Mix Interiors 216 - October 2021 by Mix_Interiors

Mix Interiors 216

October 2021

Contents INSIGHT 6

UPFRONT

SEVEN

STEVE GALE

MATERIAL MATTERS

DESERT ISLAND DESKS

NEIL USHER

2022: THE YEAR OF THE OFFICE REFURB

How to work now: we chat with furniture manufacturer Bene about the future of work and beyond

Steve Gale learns about change management in Soho

Claire McPoland, Design Lead at TOG Interiors, TheOffice Group, offers a selection of her go-to finishes and materials Phoebe Wood, Scott Brownrigg

Paradoxically Speaking: The Return

An oversupply of poor-quality London office space will make 2022 the year of refurbishment. David Thame marks your diary for a busy year ahead

ROUNDTABLE 38

MIX ROUNDTABLE IN PARTNERSHIP WITH INVICTUS

A brand don’t come for free: just how important is the brand and branding in the commercial interiors industry – and has the pandemic changed this?

MIXOLOGY21 44

MIXOLOGY21 REVIEW

Last month saw the biggest Mixology event yet, with over 1,400 of the industry’s finest gathering at our new venue, Evolution, to celebrate two years’ worth of exceptional projects, products and people in commercial interior design

CASE STUDY: THE DEPARTMENT STORE STUDIOS

Squire & Partners launches The Department Store Studios – a new local workspace next door to its award-winning home in Brixton

ROUNDTABLE 64

MIX ROUNDTABLE IN PARTNERSHIP WITH CDUK

Cleaning up: the future of hygiene and wellbeing in interior spaces

CASE STUDY: BUREAU

An awful lot has changed in Greenwich, where the Design District has moved from exciting prospect to creative destination

THE FINAL WORD

Criteo’s Mike Walley has been keeping a keen eye on the Conservative party conference

HOSPITALITY 78

CASE STUDY: THE GLENLIVET DISTILLERY

Scottish single malt whisky maker, The Glenlivet, reveals a major renovation of its Speyside distillery and visitor centre

Mix 216 October 2021 | 1

WELCOME

A word from Mick

Get in touch

I’m aware that I might never have sounded older (in fairness, I have never been older than I am right now!), but I’m struggling to get my head around the thinking of a lot of (younger) people today. The recent outage of Facegram, InstaApp and WhatBook appeared to cause a hugely OTT reaction from many, who spoke of reliance, devastation and depression. I’m not talking about businesses (who I know did suffer from the outage) here, I’m talking about individuals who have more than a reliance (they clearly have a dependence) on these sites. After all, we’re talking about six hours – not six days, weeks or months! Incidentally, I read these reactions on other social media sites. So, while feeling completely isolated and bereft, these people just went onto Twitter etc! On the same day, I read a number of posts from people who were adamant that they didn’t need a permanent office space, physical interaction with colleagues and face-to-face client meetings ever again. Several stated that they would be happy if they could work from home, in isolation, for good. But what would happen if Facegram did disappear for six weeks? Would these people actually talk with anyone? Can that really be healthy? I just don’t get it. Then again, having gotten this off my chest I am 20 minutes older than I was – and I feel every minute of it.

EDITOR Mick Jordan mick@mixinteriors.com MANAGING DIRECTOR Marcie Incarico marcie@mixinteriors.com BUSINESS DEVELOPMENT MANAGER Kate Borastero kate@mixinteriors.com

The cover THE LOGO Using fragments of Amtico’s floor tiles to form the MIX logo, our design reflects the sustainable reuse of offcuts in Amtico’s manufacturing process and its symbiosis with our own commitment to circular design – Paul Dunphy, Senior Associate Perkins & Will WWW.PERKINSWILL.COM

THE COVER IMAGE Amtico’s in-house designers poured all of their expert knowledge and skill into creating the award-winning Amtico Signature LVT collection. Discover the unlimited possibilities of Signature’s Wood, Stone and Abstract palettes, explore the ever-evolving range of unique laying patterns, or create a completely bespoke floor in collaboration with Amtico’s passionate experts. COURTESY OF AMTICO

EDITORIAL EXECUTIVE Chloe Petersen Snell chloe@mixinteriors.com HEAD OF OPERATIONS Lisa Jackson lisa@mixinteriors.com DESIGNER Tammi Bell tamzin@tamzinrosedesigns.com FOUNDING PUBLISHER Henry Pugh CONTRIBUTORS Steve Gale, David Thame Mike Walley, Neil Usher ADDRESS Unit 2 Abito, 85 Greengate, Manchester M3 7NA TELEPHONE 0161 519 4850 EMAIL editorial@mixinteriors.com WEBSITE www.mixinteriors.com TWITTER @mixinteriors INSTAGRAM @mix.interiors LINKEDIN Mix Interiors

Printed by S&G Print ISSN 1757-2371

Get your own To ensure that a regular copy of Mix Interiors reaches you or to request back issues, call 0161 519 4850 or email lisa@mixinteriors.com ANNUAL SUBSCRIPTION CHARGES UK single £45.50, Europe £135 (airmail), Outside Europe £165 (airmail)

2 | Mix 216 October 2021

UPFRONT

More, More Newmor

ewmor Wallcoverings recently announced that it has completed a brand refresh to highlight the company’s commitment to innovative design, its British heritage and its manufacturing expertise. Manufacturing in Wales since 1967, Newmor has become one of the leading suppliers of design-led, durable, and sustainable wallcoverings for commercial interiors worldwide. ‘The aim of the project was to bring a focal point to the brand’s rejuvenation and appreciation in its heritage, its design expertise, its manufacturing excellence and, most importantly, its employees and customers,’ David Johnston, Managing Director at Newmor comments. ‘The project has become the centrepiece of all the hard work invested in the business over a number of years. ‘The journey we’ve gone through to reach its conclusion has been enlightening and has certainly brought a new perspective to the brand’s values and commitments to its future endeavours. Whether it be in innovation or sustainability, a clear path has now been laid.’

Lois O’Hara - Keep it Moving C

Moving on from the more corporate feel of the old logo and branding, which was originally developed to consolidate the UK business with the company’s international operations, the new brand represents the company’s commitment to celebrating pattern and design in commercial installations globally, while reducing life cycle cost and impact on the environment.

The rebrand has launched alongside new wallcoverings, including three embossed widewidth fabric-backed designs and a collaboration with artist, Lois O’Hara. The new collections showcase the company’s innovative capabilities and the creative expertise of its in-house design studio and are aimed specifically at the commercial interiors market.w

A Breath of Fresh Air

rtus Air has launched an exciting new brand to the market. Artus brings a new advance in air conditioning, with a unit that combines the flexibility of a fan coil unit with the low energy of a chilled beam.

6 | Mix 216 October 2021

Artus represents a step forward in traditional Heating, Ventilation and Air-Conditioning (HVAC) systems and offers a more sustainable and comfortable alternative for buildings and their occupants. This new innovation not only transforms the way buildings are cooled and heated but can also significantly reduce the amount of energy consumed and carbon generated. The impressive energy performance of Artus means that switching from a traditional Fan Coil Unit (FCU) to Artus has the potential to make a significant combined energy and carbon saving, translating to up to 89% on fan input power. Using Artus Optima, Artus’ partnering control system, the technology could deliver all of a building’s HVAC Net Zero carbon reduction target, and reduce its regulated energy and total energy by 21% and 14% respectively (these figures are based on trial use of Artus Optima, conducted in a 10,000 sq m model office). This revolutionary new system is also a low cost solution; it arrives on site as a single component, significantly reducing the installation time. Artus

negates the need for secondary ducts or grilles and is a self-access design, which ensures it is easier and cheaper to maintain. By employing advancements in mechanical and electrical technology, the designers at Artus have managed to create a product that is not only more compact and aesthetically pleasing but also offers more comfort, is quieter in use, and draught free with high precision temperature controls. Roger Olsen, Chief Technology Officer behind the Artus innovation says: ‘Artus came from a desire to have a ‘better tool for the job’ – a low energy, widely applicable HVAC system, which is easy to design, install and run.’ The modular design of Artus allows it to be combined and integrated with a range of performance enhancing features, including acoustic finishes, lighting options as well as further thermal capabilities. Now an independent company, Artus was originally developed as part of Arup’s Ventures programme, which was set up to commercialise innovative staff ideas.w

Nature Watch

aunched last week at Chicago’s NeoCon, the Phlox Collection from Okamura is designed by Rainlight and takes its inspiration from nature. The collection of collaborative chairs and tables is named after the unique Night Phlox flower and specifically inspired by a close-up view into our natural world, welcoming its gentle influence and naturally curved arcs. The curved forms are developed to soften the workspace and invite a flow of activity and creative ideas. The comfortable rounded seats gently wrap the body with fluid lines and a soft supportive structure, whilst the organic tables echo the curves of the chairs and rest on slender, elegant legs. Capturing both the vitality and calming influence of nature, Yorgo Lykouria – the Creative Principal of Rainlight – designed Phlox with circularity in mind, ensuring a gentle footprint. With tactile beauty and ergonomic comfort, Phlox seating invites a range of authentic interactions at work. The collection breathes energy into the space, allowing collaborative conferences to flow. Intuitive adjustments, a choice of three different heights and midor high-backs offer a range of seating to host a variety of meetings. Settle into Phlox lounge chairs for a deep discussion or time to reflect, while Phlox café style chairs welcome easy and spontaneous collaborations. The soft organic curves of Phlox seating create a welcoming range of creative settings that inspire creativity and natural communication. Two-tone upholstery adds tactile and visual interest; there are eight carefully curated colours for the inner shell with a palette of greys, blues and neutrals and grey or dark grey for the outer shell.w

Phlox Collection

UPFRONT

Other Story Designed in partnership with Bergman Design House, The Other House is a new lifestyle brand of residents’ clubs in London.

haped through a residential lens rather than from a conventional hotel approach, and bringing a unique perspective to the hospitality sector, the brand positions itself as a second home for its guests – their ‘other house’ – for as long as they are in town. Offering club flats and members’ club, any length stays and access to hotel-style services on demand, it is the first of this type of accommodation that the UK has seen. Inside, the narrative draws on the local culture of its location in South Kensington – an area brimming with English eccentricity, which became the starting point for the interior design. On arrival, guests will be welcomed through interconnected spaces with a focus on materiality, described as ‘an artful interplay of finishes, furnishings and unexpected touches’. Playful design elements bring the outside in; with trees, botanical themes and lighting disguised as hanging plants. Throughout, Bergman has furnished the spaces in an uncompromising style that cleverly walks the line between

Duplex Club Flat

Courtyard Club Flat

8 | Mix 216 October 2021

old and new – an artful mix of modern design sits alongside old masters with a contemporary twist, and one-off antique finds. Conscious sustainable design decisions have been made, include sourcing products from verified environmentally friendly manufacturers and supporting local artisans and craftsmanship. All the furniture is British made, from London to Leeds. Synthetics and chemicals were avoided and the use of either recycled or recyclable materials is prioritised throughout the property. These initiatives are all bound by a well-considered programme of wellness: a key marker for the new brand. Quickly establishing itself as a ‘one to watch’ in the hospitality industry, The Other House launches in Spring 2022, followed by openings in other ‘villages’ throughout central London, including Covent Garden in 2023, before rolling out internationally. w

UPFRONT

Forge Ahead Hawkins\Brown recently took on the challenge of transforming the unloved Forge office building into a forward-thinking workplace in central Woking.

s the original 90s building was too young to demolish and redevelop, the choice to retrofit the building was made consciously to limit the use of carbon compared to a new build. Now providing a workplace outside of London that reflects post-pandemic work culture, Forge comprises nearly 72,000 sq ft office space across five floors, two studios for creatives, reception, atrium, café and bike storage in the basement. The big idea was to give the building more prominence externally, by creating a new five-storey glazed corner and level entrance facing the main pedestrian route to Woking Station, while inside the brief called for the provision of great amenity and collaboration spaces alongside high quality office space, maximising floor to ceiling heights. In order to provide additional office space, the top floor was made fully internal. To provide light to this space, large, dormer windows were installed, providing spectacular views across the town and the surrounding Surrey countryside. The design of the reception space took its cue from hotel lobbies, with an adjoining café. Leading off the reception is the main atrium space inhabited by the new grid: a large steel structure infilled with floors and walls to provide

10 | Mix 216 October 2021

collaboration and breakout space for the tenants. This can be adapted over time to suit tenants’ changing needs and provides the central social heart of the building. It is characterised by rich colours and materials, soft lighting and space for tenants and visitors to informally meet and work. The material palette took inspiration from a forge, drawing on the traditional process of burning wood to heat metal, with Hawkins\Brown proposing a rich combination of charred timber – a traditional Japanese technique of preserving wood, concrete, metal and oak. To complement the rugged industrial materials, the team added more refined materials such as terrazzo, fluted glass, fabric and wallpaper. Fixed furniture has been curated to act as visual landmarks, encouraging people to enter the public lobby and to guide them through the building. Furthermore, Forge is a smart building and is controlled by the Smart Spaces app. It uses the latest IoT technology to control climate, lighting, community management and access. The app collects all available data within the building to provide 360º control, automation and real time operational feedback. Ultimately, it puts the occupier first while encouraging sustainability.w

Tag. You’re It!

ag Collective Arts transforms ideas into exceptional experiences for its clients. Much of the team spends hours producing and editing creative content, with many sitting in almost pitch black environments for periods of time. Their previous solution was blackout blinds and screens obscuring windows, resulting in a constant conflict for people who needed natural light. Taking inspiration from the movement and fluidity in Tag.’s logo animation, spacelab_ has developed a concept called the ‘wave wall’, where the organic strokes strategically divide the floor plates horizontally into two distinct zones: a dark zone at the rear side of the building with black finishes, minimal dim lighting and no natural light; and a light zone at the front of the building, with ample windows and natural light. spacelab_ took a purist approach to the design, with the wave wall – which is formed in corrugated black metal sheet – being the main intervention. The result is a highly functional space that meets the technical needs of the different users, allowing them to seamlessly move between spaces to suit their varying tasks. Curved apertures are formed in the walls, revealing other support spaces such as edit suites, meeting rooms and booths. The ground floor arrival is a dramatic affair: a blacked-out entrance portal with large digital showcase screens and 140 dome pendants, which spacelab_ salvaged and upcycled. This opens up onto a café space, which is a real hub for groups and sociable solos to work, meet and gather. The top floor is a bright and flexible space with a hidden garden and bar for client entertaining and events. Minimising the carbon footprint of the project was a key objective. Together with the client, spacelab_ managed to reuse 48% of the existing furniture and fittings, and retain much of the built environment, including rooms and teapoints. Tag. now has an energetic and dynamic home that’s completely tailored to its unique needs, enabling it to showcase its creativity and imagination and bring its work to life.w

Tag Collective Arts

London Showroom 25 Bastwick Street, Clerkenwell, EC1V 3PS

sixteen3.co.uk

Chosen by STOiCA to elevate the design of the plug and play Assemble by Seven Dials workspace, Studio Moods modular vinyl, in Wicker and Diamonds patterns, has delivered great design at a sensible price.

For floors that make offices more inspiring

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By developing floors to offer greater comfort and support wellbeing, we make it easy to create inspiring spaces that focus on improving productivity. ivc-commercial.com

UPFRONT Seven

ways to work now

The nature of work and how we work changes constantly and inexorably. This month, we chat to furniture manufacturer Bene about the future of work and beyond – and how to use these insights to develop innovative solutions and holistic design concepts for today.

ene have recently presented two studies on The Future of Work, providing the assessments and opinions of 60 experts and 1,200 employees from all over the world. During their research for these studies, four aspects emerged and crystallised the way we can shape our working environments today, resulting in lasting effects on our day-today lives: digital transformation, leadership culture, the meaning

and purpose of work, and cooperation

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Learning from the future for today Since the coronavirus pandemic, the changes previously described have accelerated dramatically. The journey to the ‘future of work’ has already begun – and whilst every company is at a different point along this journey, it is clear to everyone that standing still is not an option. ‘Today, we no longer talk about the The Future of Work as something that will happen in the future,’ the team at Bene tells us. ‘Our thinking is more about How to Work Now – with an increased focus on ‘now’ and on working together to create innovative solutions as a direct response to the challenges of today.’

Individual office design ‘All these changes and considerations led us to one conclusion above all: different companies have different requirements and therefore also need different office landscapes,’ the team adds. ‘The ideal combination of components and the individual design of the spaces depends on how work is done in a company. That means it is crucial to identify all the ingredients and their quantities, then create the appropriate recipe for office design.’ Once the styles of work and their proportions have been defined, this determines the types of space required, which can of course include some designed to serve several purposes, or for hybrid use.

UPFRONT Seven

Mix up these work styles to create your perfect office environment:

Solo work

Lone activities requiring different levels of concentration.

Encounters

Informal exchanges between colleagues and with external contacts that are not results-oriented.

Cooperation

Shared work in pairs or groups.

Discussion and dialogue

Targeted exchange of ideas and information on a particular topic.

Learning and leisure

Education and training, informal learning, relaxation and recuperation.

Services and infrastructure

Defining the basics.

Mixed use

Space that can be used to engage with and give back to the wider local community; be it creative, social, or educational.w

Mix 216 October 2021 | 15

Build Generation has evolved, meet buildgen. Our professional profile has grown over the past 10 years and, although our values remain the same, we thought it was time for a more contemporary look. Following our successful double finalist status at Mixology21, there is no better time to launch our new identity. Our new logo captures our mission to continue delivering high quality, beautiful projects on budget and on time for all our new and existing clients. buildgen. Built to exceed.

www.buildgeneration.com

info@buildgeneration.com

UPFRONT Steve Gale

Barry the Bike Steve Gale learns about change management in Soho.

Steve Gale is Head of Workplace Strategy at M Moser Associates. SteveG@mmoser.com 22 | Mix 216 October 2021

f you are part of the workplace design industry, you will deliver change all the time. You reorganise the environment and ask people to occupy it and adapt their behaviour to fit in. Is this change management by default? Here are two extreme examples of change from a very different angle. In Leicester Square the busker, Barry, had a unique shtick. He offered five pounds to anyone who could ride his bike a mere 15ft at 50p a go – but it had reverse steering. The front wheel turned the opposite way to the handlebars. Far from concealing this, Barry made a big deal of showing it off, letting anyone twizzle the steering to fully grasp the idea. After an intro, he would draw two lines on the ground, ride up and down between them to show how simple it was, and invite people to have a go. Many people accepted the challenge but nobody ever succeeded to cover a distance you could almost spit. More than 100 years earlier, in the same Soho parish, a physician named John Snow made an equally simple mechanical intervention by arranging the removal of the pump handle from a well in Broad Street, forcing an overcrowded neighbourhood to find water elsewhere. Bypassing the polluted source allowed many to avoid a cholera epidemic, which in turn revolutionised our understanding of the way disease can spread. So what can we learn? First, knowledge, control, even complete compliance might not be enough to carry a change.

Barry’s bike held no secrets, and people wanted to embrace his idea, but could not in the time given. Many changes have a pace that demands more than just a will to succeed. They need time. Second, clear and open expression wins hearts and minds. I was there in Leicester Square in 1979, and was touched by Barry’s insistence that people understood exactly what he had done. He hid nothing, and as a result engaged almost everyone in his proposal. People rarely complain about too much communication. Third, having a good plan is not enough on its own. It has to be sold to the people in the organisation who will implement it. John Snow did not personally remove the pump handle, he had to win over and direct the burghers of St James’s, like a layer of middle managers. Only then did they act. In any hierarchy, the details of a plan must be adopted all the way up. Leaders in the organisation will be accountable for the change and will require clarity and guidance. And finally – I love this bit – John Snow did not assume he had cracked it in Broad Street. He continued to study and measure outcomes in several areas beyond Soho until his theory of contamination became accepted. His single gesture in Broad Street eventually led to standard practice everywhere. He was always prepared to be wrong, and adapt his approach if the evidence required it. All change plans are likely to be imperfect. We must allow for testing and adaptation over time.w

UPFRONT Material Matters

MATERIAL MATTERS Claire McPoland, Design Lead at TOG Interiors, The Office Group, offers a selection of her go-to finishes and materials.

Kvadrat Textiles – Rewool and Revive kvadrat.dk

CLT (Cross Laminated Timber) and LVL (Laminated Veneer Lumber)

Upholstery and drapery are both significant elements within The Office Group workspaces. We work closely with Kvadrat on our specifications, being mindful of roll sizes to minimise waste and retaining excess fabric for reupholstery. Their newer collections, such as Rewool and Revive, which have a high proportion of recycled yarns and a beautiful depth of colour, have been used extensively in our recent projects.

Woodhouse (one of our newest buildings) is a hybrid structure comprising a beech LVL frame with CLT slabs and core. CLT consists of planks of sawn, glued, and layered wood with each layer oriented perpendicular to the former. Joining layers of wood at perpendicular angles creates structural rigidity for the panel in both directions, resulting in greater tensile and compressive strength. Using engineered timber as opposed to concrete and steel has reduced our embodied carbon by 60%, yet still allowed us to create large open workspaces with minimal columns.

Søuld.dk sould.dk We are delighted to be collaborating with Studio David Thulstrup, and recently visited their Momentum collection for Søuld (the first company to convert eelgrass into a building material). Momentum creatively reimagines the material into a series of furniture pieces. This organic material has an incredible range of properties, from its high acoustic performance to its inherent fire resistance. As an abundant and renewable resource, we are incredibly excited to further explore the potential of Søuld.

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Stonecycling 2Good2Waste stonecycling.com Upcycling as much waste as possible and transforming it into unique and beautiful building materials is the ethos behind Stonecycling. We have selected their product range, 2Good2Waste, for both the façade cladding of the central building extension and the garden flooring in one of our upcoming workspaces. 2Good2Waste is designed as a brick slip, which reveals the inside of the brick (a combination of discarded ceramics, crushed toilet bowls and other ingredients).w

REDEFINE OPEN PLAN OFFICES WITH COLONNADE Colonnades have been used in architecture throughout human history, defining places that bring people together. From temples to markets, town squares to palaces - the idea of creating functional spaces within and adjacent to these structures is as old as civilisation itself. ‘Colonnade’ by KI brings this human-centred design to the open plan office by creating collaborative, activity-based work settings - quickly, sustainably and cost-effectively. Highly customisable, this robust free-standing modular system and its family of accessories can transform the workplace experience.

For more information, visit our website or arrange a showroom appointment: New Fetter Place, 8-10 New Fetter Lane, London EC4A 1AZ T: 020 7404 7441 | E: info@kieurope.com | W: www.kieurope.com/colonnade

UPFRONT Desert Island Desks

Desert Island Desks

Easel With a variety of painting and arts equipment: I’m on a beautiful desert island – what better time to explore my passion for painting?

Phoebe Wood Interior Designer Scott Brownrigg

hoebe joined Scott Brownrigg in 2016, working across their hospitality, commercial and high- end residential projects, and was recently nominated for Mix Interiors’ 30 under 30: Class of 2021 in recognition for her skills in creative thinking and strong technical understanding of design. She has risen as a creative leader who is eager to deliver outstanding projects with her significant experience in the UK market, recently delivering a prestigious residential development in Chelsea and working on an existing office refurbishment for State Street in London. Once she lands on the desert island, she can’t wait to go on long training runs along the beach and then take relaxing swims in the ocean to recover!

Moooi – Love Sofa It’s such a beautiful sofa and it’s the perfect size and shape to relax, read in and enjoy the sun whilst taking a long nap. If I’m going to be on a desert island, I would want to be as comfortable as possible.

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Bubble Tent With solar powered fairy lights, bunting, rugs, a bed, cushions and throws. Even a hot tub? The works! I can relax and look up at the stars and palm trees in awe of their beauty.

UPFRONT Desert Island Desks

Book – The Complete Gardener - Monty Don. Not only will this book help me survive by teaching me how to grow my own veg, herbs and create a beautiful garden, it will remind me of my family home. My mother’s garden is beautiful and she’s a massive fan on Monty Don! If I could make my paradise garden as good as hers I would be very happy.

Electric Bike – Coleen, The Marinière I love sports and exploring. What better way to explore a new island than on a very stylish electric bike? Yes, I am aware that a desert island is likely to be very sandy and have no roads – but on this desert island there are loads of roads and they are in perfect condition to cycle around.

Aquamoon, Dornbracht

Luxury Shower – from Dornbracht, Sensory Sky or Aquamoon

Offering leather solutions, plus antibacterial and antifungal faux leathers for seating

After a long day on the beach, swimming and surfing, I want to come back to my base and have the most luxurious shower. Dornbracht’s luxury shower collection would have to be my first choice. Not only do the products look beautiful and elegant but they would fit perfectly into a paradise island.

Tracks for the juxebox Beyoncé – All Night The Kinks – Waterloo Sunset The Beatles – Here Comes The Sun Cardi B – I lLke It Like That Coldplay – Paradise Ben Howard – Only Lovew

Automotive

Aviation

Healthcare

Hospitality

Marine

Residential

Workspace

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OPINION

Paradoxically Speaking: The Return

After the longest fire drill in history, it’s safe-ish to return to the office, Neil Usher cautiously declares.

Neil Usher is Chief Workplace & Change Strategist at GoSpace AI, and Author of The Elemental Workplace and Elemental Change 28 | Mix 216 October 2021

ut unlike the chaotic assembly in the car park, where everyone can’t wait to get back inside to finish their half-drunk coffee, the response to the opportunity has been muted at best. The no-person’s land between a state of affairs considered temporary and one deemed permanent has been navigated. Our ‘office’ clothes have either mysteriously shrunk or lost shape altogether. Our puppy isn’t too chuffed at the idea of being left alone for 10 hours, having already consumed most of the soft furnishings when we went to the newsagent. And, let’s face it, it’s been good being away. At home. We’ve adapted. Got our stuff done like the unconstrained demigods of productivity we always suspected we were – but everyone and everything else was holding us back. Like noise, colleagues, hot desking, open plan, meetings and people sniffing from September to April. But enough is enough. It may be time to not get stuff done. To reset the bar at a level commensurate with all the crap we used to put up with as ‘normal’, the state of things. Yet in terms of what is described as ‘choice architecture’, we’re not entirely sure what the default is anymore. Some organisations have made the decision for us, with either a summons (human first) or a free pass (digital first). For the majority of former office workers, however, the prospect of the dynamic limbo that is ‘hybrid’ (a bit of each) either looms or has tentatively begun. During the Summer of Surveys (really, that’s enough now – no, really), when asked what we missed about the office, we inevitably chose social interaction, as that’s what we’d been most deprived of. We were missing our colleagues – all of them – with their quirks, vulnerabilities and habits. Even the ones we didn’t like very much. We wanted to get back to the office for them. Not the sniffers, natch. If we’d have spent the last 18 months all locked together in a huge venue with one another, at the sort of close quarters that’d worry the HR department, when quizzed we’d probably have opted for ‘absolute unmitigated solitude’. Somehow, however, the lure of social interaction doesn’t yet seem to be the draw we identified. Instead, we find organisations offering free food, our body weight in lager, an annual subscription to the amateur dramatics society of our choice and an honorary degree in social anthropology. Well, perhaps not all of them. But we get the gist. And so, the paradox has become: we want to return to the office to collaborate

with our colleagues, and so we want to know what’s on offer. It’s emerged as a two-stage process. First, the reason to return. Something tangible, material and measurable. Then the preferred activity when we do – because we can get our stuff done at home. This has all been made possible by the phenomenon we might call the Digital Fallback. Pre-COVID, when the heavens opened on a dismally dark January morning, we made it to the station regardless, indomitable, saturated and pissed off. We didn’t want to bear the ignominy of admitting defeat when others had battled through. Now we shut the door, work from home and do what we were going to do in the office from the dry of our live/workspace – and it’s seen as understandable. Before lockdown became a thing, when we used to decide we couldn’t attend a meeting, it was invariably cancelled, to be re-arranged. Having spent hours in torment doing so in the first place, we either signed up for another bout of self-flagellation by message app, or just let it quietly go. Now we revert to online, a degraded medium when compared to face-toface, but one that still enables it to take place. We can almost sense the energy of all invitees anxiously checking their devices to see who will bale first because ‘something has come up’, giving permission to the rest to do so. Those organisations who have embraced the phenomenon have migrated to Digital First to avoid the need for the charade of pretending that the in-person interaction would happen. Yet somehow that seems like a premature surrender to a trend that is far from an inevitability. We were forced home by a pandemic. We have to find good reason to return to the office as it gradually subsides. It will take time. The setting of dates by which things should happen has never been a helpful aspect of a workplace change strategy, and isn’t now. Instead of gimmicks, organisations need to curate human-oriented motivation to ditch the joggers. There is none better than learning. If we return home from the office more aware, motivated and inspired than we arrived, the effort will have been worthwhile. The rest, we’ll explore and re-discover. If there are free vol-auvents when we’re there, that’s just a bonus.w

avalon Stylish swivel pod The Avalon soft seating swivel pod with 360° rotation reflects the change towards a comfortable, informal working environment. In open spaces, the tall sides and wings of these privacy booths create visual and acoustic privacy to support individual quiet time.

manufactured in the UK by dams

0151 548 7111 socialspacesfurniture.com

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PROPERTY

2022: The Year of The Office Refurb An oversupply of poor-quality London office space will make 2022 the year of refurbishment. David Thame marks your diary for a busy year ahead.

Uxbridge

32 | Mix 216 October 2021

e Business Park

PROPERTY

AHMM proposal for Debenhams Oxford St

ew normal, old normal, call it what you like, but by spring 2022 the UK office market will have stabilised after two years of pandemic-inspired chaos. The likely result is a wave of refurbishment. Why? Because London, and many of the major regional centres, have a growing surplus of older, boring office blocks. Until March 2019, these tired office blocks had a future – one that stretched for years, even decades. The arrival of coronavirus changed all that. Too boring to attract workers back from their cosy home offices, too crowded to satisfy wellbeing and health requirements, too uninspiring to satisfy new requirements for the office to act as a fulcrum for ideas and team building sociability. Above all, too much like white collar factories. And who, these days, wants to work in one of those? ‘There is now an understanding that workforce expectations have changed, and existing workplaces may not fit the new brief. As people trial a variety of new working patterns and processes, business leaders have a great opportunity to further review plans and reinvent where necessary,’ says Shaun Dawson, Head of Insights at occupier consultancy, DeVono, whose data shows the extent of the problem. DeVono’s analysis of Q2 2021 take-up in central London showed a market picking up speed, with lettings up 21% at just short of 2 million sq ft. But the volume of empty floorspace rose, up 7% over a single three-month period to 21.4 million sq ft. In the City of London and Docklands, where high-density white collar offices predominate, the increase in availability was even more marked, up 10% in the second quarter alone. These are very big numbers, and landlords know that if they are to stand a chance of letting any of their floorspace, they need to rethink.

Central London Q2 2021 Floorspace Take-up source: devono

21%

10%

INCREASE

in Central LONDON lettings, at just short of 2 milllion sq ft

in volume of empty floorspace in London, over a 3 month period

in property availability in the City of London and the Docklands

Mix 216 October 2021 | 33

PROPERTY

Central London

Q2 2021 Key Facts

More business commitment – number of deals up by 36% on previous quarter

At the mid-year point, leasing down 35% on the long-term average

26% of space let in Q2 was surplus tenant space

years Availability across central London is at a 17-year high

years Midtown availability level reaches a 9-year high

£ Rent-free incentives remain flexible SOURCE: DEVONO, THE OCCUPIER Q2 2021

34 | Mix 216 October 2021

“As people trial a variety of new working patterns and processes, business leaders have a great opportunity to further review plans and reinvent where necessary“ February 2022

March 2022

The usual rush to complete deals before Christmas is normally followed by a January hangover and a brief pause, followed by the resumption of lettings activity in February. But winter 2022 will be nail-biting for landlords after last year’s lockdown flop. Whilst a return of lockdowns is unlikely, a sporadic working from home mandate could cause disruptions. Faced with this prospect, and looking for a quick fix to improve their chances of quick lettings, many landlords will consider a ‘light’ refurbishment. That means a lick of paint in the corridors, a new reception desk, some squidgy sofas and a coffee machine – big tick, job done. But think again. Harry Theakston, Associate in the office leasing team at Allsop, says: ‘Many landlords started rethinking the configuration of their buildings even before the pandemic in order to be able to compete with serviced offices, however, over the past 18 months, the focus on providing quality office spaces has definitely intensified. ‘Of course, this requires additional capital expenditure on the part of the landlord, but it pays off in the medium-term because of reduced void periods (aided by rent-free incentives) and potentially higher rents. From what we’re seeing in the market, offices sub-6,000 sq ft especially benefit from Cat B fit-outs, which can include the installation of kitchen equipment, furniture, meeting rooms, and other elements.’

By now we should know if the office market is back off the canvas. If it is, the market will divide into two unequal groups. The smaller (but higher profile) group are looking for Grade A offices to meet their high environmental and social standards. The larger but more difficult to satisfy group will be the bargain hunters. These are occupiers who know that landlords are in a weak negotiating position. Occupiers with an eye towards bargains tend to keep their eye on the money, which means they are likely to opt for longer rent-free periods and deeper incentives, which could include higher fit-out contributions. However, landlords are likely to counteroffer a package including landlord-funded fit-outs – which are a more cost-effective solution from their point of view because they reduce rent-free void periods, and avoid draining upfront cash payments. It also offers landlords a quick-fix which postpones decisions on seriously expensive refurbishment until another sunnier, day. If by March 2022 we’re seeing a high volume of landlord-funded fit-outs, you will know the market has taken a decisive turn away from the refurbishment. Landlords will have instead chosen to kick the can down the road.

PROPERTY

SOURCE: DEVONO, CENTRAL LONDON OFFICE MARKET SNAPSHOT – Q1 2021

Central London Office Market: Leasing Activity by Quarter 2016-2021 16 14

Million sq ft

12 10 8 6 4 2 0

2016 Q1

2017 Q3

2018

2019

2021

Long Term Quarterly Average

June 2022 By now deal making will be resuming in sufficient volume for landlords and investors to hear market signals loud and clear. The likely outcome is a wave of anxiety as many of them realise they will be out-played by newcomers with a funkier, more on-trend offer. Here’s a for instance: modern workspace can be carved out of almost anything and, by June 2022, work on site at the former Debenhams flagship store at 334 Oxford Street, W1, could be underway. Schemes like this will ring landlord alarm bells. The Debenhams site is ideally placed close to tube stations and the new crossrail Elizabeth Line, has the urban buzz that occupiers value and delivers a lot of funky floorspace. Capital Real Estate Partners say the proposal is for three floors of retail space below 376,000 sq ft of ‘new, flexible workspace of the highest quality’, which the promoters say will attract ‘new office occupiers and employers to this location, promoting activity and footfall in the local area’. In late September 2021 the Greater London Authority raised some quibbles

2020

about the loss of retail floorspace, but nobody expects them to stand in the way of redevelopment. Landlords of drab office blocks will be spurred to a rethink. We may also see signs that landlordfunded fit-outs are failing to make a decisive impact as tenants reconsider how their individual needs are met by one-size-fits-all landlord thinking. Nick Simmonds, Managing Director at Expedite Office, reckons this is a risk. ‘Many of these refurbished spaces look great in the marketing brochures, but are often not functional for occupiers, who need to make sure they are looking properly at the space beyond the reduced fit-out cost. Furthermore, taking fitted-out and refurbished space will often mean tenants pay a higher rent level and lose other financial incentives, such as rentfree periods, while a lot of occupiers may still need to make additional amends to the space to accommodate their business needs,’ he says. If Nick is right and the quick fix of landlordfunded fit-outs represent fails, many landlords will have to return to the drawing board.

“Many of these refurbished spaces look great in the marketing brochures, but are often not functional for occupiers“

Mix 216 October 2021 | 35

PROPERTY

September 2022 By now, with summer behind us and three quarters of lettings data to mull over, the momentum for heavy – rather than light – refurbishment will be considerable. Today the differential between Grade A and Grade B London offices is fairly stable. Through the ups and downs of the last 24 months, the gap has not widened dramatically. Today DeVono figures show the bandwidth of average rents range from £66 per sq ft for Grade A down to £50 per sq ft for Grade B – that’s a difference of £16, or to put that another way, a Grade B discount of 24%. Back in spring 2020 the range was £71/£54 – a difference of £17, also a 24% discount. But if the market develops as many expect, by September 2022 rental growth on Grade B stock will be lagging behind those in better quality stock, as nine months of deal-making takes its toll. At this point landlords’ appraisal mathematics begins to shift decisively. Charlie Ingram-Evans, Head of Building Consultancy and Project Management at surveyors, Knight Frank, specialises in advising landlords on refurbishing office space and also works on the tenant fit-out side. ‘I think by this stage we’ll see few light refurbishments, and many heavy. Of course there are limits – if a building could be completely redeveloped in 5-8 years then maybe something low budget is the right option, pending a bigger decision. But if your building still has 10-20 years life left in it, now has to be the right time to invest,’ Charlie tells us. ‘There are push and pull factors here, all of which will affect landlord thinking, as will their appetite for spending. But the better informed will realise that a lick of paint and a few nicer loos will not cut the mustard any more. We will see a flight to quality, which means more amenity, better light, better energy efficiency – all of which adds up to heavy refurbishment.’

December 2022 Will a supply chain collapse or a lockdown take the tinsel off Christmas 2022? It is too early to tell, but what we can say is that, by the time winter chills arrive in 2022, the importance of sustainability and green credentials to both landlords and tenants should be well established. w

36 | Mix 216 October 2021

Central London Office Market: Average Prime Rents % Change 2016-2021 8% 6%

3% 0%

0% -2% -4%

-6%

-6% -8%

2016

2017

2018

2019

2020

2021

SOURCE: DEVONO, CENTRAL LONDON OFFICE MARKET SNAPSHOT – Q1 2021

“There are push and pull factors here, all of which will affect landlord thinking, as will their appetite for spending. But the better informed will realise that a lick of paint and a few nicer loos will not cut the mustard any more”

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MIX ROUNDTABLE In partnership with Invictus

38 | Mix 216 October 2021

MIX ROUNDTABLE In partnership with Invictus

A Brand Don’t Come for Free As many of you will know, there have been several acquisitions in the commercial interior design market this year. When talking with specifiers about this subject, we discovered that they often know the individual products better than they know the manufacturers. Indeed, when walking through projects and asking whose furniture, flooring etc has been specified, we often get told the name of the furniture dealer or flooring sub-contractor rather than the manufacturer. So, does this matter? Well, it must matter if said manufacturers are working so hard and spending so much money on brand awareness.

e’ve teamed up with our sponsor – Invictus – and a selection of the industry’s finest minds at N1’s über cool workspace/art gallery, the depot_, to discuss all things brand and branding. We begin by asking about brand loyalty within the sector. Does our panel believe that brand loyalty exists when it comes to product specification? Emily: I would say yes. It’s definitely something that is based on relationships and quality. You learn to trust the name. Whether it is the company or the product, you learn to trust the relationship that you’ve already established. When a smaller brand I already like joins a larger group, I tend to look at it in a positive way and maybe take that trust to other brands within that larger group. Anna: I agree with that. I’ve noticed that a lot of smaller brands, who aren’t getting the marketing, are either being bought up or are partnering with larger brands, and most of those collaborations, to date, have been positive in that they’ve complemented one another and made them more rounded. For example, we’ve seen soft furnishing companies partnering with more office-based manufacturers, which balances the brands out and provides a greater portfolio of products. Is it important that the brands our guests have formed relationships with and have been loyal to still retain a level of autonomy and individualism? Yorgo: Do people think that the Mini is a German car? It’s BMW, right? But we still think of it as a British car. I’m

not sure that anyone is really loyal anymore. I think we’re beyond that. We’re not loyal to the companies we work for, we’re not loyal to pretty much anything – I think we’re a post-loyalty culture actually. There’s so much choice now. We are getting our own way and we are able to switch from one thing to another, as we want, when there is a better offer or a better opportunity. I don’t think it’s about loyalty – I think it’s about fandom. It’s about brands taking a lead on something that we all want to be part of: a brand that isn’t too concerned about building a customer base, but is doing their own thing simply because that is what they want to do – whether that’s sustainability, whether it’s culture… I always look at the company culture and what they’re doing besides selling stuff, how they’re doing it and why their doing it. Not so much what they’re doing. What they’re doing is the starter – then the relationship deepens and it becomes about the culture. I think you have to keep reminding people of that and feeding that message. We ask our hosts Invictus if the majority of this rings true for them. Mark: It’s very hard to be completely different. Our brand is quite striking, but we did also look at our backstory and this is evident when you look at our carpet brand SEDNA. SEDNA is made from an ECONYL yarn which is created by turning waste carpet, commercial waste, and discarded ghost fishing nets back to its original state of Polyamide [Nylon]. Even the backing we use is made from 100% recycled PET plastic bottles. The whole approach of this range is that, through a very extensive process, it’s

In partnership with

MIX ROUNDTABLE In partnership with Invictus

“

As designers, we’re really discerning about what we’re putting into the world. We’re responsible for something that is going to sit there for years

” almost completely manufactured from recycled materials. You can make the whole thing from virgin material, of course, but as a flooring manufacturer it’s important to find new and sustainable ways to create products and push the boundaries. Although a lot of things are driven by cost, it’s not always the most important thing – it’s difficult as a flooring provider and manufacturer to be all things to all people, and I think we’ve found the right balance. A lot of design firms work on a traffic light system – if you’re amber or red you’re not going to get used regardless of your brand or what you do in terms of design or innovation. Lucy: That’s true. We’ve moved away from some really key brands, who we’ve worked with for a very long time, because we’ve dived into the sustainability of their products. As part of our work for one particular client, we went through all our standard products and looked at how they are made, what is their content and what are their certifications. We were shocked and surprised at the lack of real investment by some of those brands into the footprint and sustainability of a lot of their products. I don’t think the ‘greenwashing’ is enough. It has to stack up. As designers, we’re really discerning about what we’re putting into the world. We’re responsible for something that is going to sit there for years. We are now getting this from our clients as well as being driven by us, the designers. This is no longer a ‘nice to have’ – it really does have to stack up. If we can tell a compelling story, then we’re able to advocate for that product remaining in the project as opposed to a cheaper alternative. Loyalty denotes this idea of sticking with something or someone through thick and thin – and I don’t think it’s present any more. It’s about trusting a brand. If I trust a brand then I’ll keep using it – but if I lose that trust or there’s a better option…

40 | Mix 216 October 2021

Mark: Is a brand only as good as the people who represent it? Amie: I think those relationships are integral. It’s just that much easier to work with people you know and you feel you can trust. Sometimes it’s not even necessarily all to do with business – it’s about being able to chat and have a laugh with someone. That being said, you’re always trying to look for new products, so although you might keep coming back to the brands and people you have built those relationships with, you are still constantly looking for the next great new thing. You do want to stay loyal, but you’re always straddling both sides. We are all really privileged to be able to go on trips with manufacturers, but visiting factories, being able to see what’s going on behind the products themselves, seeing the process, seeing how they’re made, seeing the sustainability story really does make a huge difference. You really get to understand and appreciate far more.

of investing and developing to create something special. Going back to the earlier point of fandom, there really is so much on the market but there are brands I will go to because I know how much R&D goes into their products. Adriana: When I see a name I recognise and I know it has produced great products in the past, it definitely has an effect on my decisionmaking. Also, if I see a designer has collaborated with a brand in the past and has now developed something completely different for another company, I’m still curious and eager to see what it is they’re offering. When you look at someone whose portfolio has always shown something different and exciting, you also get excited when they have something new to offer.

Lucy: What a specifier wants from a particular item or brand is that story or feeling or detail – to

Rohan: I do think that relationships are a huge part of this. For us, as a main contractor, because delivery is so important and because programmes are tight and budgets are tight, being able to pick the phone up to a trusted supplier and ask, ‘What can you do? What is your knowledge on this?’ and knowing they’ll give you an answer straight away, or will go and find out what you need to know right away, is so important. Knowing that person is there for you is such a big thing. Also, as a couple of people have already touched upon, more and more clients want to understand the story of a product and how everything comes together and where it comes from. They want to know what sort of healthy working environment they are creating for their employees – and they are relying on us for this. So it’s about being able to sell that story back to them. It’s not about being a slick salesperson anymore. It’s really about the whole picture and them being able to portray that – for us to be able to buy into that. People challenge products now more than they ever have done. It’s not about accepting what it says on the tin. People want to

know that the manufacturer has gone to the effort

dig into how a product really works.

Emily: On the other side though, somebody can also really damage a brand. On a recent project I was working on I wanted certain products to be specified. The client listened to me and backed me – and then the manufacturer told us that they couldn’t deliver on time and that delivery would be a month overdue! All of a sudden, the image and the opinion of that brand – for all of us – was damaged. Loyalty to a person can reap its rewards: a good person will follow up on deliveries, chase up any issues and bend over backwards to help with any problems that might arise with production. If a product can’t be delivered, then knowing who to go to for help is invaluable. Companies really do need to be careful about who they take on.

MIX ROUNDTABLE In partnership with Invictus

In partnership with

MIX ROUNDTABLE In partnership with Invictus

Lucy: I think it also depends on what the product is. There are some really iconic products – Eames, for example – and those classic designs will always sell. There’s almost a separate class of really iconic ‘super products’ – rather than ‘super brands’. Designers will always stay loyal to that – and I think designers are very aware of what are the original products and what are the ‘copies’. Designers want the real deal and want to give profit and recognition back to the original designer. Yorgo: This is music to my ears. I didn’t know that people actually thought that way. I just always hoped they did. Originality doesn’t always work – sometimes you can be ahead of the curve and the market simply isn’t ready for what you produce. I used to believe that a design can sell itself, but I’ve since learned that this isn’t true. You have to be able to tell the story and represent that design – because a design can’t always speak for itself. It’s always a challenge and it’s hard to always be original – but it is great to hear that it is so appreciated.

Conclusion

Is brand important? Undoubtedly – especially when that brand stands for something important and has the beliefs and ethos shared by forward-thinking specifiers and clients. It’s in the nature of designers to be attracted to innovation, originality, quality and authenticity, but that alone will not stand up if the story behind it doesn’t ring true.w

42 | Mix 216 October 2021

MIX ROUNDTABLE In partnership with Invictus

Meet our guests

Lucy Brown

Emily King

Adriana Zielinska

Anna Lee

Lucy is a Senior Creative Designer at AECOM, with a broad experience across workplace, multi-residential and hospitality projects in the UK, EMEA and Australia. Lucy is a passionate designer whose focus is on developing strong, narrative driven concepts centred around the principles of sustainability.

Emily has been with BDP for over 13 years, mainly working on the framework agreement with PwC. This has allowed her to get a better understanding of the client and the fit-out requirements to be applied to the client’s refurbishment and relocation projects. It has also given Emily a high turnover of work – including Leeds, Edinburgh, More London, Cambridge, Swansea, Southampton, Manchester, Hays Galleria, Embankment Place, Birmingham, Watford and Belfast.

An award-winning designer with a passion for responsible, inspiring, people-focused design. Adriana joined Gensler in 2014 as an interior designer and has since worked on projects in various sectors including media, technology, consumer goods and professional services. With a commitment towards environmentally conscious and sustainable design, Adriana has developed a considered approach which prioritises positive social and cultural impact and is an active member of Gensler’s Design Synergy Group. In 2017, she was named as one of Mix Interiors’ ‘30 under 30’.

After completing her degree in Australia with international exchanges in Italy and Hong Kong, Anna specialised in delivering bespoke workplace environments to commercial, government and not-for-profit organisations, from strategy and design through to occupancy. Moving to London and joining HLM Architects, she continues to grow her keen interest in human centred design and application of different ways of working, helping clients develop resilient, forward-thinking workplaces.

Yorgo Lyjouria

Amie Bosson

Rohan McCarthy

Mark Darnbrough

Part laboratory, workshop, studio, Rainlight combines inspired design thinking with business acumen to create products that enhance how people live, work, and play. Under Yorgo’s leadership, Rainlight has earned an international reputation for strategic innovation, putting its work at the forefront of design, continuing with the quest to break new ground and make the world a better place for humans. Yorgo has designed and developed work for manufacturers such as Tecno, Scavolini, Allsteel, Dornbracht, Ferrari, Montblanc, Okamura, Vitra

Amie is a senior interior designer at spacelab_, an exploratory design studio that has led the way in creating spaces with purpose since 2002. Having worked on a variety of projects across a range of sectors, including Ofcom, Coller Capital and Tag, Amie finds inspiration in the possibilities that space holds to positively impact on people’s lives. She’s also passionate about the environment, and is always looking for ways to minimise the impact of projects on this planet. Her achievements were recognised by Mix Interiors when she was listed in the Mix 30 under 30 Class of 2019.

Rohan is a senior design manager currently working in the major

Mark heads up commercial sales at Invictus LVT, which launched

projects division of corporate fitout projects, most recently specialising in high end legal fitout projects. He has a range of experience in other corporate sectors, including tech and major retail projects, working across both fitout and major refurbishment sectors. Rohan has worked extensively in both the UK and Australia. He has a MA in Architecture and BA in Construction Management.

in 2019. With well over a decade’s experience in Commercial LVT Sales, he has worked with a number of national and global brands in the hospitality and leisure, retail and living sectors. He’s passionate about the delivery of quality products and services to customers and has established strong relationships with decision makers and influencers in the specification arena, along with end users and flooring contractors throughout the UK.

Senior Creative Designer Aecom

Founder, Creative Director Rainlight

and Zumtobel.

Interior Designer BDP

Senior Interior Designer SpaceLab

Senior Interior Designer HLM

Interior Designer Gensler

Senior Design Manager Structuretone

Commercial Sales Manager Invictus

In partnership with

MIXOLOGY21 Review

Battersea Power Last month saw the biggest Mixology event yet, with over 1,400 of the industry’s finest gathering at our new venue, Evolution, in London’s picturesque Battersea Park, to celebrate two years’ worth of exceptional projects, products and people in commercial interior design.

44 | Mix 216 October 2021

e were blown away by the incredible support and congratulations we received from our sponsors, friends and guests. We couldn’t do any of this without that support. Early in the evening, as Battersea Park started to fill with a continuous line of taxis and Ubers, we were treated to our very own Field of Dreams of moment. What a sight! The big design firm winners on the night were Buckley Gray Yeoman, Conran & Partners, tp bennett and ID:SR Sheppard Robson, each of whom picked up two awards – with the latter two firms scooping the Design Practice of the Year award for 2020 and 2021 respectively. Specialist Group (2020) and Bisley (2021), meanwhile, scooped the Manufacturer of the Year awards. In traditional Mixology style, the excitement didn’t stop there, however, as the Fun Lovin’ Criminal himself, Huey Morgan, played a stellar DJ set, instantly filling Evolution’s dancefloor. Congratulations to all of the night’s winners and finalists – and, once again, thank you to our loyal sponsors and also to our awards judges for their time and expertise. It’s so good to be back!w

Scan this QR code to view the full photo gallery

MIXOLOGY21 Winners List

PRODUCT OF THE YEAR SURFACES

2020 2020winner winner

Oceanic Camira PRODUCT OF THE YEAR FLOORING

2020 winner

Signature Collection Amtico Flooring

PRODUCT OF THE YEAR LIGHTING, TECH & ACCESSORIES

2020 winner

ARC-H OE Electrics 46 | Mix 216 October 2021

SPONSORED BY

2021 2021winner winner

Johnson Tiles South Bank SPONSORED BY

2021 winner

ReForm: Transition Ege Carpets

SPONSORED BY

2021 winner

Desk2 IOTSPOT BACHMANN

MIXOLOGY21 Winners List

PRODUCT OF THE YEAR TASK FURNITURE

2020 winner

Screenliner Thinking Works

2021 winner

HAG Capisco Puls (Snow Plough Edition) Flokk

PRODUCT OF THE YEAR STORAGE

2020 winner

Simplicity Smart Lockers Your Workspace

SPONSORED BY

2021 winner

World of Plants USM

PRODUCT OF THE YEAR LOOSE FURNITURE

2020 winner

MOON Coffee Table Granorte 48 | Mix 216 October 2021

SPONSORED BY

2021 winner

PORTS Bene

TRELLIS AND CANOPY MAKES NOVUS EVEN BIGGER AND BETTER • Elegant Trellis screening providing an extension to the Novus base structure • Acoustic ceiling Canopy bridging the Novus structure to create functional working areas • Curtain closures affording users privacy and focus Available in a variety of sizes and colours, bringing versatility to the workplace

frem.co.uk

MIXOLOGY21 Winners List

FURNITURE PROVIDER OF THE YEAR

2020 winner

UHS International

SPONSORED BY

2021 winner

Wellworking Limited

SPONSORED BY

MANUFACTURER OF THE YEAR

2020 winner

Specialist Group

PROJECT OF THE YEAR WORKPLACE INTERIORS <5K SQ FT

2020 winner

Autex Showroom & Workspace tp bennett 50 | Mix 216 October 2021

2021 winner

Bisley

SPONSORED BY

2021 winner

77 Coleman, London Buckley Gray Yeoman

MIXOLOGY21 Winners List

PROJECT OF THE YEAR WORKPLACE INTERIORS >5-15K SQ FT

2020 winner

Elsley House, London Buckley Gray Yeoman

SPONSORED BY

2021 winner

Boston Scientific, Clonmel Unispace

PROJECT OF THE YEAR WORKPLACE INTERIORS >15-30K SQ FT

2020 winner

x+why People’s Mission Hall, London Squire & Partners

PROJECT OF THE YEAR WORKPLACE INTERIORS >30-70K SQ FT

2020 winner

Gensler European HQ, London Gensler

SPONSORED BY

2021 winner

SAP, London TTSP

SPONSORED BY

2021 winner

Liberty House, London SODA Studio Mix 216 October 2021 | 51

MIXOLOGY21 Winners List

PROJECT OF THE YEAR WORKPLACE INTERIORS >70K SQ FT

2020 winner

Hyperion Insurance Group, London MCM PROJECT OF THE YEAR PUBLIC SECTOR INTERIORS

2020 winner

American Internation University, NBBJ

SPONSORED BY

2021 winner

Freshfields Bruckhaus Deringer, London ID:SR Sheppard Robson

SPONSORED BY

2021 winner

University of Birmingham, Teaching & Learning Building BDP

PROJECT OF THE YEAR HOTEL INTERIORS

2020 winner

Hotel Maximillian, Prague Conran and Partners 52 | Mix 216 October 2021

SPONSORED BY

2021 winner

Terme di Saturnia Natural Destination, Italy THDP

MIXOLOGY21 Winners List

PROJECT OF THE YEAR BAR & LEISURE INTERIORS

2020 winner

Hard Rock Hotel, London Scott Brownrigg PROJECT OF THE YEAR LIVING INTERIORS

2020 winner

Chapter Spitalfields, London Tigg + Coll Architects

SPONSORED BY

2021 winner

Eataly, London Structure Tone

SPONSORED BY

2021 winner

LUMA, London Conran and Partners

SPONSORED BY

DESIGN PRACTICE OF THE YEAR

2020 winner

tp bennett

54 | Mix 216 October 2021

2021 winner

ID:SR Sheppard Robson

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creating better environments

MIXOLOGY21 Winners List

PRODUCT DESIGNER OF THE YEAR 2021

2021 winner

Simon Pengelly

THE HENRY PUGH OUTSTANDING CONTRIBUTION AWARD 2021

2021 winner

Steve Gale M Moser Associates

56 | Mix 216 October 2021

YOUNG DESIGNER OF THE YEAR 2021

SPONSORED BY

2021 winner

Peter Kovacs, Kingston University Willow Chair

INSPIRED BY NATURE

DESIGNERS & MANUFACTURERS OF WORKSPACE FURNITURE Part of the

Portfolio

WWW.GOF.CO.UK/KULTURE/RELO

Studios Line When Squire & Partners told us about the launch of The Department Store Studios, a new local workspace next door to their award-winning offices in Brixton, we were more than keen to head ‘south of the river’ to take a look. This exciting new development creates a platform for growing businesses with a range of flexible workspaces – from individual desks to private studios – and a host of serviced social and meeting areas.

The brilliant reception space features a spectacular textural timber wall

he Studios is also home to a neighbourhood bar, restaurant and screening room (you had us at bar!). Created as a natural addition to The Department Store, The Studios is a highly sustainable development that will support local businesses by offering a programme of events curated to share skills, inspire creativity and expand local networks. Having moved its 200-strong office to The Department Store in 2017, Squire & Partners knows first-hand the benefits of working at the heart of a vibrant neighbourhood. Sustainable commuting, an improved work/life balance, supporting independent high streets and engaging with the local community all mean that the

58 | Mix 216 October 2021

hyperlocal model benefits people, cities and the planet. Primarily conceived for local businesses and entrepreneurs, The Studios’ model of private office spaces and individual desks also supports a ‘hub & spoke’ model of regional workspaces acting as satellite hubs to a central HQ. Externally, designs draw on the robust Edwardian structure of its older sibling, The Department Store, which was built in 1906 as an extension to the Brixton Bon Marche. ‘The two buildings are not physically connected but they do meet in a courtyard in the centre,’ Squire & Partners’ Maria Cheung tells us. ‘We’ve drawn on the robust, industrial feel to create a completely new, contemporary building that has the same raw aesthetic and finishes.’

above Designs for the workspaces focus on sustainability and celebrate the honesty of raw materials

top right Externally, designs draw on the robust Edwardian structure of The Studios’ older sibling, The Department Store

CASE STUDY The Studios

The central cobbled courtyard has, at its centre, a beautiful, mature oak tree (which is affectionately known as Russell by all at Squire & Partners). Façades are crafted with a textured snapped brick, offset by smooth concrete lintels framing openings across the building. A base of dark engineering brick marks the street level, softened with planting and outdoor seating. ‘The snapped brick casts some really lovely shadows, which change throughout the day,’ Maria points out. ‘There are not very many non-linear, straight pauses, which gives the building more interest than a big square would have.’ Large, faceted bay windows create a rhythm across the elevations, with dark metal frames referencing the industrial Crittall windows found in The Department Store. The building form is set back to the north and east elevations to respond to the surrounding residential streets, creating generous landscaped roof terraces for tenants. Workspace floors can be accessed via a fully glazed reception on Bellefields Road and the restaurant entrance on Stockwell Avenue. Designed as a highly sustainable low carbon development, The Studios features a prefabricated cross-laminated timber (CLT) structural frame, which absorbs carbon dioxide and provides in-built soundproofing, fire safety properties and airtightness. ‘This was the choice of material right from the very start,’ Maria tells us. ‘In terms of sustainability, it’s absolutely brilliant. The combination of brick and timber really sets the language and the feel of the space.’

above Members benefit from shared facilities including informal lounge areas

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CASE STUDY The Studios

Elsewhere, 120 sq m of green roof and planted terraces enhance local biodiversity, while 28 photovoltaic panels create renewable energy on site. Designs for the workspaces focus on sustainability and celebrate the honesty of raw materials. Establishing a stripped back aesthetic, textured CLT and brick finishes are exposed throughout, offset by a pale grey screed floor. Large windows are openable across the façades to lessen the need for artificial heating and cooling. An advanced lighting system ensures that natural daylight from all four sides of the building is only supplemented when necessary. The workspace area of just under 2,000 sq m holds 292 desks on the workplace floors, and a further 30 in the Members’ Lounge. Each workspace floor has a landing area with wayfinding and a generous floor to ceiling height, which takes its cue from the proportions of The Department Store next door. Large openable bay windows draw natural light into three sides of each floor, creating bright open floorplates. Workspaces comprise a mixture of individual desks and private studios for six to 72 people. Members benefit from shared facilities including phone booths and bookable rooms for private meetings, sociable kitchens, dining tables and lounge areas. ‘The floors are open and benefit from crossventilation, which is really nice,’ Maria points out. ‘Particularly with people coming back to work, it’s great to have fresh air, greenery and outdoor space.’ Workspaces are designed in a simple loft style based around a raw natural palette and exposed services suspended from the timber ceiling. Added domestic comforts include large rugs, a plethora of plants, stunning artwork and soft furnishings in colours inspired by the seasons (and by Russell!).

above & right Workspaces feature domestic comforts include large rugs, plants, stunning artwork and soft furnishings in colours inspired by the seasons

right The central cobbled courtyard has, at its centre, a beautiful, mature oak tree

“

We’ve drawn on the robust, industrial feel to create a completely new, contemporary building that has the same raw aesthetic and finishes

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An award for excellence in British design

Are you a British Designer? Be awarded for excellence in British Design by applying for a Design Guild Mark. Now accepting applications for: • Furniture • 2D Design: Textiles/Wall Coverings/Surfaces/ Carpets and Floor Coverings • Lighting Submission deadlines: Early Bird: 26th November 2021 Final: 21st January 2022 Excellence starts here:

designguildmark.org.uk/apply-now

Simple Shade 05 Designed by Naomi Rochowski DGM 260

CASE STUDY The Studios

below Large openable bay windows draw natural light into three sides of each floor, creating bright open floorplates

“

Back in January, The Studios launched its first residency programme – a chance for two young Lambeth entrepreneurs to have free workspace for 12 months, with access to a host of amenities and mentoring to start and grow their creative idea

”

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Kitchens and tea points feature in-built appliances for food and drink preparation, and informal dining and lounge areas. Natural and dark stained timber units, tables and chairs are complemented by pops of colour on soft furnishings, artwork and planting. Meeting room interiors are tailored to create spaces for high and low tempo tasks, with bespoke wall hangings aiding acoustic performance. Colour palettes for meeting rooms again correspond to the four seasons with a curated selection of rugs, artwork and chair finishes adding individual character. On the third floor, a large communal roof terrace is landscaped with plants and furniture to host social interaction between members and a chance to get some welcome fresh air during the day. The space is fully serviced with power to enable pop-up events to take place. The fourth floor, configured as a single floor for a tenant, has its own private roof terrace, which wraps around two sides of the building. At street level, the fully glazed Members’ Lounge provides a relaxed clubhouse environment for member

tenants or local freelance workers needing space by the day. Separated from the restaurant by a central brushed steel bar, the workspace is designed to be adaptable for coworking and informal meetings during the day as well as dining or events in the evening. Seating is created in light-filled window booths, private curtained banquettes, at freestanding tables or in relaxed lounge areas. Exposed services are suspended from the timber-lined ceiling, with softness introduced by bespoke rugs, sustainable fabrics and artwork. The Studios’ main reception features a custommade desk by Isomi and a notice board displaying news and information about member events. As well as a lift to all floors, an open top-lit stairwell in exposed CLT provides access down to the basement – where a screening room plus generous bike storage, lockers, showers, toilets and changing areas are provided – and up the workspace floors. On the ground floor, Bellefields is a neighbourhood bar and restaurant offering modern cuisine inspired by the seven seas of the

CASE STUDY The Studios

Mediterranean. The menu celebrates raw ingredients and favourite dishes from family holidays over three generations. Interiors follow suit with a palette that celebrates the honest expression of natural materials including textured brick and exposed timber, with accent colours inspired by the seasons. ‘The restaurant is divided into a lounge area, where people can come in and hot desk by the day or hold meetings, and a really nice neighbourhood restaurant,’ Maria points out. Courtyard dining areas use bistro style furniture in a bright palette of contrasting colours, while planting, heating and feature lighting create an intimate atmosphere. Internally, dining spaces draw the outside in with a natural palette of materials including tables topped with responsibly sourced Carrera marble, wooden dining chairs and terracotta pendants. Sustainable materials include vegan leather banquettes and linen curtains, which use significantly less water and dye than cotton or velvet. Commissioned artwork

Sustainability has been a driving force from inception through to delivery of The Studios. Indeed, the building is expected to achieve an ‘Excellent’ rating by BREEAM. It was important to Squire & Partners that The Studios built on the award-winning work in the local community already established by the practice at The Department Store via creative collaborations, mentoring and support for local organisations. Back in January, The Studios launched its first residency programme – a chance for two young Lambeth entrepreneurs to have free workspace for 12 months, with access to a host of amenities and mentoring to start and grow their creative idea. Applicants aged between 18-30 were asked to submit a brief outline of their plan to grow a fledgling business or social initiative, and a statement of what they hoped to achieve during the residency period. A shortlist of six candidates was interviewed in March 2021 by a selection panel, with the first two residency places being awarded to Gabriella Lafor

by Anna Kövecses references simple organic shapes and colours, inspired by the food and topography of her childhood living by the Mediterranean.

for Line Stream (supporting media careers for Black British talent) and innovative textile designer, Coco Cripps.w

Client Squire & Partners Architecture/Interiors Squire & Partners Planning Consultant Jon Dingle Ltd Cost Consultant Core 5 Services DSA Engineering Structure Elliot Wood Furniture Supplier Workstories Collaborators & Suppliers Anna Kövecses, Azarra Amoy, Carl Hansen & Søn, Dodds & Shute, Ercol, Fermob, HAY, Isabel Fletcher, Isomi, Laguna, TON, &Tradition, Rawside

above The main ground floor space is divided into a lounge area and an amazing neighbourhood restaurant

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MIX ROUNDTABLE In partnership with CDUK

Cleaning Up The pandemic has, of course, highlighted the importance of hygiene within our spaces. Now, as lockdown restrictions ease and we return to normal life, hygiene and wellbeing will not only remain high on the agenda, but will be at the core of interior schemes – not only in the short-term, to ensure reduced transmission, but also in the longterm, as our attitudes towards hygiene and cleanliness change. Furthermore, designing hygienic public spaces is conducive to supporting people’s wellbeing and mental health, where safety and comfort will be key concerns. Designing hygienic spaces involves careful consideration of materiality, spatial design, as well as product and services, so how do you achieve this? How do you design hygienic spaces that support both physical and mental health?

ur host – CDUK – has responded to the pandemic and the long-term changes it has brought to attitudes around hygiene and cleanliness with the launch of the new Primo Specialist Washpod. Here, in partnership with CDUK, we’ve gathered an expert panel of interior designers from a multitude of sectors to discuss all things clean, hygienic and wellbeing. We begin by asking about how to design hygienic spaces that don’t compromise on style, comfort and character. Sarah: I don’t think we’ve seen the full scale of things yet. We’ve obviously been involved with projects that have been designed for a pandemic – and will now have to be revisited. You change and you adapt as you go along but, like I said, I don’t believe we’ve seen the full results of that yet – and won’t until things settle down a bit. How much we need to revisit varies from client to client. One of our clients, for example, was quite happy to remain cellular and to maintain social distancing. What has changed there is

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the cleaning regime. They have stepped that up several gears. What we have to do is to think about what the materials we use can withstand. Megan: That is an interesting point. How much does go into matching up the operational structure with the client’s needs? A lot of the work we do is dealing with semi-external spaces and one of the trends we have seen – rather than a compromise – is towards touch-free, handsfree, anything you can do with sensor controls to make things easier, speedier and safer. I do think that a number of clients are now also thinking about which materials they use in relation to this. Jane: I think a large part of this is the psychological element – about how you can make end users feel more comfortable. Spaces should be cleaned well, of course, and that is what we are saying as much for the psychological aspect of reiterating this as anything. We’re working on a hotel at the moment and the scheme we had previously conceived was quite dark and a bit gentleman’s

club in style. When we revisited the scheme, we decided to completely lighten it up, freshen it up, make it feel more natural and bring in elements such as biophilia – and the reaction to that was that everyone immediately felt more comfortable. I do think that everything comes in cycles – and this might be necessary right now and for some time to come, but I’m sure (and I hope) this will fade with time as we become more comfortable overall. Morag: Humans are incredibly adaptable and adjustable – and people will forget and move on. Underneath that, however, there will be a natural tendency towards perhaps cleaner, more spacious, lighter design with more emphasis on wellbeing and sustainability. Megan: People are quite vocal at the moment if they are not comfortable – there’s a lot of audible feedback if people don’t like the spaces they are in. A lot of us will have been to conferences, for example, where you’re stuck in windowless rooms for an entire day – and

MIX ROUNDTABLE In partnership with CDUK

In partnership with

MIX ROUNDTABLE In partnership with CDUK

66 | Mix 216 October 2021

MIX ROUNDTABLE In partnership with CDUK

“

I think a large part of this is the psychological element – about how you can make end users feel more comfortable

” just being able to look out of a window or open a window makes such a huge difference. Thermal controls have also become more stringent – they are trying to be energy saving and more efficient, but you still need that open window to get that feeling of fresh air. So there’s quite a balance required, where people feel comfortable

perspective as well as hygiene and cleaning. What I think COVID has done is to highlight these issues that were once primarily an operations concern to a very focused design issue from earlier stages – each party within the design development phase currently has a heightened sense of awareness around the issues due to

but also feel a sense of control over their environment as opposed to being put into an environment where everything is controlled for them.

our shared experience this last year. But rather than a design ‘compromise’, I think we’re still approaching it from a design ‘challenge’ perspective and trying to push for further testing and ‘proving’ of performance properties in our material selections.

Does this also ring true of ‘pre-loved’ buildings as well as more technically advanced modern buildings? Megan: We have worked on a lot of 1930’s town halls, which were originally designed with natural ventilation, so it’s important to realise the original design intent of these buildings and not try to force something different. You have to look at the densities and the spatial arrangements so that you’re not forcing an old building to do something that it was never intended to do. We move on to talk about users’ post-pandemic experience, and whilst we’re getting used to returning to the workplace, visiting a hotel or restaurant or watching a game of football, there is an altogether different mindset and recovery period needed for certain facilities – cruise ships, for example. Alexandra: Actually, what we’ve found is that, whilst cruise ships did face quite a harsh review and stigma at the beginning of the pandemic, they already have some of the most rigorous operational cleaning regimes as well as strict material regulatory requirements. We were brought into these projects to bring an updated, modern aesthetic and, along with the client, we’re still pushing the boundaries of materiality whilst testing durability at each step – a process that has always been important but more so now because of changes in the way we view/use public space from a health and hygiene perspective. Taking the Grand Atrium staircase as an example – an incredibly high traffic area, thousands of hands touching handrails each day – it almost becomes one person’s job to constantly clean, polish and maintain! Daytime people traffic, coming and going between F+B outlets, and evening guests adorned in cocktail rings scratching their way down a beautiful balustrade results in an intense maintenance operation from both a physical durability

There has (for obvious reasons) been a shift away from hygienic concerns being the sole concern of areas such as the kitchen, as Alexandra points out. Andy is only too happy to confirm this from his own perspective. Andy: We’ve seen a real shift over the past two or three years from kitchen worksurfaces accounting for 45% of our business to around 25% of our business. So, today, commercial interiors account for 75% of what we do and who we are. Our ambition is to add more products to our portfolio in the coming months and years, keeping Corian Solid Surface as a big part of what we do, but adding new core products that will hopefully inspire designers going forward. One of the great advantages of Corian is that it can last as long as you want it to last for. Speaking of cruise ships, a customer of ours refitted some of their ships last year based on what they thought people would want – and after asking questions they came back in January with what people really did want. We had a five-year plan to engage more with the commercial market but, due to the pandemic, we’ve seen that plan condensed into two and a half years. We saw an immediate uplift in interest in Corian, because of its seamless and hygienic qualities. Sarah: We’re finding that some clients want BREEAM Outstanding and SKA Gold and the rest of it, but when you delve deeper into it, that enthusiasm starts to go away. You’ve got materials such as stone or marble that don’t tick the right boxes because they don’t have any recycled content. But, when you think about it, you can actually recycle all of it! However, it just doesn’t tick those right boxes – just like leather doesn’t. These are natural products. But there are now expectations that we simply can’t use these materials.

In partnership with

MIX ROUNDTABLE In partnership with CDUK

Jane: I think this offers real potential for innovation. I’d really like people to focus on what they could achieve rather than find it a hassle. Morag: In our profession, what we do is a lot of really complex strategic thinking and a lot of the directions we’re already going in – focusing on BREEAM and LEED and SKA – are things that do apply here but they are part of a larger conversation. I think there is a conversation to be had where we talk about how we can achieve more and we can produce better buildings – but it will cost you more to achieve these things. You will be able to get more out of this building in terms of its lifespan – and actually it’s also going to be better for the occupants on a psychological level as well as a physical level, and they are going to be far more likely to be convinced to come along on that journey with you. I don’t think this is specific to COVID – I don’t think any of this is. I believe it is another step towards achieving the things

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we, as a profession, are already working towards. I hope so anyway! Bridget: Also, if you put in a higher spec for a commercial client, they can then rent out the space at a higher rate, it will last longer and therefore be more sustainable. These kinds of criteria are becoming more and more important if you talk to agents – these are the kind of spaces that they are really looking to push at the moment. Andy: We were talking with a customer – a washroom company – yesterday, who said exactly that. There was a time when they would spend a lot of their time value engineering washrooms, but now they’re spending their time working out how to add more value to these facilities because the client sees this as one of the flagship features of a building. Morag: Before COVID, people were already looking at how to get people to cycle to

work, to walk to work or to go for a run at lunchtime, so washrooms and shower rooms were already becoming more important to a lot of schemes – and I hope that COVID continues to push that even more so.

Conclusion

There’s little doubt that the pandemic has accelerated the conversation on not just hygiene and safety but on the wider wellbeing issue. While many businesses, prepandemic, thought of wellbeing as something they really should be focusing upon, it is now something they simply must put at the very top of the agenda. Certainly when it comes to commercial spaces, people NEED to be returning to amenities, facilities and spaces that make them feel safe, comfortable and happy. And, to do so, we need to reevaluate how we design and specify materials/ products for public spaces to ensure people’s safety and health.w

MIX ROUNDTABLE In partnership with CDUK

Meet our guests

Jane Maciver

Morag Morrison

Sarah Laurisch

Alexandra Ewart

Jane has led award-winning projects across retail, F&B and hospitality at home and overseas for over 16 years, ranging from boutique to commercial. These include the Inter Continental and Hyatt Centre hotels in Davos and Madrid respectively. As Creative Director, Jane is overseeing all interior design work for Buckley Gray Yeoman and is currently leading the design of numerous hospitality projects throughout Europe, as well as commercial and residential projects.

Morag is an interior designer and brings a fresh perspective to every project. She looks at buildings through the eyes of the user, and works with them to define the character of their environment. More recently, Morag has been studying new technologies in lighting design and intelligent building systems, and uses her knowledge to bridge the gap between designers and engineers. She is a strong advocate of collaborations between designers and artists, with her dedication and vision instrumental on ‘Saltbridges’ – the practice’s largest public arts programme to date.

Sarah has 20 years’ design experience under her belt, having worked on a range of large-scale projects, including hospitals and schools, with particular experience in office fit-out, space planning and office strategy design. Key to her style is effective communication with her audience – whether her team members, industry professionals or client users and stakeholders. She has a unique fusion of practical skill and creative ability that will ensure an excellent project is achieved.

Alexandra is an ARB, RIBA Chartered Architect with a demonstrated history of working in the design and construction industry in both small- and medium-sized practices. She is particularly interested in listed buildings and refurbishments as well as prime/super prime residential and commercial hotel developments. At Jestico + Whiles, Alexandra focuses on hospitality developments including W Hotel Edinburgh as part of the larger St James’ Square redevelopments, ‘ARVIA’ Cruise Liner for P+O/ Carnival, and Hotel Palace Lucerne for Mandarin Oriental.

Megan Ashfield

Bridget Munro

Andy Noble

From her studies at university, Megan’s interest has always focused on the detailed design of large scale entertainment destinations – the competitor and performer requirements, the spectator and audience experience, and the back of house support facilities and processes that enable the effective staging of major events. Megan joined Populous in 1990, working on projects in Europe and Australia. Megan was part of the project lead design team for Tottenham Hotspur Stadium.

Over the past 15 years, Bridget’s architectural tasks and responsibilities have ranged from competition design and team management to technical detailing and contract administration. Bridget has worked on an array of projects diverse in scale, audience and geography, including masterplans, a botanic garden, commercial buildings, university buildings, private and multi-family residences, and an embassy. Over the past four decades, RSHP has attracted critical acclaim and awards with built projects across Europe, the Americas, Asia and Australia.

Andy has worked for CDUK for more than eight years as Sales

Creative Director Buckley Gray Yeoman

Principal Populous

Partner & Head of Interiors Hawkins/Brown

Senior Architect Rogers Stirk Harbour + Partners

Associate Partner ID:SR Sheppard Robson

Architect Jestico + Whiles

Divisional Managing Director CDUK

Director and now as Divisional Managing Director. He manages the supply of surface design solutions to commercial and residential projects in the UK and Ireland. Andy successfully co-led CDUK’s rebrand in 2021, paving the way for the company’s ambitious growth plans with his extensive industry experience and market knowledge.

In partnership with

CASE STUDY Bureau

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CASE LIVING STUDY Property Bureau

Bureau Investigation We first brought news of the Design District back early in 2020. A lot has happened since then, of course, both in terms of the way we work and interact. An awful lot has also changed in Greenwich, where Design District has moved from exciting prospect to creative destination.

A variety of workspaces accommodate all types and styles of creative work – from open, collaborative and energetic, through to quiet, calm and concentrated

e’re back to take a first look at Bureau – the new workspace and members’ club for London’s creative industries, which occupies two purpose-designed buildings here on the Greenwich Peninsula. Bureau is described as an affordable and dynamic space to collaborate, exchange ideas, socialise, and engage with the surrounding creative ecosystem of Design District. Bureau’s innovative and versatile model of membership is designed to nurture and connect the community, leading to a stronger future for creativity in London and beyond. Opening in September, Bureau is designed to offer freelancers, start-ups and independent creatives flexible workspace to develop and run their businesses, and allows larger organisations to offer their employees an alternative to the conventional office. With almost every survey and study suggesting that more of us are looking for greater flexibility in our working lives, Bureau represents an inviting solution to the return-to-work dilemma: a ‘third space’ that offers the social benefits of the office, without the formality; think working from home, with better facilities and fewer distractions.

After 18 months of uncertainty that saw many in the creative industries having to rethink their way of working, Bureau aims to give freelancers and entrepreneurs from all creative disciplines and walks of life a place where they can work, exchange ideas and collaborate across disciplinary boundaries. Starting at £80 pcm, Bureau membership gives access to workspaces ranging from tables in communal lounges, hot desking options and fixed desks for individuals, through to private fulland part-time serviced studios for teams of up to 10 people. Having developed the Bureau concept over the course of the pandemic, the Design District team has not only been able to ensure COVID-safety protocols and precautions are in place, they’ve also been able to address some of the issues that working from home has brought to the fore. To ensure the site is never overcrowded, special operational software ensures a limit on the number of members permitted in Bureau each day. The software informs members of how busy the site is at any given time, so they can decide if and when to attend. And, in response to the new working

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CASE STUDY Bureau

below Workspaces feature informal spots for people to grab a coffee and a catch-up with other members

“

The project was delivered with a geographically dispersed team, aggressive timeline and the challenges of working during lockdown

”

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behaviours that have emerged from lockdown, interior designer Roz Barr has ensured there are flexible spaces for different types of work, as well as plenty of dedicated areas for video conferencing and private Zoom calls. As well as plenty of space to work, members have access to everything they need to grow their businesses. The ample selection of meeting rooms includes acoustically adapted suites for video conferencing, accessed through a simple-to-use online booking system and at exclusive member rates. Breakout spaces include four distinctive lounge areas, as well as outdoor terraces and patios. The Salon can be transformed into a cinema for film screenings, and a dedicated event space is available for professional and social occasions of varying scales. State-of-the-art office facilities include 6th-generation WiFi and free printing, whilst specialist professional

professional development, networking and creative stimulation. The Bureau restaurant is the social heart of the space, offering members a wide range of exceptional food and drink options, and is available to hire for special events. The creative sector is, of course, a complex, multidisciplinary family of industries that deserves a dedicated space consciously tailored to its particular needs. Bureau aims to provide just that. Everything – from the layout of the spaces and the events programme to the weekly communal no-tech lunches – is geared to encourage members to (safely) make connections across disciplines, allowing for those inspiring moments of serendipity that can only occur in shared spaces – a key creative driver that is almost impossible to replicate when working from home (and the coffee’s probably better, too).

facilities include photographic studios, post-production suites and a sound studio. A dedicated programme for Bureau members offers both professional guidance and wellbeing support, while a wide-ranging calendar of events, talks and workshops, curated by Bureau alongside industry leaders, provides opportunities for

As part of Bureau, members are placed in the midst of a creative ecosystem: the wider Design District community. The entire district has, like Bureau, been designed to nurture inter-disciplinary connection and collaboration, and members will be in the heart of a dynamic and inspiring environment.

CASE STUDY Bureau

below The honest and utilitarian but sophisticated aesthetic of the space is set by Roz Barr’s approach to materials ‘We want Bureau to be Design District in microcosm – somewhere that nurtures a diverse and dynamic creative community, giving freelancers a space to grow their businesses, connect across disciplines, build networks and advance their careers,’ says Helen Arvanitakis, Director of Design District. Indeed, Bureau is consciously structured to provide a pathway for professional growth: members can use Bureau to grow their practice, ascending membership tiers from hot desk to serviced studio as they evolve, then move out to take tenancy of a Design District workspace when their business is fully fledged. Bureau memberships can also serve larger international organisations that are exploring work-from-home alternatives for their teams, enabling staff to take advantage of a flexible, closer-to-home workspace, while requiring minimal company investment. Bureau spans two of the 16 buildings that make up Design District. C3, designed by HNNA, has an undulating form with an irregular white exterior interspersed with

large, irregular windows. An inwardly falling roof on the top floor creates a pair of courtyards that serve as alfresco workspaces for members. C3 houses the restaurant and main members’ lounge and – thanks to its position at the entrance to Design District – its reception serves as the front desk for the whole neighbourhood. Next door, D1 (by Architecture 00) has floor to ceiling windows throughout and open air terraces for circulation. With an array of versatile workspaces, D1 is ideal for members seeking to undertake more focused work, and also includes Bureau’s events space. The interiors of both Bureau buildings are, as mentioned earlier, the work of Roz Barr Architects, and consciously include a wide variety of workspaces to accommodate all types and styles of creative work – from open, collaborative and energetic, through to quiet, calm and concentrated. Roz has taken pains to ensure that each workspace is laid out and equipped to meet members’ needs. They feature intelligent design with controllable task lighting, breakout areas for meetings, acoustically optimised Zoom meeting rooms, spaces for private phone conversations, and informal spots to grab a coffee and a catch-up with other members – a perk that those of us working from home will have missed out on. ‘Our design for Bureau recognises the fact that the way we work and how we use office space is

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Client Bureau Architects HNNA / Architecture 00 Interior Design Roz Barr Architects Furniture Hay, Richard Lampert, Philippe Malouin, Very Good and Proper Flooring Forbo Worksurfaces Smile Plastics

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CASE STUDY Bureau

top & above Bureau’s innovative furniture selection includes pieces by some of the most respected designers in Britain and beyond

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changing,’ Roz explains. ‘It’s not about rows of booths and cubicles any more – we need places where we can connect with each other, build ideas together, and enjoy the magic of chance and happenstance. Above all else, Bureau is somewhere people can meet, work, converse and engage, and every aspect of its design encourages these things to happen.’ The honest and utilitarian but sophisticated aesthetic of the space is set by Roz’s approach to materials – many of which are unexpected in an interior setting. Exposed galvanised stud walls and fibrous cement board are juxtaposed with Marmoleum on the floors and walls, and digitally printed carpets and rugs. Sustainability has steered the material selection. The Marmoleum, from Forbo, is made from 97% recycled materials and is carbon-neutral. Natural fabrics have been used throughout the space. Sheet materials from small Welsh business, Smile Plastics, have been used for the worksurfaces, and recycled

plastics also feature in the joinery. Bureau’s innovative furniture selection includes pieces by some of the most respected designers in Britain and beyond, including work by the likes of Hay, Stuttgart-based Richard Lampert and British-Canadian, Philippe Malouin. Desks are fitted with diecast aluminium legs from London manufacturer Very Good and Proper. Consideration of COVID-19 has also been factored into the design, and Roz and the team have ensured that the internal spaces are adaptable, as well as paying attention to cross-ventilation throughout the spaces – effectively, everything is recycled but the air. Set just a few seconds’ stroll from North Greenwich Tube station, Bureau is one of the most financially accessible facilities of its kind in the capital. Whereas some clubs can typically charge their members £200 a month or more, Bureau delivers a comparable service for as little as £80 a month! Now that’s the kind of value engineering we can buy into!w

CASE STUDY The Glenlivet

Whisky Galore The Glenlivet, the iconic Scottish single malt whisky maker, has undergone a major renovation of its distillery in Speyside to incorporate a cutting edge and evocative new 855 sq m visitor centre.

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TThe Sample Room – The Glenlivet’s premium retail space – is arranged like an oldfashioned apothecary, with a central wooden display of the finest whisky collections

CASE STUDY LIVING The Property Glenlivet

below The Smugglers Hideout is an elevated private space for tasting the finest bottles of The Glenlivet

he new centre, designed by Blacksheep, immerses guests in The Glenlivet’s rich history. Created by George Smith in 1824, The Glenlivet is the original Speyside single malt, renowned for its heritage as a visionary within the single malt category and contributing to the biggest volume growth of the single malt category worldwide. Harnessing raw materials directly from nature, Blacksheep has crafted a distinctive and dynamic visitor experience. The Blacksheep team has articulated the rich authenticity of The Glenlivet brand and, with a focus on hospitality, has broken down whisky traditions to define a series of innovative experiences that expand the enjoyment of whisky to a new generation. The result is an intimate and welcoming new home for The Glenlivet. ‘The visitor centre is spread over the ground and lower floors of the distillery,’ Blacksheep’s Tim Mutton tells us. ‘We were responsible for the interior and experience design, which takes direct inspiration from the wilderness of the Cairngorms National Park landscape that

surrounds The Glenlivet Estate in which the distillery sits. ‘We hadn’t worked for The Glenlivet before – this was our first time. We had wanted to create a distillery or winery experience for some time, so it was an incredible opportunity to be asked to get involved. We feel that what set Blacksheep apart was that the Founders and Head of Brand both grew up in Scotland and had a love for whisky and, as an agency, we have a deep understanding and respect for the food, drink, and hospitality industry. We understand our involvement with the Hyundai Cooking Library set us apart. ‘The design process took just under a year and a half, while the build took just a little under six months – so it was a two-year project in total. Each had its challenges and difficulties, as we had never undertaken a project of this nature. There are many interesting stories that got us to the final result, particularly with the application of the lime wash paint and the choosing of the green marble slabs and making sure they would be delivered and applied in such a remote location. On one site visit during January,

all the water froze in the pipes and the site operatives had to work near gas heaters to keep warm.’ We ask Tim to tell us a little more about the design process here. ‘We received a client brief and a deep immersion session and, while we very much respected what was given to us, we feel that it’s a design agency’s responsibility to look beyond the brief and surprise and delight a client partner and to help them see things in a more dynamic and successful way,’ he reveals. ‘We set out to make The Glenlivet Distillery the number one whisky experience in Speyside for both guests and staff. We wanted to communicate and embrace The Glenlivet brand vision and mission into a unique set of design sensibilities in an engaging and eloquent way. We also wanted to make the new visitor experience centre in Speyside a modern dynamic destination within the international whisky market. ‘The concept was conceived with a deep understanding of The Glenlivet brand. This involved multiple trips to Speyside, as well as visiting and auditing all other relevant

Mix 216 October 2021 | 79

CASE STUDY The Glenlivet

below The Lounge includes a display of George Smith, the Founder of The Glenlivet, while his original pistols are presented in a bespoke cabinet

“

We had wanted to create a distillery or winery experience for some time, so it was an incredible opportunity to be asked to get involved

”

80 | Mix 216 October 2021

whisky distillery experiences. The concept creation and development was a highly collaborative process with the whole team. This culminated in the choice of implementing a contractor, makers and producers to deliver a truly unique and inspirational experience linked to The Glenlivet. What were the greatest challenges for the team? ‘Due to the remoteness of the location, there were some logistical issues. But, overall, the project ran very smoothly, and working with Elmwood Projects and the whole project and client team was a great collaborative experience. We are all very proud with the end result.’ Visitors enter the experience at the reception, where they are greeted by a spectacular custom chandelier – by London based florist, Grandirosa – which is made from local dried wildflowers. This sits above a large table with hand turned legs designed by Blacksheep and made by Glasgow’s Elmwood Projects from antique bleached oak. From here, visitors then embark on a guided explorative journey through a series of spaces that bring the story of The Glenlivet to life.

To the left of the reception lies the Lounge, which acts as a waiting area ahead of the tour and features comfortable sofas and armchairs in a blue upholstered fabric. These are complemented by leather lounge chairs and deep-buttoned poufs. An intricate, bespoke, hand-crafted plasterwork inspired by Scottish foliage and nature, created by the master craftspeople at Locker & Riley, sits above a feature working fireplace, giving the room a welcoming domestic ambience. The Lounge also includes a display of George Smith, the Founder of The Glenlivet, and his original pistols from The Glenlivet’s historical archive are presented in a bespoke cabinet, which has been designed by Blacksheep. All the paintings on display are from The Glenlivet’s private collection, further adding to their story. The History Room can be found by the entrance to the Speyside Room, and features a triple height illuminated bottle wall alongside graphics of the key people in The Glenlivet story. A concealed sliding door hides the entrance to the Speyside Room and beyond.

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CASE STUDY The Glenlivet

below A sculptural central display rises from the table in the Tasting Room, displaying a selection of The Glenlivet whiskies

Client The Glenlivet Design Blacksheep Hand Crafted Plasterwork Locker & Riley Reception Table Elmwood Projects Floral Chandelier Grandirosa Bespoke Whisky Cabinet Blacksheep Custom Lighting Scheme Into Lighting Ceramic Floor Helen Miles

“

On one site visit during January, all the water froze in the pipes and the site operatives had to work near gas heaters to keep warm

”

82 | Mix 216 October 2021

The Speyside Room, which Tim tells us his favourite element of the scheme, features a dramatically sweeping indoor field of barley, also by Grandirosa. This is the whisky’s key ingredient and has been harvested and preserved at one of the local farms that supplies The Glenlivet. The walls of the space feature large LED screens that tell visitors more of the story. Distinctive stained oak hand carved panelling has been used throughout, evoking the inside of a whisky barrel and adding to the overall ambience of the space. Blacksheep also developed a 3D routed landscape of the Glenlivet valley, overlaid by a motion graphic projection, bringing the distillery’s local area to life. The Provenance Room provides visitors with an interactive masterclass in the distillation process. Set within one of the original washback drums, the room features a digital animated ceiling and stone water pump, enabling tasters to immerse themselves in the manufacturing process.

theatrical purpose. Copper inlayed tasting notes on the countertop provide tasters with background on the whiskies being sampled. The Sample Room is The Glenlivet’s premium retail space. It is arranged like an old-fashioned apothecary, with a central wooden display of The Glenlivet’s finest collections. At its centre sits The Winchester, a £19K bottle of The Glenlivet whisky in a bespoke cabinet, again designed by Blacksheep. The Provision Room is The Glenlivet’s second retail space, offering an extensive range of whiskies including the Distillery Reserve Collection. The Drawing Room, The Glenlivet’s atmospheric and relaxed onsite bar, echoes the design of the Lounge, with a series of sofas in red fabric and lounge chairs with customised upholstery. Here, visitors can sit and enjoy some of The Glenlivet’s definitive single malts, whilst admiring a bespoke mosaic floor by Scottish artist and ceramic maker, Helen Miles, which

The Tasting Room is a dramatic circular space with a round custom walnut table at its centre. A sculptural central display rises from the table displaying a selection of The Glenlivet whiskies. The room is wrapped with a circular walnut counter and stools, which face the central table, reinforcing the room’s

celebrates Scottish history. A large custom drinks cabinet in the room is inspired by the work of Charles Rennie Mackintosh. The Smugglers Hideout is an elevated private space for tasting the finest bottles of The Glenlivet, which can also be used as a private space for a

CASE STUDY The Glenlivet

unique tasting experience and features another custom dried flower chandelier and a custom oak counter fronted by eight leather topped bar stools. The walls are wrapped in bespoke wooden shelving, which display 83 hand-crafted clay pots by Whichford Pottery, created to replicate those that were historically used to smuggle The Glenlivet through the Scottish hillsides many years ago. The visitor experience also includes The Glenlivet Warehouse, featuring the distillery’s whisky casks. A custom lighting scheme by Into Lighting brings a touch of drama to the space and celebrates the casks’ precious contents. Following in the footsteps of its founder, George Smith, and his legendary hospitality, the new visitor centre reflects his high standards and welcoming nature. Using innovative technology, combined with exclusive bottlings, immersive tours and whisky tastings, the new space brings visitors an experience like no other. From exploring the art of whisky making and showcasing rare editions, to reflecting The Glenlivet’s heritage throughout the interiors, the new visitor experience pays homage to be the original mark of quality for Speyside single malt.w

below The Provision Room offers an extensive range of whiskies, including the Distillery Reserve Collection

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THE FINAL WORD

Part-time lovers Having listened to our Prime Minister speak at the Conservative conference and to the message being pushed by other senior leaders in politics and business, Criteo’s Mike Walley is concerned that there is a major disconnect between ‘leaders’ and ‘employees’.

‘T

ime to get off the Peloton and get back to the office’. ‘Being in the office is crucial to career progression’. ‘Working from home is an aberration’. These are a small selection of some of the quotes reported in the press, but it is noticeable that there are no quotes from the employees. I can tell you that their view is very different. Whilst some people want to work at home permanently, most want the flexibility to go to the office one to three days a week. The numbers that want to go back to full-time office working are in a significant minority. There is also a difference between senior leadership and employees, with leaders preferring to work from the office almost 60% of the time, whilst employees prefer an average of 35% of the week in the office. There are leaders who are determinedly looking to ‘get business back to normal’, which is code for ‘I want everyone back at their desks where I can keep an eye on them’. They are in for a shock when their talent leaves to go work for a company that supports hybrid working. Then there are the leaders that have embraced a hybrid working policy, to the delight of their employees, but failed to get the rest of the management on-board with the plan, and so swathes of the business are all pulling in opposite directions. That is the more dangerous problem as,

Mike Walley is Senior Director of Global Real Estate & Workplace Strategy at Criteo 84 | Mix 216 October 2021

superficially, it feels like the business is doing the right thing, but still people are leaving. It’s not until you drill down to team level that you find flexibility is a myth, because team leaders are pushing for attendance at the office through mandated ‘team days’ or the insistence that

all one-to-one meetings should be in person. It is these micro restrictions to flexibility that will leave employees feeling that, ultimately, nothing has changed. They are often justified by claims of supporting the company culture, or supporting creativity and collaboration, but the reality is if you can’t hold your culture or creativity and collaboration together and be flexible in your working practises then you are doing something wrong. Many of the arguments I am hearing today, around cohesion of the company and disruption to the workplace with hybrid working, were first mooted in 1911 when the Trades Union Congress first proposed paid holiday for the working masses. There was a national outcry, with opposition from the government and employers. Forward thinking companies began to put policies in place, entitling their employees to paid vacation, but it was not until 1938 that the practise was enshrined in law, giving employees the right to one week’s paid holiday per year. I can’t help thinking that those companies who offered holiday had a little less trouble finding employees on the open job market. Of course, holiday entitlement is now firmly part of the working landscape and has created a travel industry worth billions every year. It didn’t destroy business or lead to a collapse in society as was suggested at the time – as it was with many other pivotal moments in society (universal suffrage, equal pay for women, punk rock), and so it will be for hybrid working. Our children will look back in wonder, saying… ‘Really? Every day? You went to the office every single day? Why?’ w

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