers, it’s a question of guiding their clients, helping them to see that it doesn’t have to be white or cream walls. There are no rules. DESIGNER: What’s next in the pipeline? Ilori: As we speak, I have just finished a mural for the British Red Cross called ‘Be Humankind’, touching on the point that we should all be kind to one another. Over the past year, many of us have experienced acts of kindness between neighbours and this mural touches on that theme. There’s also a project for Somerset House in London called Dodge. It’s an immersive installation featuring bumper cars, Carter’s steam fair, food trucks, DJs, and live performances. That runs over the summer and is already sold out. Plus there are projects coming up in Berlin, potentially in Saudi Arabia, and a collaboration with shoe brand FitFlop. There are lots of things happening – I have no life at the moment but at the same time it’s all very exciting.
Yinka Ilori / yinkailori.com
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DESIGNER MAGAZINE COLOUR PSYCHOLOGY
THE LANGUAGE OF COLOUR
We all have pre-conceived ideas about how and where to use colour in our lives, but how well do we really understand the psychological affect colours can have? We ask colour experts and designers for their insight
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olour can often be the make-or-break factor within an interior design scheme. It is often one of the first things you notice when entering the room, particularly if the scheme has utilised a bold or unusual choice. But what shapes that reaction we all feel when walking in to a colourful environment? Long considered a matter of personal preference, how much of our colour perception runs deeper than just a simple aesthetic that we are drawn to and most importantly, why does it matter?
Corporate red is used in reeded glass panels, providing a softer use of colour in this space by align for client Spark44
According to Stephen Westland, Professor of Colour Science at the University of Leeds, there is convincing evidence that colour and light can impact wellbeing and performance in the home and the workplace. “Many studies have shown that the colour of room affects our perception of that room and affects our psychological state. For example, coloured rooms may make us feel more or less relaxed and make us feel more positively or negatively aroused. Typically, red rooms are alerting and blue rooms are relaxing. “Many of these studies are based on self-reporting; that is, where participants respond using a questionnaire and their attitude is deduced from their responses. However, other studies – including some that I have led at the University of Leeds – have measured the physiological effect of colour and light by, for example, measuring heart rate and/or brain activity. There is also evidence that colour and lighting can affect performance. For example, studies have explored the effect of lighting on performance in the workplace. In one study, participants performed better at tasks involving short-term memory and problem solving in rooms illuminated by warm light than they did in rooms illuminated by cool light. This is consistent with the ideas that red colours are stimulating and blue colours are relaxing.”
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DESIGNER MAGAZINE COLOUR PSYCHOLOGY
He points out that it is already established that if light is sufficiently intense it can have measurable effects on our physiology and mental state. For example, bright light therapy is routinely used to treat Seasonal Affective Disorder, and exposure to bright light late in the evening before going to bed can negatively affect sleep quality. But he adds, results from studies are sometimes conflicting and one explanation for this is that we may have several ‘mechanisms’ or processes by which the colour of our environment affects us. “Blue is thought to be a relaxing colour and this is likely to be because we psychologically associate the colour blue with pleasant items such as the sea and blue sky. Yet, when it comes to bright light, blue is found to be particularly alerting. So, is blue a good colour for the bedroom to aid sleep? In terms of paint colours or wallpaper, probably. But in terms of lighting, we are probably better off with warmer, redder lights. This is not a contradiction but rather just points to the idea that there are different ways that colour and light can affect us.” THE RIGHT REACTIONS Karen Haller, an expert in the field of behavioural colour and design psychology, and author of The Little Book of Colour (published by Penguin Life), said: “Each colour has positive and adverse traits and the way we respond and react will be based on the relationship of the combination of colours used and our personality type. We might feel overwhelmed and agitated in a dining room if a cold fire engine red, pure white and black is used, however we might feel cosy and warm if it was a rust red, olive green and chocolate brown. “Colour saturation is often overlooked as having an impact on our reaction to colour. Colours that are highly saturated are typically stimulating, for example, a bright red is physically stimulating whereas a soft pink that is low in saturation is likely to be physically soothing.” Tapping in to these colour attributes is a delicate task, and one that has to be done hand-in-hand with the client. Bianca Yousef, Associate at architects 74, said: “As a practice, we always design with the full user experience in mind and try to take the individual along a choreographed journey through our spaces. Although all sensory factors play a part in this, utilising the visual impact of colour can be a particularly powerful tool. Colour can completely transform a space to evoke a particular mood or atmosphere and may also change a user’s perception of a space. We may, for example, use a specific colour to try to bring a sense of nature inside or to evoke a sense of luxury or to enhance a small space so that it feels more spacious.
Symons House student accommodation in Leeds includes a social area designed by architects 74 which uses colour to create a more sophisticated feel than many competitor offers
“All these decisions are made to positively influence the people who use those spaces every day and hopefully influence their overall health and wellbeing too. There are many factors to consider when using colour especially as it can also be very subjective.” UNLOCKING THE SECRETS Interior designer and colour consultant Lola Swift has recently launched an online course – Love Living Colourfully – aimed at helping consumers to better understand and make sense of the array of colour choices available to them. “How we relate to the colours we have in our home and how we function within the space is often a subconscious feeling,” she explains. “We can get the most out of our colour choices if we consciously think about colour combined with texture and light within an area whilst linking it to the use of the room. Choosing specific colour pairings can help create a positive or restful response in a space that we may otherwise feel flat or negative energy. “I have always considered colour, space and light as a whole. The use of colour to me is like the use of words to others. It forms a narrative to a room creating the feelings when in them. I always want to encourage the use of colour guiding and finding options that suit the client's tastes and needs.” So how has the take on colour from interior designers and architects evolved over time – and crucially, how might they better harness colour use in future? Haller believes that the approach to colour has been stuck in the colour wheel rut for quite some time. “Colour has been seen as something frivolous and mere decoration for decades.
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DESIGNER MAGAZINE COLOUR PSYCHOLOGY
But colour is so much more than that. For the past 15+ years, I’ve been championing colour psychology, sharing how powerful it can be and the positive impact it can have to improve our mental health and wellbeing. That’s why I started teaching colour and design psychology to designers and architects around the world so that colour can be used for good and positive change.” She adds that the way in which colour connects directly to our emotions demonstrates how important it could be to wellness. “When we see colour, we instantly feel something. We have an emotional response. This is colour psychology, the study and application of how colour influences how we think, feel and behave. When we surround ourselves with colours that we resonate with, connect with, we feel good about ourselves; we feel nurtured, supported and happy. It allows you to create a home, a space that you love. When we feel this way, it has a positive impact on our mental health and wellbeing.” COLOURS THAT RESONATE So given the potential impact, are clients more open to the use of bold colours, or is a more neutral – some would say ‘safer’ – approach still the default for many? Haller said: “I’m finding that consumers are more than ever willing to pick colours that make them feel good. Not following colour just because it’s on trend or they have seen it on Instagram. It’s not so much about whether a colour is seen as a ‘neutral’ or whether it’s bold; it’s surrounding yourself with colours that resonate and express your personality.
2LG incorporated Caesarstone’s Cloudburst Concrete surface as the backdrop to this kitchen which brings together a range of colour ideas (photography: Megan Taylor)
“Bringing colour into our life doesn’t mean it has to be bold and bright – unless that’s your thing of course! It’s about being true to yourself and expressing who you really are. And we are all of us colourful – even the most quiet and subtle of us. I encourage my consumer clients not to follow what others are doing, instead to listen to their instincts. Trends come and go but when you create from within, expressing your personality, you create something that’s timeless.” BIID Member Cinzia Moretti, Creative Director at Moretti Interior Design, agrees that in the issue of bold versus neutral, individual emotions count for a lot: “This is where colour psychology plays an important role, because response to colour is so subjective. There is no such thing as a universally attractive colour. That means that there are clients that are open to use bold colours because it reflects more their personality and there are clients that prefer neutral scheme because it is more them. “Also, when we talk about neutrals, we should make a distinction between those who prefer the warm tones and who prefers the cool ones. When it comes to colours it is all about experience and the feel and emotion they evoke.”
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DESIGNER MAGAZINE COLOUR PSYCHOLOGY
Swift says that context is key: “Often in commercial settings, bold colours are more acceptable to help create energy in the workplace. In residential homes, bolder colours are becoming more widely used as people are starting to experiment and understand the benefits of colour and how it makes them feel. Clients are often unaware of how playing with shade and tone can change how harsh a colour is in its intended place, giving confidence in using more colour in their home.” Gurvinder Khurana, Director & Co-founder of interior architecture and design practice align, says that there is no ‘typical’ client when it comes to views on colour. “Clients have confidence in us on the basis of our established portfolio to suggest more bold colours, because they know we will balance their application,” she explains, “though you absolutely have to be able to read the subtleties of your client to know how much or how little to use and how appropriate it is for that particular space or organisation. CAREFULLY CRAFTED “Sometimes, we’re the ones putting the brakes on. We did a great scheme for creative agency Spark44, whose main corporate colour is red, which we had to use artfully and sparingly to avoid any feeling of red’s potential aggression in a 3D environment. We used it more as a graphical intervention or in reeded glass, for example, where the translucency helped to soften it or else in the reception desk, where it was balanced with the earth tones of the dark charred timber desk front – very natural and raw. “In the co-working offices we created for bubbleHUB, which needed to be different from anything else in the local St Albans area, we used quite a bit of bold colour and pattern in some of the open communal spaces to capture the attention of passers-by and help the business attract new members, whilst other areas, such as the workstation floor or the meeting room, were designed to create a grown-up sense of calm. Our offices for Cathay Pacific were the opposite and about the use of tonal colour, texture and respecting the company’s ethos, ‘softly spoken, strongly felt’.” 74’s Yousef points out that the colour choices in the firm’s projects are very much driven by the narrative of the individual scheme, whether that’s building context, location and/or target demographic. “These factors are all considered in order to create bespoke and tailored designs that fulfil the brief and aspirations of our clients. For instance, we are currently working on two projects with one client and each project is completely different in terms of colour, style and materiality. Whilst one features bold, bright statement colours and more raw-edged materials, the other uses colour in a much more subtle way via a soft, muted palette.
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“Although these projects have the same client and function, because of their location and demographic they’ve been treated independently. Each has its own vision and the colours we’ve used need to compliment and tie in with this vision.” Just as biophilic design has grown in its profile and awareness in recent years, Professor Westland of Leeds University believes that the last 30 years has seen a greater understanding that an increased use of colour can be healthy. It is a shift that can be seen in various projects to place more artwork in public buildings such as hospitals. The design of our environment – including our homes and workplaces – with wellbeing in mind is important and this is especially true globally with increasing numbers of people living in cities. But he is quick to point out that simplistic ideas such as ‘red means this or blue means that’ are only generalisations. Some of these effects of colour and light vary between people, so what suits one person – or what makes one person feel relaxed – might not work for another person. “I am most excited by the future possibility to change the colour of our environments with the click of a switch,” said Westland. “This can already be done using LED lighting but in the future we might see the use of material (such as wall coverings) that can change colour. Giving people the ability to change the colour of their environment is probably the single most-important thing you can do for health and wellbeing.”
74 / weare74.com Align / aligngb.com BIID / biid.org.uk GA Interiors / ga-interiors.co.uk Houseof / houseof.com Karen Haller / thelittlebookofcolour.com Lola Swift / lolaswift.co.uk Moretti Interior Design / morettiinteriordesign.com University of Leeds / design.leeds.ac.uk
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Helen White, Co-Founder of lighting retailer houseof “Colour at houseof changes with the seasons and trends. During 2020, we saw an uplift in colours which promoted calm and sanctuary. Lilac and green were both popular choices in a world filled with uncertainty. We also stay closely aligned with fashion and design trends to choose our colour palettes – colours often transition from the catwalk into interiors and Lilac is a great example of this.” Cinzia Moretti, Creative Director at Moretti Interior Design “We need to look beyond colour aesthetics to see the link between colour and its psychological functioning in humans. A skilful use of colours can boost people’s productivity, health, and even happiness and help us to connect with our human tasks we need to do at home. For instance, blue is the colour of intellect, and seems to lower blood pressure, and offer calming, encouraging reflection. But what we need to take into consideration is that different tones of colour will encourage different functions in a space. For example, darker blues relate to focused concentration, the vibrancy of turquoise tones energises and awakens the mind, while sky blue relates to calming the mind.”
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Bianca Yousef, Associate at architects 74 “Colour has always been an important factor for us in our projects. We don’t tend to choose colours based on trends and there is always a reason behind our choices that ties back to the main concept of a design. Colour definitely generates a lot of debate in our studio and subtle differences in colour can sometimes divide opinion. When it’s time to make these final decisions, we come together and review samples as a team. In this digital era, with lots of visualisation tools, it’s too easy to get sucked into the screen to review colour but we still believe nothing beats seeing samples and materials in the flesh. Lighting, texture and application can completely change a colour’s appearance.” Gwendoline Alderton, Founder, GA Interiors “Colour isn’t just focused on the paint or wallpaper because the metal finishes, carpet, lighting, furniture and furnishings all need to be balanced to create an attractive and pleasing design scheme. Understanding your client’s colour spectrum and boundaries should always be key to any design. You can stretch a client and take them out of their colour comfort zone, but it’s vital to remember that any colours should suit their personality and be future-proofed. Trends come and go, so your client should feel comfortable with your colour scheme.”
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DESIGNER MAGAZINE WELLNESS
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DESIGNER MAGAZINE
MAKING WELLNESS WORK
WELLNESS
Anna-Marie Casas speaks to Russell Glover, Head of Design at office design consultants Peldon Rose, about the challenges of creating or re-modelling a workspace for the post-Covid era
DESIGNER: Wellness in the workplace has been a focus for some time – how has the conversation shifted in terms of what architects, designers and specifiers are gearing up for in a post-pandemic future? Russell Glover: Although wellness has been on the design agenda for several years now, when it comes to workplace design, it has understandably reached the top of the priority list on new projects in the last 12 months.
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DESIGNER MAGAZINE WELLNESS
As workplace designers, we have a duty to create spaces that make people and end-users feel welcomed and relaxed, especially when we consider that many staff will be returning to the office for the first time in over a year. When it comes to gearing up for a post-pandemic future, people are only just beginning to reintegrate with their colleagues, so there is definitely a demand for more sociable spaces. Nevertheless, this must be balanced with the consideration that some are anxious about returning to work. This means there needs to be allowances for quieter working areas too, enabling the levels of concentration people have become more accustomed to at home. DESIGNER: After months spent in lockdown and WFH the modus operandi for most, what will employees be looking for in terms of wellness when they return to the office?
Glover: As employees return to the office, they will seek choice and flexibility in their workspace and working day, in order to suit the particular tasks at hand. Therefore, it’s really important that their workplace caters for this variation. Employees should be given a choice of environments that allow them to choose who they interact with and when, depending on their tasks and workload, making it a key factor for workplace designers. Business leaders also have a role to play in this though, and we’re already seeing companies start to ask their people what they are looking for from their office space, which will then influence office design decisions. This is really important, as without consultation from the endusers, design choices would be made based on assumptions. DESIGNER: Would you say that most offices are currently unable to offer what they will want?
Glover: Although offices have changed a lot in the last few years, and many already offer choice and flexibility, there are still many traditional workplaces that fail to meet the social and wellness needs of employees. However, since many businesses shifted to remote working, there has been more focus on the purpose of offices, with companies undertaking an evaluation of how they are using their space. This process is a vital consideration for all businesses, as it helps to redefine what an office should look like or what it should offer employees, which is bespoke for each individual company. This is why we have a dedicated ‘strategy’ team at Peldon Rose, who are able to really drill down into what a particular workforce requires from a workplace – providing insight which helps to design and build the perfect space.
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DESIGNER MAGAZINE WELLNESS
Interior scheme for Veritas Investment Partner’s HQ in London by Peldon Rose
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DESIGNER MAGAZINE WELLNESS
DESIGNER: What’s your insight in terms of what companies are doing already to address those needs and planning for the future? Glover: Through dedicated workplace strategy activity, many of our clients have been listening to their employees through surveys and opinion polls to generate a consensus over their return to work and what their office space should offer. They have also collected their own data, often through an independent third party or endto-end consultant. This allows businesses to see how opinions have changed during the last twelve months, which then puts them in a strong position to establish a strategy, including specific design considerations, as they understand the needs of their employees. For businesses that have not yet asked their staff for feedback, it is really beneficial to engage and consult workforces in order to find out what exactly will work for them, as it should never be a one-size-fits-all approach. DESIGNER: Wellness used to be HR’s domain and very much
employee welfare-based – how is the responsibility changing in terms of environmental factors and the practical measures companies are considering to look after their employees? Glover: Wellness is continuing to become more embedded in company culture as a whole, rather than being the responsibility of certain departments. Companies should view taking care of their people and supporting them as one of their biggest goals, and workplace design is a really important way to facilitate many aspects of employee wellness. There are also several accreditations that offices can meet when it comes to sustainability and wellness, which then impacts the overall experience for the enduser – including BREEM, LEED and Fitwel. A great example of a recent project from Peldon Rose that really embraced a sustainable fit out was our work at Veritas Investment Partner’s HQ in London, which achieved an SKA Gold award – the highest accolade possible when it comes to environmental considerations in a design.
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DESIGNER: How important is front of house and first impressions in the equation? Glover: As with all aspects of life, first impressions are important, and it’s no different with offices. In order to truly create a welcoming and sociable front of house area, there needs to be a move away from sterile, superficial reception areas, and it should be something that reflects the ethos and personality of a business. Upon arrival, there should be an immediate human interaction, as well as a space that gives a true sense of the people that work there. This is particularly important at the moment, as it will help to ease the return of both new and existing colleagues, who have spent too much time apart. DESIGNER: Where will most growth in wellness come from over the next few years – what do you see as some of the main trends? Glover: When it comes to growth within wellness, the next few years will bring more focus upon the materials used, as well as unique finishes that are influenced by more biophilic design. We have already started to see a strong focus on air quality and light quality, but we’re really evaluating the acoustics of a space too. Another trend we’re predicting for growth is the idea of giving
employees control over the space so that they can use the office more as a ‘destination’. This means colleagues will use spaces for particular activities, so there should be a mix of sociable spaces for breaks, creative spaces for teamwork and quiet spaces for focus. This new outlook for commercial design will be so critical for facilitating wellness going forward. DESIGNER: Describe the perfect workplace of the future that has wellness embedded at every turn.
place the end-user at the heart of the space, understanding what they need to facilitate productivity and wellness simultaneously, leading to a happy and efficient workforce. Materials and finishes can also make a huge difference, and choosing sustainable, highquality products can not only boost employee satisfaction, but also really help to contribute to a business’s purpose and sustainability credentials.
Glover: The perfect workplace is somewhere that understands and meets the needs of its employees, and as I mentioned earlier, there’s never a one-size-fits-all approach. An office considered as ‘perfect’ would provide flexible spaces for staff to choose the environment they work best in – which can vary day-to-day. Designers should
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The magazine from Spaceoasis®, full of ideas, inspiration and examples to help you create amazing spaces.
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DESIGNER MAGAZINE
WELLNESS ON A GRAND SCALE Inspired by the cultural and natural wonders of Madeira, the new Savoy Palace is mammoth in size and features Portugal’s largest spa. Yet there’s nothing monolithic about the look and feel of this sumptuous haven of relaxation
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DESIGNER MAGAZINE WELLNESS
Words: Anna-Marie Casas
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DESIGNER MAGAZINE WELLNESS
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DESIGNER MAGAZINE
I
WELLNESS
ts year-round mild climate and lush landscape make it a mecca for those in search of an eternal spring and a wellness boost to take them through the four seasons. Indeed, the Portuguese island of Madeira was voted ‘World’s Leading Island Destination’ in the World Travel Awards 2020. And it’s not just the mindfulnessinducing natural scenery that lures the discerning traveller to this beautiful archipelago in the North Atlantic Ocean. Among the luxury man-made destinations on offer, there is the newly rebuilt, gamechanging five-star Savoy Palace, one of the Leading Hotels of the World recently launched as part of the Savoy Signature series to offer wellness on many levels. This stunning 16-storey, 352-room hotel – in Madeira’s capital, Funchal – is a modern ode to the culture, history and landscape of Madeira, relaying its homage through some intricate and breathtaking design. The massive, bold, curved structure – emulating the ocean and the island’s mountainous landscape – was designed by Saraiva + Associados and brought to life by Nini Andrade Silva, a Madeira resident and one of Portugal’s most sought-after interior designers, working in collaboration with architects RH+. Her illustrious work includes the new W São Paulo Hotel & Residences and the Nini Design Centre Funchal. The Savoy Palace takes its design influence from the Belle Epoque period while blending with inspiration from the island’s rich resources – a convergence of cultural and natural heritage. While the interior space is substantial in size, the hotel possesses a boutique, intimate feel and complements the outward environmental consideration of architecture, which manages to give the impression that the hotel has fewer floors than its 16 storeys.
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DESIGNER MAGAZINE WELLNESS
The aesthetics bring together a number of elements: the enveloping volcanic landscape; a unique manmade environment featuring ancient levadas (irrigation channels) and tunnels; the mastery of Madeiran embroidery; the centuries-old art of wickerwork; and the expertise involved in producing Madeira’s world-renowned fortified wine. One of many highlights is the 3,100 sq m spa, inspired by the island’s most beautiful natural treasure and a UNESCO World Heritage Site – the Laurissilva Forest – covering around a fifth of the destination’s footprint. The subtropical island’s natural therapeutical assets are amplified by a ‘Heal with Nature’ spa wellbeing offering that promises to massage and soothe away the stresses of pandemic overload. With a cave-like setting, the Laurea Spa features lagoons, cascades and waterfalls to mirror the island’s terrain, alongside 11 treatment rooms. There are Turkish baths, a halo therapy room, sensory showers, an ice fountain, a Himalayan salt room, sauna, jacuzzi, relaxation room, champagne and nails bar, beauty
room and heated indoor pool which forms one of six pools. The vivid greens and the striking floral palette of the spa reflect Madeira’s colourful landscape, with the use of stimulating and sensory scents throughout to create the illusion of a salty Atlantic breeze. In the foyer, overlooking gardens planted with indigenous and semitropical species, waterfalls culminate in levadas that run through all entrance areas. Large photographs depicting these ancient man-made tunnels, now an integral part of Madeira’s landscape, provide unexpected little corners for guests to relax or socialise. In the reception area, an impressive chandelier and large mirror provide a feeling of space, sumptuousness and grandeur. The hotel’s communal areas are bold and inspirational with the emphasis on colour, sinuous curves emanating plants, animals and the female form, as well as ornaments with an Art Nouveau influence. A spiral staircase has been inspired by Madeira’s history of embroidery, while restaurants
harness flower power with a giant, gold leaf hibiscus chandelier forming the centrepiece of one of six dining venues, and another takes every cue from the orchid. As guests pass between different floors, they are presented with a variety of rooms and suites that reflect the comfort and elegance of upmarket areas of the city with features including headboards, again reminiscent of Madeira’s renowned embroidery. “We have created environments for living and conviviality, and others which are cosier and more intimate, suitable for rest and relaxation,” said Nini Andrade Silva. “They produce a visual interplay that balances the language of the building itself with the voluptuousness of its interior. “We make use of subtle contrasts between pastels and pinks that let light flood into the interior. Entering this hotel is like entering a poetic world, where colour, textures and iconic ornaments and objects are all important.” Wellness just got bigger and a whole load better…
Nini Andrade Silva / niniandradesilva.com RH+ Architects / rhplus-architecture.com Saraiva + Associados / saraivaeassociados.com 50
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making places friendly
Update your space with more plants! USM makes it possible. usm.com USM Modular Furniture 49–51 Central St, London EC1V 8AB, 020 7183 3470, info.uk@usm.com
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DESIGNER MAGAZINE RESIDENTIAL DESIGN
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DESIGNER MAGAZINE RESIDENTIAL DESIGN
Photography: Vangelis Paterakis
Dual Purpose A tricky, challenging space was transformed into two striking contemporary homes through attention to detail and just the right material combinations…
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DESIGNER MAGAZINE RESIDENTIAL DESIGN
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DESIGNER MAGAZINE RESIDENTIAL DESIGN
A
rchitecture practice Block722 was called upon to re-imagine and complete the construction of an existing concrete shell in Athens in order to transform it into two design-led, duplex homes. The boutique, high end residential development occupies a narrow fronted, deep plot at the heart of Kifissia, a northern suburb that is famous for its leafy surrounds. The two units, constructed by Malo Development, have been designed with attention to detail at their heart, reflecting Block722’s signature approach which blends natural materials and a sense of balance. One of the apartments occupies the raised and lower ground levels, spilling out into a long, landscaped rear garden. The second one sits on the two upper floors, expanding onto a roof terrace at the top and offering long views of the neighbourhood and the Athenian cityscape beyond. A garage is located on the lower front side of the property. Working with the existing structure, the architects composed a geometric front and rear façade using a calculated grid of opaque and
transparent sections, timber elements and textured, dark plaster. The timber structure cleverly doubles as veranda railings, while the plastered surfaces were specially created by expert craftspeople to mirror the interior’s key colours and materials. Inside, the palette includes travertine stone for outdoor areas and bespoke fixtures, such as the rooftop’s jacuzzi, marble for the front steps and bathroom sinks; and warm woods for floors, cladding, window frames and cabinetry. Features such as the bathroom mirrors and sinks were custom-made for the project. The front border fence is also bespoke, a robust metal construction that at the same time feels as tactile and malleable as wood. Gardens on the front and rear of the property are matched by large verandas upstairs and the expansive roof garden at the top. The outdoors is brought inside through large floor-to-ceiling openings, while lighting design ensures even areas that are deeper within the floorplate, such as the kitchen, feel naturally lit. The interiors are further enhanced by furniture from Moda Bagno and Interni Stores, and art work by artist Pantelis Chandris.
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DESIGNER MAGAZINE RESIDENTIAL DESIGN
Efi Spyrou, Communication Manager and Artistic Director at Block722, says that the choice of materials and products were vital aspects of the project. “We wanted to bring the user closer with natural materials, such as the travertine walls and floors, a material reference of the old Athenian building blocks. The surfaces invite the user to touch them and feel the material finish, to see the natural pores, and read the history in the material itself. “Generally, the interior of the house has been kept simple with plaster surfaces and wood surfaces, and this was the main concept of creating a clear, structured and defined interior without too much information. Textured walls indoor and outdoor
were made by custom made unique finishes of plaster, that were made by a specialized local artisan.” Spyrou explains that perhaps the biggest challenge with the project was the long and narrow shape of the plot, and the existing structural shell. “There was a lot of discussion and workshops at the initial stage about the best way to distribute space throughout the plan. The layout had to be such, in order to create high quality living spaces, without diminishing the need for natural lighting and right proportions of the space. “We were really happy that at the end, the user experiences a residence open and filled with light spaces, with a lot of benefits that correspond to contemporary city living.”
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DESIGNER MAGAZINE B AT H R O O M S
BRIGHT IDEA
Creating a convenient combination with this inventive and visually striking pairing of light and water Apollo is a collection of shower heads that brings the elements of water and light together in a single design that is an equal combination of the two functions. Designed by Brian Sironi for Italian manufacturer Antoniolupi, the tubular showerhead component is joined by a lamp which can take various forms and which activates simultaneously with the water supply. The collection consists of a wall version and two ceiling-mounted options. Perhaps the most eyecatching piece is the wall element, made of cast brass in a Y-shape comprising three equal ‘branches’.
The shower heads are equipped with adjustable jets, while the IP67 LED lighting turns on simultaneously with the water supply
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LED lighting on the brass showerheads activates automatically and has a switch-off delay of 120 seconds after the shower is stopped
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DESIGNER MAGAZINE RESIDENTIAL DESIGN
LIGHT INDUSTRY A former industrial building converted into residential spaces sees a stylish conversion that is true to its efficiently productive heritage
The restrained living room and kitchen space is decorated with bright white and wood facades from Nolte Kitchen, alongside a print by Neo Loft. The space is given further interest with a wall sculpture by St Petersburg-based sculptor Nikita Stepanenko
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DESIGNER MAGAZINE RESIDENTIAL DESIGN
The main feature of this two-floor apartment situated in the Tribeca complex in Moscow, Russia, is the high ceiling which made it possible to create a second floor. The area of the first floor is 48 sq m but the mezzanine increased the total space to 72 sq m.
In order to accommodate a spacious and comfortable dressing room on the second floor, the design concept included an extension of the mezzanine area. In order to maximise light, a glass floor was used for this section to deliver the extra space without loss of daylight
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In this open plan approach by designer Sergey Ryndenkin of Yoroom Design, it was possible to maximise the compact space to incorporate an entrance hall, two bathrooms, a fully equipped kitchen with a bar table, living area, office, bedroom and large dressing room
Lower-level flooring is Carpet Vestige Natural 100 x 100cm porcelain tiles by Aparici
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G O I N G F O R GOLD Metallics are one of the key trends in interior design for 2021 and the kitchen is the perfect location to make a striking style statement with gold. This finish will also add a luxury element to your kitchen and is certainly becoming the most popular finish in our range of modern metallics. Complement the warm, golden-glow finish with angular lines for a contemporary design, team this with an undermount sink for the perfect style combination. View the full metallic collection at caple.co.uk
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DESIGNER MAGAZINE RESIDENTIAL DESIGN
The upper floor is a completely private area which includes bedroom, dressing room, and main bathroom
The bedroom is separated from the wardrobe by a wall-headboard of tiles from Aparici’s Aged Collection, shown in 20 x 20cm Aged White Ornato and Aged Dark Ornato
Yoroom Design / yoroomdesign.com Aparici / aparici.com
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DESIGNER MAGAZINE EXIT
EXIT
One last thing from this month’s magazine…
Splinterworks is now offering its carbon fibre hammock baths in Anka Bespoke’s liquid metal finishes. Coating the carbon fibre structure with a solid veneer of metal of bronze or copper tones adds patina and depth to the striking form of the bath. Bespoke Splinterworks stands are also available, allowing the Hamaca to be freestanding without the need for two walls. The bath is pictured in polished bronze and antique Brompton copper. Other bespoke finishes are available in brass, silver and pewter with textured, weathered and oxidised finishes.
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Splinterworks / splinterworks.com
22/06/2021 14:38
Adverts 251.indd 67
23/06/2021 11:56
GET INSPIRED AT CROWN Get inspired at the updated Crown in Daventry. Book a visit or take a virtual tour online for some fresh ideas. Crown Imperial has been innovating for over 75 years. Become a retailer with one of the finest furniture manufacturers in Great Britain for long lasting success. CROWN - INNOVATIVE THINKING
C R OWN -I MP E RIAL K/75 CROWN R IAL . C O . U UK
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K I T C H E N B E D R O O M LI VI N G
22/06/2021 22:59 09/06/2021 11:00