Mix Interiors 202
March 2020
H E C TA DESIGN SIMPLIFIED
DESIGNERS & MANUFACTURERS OF WORKSPACE FURNITURE
www.gof.co.uk
8
UPFRONT
Seven 18 Steve Gale 20 Perspective 22 Material Matters 25 Desert Island Desks 26 Property Focus 30
39
SPOTLIGHT
59
HOSPITALITY
76
CASE STUDIES
100
ROUNDTABLE
106
REVIEW
112
LAST WORD
The Big Question 41 Product Designer Focus 42
Revolving Door 60 The New Hospitality 67 Stock Exchange Hotel 70 Locke at Broken Wharf 72
WD-40 76 The Brewery Building 84 Ingleton Wood 92
Surface Design Show 106
Criteo's Head of Workplace Experience, Mike Walley
UPFRONT Welcome
GET IN TOUCH EDITOR
Mick Jordan mick@wearemixgroup.com MANAGING DIRECTOR
Martin Mongan martin@wearemixgroup.com DIRECTOR
David Smalley david@wearemixgroup.com BUSINESS DEVELOPMENT MANAGER
A WORD FROM MICK No matter how concerned (or unconcerned) you might be about the coronavirus epidemic (at least still ‘only’ an epidemic and not a pandemic at the time of writing), it does feel as though the majority of people and businesses are taking ‘this one’ incredibly seriously, with major international events – such as Milan and MIPIM – already being affected. Some firms in London have already cancelled or postponed showroom events (no judging here), while their neighbours cheerily welcome their guests through their doors with hearty handshakes and hugs. We’ve all read, seen and heard medical experts talk about coronavirus and how best to keep both those around us and ourselves as safe as possible. A good, regular 20-second washing of hands is something I’m sure an awful lot of us have already got into the habit of doing. From a facilities point of view, this isn’t that easy when the bar you’re in (one of the industry’s most popular Clerkenwell haunts, incidentally) has taps that spew scalding water for no more than 0.5 of a second! The taps on a lot of the inter-city trains aren’t much better, offering approximately three seconds of cold water at a time. Anyway, I digress. The real issue I do have right now is that, despite the leading experts in virus research not being able to tell us exactly what will happen with this epidemic, certain events organisers (see above) seem to have the answers, pushing their own events back to June. So everything is going to be fine in June is it? I’m not so certain. And I’m not certain because the leading virologists are not certain. What I am certain about is that I’m not going to book my flights and hotel rooms just yet. Stay safe and well people.
Kate Borastero kate@wearemixgroup.com DESIGNER
THE COVER
Tammi Bell tamzin@wearemixgroup.com
THE LOGO
EDITORIAL EXECUTIVE
Mindfulness: The act of design can be a mindful practice by turning our attention to the minute details and sensations. After a whirlwind start to 2020, we took the opportunity to slow things down, exploring more manual methods of creating. Utilising watercolour paints, we got lost in the moment for a little while creating something away from the computer screen. www.mcm-uk.com
HEAD OF OPERATIONS
Lisa Jackson lisa@wearemixgroup.com HEAD OF EVENTS
Lesley Fair lesley@wearemixgroup.com EVENTS
Hester Talbot, Georgia Bone, Olivia Wright-Lewis THE COVER
Elinor is an executive chair designed by Claudio Bellini for Pedrali, the Italian producer of contemporary furniture for contract and residential. A multi-tasking product that reflects the needs of a changing market, characterised by a high level of aesthetic quality, this executive chair is extremely comfortable thanks to the polyurethane injected foam seat and back and the weight-activated synchro-tilt mechanism integrated in the upholstered seat. Courtesy of Pedrali
OWNER
Marcie Incarico marcie@wearemixgroup.com FOUNDING PUBLISHER
Henry Pugh
CONTRIBUTORS
Steve Gale, David Thame Mike Walley ADDRESS
85 Greengate, Manchester M3 7NA TELEPHONE
0161 519 4850 E-MAIL
editorial@wearemixgroup.com WEBSITE
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Chloe Petersen Snell chloe@wearemixgroup.com
TWITTER @mixinteriors INSTAGRAM @mix.interiors LINKEDIN Mix Interiors
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NOOM
NOOM NEWS Soft seating
www.actiu.com
credenzas to match our award winning, market leading chairs and table systems
w w w.brunner-uk .com
Inspired by classic British tweed for a look that’s versatile, Balanced Hues is the latest Carpet Tile from Europe’s biggest manufactuter of Carpet Tiles, LVT and Heterogeneous Vinyl. Available in 16 colours made from 40% recycled content ColorStrand® premium nylon yarn, Balanced Hues is responsibly made in Belgium.
ivc-commercial.com @ivcbeyondflooring
UPFRONT
▼ Cambodia. Photo: Cool Earth
RIDE ‘EM IN, RAWSIDE
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e know how much you love an opportunity to learn and a good get-together – well, here’s a two for the price of none for you! We are working with the ‘craft ale of manufacturing’ – Rawside – on a not-to-be-missed event. On Wednesday 29th April, at the award-winning Department Store in Brixton, the home of Squire and Partners, we will assemble a panel of experts who are at the vanguard of flexible workspace. We can already confirm that Charlie Green, Co-founder of The Office Group, and Co-Founder of x+why, Phil Nevin, will be part of our illustrious panel – with more names to follow. The theme for the evening event will be the future of the flexible workplace, what does the occupier want and what’s next in this evolution. Due to limited capacity, this event is exclusive to architects, designers, property professionals and occupiers – just go to our website for more details. But hurry, like we said, numbers are limited.w
The Place: Department Store, Brixton (Squire & Partners) Date: 29th April 2020 Time: 1830-2030hrs
▲ The Department Store
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COOL CATS
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eading workplace design and culture specialists, ThirdWay, have teamed up with climate charity Cool Earth. ThirdWay Trust have utilised their line of work and will be making a donation to Cool Earth based on the square footage they will work on this year, which will further Cool Earth’s efforts to protect endangered rainforests. Alice Colwill, Head of ThirdWay’s charity venture, ThirdWay Trust, comments: ‘At ThirdWay Trust we fight against both poverty and climate change in a way that has a lasting impact on the people most at risk. We’ve already made great developments to ensure that, as a company, we’re committed to attaining the highest standard of environmental practices. Our partnership with Cool Earth is a great opportunity to extend our efforts globally. We look forward to working with Cool Earth and believe
it is a perfect fit with our mission.’ With partnerships all over the world in places such as Mozambique and Cambodia, Cool Earth works with local people to halt deforestation and climate change. The team at Cool Earth supports local and indigenous knowledge to develop innovative ways to address threats to the forest while making communities stronger and more resilient. Partnerships are key for the charity’s progression as this helps support and share their knowledge around the world. Matthew Owen, Director of Cool Earth, says: ‘We are delighted that ThirdWay has chosen to join Cool Earth’s mission, helping to protect rainforest across the globe. With the support of ThirdWay Trust’s generous donations from their projects, we can help keep forest standing.’w
AXYL By surprising yourself, unsurprisingly, creative flair will strike you in every day life. This is Allermuir.
A X YL BY BENJAMIN HUBERT | L AYER
allermuir.com
CHANGE AGENT Influenced by the transcendent act of bringing new purpose to natural materials. With complementing colours and 25 x 100cm plank sizes, two carpet designs, Compound Magic and Pure Alchemy seamlessly mix, match and pair with an LVT design, Earth Science to create one beautifully continuous floor scape.
Products shown Compound Magic and Pure Alchemy T +44 (0)1942 612777 www.millikencarpet.com
UPFRONT
▼ Plus X Brighton
PLUS SIGNS
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lus X Brighton, the new innovation hub opening in March at Preston Barracks, Brighton, aims to be the first building in the city to be accredited Platinum standard by the WELL Building Institute, with its design and fit-out focused solely on the health and wellness of its future occupants. ‘We are delighted to be the first building in the region on track to win this global accreditation, which has some tough criteria,’ Olga Hopton, MD of Plus X Brighton, says. ‘We quite literally want to make Plus X Brighton the healthiest workspace in the city – a place where the environment aids positivity and productivity and the Plus X team will be fostering a nurturing environment.’ Throughout the design, Plus X has taken everything into consideration. The air quality is monitored for such things as CO2, dust and humidity and adjusted to meet WELL standards. The Plus X team is mental health trained and on hand to assist members working in the space, who will also be offered twice-weekly yoga classes delivered by Brighton’s Namaste Yoga. The team will also manage member and community events in its spectacular event space. Some examples of extraordinary features included in the fit-out of Plus X, which have
helped it reach Platinum WELL, include its use of green electricity, solar panels and zero to landfill policy, making it carbon neutral, as well as using locally sourced produce in its café and eco cleaning products. As studies have proven that when surrounded by plants, people’s happiness, focus and productivity improves, Plus X has a biophilia strategy, incorporating plenty of greenery allowing people to commune with nature both inside and out. Brighton’s first rooftop terrace, featuring edible plants and herbs, will be opening in spring for
private events and for members to use as thinking space. Workspaces will also be flooded with natural light from large windows. ‘People react to the environment they are working in and it is possible to feel healthy and inspired in the workplace,’ Olga continues. ‘Plus X is there to make it easy so that our members can focus on what they do best, which is running their business.’w
▼ Nobu Hotel London Portman Square Bedroom
MADE IN JAPAN
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he design concept for Nobu Hotel London Portman Square, which is set to open its doors this summer, has taken inspiration from Japanese architectural disciplines and minimalist design, whilst utilising a refined colour palette influenced by heritage Japanese colour combinations. Extensive research into Japanese arts and crafts was integral to the design process, exploring traditional architecture, panelling and patterns and reinterpreting these aesthetic points of reference in a modern way throughout the hotel’s spaces.
Craft and craftspeople also play a central role in the design story of this hotel – designers David Collins Studio and the hotel’s owners wanted to apply the same attention to detail and handcrafted approach to the aesthetics of Nobu Hotel London Portman Square as Nobu Hospitality applies to it hotel services, and Chef Nobu to his restaurants. From hand-blown glass chandeliers and bespoke lighting pieces to large-scale sculpture and original artworks, the hotel has many points of interest. Keep an eye out for this one! w
Mix 202 March 2020 | 11
UPFRONT
▼ Ian Farthing and Patrick Tarbit
BLUE LIT
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ELECTRICS AVENUE
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E Electrics, the Yorkshire-based manufacturer of soft-wiring solutions for office, education and hospitality environments, has announced two key appointments after experiencing rapid growth in 2019 and as it continues its ambitious plans for the next five years. Patrick Tarbit has been appointed as Sales & Marketing Director and Iain Farthing as Global Client Manager. Patrick joins the company after a successful career in IT and Telecoms at Nortel, Lucent Technologies and Cisco, spanning over two decades. Commenting on his appointment, Patrick said: ‘I’m very excited to join the OE team to lead sales and marketing. I’ve known OE for a number of years and have been constantly impressed by the growth and evolution of the business and portfolio. We have some exciting new product launches this year, which will bring great new potential to our customers and partners, to transform agile and flexible working and hospitality environments.’ As part of its expansion, OE Electrics is building a new team to focus on key global accounts and new markets. Iain joins the business to lead this drive, having worked with Red Hat Software, Oracle and Microsoft. More recently, he worked as a director of Luna Tile and Stone. Iain said: ‘This is something of a hybrid role, building relationships with end users as well as architects and designers and fit-out providers. This enables me to utilise the experience that I’ve built over 30 years working in both the tech and construction industries. To join the market leader, with new products due to launch this year, is fantastic, and has the feel of a start-up within a well-established and respected organisation.’w
illmott Dixon is extending its track-record as the UK’s leading constructor of blue light facilities after being chosen by Humberside Police Force and developer Wykeland Group to take forward a major police building facility that will house over 500 people. Plans for the £20 million threestorey operational support building at Wykeland’s flagship Melton West Business Park, west of Hull, have been submitted to East Riding of Yorkshire Council and, if approved, construction is expected to start in the third quarter. This is the latest in a national trend by police forces to bring together as many functions and services as possible under one roof in a highly modern environment. The Humberside Police Force development, called Melton 2, will provide 107,000 sq ft of accommodation for around 535 staff from the force’s Operational Support Services and is sited next to an existing facility, Melton 1, which was built in 2014 and is home to specialist teams and support staff.
▲ Melton West
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Willmott Dixon is working with Bond Bryan architects to take the plans through planning and into construction. In conjunction with the existing centre, Melton 2 will provide tailored facilities for operations and support staff, supporting greater functional efficiency. The proposed scheme also aims to improve the quality of work and training environments for Humberside Police personnel. The design includes key sustainable features such as energy efficient heating and lighting systems, the use of environmentally friendly materials and facilities to encourage staff to cycle to and from work. Humberside Police and Crime Commissioner Keith Hunter said: ‘The new development at Melton will, if approved, allow Humberside Police to bring together a number of specialist crime investigation functions, some of which deal with the most serious crimes and vulnerable victims, and provide a new, state-of-the-art force control room.'w
Discover unrefined beauty. Achieve luxurious simplicity with Amtico’s new Signature woods, all designed and hand crafted in the UK. amtico.com
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AT LAST. A SIT-STAND DESK ENGINEERED TO COPE WITH LIFE’S LITTLE UPS AND DOWNS. Strength and stability are key requirements in sit-stand design. This elegant, motorised desk offers both and is a clever new concept from Koplus BV, manufactured entirely in our futuristic new factory.
Importantly, the Koplus Knest desk can reliably handle up to 135 kilos. This makes it more than a match for the increasing amount of electronic equipment demanded in today’s working environment. It even comes equipped with a programmable memory that can store the height preferences of up to four users. Which is undeniably handy when hot-desking.
The cold-drawn steel used in this design offers tighter tolerances for a more substantial feel and impressive stability at any height, as demonstrated by our friend, Mr. Sumo. Unlike electric motors commonly used in sit-stand desks, ours was purpose-designed by Michael Ko. It is noticeably more powerful and faster, yet smooth and all but silent in operation.
Height adjusable at the touch of a button, this desk is available in a range of styles and finishes.
All Koplus products are comprehensively tested and certified to BS/EN, GS and BIFMA standards by TUV of Germany. They also have full GreenGuard certification and all products are 100% recyclable.
Comprehensive, simple and intuitive controls make height adjustment fast and easy.
Founder, KOPLUS UK
The future engineered for today London Showroom
73 Central Street, Clerkenwell, London EC1V 4BU
020 7336 7222
sales@koplus.co.uk
www.koplus.co.uk
UPFRONT
▼ Thomas Saunders' new book
LAMINATED CHARACTERS
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NO DOUBTING THOMAS
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fascinating new book, which takes the reader on a fascinating journey through architecture, myths, and management, has recently been launched. ‘Thoughts on Architecture, Myths and Management’ has been authored by qualified architect and author, Thomas Saunders, the Founder of TTSP, of course, who has over 60 years’ industry experience. He explores the bonds linking architecture, the human experience, health, the authentic Tarot, the natural world and perennial teachings. The book takes an in-depth look at architecture – the status of its institutions, the relevance of the teaching curricula and the fragmentation of the role of architects in practice – and reflects on the prevailing ethos of our society and culture. Whatever the changing, existential cycles of order and chaos, the core of the fundamental principles of design constantly connects the ancient polymath ‘architects’ with our 21st century practitioners to create spiritually uplifting, healthy, sustainable environments that enhance our wellbeing and welfare. These abiding principles are based on the world’s natural phenomena and human nature. Thomas Saunders qualified in 1956 as a chartered architect. In 1961 he set up practice at home as Thomas Saunders Architect. He was elected as a Fellow of the RIBA in 1967. The book is available in both paperback and as an e-book and there will also be an exclusive launch event, to be held at RIBA (76 Portland Place), 6.30pm on 12 March. For more info, go to www.thomassaunders.netw
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ormica Group, the leading manufacturer of interior surfacing solutions and the original inventor of Formica laminate, has recently launched an exciting pan-European furniture design competition. They’re calling for budding art and design students to enter and submit their concepts. Formica Group has challenged design students across Europe (including UK, Ireland, Holland, Belgium, Finland, Poland, Sweden, Norway, Denmark, France, Russia and Spain) to create a forward thinking and attractive piece of furniture incorporating Formica laminate to help ‘create a better life.’ The competition focus is to develop furniture concepts, which will help to change our relationship with the spaces that define us. It will also show how to make life easier, more enjoyable, more productive or more comfortable. Participants must first choose their setting. The product can either be suited to home living, such as a kitchen or living/dining room or a public space including hotels, shops,
▲ An entry to Formica's Furniture Design competition
offices, a hospital or a school – and then, of course, they must use Formica laminate. Entrants will be challenged to look differently at the interpretation of the application of Formica laminate for interior use, while specifying versatile decorative surfacing solutions offered by their collections. The international jury panel will consist of three expert judges – Matthew Day Jackson will join Formica Group design experts Renee Hytry Derrington, and Eva Hoernisch. w
COURT VISION
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arkett and DYNAMIK Sport have collaborated and signed as the Official Flooring Partners to the British Basketball League (BBL), becoming one of the latest companies to join the ever-increasing number of partners investing in the development of the British Basketball League and basketball facilities throughout the UK. Tarkett, Europe's largest flooring manufacturer, is joining forces with DYNAMIK to provide the British Basketball League with three roll-out basketball courts as part of a five-year partnership. The courts are to be installed in the arenas of BBL clubs based in
Sheffield, London (Copper Box) and Plymouth. Both companies will also be working with the BBL on a range of initiatives to increase participation in the sport of basketball in the UK. Elizabeth Butcher, Tarkett UK Sports Marketing Manager, comments: ‘This is a wonderful time for basketball in the UK, with participation levels growing exponentially, and we couldn't be prouder to partner with the BBL. With a speciality in sports flooring solutions and an unrivalled global manufacturing capacity, Tarkett works in collaboration with DYNAMIK to offer the Complete Sports Flooring solution.’w ▼ Tarkett and DYNAMIK
Upfront |
▼ sixteen3 showroom
NUMBERS GAME
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ixteen3 has opened its new showroom at 25 Bastwick Street in the heart of Clerkenwell. Previously located at The Gallery, sixteen3 has taken a five-year lease on the 2,000 sq ft first floor space in a move to provide customers with a more inspirational and engaging environment that has the capacity to showcase a wider range of products. In addition, the premises will be used to host CPD events for architects and designers. Paul Chamberlain, Managing Director at sixteen3, tells us: ‘This investment in our London showroom comes on the back of a strong year for the business and shows both our commitment to the local market as well as a confidence in our ongoing growth. Product launches such as Reece – our stylish modular seating system made from 83% recycled materials – are working to raise our profile in the industry and we welcome the opportunities that this affords. ‘Designed by interior design studio, incognito, the showroom offers a variety of spaces or zones that have been created to highlight the versatility of our design-led products and allow customers to touch, feel and sit in them as part of the procurement process. We are excited to have a unique place to call home and look forward to welcoming clients, colleagues and friends.’ Headquartered in Cheshire, sixteen3 won Product of the Year (Loose Furniture) at the Mixology North Awards in 2018 and was shortlisted for the same category at Mixology in 2019 for Calvert, its steel framed, louvrestyle room dividers, designed to create spaces to focus, collaborate, relax and inspire without losing visibility. It’s latest product launch, Reece, is the first step in it becoming a more environmentally friendly manufacturer, with a product range that can be made almost entirely with sustainable materials and recycled as easily as possible at end of use.w
Beyond desks and chairs For over 35 years, Dataflex has specialised in making ergonomic monitor arms and other workplace accessories. High quality products for every budget that help you create a comfortable, healthy and inspiring workplace. So where you work is also a place where you feel at home. We call it ‘feeling at work’. www.dataflex-int.com
MixMix 187198 September October 2018 2019 | 17
UPFRONT Seven
SEVEN
Sustainability Myths
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he environment continues to be the hottest of hot topics – but how much do we really know and understand? Should we really believe all that we're told? Apparently not. Here, Jon Khoo, Regional Sustainability Manager at Interface, presents seven myths about sustainability.
The amount of carbon in the atmosphere always stays the same Actually, it has changed. Human activity, known as the Anthropocene, is what has disrupted the carbon cycle over the last few years. But we still have the opportunity to change this by making low carbon choices, like protecting our natural carbon sinks – such as forests – and divesting from fossil fuels. The clock is ticking though, the IPCC says 2030 will be the point of no return if we don’t take action now.
Carbon offsetting is merely compensation Manufacturer’s should always look at how to reduce carbon emissions throughout their products’ lifecycle and carbon offsetting does have a role to play, if it’s done responsibly. Offsets should only be used to tackle emissions that are the most difficult to reduce or remove. You
should always ask questions about how a supplier is reducing the carbon footprint of its products.
Being sustainable hits a company’s profits This might have been true in the past but it isn’t any more. When Interface started its sustainability journey, its share price did fall, but it also set it on the path of becoming both a sustainable brand and market leader. Interface is not alone. Last year, Unilever reported that its sustainable brands are growing much faster than other parts of its business. Plus, sustainability is increasingly a key investor concern.
Only big changes make a real difference Remember the saying ‘great oaks from little acorns grow’? Well, we can all play a part in tackling
global warming and responding to climate change. Look at the debate around plastic packaging. It was individuals who put pressure on supermarkets and the hospitality industry to respond. There’s also some really effective community driven action; take Surfers Against Sewage’s Plastic Free Communities or individuals leading movements such as Ella Daish, Lizzie Carr and Martin Dorey.
You have to choose between wellbeing or being sustainable Not at all, why wouldn’t you do both? We aspire to create places that are inspiring, productive and good for the planet. That’s done by making products which are beautiful, connect people with nature and tackle global warming.
Building products are always carbon emitters It’s correct that buildings and materials have been associated with producing carbon emissions
– whether that’s carbon emissions from their use (operational) or those relating to their creation (embodied). But we are starting to see buildings that can actually help reduce emissions such as Brattørkaia in Trondheim (designed by Snohetta) which produces more than twice as much electricity as it consumes daily, and will supply renewable energy for itself, surrounding buildings and for electric transportation.
We can only tackle one thing at a time We need a systemic approach to reversing global warming. That means considering everything from food, to building, to transport choices. While the stats vary on which area causes the most damage, the key is to understand the connections – which aspects you can help with and start making a change now.w
Ola Designed by Wolfgang C.R. Mezger
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UPFRONT
CARGO CULT Let’s be really clear about cause and effect, says M Moser's Steve Gale
B …islanders tried to summon the air drops back again for their tinned food, woven clothes, jeeps and radios
Steve Gale is Head of Business Intelligence at M Moser Associates. SteveG@mmoser.com
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ack in the 40’s, some Melanesian islanders behaved very strangely when visiting US troops departed after the war. Their practices were labelled ‘cargo cults’ by anthropologists, for reasons explained below. Does our design industry ever indulge in its own cargo cult? Are there rituals or artefacts in the workplace that fail to achieve their desired outcome because their impact is misunderstood? Cargo cults were observed when western visitors stayed for a while and then left, and the goods they imported and widely shared with the islanders dried up. When American troops went home and imports ceased, the islanders tried to summon the airdrops back again for their tinned food, woven clothes, jeeps and radios. They built artefacts and re-enacted the rituals they associated with cargo delivery, but in ignorance of the factors beyond their horizon that really made it happen. In elaborate attempts to restart the cargo drops, villagers cut new airstrips, built bamboo control towers and full size straw planes, and even made headsets from coconuts to replicate the infrastructure that delivered the things they were missing. Rituals included repeating aircraft marshalling signals and performing military parades in homemade uniforms with wooden replica rifles. A cargo cult was born. These actions instantly make sense because we can sympathise with people wanting to replicate desirable outcomes even though they do not know the full story, behaving in a way that seems irrational, making empty and irrelevant gestures. Like buying the same make of clubs as Tiger Woods to improve your golf swing, or planting tomato seeds in the same coloured pot each year because that one once produced a bumper crop. Cargo cult is not a common term in the design industry, but every development engineer I have asked knows about it. For them, it describes the unthinking adoption of a couple of activities from the agile programming methodology, like stand-ups and bi-weekly planning sessions, with the hope of
reaping the benefits of the working philosophy, but without the purpose and management structure that gives them value. Mimicking the appearance of ‘agile’ like this is, of course, a complete waste of time, and the resulting ‘cargo cult agile’ is a source of much scepticism in the industry. If this is easy to understand, and we join the techies in their abhorrence of cargo culture in their working patterns, does it shine a light on our work in designing workspaces? Google has installed slides in several of its offices, mostly in North America, and so, in an attempt to recreate the success and fun of this world beating company, it has been widely copied, but imitators have misunderstood the cause and effect. Slides did not make Google great, their healthy appetite for experimentation just allowed slides to happen. The slides are artefacts in a cargo cult. When we see a business enjoying a flat hierarchy with lots of healthy interaction and information sharing on sofas and around a lively lunch table, we might want to encourage the same behaviour for other organisations by building similar interactive opportunities into our design. But it won’t work unless the culture is ready for it. People have been known to jealously guard their intellectual property, and see co-workers as competitors rather than colleagues – convivial space won’t magically fix that. We have cafeteria as cargo cult. We might try to reproduce library silence with individual study carrels, but if users have not embraced the behaviour protocols, it’s a cargo cult. Unassigned desks can be seen as liberation to work with different colleagues, but this must follow a commitment to a clear desk policy and the whole idea of flexible working – or it’s another cargo cult. You get the idea. Our facilities, spaces and settings must be driven by the culture and behaviour of the users – or at least by their future behaviour. Otherwise, we define a bespoke cargo cult – attempting to summon up things the facilities have no power to invoke.w
UPFRONT Perspective
PERSPECTIVE Incendium Consulting is a leading corporate real estate innovation company that believes CRE can change the world of work. Here, we ask the consultancy's Manager, Rebecca Milne, exactly how - and much, much more.
What is the best thing about your job? It’s an exciting time
to be working in corporate real estate as the industry becomes increasingly more complex due to the rapid rate of business change. This is reshaping business strategy, operations, consumer preferences and, ultimately, how and where people work. One of the best parts of my job is problem solving and guiding clients through these challenges; developing solutions and strategies that adapt and re-imagine their operating models and portfolios. Clients are having to respond to the organisational and operational challenges they are facing, and this is putting CRE front and centre of business change. You don’t have a traditional real estate background, how do you think this helps you in CRE? My background is a bit
more diverse than the usual CRE professional. I started off in business advisory at EY in New Zealand, working with a range of public and private sector clients across different industries and geographies, solving complex policy and business challenges. I then did the jump from the corporate to the start-up world and helped develop a company that was focused on developing and promoting innovative ways of driving social outcomes through investment. We focused on investing in companies that were ‘for profit’ but with a purpose of trying to tackle the tricky social issues of
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today through innovation. This diverse background allows me to tackle client problems with a dynamic approach that challenges the conventional CRE way of doing things. To retain relevance, CRE professionals need to become business strategists with a deep understanding of how the world is changing and what that means for the sector. In what way is the client more knowledgeable than 10 years ago? Real estate is one
of the largest overhead costs to a business and has historically been a long-term decision based on an unrealistic view of the company’s projected growth and real estate requirements. Today, our clients’ businesses have to be agile; they increasingly understand that building flexibility into their portfolio is an important enabler of their organisation’s performance and value. There is a much greater understanding now that property is a strategic asset that sits at the heart of a business, rather than just an expense. And, fundamentally, clients now have more options to develop their portfolio and adjust for growth, headcount and the workplace requirements of their employees. It is a very challenging – albeit exciting – time. What is stopping the property sector providing truly innovative solutions to occupiers? In today’s world, no
company is immune from sectoral disruption. Innovation and potential obsolescence are something that all industries, sectors and businesses will continue to grapple with during a period of aggressive change. CRE has to work harder than it ever has before in order to match customer demands and expectations. However, the property sector is currently constrained by financing and the provision of physical assets, and yet so many customer demands (and real value) are represented by the need to offer ‘value-add’ services beyond just ‘space’. As we move towards delivering an experience, rather than simply a building or space, we need to look beyond our sector for new technologies and services to understand how to innovate and match end user expectations, to improve the performance, user experience and value of solutions. Remember that Swatch knew how to compete against Timex on watches, but they never factored in Apple joining the market. Whilst I can’t tell you who the Apple of the real estate sector will be, they are coming. Products are being designed that we don’t even know we need yet… In your view has the rise of flexible space been created because developers were slow to react to the changing nature of work? Work is no longer just
a place we go, it is what we do. The nature of the workplace is
changing, and the delivery of office space is no longer just the provision of an asset but an experiential service. Many developers were slow to adjust to the changing business model and the fact that the value of the workplace didn’t come from the ‘bricks and mortar’, but rather by facilitating effective interaction, collaboration and building the community within it. However, as with any trend, it is never created by one player’s response, but by wider client demand and a shift in market perception. The operational reality for businesses today is one of volatility and uncertainty, which has been a key driver in moving the industry forward. This uncertainty, coupled with the changing ways of working, has driven the rapid shift to flex space, as it is such a fast and agile route to market for organisations of all sizes. In the UK, our market data indicates that, by 2023, 12.5% of the office market will consist of flexible workspace – up from 6% today. Consider any other product of this scale more than doubling in size in three years! The changes in our industry are coming at an astonishing rate, and I believe there has never been a better time to be involved in shaping the future of work!w For additional interview content, visit the Mix Interiors website: www.mixinteriors.com
WUNDERWALL -ENGAGE Booth system
#dh40 40 years of furniture
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FRONTIERTM ACOUSTIC FINS Design: Custom Colour: Savoye
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A NEW DIMENSION IN ACOUSTIC WALLS AND CEILINGS Frontier is an innovative acoustic system designed for targeted sound absorption within today’s ever-changing open-plan workspaces, retail, education and hospitality applications. The Frontier system, formed by just three elements including Autex mounting clips, extrusions and the choice of either Fins or Raft, allows designers to mix and match colours and styles to create countless configurations. Contact Autex Acoustics for more information. www.autexacoustics.co.uk
UPFRONT Insight
MATERIAL MATTERS This month the team at Material Lab focuses on the wonderful world of pattern design.
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Charlotte Clayton
BAUX
Johnson Tiles
Charlotte Clayton is a surface designer specialising in knitted textiles. Her portfolio of work includes a wide range of knitted textile processes alongside digital technologies, including using a laser cutter and Adobe software packages to design and cut into fabric, resulting in innovative designs with bright and bold surface materials.
BAUX creates wood wool panels and tiles that reduce sound reflection and also regulate moisture. The Swedish acoustic specialist recently introduced the Pattern collection in collaboration with design studio, Form Us With Love, featuring over 500 designs designed to repeat like wallpaper – along with an online tool that allows designers to download pattern files for the panels and tiles to calculate how many are needed for a wall or space.
Johnson Tiles has a variety of patterned tiles, including statement range Savoy Floor. Savoy Floor is a contemporary range of glazed porcelain wall and floor tiles featuring a rustic concrete effect in a selection of coordinating geometric patterns. Each of the designs within the range can be used on their own or combined together to create a patchwork pattern or zoned areas.
See more of Charlotte’s work at: www.charlotteclaytondesigns.com
Find out more at: www.baux.se
See more patterned tiles at: www.material-lab.co.uk
Mix 202 March 2020 | 25
UPFRONT Desert Island Desks
DESERT ISLAND DESKS
Helen Nicol, Director at tp bennett Former Co-founder of Strive, Helen Nicol, recently joined tp bennett as a Director, following the acquisition of the business. Helen began her career in interior and exhibition design, however, over the last 15 years, she has specialised in the field of strategic consultancy, business operational evaluation and workplace strategy, exploring the impact and relationship between buildings and behaviours.
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PHOTO OF CHARLOTTE Someone very close, taken far too young – so I never forget the importance of life and living every day to its fullest.
HP LOVECRAFT SHORT STORIES So I can let my imagination wander into the depths of these dark tales and mysteries – and remind me of my days as a student!
BORIS Boris is one of my springer spaniels, who's totally bonkers. He would be great company and would keep me fit.
SOLAR POWERED SPEAKER So I can always listen to my music, with so many songs bringing memories of different times and people. I would really need this!
AN ENDLESS SUPPLY OF HENDRICK'S GIN What’s a beach without a gin?
NOTEPAD AND PENCILS So I can finally find the time to draw again! Oh, and maybe when I have had enough, I could use it to send a message in one of my empty gin bottles so I can be rescued.
TRACKS FOR THE JUKEBOX Bassomatic – Fascinating Rhythm
To remind me of my party years and endless nights of dancing in rubbish clubs. Billie Eilish – Six Feet Under
Because she is just a little bit bonkers and I love this song. Elcho – Stop the World (Aquatint Mix)
Just because I also sometimes what to stop the world and get off it… Faithless – Insomnia
Best dance track ever to be bopping around to on the beach as the sun goes down. Saw this live once AMAZING. Groove Armada – If Everybody Looked The Same
Amazing album and reminds me of a great time in my life I Am Oak – On Trees and Birds and Fire
New London Showroom
Classic tune that not many people have heard – good one to walk along the beach to... London Grammar – Hey Now
For those moments when I just want to be alone and miserable and don’t care what anyone else thinks. w
25 Bastwick Street
Clerkenwell, EC1V 3PS To book a visit get in touch: Tel: 01925 850500 Email: info@sixteen3.co.uk
www.sixteen3.co.uk
GET YOUR TICKETS Don’t miss out on the summer party of the year Last few tables remaining
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PROPERTY Insight
GAMING THE PROPERTY MARKET Does the property business get gaming? David Thame spoke to those re-thinking studio space to suit the mobile gaming sector
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f you were told to go and find the future, where would you go? Beijing? New York? A cool postcode in London? Wrong. The answer could be Wilmslow. The unremarkable Cheshire town, best known for nothing except a local demographic sprinkled with footballer’s wives and girlfriends, is seeing workspace reinvented for a very particular and very fast growing client: the gaming industry. Gaming here does not mean a flutter on the gee-gees or a few pounds each way on who wins the Premiership. This is about games you can play online or on a console, from Call of Duty and Grand Theft Auto down to the hypnotic Candy Crush. So meet Wilmslow-based Playdemic, part of the vast Warner Bros entertainment empire, and the company responsible for mobile gaming sensation Golf Clash. They have re-thought workspace at Sandfield House, Water Lane, turning it one of the world’s leading mobile gaming studios. Playdemic Chief Executive, Paul Gouge, explains that needing new space, and the need to make themselves attractive to game designers who might otherwise prefer to be in London or Manchester, inspired the move. 'Wilmslow is a lovely suburb but it is not the most exciting place in the world, and we wanted a workspace environment that was exciting and challenging,' he says. 'We needed more floorspace, but we also want to create a space that attracts the high quality creative individuals we need. So we hit on the idea of developing what we call a Third Way of Working – which means providing spaces for informal conversations, or breakout, or
30 | Mix 202 March 2020
Often hot desking is about not having enough space, so you can fit more people in. But we have enough space
somebody different to sit next to, or a different view.' The result was dividing the floorspace half-and-half into traditional fixed desks, and various kind of third way working spaces. 'We’ve meeting rooms, breakout areas, phone booths, unconventional furniture, great places for coffee…but no hot desking,' he says. 'Often hot desking is about not having enough space, so you can fit more people in. But we have enough space. It isn’t about saving space, it is about providing opportunities to work with a team, or with a colleague, or just to look at something different. So, in our workplace, everyone has a fixed desk space, as well as the option to move around.' To create more space, and a sense of grandeur, the ceiling was opened up and a mezzanine floor installed. Paul laughs at the suggestion that the workspace here is designed to stop his clever staff from getting bored. But he doesn’t quite deny it, either. 'We employed creative people and we want to encourage them to push ideas even further. To do that requires an office that provides an emotional response, that makes us feel good. You can do that with colourways, and the way you
▲ Playdemic. Photo: Paul Riddle
PROPERTY Insight
Mix 202 March 2020 | 31
PROPERTY Insight
guide movement round the building, by having great coffee and beer on tap, by creating fun spaces,' he says, confessing that the fit-out was pricey. He will not confirm it, but rumour says close to three-figures per sq ft. Does the property industry grasp what the gaming sector needs? Paul thinks they are learning. 'We are not alone in having re-thought our workspace. Like everybody else, we’ve realised we spend most of our lives in the office, so the place should be as beautiful and engaging as possible.' So great was his confidence that, having consulted on what staff wanted (and didn’t want), the design team then went away and did their thing in private. The eventual look of the offices came as a complete surprise to staff. 'The positive feedback has been overwhelming,' Paul says. 'We have creative people here and we want to keep them stimulated, because in the gaming sector we are trying to synthesise fun, which is incredibly difficult at the best of times, and we’d like the odds on our success stacked as heavily in our favour as possible. Simply put, a dull office does not challenge you to do great things.' CBRE’s Building Consultancy team has delivered the project, along with architects tp bennett and ADT Workspace. Gemma Parkinson, Lead Project Manager for CBRE, says: 'Playdemic is a people- and design-focused organisation, and challenged us to deliver a studio that was out of the ordinary and indulgent. The new studio has a generous space designed to inspire creative thought and encourage a third way of working for staff who were typically desk based.
The challenge here was that they really didn’t want something ordinary, and that meant using the floorplate unconventionally
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▲ Playdemic. Photo: Paul Riddle
'A mezzanine with roof garden uses the exposed pitched roof structure, while designated wellbeing rooms, games arcade and multipurpose spaces promote staff wellbeing. This was a really exciting project that demonstrated our team’s ability to work collaboratively across service lines to deliver a successful outcome for our client.' But the development was not without its risks. 'The challenge here was that they really didn’t want something ordinary, and that meant using the floorplate unconventionally. Their 50-50 split between fixed desks and other ways of working was way more than most office users would go for – and the risk was that the space would just not get used. Basically, that it would be an expensive white elephant if the business did not embrace new ways of working.' The practical problem, which also meant risk, was to open out the roofspace and insert a mezzanine. 'We wanted to use the full height of the building. There was originally a suspended ceiling, but removing it revealed a roof void. So we inserted a mezzanine, which meant a lot of work on the existing capacity of the building’s
structure, and some serious thought to make sure we had enough head room,' she says. Fortunately, CBRE had access to original structure drawings, so it was clear whether the building could, or could not, cope with a mezzanine. 'If we hadn’t had those drawings, it would have meant some risky assumptions about a very chunky mezzanine,' Gemma says. The gaming sector presents an unfamiliar variety of a familiar problem, as far as the property industry is concerned. As Gemma explains, in effect, this is a design studio like any other, with the key difference that it isn’t like any other. 'What we had to create is something that could inspire staff who might otherwise be working in central London or central Manchester, and we want them to really want to work in Wilmslow,' she says. The design requirements of the gaming sector aren’t so much about stopping clever people getting bored, as making sure clever people don’t begin to get lazy. 'The aim is to challenge all the time because, in the gaming sector, if you don’t keep up with the market, it takes no time at all to create a problem. A simple white box office is not going to do that.'w
GOGO Designed by John Coleman
PROPERTY Horse's Mouth
SHOW TIME Starring roles, glamorous entrances, and a sense of occasion – David Thame invites us to take the best seat in the house as the curtain rises on new approaches to workspace hospitality.
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nce upon a time, property developers were basically like God: they ordered buildings, and there were buildings, and they saw that they were good. Thereafter, they mutely received the offerings of their grateful tenants, monthly, in the form of rent. And if you think that’s a touch extreme, then maybe you didn’t meet many property developers in the 1980s – they always conveyed the certainty
▲ Laurence Jones
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that they were beings of a higher order. Today, a property developer is what exactly? An accountant, an engineer, a procurer of investment funding, an administrator? Look closely at London-based investor/ developer, Trilogy, and you may find the answer: a property developer today resembles the producer of a West End show, and every day is a new performance. Laurence Jones is Head of Asset Management at Trilogy Real Estate. He joined the firm in 2017 after periods in asset management with ING Real Estate and surveyors CBRE. Laurence agrees that, just like a showbiz producer, developers pull all the pieces together and make sure that the show can always go on. From attracting investors, choosing designers and providing star roles for amenity providers, through to creating an attractive backdrop of spaces and planting, down to the bumson-seats business of making sure there is always a full house/ workspace.
▲ Import Building at Republic. Photo: Dirk Lindner
The spot-lit role of hospitality is a special focus of this new role, and nowhere is it more apparent than at Trilogy’s 720,000 sq ft Republic London development at East India Dock. The latest to take to the stage in an eclectic cabaret of amenity providers is award-winning whisky bar, Black Rock, perfect for an after-work dram with the team. The independent operator will take a step up from their existing East London bar to take a much larger part at Republic. They open this spring. ‘Theatre producer? Absolutely. That’s a fantastic way to put it,’ says Laurence. ‘The question we’re asking ourselves is, how do we make sure that the people who are paying us money are happy?
The question we’re asking ourselves is, how do we make sure that the people who are paying us money are happy?
PROPERTY Horse's Mouth
▲ W London by Hufton + Crow
EX PE RIE N CE C A RP E T T I L ES Delivering functionality & design in equal measure
www.paragon-carpets.co.uk
‘This is the next generation of workspace. It’s not the future, because workspace is still evolving and will always evolve. We haven’t arrived at a destination, but this is one stop on the way as working habits change,’ he explains. ‘It’s about creating a good place. Somewhere that was once all concrete and bus stops and exhaust fumes can become a place where you can wander, sit and eat. The kind of place where people have light-bulb moments – and those always come on the move, not when you’re trapped at your desk tapping away like a battery hen.’ This is where hospitality walks onto the stage. ‘Hospitality is the social glue. It blends together the decent bars and restaurants, and the genuine independent retailers for which there is an enormous appetite,
and the customer service, which is what we have to provide,’ he says. Trilogy employ a specialist community engagement team to keep their workspace animated and successful. ‘Hospitality isn’t about pushing things as part of your agenda, it is about having things there when they want them. Stimuli, really. ‘Our job is to make the customer experience as frictionless as possible so that our occupiers can have the best, most productive, most powerful work experience they can, and do all that without them really having to think about it. So, for instance, we’ve arranged for barbers and hairdressers and all kinds of services so they can get it done in the day, and leave the weekend free. That helps everyone,’ he explains.
PROPERTY Horse's Mouth
The Trilogy Story
▼ W London by James Newton
Laurence says that developers have learned that their audience is no longer a single, fairly homogeneous group of occupiers who all want pretty much the same experience (or lack of it). Instead, they have a cross-section of users with very different needs. Some want a few weeks of good studio space, some want 20 years of corporate HQ – quite possibly all in the same building. The difficulty is that multi-let buildings with a variety of tenures come at a cost. It also comes fairly slowly, because whilst most of the world is used to a tap-it-and-its-done approach to life, the construction business is still slow to deliver (and probably always will be). ‘Yes, for developers, flexibility comes at a cost, because we have to build in facilities for breakout areas, or kitchens, and provide superb broadband connectivity, but that is generally
We’ll see some consolidation in that serviced sector, but there is room for plenty of operators
reflected in a premium rent,’ Laurence explains. Exact figures are hard to find, but industry sources suggest the kind of floorspace Trilogy provide at Republic attracts a rental premium of 10-20%. With construction costs up but by rather less, the appeal to developers is clear. Laurence warns against exaggerating the difference of today’s office market, or to imagine this is some kind of turning point. ‘We’ve been talking about the death of the traditional office for 15 years or longer, and it is still here. But what we are seeing is the growth of a serviced office sector, which meets other needs. We’ll see some consolidation in that serviced sector, but there is room for plenty of operators,’ he says. Today, Trilogy is probably best known for its work in London. But watch out, they are moving beyond the M25. Trilogy have long had an interest in Manchester’s Great Northern Warehouse. The six-acre site on Deansgate has been nurturing plans to boost the office content of the scheme. It could make its core the kind of campus they have at Republic London. ‘We 100% want to factor this into what we do in Manchester,’ says Laurence. So watch this space – or perhaps watch this stage – because Trilogy have another show coming soon.w
Trilogy Real Estate was founded in 2015 by former Resolution Property partner, Robert Wolstenholme. The idea was to create an investment and development company specialising in repositioning overlooked assets to create contemporary workplaces and mixed-use destinations. Robert has more than 25 years’ experience in development, investment and asset management. ‘We’ve reached a point where our two inaugural projects are very well established,’ says Robert. Republic is a 600,000 sq ft next-gen workplace campus in East India Dock aimed at companies priced out of Central London and Shoreditch. It comprises four office buildings with a maximum height of nine storeys that vary in size from 64,513 to 218,306 sq ft. Republic’s location anticipates the eastward migration of the creative and digital sectors and cultural institutions, such as the English National Ballet's move to London City Island and Olympicopolis in Stratford. The site enjoys a Zone 2 location and transport links that connect in minutes to the established business districts of Canary Wharf, the City and the West End, as well as the cultural neighbourhoods of Stratford and Shoreditch. The second project is in Manchester. The Great Northern Warehouse and Square offer one of the most significant regeneration opportunities in Manchester City centre. This 6.5 acre site, which includes the Grade II listed Great Northern Warehouse, Deansgate Terraces and Great Northern Square, is being transformed in a 10-year, £300 million redevelopment. Phase one of the project achieved planning consent in March 2018 and work on the £15 million first phase begins on site next year. The Great Northern Warehouse is being developed in partnership with Peterson Group.
Mix 202 March 2020 | 37
Celebrating 30 years of helping organisations specify, procure and install furniture
To find out how we can help you with your project drop us a line or visit our website Credits – Client: W.R.Berkley Design: tp bennett | Photo: Sebastian Barros
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PRODUCT DESIGNER FOCUS
THE BIG QUESTION Which sector has influenced the workplace the most in the last five years and why?
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SPOTLIGHT The Big Question
THE BIG
QUESTION
Christopher Radcliffe, Senior Interior Designer, Maber Architects On the workplace sector landmass, the digital native lighthouse is on, 24/7. So, the zeitgeist has never been so well touched with light – all sectors are influencing sectors and all are illuminated together. However, the residential sector is quite often out of the beam as a workplace influencer. Modern House, that arbiter of domestic taste, influences the design community in subtly subliminal ways – Mr McCloud in less subtle ways. The inter-web, with its outlets and inlets, will forever influence. But, the designer will decipher and interpret the languages of influence in the workplace.
Lincoln Gibson, Managing Director UK & Europe, ruutu That is a big question! I would say hospitality… we have noticed a huge shift towards warm and homely colourways and aesthetics in the workplace ,which are influenced by the feel and look you typically experience with hospitality environments. It’s great to see; we’ve had to adapt our designs to suit with softer textures and lovely neutral colours that work alongside these 'resi-mercial' design schemes. That’s our word for it anyway!
Katie Lea, Head of Design, NoChintz
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Una Barac, Executive Director, ATELLIOR
Organisations now better understand the relationship between wellbeing, talent retention and business success – and providing flexible spaces that work well and feel good comes top of the agenda. Hospitality design answers many of workspace’s most critical questions: how do we create a place where people want to be and are excited to return to? Hospitality is often about delivering unique and inspiring destinations that cater for individual needs – this approach has had a huge impact on the way workplaces are conceived.
The sector that's had the biggest influence on the creation of workplace in the last five years is definitely the hospitality sector. From the entrance reception to boardroom and meeting room design, we are seeing the introduction of stylish, well designed furniture, soft drapes, feature rugs; all reminiscent of high quality hotels in terms of the luxury and atmosphere they create. Some companies are even providing client lounges for the ultimate hospitality and entertainment experience.
David Judge, Group Creative Director, SpaceZero I’d think it is and should be hospitality. Workplaces and coworking spaces have recognised the need to look after workers with social spaces, and improve working practices with collaboration/focus areas etc, inspired by hospitality. Hospitality brands such as The Hoxton, Ace Hotel and The Line have created a brand experience. The best workplaces create this level of connection to the brand but few recognise this. An examplar experience is Acne Studios HQ, which has been developed with the same care and attention as their retail stores so that employees feel connected to the brand as much as customers do.
Teo Tudorica, Head of Design, craftwand One important factor that I feel changed the workplace philosophy is the adoption of highly specialised services pertaining to the hospitality sector. I am thinking here about barista cafés, gourmet food or relaxation facilities. The inclusion of places tended by professionals of the world of savour opens up these functional areas, morphing them into performative spaces. They become places of action and interaction at the heart of the workplace.
Umbrella editorial banner Mix Interiors Jan 2020.pdf 1 28/01/2020 13:42:00 C
Which sector has influenced the workplace the most in the last five years and why?
SPOTLIGHT Product Designer Focus
DESIGNER FOCUS
▲ David Fox, David Fox Design
▲ Craig Jones, Jones & Partners
There were few organisations that remained unchanged after the 2008 financial crisis – and most would argue that this huge economic event had an equally seismic social and cultural impact on most areas of the lives we experience today. One area that has had its share of change is product design. The technology advances in both materials and methods seem to have been matched by client and customer expectations of product performance. It is an exciting time in product design – of that there is little doubt – but it is also challenging. Over the following pages we assess some of the changes in the world of product design and hear a wide range of views, from the very experienced to those just starting out on the product design road.
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▲ Barry Jenkins, BroomeJenkins
irstly, we caught up with four wellrespected product designers who are happy to speak their mind. With the everincreasing use of social media and the sharing of images, how do designers both keep their ideas fresh and deal with copying? David Fox tells us… ‘I guess there are always things that have been done before, it is what twist you add to it, by experimenting on paper or 3D or trying new permutations – or it could be that you wake up in the middle of the night, suddenly influenced by something non-furniture related, such as how a building joins. So, to keep it fresh, keep refining the shapes, and trying different things.’ Craig Jones says… ’We are always looking for a set of USP’s in any design solution. This may appear in the form of materials, manufacturing or the ingenuity of a specific problem solved. Currently, for us, technology is playing a large part in our new innovations and we have had to learn quickly to satisfy our clients’ requirements. One of our philosophies over the past 10 years has been to broaden our involvement in the development of things outside of the furniture industry. This allows us to bring a fresh approach to all of our projects as we have different levels of challenges for each one.’ Barry Jenkins tells us… ‘There are obvious examples of products that deliberately copy another. However, in the vast majority of cases, new products are more likely to be derivative rather than deliberate copies. Being truly
▲ Julian Evans, BroomeJenkins
innovative in any sector is difficult. For a host of commercial and technical reasons, it is especially so with furniture design. That said, all product design is about application and execution. Although any new product will inevitably conform to type, there is scope to innovate with both the application and the execution to make the design ‘original’.’ We ask what there is to be done when someone has crossed that copying line. ‘Companies have copied in the past and all my designs are registered,’ David Fox says, ‘so it’s a simple case of sending a polite first email to the person who has copied – they might not be aware they have, its always better to resolve diplomatically. However, if that doesn’t work, move straight on with a solicitor – in general a first solicitor’s letter resolves the conflict.’ Craig Jones suggests that, if it isn’t resolved quickly, it can be costly – particularly for the smaller company ‘Design protection is a very expensive and challenging subject and, in most cases, the person with the larger chequebook tends to win. We have had issues in the past and have dealt directly with the person or persons, who in some cases unknowingly copied the ideas. Direct negotiations are normally the least costly route and have been successful for Jones & Partners. Also, some of our clients will then follow up these issues as they have ownership of the IP.’ For many, there is a perception that certain things should be free of charge that, perhaps
SPOTLIGHT Product Designer Focus
10 years ago, would have been unheard of. We don’t really expect our deliveries to come with a postage charge, and can you imagine paying for the Metro? And, of course, you expect fee WiFi. Is there a danger that creativity is being reduced to a commodity and expectations of what are paid for are being reduced? Are product designers expected to create concepts without charging for their time or only through royalties? Craig Jones is very clear that designers should be paid for all elements and asks… ‘What other qualified profession expects this? It is a cultural indictment, in my opinion. The issue we are facing is that some designers are okay with this approach.’ David Fox tells us… ‘When you start in business you have to (accept no upfront fee). I pitched four chairs: Korus, Kruze, Edge 15 and Smile, but nowadays I work on commission only, unless I have a genius idea where I think, ‘That would definitely fit that manufacturer’.’ Barry Jenkins adds… ‘In my experience, clients in the furniture industry rarely accept
fixed fees, preferring to hedge the risk of product development by working on a royalty basis. This is not so common in other product design sectors where the sales volumes are far greater. However, royalties can be beneficial for the designer, providing that the product is marketed well and sold long enough to hit the threshold that triggers royalty payments.’ Perhaps not surprisingly, David Fox suggests that royalties and some fee work is the way forward because both parties are heavily invested in making the design work. You would have thought that product designers are product geeks doing well in pub quizzes and spotting products in films. Considering how many great designs have gone before, we wanted to uncover how important it is to understand the history of product design in order to be effective today. Julian Evans tells us… ‘Having knowledge of what has gone before and what is current works in two ways. It serves as a framework for our decision making and protects us from unwittingly
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BOLD, BUT FUNCTIONAL
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designing products that could be seen as copies. It can also work as inspiration and a yardstick. Existing products can be a useful reference, allowing us to see a physical representation of how particular forms and materials might look or how technical details have been resolved. This knowledge can be extrapolated and utilised in a ‘if that worked there then maybe this idea should work here’ kind of way. All creative individuals, regardless of discipline, probably do this whether knowingly or not.’ David Fox adds… ‘You can’t be knowledgeable about every design that’s ever gonebefore, but ones that are in the public eye, you can be influenced by – but shouldn’t go too close. They are classics for a reason, and hard to better.’ Craig Jones says… ‘For us, it is very important to understand the past so we can redefine the future. Knowledge of market sectors and product history plays a large part in any project as it provides a platform and is less likely to result in repetition.’ w
SPOTLIGHT Product Designer Focus
HOW TO ACHIEVE TRUE ENVIRONMENTAL SUSTAINABILITY USING LIFE CYCLE ASSESSMENT Pat Hermon, Technical Lead on Sustainable Products at BRE, explains how businesses can become more responsible when it comes to manufacturing.
The idea is to promote circular economy principles at the product level, thereby reducing waste sent to landfill
1. Raw Material Extraction 2. Material Transport 3. Manufacture 4. Product Distribution 5. Site Assembly & Waste 6. Maintenance & Replacement 7. Recycled 8. Disposal
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T
hanks in part to Greta Thunberg and David Attenborough, the past 12 months have seen society become increasingly concerned about climate change. The general public have a raised awareness of sustainability and climate issues, producing a significant impact for construction and interiors professionals. We are seeing designers sign up to campaigns such as ‘Architects Declare’ and policy makers in the UK committing to net-zero targets. But how do we distinguish quantifiable actions from greenwash and ensure we are making the best decisions to address our impacts on climate change? Life Cycle Assessment (LCA) provides a methodology for quantifying the environmental impacts of virtually anything be it a plasterboard, a piece of furniture, a service offering or an entire building. LCA in construction is supported by international standards including EN15804 (for products) and EN15978 (for buildings). The standards report against a host of LCA 'indicators' – the most critical one today being Global Warming Potential which is quantified in terms of kilograms of CO2 equivalent. The standards require a modular approach for the accounting of impacts where they occur and ensure that the application of LCA is consistent. Recently, the standards have been updated to go beyond the impacts of material manufacture (cradle to gate) and towards full life cycle (cradle to cradle). This is an important development for the industry, facilitating the dialogue between the manufacturing and the waste/demolition companies. The idea is to promote circular economy principles at the product level, thereby reducing waste sent to landfill.
Although the intricacies of environmental impact reporting can be complex, product level tools such as BRE LINA enable manufacturers to self-assess LCAs using a simplified series of basic inputs. Once quantified, the key contributors to the LCA can be identified and strategies developed to improve environmental performance, recyclability, efficiency and even cost. The final result, once independently verified by a recognised organisation such as BRE Global, can be published in an Environmental Product Declaration (EPD) which is then made publicly available through platforms such as Greenbooklive and Ecoplatform. Making comparisons at the product level can be complex. For example, 1m2 of ceramic floor tiles may have a higher manufacturing impact than 1m2 of linoleum but could have a much lower impact during its ‘use’ phase due to its durability (meaning fewer replacements over the life cycle). Then again using linoleum might lead to more waste but have a higher transport impact. Knowing the impact of a given product is important, but only when the results for individual products are incorporated within a project level LCA do we truly understand the most sustainable choices for a given design and specification. There are numerous project level tools that can do this, look out for BRE’s IMPACT third party certified tools such as One Click LCA and eTool.w
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SPOTLIGHT Product Designer Focus
INNOVATIVE PRODUCTS FOR BIOPHILIA AND WELL Steve Edge – Principal of Stroud-based, biophilic design consultancy, Salvedge – has been specifying sustainable and energy saving products for over 40 years. But, with so much greenwash out there, how does and how can he know what is the best?
We believe that WELL will become the dominant standard over the next decade, as it focuses on measuring the impact of space, primarily on people
▲ Biohm
I
began my career working with conservation architects in the late 1960s, in my hometown of York, helping them implement Lord Esher’s plan for the pedestrianisation of the mediaeval streets inside the City Walls. After graduating from the interior design course at Kingston Poly, I worked for the environmental artists Christo and Jean Claude on Running Fence in Northern California in 1976. RF was the first work of art requiring an Environmental Impact Report, ensuring that the farmland and livestock would not be unduly harmed by construction methods and materials. In the 1980s I co-founded the now disbanded London based interior design partnership, Deacon Edge, which specialised in environmentally friendly workplace designs. Our most notable projects included designing Citibank’s new £11million offices in the Strand in 1982-3, featuring energy saving HID up-lighters (a first for the UK) and Steelcase systems furniture. Also, in 1989, we designed the offices for business equipment manufacturer Canon’s SW HQ , in Aztec West, Bristol. Canon had just been awarded the Office Building of the Year for its Reigate HQ , primarily for its energy saving and waste reduction strategies; our brief was obviously to acknowledge this. So we introduced a low voltage lighting display system into the showroom, and specified Dutch manufacturer Ahrend’s furniture system, supplied by Humber Contracts. At the time, Ahrend’s desktops, which were made from laminated recycled paper, were the most environmentally friendly on the market. However, today FF&E is still largely unregulated in the UK, but finding out about the
environmental properties, embodied energy in materials, manufacturing processes, VOCs etc, are relatively easy compared with 30+ years ago. The Dutch are still arguably the best country in Europe for promoting the Circular Economy – i.e. keeping the materials in the loop for as long as possible. Ahrend now totally embraces the CE, is 95% carbon neutral and would provide a WELL AP with valuable Innovation points. My primary role now is to assist architects, interior designers and WELL APs (Accredited Professionals) in the early stages of the design process, to ensure that their specifications legitimately gain the highest possible credits. We believe that WELL will become the dominant standard over the next decade, as it focuses on measuring the impact of space, primarily, on people. I recommend products that conform to Circular Economy principles, or have embraced whole life cycle assessment, cradle to cradle design (www.ahrend.com/en/inspiration/circularity/). Interestingly enough, Steelcase – which I first specified 37 years ago – is one of the few on US pioneer Bill McDonough’s C2C register (www.c2ccertified.org/innovation-stories/steelcase). Our latest commission is for Manchester-based architects, AHR, and their client, the Royal College of Physicians’ new HQ in Liverpool, called the Spine. This will be the healthiest building in the UK when it opens in December 2020. Incidentally, Canon only just closed down the Reigate office last year, moving to Stockley Park, Uxbridge.w
Mix 202 March 2020 | 47
SPOTLIGHT Product Designer Focus
STUDENTS UNION We felt it entirely appropriate in this product designer Spotlight feature to seek the views on young product designers. The ones just starting in their career and the ones with all the added complexity of product design in the modern world. We have comments from Nottingham Trent, Manchester and Northumbria University including our very own Mixology Young Designer of the Year.
Andrew Hamilton
Leon Farago
Northumbria University (and Mixology19 shortlisted)
What are you up to now?
I graduated from 3D design at Northumbria University in 2018 and set up as a designer within my own studio (www. leonfarago.studio) and have been working on a selection of commissioned and personal projects, the latest of which I will be showing at New Designers One Year In. How would you assess the success of 'Metal Chair One'? MCO proved
to be an important design experience for me. I was able to learn traditional panel beating techniques and create an object that was also sculptural. For me, its real success was in the way people reacted when they sat in it.
They just stroked and traced the curves and contours – exactly the response I had in mind when making it. Who is an inspiration to you? One of my main
inspirations in the design world is Ron Arad. I love his eclectic and dynamic use of materials and his unpredictable attitude and aesthetic. Who would you love to work with? I would love to
be part of a company like Destroyers Builders and work on a range of diverse projects. Their ethos and raw aesthetic resonates with me.w
Manchester School of Art (MMU) (and Mixology19 winner)
What are you up to now?
After graduating in 2018 I initially worked in the drawing office for a furniture and interiors company whilst setting up my own studioworkshop. Previously, I had qualified and then worked as a cabinet maker before going on to study a degree in design, so it seemed a natural progression for me to combine these skills. Soon, I was able to attract enough clients to be able to work on it full-time and establish a fully equipped studio-workshop in Sheffield. Here I am able to create prototypes, produce my own ranges as well as take on bespoke commissions. Things have gone from strength to strength – and hopefully will continue to do so! How would you grade your success with the Mixology award-winning Sointula Range? The Sointula range was developed
48 | Mix 202 March 2020
through a university project and born of the critical thinking that is emphasised at art school. It was well received but, since moving away from the academic environment, these designs and concepts have evolved. Elements of the Sointula range have persisted, such as can been seen in a chair I have designed that is due to go on sale in April through a new online retailer called Artists & Objects. The original Sointula design has been modified to be more suitable for manufacture but the chair itself shares similar characteristics, ultimately aiming to create a similar atmosphere to its predecessor. In the last 12 months which network contact have you made that has been most valuable to you? My focus over the last 12 months has been on establishing a physical workspace, funding my studio through bespoke commissions and creating
a range that I feel happy and proud of promoting – and I am still in the process of doing this. I was approached by a number of people following my Mixology award and established many promising and fruitful relationships, which I hope to nurture over the next 12 months. What were your impressions of Mixology? I thought the Mixology event was fantastic. It was quite surreal to receive the award in such glamorous circumstances, attended by so many people, especially as much of my time in getting to that point was spent slogging away in distinctly unglamorous circumstances! It was a great way to celebrate. I am so grateful for the welcome and support I received from everyone I encountered, both at the awards ceremony and within the Mix organisation. I hope to return to the event in the future!w
SPOTLIGHT Product Designer Focus
Alex Hampshire
Final year BA Product Design student at Nottingham Trent University
What makes good (commercially successful) design? Identifying and understanding the problem and the opportunity is a crucial part of design, in the age of consumerism. For design to stick out, it needs to outperform competition, include features that other similar products on the market do not already have and potentially provide a lower cost solution. Usability is another factor that is increasing in importance in the present day. Most notably, UI and UX design are at the forefront and the reason why companies such as Apple maintain their popularity. While sustainable design may not contribute to commercial success, it’s becoming a factor that all designers must consider now during the design process, especially as more consumers are becoming aware of the need for sustainability amidst the constant stream of disposable products. What are the key issues facing the industry for new designers? The industry, like many others in the present day, is extremely competitive and, to a certain extent, oversaturated. The fact that everyone can access the same content for inspiration results in a lot of
▲ The Sointula range by Andrew Hamilton
replicated creative work and trends. New designers must be able to adapt to technological change in order to stay relevant in their career. Technology through connection has sped up the rate of work, meaning designers need to be comfortable with fast turnarounds, especially if they want to work with some of the established companies. Being multi-skilled is another key factor. Nowadays, designers are expected to be competent in a variety of disciplines, not limited to CAD software or conceptual thinking, but also programming, UI and UX design. What are the drivers for the next 20 years that will form the workplace design? Workplace design is centred on employees and the company. Increasing productivity is one of the main goals behind designing or redesigning a new workplace, whether this is achieved through methods such as alternative work areas or ‘lifestyle’ spaces with gaming consoles set-up. Technology has been a key driver for changing the traditional workplace to a more modern and suitable workplace and will continue to be so for the foreseeable future
▲ Metal Chair One by Leon Farago
as it continues to provide modern solutions to old problems. The environment will also play an increasingly vital role in workplace design as it continues to do so in other branches of design. It is a factor that can no longer be ignored by businesses and designers as it plays such a vital role in our wellbeing and existence. What impact will AI have? AI is already reaching a stage where it can replace humans in certain tasks originally thought to be human centred. Graphics is an example of a branch of design that has been affected by AI – designers no longer need to produce 100’s or even 1000’s of variations of their logo. AI can now mimic the patterns and brand of colours that designers use – and then produce countless variants while staying in the domain of the designer’s style in a matter of seconds. This example is evidence of the increasing role AI will inevitably have in design; it is only a matter of time. AI won’t replace designers, rather, it will be used as a helping hand.w
▲ Design by Alex Hampshire
Mix 202 March 2020 | 49
SPOTLIGHT Product Designer Focus
▼ Students at Manchester Metropolitan University (MMU)
STUDENT DESIGNER FOCUS Last year Simone Ridyard, Senior Lecturer at the Manchester School of Art was one of our judges at Mixology North. With the help of the MSA’s Lois Blackwell and Lucy Gannon, she gathered a group of final year students to get their perspective. The students are Poppy Cambridge, Danielle Ives, Henry Dashwood, Erin Woodford and Kate Demmerling
What are the key issues facing the industry for new designers? Danielle: Relying on us to have knowledge of the environment. We have a responsibility for sustainability issues. Meeting expectations of younger generations coming in. Being up to speed with new materials and technologies is a big responsibility for new designers who are just starting in the industry. Henry: Yes, also thinking about the afterlife (and lifecycle) of interiors – again on the theme of environment and sustainability, thinking about how a space can function after an office moves out, for example. How to develop adaptable spaces that can help secure a city or the planet. Kate: Creating more timeless aesthetic interiors – not relying on fashion or trend – to suit the needs of the building and client. I feel the legacy of a space is important. Erin: Cost to the company of a junior designer is cheaper – so, potentially, new designers in the company can take the risks and push the boundaries, especially on new bids and start-ups. What makes a good, commercially successful design? Erin: Isn’t that an oxymoron? Commercially successful does not always mean good. Poppy: I heard a talk by Urban Splash, discussing
50 | Mix 202 March 2020
sustainability and looking at the lifespan of a building across the 24hr day, so thinking about the night use of the building too as opposed to the standard 9-to-5. So, how it can be used in the evening. Also, flexible working spaces. Henry: I think the commercial success of a space should link to place-making – taking into consideration local residents and the neighbourhood satisfaction of a space. It’s hard to judge but should be about communities investing – bringing interest into the area, which has a knock-on effect. What are the drivers for the next 20 years that will form the workplace? Kate: Not a specific driver, but I think the workforce itself is the driver. There can be up to five generations in a workplace – and their behaviours and choices inform the design needs. Lois: Yes, workers do have the power. Employees do say what they want. But there needs to be more of a dialogue – their needs taken into consideration, with the designers leading. Danielle: That very hierarchical old-fashioned approach doesn’t work – it is better to be on the same level to encourage working on an intergenerational level. There needs to be more open plan than cellular offices and closed doors. Poppy: ‘Must-have’ products sometimes lead. When the trend is the driver, workplace environments copy and then feels like a uniform aesthetic.
Kate: Younger generations’ expectations have derived from their experiences of higher education facilities, which offer a variety of multifunctional spaces to suit different modes of work. I believe these expectations will leave this generation frustrated when entering a workplace that doesn’t have its employees’ wellbeing as a focus, therefore organisations wishing to attract and retain the young workforce must provide a workplace and organisational culture that focuses on wellbeing. Erin: For AI, I’m fairly sure that it’ll never replace sketching entirely. You’ll ultimately be able to use software instead of hiring a designer and I think this will take over for certain design and build firms or small residential firms, where innovative design is of little importance vs cost. Computers only really learn from precedent and it’s difficult to create a generative system that will consistently produce usable, innovative solutions, whereas imitating features and piecing something together according to some rules is much simpler for a computer. As far as the design process goes, however, I think sketching is always going to hold value. Sketching not necessarily with a traditional media. I sketch on an iPad and a cintiq and with VR and the process is always the same. NVidia have a piece of software that takes colour coded input and composes a landscape from it. It works similar to Photoshop’s Smart Fill, but uses a pool of photos and machine learning to design the fill rather than the adjacent areas of the image. The NVidia software can be used to ‘sketch’ landscapes and I’ve seen a lot of environment concept artists use this as a base for photobashing and overpainting.w
L E E & P L U M P TO N
SPOTLIGHT Product Designer Focus
HOW IT'S MADE: MORGAN We speak with Katerina Zachariades, Design Director at Morgan, about the design process, bespoke products and the challenges of today's markets.
What are the key design criteria you have in place to ensure your designs have a strong chance of commercial success? I believe the design process cannot happen in a vacuum. We need to be aware of trends as well as requirements for a new product. Design is an ongoing process at Morgan. We constantly update our market research and focus our efforts on design development that is innovative as well as fit for purpose. Do you use external design consultants – and, if so, why? We have been collaborating with external designers for the last five years – once we had a presence in London with our Clerkenwell showroom where we could express our brand. The showroom and the design-focused events we hold there have been a great resource and venue to both establish professional relationships and launch new products. Provided we find the right personality and share the same design approach, we have found that the collaboration both adds to and refreshes the established Morgan brand. The development of innovations in the form of new products is a demanding management task. How do you deal with the challenges of creating new products? Ideas for new products themselves come relatively easily; taking ideas from conception to full realisation is the primary challenge. This is an important message to graduates: it takes 20% effort to design a new product and 80% to develop and achieve the design to production phase. It surprises me how many young designers do not understand this to be part of the creative process. It isn’t a linear process. From 3D CAD to physical prototypes, it’s important to continually return to the ‘drawing board’ until all elements work. In chair design, this means structure, proportion and comfort. We usually have an
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initial mood board or concept sketch, which we constantly refer back to along the way to make sure we remain true to the first idea. What design management processes do you use and how have they changed the way you develop new products? The design management process is there to focus on quality and a realistic timeline. It is important to arrive at the right quality but also to meet targets. This is always a challenge. We follow processes that highlight key deadlines for the development of the product and allocate one member of our team to control and be responsible for each project. How do you overcome the apparent constant demands for bespoke, which often means smaller margins? Bespoke products are definitely a growing part of our business. In some cases, they work smoothly – like a design collaboration. In others, they are price driven, which can result in compromised quality and no time for testing, whether ergonomically or for comfort. We avoid the latter option where possible. However, we view bespoke design collaborations as a positive since they enable interior designers to further customise their clients’ projects.
Do you create more or less standard designs than you did 10 years ago? On average, we launch two collections a year. This has been more or less constant in the last few years. As the demand for customised products increases, however, we have increased the number of bespoke versions of our products to suit specific project needs. Is it becoming increasingly difficult to develop unique product designs? With the proliferation of manufacturing and design, as well as shared information, unique design is difficult to achieve. However, singularity should not always be the end goal, particularly at the expense of well thought out, innovative products with design integrity. We aim for this, and we hope our clients recognise our commitment to quality and beautiful design – and the passion and care that go into our products.w
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SPOTLIGHT Product Designer Focus
HOW IT'S MADE: JDD James Mercy, Designer / Director at Joint Design Direction, reveals the processes, ingenuity and rigour that lead to the production of innovative product design.
▲ CDE Global
What are the key design stages you have in place for ensuring your designs have a strong commercial chance of success? The benefit we have as a truly design-led business and manufacturing business, where the ideas are created by the owners and development can be done solely in our own facilities, using our in-house skill sets, is that our barrier for something to have commercial success, or at least commercial viability when factoring in development costs, is very low. This has enabled us to test products and concepts in a way many others in the market may not be able to. As well as enabling us to test out our more unique ideas without much pressure on their commercial success, it also enables us to react to market trends almost immediately. The development of innovations in the form of new products is a demanding management task – how do you deal
with the key challenges of creating new products? Product development is a process so engrained into the make up of JDD – whether it be creating new products or our ability to create custom adjustments on a job-by-job basis, we have evolved around many of the typical challenges companies face in a unique way. There is no 'shock to the system' in the way there would be at a company fixed to automated standard products. The management associated with development has been streamlined, so it can be applied to every project we do. What design management processes do you use and how have they changed the way you develop new products? One of our USPs is that our design process is very flexible and responsive. The key to that working is having a streamlined route of managing our development. We like to cut out the bulls**t where we can, so we favour a no bureaucracy approach.
The Theory of Constraints in design is a methodology for identifying the most important limiting factor (speed to market, manufacturing capabilities, size of range, resource, cost, pricing etc). What is your most limiting factor and how are you overcoming them? It’s undeniable that, at its core, JDD is a design-led, upholstery-led manufacturer. It is a selection of materials that allows us to be flexible and responsive while also hitting the current market trend for a softer office. However, there are limitations that come with that isolated manufacturing capability, but we have embraced them. It has allowed us to create ideas that become unique to us, where other materials and processes would have been arguably the easier option in a larger organisation. Working towards solutions in a unique way has given us our unique identity that wouldn’t be there otherwise. Through adversity comes innovation.w
Mix 202 March 2020 | 55
SPOTLIGHT Product Designer Focus
HOW IT'S MADE: FRÖVI Helen Booker, Marketing Manager at Frövi, talks us through the company's innovative product development process and what brings continued success.
What is the procedure when creating a new design process? Our in-house design team holds creative sessions where the team sits down with no laptops, no phones – just pens and papers, allowing creative inspiration to flow, taking into account market trends and customer needs. Thinking about our latest design, Colony, the early design discussion really focused on the need for a concept – it didn’t need to be a fully finished, polished, product but a concept that challenged peoples’ perceptions of the workspace and what you can do with it. Booths are strong products for us right now, so we looked at how we could come up with something similar, but different: a booth that can have 8-10 people in it. We wanted to make it bigger and make it enclosed, but not fully enclosed. We challenged ourselves with a whole heap of questions until we came up with the idea of creating a ‘vessel’ for our products. This ‘vessel’ will hold all our other products, creating areas and zones. Initially, we came up with 30-40 different concepts, but the key thing was that everything interlinked. Colony was born. How has the use of technology changed in the design process for your design team? With Colony, we had to make sure we used the right technology and materials because of the cantilever design and the sheer scale of the product. As you can remove panels, we needed a strong, solid framework to ensure strength and stability. Using the latest design technology, we were able to redesign and refine the framework into a lightweight structure that can easily be broken down and re-assembled. Colony was refined and
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▲ Frövi Colony
refined to get to the product we’re selling now – and we’re still refining. Is it becoming increasingly difficult to develop unique product designs? Our inhouse designers rise to this challenge. We want to be unique, to stand out from the crowd; design products the Frövi way and answer the needs of our customers. We wanted to ‘colonise the office,’ taking back space from the open plan and supporting agile and activity based workspaces. Colony is whatever you want it to be, bespoke to your design project. Each Colony can be themed according to how you use the workspace; fill with plants for a calming botanical theme, create a relaxed bohemian space, a more corporate space for agile meeting options, or chill out in a library-style arrangement. We would love to be able to see it in a large open atrium area. I think it would look fantastic
at a lower level, looking down and seeing the product as it was intended; linking colonies, dividing and redefining office space, all with different workspaces and areas hidden inside, offering a truly unique solution. Sustainability remains (rightly so, in our humble opinion) a hot topic. How are you addressing the subject? We are starting on our sustainability journey, designing new and re-engineering existing products with that in mind. Colony uses felt panels made from recycled plastic bottles (PET). We will be launching a new product range in May, which has sustainability at it’s heart, featuring different materials designed in a new way.w
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REVOLVING DOOR
what’s in and what’s out in hospitality property
FORGET APARTHOTELS, MEET THE PREMIUM HOMETEL room2, the world’s first hometel brand, has agreed a 30year lease at Fulham Town Hall, now being restored to its former glory by Ziser London. The new format will have 90 rooms at the centre of a luxury leisure and coworking destination. The project, which will reclaim and enhance some of the elegant building’s oldest artwork and features including the council chamber, is due to be finished by Q4 2021, if planning permission is granted. The first guests will arrive in early 2020. The brainchild of brothers Robert and Stuart Godwin, former members of the British Olympic Development Sailing team, hometels combine the best elements from Airbnb, serviced apartments and boutique hotels in an offering designed to appeal equally to corporate and leisure guests and those seeking alternative forms of residential accommodation. Fulham Town Hall by room2 will be the fifth operating hometel when it opens. room2 currently has two operational locations, the Southampton hometel and Hammersmith Townhouse, both of which have performed strongly since opening. An 89-room hometel in Chiswick is scheduled to welcome guests in Q2 2021, followed by a 59-key Manchester offering.
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LOUDER THAN WORDS: THE MIX DATA DUMP The UK hotel market defied expectations and saw investment volumes reach £6 billion in 2019, attracting a significant 26% uplift in investment by institutional investors, according to Knight Frank’s UK Hotel Capital Markets: Investment Review 2020. Following an exceptional level of portfolio activity in 2018, last year saw hotel transaction volumes slow by £1.2 billion. This represents a 3% decline compared to the five-year average owing to lower investment activity linked to Brexit-related uncertainty and a turbulent political landscape, but remains 5% above volumes in 2017. Total institutional investment (from both UK and overseas) into the UK hotel market totalled £2.5 billion in 2019, increasing by over a quarter and accounting for 41% of total UK hotel investment. This came as UK institutional investors more than doubled their investment into the sector totalling over £2 billion. Knight Frank remains cautiously optimistic for 2020, anticipating an increase in higher value stock coming on the market, resulting in increased activity from overseas investors, particularly from Thailand, Japan and the Middle East. As such, Knight Frank considers that UK hotel investment volumes have the potential to rise beyond the three-year average of £6.3 billion.
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FORM FOLLOWS PERFECTION
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BROAD VIEW Contemporary Turkish restaurant, Baraka, has opened its doors at British Land’s Broadgate development in London.
D
esigned by award-winning studio, Taner’s Sons Design Studio, and inspired primarily by Mediterranean open fire cooking methods, as well as Turkish craftsmanship and architecture, the design features a selection of bespoke furniture, joinery and different use of materials, the majority of which are designed by TS-DS and handcrafted in Turkey. ‘We saw a unique opportunity where we could pay homage to the Anatolian heritage but also bring the base architecture into the interiors,’ said Mustafa Afsaroglu, Co-founder of TS-DS. ‘This is where the ethos of ‘Raw is More’ comes to play, literally stripping back the interiors and highlighting all that needs to be highlighted: the grill and the wine – in other words the food as well as the distinctive collection of drinks. Everything else becomes an organic background, yet with a lot of depth and character.’ Reminiscent of Turkish architecture, the restaurant’s walls are plastered with textured sage clay, contrasting with the vibrant Mediterranean colours used on the furniture. ‘The custom sedir seating used throughout was inspired by our mum’s mangal (barbecue grill) at home, and helps to create intimate dining moments across the restaurant,’ Mustafa comments. ‘All the woodwork was handcrafted in
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Turkey using local timber and upholstery fabrics, making this space unique.’ There is a constant nod to Mediterranean open fire cooking methods – from the theatrical mangal set up in the restaurant; terracotta tones and bespoke floor tiles used around the bar, to the custom wall lighting reminiscent of the criss-cross of a grilled shish. ‘Even the bathroom has an element of surprise for the customer, who suddenly find themselves walking into a Turkish hammam. Their experience is even enhanced by the distinct sound system installed here.’ In the restaurant area, the focal point is the open kitchen. Intimate seating is arranged around the restaurant, facing the kitchen, creating pockets within a large space. The bar area opens into the terrace by drawing back 5m of sliding folding glass walls, connecting inside with the outdoor seating. Finally, everything is tied together via the use of darkened bronze, brought in from the base build architecture of 1 Finsbury Avenue, through to its use in architectural details such as the staircase, pendant lights and even cutlery laid on the tables. •
living | january 2019
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feature | the new hospitality
BECAUSE YOU’RE WORTH IT The New Hospitality is revolutionising real estate. But what does it mean in practice? David Thame investigates.
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o you understand the New Hospitality? The real estate business is trying to work it out. And it’s tricky, because the New Hospitality is almost exactly the opposite of what the old hospitality looked like. This has profound consequences for the way everything, from workplaces through restaurants to apartment blocks, is designed and built. Jonathan Clarke is a Director at Arney Fender Katsalidis. His projects include a new Hilton hotel in Westminster and a re-think at The Lowry Hotel Manchester. Jonathan says that the property business is grappling with a new approach to hospitality, which affects every aspect of almost every building. ‘One way to understand this is to say that hospitality isn’t changing, but that everything around hospitality is, as every aspect of life re-orients around experience. So, in build-to-rent apartments, or in workplaces, we’re seeing spaces given by the need to please and make people feel comfortable. And the result is things like cafés and gyms, which used to be in separate buildings, are now being driven together in workplaces or apartment blocks,’ Jonathan says.
Where the traditional approach to hospitality went out of its way to emphasise that some people were entitled to service, and others were stopped at doors or thresholds, the new hospitality tries to provide everyone with a sense of ownership, says Jonathan. ‘You see this in build-to-rent apartments. A good building provides everyone with a sense of ownership and a connection with the space. The same goes for good modern hotels, which provide a sense of homeliness and comfort. Hospitality used to be about creating spaces full of furniture the guest couldn’t quite afford at home, something special, but now it’s the exact opposite – it is about attainability, about comfort that is within reach. And if that means turning up wearing trainers, so be it, because it’s all about feeling comfortable.’ This vision of hospitality is a long way from the idea of turning away guests who aren’t wearing a tie. Developers and landlords are still working out the consequences. Jonathan suggests that the property industry’s new fascination with branding is part of this process. Instead of discrete invisibility, landlords are now flaunting their public personas. Tech sector specialist, Derwent, and homes-tohotels-to-workplaces giant, Ballymore, are now proud to recognised
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feature | the new hospitality
ABOVE: The Standard Hotel by Orms
names with a growing direct appeal to occupiers. practical problem of what to build, and what not to build, the New Hospitality is hard to accommodate. What feels like a good idea today might look like a terrific waste of space tomorrow, as those BTR landlords who built expensive gyms or cinema rooms are already finding. Given that a building has to last for decades, but hospitality trends might last for no more than a few dozen months, what should a developer do? But when it comes to the more practical problem of what to build, and what not to build, the New Hospitality is hard to accommodate. What feels like a good idea today might look like a terrific waste of space tomorrow, as those BTR landlords who built expensive gyms or cinema rooms are already finding. Given that a building has to last for decades, but hospitality trends might last for no more than a few dozen months, what should a developer do? ‘The whole notion of futureproofing a building to cope with new trends in hospitality is dangerous,’ says Jonathan. ‘A better idea would be to remember that a loose fit means a long like. So to truly design-in flexibility means not getting too committed to anything that is hard to change. So take that lovely café on the ground floor – who knows where coffee consumption will be in 10 years? Or the gym – does anyone go to the gym anymore? Isn’t it all about yoga?’ The trick, says Jonathan, is to retain long-term flexibility without looking cheap: that means not skimping on finishes and specifications. Shaun
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Skidmore is Senior Director in the operational real estate team at surveyors CBRE. His job is to make buildings of all kinds, from senior living to office workspace, feel hospitable. ‘The word to keep in mind is ‘sociability’. Landlords and developers are increasingly wary that this is the key to increasing dwell-time, and keeping places busy, in every sector, from retail through to flexible office space. You have to be outward facing, look welcoming, and show you're part of the community and not gated or a ghetto.’ Shaun says developers are responding to the New Hospitality by thinking more explicitly about the audience for their buildings, and the community it sits within. ‘Developers now think about people and the environment first,’ he says. ‘When creating a new café, or a gym, or whatever it is for your apartments or offices, they ask themselves, ‘Would this coffee bar be successful if it stood on its own? Would it work?’ – and if the answer is it wouldn’t, then think again because nobody wants second best.’ Developers are also on the look out for wasted space and wasted resources. ‘Developers know that amenity is central to hospitality, but some of the quirkier ideas with high costs don’t really produce any useful outcome. Developers know they need buildings to appeal to the non-core audience as well as the core audience – but not at any price,’ Shaun says. This means weeding out expensive excesses in that lovely coffee bar if it leaves less money is around to be spent on the bedrooms, or workplaces, or kitchen – whatever the core function really is.
hospitality | march 2020
What is the New Hospitality? New Hospitality is easiest to grasp by contrasting it with old, traditional hospitality. Once upon a time, hospitality was a special function reserved for special places. You met it in hotels and restaurants, but you were less likely to find it outside those contexts. When you did bump into hospitality is was mostly about telling you how special you were (or, if you were turned away or given a bad table, how unimportant you were). The physical spaces of hospitality made the same point in a concrete way. For instance, the furnishings would be luxurious (because you deserve it) and the thresholds to hospitality – the doors you walked through, the desks you walked past – acted as barrier divided the valued guest
from everyone else. In other words, hospitality was about hierarchy, the mood was de luxe (or was intended to look like it) and the message was quite clear: you are a special person, and we are here to make you feel special. The New Hospitality is about breaking down hierarchy. The aim is to remove the thresholds that divided special people from everyone else. Barriers are removed or dissolved, and anything that might imply you, the guest, have to live up to your host’s standards are removed. The aim is comfort and quiet attentiveness, not the reenforcement of the idea that some people are specially identified as welcome guests, and everyone else kept at a distance.
Developers and landlords are also keeping an eye on the less glamorous behind-the-scenes elements that contribute to long-term success with hospitality.
And, at the same time as many hospitable places abandon the idea of showmanship for something more low key, others are stepping up the theatricality. ‘Everything has become very fluid and hybridised,’ he says.
Simon Whittaker is leading designer at Orms and one of the people responsible for Crosstree Real Estate Partner’s 266-bed Standard Hotel at Kings Cross. A brutalist former council office block with little to offer modern hospitality, it has been re-thought to meet today’s ideas of what counts as comfortable. This includes some intelligent futureproofing.
The result is design that blurs thresholds, and minimises the sense of rules, and creates spaces in subtle institutive ways rather than by erecting rope barriers or posting severe-looking people to police the boundaries.
‘Developers understand that inflexibility is not sustainable. They know you may have to re-use and retrofit a building any number of times, and that problem grows when you are refurbishing an older building, which may be restrictive in many ways – so you can’t actually do some of the things you want,’ says Simon. ‘Developers say they want flexible space to attract the widest range of hospitality tenants, so that means the right extractors on the roof ready for a kitchen, or a gas supply suitable for a kitchen, in case one is needed. This is the kind of thing developers want, providing the major restriction of the planning system allows them to have it.’
‘Hotels used to be about status. Now it is all about providing a memorable experience. Most developers know the aim here is to increase dwell-time because the worst thing in any restaurant is an empty seat. Fill the seats, or die, that’s the reality – and a great guest experience, combining good service and a good environment, is the aim.’ The New Hospitality is a world away from the old. But, at the same time, some things do not change. Attentive, well-trained service, care, respect and spaces that foster those values are at the heart of all good guest experiences. Developers are now getting the message. •
James Dilley heads the hotel and restaurant team at architect, Jestico + Whiles, and is one of those on the front line of the battle for the New Hospitality. His team has scored victories at Aqua Shard, the W Hotel in both London's West End and the forthcoming Edinburgh St James site, Hard Rock Hotel and also one of P&O's cruise ships. ‘Hospitality is being polarised. Either places want to be part of the city they inhabit, or they want the city to be part of them,’ James says. 'So lots of people are asking themselves question about hotel restaurants, asking why you would want to compete with thousands of other offers around them, and not really trying and just becoming part of the cityscape, and others are trying to create a real destination, despite being part of a hotel. You’re seeing this too in shops, which increasingly have hospitality offers or cafés – so much so they don’t actually sell anything. The Samsung shop at King Cross is a good example.’
ABOVE: A lounge in a suite at The Standard Hotel, London
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insight | stock exchange hotel
TACKLING SKILLS Gary Neville and Ryan Giggs have worked with Turkish design practice Autobahn to restore a part of Manchester history, creating a boutique hotel within Manchester’s former Stock Exchange. Gary joined us at December’s Mix Design Collective to give us an insight into the project
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e were, of course, delighted to have former Man Utd and England footballer, Sky Sports pundit and entrepreneur, Gary Neville, as a key note speaker at last December’s Mix Design Collective. While we had Gary’s attention, we asked him about the process behind his latest critically acclaimed hotel development – Manchester’s Stock Exchange Hotel. The former Stock Exchange building has now been transformed into a high-end hotel, featuring 40 rooms, including two signature suites and a stunning 3,500 sq ft penthouse residence. The food and drink operation in the hotel, meanwhile, is overseen by Michelin-starred chef, Tom Kerridge. Having purchased the Grade II listed building six years ago, Gary (together with his project team, of course) has helped bring this amazing building back to life. However, as he told our packed MDC audience, this didn’t come without its own issues and challenges. ‘The big problem with the Stock Exchange – or with any project – is if the owner hasn’t got clarity around what they want the project to be,’ Gary admits. ‘It causes confusion and with this project, when we bought the building six years ago, I had this idea that I wanted a detached building in Manchester so we could develop a private members’ club. Since I had finished playing football I had travelled down to London and joined a couple of these clubs – this idea of being able to work in these spaces, I
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could see that people wanted to work differently – they didn’t just want to work in their offices any more, they wanted more than a desk and they wanted to work in open plan spaces. Thankfully, over the last five or six years, the way that office spaces are designed has been transformed. ‘At the time, however, I could see that people didn’t necessarily want to be at a desk, they wanted to be more free – and that’s how I wanted to work myself. So I felt the idea of a members’ club in Manchester, where entrepreneurial and creative minds could come together, where there was an offer of hospitality associated with it, would be a really good thing for the city. Of course, today, a lot of office buildings have coffee shops and the likes built into them – but this wasn’t so obvious six or seven years ago. ‘So I wanted to do a members’ club, but simultaneously we had just launched Hotel Football over at Trafford, and we were having some difficulties with the F&B, and then we opened a couple of independent restaurants in London and Manchester, and had further problems with F&B – and the problem with the members’ club was that it was heavy on F&B and I’d lost a bit of faith in that sector in terms of our ability to operate in it, and wanted to go more down the hotel room road because we were better at it and the skillset we had was better. So over a period of three or four years, we changed from being a members’ club into being more hotel-led. Then we actually changed chefs as well. We had Michael O’Hare originally – which was very much more of a fine dining concept
hospitality | march 2020 – and we changed to Tom Kerridge. It got to a point where it became the most confusing project – particularly for the development team and for the design team. We changed design teams throughout – because one chef wanted one designer and the other chef wanted a different designer. I got pulled from pillar to post, which isn’t usual – we’re usually very firm and fixed. When we did Hotel Football, for example, we had a virgin site, we had no brand, we wanted to operate it ourselves and we wanted to build it up from the very bottom, starting at the bottom. ‘What we did find with the Stock Exchange project was that, when you hand it over to a chef or you hand it over to an interior designer, they pull it away from you, essentially. If you’ve not got very clear parameters set, it’s very easy to get pulled around. So we made sure we put together a document – and this is something I do on every project before it gets to the design team; it’s essentially the owner’s vision or owner’s brief. ‘Everything hangs off this document – whether it is the materials, the design, everything. If it is not in this document then it shouldn’t be part of the project. In this case, if it is not in this document, it shouldn’t be part of the Stock Exchange Hotel. ‘Our vision here – the guidelines for the project – were heritage, meticulousness and trust. So everything had to fit those guidelines. For example, heritage could mean the use of materials – we weren’t going to use materials that weren’t part of the history of the building; they had to fit with the original story. The artwork uses original photographs of the Stock Exchange itself. With this particular project we felt we really had to tell the story of what had already been here. We wanted everything to hang off that. The teal colour was the colour that was used at the time, in the early 1900s. ‘Our document then went to the design team, to the operations team and to the chefs. The great challenges of this project were that, ultimately, I’d changed my mind and so I didn’t get the clarity right from the outset – and that’s a real problem for all design teams on any project, if there isn’t that clear brief.
interior design done and essentially had to wrestle the project back to meet a new vision. This, of course, cost more money and cost more time. And this will happen to any owner who allows himself to be pulled around and not stick with the original clear vision – it was all my own fault! 'Hotel Football was a perfect project in one sense because we used a great brand designer as the interior designer. So they created the brand book and then the interior came from that brand book. I’m a great believer that the interior should come from the brand. The interior designer should not be creating the brand. Essentially, with the Stock Exchange, at one point we had the brand agency working on one piece of the project and the interior designer on another piece – and we realised pretty quickly that we had to pull this back in line. If you walk into the project now, you’ve got a hotel that I’m really proud of. I think it’s the best that we could have done. We’ve certainly given our all to this project – we didn’t want to hold back on anything. 'The biggest challenge we have right now is that we’ve got TV screens throughout the restaurant – which is a big talking point. It really is an amazing restaurant – it’s a great space that was formerly the old trading floor of the Stock Exchange. It’s certainly one of the best dining rooms in Manchester. We wanted to create a non-fine dining experience here. If you go to Tom’s restaurant in Marlow – The Coach – it’s essentially a one-star pub, complete with screens on the walls. We wanted to try to recreate something along those lines here in Manchester. The problem is that it jars with the actual room. Seeing darts and snooker on the TV in this amazing room doesn’t really meet our brand guidelines and doesn’t fit with the heritage of the building – so it’s something that we really need to think about because it’s causing a lot of discussion amongst guests who are coming to experience and enjoy this amazing restaurant. ‘So, there are still some challenges in front of us – although I do think it’s an amazing project and one I’m really proud of.’ • See more at www.mixinteriors.com
‘Like I said, we completely changed tack on this project. We had a full
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feature | locke at broken wharf
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hospitality | march 2020
LOCKE & QUAY New York’s Grzywinski+Pons have transformed a neglected 1970s office block into Locke Living’s latest offering, the Locke at Broken Wharf hotel
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just tens of meters to the north, you have a brutalist cross town artery – a dystopian vehicular tunnel straight out of Blade Runner,’ say Grzywinski+Pons. ‘There’s both urban grit and splendour, depending on which direction you choose to look.’
New York based Grzywinski+Pons – previously responsible for several of the brand’s locations – led the design and have continued their propensity for muted shades and detailed characterful accessories here.
Built in the 1970s, the building’s original features were less than desirable and a challenge for the practice to transform into a hospitality offering. Each level was constrained by the building’s long and thin plan, interrupted occasionally by octagonal turrets and, inside, a warren of cubicles and grid ceilings.
The studio was inspired by the unique location of the project as well as the building being adapted, including the contrast in architecture and scenery surrounding the site. ‘The linear plan links two antithetical poles, each of which is equally and quintessentially London: on one side of the building you have some of the most spectacular and picturesque vistas overlooking the Thames, only steps away from the Millennium Bridge, with the Tate Modern, London Eye and Southbank Centre right on your doorstep. Then,
‘Each level had no period character to exalt or embellish, so we stripped the structure down to its bones. We were able to manipulate the building sectionally – we removed some floor area to create double-height space while stitching it in elsewhere to accommodate more guest rooms and, in doing so, added our own exposed and celebrated structural interventions to those that we had just laid bare. These hybridised elements became the foundation of the ultimate aesthetic of the property we were recreating.
his month, pioneering hospitality brand, Locke, will open its second hotel in London. Locke at Broken Wharf is a 113-room destination that includes a bar, restaurant, lounge and coworking space. The adaptive reuse project comprised a complete gut restoration and fit-out of an existing seven storey office building, situated just minutes from Blackfriars.
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project review
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Then, just tens of meters to the north, you have a brutalist cross town artery – a dystopian vehicular tunnel straight out of Blade Runner
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‘While we were able to open up some of the perimeter walls in the public spaces with expansive glazing, we were otherwise constrained by the aforementioned peculiar shape of the building,’ we’re told. ‘Rather than resisting the very nature of the form within which we were working, once we resolved to embrace the idiosyncratic, these constraints became opportunities and a source of inspiration. The rooms showcase the faceted form of the perimeter and one’s presence in the hotel is intrinsically linked to the experience of it from without. Presence of place is foremost.’ Grzywinski+Pons also employed low ceilings to create more intimate parts of public spaces, and celebrated the unique layout of the building by giving the opportunity to look clear across it. Canopies, bespoke mobile screens and various structural elements across the plan mean the space still radiates warmth and comfort across the bar, café and coworking space. The social space on the ground floor is texturally lush and inviting, with plenty of light and greenery, and pieces of red furniture acting as highlights across the space. The inside reflects the outside in certain details, such as perforated stainless steel panels, chain mail curtains and steel framing, all contrasting with the warm palette of the soft furnishing (tweed, wool and leather) and rattan and cream terrazzo surfaces. Upstairs, the guest rooms also reflect the exterior of the building, featuring sage walls, highlighted orange windowsills and a mix of considered accessories that make
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hospitality | march 2020
ABOVE Guest room LEFT AND BOTTOM RIGHT Lobby and coworking spaces
each room feel unique. The kitchens combine birch ply, marble and smoked glass – both eclectic and effective – reflecting the rest of the room’s use of materials. ‘We designed the majority of the furniture, creating matte/gloss tension, employing chrome, stainless steel, smoked glass and polished copper, softened by the warmth and tactility of timber, stone, wool, cane and upholstery,’ Grzywinski+Pons tell us. Locke at Broken Wharf sets the stage for two more London openings in Bermondsey and Dalston later this year, in addition to international projects in Dublin, Munich, Berlin, Lisbon and Copenhagen – all building on the success of Locke’s existing locations in Manchester, Edinburgh and East London. Each location is focused around the modern traveller, blurring the lines between high-end boutique hotel and the flexibility of an apartment – including vibrant social spaces often occupied by locals as well as hotel residents. Well worth a locke! •
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CASE STUDY WD-40
Tribal Community WD-40 is quite possibly one of the most well known brands in the world. This iconic little can of wonder is pretty much found in every shed, workshop and garage from here to Timbuktu. So when Burtt-Jones & Brewer were tasked with designing a new home within a three-storey office building in the centre of Milton Keynes, they knew they needed to pull out all the stops and create a workspace that not only fulfilled the values of the growing brands within the organisation, but also reflected its iconic history and projected a bold, new, purposeful future for WD-40’s employees – who they refer to as The Tribe.
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Bespoke upholstered bench in meeting room breakout area. All photography: Nick Miners
urtt-Jones & Brewer’s brief was to create a space that answered three key objectives; the first was to create positive lasting memories, the second was to ensure the business collaborated naturally by removing barriers, while the third was to create a workspace that would actively retain members of The Tribe and develop a space so inspirational it would encourage growth and attract new talent from within Milton Keynes and beyond. The base build here is a square donut consisting of three floors of workspace in-filled with an open, internal atrium space. ‘Our first challenge was to understand how to re-organise the building structurally and architecturally to transform the space to encourage collaboration,’ BurttJones & Brewer’s Adam Burtt-Jones explains. ‘We achieved this in a figurative way – placing a metaphoric WD-40 can in the middle with a roof over the atrium whilst defenestrating the glazing. This created space for a feature helical accommodation staircase that wraps around the WD-40 can and links the floors. ‘The result of our design has turned a low quality external atrium space into a unique,
energising and collaborative heart at the centre of the building. WD-40’s way is to involve The Tribe directly in the design process and to link its vision and values into every part of the decision-making process. Collaboration through workshops, which we facilitated, helped to isolate key project drivers at the start of the process, which were then used throughout to focus the brief and project goals. The project was measured at each stage against the WD-40 vision and values. ‘Working closely with WD-40, we positioned The Tribe and the WD-40 can at the centre of the design so that people would feel a closeness and affinity with the brand and company, and ultimately feel inspired to be a part of its future.’ As we said earlier, the building is spread over three floors. The ground floor is inset beneath the upper two, forming a colonnaded walkway around the exterior. The upper two floors, which have better views and light, have been given over to the principal office workspace, with desks, meeting rooms and a variety of open and cellular work settings. The ground floor houses the main staff canteen and breakout space – which feeds into the reception and atrium – a gym, showers
CASE STUDY WD-40
▼ Curved timber slatted screen dividing different areas.
The project was measured at each stage against the WD-40 vision and values
▲ Upholstered shed-style booths
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and changing space, a research and development laboratory and facilities, and storage/packaging studio areas. The internal circulation has been reconfigured through the use of the feature helical staircase, along with the creation of a main circulation route on both of the upper floors, wrapped around the open atrium. All rooms and areas are accessed from the central open walkway, which encircles informal working settings facing into the atrium to allow vistas and vision from the staircase and through the atrium. Two existing staircases and a small single lift supplement the vertical circulation. ‘Our key design principle was to funnel the majority of journeys up and through the building via the feature staircase, to foster chance meetings, encourage movement and add drama to the centre of the building,’ Adam says.
‘Far from being purely sculptural, this central feature will foster the chance encounters, visibility and interactions to further connect the WD-40 Tribe together as a community, with the adjacent spaces to the stair providing a multitude of third space alternative work environments. ‘We also designed numerous other smaller, playful interventions throughout, including the shed-like meeting booths, constructed from a combination of corrugated metal rooftops, and highly finished dark-stained oak veneered joinery.’ Rough, reclaimed timber cladding adds interest to meeting spaces, which are all uniquely shaped due to the scheme's off-kilter grid. Burtt-Jones & Brewer and the WD-40 team carefully selected materials, methods of construction and finishes and products to last a projected 25 years. The project is awaiting Final BREEAM certification and is due to achieve a BREEAM Very Good rating, with an anticipated score of 71%. Air source heat pumps service the building. Relying upon electricity is better as a primary source, due to de-carbonisation of the grid. Burtt-Jones & Brewer commissioned the building services, creating systems that were balanced to ensure efficient and optimal running, which reduce energy wastage.
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CASE STUDY WD-40
▲ View of atrium with helical raw steel feature stair.
▼ Staff kitchen
Adding a barrel-vaulted glass roof to the previously open courtyard helps protect the exposed building fabric and prevents heat loss. The internal courtyard and main entrance space, which was flooded with lights, was painted white to increase the light reflectance and enhance the distribution of natural light. Furthermore, lighting here is energy efficient and all white goods are A-rated. Employee wellbeing is at the heart of WD40’s ethos and formed a key element of the project brief. ‘The organisation insisted that we create a really positive workspace to support a healthy work/life balance and give individuals a genuine choice of environments to work and relax in. ‘Access to natural light was a significant driver to the layout and orientation of the work areas and spaces. The client encouraged us to create a comfortable workplace, focusing on the human experience. It is a human-centric workplace, with carefully optimised planning to ensure ample daylight and the best views from all desk positions. Over 95% of relevant building areas, as defined by the BRE, meet the requirements for View Out.’
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▼ Seating beneath timber slat ceiling
Access to natural light was a significant driver to the layout and orientation of the work areas and spaces
The variety of alternative environments accommodates different ways of working and individual preferences. These include height adjustable desks throughout, secluded booths and upholstered seating benches, enclosed meeting room/office spaces and open collaborative tables. There is also a generous amount of planting and biophilic elements throughout. ‘We designed varied planting to cover a series of open panels to the walls of the atrium, over the reception bar area and into the canteen,’ Adam
CASE STUDY WD-40
▼ High level bench and table overlooking atrium
tells us. ‘There is visual connectivity to trees and planting in the park outside. Well-appointed tea and coffee stations are in central locations on all floors, with a more sophisticated provision in the staff kitchen and the reception bar.’ The core design feature of the large central helical staircase encourages physical movement and exercise in the most simple and innocuous way and the gym facility is available for more strenuous activity. Shower facilities have been added to the building to support this and for those who cycle or run to work. Cycle parking is beneath the colonnaded canopy at the rear of the building, while a double electric car charging point is situated at the front. For both cycle parking and electric car charging, there is further space for future expansion. With employee wellbeing and a desire for a cohesive workspace at the heart of the BurttJones & Brewer design for the new WD-40 office USM Haller was seen as the perfect choice of storage solution to help bring the design to life. The bold colour choices of gentian blue and sunshine yellow USM Haller pay homage to the iconic WD-40 can design and gives the
workplace design an instant symmetry with the brand. The choice of blue and yellow USM storage units offers a brilliant pop of colour and takes centre stage in an otherwise muted colour palette. Located across the three floors, the modular units support the flexible design of the space, creating room division as well as providing ample storage space for the workforce. The versatile modular nature of USM means that it can be reconfigured if the needs of the company change.
There is visual connectivity to trees and planting in the
▼ Open plan work space with height adjustable desks
‘WD-40 had a rare brief, with freehold occupation of their new EMEA HQ ,’ Adam explains. ‘They were looking for signature furniture that fitted their long term vision; products that could adapt to suit flexible and differing needs, which they couldn’t yet predict. A solution that reflected the iconic status of the WD-40 can and brand, imagined by engineers. USM is a similarly unique product, engineered with a form over function philosophy, with a similar integrity and commitment to WD-40 to long term, sustainable goals. Every so often, you find the perfect fit. USM fits seamlessly into the workspace – perhaps the greatest possible complement.’ Overall, this space is the personification of WD-40 and its values. It is genuinely a space that will provide positive lasting memories for The Tribe and visitors alike.w
park outside
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COLLABORAT CONNECTED EVOLVE SOCIAL HEART SPACE DESIGNERS
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1-3 DECEMBER 2020
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Nine curated experiences by leading design practices, showcasing the very best in international and UK product design for workspace, hospitality and living.
Featuring a packed programme of inspiring talks and workshops from industry leading experts from the world of interior design, property and architecture.
CASE STUDY The Brewery
▼ Refurbished facade
Special Brew We’ve said it before and no doubt we’ll be saying it again sometime in the not too distant future, but we can’t help but be wowed by the continual redevelopment of King’s Cross and its surrounding area. The premillennials amongst us still remember (and will likely never forget) just how unloved and sorely neglected the area had become, bordering upon a no-go zone after dark for many.
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▼ Second floor meeting room
N
ow one of our favourite parts of the capital, the transformation is spectacular, from Granary Wharf and Central St Martins through to the brilliant new workplaces and mixed-use developments beyond, which continue to rise out of the ground. There’s also an impressive remodelling and reworking of many fine older buildings – one of which we are here to see today. Squire and Partners has completed the refurbishment, extension and fit-out of The Brewery Building – an existing 1970s office building in that rapidly emerging zone between King’s Cross and Islington – on behalf of Atlas Property.
The building (named after the road it sits on rather than its own heritage) makes strong references to the area’s industrial past, whilst providing the proportions and facilities required to provide a successful office building for occupiers; the original structure has been repurposed while two additional floors have been added to create 11,000 sq ft of creative workspace, aimed towards local independent businesses. We’re met outside the building – where this story really begins – by Squire and Partners’ James Halliday and Sean Normington. Architect Sean tells us a little about the recent history of the building and the process behind
We spent a lot of time researching the brick – in fact we spent months testing different brick types and weathering techniques in order to get it exactly as we wanted it
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CASE STUDY The Brewery
▼ Second floor workspace
Wherever we could, we tried to take influence f rom industrial buildings and old railway buildings
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this transformation. ‘This was a three-storey warehouse/storage unit – it was a little bit out of scale and out of character, with very little natural light getting into it,’ he says. ‘So, we retained the structure on ground, 1st and 2nd floors, and then added two additional storeys, which utilise a steel frame structure with timber joints. What we wanted to do was to open up the windows – down at those lower storeys particularly – so we reworked the entire façade. We spent a lot of time researching the brick – in fact we spent months testing different brick types and weathering techniques in order to get it exactly as we wanted it. The brickwork on the rear façade is the existing material – we retained as much of that as we could. Then the brickwork on the side and front elevations is new but weathered. ‘Wherever we could, we tried to take influence from industrial buildings and old railway buildings, so the balustrade design on the front façade is taken from the scissor gate design you find on a lot of railway buildings. That then led to the 45-degree brickwork. Like I said, this is an existing building with an extension, but by doing this it ensures that it still looks like one single
Project Team CLIENT
Atlas Property ARCHITECT & INTERIOR DESIGNER
Squire and Partners
FLOORING SUPPLIERS
Pergo, Domus, Diespeker & Co FURNITURE SUPPLIERS
Bureau, Rawside, Hem, Won Design, Fabula Living, Ocee Design, Mobili, Hitch Mylius SURFACES SUPPLIERS
Domus, Y&S Marble
STORAGE SUPPLIERS
Rawside
OTHER SUPPLIERS
Atrium, Encapsulite, Muuto, Northern Planting: Your First Florist
CASE STUDY The Brewery
▼ Communal space
The Client The Brewery Building occupies a prominent position on the corner of Brewery Road and York Way, a short walk from The Granary Complex at King's Cross. Planning consent was granted for a two-storey extension to the existing property, which Atlas implemented to completion within 12 months. Designed by Mixology awardwinning practice, Squire and Partners, the building now offers over 11,000 sq ft of B1 and B1c space, designed with innovative businesses in mind.
building. Again, this took a lot of testing, but it was definitely worth it. It’s been really successful. 'We used robust materials throughout, taking the proportions of successful office buildings – that’s really the key to our scheme. So the original narrow, horizontal windows have been enlarged to create full-height windows that improve daylight within the internal spaces. Deeper recesses improve solar shading, while the central opening doors provide the opportunity for fresh air. Juliet balconies, complete with those light metal balustrades, have then been created to add to that theme of contemporary meets Victorian. Moving inside, exposed concrete soffits allow generous floor to ceiling heights. A tonal colour palette, with colours inspired by aged industrial materials such as Verdigris and rust, has been used to complement the building exterior. Materials such as concrete, metal and timber, combined with exposed services and lighting continue the industrial aesthetic. ‘We could see that this would fit an open plan office scheme really nicely,’ Sean continues. ‘It always had great potential. ‘Due to planning parameters, the ground floor space has been retained as a light industry unit –
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CASE STUDY The Brewery
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CASE STUDY The Brewery
▼ Second floor teapoint
Their raw, industrial aesthetic f itted really well with the narrative and concept for the building
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but I think that mix of tenants will only add to the character.’ We move up to the 2nd floor, which has been developed from shell and core into what our hosts describe as a marketing suite. The interior team at Squire and Partners have taken the 2,000 sq ft floorplate and transformed it into a vibrant, flexible and agile working space ideally suited to the type of tenant the building is looking to attract – and the district continues to entice. ‘Obviously, the building didn’t have exposed Victorian ceilings that we could show off,’ Associate, Interior Design, James points out, ‘but we wanted to still have that exposed services feel, so we painted the cabling trays black – it was a lot more work, but it was definitely worth it. ‘We only had about two weeks to fit out this space – in fact we had about six weeks to specify everything and take into account manufacturing times. We worked closely with Rawside – who are based down in Brixton. Their raw, industrial aesthetic fitted really well with the narrative and concept for the building. They were the ideal partners. ‘The black and white palette and use of natural materials allows tenants to introduce their own personality to the space. This is a
marketing suite but it would be really nice if someone did come in and take everything. ‘The soft seating and greenery add a layer of comfort and domesticity, and offer alternative working and meeting spaces. The fact that there are windows on both the front and rear elevation means that you get an amazing amount of natural light throughout the space – and the views are pretty special too, even down here on the 2nd floor!’ Squire and Partners’ sister branding agency, Mammal, created a new brand identity for the building, drawing inspiration from the layered bricks of the building and linking them to the layers of culture and creativity that can be found in the area. This cohesive approach – with architect, interior designer and branding all working together – has helped position the Brewery Building as a new place to create, inspire and succeed. w
CASE STUDY Ingleton Wood
Alie Pally We’re sat in the impressive yet calm boardroom space of Ingleton Wood’s new London home, enjoying the tranquility above the busy Aldgate streets. We ask our hosts about the location of the firm’s former London base. We weren’t quite expecting them to, simultaneously, point to the building immediately opposite.
We were telling our clients how they should work – and then not doing it ourselves!
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S
o, in geographical terms, the firm hasn’t moved far at all. In business and cultural terms, however, this has been quite a journey. Ingleton Wood, as many of you will be all too aware, is the leading multi-disciplinary property and construction consultancy, providing a wide range of services across a variety of industry sectors, including commercial, health, education, defence, residential and community. The firm’s services include architecture, building surveying, building services engineering, planning, interior design, sustainability, civil and structural engineering, quantity surveying, project management, CDM and health and safety services. Beyond the new Alie Street HQ here in Aldgate, Ingleton Wood also has offices in Billericay, Cambridge, Colchester, Norwich and Oxford. Our aforementioned hosts are Associate, Nicole Flynn, and Project Manager, David Wright, who can tell us more about the move across the road that’s had such a major impact on the business. ‘Our partners looked at quite a few buildings around this area,’ Nicole reveals. ‘They also looked at other locations in London – but the links here are so good for the projects we’re involved with. They’re also very
â–¼ Meeting, breakout and flexible work spaces
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CASE STUDY Ingleton Wood
▼ Concentration area for focused work
Once we could see that data – the fact that we were at about 40% occupancy – it was clear that we had to change things
thoughtful about our people, so they also looked at everyone’s commute – and this is such a good location for the majority of us. ‘We eventually narrowed it down to three buildings and I test fitted each of them – and this just worked.’ So what prompted the initial search? ‘The lease was coming up on the space across the road,’ David explains. ‘There is an American tech start-up company in that building who started off with half of one floor and in just a couple of months have grown, and have now taken up practically all of the building!’ ‘We had also started to look at how we were working,’ Nicole tells us. ‘A lot of our people were out a great deal and we were really quite traditional. We were struggling in that space. We had fixed, old, big timber desks, a big boardroom, a booth from Orangebox – and that was just about it. We were working in teams, but nobody had any space, there was no social space – the kitchen was tiny – and this wasn’t helping how we work. We’re a multi-disciplinary firm after all. We were telling our clients how they should work – and then not doing it ourselves! ‘The partners then decided to get a proper workplace analysis study, to see how we were
Project Team CLIENT
Ingleton Wood ARCHITECT & INTERIOR DESIGNER
Ingleton Wood
FLOORING SUPPLIERS
Interface
FURNITURE SUPPLIERS
Narbutas, Humanscale, Ocee Design, JDD, Brunner, Frovi, Spacestar, orangebox, Howden, Fenix SURFACES SUPPLIERS
Innerspace Cheshire, Autex, Ecosorba Ltd, Solus, Hi-Macs STORAGE SUPPLIERS
Rawside
OTHER SUPPLIERS
Autex Acoustics, Forbo Flooring Systems, Stansons Group, Xsign, Fagerhult Lighting
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CASE STUDY Ingleton Wood
The Client HW Ingleton & Co and John S Wood began practicing in the mid-1930s. In the 1960s they merged under the name of Ingleton Wood – which, since that time, has grown into a multidisciplinary property and construction consultancy. Today, Ingleton Wood has offices in London, Billericay, Cambridge, Colchester, Norwich and Oxford.
▲ Staff lockers
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actually using the space – so we had the proper data to understand what we required. ‘Once we could see that data – the fact that we were at about 40% occupancy – it was clear that we had to change things. Quiet space is also a big issue for people, and so they were working from home or sitting in coffee shops because we just didn’t have those facilities. ‘This is why we have created a series of zones here and, although we have not been here very long, people are embracing the concept – they were worried about not having their own fixed desk, but now they’ve seen what else the space provides, they’ve quickly come around to the idea. ‘There is a real mix generationally – so we have people who are used to their own fixed desks and also younger people who are naturally more agile. Our challenge, in many ways, was to convince the directors that we need to change so that we can continue to attract that younger talent.’ ‘We not only took the staff on the journey – we also had to take the directors on a journey,’ David smiles. ‘This is about managing by output – not by visibility. It’s absolutely okay for people to move around the space.’
CASE STUDY Ingleton Wood
▼ Flexible work spaces
We not only took the staff on the journey – we also had to take the directors on a journey
‘Like David said, we needed to make sure that people knew it was okay to move away from their workstations,’ Nicole considers. 'Everyone is different – and the reason we’ve created these zones and embraced these different work settings is that, depending on the task, you might not want to be disturbed or you might want to be away from the busier end of the space. ‘Everyone is on mobile technology now – so they aren’t tethered to the desk in the same way they were when we had fixed telephones. We’ve also found that people are really collaborating now. When people did collaborate in the past, it tended to be at the end of a row of desks
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Armed with this data and the proof that not everyone needed a daily desk, the team set about transforming the way the Ingleton Wood London space worked, introducing an agile, collaborative approach. ‘Agile working is more than just providing a new workplace – it involves a culture change throughout the organisation and the buy-in of both management and staff is essential from the outset,’ Nicole continues ‘Organisations that embrace both flexible and agile working provide staff with a great work/life balance that’s also essential when it comes to attracting new diverse talent, increasing staff morale, and improving productivity. Companies like ours know that one size does not fit all.’ Now, concentrate zones enable staff to use enclosed pods for phone calls, working and creative thinking in a quiet environment, while collaborate zones include a variety of workstations, high benches, meeting pods and a meeting room, so teams of architects and interior designers can meet and work hand-in-hand with colleagues from other teams and departments.
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CASE STUDY Ingleton Wood
Collaboration and social hub
▼ Biophillic design in the office
– and that often disturbed others. Now we have an amazing open plan kitchen/ collaboration space, they have laptops and, possibly most importantly, they have choice.’ ‘It’s become a much more social space as well,’ David tells us. ‘People come together for lunch and for coffee, and it is a large enough space to have office meetings in a far less formal setting. ‘It has been really interesting to see how people use the space. Some of the spaces I thought would be particularly popular for those who wanted a quieter, more secluded place to work actually aren’t the most popular – and some of the areas I thought might be the loudest and most disruptive have actually become some of the quietest! It is really good to see people moving around the space and sitting with people they normally wouldn’t sit with. It’s also good to see people really relaxing into not just the new space, but also the new working patterns. Our communication and interaction is so much better – and it’s
also having real benefits for our clients in the way that we’re now able to work with them.’ ‘People genuinely are getting to know one another better,’ Nicole adds. Sustainable materials are fused with high quality detailing, mobile technology and a brilliant selection of furniture, supplied by Rainbow. ‘Rainbow worked closely with us on this concept for agile working,’ Nicole says. ‘It was a pleasure to collaborate with them throughout the project. They took us around a number of showrooms in Clerkenwell and introduced us to pieces we were not even aware of. I think the result of this is that, between us, we were able to choose the best products to help us achieve this agile, flexible, collaborative, new approach. The space itself features contemporary, bold and colourful finishes, natural wall claddings from Innerspace Cheshire and innovative flooring designs from Interface. How far they’ve come! w
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Roundtable ROUNDTABLE
Experience Days Shopping is now seen as ‘leisure experience,’ hotels are a hospitality experience, restaurants a dining experience: the whole world suddenly appears to be about experience. This trend, already bubbling under in the world of workplace for a year or two, will explode in 2020 as occupiers, landlords and developers concentrate on building an experiential element into new working spaces. Translating the idea into physical facts will mean moving on from the pool tables and chill zones of the last few years. The gimmicks that produce Instagrammable content may help recruitment, but do they help with retention? The latest wisdom is that a sense of community and common purposes might work better – but how do you design that into a space?
THE DISCUSSION
W
e’ve gathered another crack panel of industry experts together – at Amtico’s fantastic new space in South London’s Metal Box Factory – to discuss the hot topic of the workplace experience. We begin by asking the team whether their clients are now talking about 'the experience'. James: Definitely. I think that developers, organisations, clients now realise that a space has to be more than just somewhere you go to work – it has to be part of your everyday life. You now need to give people flexibility, convenience, comfort…it’s about being able to do what you
It is much more than just providing a coffee cart in the reception – it’s about the culture of staff and how open and inclusive the space makes you feel
really want and need in your own life, so building in things such as great F&B, onsite GPs, gyms, crèches etc. This works for the client as well because it means that people don’t need to take as much time off. Dan: Experience is now one of the first topics our clients talk about. At present, clients are really focused on creating environments that not only respond to an ‘internal/inward focus experience’ but also an ‘external/outward focused experience’. Elaine: Experience in the workplace is definitely key to talent retention and staying competitive
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in a really vibrant market. The focus on the experience in the workplace is so much more evident these days. A couple of years ago, creating an experience in the workplace was considered as simply adding a good coffee station into the office. These days it focuses on everything – from the entrance into the office, the different worksettings, the branding, all the way through to the technology that you use every day. All the different elements that make up the workplace contribute to the overall work experience that we have daily.
When I’m at home I don’t want to feel as though I’m at work – they’re two different spaces and do two different functions
Dan: More and more, during brief taking and workshops, staff want to feel a connection to the company, and usually this is portrayed via the experience from the first moment you walk across the doormat. It is much more than just providing a coffee cart in the reception – it’s about the culture of staff and how open and inclusive the space makes you feel. After all, first impressions are so important and can really set the tone for how the individual uses and moves through the experience. Gema: It is normal now for us as a manufacturer to have these kinds of conversations with designers right at the beginning of concept planning. Often we are told and understand that the design of a space allows designers to create an emotional response in the user, which can be anything from the sense of excitement, through to making them feel relaxed and comfortable. The flooring layout and design is often integral to this, as it can signify to the user how a space should be used with the use of different colour palettes, defining a specific area or creating a sense of wayfinding, taking the user on a journey. So which particular sectors are clients referencing in order to move away from the look and feel of a traditional office?
Rachel: I definitely think a strong influence is the hospitality sector. From the moment people
In Association with
walk through the front door, there is now a much more welcoming, hospitable, inclusive approach – and this follows throughout the workspace. People do want comfort and they do want service. The education sector is also a very strong influencer – and this comes through tech. We do everything at work now. So we are taking the best we can find from retail, hospitality, education, and blending these together to allow people to do this. Ongoing learning is also crucial. We keep learning at work. Natasha: I think workplace is borrowing from a number of sectors, including retail, hospitality and some aspects of education as well. So, in terms of hospitality, we’re borrowing the types of spaces, dressing of spaces and lighting levels, and then creating a true experience through the work environment. In terms of retail, it’s about the speed and the pieces and kit of parts. Then, through education, it is about creating a programme for development and for nurturing staff. Nic: I think the domestic/living sector has had a great deal of influence – and a big driver has been that ‘home from home’ style of workplace. I actually think we’re now moving away from that – we’re growing up a little bit. A workplace should deliver all the stuff that allows you to be brilliant at work – and I don’t think that creating a space that is like a home is necessarily conducive to that. When I’m at home I don’t want to feel as though I’m at work – they’re two different spaces and do two different functions. Another influence is undoubtedly hospitality – the whole business of service and looking after the people who work for you and your clients. Paul: First, I think the phrase should be ‘influencing’ rather than ‘borrowing’ – and that definitely refers to more than one sector. For me, the living sector, as well as the higher education sector, is influencing what we are now doing in
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Designers can provide all of the parts required for a great workplace, but without the right company culture to enable employees to use the space to its fullest, the potential of the design will be lost
the workplace. When it comes to the living sector, I think the environment is starting to become more comfortable and more relaxed. When it comes to influence from higher education, the younger generations are more about freedom of how and where they work – and technology aids them to work in this way. They don’t want to be chained to a desk – that just won’t work for them. Elaine: Designers are looking at a variety of different sectors for inspiration. Not just residential and hospitality, but even daily experiences like navigating through a city, travelling around the world, advances in technology. All of these elements can feed into the experience that becomes the modern workplace. Since technology has enabled us to work from anywhere, the modern office really has to offer you something special to make you come into the workplace. It has to offer you that seamless connection to colleagues and technology, as well as a great experience, to make it worthwhile. James: I agree. It’s about borrowing from not one particular sector – it’s about borrowing
from everyday life. It’s difficult to pinpoint any one sector. Workplace is now learning from every other sector – that is key to that holistic experience. If these things are built into the workplace then that only adds and benefits. The lines are now so blurred. Dan: Any and every sector is being referenced in today’s workplace. Everyone has access to a variety of sectors and we will cross between various sectors each and everyday – where we subconsciously take in pros and cons of spaces. This means we are able to pull these experiences back into our creative thinking and tailor them to
the individual client. Not one client will have the same experience – it is all driven by the business culture and also the culture of a workforce or business leader. How much of 'the experience' is about the physical environment and how much is about the culture?
James: I think they are dependent on one another. One doesn’t necessarily work without the other. You can build the most fantastic workplace, with all the facilities people want and need, but that won’t be successful if you don’t have the culture that goes with that. Dan: The physical experience is becoming more and more important with clients, but that’s not to say all experiences need to be loud, busy and vibrant. They really need to be created around people to enable the individuals to feel comfortable in the environment around them and be the best they can possibly be. A business that has a workforce of mainly introverts will have a much different experience than a business of extroverts.
Younger generations don’t need to own anything – but they expect everything they need to be at their f ingertips, in a bespoke and unique way
Elaine: Culture plays such an important part in the overall experience. Designers can provide all of the parts required for a great workplace, but without the right company culture to enable employees to use the space to its fullest, the potential of the design will be lost. Managers need to lead from the top down, showing employees how to work in the modern office, how to engage with the different areas, and showing their employees that they trust them to do their job no matter where they are. Therefore managers should be taken on the design journey
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ROUNDTABLE
to fully understand the space. The early engagement, workplace strategy and change management portion of the process is so important, allowing the leaders to understand and buy into the design. It is not enough to just design a project blindly. If you want a successful project, you need to be willing to spend the time, to allow the designer to fully understand the client and the culture that they are after, and to fully engage the employees in the design process. I would argue that the culture is the most important part of ensuring a successful and great office experience. What would you say are the key elements required to create this experience? Natasha: In terms of the experience, I think there are two key elements – you have both the staff experience and the visitor experience, and being able to tailor those to represent the brand throughout the journey and ‘experience’ within the space is really important. In creating
the experience, I think leadership has to lead by example. There has to be an element of trust. Nic: Creating a new experience is about people. However sexy your reception space is, if somebody gets an amazing welcome, it’s going to be more powerful than the design itself – and I’m a designer so maybe shouldn’t be saying that. When you talk about people, you’re talking about emotions – about engagement, community, help, welcome, comfort…these should be the drivers when creating a workplace. Rachel: People need the functionality to be seamless. They don’t want to be cluttered when getting their work done. They need the technology to work – they expect it to work and to be seamless. We want our spaces to be multifunctional and everything to be at our fingertips. We have a very high expectation of our workspaces now. We’ve moved past the ownership of things. Younger generations don’t need to own anything – but they expect everything they need to be at their fingertips, in a bespoke and unique way. People expect spaces to work hard – day and night. So, as designers, we’ve really got to sweat the space in order to offer as many opportunities as possible. Paul: Usually, when we’re talking with our clients about what they want from their workplace, they talk about retention rather than talking about attraction. Now they are starting to talk about both attraction and retention. I think one of the key elements is to create flexibility – to create different zones for people to work in. In creating the experience, I do agree that trust in the leadership team is crucial.
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CONCLUSION We conclude by asking our sponsor whether this shift in workplace culture has led to different trends/products being specified. If so, what are those hot trends? Gema: People want a story; they want different experiences as they move through a space. Amtico’s Designers Choice laying patterns are an excellent example of story-led designs and the huge creative potential of combining colour, wood and stone in harmony. Finishes can change and evolve to suit the surrounding space, giving the designer anything from a traditional, authentic wood finish to a contemporary, colourful geometric pattern. We find more and more that there are blurred lines between residential and commercial interiors and, in recognition of this, our entire portfolio is now available for both applications, assisting the home from home workplace trend and providing flooring that both achieves the homely familiarity but also performs for a long time in a high traffic environment.w
ROUNDTABLE
OUR GUESTS
RACHEL BASHA - FRANKLIN
FOUNDER & DESIGN DIRECTOR, BASHA FRANKLIN
NIC PRYKE
CREATIVE DIRECTOR, OKTRA
NATASHA BONUGLI
REGIONAL PRINCIPAL - DESIGN, UNISPACE
Rachel is a passionate creative and business leader who has worked in the industry for over 20 years in her native Australia, the UK and across Europe. She has worked in nearly all sectors enabling a strong cross-sector influence to her diverse projects and clients. Basha-Franklin won the Mixology Small Commercial Office award and was shortlisted for Practice of the Year in 2019.
In the past 30 years, Nic has gone from a product designer to the Creative Director at Oktra. Nic’s design team are responsible for the design of a hundred million pounds worth of workplace environment construction each year. Nic has shared his experience of the industry at numerous conferences and talks, including MixInspired and Mix Roundtables; WeWork; Work 2.0, Condeco Workplace Conference and The Lawyer. His written features include Workplace by Facebook, The Times and Sky.
PAUL DARE
JAMES HALLIDAY
ELAINE DU PREEZ
Paul has over 20 years of experience in Morgan Lovell's design industry and currently leads the team of creative designers and visualisers. He has been instrumental in creating innovative and forward thinking workplaces across London and major cities in Europe. He is an accomplished interior designer with a background in architectural consultancy. His understanding, creativity and managerial attributes make Paul a perfect support vessel for the design team.
James joined Squire & Partners in 2013 and became an associate in 2017. His recent projects include Ministry of Sound’s first coworking members’ club The Ministry, in Borough; a new coworking space in the derelict, listed Haggerston Baths; an office refurbishment at 78 St James’s; and The Building Society, a new headquarters for Elliott Wood engineers. James was included in Mix Interior’s 30 Under 30 class of 2019.
Elaine recently joined Cushman & Wakefield as an associate, to work as a part of the design department. She brings over 12 years of experience within interior design from various sectors including exhibition design, corporate interiors and architecture. Elaine has a keen interest in psychology in the workplace, and how design can affect the lives of those who inhabit it.
HEAD OF DESIGN, MORGAN LOVELL
ASSOCIATE – INTERIOR DESIGN, SQUIRE AND PARTNERS
Natasha trained as an architect in the US and RIBA Part III qualified in the UK, she has 17 years of global experience. As an award winning designer with a diverse background in hospitality, residential and commercial workplace projects, this has enabled her to blend her experience into truly bespoke solutions for clients at all scales. Natasha has spent the past four years leading and developing Unispace’s design team across Europe.
DANIEL HILL
ASSOCIATE, MCM ARCHITECTURE
Dan has been with MCM for a decade and is one of the team's most experienced project leaders. Dan’s extensive interior and architectural experience bring about innovative design solutions, pushing the boundaries for mixed-use environments in new and redeveloped buildings. His broad range of skills has not only seen him working on concept designs but also detailed technical drawings, which are required during the production information process.
GEMA McKEOWN
INTERIOR DESIGNER, CUSHMAN & WAKEFIELD
REGIONAL COMMERCIAL MANAGER LONDON AND SOUTH EAST AMTICO
Gema has worked within the commercial interior design and specification sector for over 15 years in both the UK and UAE. Having witnessed much change in the way that commercial interiors are specified, Gema feels privileged to have experienced the dynamic shift towards improving the workspace for the better, for those who use them.
In Association with
REVIEW Surface Design Show
▼ Crestec Tiles
SURFACE PROVIDER The 2020 edition of the Surface Design Show, which took place at London’s Business Design Centre last month, impressed with more surface material and architectural lighting designs than ever before. More than 170 exhibitors showcased the best in surface design, with nearly 5,000 architects, designers and specifiers visiting over the packed 2 ½ days. 76% of visitors worked in the architecture and design sector, with 77% of them having purchasing authority.
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REVIEW Surface Design Show
▼ Muse - Sustainable Interior
▲ Sustainable Exterior - Crystal
I
t was not just about quantity, however with seven of the top 10 ‘AJ100’ architectural practices – including Foster & Partners, BDP, Zaha Hadid Architects, Allford Hall Monaghan Morris, Sheppard Robson, Allies and Morrison and Squire & Partners – all visiting this year’s edition of the show. With a focus on the trending topic of ‘Close to Home…Locally Sourced’, SDS looked beyond aesthetics and into manufacturers’ impact on the environment, from the processes used in mining or manufacture, through to the carbon footprint sustained during sales and distribution. Over the course of the event, there was a full schedule of insightful and entertaining discussions and talks, including the ever-popular Opening Night Debate, which was supported
▲ Anne Kyyro Quinn
by RIBA and Architextural, and the lively PechaKucha evening, which was hosted by Chris Dyson of Chris Dyson Architects. The carefully curated talks programme kept visitors engaged as they were educated on ways of thinking about materials, current industry issues and trends including several talks that focused on the Close to Home theme. Co-located within Surface Design Show was the ever-popular Light School, which educated visitors about the importance of the relationship between light and surface by bringing together leading manufacturers and suppliers with architects and designers looking to specify their products. A highlight of Light School was its stand-out seminar programme, Light Talks – a series of sessions collated by the Institution
of Lighting Professionals. The new Light Talks theatre was designed by Rebecca Weir’s Lightbout.iQ. The design featured a range of surface materials creatively lit to emphasise the essential link between light and materials. As well as established brands, Surface Design Show is committed to supporting and promoting up-and-coming designers in the materials sector with its New Talent section, which was expanded for 2020. Curated by Jennifer Castoldi, Chief Creative Director at Trendease International, the New Talent area allowed designers who have been in the industry five years or less to have a devoted exhibition area, giving them the opportunity to showcase and engage face-to-face with a hard to reach and targeted audience. The 32 New Talents included
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REVIEW Surface Design Show
▼ Public building - Krushi Bhalan
▼ James Latham
▲ Vicalvi
That’s Caffeine, a start-up that creates products from waste coffee grounds, and knitted textile specialist, Charlotte Clayton. Launched six years ago, the Surface Design Awards has become an integral part of the show, growing in stature to become one of the most respected accolades in the design awards realm. The 2020 Awards had over 100 entries from 12 countries including as far afield as USA, India and Australia. There were 14 categories in total, from Retail and Public Building to Commercial Projects and Housing, including new categories Public Realm and Affordable Housing. The entries comprised the best in architecture and design from across the globe; Giles Miller Studio, Mikhail Riches and Chris Dyson Architects from the UK, Steven Holl Architects from the USA, and Kris Lin International Design from China were among those shortlisted. The Close to Home theme was also represented in the awards, with Chris Dyson Architects winning the Sustainable Surface Exterior category for Crystal Palace Café and Woven Image, in collaboration with Michael Young, winning Sustainable Surfaces Interior for Muse Acoustic Panels.
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The impressive Krushi Bhawan from Bhubaneswa, India, by Studio Lotus, was named the Supreme Winner, as well as winning the Public Building Interior and Public Building Exterior categories. Capturing the admiration of all the judges, Krushi Bhawan is a testament to design, created for the Odisha State Government’s Agriculture Department in India. The centre incorporates an eye-catching façade drawn from vernacular materials and narratives, which responds to the local climate and offers a glimpse into the region’s agricultural folklore and mythology, which has been envisioned at an unprecedented architectural scale. Judge Paul Priestman of PriestmanGoode praised the project's sense of place, stating, ‘This building characterises that part of the world. It’s a lovely reflection of culture using local materials.’ Glenn Johnson of Collins Aerospace added, ‘Somebody’s heart and soul is in this building.’ w
Surface Design Show 2021 will take place from 9-11 February 2021 at Business Design Centre, 52 Upper Street, Islington, London, N1 0QH.
REVIEW
SELECTIONS
IVC brings balance to the workplace
Japanese tradition inspires new Granorte range
Inspired by classic British tweed, Balanced Hues is the latest carpet tile range from IVC. Bringing a timeless feel to working spaces, the carpet tile is the essence of effortless British style – a look that never dates. Sharing the same palette as IVC’s Art series carpet tiles, Balanced Hues brings added depth to the collection, mixing and matching with Art Exposure, Art Fields and Art Style to create inspiring layouts. Using two contrasting yet complementing tones, the tweed effect brings 16 colour options, ranging from warm and cool base tones through to vibrant pops.
Showcasing the tactile advantages of cork, Granorte’s latest offering – Tatami – uses graphic inspired lines in horizontal or vertical form to distort light, resulting in a wall panel that adds immediate interest to interiors. Inspired by oriental tatami mats, the range comes in three colours, which are inspired by the natural colour of rice fibres. A biodegradable and recyclable material by nature, cork also provides the added benefits of acoustic dampening properties, making Tatami a perfect choice for rooms where noise may be a factor.
www.ivc-commercial.com
www.granorte.co.uk
Quadrant’s sustainable, biophilic cork flooring at Greenpeace
Introducing KI's Sift task chair
Cork has a richness and depth rarely found in other floorcoverings, with an earthy tone and naturally irregular variations in grain and texture. It’s a unique aesthetic that, when incorporated into biophilic schemes, has a striking effect. In line with Greenpeace’s mission to promote solutions for a green future, design firm, sAtt, selected cork for the organisation’s Madrid office. Cork’s sustainable properties, including a carbon-negative footprint, made it a responsible choice for this ecological space.
Sift is a full-function task chair, offering synchro-tilt, lumbar adjustment, seat slide and back lock. Its elegant backrest is made from SoSoft mesh – a breathable, supple and soft woven material. The constant cooling effect of the mesh ventilation and built-in lumbar mechanism promotes a more comfortable, productive work day. www.kieurope.com
www.quadmod.com
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SELECTIONS
Edge of glory
Nothing scary about the spirit of Spectre
Edges can play a leading role in delivering a high-quality aesthetic and, with UNILIN, division panels, there’s no shortage of complementing and contrasting edging tape to bring your surfaces and furniture to life. From a uniform look with perfectly matched edging tapes in texture and colour for every UNILIN Evola décor, through to contrasting pops of citrus, designers can use UNILIN edging tapes to show that it’s the details that matter when delivering a first-class finish.
A study that investigates the reactions of light on different glazes to playful effect, Spectre is the new ceramic wall tile collection from Parkside. Comprising three glaze finishes; the pearlescent hologram, matt and gloss, Spectre lets designers explore the interaction of light on different surfaces. The matt and gloss finishes are available on their own, or with a mixed finish box, which includes all three finishes. By combining the different glazes in either a random combination or structured pattern, the collection can be used to dramatic effect, with light dancing across the finishes for a unique look at every viewing angle. www.parkside.co.uk
www.unilinpanels.com
IVC helps elevate Sports Direct Watford
modulyss bring spirit to Virgin Red Offices
IVC’s Luxury Vinyl Tiles and Heterogeneous Vinyl floors have been used throughout Sports Direct’s new 35,000 sq ft cutting edge Watford store. Employing a mix of high performance Moduleo 55, Moduleo 55 Expressive and Concept 70 compact sheet vinyl. IVC’s Jura Stone effect LVT is used alongside a bespoke colour in Cement Stone, creating two distinct spaces, highlighted by custom waterjet cut ‘unicorn red’ inlays. The same unicorn red can be found around cash desks and stairs in IVC’s Concept 70 compact sheet vinyl, jutting into the Jura Stone LVT to provide a dramatic highlight at key transaction areas and way points.
The London offices of Virgin Red have undergone a spirited refurbishment utilising 895 sq m of modulyss carpet tiles. The colourful scheme has seen three modulyss carpet tiles used – from the ‘sand’ style of DSGN Cloud 101, used in the themed area, which is home to a 7ft giraffe, to the red of Millenium Nxtgen 335, which is used in meeting spaces, perfectly matching Virgin’s brand colour. The project demonstrates the versatility of modulyss’ product range.
www.ivc-commercial.com
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www.modulyss.com
REVIEW
Style provide flexibility for co-working auditorium
KI House pop-up returns to Clerkenwell Design Week 2020
Style has installed a Dorma Hüppe Variflex moveable wall at the exclusive Paddington Works space in central London. Offering members a variety of stimulating environments in which they can carry out their day-to-day work, the Dorma Hüppe Variflex movable wall maximises acoustic privacy by separating the main auditorium from other work areas. The range, available exclusively in the UK through partitioning experts, Style, offers considerable adaptability and includes a wide choice of panel sizes, finishes, parking arrangements, as well as acoustic performance ratings.
KI will revive the successful KI House at Clerkenwell Design Week 2020, following its debut at least year's event. The unmissable pop-up showroom, at the landmark Paxton Locher House on Clerkenwell Green, was one of the most popular venues at CDW 2019, attracting thousands of visitors over the three days. www.kieurope.com
www.style-partitions.co.uk
Bamboo: the sustainable alternative
Concrete's on a roll
MOSO Bamboo Surfaces is a world-leader for manufactured bamboo, offering a tactile and sustainable alternative to traditional hardwoods. Recent use in projects span workplace, retail and hospitality, including the internal fit-out of Maggie’s Barts and St Bartholomew’s Hospital, as well as decking and flooring for the Citizen M Hotel Group. The most recent addition to the collection is a range of panels that are then cut to give a profiled appearance in various slat and groove widths. It can be left unfinished or finished in a lacquer, fire lacquered or coloured to offer texture and depth to any vertical surface. www.mosobamboosurfaces.co.uk
Concrete on a Roll is a real stone veneer that offers architects and designers the ability to interpret concrete in an entirely new light. The innovative product allows users to recreate the appearance and feeling of the original surface material, using a 2mm thick light weight concrete veneer consisting of 96% recycled crushed stone. As a result, a variety of applications become possible and easier than traditional thicker alternatives. A key feature of this material lies in its flexibility; the possibility for it to be manufactured on a roll opens up new possibilities for designers and the use of concrete in their applications, from feature walls to demanding environments such as showers and flooring. www.earthanatomy.co.uk Mix 202 March 2020 | 111
THE FINAL WORD
FAKE NEWS At a recent internal event at which I was speaking, I was faced with a question that left me a little nonplussed, Criteo’s Mike Walley recalls. It was this…
It is time to stop talking about rightsizing offices, optimising the workplace, and all the other little euphemisms for controlling the cost of real estate, and have a grown up conversation about the need to balance the size of an office
'A
t a recent internal event at which I was speaking, I was faced with a question that left me a little non-plussed. It was this... 'According to research, open office space concepts prevent collaboration and increase the need for privacy. What are our plans going forward?' ‘According to research, open office space concepts prevent collaboration and increase the need for privacy. What are our plans going forward?’ It wasn’t so much the question that grated, but the preamble. My normal curiosity and inherent desire for accuracy (described by my children as pedantry) wanted me to respond with, ‘What research? Says who? How? Why?’ – but I had to talk around the answer as it wasn’t the moment to dig or sound defensive. After the meeting, I opened my laptop and put two searches into the web. The first was ‘open plan office’ and the second was ‘activity based working’ – and the results were quite revealing. When you enter ‘open plan office’ the results list is almost entirely negative with headlines such as… Why are Companies still designing open plan offices? How to make open plan office suck less Open plan office? No thanks, I’d rather get some work done. But, if you enter ‘activity based working’ the results list is almost entirely positive… ABW, providing choice to workers. Activity based working is making a positive Impact.
Mike Walley is Criteo’s Head of Workplace Experience EMEA
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ABW, organising work in a productive and enjoyable way
I also noted that most of the positive comments came from design firms – companies offering coworking space and companies making space usage sensors – whilst the negative comments came from newspapers and business or trade magazines. Of course ABW is also an open plan office concept, so why is one derided and one feted? Do the subtle differences between open plan and ABW make that much difference? Where does the truth lie? Maybe it is dead in a ditch and all that is left are selective facts being enslaved by the vested interests of click baiters and salesmen. The knock-on effect of this comes when an organisation, wishing to be more open and inclusive, involves its staff in questions of design and space planning and is faced with resistance in the form of recycled op-eds presented as research. The only way through this resistance is honesty. It is time to stop talking about rightsizing offices, optimising the workplace, and all the other little euphemisms for controlling the cost of real estate, and have a grown-up conversation about the need to balance the size of an office, its costs and the demands made on it by the staff. Property prices are climbing, utilisation is down (thanks to technology and the ability to work remotely) and the logical response is to build space that can be used in a variety of ways and increase its effective utilisation. What we don’t need is the online conversation to still be focusing on the old tropes of embattled workers being forced into ever smaller and noisier offices, whilst ignoring the trade-offs of more flexibility, better designed spaces, more amenities and improving work/life balance. Honesty will take the wind out of the sails of the sensationalist media and those peddling their particular brand of one-size-fits-all solutions. It will allow frank conversations in which businesses, and the people that make up the businesses, can align their needs.w
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