Xavier Smales | Dissertation | Serious Play at Work | Newcastle University 2016 by Xavier Smales

Serious Play at Work

do stimulating work environments enable creativity to flourish?

Front page image: Interior of â&#x20AC;&#x2DC;Office in the Woodsâ&#x20AC;&#x2122; by SelgasCano A dissertation submitted as part of the BA Architecture Honours degree, Newcastle University, 2016

Serious Play at Work:

Do Stimulating Work Environments Enable Creativity to Flourish? Written by Xavier Smales

120194900 / Newcastle University

Acknowledgements I would like to take this opportunity to thank Sam Aldenton, Jose Selgas and Lucia Cano for taking the time to share their extensive knowledge on the subject. I was fortunate enough to visit ‘Second Home’ numerous times and meet the people behind the great environment. The design of ‘Second Home’ inspired me to write this paper and I’ve been fascinated by your architecture ever since. I would also like to express my gratitude to my dissertation tutors, Armelle Tardiveau and Daniel Mallo. I particularly enjoyed our group meetings throughout the research process and your guidance, enthusiasm and reliability were a great motivation for this independent study.

Abstract Having visited and researched a number of contemporary offices, it is clear that the idea of the traditional office is changing as designers explore more unconventional ways of working. New work environments like Second Home- designed by Selgas Cano (2014)- have pioneered alternative ideas about the workplace, redefining where we work and how we work together. With advancing technology producing unlimited amounts of information, how to use it all creatively has become an area of interest. This paper explores the idea that the environment, both physical and cultural, can make or break creativity as certain conditions can help people form ideas more easily. The physical surroundings are crucial in the design of stimulating spaces, as appealing to senses is a key way of inspiring people. To investigate the psychological impact of architectural details, I look at the effects of space, materialiality, colour, natural systems and organizational layout on the creative process. The way we design also influences the activity and atmosphere of work place; it is clear the social side of work is hugely important. This paper discusses the importance of play in the workplace, not in the classical sense of playing a game, but how play and creativity compliment each other. In the search for a more enjoyable experience at work, facilitating play among other forms of social interaction can enhance the creative process whilst changing the culture of the office.

List of Illustrations Figure 1: Homo Ludens 22, Katrin Korfman, <https://s-media-cache ak0.pinimg.com/originals/d7/f7/ f5/d7f7f54c5657df4ed4aa253723ce5fcd.jpg> [accessed 19 January 2016] Figure 2: De Gedroomde, Constant Nieuwenhuys, <http://fd.nl/fd-persoonlijk/1133025/de-gedroomde-stad-van-constant-nieuwenhuys> [accessed 19 January 2016] Figure 3: Cubicle desk, http://www.linkiesta.it/it/article/2013/07/01/ecco-perche-il-welfare-ci-rendetutti-un-po-schiavi/14780/ Figure 4: Ceiling Panels<http://www.bennettscarpets.com/commercial.html> [accessed 20 January 2016] Figure 5: Layout diagram, Laing, Andrew, and Francis Duffy, New Environments for Working(London: Taylor & Francis Group, 2004) P.30 Figure 6: Wink Office, Designs, Stone, ‘Wink’, 2014 <http://www.stone-dsgns.com/en/interiors/wink/> [accessed 19 January 2016] Figure 7,8: Bergen Office detailPlunkett, Drew, and Olga Reid, Detail in Contemporary Office Design(United Kingdom: Laurence King Publishing, 2014, P.72 Figure 9: Staircase, ‘Alec French Architects’ <http://www.alecfrench.co.uk/> [accessed 20 January 2016] Figure 10: Mexx Office, ‘Amparo Martinez-Medina’ <https://uk.pinterest.com/amartinezmedina/> [accessed 20 January 2016] Figure 11: Office in the Woods, <http://www.selgascano.net>[accessed 20 January 2016] Figure 12: David McManus, ‘Teletech Campus Dijon - Amora Lab, Dijon Call Centre’, France (e-architect, 2010) <http://www.e-architect.co.uk/france/teletech-campus-dijon> [accessed 19 January 2016] Figure 13, 14,15, 16: ‘Pasona Urban Farm by Kono Designs’, All (Dezeen, 2013) <http://www.dezeen. com/2013/09/12/pasona-urban-farm-by-kono-designs/> [accessed 19 January 2016]

Figure 17: James Tyrell, Guggenheim, https://uk.pinterest.com/pin/138556126012514385/ Figure 18: ‘Rotterdam Eneco Headquarters’ (Interiii, 2015) <http://interiii.com/2013/04/rotterdam-eneco-headquarters-design-by-hofman-dujardin-architects-and-fokkemapartners/> [accessed 19 January 2016] Figure 19,20,21,22: Second home interiors, <http://secondhome.io/gallery/> [accessed 20 January 2016] Figure 23: Aol Office, <http://officesnapshots.com/wp-content/uploads/2011/06/CCP9JRL.jpg> [accessed 20 January 2016] Figure 24: Slides, ‘Aktivitetshus’, 2015 <http://www.funkibator.se/aktivitetshus.html> [accessed 20 January 2016] Figure 25: Ski Pods, Google Zurich, <http://pirojok.net/interesting/20670-ofis-mechta.html> [accessed 19 January 2016] Figure 26: Reception, Markus Nonn, <http://eightinc.com/insights/disneyfication-workplace-design> [accessed 20 January 2016] Figure 27: Internship poster, http://www.megalyrics.ru/posts/kino/2013-05-30-priemiery-iiunia-ptdot-1 Figure 28: Thuis, Pathé, ‘WEEKEND! Having a Beer with Your Boss? YES/NO’,Twitter (Twitter, 2013) <https://twitter.com/pathethuis/status/414067026273902592> [accessed 20 January 2016] Figure 29,30,31,32: Google London interiors: <http://static.dezeen.com/uploads/2012/07/dezeen_ Google-Super-HQ-by-PENSON_3.jpg> [accessed 20 January 2016] Figure 33: ‘Dtac House / Hassell’ (ArchDaily, 2011) <http://www.archdaily.com/105464/dtac-househassell> [accessed 20 January 2016] Firgure 34: ‘WIRED - Meet the Superstar Architect Transforming NYC’s Skyline’ <http://www.storyclash.com/Meet-the-Superstar-Architect-Transforming-NYCs-Skyline-5448948> [accessed 20 January 2016]

Contents 4

Acknowledgements

Abstract

6-7

Illustrations Structure of the Paper

9 10 11 12 13 14 15

Chapter One: Setting the Scene Man the Player Creativity & Play A Ludic Society: New Babylon 2016: The Digital Age The Traditional Office

16 18 19 20

Chapter Two: The Layout of the Workplace Shared Space for Creative Teamwork Adaptable Space Spontaneous Interaction Spaces for contemplation and reflection

22 24 26 28

Chapter Three: Sensory Stimulation Cue-rich Environment Biophilic Design Colour Case- Study: Second Home

Chapter Four: Workplace Activity & Culture 32 Google, Play & ‘Disneyfication’ Comfort & Creativity 36 Healthier & Happier 38 How much should the Office Provide? 39 40

Chapter Five: Conclusion

Bibliography

Structure of the Essay This paper considers the characteristics that make up a stimulating work environment. The First chapter provides context for the study and frames the arguments in the latter chapters. Chapters two, three and four form the substance of the argument, each covering a different theme through which the different aspects of stimulating work environments are analysed. ‘The Layout of the Workplace’ is about organization of space and ways the layout can influence communication amongst the occupants. To illustrate this, I use a number of precedents to show how providing a diverse range of spaces in a work environment can promote idea exchange and help ideas form more easily. The experiential qualities of architecture are explored in depth in ‘Sensory Stimulation’. What visual and spatial qualities can inspire and uplift people? I focus on specific parts of the physical environment that have stimulating or cathartic qualities that enhance the creative process. ‘Second Home’ is the main case study in this section. In ‘Workplace Activity & Culture’ I look at what kind of atmosphere is needed to facilitate creativity. Using Google as the main model, the role of play in the workplace is questioned, as the I assess the benefits and difficulties of ‘fun’ workplaces. This chapter also explore the link between creativity and the employees well-being, and questions how much the office can influence this. Chapter five brings together the different findings to directly address the question: Do stimulating work environments enable creativity to flourish? I draw upon a range of examples to make the argument that stimulating architecture can inspire and create creative cultures in a number of ways. I then comment on the wider implications of these findings on the architecture of future work environments.

Chapter One: Setting the Scene

Figure 1: Homo Ludens 22, Katrin Korfman

“Genuine, pure play is one of the main bases of civilization” “[Civilization] arises in and as play, and never leaves it”1 Johan Huizinga

1.1. Man the Player

In his 1938 text Homo Ludens, Johan Huizinga discusses the importance of the play element in society. He does not provide a simple definition of play but he claims it is a voluntary activity, a kind of freedom. Play has a dual sense of freedom: it is something freely engaged in and something that is an expression of one’s freedom.2 Play has its own space, its own time and runs its course as it has a beginning and an end. For many games, this time is not parallel to ‘real’ time. For example, in chess, three minutes seems much longer when the player immersed in the game. The player can take play seriously because through rules an order is created. Within the game, the rules and the play are absorbing despite being arbitrary. Therefore, a paradoxical concept of Serious Play arises. Huizinga observed that it is during play we learn many of the fundamental forms of social life. Furthermore, he argued that through play society expresses its interpretation of life and the world, and that civilization itself arises and develops as play progresses. Play is essential to everyday life and as players of life we are Homo Ludens, meaning ‘man the player’. Play is a necessary condition of the generation of culture, and our society progresses as we play more.3 This notion is supported by contemporary developmental psychology, which stresses the importance of play in the adaptive processes of human growth. Areas of development from play include autonomy, independence, and the ability for children interact with the world outside their immediate life space.4

1 2 3 4

Huizinga, Johan H., and J Huizinga, Homo Ludens: A Study of the Play-Element in Culture (London: Routledge, 1998), P.5 & P.173 Klein, Shawn, and View my complete profile, ‘Philosophy Blog’, 2013 <http://www.philosophyblog.com/2013/01/review-homo-ludens- study-of- play.html> [accessed 17 January 2016] Grabow, Stephen, and Kent Spreckelmeyer, The Architecture of Use: Aesthetics and Function in Architectural Design (United Kingdom: Rout ledge, 2014) <http://www.playengland.org.uk/media/371031/a-world-without-play-literature-review-2012.pdf> [accessed 18 January 2016]

1.2. Creativity and Play ‘Everyday creativity involves attacking day to day activities in a divergent way: It derives from a complex of cognitive, affective, personal, motivational, and social factors, and is characterized by openness, flexibility, autonomy, playfulness, humor, willingness to take risks and perseverance’5 Stephen Nachmanovitch argues that play is the starting point of creativity in the human growth cycle, and one of the primal life functions because ‘without play, learning and evolution are impossible’.6 He claims that play is the root of creativity as original art comes from creative play; it is ‘raw stuff that the artist channels’7 and organizes alongside the techniques she has learnt. Creative play is how we play with our imagination to transcend thoughts in the current state, to create a higher state. When learning guitar, a person may experiment by plucking new strings until they discover a chord, thereby taking that possibility of what the instrument can sound like to a higher level. A person might wonder about things which are not yet known and play with unproven ideas as a bridge to the discovery of new knowledge.8 The creative process of designing architecture is certainly playful. Architects come up with an idea that provides the 3D form, then we play with and test the idea by constantly re-modelling and re-drawing. Experimenting helps designers to find creative solutions when they hit a design block. Playfulness can help to remove serious attitudes that impede brainstorming or artistic experimentation in design. Someone might feel embarrassed about their bold design idea despite it being perfectly valid as one of the things we tend to do as adults is to self-edit our ideas as they are formed. That ability just to ‘go for it’ and explore ideas is something that kids do well. This exploration into the unknown is a form of creative play.9 A good example of creative play is learning through making. A study of American 6 year olds found that 50% learning is spent constructing, for example using Lego blocks.10 Maintaining our child-like commitment to play as adults in the face of adult responsibilities should be encouraged in order to enhance our creative work. Playful Spaces elicit a lightness of being that opens up lines of communication between people, helps them try new things and lift spirits.11 In creative work there is a constant search for new inspiration and ideas; play is a way to accelerate this process. Creative inspiration can’t be quantified; it can occur at any moment and is entirely subjective, but certain environments are arguably more stimulating than others, as I will explore further.

5 6 7 8 9 10 11

Cropley, Arthur J., ‘Creativity and Mental Health in Everyday Life’,Creativity Research Journal, 3 (1990), 167–78 http://dx.doi. org/10.1080/10400419009534351, Abstract Nachmanovitch, Stephen, and Nachmanovitch Stephen, Free Play: Improvisation in Life and Art (Los Angeles: Distributed by St. Martin’s Press,1990), P.42 Ibid, P.42 <https://en.wikipedia.org/wiki/Play_(activity)> [accessed 17 January 2016] Brown, Tim, ‘Tales of Creativity and Play’ (Google+, 2008) <http://www.ted.com/talks/tim_brown_on_creativity_and_play?lan guage=en#t-1346483> [accessed 17 January 2016] Ibid Groves, Kursty, and Will Knight, I Wish I Worked There! A Look inside the Creative Spaces of the World’s Most Famous Brands (United King dom: John Wiley & Sons, 2010), P.14

1.3. A Ludic Society: New Babylon From 1956-1974 The Dutch artist Constant Nieuwenhuys proposed a new approach to architecture and planning to find out what potential art can provide in intensifying daily life, in which there is room for creative expression. Abandoning his life as a painter, Nieuwenhuys worked on his New Babylon for the rest of his life, culminating in a series of models, constructions, drawings, collages, plans and text expressing theories on urban development and social interaction. New Babylon would be a ‘world wide city for the future’12 where land is owned collectively and the need to work switched with a nomadic life of creative play. Figure 2: De Gedroomde, Constant Nieuwenhuys

In his designs a vast network of enormous multilevel spaces covers the earths surface. These interconnected ‘sectors’ float above the ground on tall columns, and occupants endlessly reconstruct the architecture.13 Every aspect of the environment can be controlled and reconfigured spontaneously by anyone. Social life becomes spatial play and design becomes a flickering display of interacting desires.14 New Babylon is inspired by the idea that creating lines in architecture is violent15. In speculating on the arrival of a ‘ludic society’, Nieuwenhuys presupposes that human beings feel the need to manifest their creativity as a necessity, arguing this is not satisfied in his static society. Nieuwenhuys argues that in his new society the creativity of humans should be harnessed until it is a primary instinct again. The only education favorable to pure creation is that which frees the development of creativity. Homo Ludens dispenses with education; he learns by playing.16 Nieuwenhuys sees everyone as nomadic people who constantly create in order to better themselves and society. The ideas presented in New Babylon are not just architectural but propose a fundamental change to society. Although forty years old, New Babylon acts as a stimulating reference point for our ongoing conversation about the strategic role of play in social life. If we are inherently playful as human beings perhaps our society should enable us to fulfill our creative desires? How this could manifest itself is unclear but I think New Babylon can inspire us to think seriously about the need to facilitate play in architecture. As Nieuwenhuys argued that creativity should be harnessed until it is integral instinct, perhaps his ideas on spontaneity, freedom and play provide insight on how architecture can allow foster this spirit.

12 13 14 15 16

Smith, Assoc Prof Dianne, and Lynn Churchill, eds., Occupation: Ruin, Repudiation, Revolution: Constructed Space Conceptualized (United King dom: Ashgate Publishing, 2015) P.123 ‘Constant – New Babylon’ <http://www.wdw.nl/event/constant-new-babylon/> [accessed 17 January 2016] ‘Constant Nieuwenhuis: New Babylon’ <http://www.notbored.org/new-babylon.html> [accessed 17 January 2016] Art Basel, ‘Salon | Architect Talk | Constant’s New Babylon’, YouTube(YouTube, 2015) <https://www.youtube.com/watch?v=Bgv4cL77n38> [ac cessed 17 January 2016] ‘Constant Nieuwenhuis: New Babylon’ <http://www.notbored.org/new-babylon.html> [accessed 17 January 2016]

1.4. 2016: The Digital Age ‘New Babylon’ proposes ideas about a ludic society in 1974 so it is important to look at the fundamental differences of society in 2016. One prominent shift is the the dominance of the internet. The computer is now both the basic work tool and the basic recreational tool, and therefore blurs the distinction between work and leisure. Many young people now cannot remember a time before the Internet and have developed a kind of pathological relationship to the technology via their smartphones and laptops. Furthermore, computer gaming has now overtaken physical games as the dominant form of play: virtual reality has become so normal to this generation that it has debatably altered the way we perceive the world. A study of hundreds of gamers suggested that intensive playing can result in misperceptions and visual distortions of real-life objects and environments.17 The amount of information the human brain takes in- specifically visual information- has significantly increased, as well as our hunger for quick data. It is common to see people choose fast data over slower mediums such as book or just talking face to face. People endlessly look at striking images on apps like Instagram or on websites such as Pinterest, processing a huge amount of exciting content. These massive changes arguably affect how we are inspired and are able to use our imagination. ‘[internet/gaming] will undermine their ability [young people] to suspend disbelief in some of those collective nodes of imagination’18 Will Self Will Self suggests that young people may be losing the motivation to think about the unreal, which is a key part of imagination. As they are familiarized to the virtual world from an early age, arguably children now require greater stimulus to inspire creative thought. In order to inspire us visually, architecture may need to become more unique to capture the imagination of a generation consumed by virtual reality. Arguably, the more virtual the world becomes, the more the physical is needed as its counterweight it.19

17 18 19

Ortiz de Gortari, Angelica B., and Mark D. Griffiths, ‘Altered Visual Perception in Game Transfer Phenomena: An Empirical Self-Report Study’, In ternational Journal of Human-Computer Interaction, 30 (2013), <http://dx.doi.org/10.1080/10447318.2013.839900> thinkingindependant, ‘Will Self Internet and Digital Age’, YouTube(YouTube, 2014) <https://www.youtube.com/watch?v=MCdsKcDY1gQ> [accessed 17 January 2016] Moore, Rowan, ‘Second Home Review: A Good Day at the Office’,The Guardian (The Guardian, 14 December 2014) <http://www.theguardian. com/artanddesign/2014/dec/14/second-home-review-london-office-selgas-cano> [accessed 17 January 2016]

1.5. The Traditional Office

Figure 3: The Cubicle desk

Figure 4: Lowered ceiling panels

The benefits of employee well being were first proliferated in the Era of Henry Ford. Due to the success of mass-model production, workers took pride in making cars because the cars were cheap enough for them to buy. By ‘integrating this empowering psychological component into the the job description the gap between what people worked on versus what they desired finally found a common ground’.20 Ford saw that if this could make employers happy, the business would be more productive. However due to the decline in the American manufacturing industry many jobs switched to the service sector. The manufacturing industry partly inspired what we know as the stereotypical office, as the organization of desks reflects the efficiency of a production line. Until recently, the stripped-back aesthetic of the Modernist International Style remained the style of choice. Such interiors were characterized by stacked floors sealed shut to control the air flow, demountable partitions of modular plastic laminate covered wall panels, and the cubicle desk.21 People tried to design more efficient offices in the search for productivity but this back-fired and offices become associated with malaise.

‘The mechanical uniformity popularized during the mid twentieth century provoked feelings of restlessness and burnout from employees. Instead of fostering creativity and diversity, the experience of work life became more monotonous and anonymous’22 In 2016 office buildings still dominate our lives, but ‘New ways of working, new generations of employees and new lifestyles will put new demands on office design’.23 Furthermore, nurturing creativity is seen as key asset in modern offices. With advancing technology producing unlimited amounts of information, how to use it all creatively has become an area of interest. Analysing contemporary creative offices, this paper explores the idea that the environment, both physical and cultural, can make or break creativity as certain conditions can help people form ideas more easily.

20 21 22 23

Borges, Sofia, Work Scape: New Spaces for New Work, ed. by S. Borges, Sven Ehmann, and Robert Klanten (Berlin: Die Gestalten Verlag, 2013), P.3 Plunkett, Drew, and Olga Reid, Detail in Contemporary Office Design(United Kingdom: Laurence King Publishing, 2014) P.6 Borges, Sofia,Work Scape: New Spaces for New Work, P.3 Van Meel, Juriaan, and Paul Vos, ‘Funky Offices: Reflections on Office Design in the “new Economy”’, Journal of Corporate Real Estate, 3 (2001), 322–34 <http://dx.doi.org/10.1108/14630010110811661>

Chapter Two: The Layout of the Workplace ‘The organization of space determines the level of enclosure, adjacencies, proxemics, and territoriality, thus privacy and control, variety and adaptability, flexibility, and legibility’24

2.1. Shared Space for Creative Teamwork Exchange of ideas is a key stage of the creative process so the facilitation of verbal communication is one of the main functions of the office. Formal and informal meetings can encourage communication thus permitting the development of multiple problem solving approaches. However, the amount of interaction people benefit from changes with the nature of the work and the preference of the individual. One employee might be most productive working by a window whilst another prefers to be in a crowded space. Communication can be welcome and positive, contributing to the goals of the organization, or it can be an unwelcome and disturbing, compromising privacy.25 To foster creativity through idea exchange, there are ways by which the the architect can organise the layout of the office to facilitate collaboration without distracting certain employees. Office layouts can be described as Dens, Clubs, Hive and Cells- and each have different work pattern characteristics (see figure 5)26. Hives and Cells are typically used for independent types of work with high concentration or repetition. The Den and Club layouts are designed for a mixture of independent and interactive work, where the team processes are more important. As technology improves, people are increasingly working from laptops, thus changing the dynamic of the office as people can move more freely. The club arrangement is becoming increasingly popular for creative business for the flexibility the layout provides. The Club layout provides for a diverse, complex and adaptive range of settings based on a high variety of tasks. Space must be zoned for activities and planned to suit diverse use that reflects the nature of the team.27

Figure 5.

24 25 26 27 28

Bechtel, Robert B., and Arza Churchman, eds., Handbook of Environmental Psychology, 2nd edn (New York, NY: Wiley, John & Sons, 2002), P 445 Brandt, Peter B, Arthur M Gensler, and Peter B. Br, Office Design(New York: Whitney Library of Design, 1992), P 92 Laing, Andrew, and Francis Duffy, New Environments for Working(London: Taylor & Francis Group, 2004) P.30 Ibid, P 32 <http://www.gensleron.com/work/2013/7/22/genslers-2013-workplace-survey-balance-in-any-environment.html> [accessed 17 January 2016]

In Gensler’s 2013 Workplace Survey, the major conclusion was the need for balance in the workplace. To really drive performance, companies must create work environments where workers can shift between various work modes and feel comfortable working privately or collaborating with colleagues.28 In order to create environments where workers feel comfortable collaborating, the design of shared space is important as it provides space for teamwork to flourish. Shared space acts as a team’s conceptual and technical playground as it can help develop cohesiveness and different problem solving approaches.29 Furthermore, shared spaces can generate a creative identity for the team, allowing people to express themselves more easily. Without space to collaborate the team might struggle to communicate all their ideas. Just bringing people together does not necessarily create a team or enhance creativity, but intelligent spaces can make groups feel comfortable exchanging ideas. In the Wink offices by Stone Designs, the designers created spaces that small teams belonged to, like ‘neighborhoods’ in a town30. Communication between teams is promoted through visual connection between the spaces as occupants are naturally curious to see what other teams are working on. It is easy to navigate between these spaces as opposed to a linear desk plan, meaning people move freely around the spaces.

Figure 6: ‘neighbourhoods’, and a variety of shared space

29 30

McCOY, JANETTA MITCHELL, ‘Linking the Physical Work Environment to Creative Context’, The Journal of Creative Behavior, 39 (2005), P.178 Plunkett, Drew, and Olga Reid, Detail in Contemporary Office Design(United Kingdom: Laurence King Publishing, 2014, P.138

2.2. Adaptable Space: Bergen International Festival Office The designers prioritized flexibility in this work space and proposed that the office should be able to host events. Having flexible spaces means that companies can re-organize the layout of their employees to specifically fit the type of work tasks that are needed. Spaces can be assigned by the nature of the project or the size of the team. An open floor plan was designed to reflect the project based work of the company, and emphasis was placed on adaptability. In planning, the necessary permanent rooms were placed on the edges of the plan to accommodate flexible space in the middle and at either end of the building.31 These open spaces are highly adaptable because there is the option of using a bespoke moveable partition walls to divide the space (see below right). Arrangements include a project office, a dining area, concert room or simply space for temporary workers; the building adapts to the flexible nature of the type of creative work they do.

Figure 7: partition walls can change the layout of the space

The bespoke stairwell fitting is a great example of how an architectural detail can facilitate spontaneous interaction. The original 9 sided enclosure of the stair is wrapped in a new birchframed structure. The deeper volumes of the structure can be used as seating or for storage, cleverly using the circulation space.32 Occupants can use spaces like these as informal breakout spaces where they chat, read or take a moment to think. Figure 8: timber stairwell enclosure

31 32

Plunkett, Drew, and Olga Reid,Â Detail in Contemporary Office Design(United Kingdom: Laurence King Publishing, 2014, P.72 Ibid, P.72

2.3. Space for Spontaneous Interaction In many jobs people require their own desk, but ingenuity can happen away from the the confines of the the private work station. The office can encourage people to interact in areas that facilitate communication; having a wide spectrum of formal or informal environments means random encountering, spontaneous meetings and scheduled sessions can occur.33 In the Aardman Animation Headquarters by Alec French Architects, the building has been arranged with meeting opportunities designed into the corridors and walkways, for people to stop, connect and share their thoughts.34 The stairs are long and wind between the different offices and the walkways have colourful drums where people can pause and sit. People bump into each other and have informal conversations, and the creative director claims it has had an energising effect on creativity. Just promoting interaction on travel routes can enhance the creative process as any form of spontaneous communication can lead to idea exchange.

Figure 9: circulation routes can encourage communication

33 34

‘Linking the Physical Work Environment to Creative Context’, p.178 Groves, Kursty, and Will Knight, I Wish I Worked There! P.23

2.4. Space for Contemplation & Reflection Just as the facilitation of communication is vital for creativity to flourish, the quality of a contemplative space is seen as important to many people. Such spaces are somewhere to recuperate from the stress and noise of the normal working environment; a space prepare for an energetic task; somewhere to relax, create new ideas or simply do nothing.35 Calming environments allow information to filter into the brain so it can make connections. The workplace can become extremely stressful so a new approach is to allow workers to take mini breaks from the desk, which gives people the head space for creative connections to be made.36 Creating Sequestered areas where employees feel like they are removed their desk is not only relaxing but helps them think clearly. The Mexx head office in Amsterdam created contemplation zones for rest and reflection using comfortable, domestic furniture. They used artificial grass and supply a lot natural light to evoke the feelings of calm experienced in a garden, and are frequented as and when people feel the need to break away. A combination of intense desk work and contemplation helps to form ideas as working in the same place all day long can be counterproductive and lead to a sense of discontent. The research in chapter two leads to a conclusion that for creativity to flourish, the workplace should provide a variety of work spaces. The office can provide an ideal environment for every worker as ‘Imaginative ways of allocating space and furnishings can support individual identity needs’.38 Alongside spaces for private work, the layout should if possible include a range of shared space that facilitates collaboration, spontaneous interaction and teamwork. Having adaptable spaces is one way of achieving this as the employer can change the space to cater for diverse types of work. The research suggests that creative environments are dynamic as ingenuity can occur in a number of spaces, such as a reflective spaces or a chaotic shared space. Stimulating workplaces try to increase the chances of ideas being formed by providing a range of environments that hopefully help create the best spatial and social requirements for each unique problem.

35 36 37 38

Myerson, Jeremy, Jo-Anne Bichard, and Alma Erlich, New Demographics, New Workspace: Office Design for the Changing Workforce (Farn ham, Surrey, England: Gower Publishing, 2010), P.128 Groves, Kursty, and Will Knight, I Wish I Worked There!, P.13 Kellert, Stephen R, Judith H Heerwagen, and Martin L Mador,Biophilic Design: The Theory, Science, and Practice of Bringing Buildings to Life (United Kingdom: Wiley, John & Sons, 2008), P.138 McCOY, JANETTA MITCHELL, ‘Linking the Physical Work Environment to Creative Context’, P181

Figure 10: Mexx office breakout space

â&#x20AC;&#x2DC;the workplace is context in which many people regularly and over an extended span of time come to need and find opportunities for restorationâ&#x20AC;&#x2122;37

Chapter Three: Sensory Stimulation ‘A person is not a machine, and as such, needs diverse and meaningful stimulation’ 39 -Sofia Borges Stimulating spaces expose the mind to a variety of stimuli - planned or random - in order to encourage people to think differently’.40 The physical environment can be used to to inspire or to trigger a thought process and the visual and sensory quality of a space can stimulate people emotionally, creating positive and uplifting working atmospheres. By providing the needed space, mobility and variation for inspiration to strike, the philosophy and design of the most relevant workplaces treat creativity as an asset and nurture it accordingly.41 This chapter explores the psychological effects of cues, materials, colour and plants on creativity.

3.1. Cue-Rich Environments Imagery is a potent source of inspiration because thought can be triggered by stimuli, which activates a memory in specific patterns that support convergence or divergence.42 For example, a designer normally lays out images on their desk to draw inspiration from to inform a new idea. This translates to the architecture of the workplace as people can be inspired by their immediate surroundings. In a report by Amabile on the effect of the physical environment on social behavior in the office, architectonic details that are ‘cue-rich’ help stimulate employees43. According to the report, employees make ‘unique associations’ with architectural cues: physical signals that stimulate a series of new ideas. Such details are fixed aesthetics, objects or materials intended to enhance the environment; pictures, books, signs, graphics, drawing boards and sculptural objects are some examples. The inclusion of objects within the workspace can appeal to our sensory aesthetics and inspire a variety of passions. A cue- rich environment can help immerse people in the subject for which they are creating. An architect’s office normally displays models and images of their successful projects, to remind employees of the high standards of design and to create and identity for the company. Similarly, a media company might choose to use graphics and signage that reflect the aesthetic of their brand, as artwork can create an image that is consistent with the overall values of the company. Cues help prompt people, but designers need to be careful that the workspace doesn’t distract them instead.44

39 40 41

Borges, Sofia, Work Scape: New Spaces for New Work, P5 Groves, Kursty, and Will Knight, I Wish I Worked There! P.13 Borges, Sofia, Work Scape: New Spaces for New Work, P.4

42 43 44

Gero, John, Studying Visual and Spatial Reasoning for Design Creativity (United States: Springer, 2014), P.206 Amabile, Teresa M, The Social Psychology of Creativity (New York, Berlin, Heidelberg [usw.]: Springer-Verlag New York, 1983), P.183 Liebl, Andreas, Jörg Haller, Bernd Jödicke, Herwig Baumgartner, Sabine Schlittmeier, and Jürgen Hellbrück, ‘Combined Effects of Acoustic and Visual Distraction on Cognitive Performance and Well-Being’, Applied Ergonomics, P. 43

Selgas Canoâ&#x20AC;&#x2122;s Office in the Woods is an intimate workspace that presents an extremely stimulating and progressive alternative to the cubicle office typology. Visual layering and a connection with nature differentiate this space, as the half-buried office provides horizontal views of trees that change with the seasons. This space is rich with visual information that stimulates the eye, like the beautiful objects showcased on the shelving or the wide variety of materials the office is made from. The composition of the plexi-glass curves and distinct colours is elegantly simple, creating a linear space that looks dynamic or energetic. Whether taking a moment to admire the immediate shrubbery or sumptuous curves, it is stimulating interior to be in. Breaking the mold of typical office design, the architecture provides meaningful and diverse stimulation and is a fine example of how a building can inspire the creative process.

Figure 11: Office in the Woods

3.2. Biophilic Design

Figure 12: Mico-restorative views at Dijon call centre

Biophilic design arises from the concept of biophilia, the idea that ‘humans possess a biological inclination to affiliate with natural systems and processes instrumental in their health and productivity’45 In its essence, new research has shown that there are wide-ranging benefits of being in close proximity to nature, and in relation to work environments it can help improve employees well-being and performance. Just being in contact with some form of nature has been linked with cognitive functioning on tasks requiring concentration and memory46. Living architecture is connected to human life and can be nourishing and inspiring for the mind. This could be a desk with a view of trees outside, having potted plants inside the office, having a garden or terrace to take breaks in or even in the case of Google Super Headquarters in London, giving each employee an individual allotment to grow their own food. Even offices with natural systems as simple as lighting and ventilation help reduce stress and greater motivation. As I explained earlier in the paper, contemplative spaces are crucial for ideas to flourish and natural environments make especially reflective, calming areas. Kaplan discusses the potential cumulative value of ‘micro- restorative experiences’ in workplaces. A worker might more effectively restore cognitive resources for work by periodically looking out of a window onto natural features such as trees as vegetation versus onto other view contents.47 If research proves that by looking at vegetation there are real psychological benefits, then biophilic design should be taken seriously in the design of all new creative spaces. 45 46 47

Kellert, Stephen R, Judith H Heerwagen, and Martin L Mador,Biophilic Design, Preface Ibid, P.4 Ward, Catherine, Open Space: People Space, ed. by Catherine Ward Thompson and Penny Travlou (United Kingdom: Taylor & Francis, 2007), P.171

Pasona Tokyo Headquarters is a nine-storey, 215,000 square foot corporate office building for recruitment that undertook a major renovation project to incorporate the principles of biophilia. A double skinned green façade communicates the significance of nature to public realm, as this living building contrasts with the concrete jungle of the city. Using Hydroponic and soil based farming, crops and employees share the space, creating a truly unique office. With 43,000 square feet of green space and 200 species of fruit, vegetables and rice, both harvested, prepared and served in the office cafeterias, creating an appreciation of the plants as food. ‘The health and wellbeing of its workers are the focus of the building’s biophilic interior and exterior…The Spaces are familiar, comfortable yet alive, a marked contrast to the constructed or artificial stiffness of so many corporate offices’ 48 The offices are in symbiosis with nature, for example vines are suspended above conference tables and the main lobby features a rice paddy. Employees are always in close proximity to plants, which not only creates an eye-calming environment but one with high air quality. The agriculture also provides employees with something to talk about as it is a constant, changing source of inspiration; unlike the static interiors of so many workplaces. This office reveals the benefits of vegetation within an urban office environment as the director claims that since the regeneration of the office, the greenery has benefited productivity, mental health and social interaction.49

Figure 13 (top right): Workers are involved in growing of plants Figure 14: Food is processed and cooked in the cafeterias Figure 15: Work activities are in symbiosis with the nature in every room Figure 16: Double Skinned green façade with garden terraces

48 49

Davis, Ben, ‘Pasona: Plant Life’, 2015 <http://assemblepapers.com. au/2015/09/14/pasona-plant-life/> [accessed 17 January 2016] ‘Urban Farm’, 2010 <http://konodesigns.com/portfolio/Urban-Farm/> [acessed 17 January 2016]

3.3. Colour ‘Colour is life, we should not scorn this means of instilling life into our works’50 -Anton Gaudi The use of colour is a way of enhancing people’s moods, and should be properly considered as a design tool. Colour is more than a concealer; It attracts, repels and creates space.51 A study of the moods of office workers in coloured spaces gives us insight into the stimulating effects of colour. Workers responded positively to colourful spaces but less to strong hues. Colours with less saturation had the most uplifting effect on peoples mood.52 Colours are interpreted and perceived based on the experience and memory of a person. Hans Eysenck’s famous colour preference study concluded that colours were preferred in the following order: blue, red, green, violet and orange.53 In a study in the lighting observatory at Lund university, two identical spaces were painted red and blue respectively. 24 male and female subjects

Figure 17: James Tyrell, Guggenheim Installation

spent 3 hours in each room, twice a week for a 2-week period, and their EEG and EKG recordings (electrical activity) were taken.54 Special measures were taken to make the environments feel as normal as possible without losing the distinct feeling of the immersion in blueness and redness. Results from the study showed that red is a more activating colour than blue as indicated by difference in delta frequency, thus supporting the hypothesis that red has cognitive activating effects on the human brain. Studies also found that while reds are exciting and stimulating, blues can be relaxing and calming. Although the effects of colour are subjective to the individual, people make associations about colour based on familiarity. In nature, colour vision has evolved because it contributes to our biological survival. This can’t be forgotten as human’s response to colour still shows traces of our evolutionary heritage.55 For example, animals have always associated red with danger and excitement just as 50 51 52 53 54 55

Porter, Tom, and Byron Mikellides, eds., Colour for Architecture Today, 2nd edn (United Kingdom: Taylor & Francis, 2008), P.118 Doherty, Gareth, New Geographies: V. 3: Urbanisms of Color (United States: Harvard Graduate School of Design, 2011) P.3 Ibid, P.140 Colour for Architecture Today, P.124 Ibid, P.131 Ibid, P.95

humans still share a similar reaction to red, due the colours association with a woman’s lips or blood. Yellows and Oranges are associated with warmth and vitality reflecting the colour of the sun, while greens are calming as informed by biophilic research.56

Figure 18: Colour coded work islands in Eneco HQ, Rotterdam

A Work environment that uses colour effectively is the Eneco HQ in Rotterdam. The working islands are coded using vibrant hues that contrast with the white finishes of the building. These striking areas have varied atmospheres, reflecting the emotional effects of the colour. Due to the flexible nature of this office, employees don’t have set desks and are encouraged to move around. Therefore, occupants can choose where they work, depending on their colour preferences, choosing a colour that resonates with their mood. ‘The diversity of colour and materials on the work islands are not only lively and inviting but they give the different spaces specific identities and atmospheres’57 The use of colour can help to create a certain atmosphere within a space that can foster creativity. If certain colours are more activating and uplifitng, this can have a energising effect on people, as I will expand on in the next section.

56 57

‘Color in Architecture — More than Just Decoration | Features’, 2012 <http://archinect.com/features/article/53292622/color-in-architec ture-more-than-just-decoration> [accessed 17 January 2016] admin, and Isabelle Lomholt, ‘Eneco Headquarter, Rotterdam Office Building, Eneco Headquarter Building, Rotterdam Offices Design’,Rotter dam (e-architect, 2010) <http://www.e-architect.co.uk/rotterdam/eneco-headquarter> [accessed 17 January 2016]

3.4. Second Home, by SelgasCano: The most Inspiring Workplace? Described as the coolest workspace in the world58, Second Home is a futuristic and quirky collaborative workspace for small companies, which breaks the mold of typical office design characterized by cubicle desk space. It is also a place where the self-employed to work, open 24/7 and boasting the fastest internet speed in London. A former carpet factory, architects Selgas Cano transformed the space using transparent acrylic walls to create work zones over 2 floors that maintain views all the way through the building. Various sized offices are contained behind bubble like partitions. Although visually connected, these spaces are soundproof as the soft surface of the plastic absorbs the noise of a busy office, creating the freedom of an open plan office without the noisy distractions. *Interviews with Jose Selgas (architect) & Sam Aldenton (co-founder)

Me: How did the idea come about?

Sam Aldenton: â&#x20AC;&#x153;People spend so much time at work,

we should make the experience as enjoyable as possibleâ&#x20AC;?

Figure 19: Cafe for informal meetings

The surfaces of the interior contrast: spongy floors, glossy plastic and fibrous ceilings juxtapose creating an aesthetic that is layered and interesting. Whether above, beneath, through or in front of you, not one space is similar so you constantly discover new things to look at. Arguably this complexity inspires as there is such a wide range of stimuli. Mismatched chairs continue the architectural theme of variety. Second Home boasts 600 different types of chair which can be seen as independent pieces of art or as part of an assembly of sculptural forms. There is also an assortment of different lighting fixtures meticulously handpicked to create different lighting atmospheres. The space does not feel overwhelming because there is a clarity and order to the design, which has been beautifully planned by the architects. The building boasts 1000 hydroponically cultivated pot plants which are maintained by gardeners in a plant nursery. Just like Pasona Headquarters, the air is fresh and occupants seem to benefit from the presence of living things in the room. The architects have implemented new research into biophilia as they recognize the connection between plants and peopleâ&#x20AC;&#x2122;s happiness. Aesthetically the plants are beautiful too, as these luscious, green shapes feed into the rich character of the interior. Me: I know nature is important to you. How are you inspired by nature when designing? Jose Selgas: â&#x20AC;&#x153;There is real benefit from having a live plant nearby.

It is healthy seeing something growâ&#x20AC;?

Figure 20: Diverse mix of colour, materals, forms

Me: Do you think architecture like this inspires and provokes thought? Is this a more creative environment to work in? Jose Selgas: â&#x20AC;&#x153;There is perhaps more feeling in a place like thisâ&#x20AC;?

31 Figure 21 (opposite): Organic curved walls made from transparent acrylic Figure 22: (below): No technology zones filled with plant pots

Selgas Cano are masters of using colour to enhance their architecture and in Second Home the choice of colour is deployed to create an optimistic mood. Yellow, orange and green are the standout colours of the interior. Yellow is a colour that resonates with the left (logical side) of the brain, stimulating our mental faculties and creating mental agility and perception,59 so seems appropriate in a professional creative environment. The colour orange radiates warmth and happiness, combining the physical energy and stimulation of red with the cheerfulness of yellow, while the greens feel natural and relaxing.60 Although strong colours are used, they are not overwhelming and seem to reflect the cheerful atmosphere in the building. Me: What makes Second Home a great place to work? Sam Aldenton: “There is a human side to architecture that is being

discovered… (Second Home) is more comfortable and enjoyable”

The social side of the building is extremely important to the creative atmosphere and the design reflects this in a number of innovative ways. There is an events space that can be used for film screenings, performances lectures and yoga sessions, as well as daily meetings and workshops. A u-shaped meeting table can be winched up towards the ceiling when not in use, creating a generous space in the heart of the office. Occupants also interact in a canteen restaurant that projects out the front façade, where good quality food and coffee is available. There are ‘no technology’ zones where occupants can sit amongst plants exchanging ideas without laptops or phones. The architecture promotes spontaneous social encounters whist maintaining quiet zones for serious work. The idea of work and play is constantly overlapping, creating a feeling that it is always possible to break from stress of work. The philosophy is to make people feel as comfortable as possible by having a space that looks and feels like it could be home, whilst maintaining a professional seriousness about work that would found in any successful office. Second Home is expanding its offices to the upper floor of the factory as the response from the workers has been so positive, which is testament to the fact that good office design can unshackle employees from the rigid archetypes of the past. Its is a great example of a stimulating environment that engages the brain in diverse ways, immersing occupants with diverse visuals and textures. Me: Do you see your architecture as playful?

Jose Selgas: “Life is playful; we play all the time.

Architecture should reflect life”

Although work certainly isn’t playful and all offices maintain a degree of seriousness, there is a relaxed, optimistic atmosphere in Second Home that arguably facilitates and inspires creativity. Workers seem to be inspired and comforted in this energetic space. Spaces like Second Home make occupants feel comfortable to express themselves creatively, as I will explore further in the next chapter.

58 59 60

‘The Best Office in the World? Selgas Cano’s New Work Space in London’ (Architectural Review, 2015) <http://www.architectural-review.com /today/the-best-office-in-the-world-selgas-canos-new-work-space-in-london/8677631.fullarticle> [accessed 17 January 2016] Colour for Architecture Today, P.123 ‘The Color Orange’ (Empowered By Color) <http://www.empower-yourself-with-color-psychology.com/color-orange.html> [accessed 17 Janu ary 2016]

Chapter Four: Workplace Activity & Culture ‘I work to Live; I don’t live to work’61 Although connected, traditionally people’s work and personal lives existed independently from one another. Yes, work allows us to develop skills and friendships, and to be part of a larger work community but rarely is the workplace seen as somewhere workers would want to spend their free time. An idealistic view is once work finishes in the office, you are able to forget about work until the next day, instead spending time with family, friends or doing what you like to do. For some people this is entirely possible but the reality for many is that the line between their social and work lives is blurred, and workers are struggling to find a happy equilibrium between the two.62 ‘Now that our professional lives parallel and at times trump our personal lives, the cultivation of positive and well designed workplace cultures and atmospheres takes on an added importance’.63 Essentially, many are asking themselves why waste half of your life in architecture that doesn’t promote your well-being? As I have argued throughout the essay, there is a clear connection between creativity and happiness. Improving the health of employees and providing positive working conditions can also increase morale, motivation and performance.64 When people feel comfortable in their physical environment it helps people think more clearly which helps them find solutions to creative problems. This chapter explores what kind of atmosphere is needed to facilitate creativity, using Google as a model to study play, health and relaxed spaces.

Figure 23: AOL office: Work and Play overlapping

4.1. Google, Play & the ‘Disneyfication’ of the Workplace ‘over the last decade, google has remained at the forefront of pioneering a new vernacular and ethos for workplace design’65 Google, perhaps more than any other major company, have pioneered playful and innovative office design. Google now commissions bespoke designs for each of its outposts around the world, investing in the quality of its offices to attract the best creative talent. The architecture of the Google office reflects the digital age that many of its young employees grew up in. The aesthetic of gaming and the internet materialize in the playful light-hearted interiors, as there are constant references to classic games not only as artwork but in the architectural forms and decoration. For example, Meeting ‘pods’ in the style of Swiss chalets and igloos, fireman poles to allow easy access between floors and a slide to ensure that people can get to the cafeteria as quickly as possible are all part of a design of Google’s new European engineering headquarters in Zurich Switzerland.66 These cheerful, quirky interiors are now commonplace in Google’s buildings around the world. Google argue that if employees incorporate play into the work, it enhances creative spirit and makes for a happier working day.

Figures 24, 25: Playful, Light-hearted spaces typical in Google’s offices

Google has developed a reputation for goofy, playful offices but Kursty Groves argues that what lies behind the lava-lamps, yoga balls and slides is a deep understanding of the drivers behind creative thinkers and how the environment can play a huge role in making challenging work fun.67 This is supported by the Tim Brown of IDEO, who claims encouraging playful activity in a relaxed atmospheres helps employees develop profound human connections with each other, allowing people to feel more comfortable making bold decisions. IDEO is design and innovation consulting firm that shares the same attitude to creativity as Google as they believe that once employees gain each others’ trust, then they would take the kind of risks necessary for confident ideas to flourish. ‘You can be a serious professional adult and, at times, be playful. It’s not an either/or; it’s an “and.” You can be serious and play. We need trust to play, and we need trust to be creative. So, there’s a connection… Our studios, like, I think, many creative workplaces today, are designed to help people feel relaxed: familiar with their surroundings, comfortable with the people that they’re working with’ 68 -Tim Brown 61 62 63 64 65 66 67 68

Hochschild, Arlie Russell, The Time Bind [when Work Becomes Home and Home Becomes Work] (United States: Scholarly Audio, 1999), P.35 Mann, Sebastian, ‘“Office Workers Spend Three Times Longer at Desks than with Family”’, UK (Evening Standard, 7 January 2016) <http://www.standard.co.uk/news/uk/office-workers-spend -three times-longer-at-desks-than-they-do-with-family-a3150441.html> [accessed 17 January 2016] Borges, Sofia, Work Scape: New Spaces for New Work, P.5 KIRSTEN, Wolf, ‘Making the Link between Health and Productivity at the Workplace ―A Global Perspective’, Industrial Health, 48 (2010), 251–55 Borges, Sofia, Work Scape: New Spaces for New Work, P.120 BBC, ‘Google Your Way to a Wacky Office’, BBC Technology (BBC News, 13 March 2008) <http://news.bbc.co.uk/1/hi/7290322.stm> [accessed 17 January 2016] Groves, Kursty, and Will Knight, I Wish I Worked There! P.83 Brown, Tim, ‘Tales of Creativity and Play’ (Google+, 2008)

In order for creativity to flourish, experimentation and risk taking is also important to explore ideas fully.69 It seems creative companies create relaxed environments because people are more happy experimenting when they are familiar with their surroundings. Eliciting play helps people understand a space physically and removes some of the negative perceptions normally associated with the workplace. However, encouraging too much play is arguably a slightly irresponsible approach to work. Markus Nonn argues that the joyful nature of these premeditated environments seems to pre-empt an emotional and behavioral response from the user: work must be fun. In workplaces with such an emphasis on play the mundane, serious, difficult or even frightening aspects that come with any form of professional work aren’t properly considered. If employees feel too much pressure to be happy it can create a sterile environment, not one of freedom and expression. Can an environment as emotionally prescriptive as Google’s really foster creativity and open-minded collaboration?70

Figure 26: Playful envionments arn’t always appropriate

69 Groves, Kursty, and Will Knight, I Wish I Worked There! P.13 70 Inc, Eight, and Markus Nonn, ‘The Disneyfication of Workplace Design - Eight Inc’, Thoughts (Eight, 2014) <http://eightinc.com/insights/dis ney fication-workplace-design> [accessed 17 January 2016]

One might ask why Google invested so much into this new type of workplace if it didn’t enhance the creative process. Perhaps the gimmicks that Markus Nonn sees as irresponsible actually contribute to the success of google as a company. Why would Google spend money on slides, ball pits if they didn’t believe play fostered creativity? ‘Corporations realise they need to offer something more than just a salary in return for the high-pressure atmosphere and long hours’71 From designers to developers, the search for professionals directly influences the environments designed. Google sees that the nicer the facilities they provide; the longer workers are likely to spend in them. Incorporating play into the work culture makes the office seem fun from an external perspective. Arguably large creative companies like IDEO, Google and Facebook use this model to attract the most talented people. Google advertises its ‘fun’ offices as a way of improving their brand as the culture Google wants to show us is communicated to the community at large through design.72 Promoting themselves as a light hearted, fun brand helps distract attention away from their tax avoidance or the huge moral and social impacts of collecting the world’s data. An example of Google’s branding is ‘The Internship’ (2013), a film starring Vince Vaughn and Owen Wilson, which tells the story of two failed salesmen who accidentally enroll on Google’s unpaid internship scheme, spending time in the California ‘Googleplex’, the flagship college campus style tech office. They play table tennis, drive a Google car and use Google glasses; conveniently showcasing only the fun aspects of working in such an environment. ‘The Internship seems to be nothing more than a lazy, cynical exercise in relentless product placement on Google’s behalf’73

Figure 27,28: The idea of work portrayed in ‘The Internship’ is far from the reality

71 72 73 74 75

Van Meel, Juriaan, and Paul Vos, ‘Funky Offices: Reflections on Office Design in the “new Economy”’, Journal of Corporate Real Estate, 3 (2001) 322–34 http://dx.doi.org/10.1108/14630010110811661, P.330 Brandt, Peter B, Arthur M Gensler, and Peter B. Br, Office Design, P.94 Heritage, Stuart, ‘The Internship: A Dire Warning about Megacorps? Nope, It’s an Ad for Google’, The Guardian (The Guardian, 21 May 2014) <http://www.theguardian.com/film/filmblog/2013/mar/12/internship-warning-megacorps-ad-for-google> [accessed 18 January 2016] Inc, Eight, and Markus Nonn, ‘The Disneyfication of Workplace Design - Eight Inc’ Van Meel, Juriaan, and Paul Vos, ‘Funky Offices: Reflections on Office Design in the “new Economy”

4.2. Comfort & Creativity

Google’s newest office, the UK Super Headquarters in London perhaps reflects a shift from the earlier Google office that is characterized by this playful atmosphere. It is their next natural development in this greater rethinking of office culture, which is more about creating a sense of the home at work. The interior is trying to reproduce an environment that echoes a sense of the comforts found at home in every facet of the design. ‘it’s all about human beings and that’s it! Think sunken snugs, comfort, fun, comfy slippers, squishy carpets, cushions, daybeds, nice fresh food, gardening, vegetables, health, visual stimulation, relaxation, exercise, fresh air & you’ll get what its all about as HQ’76 Lee Penson Designed by Penson architects, the office is a large scale corporate facility of typical floor size, but maintains the atmosphere of a comfortable domestic environment. The meetings feel like they are held in a living room, as these brightly upholstered rooms are filled with squishy, kitsch furniture. The replacement of traditional office furniture with that of physical comfort attempts to install positive emotions towards the workspace, rather than discomfort. The office is engaging through a range of alternative thinking environments and activities which encourage creative thinking to occur. You might spend time working in the library, in the ‘secret garden’, or watering plants on your personal employee allotment; in the search for inspiration. The ability to personalize is traditionally restricted to the desk space and is therefore limited in a typical office plan. The comfortable appearance of this office reflects the values and norms of the people and the organization as it mirrors the home environment.77 Greater personalization establishes a more intimate connection to the space, that you’d normally relate with the home, making it a more comfortable. Sundstrom argued that having a personalized environment also allows self-expression.78

76 77 78

Frearson, Amy, ‘Google Super HQ by PENSON’, All (Dezeen, 2012) <http://www.dezeen.com/2012/07/30/google-super-hq-by-penson/> [accessed 17 January 2016] McCOY, JANETTA MITCHELL, ‘Linking the Physical Work Environment to Creative Context’, P.180 Ibid, P.180

Figures 29,30,31,32 (clockwise from top): Google London is all about creating comfortable workspaces that emulate the home envionment in an attempt to enhance the creativity of the employees.

4.3. Healthier & Happier Dtac House in Bangkok is a large scale telecommunications office that tries to promote a healthy and cathartic environment for the occupants. Complete with a large scale running track, football pitch and music spaces for acoustic jamming sessions, an entire floor is dedicated to relaxation, fitness and play.79 This breakout space demonstrates the companies commitment towards health, reflecting a shift in companies attitude towards the importance of having healthy employees.

Figure 33: Floor plan for the recreation floor at Dtac house, featuring a wide range of sporting facilities

One aspect of Google’s philosophy that companies can learn from is their commitment to employee’s health. Google were one of the first large-scale companies to provide free, nutritious food instead of vending machines and coffee. ‘Good Organic food is functional. If you’re healthier you’re happier and if you’re happy you think better’80 While the provision of food is too expensive for most companies, alternatives ways to promote healthy living include clean air, natural light, free fruit, bike sheds, showers and laundry facilities.81 Even these basic amenities help reduce stress and encourage employees to make healthier life choices. A cross-sectional study of 49 companies in the Netherlands concluded interventions on lifestyle may have a noticeable contribution to maintaining a productive workforce, as it helps people focus and think more clearly.82 Now employers recognise the connection between health, happiness and creativity, surely the design of the workplace will change to reflect this.

79 80 81 82

Borges, Sofia, Work Scape: New Spaces for New Work, 195 Groves, Kursty, and Will Knight, I Wish I Worked There, P.84 Ibid, P.76 Robroek, S. J. W., T. I. J. van den Berg, J. F. Plat, and A. Burdorf, ‘The Role of Obesity and Lifestyle Behaviours in a Productive Workforce’,Occu pational and Environmental Medicine, 68 (2010), 134–39 <http://dx.doi.org/10.1136/oem.2010.055962>

4.4. How much should the Office Provide? On the face of it, it seems like there are only positives when employees regard their workplace as a great place be. However, one major criticism is that by providing so much at the office an employees life becomes engrossed with work, affecting home life. If the office also becomes your gym, your games room and your place to socialize then you’re bound to spend less time at home with family and friends. Employees spend more time at the office when they see the office as fun, however whether it is really healthy to sacrifice one’s personal life for work should seriously be questioned.83 In order for the office to really foster creativity the architecture should strive to connect health, wellness, and play into the larger work identity,84 but such activities shouldn’t preside over the professional atmosphere of a workplace. Yes, play can enhance the creative process but companies need to be careful in creating an over-prescribed environment of fun as this can limit the employees emotional desires, thus the open-minded collaboration.85 Playful spaces help people try new things and open up lines of communication but don’t necessarily make work fun, as Google make many believe. Promoting health and wellness are also ways to make employees happier and think more clearly so designers should look for innovative ways the architecture can influence this, such as the allotment scheme in Google’s London office. In an ideal world, employers should recognise the need for a balanced work and personal life if they really respect employees well-being. This should take priority over long hours but for companies like Google there are economic benefits to providing everything in the workplace as people spend longer at work and they can attract talented staff.

83 84 85

‘Funky Offices: Reflections on Office Design in the “new Economy  Borges, Sofia, Work Scape: New Spaces for New Work, P.5 ‘The Disneyfication of Workplace Design - Eight Inc’

Figure 34: Render for Google’s proposed Mountain View Campus- a workplace you never need to leave!

Conclusion: A New Office Vernacular? This essay has established a clear link between creativity and the physical environment so I have numbered my findings clearly. 1. I found that the optimum conditions for creativity to flourish are dynamic workplaces that allow people to freely move between a range of spaces. All the successful offices had four distinct spaces: stimulating desk space, where the mind is inspired; reflective space, where people can contemplate and focus; collaborative space, where ideas are shared and built; and playful space, where experimentation can occur.86 The architecture should act as an infrastructure that supports these core creative activities, so occupants can feel free to work in a way that suits them best at that moment in time. There are innovative ways to incorporate the design of all these spaces, for example, the Bergen International Festival office, whereby highly adaptable walls allow the company to change the spatial layout of the office to meet the exact needs of the project-based work. To really enhance creativity new office landscapes should create cultures of flexibility and pragmatism as ingenuity can be lost in static environments. 2. Creative types can draw inspiration from the way the office looks and feels. Having a wide range of stimuli actually engages the brain in diverse ways, prompting new lines of thought. Stimulating work environments full of multi-sensory information such as texture, colour and artwork help bring life into space and can have an energizing effect on creativity. Take the example of the Pasona Headquarters, the atmosphere and culture are almost entirely formed by stimulating architecture. The implementation of biophilic design has created a beautiful, healthy and inspiring environment, as the ever changing plants are not only interesting to look at but engage workers in the process of growing and eating. 3. In order for creativity to flourish people need to feel relaxed and comfortable in their environment. Once people are happy in their surroundings, they feel the freedom to explore, experiment and communicate, which helps generate ideas. New found freedom allows staff to think outside the box, inspiring a creative renaissance within the workplace.87 One way the physical environment can make people feel relaxes is informal breakout spaces like ‘no technology zones‘ or a ‘Secret Garden’ where people can relax. Taking breaks in Informal spaces is not only enjoyable but it actually gives your brain headspace to form ideas. 4. The provision of playful spaces can enhance the creative process and allow people to feel more comfortable with their colleagues and the physical space. Injecting a playful energy into materials or humor into the design can uplift and reconnect people with their inner child, enhancing the creative spirit. However, play and recreation should not dominate the atmosphere of the office as this may be an irresponsible approach to work. Although work and play can coincide naturally, when the office experience becomes too social (Google) employees can feel engrossed by their work life, which can be counterproductive. Hosting events and lectures can be a great way for people to learn the case of ‘Second Home’, but providing too many recreational facilities can affect people’s work life balance. 86 87

Groves, Kursty, and Will Knight, I Wish I Worked There, P.12 Borges, Sofia, Work Scape: New Spaces for New Work, P.3

Since the research of this essay has supported the notion of the title, I am able to make conclusions about creative work environments based on the research conducted. An interesting way to investigate this topic further would be to explore whether similar architectural ideas would benefit less creative professions. Arguably some of the research informs all new office design because a more human side to architecture is being discovered which is more comfortable and enjoyable. The visual stimulation of space is less important to someone working in banking than a graphic designer, but that is not to say these spaces are not emotionally uplifting. Promoting communication and collaboration is also beneficial in many other ways I havenâ&#x20AC;&#x2122;t yet explored. A personal desk space may be more appropriate to a researcher, but providing secondary workspaces for interaction, reflection and play might improve their experience too. The workplace will evolve as we strive to create workplaces that break free from the sterile archetypes of the past.

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Written by Xavier Smales, 2016