Works THE WORKPLACE DESIGN MAGAZINE

Your silhouette is so stationary

ISSUE 5 / £12.00 / €14.00 / $15.00

Leader 01 Works

Welcome

Works THE WORKPLACE DESIGN MAGAZINE

ISSUE 5

Your silhouette is so stationary

It was recently announced that US furniture group HNI are to acquire leading US manufacturer Kimball International. The transaction is valued at approximately $485 million. It just so happened that we were enjoying a bit of downtime with a few furniture people on the day the news broke. When we told our friends of the acquisition, we were met with shrugs

Mick Jordan Editor Ben Capper Director Mark Eltringham Publisher Patrick Myles Art Director Camilla Forrester Client Manager Debbie Fuller Digital production John Cowan Audio production Sarah Brownlee Illustrator

and furrowed brows. Even when we emphasised that this was another example of a major US furniture business acquiring another major US furniture business – and was second only to the Miller/Knoll deal – the reaction was, well, there wasn’t one. Like a dog with a bone, we weren’t ready to let go! We wanted to know why such a major transaction between two of the largest businesses – in the sector very that these people work in – wasn’t of any interest to them. “I’ve never heard of either of them,” came one reply. “I don’t know them,” came a second response. “It’s not going to affect what I do,” came a third. And there it is. The truth is that, because neither HNI nor Kimball have representation in the UK, very few people here really care. They don’t have friends who will be affected by the acquisition, and it won’t have any consequences for their own day-to-day business, so why care? It's just not personal. It does still intrigue us though, that in a world where companies spend so much time, money and resources on brand

Published 6 times a year by Insight Publishing Ltd

awareness, there are still plenty of people (from within the same industry) who have never heard of global leading players. Is that arrogance? Ignorance? Indifference? It certainly goes to show how local, insular and personal this market can be.

Visit our London HQ & Showroom [email protected] kieurope.com/hatton

Fancy having Works in your pocket? Use the QR code for the digital version of this issue and much more!

Mick Jordan, Editor

Leader 01 Works

Welcome

Works THE WORKPLACE DESIGN MAGAZINE

ISSUE 5

Your silhouette is so stationary

It was recently announced that US furniture group HNI are to acquire leading US manufacturer Kimball International. The transaction is valued at approximately $485 million. It just so happened that we were enjoying a bit of downtime with a few furniture people on the day the news broke. When we told our friends of the acquisition, we were met with shrugs

Mick Jordan Editor Ben Capper Director Mark Eltringham Publisher Patrick Myles Art Director Camilla Forrester Client Manager Debbie Fuller Digital production John Cowan Audio production Sarah Brownlee Illustrator

and furrowed brows. Even when we emphasised that this was another example of a major US furniture business acquiring another major US furniture business – and was second only to the Miller/Knoll deal – the reaction was, well, there wasn’t one. Like a dog with a bone, we weren’t ready to let go! We wanted to know why such a major transaction between two of the largest businesses – in the sector very that these people work in – wasn’t of any interest to them. “I’ve never heard of either of them,” came one reply. “I don’t know them,” came a second response. “It’s not going to affect what I do,” came a third. And there it is. The truth is that, because neither HNI nor Kimball have representation in the UK, very few people here really care. They don’t have friends who will be affected by the acquisition, and it won’t have any consequences for their own day-to-day business, so why care? It's just not personal. It does still intrigue us though, that in a world where companies spend so much time, money and resources on brand

Published 6 times a year by Insight Publishing Ltd

awareness, there are still plenty of people (from within the same industry) who have never heard of global leading players. Is that arrogance? Ignorance? Indifference? It certainly goes to show how local, insular and personal this market can be.

Visit our London HQ & Showroom [email protected] kieurope.com/hatton

Fancy having Works in your pocket? Use the QR code for the digital version of this issue and much more!

Mick Jordan, Editor

Contents 03 Works

Atelier: Smart working environments

12

designed in collaboration with Gensler as a product design consultant

28

www.fantoni.it

Inside

42 36

JOIN SUSTAINABILITY Atelier is a flexible, multifunctional system representing today’s evolving business models and changes in workplace culture and design.

08 NOTICEBOARD We bring you the latest news, moves, initiatives and products from the world of workplace.

28 PROJECT: 78 ST JAMES'S STREET Squire & Partners show us their amazing new multitenant workplace scheme.

52 THE SUNDOWNER We meet up for a post-work drink and chat with three of the Sustainable Design Collective's leading lights.

12 FREDDIE’S FAB 5 Our products specialist, Freddie Steele, offers up five of the best from the recent Stockholm Furniture Fair.

36 WDS REVIEW We're are at Islington's Business Design Centre for the eagerly anticipated Workspace Design Show.

58 OUT OF OFFICE Has the success of the recent Workspace Design Show made us re-evaluate our attitude to trade shows?

16 PROJECT: PFIZER The vibrant Greek city of Thessaloniki is the home of Pfizer's incredible new digital campus.

42 5X3: DESIGNER FOCUS Ben Capper quizzes three fantastic product designers – Charles Job, Ronja Reuber and Arash Eskafi.

24 FREDDIE'S FAB FINISHES Definitely earning his corn, Freddie Steele reveals his pick of the products from the Surface Design Show

46 PROJECT: CADENT We're chatting with Resonate Interiors about the trnsformative scheme they have delivered for Cadent.

52

Contents 03 Works

Atelier: Smart working environments

12

designed in collaboration with Gensler as a product design consultant

28

www.fantoni.it

Inside

42 36

JOIN SUSTAINABILITY Atelier is a flexible, multifunctional system representing today’s evolving business models and changes in workplace culture and design.

08 NOTICEBOARD We bring you the latest news, moves, initiatives and products from the world of workplace.

28 PROJECT: 78 ST JAMES'S STREET Squire & Partners show us their amazing new multitenant workplace scheme.

52 THE SUNDOWNER We meet up for a post-work drink and chat with three of the Sustainable Design Collective's leading lights.

12 FREDDIE’S FAB 5 Our products specialist, Freddie Steele, offers up five of the best from the recent Stockholm Furniture Fair.

36 WDS REVIEW We're are at Islington's Business Design Centre for the eagerly anticipated Workspace Design Show.

58 OUT OF OFFICE Has the success of the recent Workspace Design Show made us re-evaluate our attitude to trade shows?

16 PROJECT: PFIZER The vibrant Greek city of Thessaloniki is the home of Pfizer's incredible new digital campus.

42 5X3: DESIGNER FOCUS Ben Capper quizzes three fantastic product designers – Charles Job, Ronja Reuber and Arash Eskafi.

24 FREDDIE'S FAB FINISHES Definitely earning his corn, Freddie Steele reveals his pick of the products from the Surface Design Show

46 PROJECT: CADENT We're chatting with Resonate Interiors about the trnsformative scheme they have delivered for Cadent.

52

Sustainable Design Manufacturing Culture Visit our showroom 104-110 Goswell Road, Clerkenwell, London, United Kingdom EC1V 7DH +44 (0)207 3367848 [email protected]

Forest Club Sofa Philippe Starck Reverse Occasional Piergiorgio Cazzaniga

Sustainable Design Manufacturing Culture Visit our showroom 104-110 Goswell Road, Clerkenwell, London, United Kingdom EC1V 7DH +44 (0)207 3367848 [email protected]

Forest Club Sofa Philippe Starck Reverse Occasional Piergiorgio Cazzaniga

Finding “The Workplace Oooh!” Do you have it? Hybrid employees want more than great facilities when they visit the office, they want to feel productive, valued, engaged and socially connected with their peers, colleagues and the employer brand. But how can FMs make workplaces relevant and compelling? And how can they curate the best ‘feel good’ experiences when they’re in the dark about what employees want, need or expect? Great technology and good coffee may well be on the list of wants - but the most pressing needs in 2023 relate to how a employees feel. Happy. Sad. Productive. Frustrated. Joyful. Drained. Stressed. Creative. Curious. They’re all feelings that govern how we behave and that have a direct impact on work. People want their workplaces to make them feel socially connected, recognised, supported and inspired. These desires demand something new of workplaces. Effective workplace design considers space and facilities, but it also supports the intangible factors such as feelings – the aspects that make employees feel proud, keen to return and able to be the best versions of themselves. It’s this recognition of feelings that creates ‘The Workplace Oooh!”

Feelings are just as important as facilities. This study provides the intel to deliver the most positive, powerful and sought-after workplace experiences. Hear Us! The Knowledge Hub Health & Wellbeing/Culture 11:15 -11:45am Tuesday, 25th April

See Us! Stand B20

Th

e

place ork W

Emotions drive actions. When employees feel happy, healthy, productive and empowered, they are able to do their best work. To create a workplace that evokes positive and powerful emotions, you have to first understand the changing psyche of today’s workforce and what gives them ‘The Workplace Oooh’ – that is the intangible feeling they’re content, proud and in the right place. Join us on stand B20 on the 25-27th April at The Workplace Event in Birmingham to discover the secret behind ‘The Workplace Oooh’ as we reveal findings from a study of more than 1000 office workers across the UK about how they want to feel at work. We will: Share generational insights that will challenge what you think you know about your workforce Prove that feelings matter just as much as facilities Explain how culture can manifest physically Provide answers to questions such as how can you turn an ok day into a brilliant day and what makes employees feel valued and productive Give you the intelligence to create ‘The Workplace Oooh!’ for your people.

Talk to us! [email protected]

What could turn an OK day in the office into a brilliant one? Does your office make your people feel productive and valued? Why do your people really visit the office?

Finding “The Workplace Oooh!” Do you have it? Hybrid employees want more than great facilities when they visit the office, they want to feel productive, valued, engaged and socially connected with their peers, colleagues and the employer brand. But how can FMs make workplaces relevant and compelling? And how can they curate the best ‘feel good’ experiences when they’re in the dark about what employees want, need or expect? Great technology and good coffee may well be on the list of wants - but the most pressing needs in 2023 relate to how a employees feel. Happy. Sad. Productive. Frustrated. Joyful. Drained. Stressed. Creative. Curious. They’re all feelings that govern how we behave and that have a direct impact on work. People want their workplaces to make them feel socially connected, recognised, supported and inspired. These desires demand something new of workplaces. Effective workplace design considers space and facilities, but it also supports the intangible factors such as feelings – the aspects that make employees feel proud, keen to return and able to be the best versions of themselves. It’s this recognition of feelings that creates ‘The Workplace Oooh!”

Feelings are just as important as facilities. This study provides the intel to deliver the most positive, powerful and sought-after workplace experiences. Hear Us! The Knowledge Hub Health & Wellbeing/Culture 11:15 -11:45am Tuesday, 25th April

See Us! Stand B20

Th

e

place ork W

Emotions drive actions. When employees feel happy, healthy, productive and empowered, they are able to do their best work. To create a workplace that evokes positive and powerful emotions, you have to first understand the changing psyche of today’s workforce and what gives them ‘The Workplace Oooh’ – that is the intangible feeling they’re content, proud and in the right place. Join us on stand B20 on the 25-27th April at The Workplace Event in Birmingham to discover the secret behind ‘The Workplace Oooh’ as we reveal findings from a study of more than 1000 office workers across the UK about how they want to feel at work. We will: Share generational insights that will challenge what you think you know about your workforce Prove that feelings matter just as much as facilities Explain how culture can manifest physically Provide answers to questions such as how can you turn an ok day into a brilliant day and what makes employees feel valued and productive Give you the intelligence to create ‘The Workplace Oooh!’ for your people.

Talk to us! [email protected]

What could turn an OK day in the office into a brilliant one? Does your office make your people feel productive and valued? Why do your people really visit the office?

Noticeboard 08 Works / Issue 5 / 2023

We kick off issue 5 by bringing you a cornucopia of exciting industry moves, new initiatives and innovative product introductions. That'll do for starters!. BDG Announces New CEO BDG architecture + design has announced the promotion of Matt Jackson to the role of CEO, as Gill Parker steps down after an amazing 25 years at the helm. Matt has been a Director at BDG for the last five years and has 20 years’ previous industry experience. He first joined BDG as a graduate before

moving on to gain wider experience in the design sector, re-joining the firm as Director of Workplace five years ago, and is highly regarded by both the BDG studio and its clients. After 25 successful years at BDG, Gill has decided that the time is now right for her to step down from her role as CEO. During her tenure, the company has grown significantly, with studios in London, New York and São Paulo, delivering transformational workplace designs for leading international brands that include WPP, Google, Sony, Dojo and Lego. “Gill will be hugely missed by the BDG team and me personally, and I am deeply honoured to be entrusted to continue to build upon the tremendous legacy of BDG architecture + design to ensure its continued progression, success and growth,” Matt says. “Leading BDG has been a major part of my career, and one I have enjoyed hugely,” Gill comments. “We set out to develop an international team that is capable of creating transformative workplace solutions for the most innovative businesses around the world and, together with my outstanding people, we have achieved this.  “The time is right for me to move to the next step in my career, in the knowledge that I am leaving BDG in the safe hands of Matt Jackson, who is highly regarded by all, and who will lead the business to its next phase of growth and development.”

Noticeboard 09 Works

Paulo Can You Go

mental wellbeing, rather than being positioned purely as that space away from the working hub. Inspired by the clean angular shapes of the Bauhaus movement, Connection’s Paulo juxtaposes rigid steel frames with a soft, gentle seat to deliver stunning aesthetics and a unique sitting experience. The Paulo range contains high- and low-back lounge chairs, a sofa, and two complementary tables, to complete a well-rounded range perfectly suited to lounge spaces across workplace, hospitality and education. A sleek yet robust range, Paulo utilises elasticated webbing in the seat and back, mounted atop a robust steel frame, to deliver an entirely unique sitting experience and product range.

Over the past few years we have seen the workplace take inspiration from outside influences, particularly the hospitality arena, giving designers greater scope to intertwine spaces and push creative boundaries. Wellness rooms, cafés and workplace lounges have all risen in popularity, with the latter being present in the majority of new high-end projects. The specification of workplace lounges in the modern office was once about simply giving employees somewhere to relax and unwind away from the desk, but the wider picture has undoubtedly become more complex. Workplace lounge design has become increasingly focused on physical and

Nova and Above Designed to complement any work surface and enhance any working style, Humanscale’s Nova task light offers great adaptability in a striking, sculptural form. The custom lens and LED array create a uniform pool of glare-free light that can be adjusted

exactly to each user’s preference. ENERGY STAR-certified to benefit people and the planet, Nova is very much a lighting solution for today and the future. With computers, laptops and tablets being backlit, our eyes need as much as 20 times more light when reading paper-based documents. This has led

Humanscale to find solutions and create task lights that offer comfortable lighting for every user, which are also simple to adjust. Humanscale abides by the philosophy that good design achieves more with less. Task lights are produced to offer the user complete ease of use, comfort, and longevity – with function, simplicity, and sustainability at the core of all designs. Humanscale’s innovative range of task lights have been designed, like all the company’s products, with performance, minimalism and beauty as their drivers. The intuitive task lights help to reduce eyestrain, improve computer-based reading comfort, and reduce energy use and costs. All of the task lights feature a sustainable design and use advanced LED technology – meaning users can work in comfort and companies can help shrink their carbon footprint. With timeless design and near-perfect quality of light, Humanscale's task lights are designed to last for 50,000 hours or 20 years of regular office use and can reduce overall energy costs by 67%.

»

Noticeboard 08 Works / Issue 5 / 2023

We kick off issue 5 by bringing you a cornucopia of exciting industry moves, new initiatives and innovative product introductions. That'll do for starters!. BDG Announces New CEO BDG architecture + design has announced the promotion of Matt Jackson to the role of CEO, as Gill Parker steps down after an amazing 25 years at the helm. Matt has been a Director at BDG for the last five years and has 20 years’ previous industry experience. He first joined BDG as a graduate before

moving on to gain wider experience in the design sector, re-joining the firm as Director of Workplace five years ago, and is highly regarded by both the BDG studio and its clients. After 25 successful years at BDG, Gill has decided that the time is now right for her to step down from her role as CEO. During her tenure, the company has grown significantly, with studios in London, New York and São Paulo, delivering transformational workplace designs for leading international brands that include WPP, Google, Sony, Dojo and Lego. “Gill will be hugely missed by the BDG team and me personally, and I am deeply honoured to be entrusted to continue to build upon the tremendous legacy of BDG architecture + design to ensure its continued progression, success and growth,” Matt says. “Leading BDG has been a major part of my career, and one I have enjoyed hugely,” Gill comments. “We set out to develop an international team that is capable of creating transformative workplace solutions for the most innovative businesses around the world and, together with my outstanding people, we have achieved this.  “The time is right for me to move to the next step in my career, in the knowledge that I am leaving BDG in the safe hands of Matt Jackson, who is highly regarded by all, and who will lead the business to its next phase of growth and development.”

Noticeboard 09 Works

Paulo Can You Go

mental wellbeing, rather than being positioned purely as that space away from the working hub. Inspired by the clean angular shapes of the Bauhaus movement, Connection’s Paulo juxtaposes rigid steel frames with a soft, gentle seat to deliver stunning aesthetics and a unique sitting experience. The Paulo range contains high- and low-back lounge chairs, a sofa, and two complementary tables, to complete a well-rounded range perfectly suited to lounge spaces across workplace, hospitality and education. A sleek yet robust range, Paulo utilises elasticated webbing in the seat and back, mounted atop a robust steel frame, to deliver an entirely unique sitting experience and product range.

Over the past few years we have seen the workplace take inspiration from outside influences, particularly the hospitality arena, giving designers greater scope to intertwine spaces and push creative boundaries. Wellness rooms, cafés and workplace lounges have all risen in popularity, with the latter being present in the majority of new high-end projects. The specification of workplace lounges in the modern office was once about simply giving employees somewhere to relax and unwind away from the desk, but the wider picture has undoubtedly become more complex. Workplace lounge design has become increasingly focused on physical and

Nova and Above Designed to complement any work surface and enhance any working style, Humanscale’s Nova task light offers great adaptability in a striking, sculptural form. The custom lens and LED array create a uniform pool of glare-free light that can be adjusted

exactly to each user’s preference. ENERGY STAR-certified to benefit people and the planet, Nova is very much a lighting solution for today and the future. With computers, laptops and tablets being backlit, our eyes need as much as 20 times more light when reading paper-based documents. This has led

Humanscale to find solutions and create task lights that offer comfortable lighting for every user, which are also simple to adjust. Humanscale abides by the philosophy that good design achieves more with less. Task lights are produced to offer the user complete ease of use, comfort, and longevity – with function, simplicity, and sustainability at the core of all designs. Humanscale’s innovative range of task lights have been designed, like all the company’s products, with performance, minimalism and beauty as their drivers. The intuitive task lights help to reduce eyestrain, improve computer-based reading comfort, and reduce energy use and costs. All of the task lights feature a sustainable design and use advanced LED technology – meaning users can work in comfort and companies can help shrink their carbon footprint. With timeless design and near-perfect quality of light, Humanscale's task lights are designed to last for 50,000 hours or 20 years of regular office use and can reduce overall energy costs by 67%.

»

Noticeboard

10 Works / Issue 5 / 2023

PET Sounds Encouraging material circularity, The Collective’s new ‘Take-Back to Give Back’ initiative takes accountability for any PET product from any manufacturer. A dedicated service team arranges the removal and retrieval of any waste or disused PET at no charge, be it sample chips, off-cuts from the manufacturing process, or larger disused PET panels from interior installations. Creating a new normal for the industry, this initiative is a product of The Collective’s commitment to do better; a bid to extend the value and lifecycle of PET off-cuts, and eliminate the need to break down or re-process original PET panels that cause unnecessary carbon emissions. This is an exciting industry initiative that allows both company

"This is an initiative that allows both company and consumer to tackle climate reponsibility together."

and consumer to tackle climate responsibility together. As an acoustic manufacturer, and the UK exclusive distributor for Woven Image (who pioneered the first recycled acoustic panel, EchoPanel, in 2004), The Collective values all PET waste. Over the last 22 months, the R&D team has worked extensively to design a solution that reclaims and revalues PET waste, putting in place measures that guarantee a reusable system to encourage mainstream change. ‘Re.Wrap’, launching April 2023, is the solution; a dedicated acoustic product that reclaims and revalues what would otherwise be waste PET. Set up by in 2014, The Collective began with the mission of bringing environmentally sustainable choices to the commercial interior market. We'd say they're on the right tracks!

for Yoredale and comments on the new shades: “These tones have been carefully developed to appeal to the way we live and work today; the colours we want to be surrounded by, whether that’s in our living room or office. There are soft, delicate shades that instantly

sooth; warmer, almost burnt hues that welcome and invite; and neutrals that ground. It’s a palette for now, but it also has the timeless tones that will never go out of style – much like Yoredale itself; a modern fabric, with a look and feel that is without age.”

Yore Gorgeous First introduced to the Camira collection in 2019, Yoredale now has a fresh new look for Spring 2023. The fabric manufacturer has expanded the popular product’s palette to 33 colourways, introducing a selection of pastels, neutrals, denim blues, and rusted reds. A fabric inspired by, designed and made in the company’s home of Yorkshire, England, Yoredale takes its name from the ancient title of Wensleydale, a picturesque dale in the county. Woven from British wool, the fabric contains an innovative black binder yarn, which highlights the texture of the bouclé and creates an appealing visual detail. Certified for use in commercial and residential environments, Yoredale appeals to the workplace, home and hospitality, and the new colour palette has been developed to reflect the blurred boundaries of today’s exciting interior schemes. Hayley Barrett, Senior Designer at Camira, led the colour development

Noticeboard

10 Works / Issue 5 / 2023

PET Sounds Encouraging material circularity, The Collective’s new ‘Take-Back to Give Back’ initiative takes accountability for any PET product from any manufacturer. A dedicated service team arranges the removal and retrieval of any waste or disused PET at no charge, be it sample chips, off-cuts from the manufacturing process, or larger disused PET panels from interior installations. Creating a new normal for the industry, this initiative is a product of The Collective’s commitment to do better; a bid to extend the value and lifecycle of PET off-cuts, and eliminate the need to break down or re-process original PET panels that cause unnecessary carbon emissions. This is an exciting industry initiative that allows both company

"This is an initiative that allows both company and consumer to tackle climate reponsibility together."

and consumer to tackle climate responsibility together. As an acoustic manufacturer, and the UK exclusive distributor for Woven Image (who pioneered the first recycled acoustic panel, EchoPanel, in 2004), The Collective values all PET waste. Over the last 22 months, the R&D team has worked extensively to design a solution that reclaims and revalues PET waste, putting in place measures that guarantee a reusable system to encourage mainstream change. ‘Re.Wrap’, launching April 2023, is the solution; a dedicated acoustic product that reclaims and revalues what would otherwise be waste PET. Set up by in 2014, The Collective began with the mission of bringing environmentally sustainable choices to the commercial interior market. We'd say they're on the right tracks!

for Yoredale and comments on the new shades: “These tones have been carefully developed to appeal to the way we live and work today; the colours we want to be surrounded by, whether that’s in our living room or office. There are soft, delicate shades that instantly

sooth; warmer, almost burnt hues that welcome and invite; and neutrals that ground. It’s a palette for now, but it also has the timeless tones that will never go out of style – much like Yoredale itself; a modern fabric, with a look and feel that is without age.”

Yore Gorgeous First introduced to the Camira collection in 2019, Yoredale now has a fresh new look for Spring 2023. The fabric manufacturer has expanded the popular product’s palette to 33 colourways, introducing a selection of pastels, neutrals, denim blues, and rusted reds. A fabric inspired by, designed and made in the company’s home of Yorkshire, England, Yoredale takes its name from the ancient title of Wensleydale, a picturesque dale in the county. Woven from British wool, the fabric contains an innovative black binder yarn, which highlights the texture of the bouclé and creates an appealing visual detail. Certified for use in commercial and residential environments, Yoredale appeals to the workplace, home and hospitality, and the new colour palette has been developed to reflect the blurred boundaries of today’s exciting interior schemes. Hayley Barrett, Senior Designer at Camira, led the colour development

12

Works / Issue 5 / 2023

Freddie's Fab Five

Product review 13 Works

SWEDISH NINJA – CANDY PICKNMIX Stockholm Furniture Fair is renowned for bright pastel colours to brighten up those long Nordic winter nights. Swedish Ninja’s creative husband and wife team, Maria and Magnus Gustavsson, took inspiration from gummy bears, chocolates and marshmallows to make the CANDY Lamps PickNmix Concept, with strong graphical shapes and a wide colour palette. This fun collection allows the specifier to play with endless combinations and hang them in any direction to add some ‘lightyliciousness’ to your space.

Our product specialist, Freddie Steele, put on his warmest anorak and headed to the frozen climes of Scandinavia to take a look at the very best new furniture introductions this year's edition of the Stockholm Furniture Fair had to offer.

BLA STATION – MAX CHAIR In 2020, when his University Arts Exhibition shifted online due to the pandemic, emerging designer Johan Ansander presented his wooden chair design, ‘Maximus’. The design was immediately spotted by Bla Station’s shrewd Co-owner, Johan Lindau, and the chair was produced to widespread acclaim. At SFF23, Maximus gave birth to ‘Max’ – the upholstered version. Max is the dressed-up version of Maximus, offering ‘fully clothed’ soft comfort thanks to nosaq springs covered with molded foam, all held in place by a demanding stitching process. The result is a fun and extremely comfortable chair that uses no glue.

BISLEY – BEST OF BRITISH Bisley was one of very few brands flying the flag for British design at SFF23, with an extensive and vibrant stand demonstrating the company's expertise in workplace solutions for both home and office. Pren freestanding wooden lockers and cupboards were displayed alongside LockerWall, a fully customisable locker system with smart locking. We also saw Outline dividing furniture and the Hideaway Swing Desk – all carefully curated in vibrant pastel colours alongside chairs and softseating from our friends at Deadgood.

»

12

Works / Issue 5 / 2023

Freddie's Fab Five

Product review 13 Works

SWEDISH NINJA – CANDY PICKNMIX Stockholm Furniture Fair is renowned for bright pastel colours to brighten up those long Nordic winter nights. Swedish Ninja’s creative husband and wife team, Maria and Magnus Gustavsson, took inspiration from gummy bears, chocolates and marshmallows to make the CANDY Lamps PickNmix Concept, with strong graphical shapes and a wide colour palette. This fun collection allows the specifier to play with endless combinations and hang them in any direction to add some ‘lightyliciousness’ to your space.

Our product specialist, Freddie Steele, put on his warmest anorak and headed to the frozen climes of Scandinavia to take a look at the very best new furniture introductions this year's edition of the Stockholm Furniture Fair had to offer.

BLA STATION – MAX CHAIR In 2020, when his University Arts Exhibition shifted online due to the pandemic, emerging designer Johan Ansander presented his wooden chair design, ‘Maximus’. The design was immediately spotted by Bla Station’s shrewd Co-owner, Johan Lindau, and the chair was produced to widespread acclaim. At SFF23, Maximus gave birth to ‘Max’ – the upholstered version. Max is the dressed-up version of Maximus, offering ‘fully clothed’ soft comfort thanks to nosaq springs covered with molded foam, all held in place by a demanding stitching process. The result is a fun and extremely comfortable chair that uses no glue.

BISLEY – BEST OF BRITISH Bisley was one of very few brands flying the flag for British design at SFF23, with an extensive and vibrant stand demonstrating the company's expertise in workplace solutions for both home and office. Pren freestanding wooden lockers and cupboards were displayed alongside LockerWall, a fully customisable locker system with smart locking. We also saw Outline dividing furniture and the Hideaway Swing Desk – all carefully curated in vibrant pastel colours alongside chairs and softseating from our friends at Deadgood.

»

14

Works / Issue 5 / 2023

Product review

OFFECCT – NOMOLE STOOL Cleverly named, and instantly eyecatching, Ronja Reuber’s Nomole stool (short for no-more-no-less) is a delight. The curved and bent metal frame provides a fascinating shape and casts a cool silhouette, whilst allowing movement for added seating comfort. Perfect for sipping that post-show gin and tonic. Talented Ronja is one to watch – and we are convinced that the Nomole barstool is going to be a big hit.

TED SYNNOTT – OTAMA CHAIR Otama was shown in SFF’s Greenhouse – a space for up and coming designers. Ted Synnott hails from New Zealand and is looking for a manufacturing partner for his beautiful chair, which combines strong horizontal and vertical lines with both curved elements and sculptural joinery. Ted told us: “The idea for the joinery came from a technical understanding and experience of wood-turning, knowing that if sections were left square in the process, I could shape them afterwards.” Let’s see if we can help Ted land a manufacturing partner. You know it makes sense!

HÅG Tion™

We believe the HÅG Tion is the most sustainable task chair design in the world. With the HÅG Tion we continue to push the boundaries of environmentally conscious furniture. Made with 71-75% recycled materials, designed for disassembly and made using as few components as possible, it also has the lowest carbon footprint of any of our task chairs, and can be repaired and refurbished long after its 10-year warranty. All of this combined make it our most sustainable task chair to date.

Flokk showroom, 63 Central Street, London, EC1V 3AF www.flokk.com

14

Works / Issue 5 / 2023

Product review

OFFECCT – NOMOLE STOOL Cleverly named, and instantly eyecatching, Ronja Reuber’s Nomole stool (short for no-more-no-less) is a delight. The curved and bent metal frame provides a fascinating shape and casts a cool silhouette, whilst allowing movement for added seating comfort. Perfect for sipping that post-show gin and tonic. Talented Ronja is one to watch – and we are convinced that the Nomole barstool is going to be a big hit.

TED SYNNOTT – OTAMA CHAIR Otama was shown in SFF’s Greenhouse – a space for up and coming designers. Ted Synnott hails from New Zealand and is looking for a manufacturing partner for his beautiful chair, which combines strong horizontal and vertical lines with both curved elements and sculptural joinery. Ted told us: “The idea for the joinery came from a technical understanding and experience of wood-turning, knowing that if sections were left square in the process, I could shape them afterwards.” Let’s see if we can help Ted land a manufacturing partner. You know it makes sense!

HÅG Tion™

We believe the HÅG Tion is the most sustainable task chair design in the world. With the HÅG Tion we continue to push the boundaries of environmentally conscious furniture. Made with 71-75% recycled materials, designed for disassembly and made using as few components as possible, it also has the lowest carbon footprint of any of our task chairs, and can be repaired and refurbished long after its 10-year warranty. All of this combined make it our most sustainable task chair to date.

Flokk showroom, 63 Central Street, London, EC1V 3AF www.flokk.com

Project 17 Works

16 Works / Issue 5 / 2023

Historians can't be certain whether the city of Thessaloniki was founded in 316BC or 315BC. What they do know is the origins of its name.

Greece is the word »

The scheme is part of Pfizer's ongoing effort to maximise digital technology for the development of medicine

Project 17 Works

16 Works / Issue 5 / 2023

Historians can't be certain whether the city of Thessaloniki was founded in 316BC or 315BC. What they do know is the origins of its name.

Greece is the word »

The scheme is part of Pfizer's ongoing effort to maximise digital technology for the development of medicine

Project

18 Works / Issue 5 / 2023

It was named in honour of a Macedonian princess by the city's founder, Cassander. He was the infamous ruler of Macedonia to whom Thessaloniki was forced to marry after he executed her stepmother, Olympias. Thessaloniki became a Queen after Cassander was proclaimed the King of Macedonia in 305 BC. But enough of the ancient history lesson. Today, Thessaloniki is a vibrant, culturally-rich port city. The second largest city in Greece (by inhabitants), Thessaloniki is also known as an important trading and business centre. Wanting to give back to his Greek heritage and hometown, Dr. A. Bourla, the CEO of Pfizer, located the first Pfizer Center for Digital Innovation in the city back in May 2020. This formed part of a new Pfizer Campus that was completed in 2022. The 7,000 sq m scheme was part of Pfizer’s continuing effort to maximise digital technology for the development of medicine, with an inspiring brief to create a modern environment that would foster greater collaboration and innovation in a vibrant environment. eDje architects led the design team and coordinated all aspects of the design. They were assisted by Perkins&Will, who provided the initial space planning strategy and remained in touch with the team throughout. Pfizer’s main aim is to house all of the firm’s colleagues in Thessaloniki, from the Pfizer Center for Digital

Innovation and the Global Business Services teams, on this new campus. The Pfizer Center for Digital Innovation is home to highly technical teams who conduct work in the fields of artificial intelligence and big data/analytics with spaces for demonstration/innovation aims. They work in a series of open plan spaces that include workstations, breakout spaces and collaboration zones. The campus also offers a work café, wellness centre and training rooms for all users. The site itself was a disused retail park with three large open plan steel framed buildings formed around

Below: Heritage, modern culture and technology have been combined throughout the space, which features fantastic graffiti designs

Below right: The scheme features a variety of quiet spaces for concentrated working and meetings

"Thessaloniki is a city with historical and architectural importance in Greece, which is reflected in its culture, colours and materials."

an outdoor plaza housing a central building of exposed concrete and glass. Corten steel sheets blocked natural light in the larger 4,000 sq m building, whose lower level (the previous retail park’s loading bay) required extensive work to become an appropriately ventilated and naturally lit office space. Major construction works were needed to provide sufficient fireproofing of the building skins, whilst thermal and sound insulation were specified to protect users and large openings were created in the façades and roof to bring light into the deep span of the buildings. Core mechanical and electrical enhancements to all of the base buildings were designed to meet the client’s high standards for comfortable interiors for its users. These changes were supported by a highly technical acoustic strategy, which was to provide, amongst other requirements, an open plan agile space that offered flexibility in size with quiet spaces for concentrated working and meeting. Thessaloniki is a city with historical and architectural importance in Greece, which is reflected in its culture, colours and materials. As the choice to house the new Center for Digital Innovation and Global Business Services team in Thessaloniki was of great significance to Pfizer, Perkins&Will’s proposal to incorporate the local culture was embraced enthusiastically by the client. The office space plan was developed using the Greek city plan as a model.

»

Kastel by Frem brings an extensive portfolio of Italian seating to create spaces that are not just work, educational or meeting spaces. They are places where life happens, where people connect and collaborate. Frem Group is the sole distributor of the Kastel range in the UK. Visit Kastel SRL at Orgatec, Cologne 25-29 October orgatec.com Hall 6.1 / Stand A058

frem.co.uk | [email protected] | Tel: 01604 756567 | Frem Showroom: 84 Clerkenwell Road, London EC1M 5RF

Project

18 Works / Issue 5 / 2023

It was named in honour of a Macedonian princess by the city's founder, Cassander. He was the infamous ruler of Macedonia to whom Thessaloniki was forced to marry after he executed her stepmother, Olympias. Thessaloniki became a Queen after Cassander was proclaimed the King of Macedonia in 305 BC. But enough of the ancient history lesson. Today, Thessaloniki is a vibrant, culturally-rich port city. The second largest city in Greece (by inhabitants), Thessaloniki is also known as an important trading and business centre. Wanting to give back to his Greek heritage and hometown, Dr. A. Bourla, the CEO of Pfizer, located the first Pfizer Center for Digital Innovation in the city back in May 2020. This formed part of a new Pfizer Campus that was completed in 2022. The 7,000 sq m scheme was part of Pfizer’s continuing effort to maximise digital technology for the development of medicine, with an inspiring brief to create a modern environment that would foster greater collaboration and innovation in a vibrant environment. eDje architects led the design team and coordinated all aspects of the design. They were assisted by Perkins&Will, who provided the initial space planning strategy and remained in touch with the team throughout. Pfizer’s main aim is to house all of the firm’s colleagues in Thessaloniki, from the Pfizer Center for Digital

Innovation and the Global Business Services teams, on this new campus. The Pfizer Center for Digital Innovation is home to highly technical teams who conduct work in the fields of artificial intelligence and big data/analytics with spaces for demonstration/innovation aims. They work in a series of open plan spaces that include workstations, breakout spaces and collaboration zones. The campus also offers a work café, wellness centre and training rooms for all users. The site itself was a disused retail park with three large open plan steel framed buildings formed around

Below: Heritage, modern culture and technology have been combined throughout the space, which features fantastic graffiti designs

Below right: The scheme features a variety of quiet spaces for concentrated working and meetings

"Thessaloniki is a city with historical and architectural importance in Greece, which is reflected in its culture, colours and materials."

an outdoor plaza housing a central building of exposed concrete and glass. Corten steel sheets blocked natural light in the larger 4,000 sq m building, whose lower level (the previous retail park’s loading bay) required extensive work to become an appropriately ventilated and naturally lit office space. Major construction works were needed to provide sufficient fireproofing of the building skins, whilst thermal and sound insulation were specified to protect users and large openings were created in the façades and roof to bring light into the deep span of the buildings. Core mechanical and electrical enhancements to all of the base buildings were designed to meet the client’s high standards for comfortable interiors for its users. These changes were supported by a highly technical acoustic strategy, which was to provide, amongst other requirements, an open plan agile space that offered flexibility in size with quiet spaces for concentrated working and meeting. Thessaloniki is a city with historical and architectural importance in Greece, which is reflected in its culture, colours and materials. As the choice to house the new Center for Digital Innovation and Global Business Services team in Thessaloniki was of great significance to Pfizer, Perkins&Will’s proposal to incorporate the local culture was embraced enthusiastically by the client. The office space plan was developed using the Greek city plan as a model.

»

Kastel by Frem brings an extensive portfolio of Italian seating to create spaces that are not just work, educational or meeting spaces. They are places where life happens, where people connect and collaborate. Frem Group is the sole distributor of the Kastel range in the UK. Visit Kastel SRL at Orgatec, Cologne 25-29 October orgatec.com Hall 6.1 / Stand A058

frem.co.uk | [email protected] | Tel: 01604 756567 | Frem Showroom: 84 Clerkenwell Road, London EC1M 5RF

Project

20 Works / Issue 5 / 2023

The wellness centre features a state-ofthe-art gym and massage rooms

The proximity of spaces and the creation of interactions to encourage and support connections between the users formed the layout and its adjacencies. Working neighbourhoods have been designed along the perimeter of the main building, accompanied by touchdown and breakout areas, which have been carefully positioned adjacent to desks to provide collaboration and teamwork. These encircled the central heart of the office – the ‘Agora’ – a large agile workspace that offers numerous variations of room sizes and shapes, which can be opened up with sliding partitions of writeable surfaces, sustainable cork pinboards and acoustic felt panels for teams to work together. This has become a flexible workspace that is modified, adding depth and interest to the centre of the building as the space adapts and changes to the activity it encloses. A corridor or ‘Stoa’ off this agile space connects to private meeting rooms and links the north and south neighbourhood avenues with

"The look and feel drew inspiration from local colours, texture and lifestyle to provide the spaces with a unique local essence."

suspended acoustic panels, custom designed light signage and flooring reminiscent of traditional cobbled streets. The look and feel drew inspiration from local colours, textures and lifestyle to provide the spaces with a unique local essence. Preference was taken on sustainable and locally sourced materials, carefully selected to enhance and tie in with the interiors. Terracotta partitions, which provide semitransparent views, cobbled streets,

street lighting and strong graffiti designs (specifically designed for this project) have all been curated and put together by the team to marry heritage, modern culture and technology throughout the project. This is immediately felt at the Meet & Greet facility, which is reminiscent of Greek colonnades, where natural timber has been combined with perforated coloured terracotta bricks, similar to the red brick found in the city. These natural materials are both contrasted and integrated with the undoubted key to the project – technology – through the presence of digital imagery, which is displayed on a large floating light box above the entrance speedgates. From here, visitors are led to a stepped seating town hall (known as a ‘plateia’ in Greek), which offers an impressive capacity of 260. Kafeneia (or work café) facilities are laid out as traditional Greek cafés but with modern furniture to provide a collaborative space in which people can work, meet and eat.

Lighting the unexpected Along with an array of office lighting projects, FUTURE Designs has created three bespoke lighting solutions; the IKON uplighter, IKON EMERGENCY luminaire and the PLINTH luminaire for Europe’s largest infrastructure project, Elizabeth Line.

»

Visit our new website at futuredesigns.co.uk

Project

20 Works / Issue 5 / 2023

The wellness centre features a state-ofthe-art gym and massage rooms

The proximity of spaces and the creation of interactions to encourage and support connections between the users formed the layout and its adjacencies. Working neighbourhoods have been designed along the perimeter of the main building, accompanied by touchdown and breakout areas, which have been carefully positioned adjacent to desks to provide collaboration and teamwork. These encircled the central heart of the office – the ‘Agora’ – a large agile workspace that offers numerous variations of room sizes and shapes, which can be opened up with sliding partitions of writeable surfaces, sustainable cork pinboards and acoustic felt panels for teams to work together. This has become a flexible workspace that is modified, adding depth and interest to the centre of the building as the space adapts and changes to the activity it encloses. A corridor or ‘Stoa’ off this agile space connects to private meeting rooms and links the north and south neighbourhood avenues with

"The look and feel drew inspiration from local colours, texture and lifestyle to provide the spaces with a unique local essence."

suspended acoustic panels, custom designed light signage and flooring reminiscent of traditional cobbled streets. The look and feel drew inspiration from local colours, textures and lifestyle to provide the spaces with a unique local essence. Preference was taken on sustainable and locally sourced materials, carefully selected to enhance and tie in with the interiors. Terracotta partitions, which provide semitransparent views, cobbled streets,

street lighting and strong graffiti designs (specifically designed for this project) have all been curated and put together by the team to marry heritage, modern culture and technology throughout the project. This is immediately felt at the Meet & Greet facility, which is reminiscent of Greek colonnades, where natural timber has been combined with perforated coloured terracotta bricks, similar to the red brick found in the city. These natural materials are both contrasted and integrated with the undoubted key to the project – technology – through the presence of digital imagery, which is displayed on a large floating light box above the entrance speedgates. From here, visitors are led to a stepped seating town hall (known as a ‘plateia’ in Greek), which offers an impressive capacity of 260. Kafeneia (or work café) facilities are laid out as traditional Greek cafés but with modern furniture to provide a collaborative space in which people can work, meet and eat.

Lighting the unexpected Along with an array of office lighting projects, FUTURE Designs has created three bespoke lighting solutions; the IKON uplighter, IKON EMERGENCY luminaire and the PLINTH luminaire for Europe’s largest infrastructure project, Elizabeth Line.

»

Visit our new website at futuredesigns.co.uk

Eyebrow

22 Works / Issue 5 / 2023

The importance of feeling at home is immediately felt with the choice of furnishings, which blur the lines between workplace and domestic habitat. Wellness has been considered in all aspects of the design. The introduction of biophilic elements and the use of natural and sustainable materials have helped create a space with real impact for both staff and visitors. The formation of spaces for users to feel relaxed in, but also to have fun and interact with, has been considered throughout the campus. In the lower level, a wellness centre incorporates a gym (which itself hosts gym classes) as well as massage rooms. In the open plan café area of this level, games are available to the users as well as a quiet library room. The materials in these spaces have been chosen based on sensory and perceptive criteria to create a calm and spa-like interior. This is contrasted against the more colourful workspaces in other buildings, which further enhances the all-important sense of wellbeing here. We’re told that, from the very start of the project, the design team was excited to introduce the Greek tradition of

Below: The agile workspace offers a variety of room sizes and shapes and state-of-the-art technology

Below right: Biophilic elements natural, sustainable materials enhance the sense of wellbeing throughout

outdoor living – something very evident in Thessaloniki’s vibrant city culture. It is a city well known for its street food and young energy, and for this reason the central plaza building was designed as the focal work café. Its fair-faced concrete and glass structure were the starting point for the creation of an industrial style café similar to those found in the city centre, with covered outdoor seating areas. For the interiors, design features were pulled from the rest of the campus, such as industrial style lighting and terracotta partitions. The café is laid out to provide a variety of seating, both formal and informal, to allow for different ways of interacting. A large main kitchen has been incorporated, along with a central coffee point – a necessity in Greek culture! The result of this impressive project is a fully inclusive agile working environment that celebrates the notion of people coming together, connecting, co-creating and interacting in an innovative and healthy environment. And you'd have to go a long way to find a better looking scheme. History in the making.

Top right: Spaces haave been designed for users to both feel relaxed in and to have fun and interact with

"The result of this impressive project is a fully inclusive agile working environment."

Platforms By Connection www.connection.uk.com/platforms

Eyebrow

22 Works / Issue 5 / 2023

The importance of feeling at home is immediately felt with the choice of furnishings, which blur the lines between workplace and domestic habitat. Wellness has been considered in all aspects of the design. The introduction of biophilic elements and the use of natural and sustainable materials have helped create a space with real impact for both staff and visitors. The formation of spaces for users to feel relaxed in, but also to have fun and interact with, has been considered throughout the campus. In the lower level, a wellness centre incorporates a gym (which itself hosts gym classes) as well as massage rooms. In the open plan café area of this level, games are available to the users as well as a quiet library room. The materials in these spaces have been chosen based on sensory and perceptive criteria to create a calm and spa-like interior. This is contrasted against the more colourful workspaces in other buildings, which further enhances the all-important sense of wellbeing here. We’re told that, from the very start of the project, the design team was excited to introduce the Greek tradition of

Below: The agile workspace offers a variety of room sizes and shapes and state-of-the-art technology

Below right: Biophilic elements natural, sustainable materials enhance the sense of wellbeing throughout

outdoor living – something very evident in Thessaloniki’s vibrant city culture. It is a city well known for its street food and young energy, and for this reason the central plaza building was designed as the focal work café. Its fair-faced concrete and glass structure were the starting point for the creation of an industrial style café similar to those found in the city centre, with covered outdoor seating areas. For the interiors, design features were pulled from the rest of the campus, such as industrial style lighting and terracotta partitions. The café is laid out to provide a variety of seating, both formal and informal, to allow for different ways of interacting. A large main kitchen has been incorporated, along with a central coffee point – a necessity in Greek culture! The result of this impressive project is a fully inclusive agile working environment that celebrates the notion of people coming together, connecting, co-creating and interacting in an innovative and healthy environment. And you'd have to go a long way to find a better looking scheme. History in the making.

Top right: Spaces haave been designed for users to both feel relaxed in and to have fun and interact with

"The result of this impressive project is a fully inclusive agile working environment."

Platforms By Connection www.connection.uk.com/platforms

24 Works / Issue 5 / 2023

Freddie's Fab Finishes

We challenged our products specialist, Freddie Steele, to show us his knowledge and versatility by stepping away from his furniture comfort zone and heading into the world of materials and surfaces. Here he brings us his top picks from the recent Surface Design Show.

PLASTICIET – MOTHER OF PEARL Surface Matter works with some of the most exciting materials out there, from sheets made of recycled paper to colourful panels that rethink plastic waste. They bridge the gap between the designers and makers who push the boundaries to bring materials to life, for good. A perfect example of this, and launched at the Surface Design Show, is Mother of Pearl from Plasticiet. Originally created for high-end, one-off pieces, Plasticiet has turned its Mother of Pearl aesthetic into a surface material. We’re told that Plasticiet is made in a similar way to how taffy is pulled, where the recycled plastic is melted, stretched, looped, pulled and pressed into shimmery pearlescent and a graphite grey tone. The layers form tiny bubbles, which change the depth and opacity of the material, dancing as your perception changes. This new innovation has been developed for Plasticiet by Marten van Middelkoop and Joost Dingemans – two Rotterdam based designers with a passion for sustainable material development.

Product review 25 Works

ARMOURCOAT – CLIME Armourcoat launched its new natural clay lime plaster, Clime, at SDS, adding to its ever-growing sustainable product range. Naturally sustainable, the newly launched clay lime plaster has achieved IAC Gold status by incorporating abundant natural materials such as unfired clay, marble, limestone and hydraulic lime, making it 100% cement and VOC free, biodegradable and recyclable. Due to the material’s versatility, it can be used in both homes and commercial buildings, withstanding the demands

of busy interiors. Armourcoat Clime is available in two standard finishes: Clime Matte and Clime Stone. Clime Matte creates a finely textured, subtle finish, which radiates the natural material used. Clime Stone includes crushed marble to create a heavier texture, suitable for large areas where a more dramatic finish is desired. Both finishes are available in 15 colours and are suitable for internal areas. Custom colours and finishing techniques are also possible, including banding, layering and pearlescent washes.

SMILE PLASTICS – CLASSICS COLLECTION Smile Plastics, the leading manufacturer of 100% recycled and recyclable surfaces, played an integral role at the Surface Design Show, offering its materials to create an impressive setting for the main stage, which was a hive of activity throughout the event. Smile also exhibited new, limited-edition products, such as the on-trend Coral Dapple, alongside pieces from its Classics collection. The materials in the Classics Collection are lovingly handcrafted, with every quirk, imperfection and mottle telling a different recycling story. Each one has been tried and tested in a wide range of applications, from store design through to furniture and product design.

»

24 Works / Issue 5 / 2023

Freddie's Fab Finishes

We challenged our products specialist, Freddie Steele, to show us his knowledge and versatility by stepping away from his furniture comfort zone and heading into the world of materials and surfaces. Here he brings us his top picks from the recent Surface Design Show.

PLASTICIET – MOTHER OF PEARL Surface Matter works with some of the most exciting materials out there, from sheets made of recycled paper to colourful panels that rethink plastic waste. They bridge the gap between the designers and makers who push the boundaries to bring materials to life, for good. A perfect example of this, and launched at the Surface Design Show, is Mother of Pearl from Plasticiet. Originally created for high-end, one-off pieces, Plasticiet has turned its Mother of Pearl aesthetic into a surface material. We’re told that Plasticiet is made in a similar way to how taffy is pulled, where the recycled plastic is melted, stretched, looped, pulled and pressed into shimmery pearlescent and a graphite grey tone. The layers form tiny bubbles, which change the depth and opacity of the material, dancing as your perception changes. This new innovation has been developed for Plasticiet by Marten van Middelkoop and Joost Dingemans – two Rotterdam based designers with a passion for sustainable material development.

Product review 25 Works

ARMOURCOAT – CLIME Armourcoat launched its new natural clay lime plaster, Clime, at SDS, adding to its ever-growing sustainable product range. Naturally sustainable, the newly launched clay lime plaster has achieved IAC Gold status by incorporating abundant natural materials such as unfired clay, marble, limestone and hydraulic lime, making it 100% cement and VOC free, biodegradable and recyclable. Due to the material’s versatility, it can be used in both homes and commercial buildings, withstanding the demands

of busy interiors. Armourcoat Clime is available in two standard finishes: Clime Matte and Clime Stone. Clime Matte creates a finely textured, subtle finish, which radiates the natural material used. Clime Stone includes crushed marble to create a heavier texture, suitable for large areas where a more dramatic finish is desired. Both finishes are available in 15 colours and are suitable for internal areas. Custom colours and finishing techniques are also possible, including banding, layering and pearlescent washes.

SMILE PLASTICS – CLASSICS COLLECTION Smile Plastics, the leading manufacturer of 100% recycled and recyclable surfaces, played an integral role at the Surface Design Show, offering its materials to create an impressive setting for the main stage, which was a hive of activity throughout the event. Smile also exhibited new, limited-edition products, such as the on-trend Coral Dapple, alongside pieces from its Classics collection. The materials in the Classics Collection are lovingly handcrafted, with every quirk, imperfection and mottle telling a different recycling story. Each one has been tried and tested in a wide range of applications, from store design through to furniture and product design.

»

14 | in | issue 12

COMMENT

26 Works / Issue 5 / 2023

Evolution of the ‘Third Place’ in a hybrid world —Chelsea Perino

The restrictions brought about by COVID-19 altered where we work and thus also how, when and through which channels we do work related activities. These changes also radically altered the way previously office-based workers thought about ‘work’ as an activity. This had a significant impact on traditional models of workplace provisioning. One could argue that pre-COVID-19 the ‘work mindset’ was almost an afterthought because there were distinguishing markers that indicated when you were expected to work and when you were not. If you were in the office then you were expected to be doing work-related tasks. Then, at the literal end of the day, you switched off your computer and went home and mentally ‘turned-off ’ until you returned to work the next morning. Now, because people feel that they are ‘always on’, they now make a conscious effort to separate their working hours from the rest of their lives. COVID-19, however, made that increasingly difficult as suddenly the physical difference ANTALISwork – COALA between and INTERIOR non-workFILM environments (i.e., The Coala Interior Film range allowsthis in turn the office versus home) was removed; you to easily refresh interior spaces, created a paradigm shift. from upcycling furniture to renovating The first phase in this mindset large-scale commercial projects. progression was ironically a physical transition: from the office to Coala Interior Films help to create the illusion of raw materials primarily working from home. without the of construction, due Nocomplexities longer was this work style associated with to their extraordinary realism. By the most progressive of companies; it became offering an exciting yet cost-effective ansolution, experience had by all, regardless of industry, the innovative range opens department, or opportunities title. for both commercial and

“

domestic projects and allows a new approach for a more frequent level of change that promises high quality, durable and aesthetically pleasing results. With 470+ easy-to-apply finishes available across wood, leather, marble, stone, metallic, glitter, fabric and solid colour categories, Coala Interior Film can cover most surfaces in extremely quick time, allowing a cost-effective solution to upcycling interior environments.

Inevitably, individuals started to take decisions into their own hands

Product review

Are you planning a workplace change project?

PHILLIP JEFFRIES – CASCADES Phillip Jeffries’ Cascades collection takes its inspiration from nature’s most vivid displays of splendour. You can discover 14 new wallcovering designs inspired by glorious mountain ranges and rich landscapes. Beautiful wood tones, smooth and textured surfaces, and flowing movements bring nature indoors, creating a luxurious retreat. Inevitably, the initial allure of working from Chelsea Perino is the Now in its fourth decade, Phillip Jeffries Managing Director, home lost its lustre but returning to the office was has emerged as the industry leader Global Marketing & not always an option; as a result, individuals started in natural, textured and specialty Communications at The to take decisions into their own hands. wallcoverings. A manufacturer andwhich Executive Centre, importerAt of uniqueshe and quality Enter the rise of ‘Work From Anywhere’. hasfine helped establish textured the company this point, the realisation for employees, their wallcoverings, as a leader in workspace was founded in 1976 with just experience, community, employers, and clients alike, was that work can 10 grasscloths. From humble andthe corporate-culture take place in spaces other than between four beginnings of the family garage, facilitation. She isPhillip an pre-defined walls, at a desk, from 9-5pm, became Jeffries now stocksadjunct more professor than 1,000 and in its a regular evident. But, what makes a workplaceready-to-ship the most wallcoverings published author, productive? The answer is: it depends.60,000+ sq ft headquarters. guest speaker at corporate

An ideal workspace might be as casual as a café, or a place more specifically designated for work such as a flexible workspace; it might be a home office or even a comfortable section of your sofa; or it might be a traditional office. The thing that needs to be recognised is that no work is the same, and that in and of itself should justify multiple workspace types/settings. The key factors that determine workplace productivity and satisfaction are: • self-awareness of your workplace setting preferences for different types of activity, • your awareness of and access to a variety of practical workplace options and • the positive versus negative perceptions of making the choice that works best for you While we might not be clear on exactly what the workplace will look like in the future, one thing is pretty clear: the importance being placed on trying to understand these dynamics, both on a personal and an organizational level, will have a positive impact on how and where we work tomorrow. Understanding how places other than the corporate office or home (i.e., third places) fit into that ‘balancing process’ is essential in developing a workplace solution that is best for both the organisation and the people delivering the results. Companies already utilising flexible workspaces only see the importance of those third-places and the mindsets associated with them increasing

real estate and marketing industry conferences, and a board member for several CRE organisations.

W W W W W

Post-Covid return to the office New ways of working New workplace technology Relocation Refurbishment

GUIDE 2021

n

uctio

trod • In

Guide to or an f Communicating time iting e postc x e an Workplace ffic an be the o ject c return toChange o r p e

s, cation

e allo ’ll still ey g spac the parkin whether th tting with ang si curity, ve, ce ch ether it’s s job se g will ha ey’ll still be a l logy, in th p ild no er aff bu ch k th h te y r a o ged st y-in a new and whe new W s ga e w . w ie th en lit bu w A desk faci on ho Employee t to the what eir same ation cing new lace pact s i ve th or im l success. me resistan through n aj ha a m a em eral le beco du lt rkp org . ort th its ov ill have ge w as well as t. If peop g to supp ce change chan Engin w wo , intro la a resu it, P L AC K en workp ople challe very a smooth as pe Covid king or ne cation as a majoF I VrE D E AE DCLYOarisMeSanMIwNitSimSh po,OitrtFcaanWntObeelRem otten eir work. ute rg ec fo th y ex r ge r r o ANG quickl d focus on oblems fo chan ocess and pr vity will be an of wo logy, a rel growth, o for a C H the pr oject working e ongoing producti pr ed of o anag new way of can caus and loss erence 6 —→ d e n m ←— c ln e n ff e wel tech ansion a ’s a chan 22 AseBuantttleoraingapotoniorthsalynttiexs.onecG,utoofromedd coinonstgmaffexmciatuntetricditatacioaniotidnvepoislythsiwtieorvedikiabngouagtaithnse t the 21 it of exp ishment, le clie feel op st le t. lo pe op ec d to b your e proj ge an een pe icate ps and betw ing chan mper th refur tart. ha ti m mmun top2 upco sation to —→ ring to co 22 7 —→ s how d provides a rip-roa organi plan it s you ectively anto make lp fresh he ide how ge eff

1

You can explore this topic in greater detail including a long form piece from Chelsea and an interview at Work&Place. The QR code will take you straight there.

ns will have y organisatio ls, n spaces. Man new collaboration too idors and ope g options to y’ve been at sing in corr o conferencin people cros king while the k to office From new vided to a new way of wor bac ch swit pandemic. the y have got use change as a result of a building ma a in with people may gy s this technolo to work, not all facilitie mple, may be shut for s home. Will ant, for exa s – both pro h the return working? Wit same time. The restaur e picture of the change should sibl the you be open at ke e a full as pos h the return to work, g you havof 14ssaging. Wit e done to ma 2 me while. Ensurin helpGE s team hav ning and facilitie PA with enhanced clea ude and cons – will what the workplace incl ld and this cou also underst nt safer. For example, etc. s system me the environ conditioning certain nges to airg until you are for regimes, cha ting anythin es, t communica legal requirements. Mov be ry al: Don’t star must 8 —→ Be leg adhered to all the necessa e contracts and this t Covid. It loye e that you hav involve changes to emp for the return to work pos be consulted n to example, ofte . The same can be said and unions may need has all been fully cases handled care Make sure this ramme. on in some de. sati ma pen is com prog ent to staff may involve on a comms al announcem embarking before any form resolved fully before and investigated

PAGE 5 of

22 23

Download our free guide www.magentaassociates.co/ communicating-workplace-change

This gulace chan iration on workp ing of insp a dust s. succes

←—

dually need to gra ded quickly – you too deep too people are not bombar t —→ tion so tha ly on ear rma ail info det re ry sha ch unnecessa with too mu

22 25

2422

channels – not of tools and an e-newsletter g a variety n ←— Not usin to the microsite, ope a mixture of go alker – so use everyone will ter or table-t everyone ch or read a pos rea nnels to different cha

14

Integrated communications for the built environment

14 | in | issue 12

COMMENT

26 Works / Issue 5 / 2023

Evolution of the ‘Third Place’ in a hybrid world —Chelsea Perino

The restrictions brought about by COVID-19 altered where we work and thus also how, when and through which channels we do work related activities. These changes also radically altered the way previously office-based workers thought about ‘work’ as an activity. This had a significant impact on traditional models of workplace provisioning. One could argue that pre-COVID-19 the ‘work mindset’ was almost an afterthought because there were distinguishing markers that indicated when you were expected to work and when you were not. If you were in the office then you were expected to be doing work-related tasks. Then, at the literal end of the day, you switched off your computer and went home and mentally ‘turned-off ’ until you returned to work the next morning. Now, because people feel that they are ‘always on’, they now make a conscious effort to separate their working hours from the rest of their lives. COVID-19, however, made that increasingly difficult as suddenly the physical difference ANTALISwork – COALA between and INTERIOR non-workFILM environments (i.e., The Coala Interior Film range allowsthis in turn the office versus home) was removed; you to easily refresh interior spaces, created a paradigm shift. from upcycling furniture to renovating The first phase in this mindset large-scale commercial projects. progression was ironically a physical transition: from the office to Coala Interior Films help to create the illusion of raw materials primarily working from home. without the of construction, due Nocomplexities longer was this work style associated with to their extraordinary realism. By the most progressive of companies; it became offering an exciting yet cost-effective ansolution, experience had by all, regardless of industry, the innovative range opens department, or opportunities title. for both commercial and

“

domestic projects and allows a new approach for a more frequent level of change that promises high quality, durable and aesthetically pleasing results. With 470+ easy-to-apply finishes available across wood, leather, marble, stone, metallic, glitter, fabric and solid colour categories, Coala Interior Film can cover most surfaces in extremely quick time, allowing a cost-effective solution to upcycling interior environments.

Inevitably, individuals started to take decisions into their own hands

Product review

Are you planning a workplace change project?

PHILLIP JEFFRIES – CASCADES Phillip Jeffries’ Cascades collection takes its inspiration from nature’s most vivid displays of splendour. You can discover 14 new wallcovering designs inspired by glorious mountain ranges and rich landscapes. Beautiful wood tones, smooth and textured surfaces, and flowing movements bring nature indoors, creating a luxurious retreat. Inevitably, the initial allure of working from Chelsea Perino is the Now in its fourth decade, Phillip Jeffries Managing Director, home lost its lustre but returning to the office was has emerged as the industry leader Global Marketing & not always an option; as a result, individuals started in natural, textured and specialty Communications at The to take decisions into their own hands. wallcoverings. A manufacturer andwhich Executive Centre, importerAt of uniqueshe and quality Enter the rise of ‘Work From Anywhere’. hasfine helped establish textured the company this point, the realisation for employees, their wallcoverings, as a leader in workspace was founded in 1976 with just experience, community, employers, and clients alike, was that work can 10 grasscloths. From humble andthe corporate-culture take place in spaces other than between four beginnings of the family garage, facilitation. She isPhillip an pre-defined walls, at a desk, from 9-5pm, became Jeffries now stocksadjunct more professor than 1,000 and in its a regular evident. But, what makes a workplaceready-to-ship the most wallcoverings published author, productive? The answer is: it depends.60,000+ sq ft headquarters. guest speaker at corporate

An ideal workspace might be as casual as a café, or a place more specifically designated for work such as a flexible workspace; it might be a home office or even a comfortable section of your sofa; or it might be a traditional office. The thing that needs to be recognised is that no work is the same, and that in and of itself should justify multiple workspace types/settings. The key factors that determine workplace productivity and satisfaction are: • self-awareness of your workplace setting preferences for different types of activity, • your awareness of and access to a variety of practical workplace options and • the positive versus negative perceptions of making the choice that works best for you While we might not be clear on exactly what the workplace will look like in the future, one thing is pretty clear: the importance being placed on trying to understand these dynamics, both on a personal and an organizational level, will have a positive impact on how and where we work tomorrow. Understanding how places other than the corporate office or home (i.e., third places) fit into that ‘balancing process’ is essential in developing a workplace solution that is best for both the organisation and the people delivering the results. Companies already utilising flexible workspaces only see the importance of those third-places and the mindsets associated with them increasing

real estate and marketing industry conferences, and a board member for several CRE organisations.

W W W W W

Post-Covid return to the office New ways of working New workplace technology Relocation Refurbishment

GUIDE 2021

n

uctio

trod • In

Guide to or an f Communicating time iting e postc x e an Workplace ffic an be the o ject c return toChange o r p e

s, cation

e allo ’ll still ey g spac the parkin whether th tting with ang si curity, ve, ce ch ether it’s s job se g will ha ey’ll still be a l logy, in th p ild no er aff bu ch k th h te y r a o ged st y-in a new and whe new W s ga e w . w ie th en lit bu w A desk faci on ho Employee t to the what eir same ation cing new lace pact s i ve th or im l success. me resistan through n aj ha a m a em eral le beco du lt rkp org . ort th its ov ill have ge w as well as t. If peop g to supp ce change chan Engin w wo , intro la a resu it, P L AC K en workp ople challe very a smooth as pe Covid king or ne cation as a majoF I VrE D E AE DCLYOarisMeSanMIwNitSimSh po,OitrtFcaanWntObeelRem otten eir work. ute rg ec fo th y ex r ge r r o ANG quickl d focus on oblems fo chan ocess and pr vity will be an of wo logy, a rel growth, o for a C H the pr oject working e ongoing producti pr ed of o anag new way of can caus and loss erence 6 —→ d e n m ←— c ln e n ff e wel tech ansion a ’s a chan 22 AseBuantttleoraingapotoniorthsalynttiexs.onecG,utoofromedd coinonstgmaffexmciatuntetricditatacioaniotidnvepoislythsiwtieorvedikiabngouagtaithnse t the 21 it of exp ishment, le clie feel op st le t. lo pe op ec d to b your e proj ge an een pe icate ps and betw ing chan mper th refur tart. ha ti m mmun top2 upco sation to —→ ring to co 22 7 —→ s how d provides a rip-roa organi plan it s you ectively anto make lp fresh he ide how ge eff

1

You can explore this topic in greater detail including a long form piece from Chelsea and an interview at Work&Place. The QR code will take you straight there.

ns will have y organisatio ls, n spaces. Man new collaboration too idors and ope g options to y’ve been at sing in corr o conferencin people cros king while the k to office From new vided to a new way of wor bac ch swit pandemic. the y have got use change as a result of a building ma a in with people may gy s this technolo to work, not all facilitie mple, may be shut for s home. Will ant, for exa s – both pro h the return working? Wit same time. The restaur e picture of the change should sibl the you be open at ke e a full as pos h the return to work, g you havof 14ssaging. Wit e done to ma 2 me while. Ensurin helpGE s team hav ning and facilitie PA with enhanced clea ude and cons – will what the workplace incl ld and this cou also underst nt safer. For example, etc. s system me the environ conditioning certain nges to airg until you are for regimes, cha ting anythin es, t communica legal requirements. Mov be ry al: Don’t star must 8 —→ Be leg adhered to all the necessa e contracts and this t Covid. It loye e that you hav involve changes to emp for the return to work pos be consulted n to example, ofte . The same can be said and unions may need has all been fully cases handled care Make sure this ramme. on in some de. sati ma pen is com prog ent to staff may involve on a comms al announcem embarking before any form resolved fully before and investigated

PAGE 5 of

22 23

Download our free guide www.magentaassociates.co/ communicating-workplace-change

This gulace chan iration on workp ing of insp a dust s. succes

←—

dually need to gra ded quickly – you too deep too people are not bombar t —→ tion so tha ly on ear rma ail info det re ry sha ch unnecessa with too mu

22 25

2422

channels – not of tools and an e-newsletter g a variety n ←— Not usin to the microsite, ope a mixture of go alker – so use everyone will ter or table-t everyone ch or read a pos rea nnels to different cha

14

Integrated communications for the built environment

Project

28 Works / Issue 5 / 2023

St James's the Great When the good folk at Squire & Partners approached us with the firm’s latest exciting workplace development, we asked about the project’s origins. We were somewhat surprised to discover that said origins date all the way back to 2001! We also discovered, however, that this is a great story of reuse, collaboration and innovation.

Squire & Partners has completed the sensitive refurbishment and extension of 78 St James’s Street for BentallGreenOak. Situated at the corner of St James’s and Little St James’s Street in the heart of Westminster, the former members’ club and subsequent private HQ building has been transformed into 100,000 sq ft of prime multi-tenant workspace, with 10,000 sq ft of state-of-the-art amenities, wellness facilities and rooftop terrace. The existing building comprises a Grade II listed Victorian structure on St James’s Street, built in the 1840s, and a rear building added to the west of the site as part of a redevelopment to provide modern workspace accommodation for a single tenant, undertaken by Squire & Partners back in 2001. Some 20 years after this initial intervention, BentallGreenOak again approached Squire & Partners with the brief to reimagine and transform 78 St James’s Street into a highly collaborative, clubhouse-style working environment with a variety of spaces that can be used 24 hours a day to support modern working patterns. Squire & Partners’ architecture and interior design teams worked in tandem to create optimal workspace accommodation and facilities. A building restructure has enhanced connectivity

Right: 78 St James's Street has been transformed into 100,000 sq ft of prime multi-tenant workspace

»

29 Works

Project

28 Works / Issue 5 / 2023

St James's the Great When the good folk at Squire & Partners approached us with the firm’s latest exciting workplace development, we asked about the project’s origins. We were somewhat surprised to discover that said origins date all the way back to 2001! We also discovered, however, that this is a great story of reuse, collaboration and innovation.

Squire & Partners has completed the sensitive refurbishment and extension of 78 St James’s Street for BentallGreenOak. Situated at the corner of St James’s and Little St James’s Street in the heart of Westminster, the former members’ club and subsequent private HQ building has been transformed into 100,000 sq ft of prime multi-tenant workspace, with 10,000 sq ft of state-of-the-art amenities, wellness facilities and rooftop terrace. The existing building comprises a Grade II listed Victorian structure on St James’s Street, built in the 1840s, and a rear building added to the west of the site as part of a redevelopment to provide modern workspace accommodation for a single tenant, undertaken by Squire & Partners back in 2001. Some 20 years after this initial intervention, BentallGreenOak again approached Squire & Partners with the brief to reimagine and transform 78 St James’s Street into a highly collaborative, clubhouse-style working environment with a variety of spaces that can be used 24 hours a day to support modern working patterns. Squire & Partners’ architecture and interior design teams worked in tandem to create optimal workspace accommodation and facilities. A building restructure has enhanced connectivity

Right: 78 St James's Street has been transformed into 100,000 sq ft of prime multi-tenant workspace

»

29 Works

Project

30 Works / Issue 5 / 2023

between the heritage element and the west wing extension, enabling the client to multi-let the development in line with current market demand. In addition, the reception has now been doubled in frontage, and a rooftop pavilion and garden have replaced inefficient plant space. Internally, finishes have been meticulously considered. Generous, state-of-the-art amenities have been sensitively incorporated into Grade II listed areas of the building, offering tenants an exclusive experience whilst reinstating the remarkable spaces the building was originally designed to offer. “Having worked at 78 St James’s Street two decades ago, Squire & Partners was invited by BentallGreenOak to return to the site and continue shaping its future, upgrading the singletenant HQ building to a multi-tenant, amenity-led workspace,” Tim Gledstone, Partner at Squire & Partners, says. “20 years on and the world is ready to travel back to the future! We now recognise that generous and grand proportions – such as those found in the heritage

spaces – are required to make us feel and work better. “Our design celebrates these unique features and works with the existing assets in order to maximise the building’s character and charm. Contemporary elements that complement this unique setting have been introduced to create a modern clubhouse atmosphere, reminiscent of the building’s original use as a members’ club. “Modern ways of working require much more than a desk. Designed to be used 24 hours a day, seven days a week, 78 St James’s Street offers state-of-theart facilities as well as space to innovate, collaborate and entertain.” “When we initially set out to reimagine 78, we took great inspiration from Squire & Partners’ HQ in Brixton,” Phil Haddleton, Principal at BentallGreenOak, reveals. “The Department Store is one of the best examples of an historic building that has been repurposed to be way ahead of its new-build competition. It works very well

Above: The entrance to the extension has been widened to create a heightened sense of arrival into the reception

31 Works

Below: State-of-theart amenities have been sensitively incorported into Grade II listed areas of the building

Above: The colour palette echoes the natural seasonal tones of the nearby Royal Parks, and features greens, blues, reds, greys and touches of gold

"When we initially set out to reimagine 78, we took great inspiration from Squire & Partners’ HQ in Brixton... one of the best examples of an historic building that has been repurposed to be way ahead of its new-build competition."

»

Project

30 Works / Issue 5 / 2023

between the heritage element and the west wing extension, enabling the client to multi-let the development in line with current market demand. In addition, the reception has now been doubled in frontage, and a rooftop pavilion and garden have replaced inefficient plant space. Internally, finishes have been meticulously considered. Generous, state-of-the-art amenities have been sensitively incorporated into Grade II listed areas of the building, offering tenants an exclusive experience whilst reinstating the remarkable spaces the building was originally designed to offer. “Having worked at 78 St James’s Street two decades ago, Squire & Partners was invited by BentallGreenOak to return to the site and continue shaping its future, upgrading the singletenant HQ building to a multi-tenant, amenity-led workspace,” Tim Gledstone, Partner at Squire & Partners, says. “20 years on and the world is ready to travel back to the future! We now recognise that generous and grand proportions – such as those found in the heritage

spaces – are required to make us feel and work better. “Our design celebrates these unique features and works with the existing assets in order to maximise the building’s character and charm. Contemporary elements that complement this unique setting have been introduced to create a modern clubhouse atmosphere, reminiscent of the building’s original use as a members’ club. “Modern ways of working require much more than a desk. Designed to be used 24 hours a day, seven days a week, 78 St James’s Street offers state-of-theart facilities as well as space to innovate, collaborate and entertain.” “When we initially set out to reimagine 78, we took great inspiration from Squire & Partners’ HQ in Brixton,” Phil Haddleton, Principal at BentallGreenOak, reveals. “The Department Store is one of the best examples of an historic building that has been repurposed to be way ahead of its new-build competition. It works very well

Above: The entrance to the extension has been widened to create a heightened sense of arrival into the reception

31 Works

Below: State-of-theart amenities have been sensitively incorported into Grade II listed areas of the building

Above: The colour palette echoes the natural seasonal tones of the nearby Royal Parks, and features greens, blues, reds, greys and touches of gold

"When we initially set out to reimagine 78, we took great inspiration from Squire & Partners’ HQ in Brixton... one of the best examples of an historic building that has been repurposed to be way ahead of its new-build competition."

»

Project

32 Works / Issue 5 / 2023

Below: The elegant Morning Room is a striking example of 19th century architecture

Bottom centre: A bespoke bar offers a modern interpretation of the rich heritage

Top right: Modern chandeliers echo the original chandeliers that once hung in the space

Eyebrow 33 Works

Below right: The Collab Space features a wellness suite, a health facility room and a deli

25-27 April 2023 /// NEC Birmingham

as a productive workspace, but it also has the hard and soft amenities within a characterful setting, which make it a place you want so spend time in. “With a shared vision for 78, Squire & Partners were therefore the perfect partners given their history with the building and their experience delivering the Department Store.” Externally, the original heritage entrance on St James’s Street has been restored to enhance the 1840s stonework, while custom flags have also been installed. Internally, a feature sculpture and planting highlight grand steps that welcome guests into the striking heritage reception at the heart of the building, known as The Saloon. Now reinstated as a key circulation route between the heritage building and the extension, it houses a series of modern, sculptural furniture pieces, which are upholstered in bold colours – highlighting the richness of the intricate heritage frescos, the floor tiling and the original dome on the 4th floor. Leading on from the Saloon, the Morning Room – a striking example of 19th century architecture, which overlooks St James’s Street – has been transformed into a club-style business lounge, reminiscent of its original function during the building’s life as a members’ club. Neglected and underutilised for years, its occupiers

"Contemporary elements that complement this unique setting have been introduced to create a modern clubhouse atmosphere."

now benefit from a social environment suitable for hosting informal meetings and laptop-based working during the day, as well as gatherings and entertaining in the evening. The colour palette employed here has been chosen to create continuity with The Saloon and to echo the natural seasonal tones of the nearby Royal Parks. Greens, blues, reds, greys and touches of gold in bouclé, velvet cord, moiré and tapestry fabrics echo the grandeur of the space, whilst cleverly creating a contemporary feel. Designed in collaboration with bespoke furniture and joinery makers, Benchmark, a freestanding bar, banquette seating, consoles and tables offer a modern interpretation of the building’s rich heritage features. A set of bespoke screens – also designed in collaboration with Benchmark – enable tenants to zone the space, meaning the room can, simultaneously, be used by multiple groups for separate tasks, minimising disruption to each other. Two suspended chandeliers, comprising light rods set within a bronze frame, echo the classical chandeliers that used to hang in the space, emphasising the architectural and historical significance of the room. An existing atrium has been rearranged to enhance connectivity between the heritage areas and the extension, previously only accessible

THE HOME FOR WORKPLACE AND FACILITIES INNOVATION Co-located with

»

REGISTER FOR YOUR FREE PASS: WWW.THEWORKPLACEEVENT.COM

Project

32 Works / Issue 5 / 2023

Below: The elegant Morning Room is a striking example of 19th century architecture

Bottom centre: A bespoke bar offers a modern interpretation of the rich heritage

Top right: Modern chandeliers echo the original chandeliers that once hung in the space

Eyebrow 33 Works

Below right: The Collab Space features a wellness suite, a health facility room and a deli

25-27 April 2023 /// NEC Birmingham

as a productive workspace, but it also has the hard and soft amenities within a characterful setting, which make it a place you want so spend time in. “With a shared vision for 78, Squire & Partners were therefore the perfect partners given their history with the building and their experience delivering the Department Store.” Externally, the original heritage entrance on St James’s Street has been restored to enhance the 1840s stonework, while custom flags have also been installed. Internally, a feature sculpture and planting highlight grand steps that welcome guests into the striking heritage reception at the heart of the building, known as The Saloon. Now reinstated as a key circulation route between the heritage building and the extension, it houses a series of modern, sculptural furniture pieces, which are upholstered in bold colours – highlighting the richness of the intricate heritage frescos, the floor tiling and the original dome on the 4th floor. Leading on from the Saloon, the Morning Room – a striking example of 19th century architecture, which overlooks St James’s Street – has been transformed into a club-style business lounge, reminiscent of its original function during the building’s life as a members’ club. Neglected and underutilised for years, its occupiers

"Contemporary elements that complement this unique setting have been introduced to create a modern clubhouse atmosphere."

now benefit from a social environment suitable for hosting informal meetings and laptop-based working during the day, as well as gatherings and entertaining in the evening. The colour palette employed here has been chosen to create continuity with The Saloon and to echo the natural seasonal tones of the nearby Royal Parks. Greens, blues, reds, greys and touches of gold in bouclé, velvet cord, moiré and tapestry fabrics echo the grandeur of the space, whilst cleverly creating a contemporary feel. Designed in collaboration with bespoke furniture and joinery makers, Benchmark, a freestanding bar, banquette seating, consoles and tables offer a modern interpretation of the building’s rich heritage features. A set of bespoke screens – also designed in collaboration with Benchmark – enable tenants to zone the space, meaning the room can, simultaneously, be used by multiple groups for separate tasks, minimising disruption to each other. Two suspended chandeliers, comprising light rods set within a bronze frame, echo the classical chandeliers that used to hang in the space, emphasising the architectural and historical significance of the room. An existing atrium has been rearranged to enhance connectivity between the heritage areas and the extension, previously only accessible

THE HOME FOR WORKPLACE AND FACILITIES INNOVATION Co-located with

»

REGISTER FOR YOUR FREE PASS: WWW.THEWORKPLACEEVENT.COM

Project

34 Works / Issue 5 / 2023

35 Works

estate investment managers – at rents exceeding pre-COVID expectations. 78 St James’s Street has received a BREEAM rating of ‘Excellent.’ Carbon emissions have been minimised by reusing the existing building fabric and retaining 80% of its structure. By introducing electric plant and machinery on site, the project was completed without the use of diesel – saving over 5,550 kg CO2e during the build. “At 78 St James’s Street, we have blurred the lines between the hospitality and offices sectors, redefining the benchmark for what developers should provide within the next generation of workspaces,” says Alexander Morris, Managing Director of BentallGreenOak. “The scheme provides the best modern office accommodation whilst embracing the wonderful heritage spaces for all occupants to use and enjoy. “The success of the project’s leasing is testament to the quality and ambition of the product we have delivered here.”

Above: The wellness suite features a treatment table, exercise areas and provides a discrete consultation room for occupiers to host drop-in clinics

"The scheme provides the best modern office accommodation whilst embracing the wonderful heritage spaces as superb amenity spaces for all occupants to use and enjoy."

via Little St James’s Street. In addition, the entrance to the extension has been widened to establish a heightened sense of arrival into a contemporary yet comfortable reception area. A circular suede sofa arrangement and coffee tables complement the new stone floor design – inspired by patterns found in the historical drawings of the library that previously occupied this part of the site. A discreet bronze welcome plinth and pair of bronze and suede benches, also designed by Squire & Partners in collaboration with Benchmark, offer an alternative to a formal reception desk. A screen featuring vibrant artwork is integrated into bespoke joinery that provides storage. Suspended above the lift lobby, a light rod installation references the new external illuminated canopy and chandeliers in the Morning Room, creating coherence throughout the ground floor spaces. Eight floors of flexible, state-of-theart workspace located in the newer west wing have been refurbished and finished to CAT A standard to create large, optimised floorplates, which are configurable according to occupier needs. Services have been replaced and upgraded to maximise comfort throughout the building, and the 4th and 5th floors now benefit from light-rich private terraces. On the 6th floor, what were formerly plant areas have been consolidated and rationalised to enable the creation of a 3,500 sq ft rooftop pavilion and planted terrace, which offers sweeping views across Westminster and Green

Park. Terrace furniture and integrated seating create a multi-use space suitable for meetings, socialising and large events, whilst lush landscaping, including a living green wall and large planters, offers a connection to nature. Internally, the new pavilion features banquette seating and a bespoke bar serving daytime snacks and evening drinks, providing an additional work environment away from the desk or meeting room. The vaulted lower ground floor and basement floors of the building house a wellness suite, health facility room, deli and multipurpose room, known as the Collab Space. Designed to have a positive impact on those working in the building, the wellness suite features a treatment table, exercise areas and provides a discrete consultation room for occupiers to host drop-in clinics. The spacious and entirely flexible Collab Space can be used as an auditorium or fitness suite, with integrated joinery offering ample space to store equipment to transform the room according to desired configuration. In the basement, amenities such as luxury changing rooms, showers and lockers complement 150 secure cycle racks, folding cycle storage and a bicycle maintenance station. These facilities encourage active and sustainable commutes to and from this busy central London location. We’re told that 80% of the workspace was pre-let or let within six months of practical completion – to a tenant mix that includes hedge fund and asset managers, fintech companies and real

Top: Comfortable, informal breakout spaces benefit from plenty of natural light and biophilic elements

Above: A 3,500 sq ft rooftop pavilion and planted terrace offers sweeping views across Westminster and Green Park

"We have blurred the lines between hospitality and office sectors, redefining what developers should provide."

Project

34 Works / Issue 5 / 2023

35 Works

estate investment managers – at rents exceeding pre-COVID expectations. 78 St James’s Street has received a BREEAM rating of ‘Excellent.’ Carbon emissions have been minimised by reusing the existing building fabric and retaining 80% of its structure. By introducing electric plant and machinery on site, the project was completed without the use of diesel – saving over 5,550 kg CO2e during the build. “At 78 St James’s Street, we have blurred the lines between the hospitality and offices sectors, redefining the benchmark for what developers should provide within the next generation of workspaces,” says Alexander Morris, Managing Director of BentallGreenOak. “The scheme provides the best modern office accommodation whilst embracing the wonderful heritage spaces for all occupants to use and enjoy. “The success of the project’s leasing is testament to the quality and ambition of the product we have delivered here.”

Above: The wellness suite features a treatment table, exercise areas and provides a discrete consultation room for occupiers to host drop-in clinics

"The scheme provides the best modern office accommodation whilst embracing the wonderful heritage spaces as superb amenity spaces for all occupants to use and enjoy."

via Little St James’s Street. In addition, the entrance to the extension has been widened to establish a heightened sense of arrival into a contemporary yet comfortable reception area. A circular suede sofa arrangement and coffee tables complement the new stone floor design – inspired by patterns found in the historical drawings of the library that previously occupied this part of the site. A discreet bronze welcome plinth and pair of bronze and suede benches, also designed by Squire & Partners in collaboration with Benchmark, offer an alternative to a formal reception desk. A screen featuring vibrant artwork is integrated into bespoke joinery that provides storage. Suspended above the lift lobby, a light rod installation references the new external illuminated canopy and chandeliers in the Morning Room, creating coherence throughout the ground floor spaces. Eight floors of flexible, state-of-theart workspace located in the newer west wing have been refurbished and finished to CAT A standard to create large, optimised floorplates, which are configurable according to occupier needs. Services have been replaced and upgraded to maximise comfort throughout the building, and the 4th and 5th floors now benefit from light-rich private terraces. On the 6th floor, what were formerly plant areas have been consolidated and rationalised to enable the creation of a 3,500 sq ft rooftop pavilion and planted terrace, which offers sweeping views across Westminster and Green

Park. Terrace furniture and integrated seating create a multi-use space suitable for meetings, socialising and large events, whilst lush landscaping, including a living green wall and large planters, offers a connection to nature. Internally, the new pavilion features banquette seating and a bespoke bar serving daytime snacks and evening drinks, providing an additional work environment away from the desk or meeting room. The vaulted lower ground floor and basement floors of the building house a wellness suite, health facility room, deli and multipurpose room, known as the Collab Space. Designed to have a positive impact on those working in the building, the wellness suite features a treatment table, exercise areas and provides a discrete consultation room for occupiers to host drop-in clinics. The spacious and entirely flexible Collab Space can be used as an auditorium or fitness suite, with integrated joinery offering ample space to store equipment to transform the room according to desired configuration. In the basement, amenities such as luxury changing rooms, showers and lockers complement 150 secure cycle racks, folding cycle storage and a bicycle maintenance station. These facilities encourage active and sustainable commutes to and from this busy central London location. We’re told that 80% of the workspace was pre-let or let within six months of practical completion – to a tenant mix that includes hedge fund and asset managers, fintech companies and real

Top: Comfortable, informal breakout spaces benefit from plenty of natural light and biophilic elements

Above: A 3,500 sq ft rooftop pavilion and planted terrace offers sweeping views across Westminster and Green Park

"We have blurred the lines between hospitality and office sectors, redefining what developers should provide."

Show review 37 Works

36 Works / Issue 5 / 2023

WDS

Workspace Design Show '23 LONDON CALLING

When end users, specifiers and exhibitors are mixing it in Islington’s Flight Club, with many ‘ironically’ throwing arrows and enjoying a couple of pints, you know your show at next door’s Business Design Centre has gone well.

Above & Left: The Business Design Cente proved more popular then ever

Below:: Exhibitors hosted some of the UK's leading specifiers

»

Show review 37 Works

36 Works / Issue 5 / 2023

WDS

Workspace Design Show '23 LONDON CALLING

When end users, specifiers and exhibitors are mixing it in Islington’s Flight Club, with many ‘ironically’ throwing arrows and enjoying a couple of pints, you know your show at next door’s Business Design Centre has gone well.

Above & Left: The Business Design Cente proved more popular then ever

Below:: Exhibitors hosted some of the UK's leading specifiers

»

Show review 39 Works

38 Works / Issue 5 / 2023

The eagerly anticipated Workspace Design Show returned to the BDC at the end of February, with exhibitors and visitors alike hailing it as a mustattend event, a welcome addition to the trade show calendar and a place where the workplace community can come together to be inspired and network. And network they did (if darts is networking – and it definitely should be, in our opinion). The overarching theme for this year’s show was Destination Workplace: Places Where People Want To Be, exploring how to create environments where employees have a desirable experience at their workplaces. Exhibitors from more than 20 countries showcased innovative workplace products from acoustics

to informal seating, and surfaces to lighting. Well over 3,000 architects, designers and specifiers visited over the two days – meaning that visitor numbers were up by a whopping 76% on last year. These high-level industry professionals explored the latest industry trends, finding inspiration in the thought-provoking talks programmes, with insights into the future of the workplace sector. And when we say industry professionals, we’re talking about the UK’s leading interiors firms, who not only supported the fantastic talks and seminar programmes across the two days, but also brought along their design teams for support. In our humble opinion, a lot of companies (especially those without permanent

London presence) should be carefully considering this when deciding their marketing activities for 2024. Struggling to get in front of the ‘right’ designers? Well maybe they’re in Islington checking out WDS. The BDC itself has seldom felt such a buzz – and surely has never received so many plaudits from this sector (take

"Exhibitors from more than 20 countries showcased innovative workplace products, from acoustics to informal seating."

a look at our Out of Office column on P56). “I really like the scale of this building,” one specifier told us, while another commented, “There’s great light in here – it doesn’t feel as though we’re stuck in a massive hangar without windows.” The Workspace Design Talks was undoubtedly one of the most popular features of the show, with standing room only for many of the sessions. Highlights from day one included a session on Designing a Functional Workplace, chaired by May Fawzy, Founder, MF Design Studio and President Elect BIID, featuring Tollgard Studio Founder and Creative Director, Staffan Tollgard, and BDG architecture + design’s new CEO, Matt Jackson, as well as a discussion on Legacy and Progress,

"Over 3,000 architects, designers and specifiers visited over the two days – meaning that visitor numbers were up 76%."

chaired by William Knight, Director of the Renew Consultancy with panellists including Katrina Kostic Samen from KKS Savills, Jack Pringle, from Studio Pringle and Lee Polisano from PLP Architecture. William Knight said: "I love to support such an influential sector, with the ability to raise awareness on leading agendas. The highlight for me has been the incredible talks programme, people, connections and networking opportunities.” Sessions from the second day included Designing Coworking Spaces for an Uncertain Future, featuring Scott Ellis, Workspace Design Director at LABS, David Kent, Senior Design Manager, at The Office Group and Scott Rominger, Creative Director, WeWork, and Designing the Future Workspace

"The highlight for me has been the incredible talks programme, people, connections and networking opportunities."

»

Show review 39 Works

38 Works / Issue 5 / 2023

The eagerly anticipated Workspace Design Show returned to the BDC at the end of February, with exhibitors and visitors alike hailing it as a mustattend event, a welcome addition to the trade show calendar and a place where the workplace community can come together to be inspired and network. And network they did (if darts is networking – and it definitely should be, in our opinion). The overarching theme for this year’s show was Destination Workplace: Places Where People Want To Be, exploring how to create environments where employees have a desirable experience at their workplaces. Exhibitors from more than 20 countries showcased innovative workplace products from acoustics

to informal seating, and surfaces to lighting. Well over 3,000 architects, designers and specifiers visited over the two days – meaning that visitor numbers were up by a whopping 76% on last year. These high-level industry professionals explored the latest industry trends, finding inspiration in the thought-provoking talks programmes, with insights into the future of the workplace sector. And when we say industry professionals, we’re talking about the UK’s leading interiors firms, who not only supported the fantastic talks and seminar programmes across the two days, but also brought along their design teams for support. In our humble opinion, a lot of companies (especially those without permanent

London presence) should be carefully considering this when deciding their marketing activities for 2024. Struggling to get in front of the ‘right’ designers? Well maybe they’re in Islington checking out WDS. The BDC itself has seldom felt such a buzz – and surely has never received so many plaudits from this sector (take

"Exhibitors from more than 20 countries showcased innovative workplace products, from acoustics to informal seating."

a look at our Out of Office column on P56). “I really like the scale of this building,” one specifier told us, while another commented, “There’s great light in here – it doesn’t feel as though we’re stuck in a massive hangar without windows.” The Workspace Design Talks was undoubtedly one of the most popular features of the show, with standing room only for many of the sessions. Highlights from day one included a session on Designing a Functional Workplace, chaired by May Fawzy, Founder, MF Design Studio and President Elect BIID, featuring Tollgard Studio Founder and Creative Director, Staffan Tollgard, and BDG architecture + design’s new CEO, Matt Jackson, as well as a discussion on Legacy and Progress,

"Over 3,000 architects, designers and specifiers visited over the two days – meaning that visitor numbers were up 76%."

chaired by William Knight, Director of the Renew Consultancy with panellists including Katrina Kostic Samen from KKS Savills, Jack Pringle, from Studio Pringle and Lee Polisano from PLP Architecture. William Knight said: "I love to support such an influential sector, with the ability to raise awareness on leading agendas. The highlight for me has been the incredible talks programme, people, connections and networking opportunities.” Sessions from the second day included Designing Coworking Spaces for an Uncertain Future, featuring Scott Ellis, Workspace Design Director at LABS, David Kent, Senior Design Manager, at The Office Group and Scott Rominger, Creative Director, WeWork, and Designing the Future Workspace

"The highlight for me has been the incredible talks programme, people, connections and networking opportunities."

»

Show review

40 Works / Issue 5 / 2023

Experience with panellists Grant Kanik, Partner, Foster + Partners, Shannon Pope-Ellis, Managing Director, MCM and Charlotte McCarthy, Head of Interiors, Heatherwick Studio, who said the show was “a fantastic opportunity to network and an efficient way of seeing new products in the flesh.“ Curated by our very own Mick Jordan and the Works editorial team, the Sustainability Works programme brought together a selection of key figures behind the workplace market’s leading sustainable initiatives, projects and product developments. Topics included local, responsible sourcing, adaptive re-use, the ESG agenda, and the great greenwash debate, and featured industry expects such as Gurvinder Khurana, Director, M Moser Associates, Cristiano Testi, Principal Director, tp bennett, HLW MD Bronte Turner and Beatriz Gonzalez, Director, Scott Brownrigg, who commented: “With the incredible turnout, WDS offers the chance to be on top of the industry. Everyone is talking, learning and connecting – it’s the perfect place for the sector to come together.” We have to admit that, just 10 minutes before ‘kick-off’ we were starting to worry about whether we would attract any kind of audience. Yet, in seemingly the blink of an eye, it was standing room only – a trend that, we’re delighted to say, continued throughout each and every one of the talks.

We would, of course, like to take this opportunity to thank everyone who gave their time and expertise, and helped make Sustainability Works a great success. It goes without saying that we couldn’t have done it without your brilliant insights and generosity. Other key elements of WDS 23 included the FIS Conference, which offered the latest from the finishes and interiors sector and The Occupiers Forum: The View from HQ, which

"With the incredible turnout, WDS offers the chance to be on top of the industry. Everyone is talking, learning and connecting."

Below: It was standing room only for the Sustainable Works talks programme

provided the perspectives of the allimportant occupiers, featuring speakers from the likes of BT, Unilever, Oracle, Nokia, HMRC, PwC and Standard Chartered Bank. A special mention should go to a number of the exhibitors, who clearly upped the ante from the inaugural edition. We really like the democratic nature of the WDS exhibitor layout and it was good to see businesses using their space in a smart, curated and pared-down manner rather than simply stacking their products high. A special mention should go to Mute, whose stand design and product display was matched by its glorious hospitality. Definitely the WDS 23 party stand! Altogether, the event once again provided a fascinating two days, bringing together the leading lights of the workplace sector to learn, share knowledge and discover the future workspace experience. Our congratulations go to the team behind WDS, who have clearly listened to the market and reinvigorated a format many were writing off just a couple of years ago. Workspace Design Show 2024 will return to the Business Design Centre on 27-28 February 2024. We’d love to see more high-end manufacturers exhibiting and more of the same when it comes to the levels of content. Oh, and you’ve got another 11 months to practice those darts!

CREVA Designed for myriad activities, created to balance collaboration and privacy, transposing the design aesthetics of home furniture to the office environments, the Creva collection makes any space a compelling destination. Explore the collection on www.kusch.com

Show review

40 Works / Issue 5 / 2023

Experience with panellists Grant Kanik, Partner, Foster + Partners, Shannon Pope-Ellis, Managing Director, MCM and Charlotte McCarthy, Head of Interiors, Heatherwick Studio, who said the show was “a fantastic opportunity to network and an efficient way of seeing new products in the flesh.“ Curated by our very own Mick Jordan and the Works editorial team, the Sustainability Works programme brought together a selection of key figures behind the workplace market’s leading sustainable initiatives, projects and product developments. Topics included local, responsible sourcing, adaptive re-use, the ESG agenda, and the great greenwash debate, and featured industry expects such as Gurvinder Khurana, Director, M Moser Associates, Cristiano Testi, Principal Director, tp bennett, HLW MD Bronte Turner and Beatriz Gonzalez, Director, Scott Brownrigg, who commented: “With the incredible turnout, WDS offers the chance to be on top of the industry. Everyone is talking, learning and connecting – it’s the perfect place for the sector to come together.” We have to admit that, just 10 minutes before ‘kick-off’ we were starting to worry about whether we would attract any kind of audience. Yet, in seemingly the blink of an eye, it was standing room only – a trend that, we’re delighted to say, continued throughout each and every one of the talks.

We would, of course, like to take this opportunity to thank everyone who gave their time and expertise, and helped make Sustainability Works a great success. It goes without saying that we couldn’t have done it without your brilliant insights and generosity. Other key elements of WDS 23 included the FIS Conference, which offered the latest from the finishes and interiors sector and The Occupiers Forum: The View from HQ, which

"With the incredible turnout, WDS offers the chance to be on top of the industry. Everyone is talking, learning and connecting."

Below: It was standing room only for the Sustainable Works talks programme

provided the perspectives of the allimportant occupiers, featuring speakers from the likes of BT, Unilever, Oracle, Nokia, HMRC, PwC and Standard Chartered Bank. A special mention should go to a number of the exhibitors, who clearly upped the ante from the inaugural edition. We really like the democratic nature of the WDS exhibitor layout and it was good to see businesses using their space in a smart, curated and pared-down manner rather than simply stacking their products high. A special mention should go to Mute, whose stand design and product display was matched by its glorious hospitality. Definitely the WDS 23 party stand! Altogether, the event once again provided a fascinating two days, bringing together the leading lights of the workplace sector to learn, share knowledge and discover the future workspace experience. Our congratulations go to the team behind WDS, who have clearly listened to the market and reinvigorated a format many were writing off just a couple of years ago. Workspace Design Show 2024 will return to the Business Design Centre on 27-28 February 2024. We’d love to see more high-end manufacturers exhibiting and more of the same when it comes to the levels of content. Oh, and you’ve got another 11 months to practice those darts!

CREVA Designed for myriad activities, created to balance collaboration and privacy, transposing the design aesthetics of home furniture to the office environments, the Creva collection makes any space a compelling destination. Explore the collection on www.kusch.com

5X3 42 Works / Issue 5 / 2023

Our man on the continent and Works Co-founder, Ben Capper, speaks with three product designers across Europe, each at different stages of their careers and with varying approaches to design. Ben puts five questions to each of them to gain insights about their work, inspirations and industry views.

Thought leadership

Let’s start with a nice and easy one: What made you want to design stuff? RONJA: I’ve always known I wanted to work with something creative. My interest in how things are made and manufactured goes back to when I was a child and deconstructed and rebuilt things. Those two in combination, creativity and construction, is what design is about. Working with design is varying, which is good if you’re restless like myself. Every project is different and needs you to do research for the context – you always learn something new during the process. CHARLES: As kids in Nigeria, we always ‘made’ stuff! We grew up making pretend watches, pretend (but utterly cool) sunglasses, pretend cars...they were our toys. We made them from discarded but useful objects. We were upcycling before it became a thing. We didn’t buy toys: not because we were poor – we made them because we had ideas that we wanted to MAKE REAL! This is still my driving force to this day!

The featured designers CHARLES JOB Architect, designer and lecturer, based in Switzerland.

RONJA REUBER Product designer and Co-founder of Schiller-Reuber design studio, based in Stockholm.

ARASH ESKAFI Product designer and Co-founder of HAHA Studio, Stockholm.

The elegant Vij5 Flip fold-away workstation by Charles Job

43 Wo43 Works

ARASH: I have always been very creative – drawing, painting, and building. My mom still has my drawings from when I was a small child. So design came naturally to me. When in school, I wanted to be a painter and experimented extensively with different techniques and paints. However, I realised it would be a hard profession. During my last year in high school I came across industrial design. It suited me, and I applied to study it at university. Later, I realised good design would likely last a long time. Without getting too philosophical, there is something very essentially human in that: to create something that hopefully

"We made them from discarded but useful objects. We were upcycling before it became a thing." Charles Job

exists long after you are gone. I think that also made we want to continue with it. Tell us about your latest product development and the spark of inspiration that led to it – that ‘aha’ moment. CHARLES: During lockdown, we spent time in our chalet in the Swiss mountains. Working everywhere, and especially furniture that facilitated the home office, became hot topics. One prominent utensil in our alpine kitchen – a simple wall-mounted kitchen scale – caught my inquisitive eye. The compact scale has a fold-down front into which foodstuff could be placed to be weighed. This became the blueprint for my compact fold-away workstation, Flip for Vij5. A space-saving, wall-mounted, compact tool, the worktop folds down with an invisible hinge when needed. There is no visible support, freeing the space for working. The top flips back up, when not needed, releasing the space for

»

5X3 42 Works / Issue 5 / 2023

Our man on the continent and Works Co-founder, Ben Capper, speaks with three product designers across Europe, each at different stages of their careers and with varying approaches to design. Ben puts five questions to each of them to gain insights about their work, inspirations and industry views.

Thought leadership

Let’s start with a nice and easy one: What made you want to design stuff? RONJA: I’ve always known I wanted to work with something creative. My interest in how things are made and manufactured goes back to when I was a child and deconstructed and rebuilt things. Those two in combination, creativity and construction, is what design is about. Working with design is varying, which is good if you’re restless like myself. Every project is different and needs you to do research for the context – you always learn something new during the process. CHARLES: As kids in Nigeria, we always ‘made’ stuff! We grew up making pretend watches, pretend (but utterly cool) sunglasses, pretend cars...they were our toys. We made them from discarded but useful objects. We were upcycling before it became a thing. We didn’t buy toys: not because we were poor – we made them because we had ideas that we wanted to MAKE REAL! This is still my driving force to this day!

The featured designers CHARLES JOB Architect, designer and lecturer, based in Switzerland.

RONJA REUBER Product designer and Co-founder of Schiller-Reuber design studio, based in Stockholm.

ARASH ESKAFI Product designer and Co-founder of HAHA Studio, Stockholm.

The elegant Vij5 Flip fold-away workstation by Charles Job

43 Wo43 Works

ARASH: I have always been very creative – drawing, painting, and building. My mom still has my drawings from when I was a small child. So design came naturally to me. When in school, I wanted to be a painter and experimented extensively with different techniques and paints. However, I realised it would be a hard profession. During my last year in high school I came across industrial design. It suited me, and I applied to study it at university. Later, I realised good design would likely last a long time. Without getting too philosophical, there is something very essentially human in that: to create something that hopefully

"We made them from discarded but useful objects. We were upcycling before it became a thing." Charles Job

exists long after you are gone. I think that also made we want to continue with it. Tell us about your latest product development and the spark of inspiration that led to it – that ‘aha’ moment. CHARLES: During lockdown, we spent time in our chalet in the Swiss mountains. Working everywhere, and especially furniture that facilitated the home office, became hot topics. One prominent utensil in our alpine kitchen – a simple wall-mounted kitchen scale – caught my inquisitive eye. The compact scale has a fold-down front into which foodstuff could be placed to be weighed. This became the blueprint for my compact fold-away workstation, Flip for Vij5. A space-saving, wall-mounted, compact tool, the worktop folds down with an invisible hinge when needed. There is no visible support, freeing the space for working. The top flips back up, when not needed, releasing the space for

»

Thought leadership

44 Works / Issue 5 / 2023

living. It went into production at the end of last year. RONJA: My bar stool, Nomole for Offecct, comes from the idea ‘no more or less’. What’s essential for a piece of furniture like this? The brief was to make a minimalistic stool with low material use without compromising on design or comfort. I rarely have a clear source of inspiration but rather work from needs and contexts and am mainly inspired by function and construction. The first sketch of the shape was a one-line drawing, I remember thinking that the shape made a lot of sense and I liked the character. After building the first scale model I realised that the construction gives both the seat and backrest a swing that is comfortable. ARASH: Savo is our latest lighting product. The name comes from the famous Italian Savoiardi biscuits – the ones that you use for Tiramisu. I don’t know if there was an actual ’aha’ moment, but I strongly believe in something I call ’accidental consistency’.

"I really like to discuss the meaning of 'style' within creative fields. For me, style should be something you develop into a fingerprint."

in his designs. His style is very direct – almost ‘lazy’ looking. Cubes, cylinders and cones are shapes he kept returning to. However, he had a way of putting everything together that really speaks to me. His work is a huge source of inspiration.

Arash Eskafi

CHARLES: I am a great fan of Stefan Diez. We both exhibited at the Salone Satellite in Milan many years ago. He and his then partner, Lafontaine, won the coveted Design Report Award. I came second! His ideas are always fresh, always intuitive and always well crafted. He makes it all look so very easy.

That is – to be as consistent as possible in your design work and ideation process by producing and doing a lot of work. And during this time, you increase your chances of ’accidentally’ stumbling upon something you did not initially foresee. In other words, ’the more you design, the luckier you get’. I have noticed that it’s often unpredictable moments, when you perhaps view a sketch upside down or put two line drawings on top of each other, that you genuinely find these gems – or ’aha’ moments. At HAHA studio, we do everything ourselves, from design and sketch development to production, manufacturing, and sourcing materials, so we are quite knowledgeable in production techniques, as well as materials. Savo is designed, produced, and manufactured in Sweden. We are already working on two additional family members for the product, which we’ll release soon. Which product designer do you particularly admire and what do you like about their style? ARASH: For me, Aldo Rossi is the master of masters. When it comes to style, he is untouchable. I really like to discuss the meaning of ’style’ within creative fields. For me, style should be something you develop into a fingerprint. If you can tell who the designer behind a specific object is by only looking at the piece, then the designer has archived what I call style. Style is something personal, simple yet complicated to achieve. Aldo Rossi’s use of basic geometric shapes was great. He used familiar forms to create unseen work and always had humour

RONJA: There are so many, but one of my favourites is Eileen Gray. I think she was one of the first true modernists. Material-wise, furniture from that period wasn’t the most sustainable – but good design will survive, and long term relevance is one of the most important aspects of sustainability, in my opinion. I also admire her for doing what she loved and seemingly not caring much about her image, but rather focusing purely on her work. What is the biggest challenge you’ve had to overcome in your own professional career? RONJA: I’m just at the beginning of my career and the most challenging thing at this point is not being stressed or worried about how my career will turn out. Uncertain times or not, it is a competitive industry. To quote Bowie: “You can neither win nor lose if you don’t run the race.” I’m trying to have a mindset where my older self is telling me not to worry, everything will turn out great and to follow my instincts. I think that in many creative jobs it’s easy to feel stressed and just please the crowd instead of being true to oneself – that’s how we create generic design, which is extremely boring. CHARLES: My practice is a very particular one. I do not have clients in the traditional sense, therefore I do not design to brief. I design products from ideas that interest me and take these ideas to producers who might be interested in producing them. The biggest challenge has always been finding producers on the same creative wavelength and convincing them to work with my studio. In the meantime, I have managed to establish a network of like-minded producers. I am currently working with such producers in India and Turkey.

45 W45 Works

ARASH: I knew quite early on that I wanted to start something of my own. I was committed to creating a brand that did the design, development, production, and eventually the sales as well. In the food world, you call it ‘nose to tail’. As a studio or brand, the advantages are many; you have total control of all the processes, there are no middlemen, and you can oversee all aspects of the pipeline to ensure everything goes as you want – from design decisions to sourcing materials to manufacturing techniques and packaging. This was a huge challenge when I started; to find the right factories and workshops, to establish relationships, and to promote yourself. Today I don’t regret anything. HAHA studio has had a fantastic journey and is doing great now. We work with great clients both within Sweden and internationally. We currently have several big projects coming up that we are excited to reveal soon. Are the big furniture exhibitions still relevant? What could they do better? CHARLES: The big exhibitions are essential for ‘the industry’. All industries celebrate themselves. It is an essential sounding board, a jamboree, a bonfire of creative vanities. I used to go with the intention of meeting producers and presenting my ideas! Over the years, I became disillusioned. It wasn’t the optimum arena for ‘selling’ and propagating new ideas and partnerships. The producers were more interested in talking to their dealers than talking to pesky designers. I now go simply to meet friends and have parties. Nowadays, I approach prospective clients and am approached by producers on social media. Social media sites are the new trade fairs! ARASH: Tricky question. I still think they are relevant in terms of business, but there is definitely something happening since Covid. That forced everyone – designers included – to work remotely and to adapt. As a society, we were already moving toward a more digital way of life – and Covid was a catalyst. I read that over 90% of the audience that sees your product saw it online first. So using fairs and exhibitions as a platform to showcase new work may no longer be the best channel. But I still believe ‘real life’ meetings are superior to anything else, especially post-Covid. I think the big fairs need to rethink their whole structure. People are not willing to pay loads of money to get a tight exhibition space and just hope for the best. There

Left: The elegantly stripped-down, minimalistic Nomole bar stool for Offecct, designed by Ronja Reuber

Above: Designed and manufactured in Sweden, the brilliant Savo pendant, by Arash Eskafi for HAHA studio

"I was committed to creating a brand that did the design, development, production, and eventually the sales as well. " Arash Eskafi

needs to be flexibility. Today, we see a lot more brands doing their own thing in town, or in their studios. The fairs need to listen to the brands and designers and, at the same time, make some significant changes. They need to be more service-oriented and more attached to the city during the design weeks. RONJA: I believe so since it’s an important platform to meet, but perhaps we have to change the way we do it. Having everything in one place is sustainable and efficient in one way, but building temporary stands and wasting resources, like we do, has to stop. I appreciate the concept of design districts and exhibitions in existing spaces. It integrates more with the city and makes design more available and accessible to everyone.

Thought leadership

44 Works / Issue 5 / 2023

living. It went into production at the end of last year. RONJA: My bar stool, Nomole for Offecct, comes from the idea ‘no more or less’. What’s essential for a piece of furniture like this? The brief was to make a minimalistic stool with low material use without compromising on design or comfort. I rarely have a clear source of inspiration but rather work from needs and contexts and am mainly inspired by function and construction. The first sketch of the shape was a one-line drawing, I remember thinking that the shape made a lot of sense and I liked the character. After building the first scale model I realised that the construction gives both the seat and backrest a swing that is comfortable. ARASH: Savo is our latest lighting product. The name comes from the famous Italian Savoiardi biscuits – the ones that you use for Tiramisu. I don’t know if there was an actual ’aha’ moment, but I strongly believe in something I call ’accidental consistency’.

"I really like to discuss the meaning of 'style' within creative fields. For me, style should be something you develop into a fingerprint."

in his designs. His style is very direct – almost ‘lazy’ looking. Cubes, cylinders and cones are shapes he kept returning to. However, he had a way of putting everything together that really speaks to me. His work is a huge source of inspiration.

Arash Eskafi

CHARLES: I am a great fan of Stefan Diez. We both exhibited at the Salone Satellite in Milan many years ago. He and his then partner, Lafontaine, won the coveted Design Report Award. I came second! His ideas are always fresh, always intuitive and always well crafted. He makes it all look so very easy.

That is – to be as consistent as possible in your design work and ideation process by producing and doing a lot of work. And during this time, you increase your chances of ’accidentally’ stumbling upon something you did not initially foresee. In other words, ’the more you design, the luckier you get’. I have noticed that it’s often unpredictable moments, when you perhaps view a sketch upside down or put two line drawings on top of each other, that you genuinely find these gems – or ’aha’ moments. At HAHA studio, we do everything ourselves, from design and sketch development to production, manufacturing, and sourcing materials, so we are quite knowledgeable in production techniques, as well as materials. Savo is designed, produced, and manufactured in Sweden. We are already working on two additional family members for the product, which we’ll release soon. Which product designer do you particularly admire and what do you like about their style? ARASH: For me, Aldo Rossi is the master of masters. When it comes to style, he is untouchable. I really like to discuss the meaning of ’style’ within creative fields. For me, style should be something you develop into a fingerprint. If you can tell who the designer behind a specific object is by only looking at the piece, then the designer has archived what I call style. Style is something personal, simple yet complicated to achieve. Aldo Rossi’s use of basic geometric shapes was great. He used familiar forms to create unseen work and always had humour

RONJA: There are so many, but one of my favourites is Eileen Gray. I think she was one of the first true modernists. Material-wise, furniture from that period wasn’t the most sustainable – but good design will survive, and long term relevance is one of the most important aspects of sustainability, in my opinion. I also admire her for doing what she loved and seemingly not caring much about her image, but rather focusing purely on her work. What is the biggest challenge you’ve had to overcome in your own professional career? RONJA: I’m just at the beginning of my career and the most challenging thing at this point is not being stressed or worried about how my career will turn out. Uncertain times or not, it is a competitive industry. To quote Bowie: “You can neither win nor lose if you don’t run the race.” I’m trying to have a mindset where my older self is telling me not to worry, everything will turn out great and to follow my instincts. I think that in many creative jobs it’s easy to feel stressed and just please the crowd instead of being true to oneself – that’s how we create generic design, which is extremely boring. CHARLES: My practice is a very particular one. I do not have clients in the traditional sense, therefore I do not design to brief. I design products from ideas that interest me and take these ideas to producers who might be interested in producing them. The biggest challenge has always been finding producers on the same creative wavelength and convincing them to work with my studio. In the meantime, I have managed to establish a network of like-minded producers. I am currently working with such producers in India and Turkey.

45 W45 Works

ARASH: I knew quite early on that I wanted to start something of my own. I was committed to creating a brand that did the design, development, production, and eventually the sales as well. In the food world, you call it ‘nose to tail’. As a studio or brand, the advantages are many; you have total control of all the processes, there are no middlemen, and you can oversee all aspects of the pipeline to ensure everything goes as you want – from design decisions to sourcing materials to manufacturing techniques and packaging. This was a huge challenge when I started; to find the right factories and workshops, to establish relationships, and to promote yourself. Today I don’t regret anything. HAHA studio has had a fantastic journey and is doing great now. We work with great clients both within Sweden and internationally. We currently have several big projects coming up that we are excited to reveal soon. Are the big furniture exhibitions still relevant? What could they do better? CHARLES: The big exhibitions are essential for ‘the industry’. All industries celebrate themselves. It is an essential sounding board, a jamboree, a bonfire of creative vanities. I used to go with the intention of meeting producers and presenting my ideas! Over the years, I became disillusioned. It wasn’t the optimum arena for ‘selling’ and propagating new ideas and partnerships. The producers were more interested in talking to their dealers than talking to pesky designers. I now go simply to meet friends and have parties. Nowadays, I approach prospective clients and am approached by producers on social media. Social media sites are the new trade fairs! ARASH: Tricky question. I still think they are relevant in terms of business, but there is definitely something happening since Covid. That forced everyone – designers included – to work remotely and to adapt. As a society, we were already moving toward a more digital way of life – and Covid was a catalyst. I read that over 90% of the audience that sees your product saw it online first. So using fairs and exhibitions as a platform to showcase new work may no longer be the best channel. But I still believe ‘real life’ meetings are superior to anything else, especially post-Covid. I think the big fairs need to rethink their whole structure. People are not willing to pay loads of money to get a tight exhibition space and just hope for the best. There

Left: The elegantly stripped-down, minimalistic Nomole bar stool for Offecct, designed by Ronja Reuber

Above: Designed and manufactured in Sweden, the brilliant Savo pendant, by Arash Eskafi for HAHA studio

"I was committed to creating a brand that did the design, development, production, and eventually the sales as well. " Arash Eskafi

needs to be flexibility. Today, we see a lot more brands doing their own thing in town, or in their studios. The fairs need to listen to the brands and designers and, at the same time, make some significant changes. They need to be more service-oriented and more attached to the city during the design weeks. RONJA: I believe so since it’s an important platform to meet, but perhaps we have to change the way we do it. Having everything in one place is sustainable and efficient in one way, but building temporary stands and wasting resources, like we do, has to stop. I appreciate the concept of design districts and exhibitions in existing spaces. It integrates more with the city and makes design more available and accessible to everyone.

46 Works / Issue Month5202? / 2023

Eyebrow

Eyebrow 47 Project 47 Works

ALL PHOTOGRAPHY BY PHILIP VILE

Resonate has completed the stunning new sustainable state-of-the-art HQ for Cadent Gas (formerly the National Grid). And when we say sustainable, we mean sustainable! This is a great story about local, responsible sourcing – and much more.

Mechanical services have been deliberately left visible to connect back to the fact that Cadent provides intrastructure

Noble Gas

46 Works / Issue Month5202? / 2023

Eyebrow

Eyebrow 47 Project 47 Works

ALL PHOTOGRAPHY BY PHILIP VILE

Resonate has completed the stunning new sustainable state-of-the-art HQ for Cadent Gas (formerly the National Grid). And when we say sustainable, we mean sustainable! This is a great story about local, responsible sourcing – and much more.

Mechanical services have been deliberately left visible to connect back to the fact that Cadent provides intrastructure

Noble Gas

Project 49 Works

48 Works / Issue 5 / 2023

T

An impressive feature staircase connects all levels of the building

he new of 90,000 sq ft facility at Ansty, near Coventry, incorporates a multitude of settings, activity based working zones and energy efficient design solutions, as well as a spectacular atrium space. Cadent was looking to bring together teams from across its vast network under one roof, and so the desire was to create an attractive, flexible, collaborative, sustainable and agile working environment for all employees, as well as enabling the building to respond to and accommodate different internal planning arrangements, improve legibility across internal domains, and optimise circulation and building servicing. Flexibility, adaptability and sustainability have been central to the design here, and really challenged the Resonate team – who was tasked with delivering more than 75% of specified materials and products from within a 100-mile radius.

“We hadn’t worked with Cadent before,” Resonate’s Pernille Stafford tells us. “We were recommended to them by the project manager and we went up to Coventry and presented to them in this huge boardroom. We talked about sustainability and who we are – the fact that we are a relatively small firm – and the presentation turned into this really nice conversation. We answered all of their questions and we came out thinking we’d done quite well – but we knew we were up against some really great firms. Anyway, the next day we got the call telling us that we had about 95% of the board’s vote! “They totally got who we are and what we are about. They felt we had real passion for the job and had really tried to understand them. Our sustainability story was what really interested them – the fact that we were going to mirror their values. It was so important to us that we created the wellness, that we created the gym and

we created the parkland around the site – it wasn’t just about the building itself. It was about people getting together.” Pernille recalls that, as the building was coming out of the ground, Covid hit and so the Resonate team partnered with various people from within the industry to pull together a report to ascertain exactly what the results of the pandemic might mean for the project in the long term. “Some of that stuff is now in the building, which is quite interesting,” she tells us. “We did a few small changes to things – with the M&E in particular. We added an extra washbasin to each of the teapoints for people to wash their hands at. We also wanted antimicrobial handles throughout – and they are now on everything.” Pernille describes Cadent as a pragmatic and ‘nuts and bolts’ company, so naturally energy efficient design solutions and sustainability are very much at the heart of the design response here, while both the service Cadent offers and its personality are showcased throughout. The mechanical services have been deliberately left visible to connect back to the fact that Cadent provides ground infrastructure. If you look closely, the intricately designed two-tone felt ceiling baffles spell out ‘Cadent’ in binary.

An impressive feature staircase, constructed of steel and oak, winds its way from LG to 2nd floor, connecting all levels. This central design statement offers a ‘meeting point’ to all destinations, where people can stop and take in the view from every level, enabling serendipitous encounters and open communication Cadent’s stunning new headquarters facility showcases its transition from public body to private, green energy-focused company. The impact is instant, and the new space represents the company’s values, personality and the gas infrastructure it provides. The design has completely re-engineered how Cadent works, behaves and collaborates. Working spaces range from individual quiet rooms and intimate one-to-one spaces, through to larger spaces accommodating up to 100

"Our sustainability story was what really interested them – the fact that we were going to mirrot their values."

people and the striking atrium, with all featuring digital connectivity to provide a hybrid working environment. Resonate has also woven elements of the service Cadent offers into the design, including red gas levers on the bespoke designed lockers. Cadent’s goal was to provide a safe environment through sustainable design that reflected its approach to developing greener energies. It was therefore quite apt that Cadent looked to incorporate as many sustainable design solutions as possible within its new HQ. To reduce carbon emissions, as there is an abundance of manufacturing and design in the region, the team set itself the target of sourcing the vast majority of products from within a 100-mile radius of the site. “We aimed for 75% – and actually got it up to 82%, which we’re proud of,” Pernille smiles. Where possible, products are modular, with standard sizes chosen to allow for straightforward replacement when required. The BMS is linked to the PV’s and lighting and mechanical system, which constantly monitors the building’s performance, while high specification glazing is used on the façade to retain and reflect heat. “This is a completely agile setting – there are no fixed desks for anyone,” Pernille explains. “So someone could be working on the 3rd floor one day

Left: Elements of the service Cadent provides are woven inti the design – including red gas levers on lockers

Above: Despite being such a large facility, Resonate's rich design ensures that the sapce still feels intimate

Overleaf: There are no less than 36 different types of meeting space throughout the building

»

Project 49 Works

48 Works / Issue 5 / 2023

T

An impressive feature staircase connects all levels of the building

he new of 90,000 sq ft facility at Ansty, near Coventry, incorporates a multitude of settings, activity based working zones and energy efficient design solutions, as well as a spectacular atrium space. Cadent was looking to bring together teams from across its vast network under one roof, and so the desire was to create an attractive, flexible, collaborative, sustainable and agile working environment for all employees, as well as enabling the building to respond to and accommodate different internal planning arrangements, improve legibility across internal domains, and optimise circulation and building servicing. Flexibility, adaptability and sustainability have been central to the design here, and really challenged the Resonate team – who was tasked with delivering more than 75% of specified materials and products from within a 100-mile radius.

“We hadn’t worked with Cadent before,” Resonate’s Pernille Stafford tells us. “We were recommended to them by the project manager and we went up to Coventry and presented to them in this huge boardroom. We talked about sustainability and who we are – the fact that we are a relatively small firm – and the presentation turned into this really nice conversation. We answered all of their questions and we came out thinking we’d done quite well – but we knew we were up against some really great firms. Anyway, the next day we got the call telling us that we had about 95% of the board’s vote! “They totally got who we are and what we are about. They felt we had real passion for the job and had really tried to understand them. Our sustainability story was what really interested them – the fact that we were going to mirror their values. It was so important to us that we created the wellness, that we created the gym and

we created the parkland around the site – it wasn’t just about the building itself. It was about people getting together.” Pernille recalls that, as the building was coming out of the ground, Covid hit and so the Resonate team partnered with various people from within the industry to pull together a report to ascertain exactly what the results of the pandemic might mean for the project in the long term. “Some of that stuff is now in the building, which is quite interesting,” she tells us. “We did a few small changes to things – with the M&E in particular. We added an extra washbasin to each of the teapoints for people to wash their hands at. We also wanted antimicrobial handles throughout – and they are now on everything.” Pernille describes Cadent as a pragmatic and ‘nuts and bolts’ company, so naturally energy efficient design solutions and sustainability are very much at the heart of the design response here, while both the service Cadent offers and its personality are showcased throughout. The mechanical services have been deliberately left visible to connect back to the fact that Cadent provides ground infrastructure. If you look closely, the intricately designed two-tone felt ceiling baffles spell out ‘Cadent’ in binary.

An impressive feature staircase, constructed of steel and oak, winds its way from LG to 2nd floor, connecting all levels. This central design statement offers a ‘meeting point’ to all destinations, where people can stop and take in the view from every level, enabling serendipitous encounters and open communication Cadent’s stunning new headquarters facility showcases its transition from public body to private, green energy-focused company. The impact is instant, and the new space represents the company’s values, personality and the gas infrastructure it provides. The design has completely re-engineered how Cadent works, behaves and collaborates. Working spaces range from individual quiet rooms and intimate one-to-one spaces, through to larger spaces accommodating up to 100

"Our sustainability story was what really interested them – the fact that we were going to mirrot their values."

people and the striking atrium, with all featuring digital connectivity to provide a hybrid working environment. Resonate has also woven elements of the service Cadent offers into the design, including red gas levers on the bespoke designed lockers. Cadent’s goal was to provide a safe environment through sustainable design that reflected its approach to developing greener energies. It was therefore quite apt that Cadent looked to incorporate as many sustainable design solutions as possible within its new HQ. To reduce carbon emissions, as there is an abundance of manufacturing and design in the region, the team set itself the target of sourcing the vast majority of products from within a 100-mile radius of the site. “We aimed for 75% – and actually got it up to 82%, which we’re proud of,” Pernille smiles. Where possible, products are modular, with standard sizes chosen to allow for straightforward replacement when required. The BMS is linked to the PV’s and lighting and mechanical system, which constantly monitors the building’s performance, while high specification glazing is used on the façade to retain and reflect heat. “This is a completely agile setting – there are no fixed desks for anyone,” Pernille explains. “So someone could be working on the 3rd floor one day

Left: Elements of the service Cadent provides are woven inti the design – including red gas levers on lockers

Above: Despite being such a large facility, Resonate's rich design ensures that the sapce still feels intimate

Overleaf: There are no less than 36 different types of meeting space throughout the building

»

Eyebrow Eyebrow

50 Works / Month 202? 50 Works / Issue Month 5202? / 2023

Project 51 Works

“I think we all learned a lot through the process. That team really turned into a work family.” and the 1st floor the next day, and all the settings needed to be able to accommodate that. This is completely new for them. In the old building, team-to-team, they just didn’t see one another. The atrium and café have now brought all these people together – some of them didn’t even know they worked in the same business. ‘The way we have designed the stairs, and the way we have placed the café at one end and the gym at the other end, absolutely makes people circulate around the building. You have to go from one end to the other. Also, deliberately, none of the teapoints are the same – they are all destinations and so something slightly different – which makes people wander around. “There are now 840 people working here – and there are 840 desks and 840 other spaces for people to sit and work. These are all across the building and all very different. There are 36 different types of meeting space! It’s a huge building, although when you do walk in it still feels quite intimate. That’s down to the richness of the design.” “One of the things that came from our Covid report was that we wanted to ensure that we created a really exciting hub destination for the people at Cadent. “As this is an emergency centre it was important that we looked at

"We wanted to ensure that we created a really exciting hub destination for the people at Cadent."

Above: The new space provides an ideal canvas for Cadent's personality and enhances the company's culture and communication

the travel plan to the site and also provided extra parking. As the site is quite isolated, there is a bus service and there is a lot of parking, tons of cycling facilities and electric car stations. That was thanks to a really good collaboration with the base build team, who we worked closely with throughout. “I think we all learned a lot through the process. That team really turned into a work family. We all made sure that we came together throughout the Covid period – albeit virtually – and

looked out for one another. I think architecture and design can do that. You are making a place, telling a story – and sometimes you can’t see that from pictures. There were – and are – lots of those ‘moments’ throughout this space. “They now even have a vertical allotment outside, where people are growing herbs that are used in the restaurant. I love that – I love that circular thing that’s happening and the good energy that’s surrounding the business. That’s when it becomes more than just a place to work.” “This project has been transformational in creating an exemplar workspace that is worthy of our people and it will also help define our working environments across Cadent,” enthuses Cadent’s Leo Conway. “What sets it apart though is that it is as beautiful and uplifting as it is flexible and sustainable. This building was designed and built with hard work and passion and nothing of lasting value is ever achieved without both in abundance.” The result is a space that is an ideal canvas for Cadent’s personality and culture, and which provides an innovative, contemporary HQ that is fit for the future. “This is now the blueprint for their offices nationwide,” Pernille concludes, “which is really exciting!”

Eyebrow Eyebrow

50 Works / Month 202? 50 Works / Issue Month 5202? / 2023

Project 51 Works

“I think we all learned a lot through the process. That team really turned into a work family.” and the 1st floor the next day, and all the settings needed to be able to accommodate that. This is completely new for them. In the old building, team-to-team, they just didn’t see one another. The atrium and café have now brought all these people together – some of them didn’t even know they worked in the same business. ‘The way we have designed the stairs, and the way we have placed the café at one end and the gym at the other end, absolutely makes people circulate around the building. You have to go from one end to the other. Also, deliberately, none of the teapoints are the same – they are all destinations and so something slightly different – which makes people wander around. “There are now 840 people working here – and there are 840 desks and 840 other spaces for people to sit and work. These are all across the building and all very different. There are 36 different types of meeting space! It’s a huge building, although when you do walk in it still feels quite intimate. That’s down to the richness of the design.” “One of the things that came from our Covid report was that we wanted to ensure that we created a really exciting hub destination for the people at Cadent. “As this is an emergency centre it was important that we looked at

"We wanted to ensure that we created a really exciting hub destination for the people at Cadent."

Above: The new space provides an ideal canvas for Cadent's personality and enhances the company's culture and communication

the travel plan to the site and also provided extra parking. As the site is quite isolated, there is a bus service and there is a lot of parking, tons of cycling facilities and electric car stations. That was thanks to a really good collaboration with the base build team, who we worked closely with throughout. “I think we all learned a lot through the process. That team really turned into a work family. We all made sure that we came together throughout the Covid period – albeit virtually – and

looked out for one another. I think architecture and design can do that. You are making a place, telling a story – and sometimes you can’t see that from pictures. There were – and are – lots of those ‘moments’ throughout this space. “They now even have a vertical allotment outside, where people are growing herbs that are used in the restaurant. I love that – I love that circular thing that’s happening and the good energy that’s surrounding the business. That’s when it becomes more than just a place to work.” “This project has been transformational in creating an exemplar workspace that is worthy of our people and it will also help define our working environments across Cadent,” enthuses Cadent’s Leo Conway. “What sets it apart though is that it is as beautiful and uplifting as it is flexible and sustainable. This building was designed and built with hard work and passion and nothing of lasting value is ever achieved without both in abundance.” The result is a space that is an ideal canvas for Cadent’s personality and culture, and which provides an innovative, contemporary HQ that is fit for the future. “This is now the blueprint for their offices nationwide,” Pernille concludes, “which is really exciting!”

The Sundowner 53 Works

52 Works / Issue 5 / 2023

During a break between sessions of the Sustainability Works programme at the recent Workspace Design Show, we met up with Harsha Kotak, Design Director at K2 Space and the Founder of Women In Office Design (WOD). Whilst chatting, Harsha talked about a sustainable initiative she has been busily progressing that she thought we might be interested in. We were most definitely interested. However, with our next session just minutes away, we would need to arrange another, more formal meeting. Or would we? Instead, we mused, why don’t we do informal. So, while deftly dodging train strikes, we’ve arrived in good time at one of the smart new bars in the shadows of the Bloomberg building to meet up with Harsha and two fellow members of that aforementioned initiative – Woodalls Design’s Ana Rita Martins and Lucy Bagshaw from tp bennett.

The Sundowner Illustrated by Sarah Brownlee

Our three guests are here to chat about the Sustainable Design Collective (SDC) – a think tank group formed some 18 months ago, which is committed to acting as a collective within the workplace design community to identify developments and ‘best practice’ relating to sustainability. The purpose of the group is to promote and applaud achievements and, more importantly, to create a forum for knowledge sharing and exchange. The group represents the full scope of the office design sector – architects, designers, manufacturers, suppliers and sustainability experts – working towards the greater good, ultimately to reduce our climate impact. Keen to learn more, we ordered drinks and asked our trio to tell us more about this exciting collective.

"We really do have to go back to basics with a lot of this becuase the younger designers have not been mentored over the past few years." Ana Rita Martins

Harsha: We were actually together yesterday. We’ve just started recording courses for SDC. It’s something new but, while we come together every two months to talk about sustainability and talk about the ‘big ideas’ and scream and shout about everything, we then go back to work and the junior designers and the mid-level designers are there and they are not as well versed as we are when it come to this subject. So, we wanted to find a way to trickle this down to them. That’s where we started talking about recording these short master courses. Ana: We really do have to go back to basics with a lot of this because the younger designers have not been mentored over the past few years. There are so many buzzwords out there – they come to us and say “Oh yeah, Net Zero.

»

The Sundowner 53 Works

52 Works / Issue 5 / 2023

During a break between sessions of the Sustainability Works programme at the recent Workspace Design Show, we met up with Harsha Kotak, Design Director at K2 Space and the Founder of Women In Office Design (WOD). Whilst chatting, Harsha talked about a sustainable initiative she has been busily progressing that she thought we might be interested in. We were most definitely interested. However, with our next session just minutes away, we would need to arrange another, more formal meeting. Or would we? Instead, we mused, why don’t we do informal. So, while deftly dodging train strikes, we’ve arrived in good time at one of the smart new bars in the shadows of the Bloomberg building to meet up with Harsha and two fellow members of that aforementioned initiative – Woodalls Design’s Ana Rita Martins and Lucy Bagshaw from tp bennett.

The Sundowner Illustrated by Sarah Brownlee

Our three guests are here to chat about the Sustainable Design Collective (SDC) – a think tank group formed some 18 months ago, which is committed to acting as a collective within the workplace design community to identify developments and ‘best practice’ relating to sustainability. The purpose of the group is to promote and applaud achievements and, more importantly, to create a forum for knowledge sharing and exchange. The group represents the full scope of the office design sector – architects, designers, manufacturers, suppliers and sustainability experts – working towards the greater good, ultimately to reduce our climate impact. Keen to learn more, we ordered drinks and asked our trio to tell us more about this exciting collective.

"We really do have to go back to basics with a lot of this becuase the younger designers have not been mentored over the past few years." Ana Rita Martins

Harsha: We were actually together yesterday. We’ve just started recording courses for SDC. It’s something new but, while we come together every two months to talk about sustainability and talk about the ‘big ideas’ and scream and shout about everything, we then go back to work and the junior designers and the mid-level designers are there and they are not as well versed as we are when it come to this subject. So, we wanted to find a way to trickle this down to them. That’s where we started talking about recording these short master courses. Ana: We really do have to go back to basics with a lot of this because the younger designers have not been mentored over the past few years. There are so many buzzwords out there – they come to us and say “Oh yeah, Net Zero.

»

The Sundowner 55 Works

54 Works / Issue 5 / 2023

"I do think there is something special happening here – there are sustainability directors coming together, meeting up, without selfpromotion or any agenda." Ana Rita Martins

Actually, what is Net Zero?” Some clients come to us with these buzzwords – and we then ask them what that means for them! You worry that they’re just trying to chase the latest trends without really understanding it. Harsha: There came a point where we were talking to our clients and talking to suppliers, but seldom talking to other designers or architects – and seeing what they are doing and learning from them. That’s when we started WOD. Mentoring has always been a big thing for WOD – and that’s also something we want to bring to SDC. In many ways, the easiest way would be to do these courses, because we simply don’t have the time to do one-on-one sessions. It’s great to get together, of course, and I’m so glad we’re able to do that again. Every time we (WOD) host our events it’s great to meet with the other women – although men are invited as well, of course. So often we find that what is really beneficial are the interactions that happen after these meetings and

"It's a very rich and diverse group of people – there are activists, therre are pacifists, there are experts, there are novices – it's fascinating." Lucy Bagshaw

the friendships we’re able to make – and we’re now seeing the same with SDC. So what does a SDC meeting look and feel like? Lucy: I feel like everyone’s slightly nervous when they first walk in – and then, after five minutes, everyone clicks. It’s a very rich and diverse group of people – there are activists, there are pacifists, there are experts, there are novices – it’s fascinating. Harsha: We now have 22 top end A&D firms as part of SDC and it’s great to be able to talk freely with people from outside of your own companies. We get together regularly – we all went to Germany last year – and building those relationships and learning from one another is so important, as is trickling that down to those young designers. Ana: Harsha’s done something really incredible here. How can you put tp bennett, Perkins&Will, Woodalls…people

who would never normally collaborate together? I do think there’s something special happening here – there are sustainability directors coming together, meeting up, without self-promotion or any agenda. None of us have the right answers to everything, and this is so positive because it is so collaborative. I think one of the best things about the collective is that the different backgrounds and knowledge that the members have hit a lot of areas we can all learn from. I think this is so powerful. We agree. Such an influential list of firms, working together, undoubtedly brings a level of power with it. So how can that power be used for good? Harsha: We are now in a position where we can actually start demanding. We are questioning companies about their credentials and their certifications. Up until now, these have simply been accepted by young designers. Now we are asking questions. We’re also very conscious that a lot of these salesguys

"We're trying to educate but also trying to work more collaboratively with suppliers, designers, architects, end users..." Harsha Kotak

don’t know the answers – they’ve been fed these credentials and certifications as well. So when we do ask questions, if they don’t have the answers, we simply ask them to go back and find out. My favourite line by DK Lewis is: "In sustainability there are no experts – we’re all explorers." So let’s explore together! We’re all trying to learn. We must all listen to one another. Ana: What we now have is open channel communication – between design firms and through to the supply chain. Harsha: We’re trying to educate but also trying to work more collaboratively with suppliers, designers, architects, contractors, end users…we’ve got them all on SDC now. There are people who also want to push that further and talk to government bodies, which is okay by me – go for it! SDC can definitely be a platform for this. Lucy: I feel as though we really needed something for ourselves. There are

»

The Sundowner 55 Works

54 Works / Issue 5 / 2023

"I do think there is something special happening here – there are sustainability directors coming together, meeting up, without selfpromotion or any agenda." Ana Rita Martins

Actually, what is Net Zero?” Some clients come to us with these buzzwords – and we then ask them what that means for them! You worry that they’re just trying to chase the latest trends without really understanding it. Harsha: There came a point where we were talking to our clients and talking to suppliers, but seldom talking to other designers or architects – and seeing what they are doing and learning from them. That’s when we started WOD. Mentoring has always been a big thing for WOD – and that’s also something we want to bring to SDC. In many ways, the easiest way would be to do these courses, because we simply don’t have the time to do one-on-one sessions. It’s great to get together, of course, and I’m so glad we’re able to do that again. Every time we (WOD) host our events it’s great to meet with the other women – although men are invited as well, of course. So often we find that what is really beneficial are the interactions that happen after these meetings and

"It's a very rich and diverse group of people – there are activists, therre are pacifists, there are experts, there are novices – it's fascinating." Lucy Bagshaw

the friendships we’re able to make – and we’re now seeing the same with SDC. So what does a SDC meeting look and feel like? Lucy: I feel like everyone’s slightly nervous when they first walk in – and then, after five minutes, everyone clicks. It’s a very rich and diverse group of people – there are activists, there are pacifists, there are experts, there are novices – it’s fascinating. Harsha: We now have 22 top end A&D firms as part of SDC and it’s great to be able to talk freely with people from outside of your own companies. We get together regularly – we all went to Germany last year – and building those relationships and learning from one another is so important, as is trickling that down to those young designers. Ana: Harsha’s done something really incredible here. How can you put tp bennett, Perkins&Will, Woodalls…people

who would never normally collaborate together? I do think there’s something special happening here – there are sustainability directors coming together, meeting up, without self-promotion or any agenda. None of us have the right answers to everything, and this is so positive because it is so collaborative. I think one of the best things about the collective is that the different backgrounds and knowledge that the members have hit a lot of areas we can all learn from. I think this is so powerful. We agree. Such an influential list of firms, working together, undoubtedly brings a level of power with it. So how can that power be used for good? Harsha: We are now in a position where we can actually start demanding. We are questioning companies about their credentials and their certifications. Up until now, these have simply been accepted by young designers. Now we are asking questions. We’re also very conscious that a lot of these salesguys

"We're trying to educate but also trying to work more collaboratively with suppliers, designers, architects, end users..." Harsha Kotak

don’t know the answers – they’ve been fed these credentials and certifications as well. So when we do ask questions, if they don’t have the answers, we simply ask them to go back and find out. My favourite line by DK Lewis is: "In sustainability there are no experts – we’re all explorers." So let’s explore together! We’re all trying to learn. We must all listen to one another. Ana: What we now have is open channel communication – between design firms and through to the supply chain. Harsha: We’re trying to educate but also trying to work more collaboratively with suppliers, designers, architects, contractors, end users…we’ve got them all on SDC now. There are people who also want to push that further and talk to government bodies, which is okay by me – go for it! SDC can definitely be a platform for this. Lucy: I feel as though we really needed something for ourselves. There are

»

The Sundowner

56 Works / Issue 5 / 2023

Want to partner with Europe’s most read workplace magazine?

organisations that are doing some really good work, so there’s all this research and information out there, but they always leave out fit-out! It’s always for new build or domestic. It’s all so different as well; the fire codes we have to meet in commercial fit-out are really stringent, for example. I come from a residential background, where you can pretty much do anything you want! I just feel as though there are bodies out there who are trying to tackle the problem but they are just not addressing fit-out. Maybe because it’s harder to figure out, maybe because there’s less benchmarking information – but that’s the whole point of it, to get that benchmarking and to understand it better. It does feel as though it’s the elephant in the room. A lot of companies sweep it all under the rug because they are not being held accountable for it. As far as they’re concerned, they can just keep going, doing an increasing amount of damage.

"We do have the power on each individual project and it's up to us to educate our clients, each other, our colleagues..." Lucy Bagshaw

Ana: This is a much bigger thing than people realise – and that’s why we want to create a buzz. Harsha: It’s not easy. I wonder, as individual designers, whether we hold any power to change anything. Lucy: We do have the power on each individual project and it’s up to us to educate our clients, each other, our colleagues… Harsha: The great thing is that the decisions we make, we make as a collective. The things we do, the actions we take, the seminars we organise…we’ve always done a very good job of collectively deciding that this is the next step. We now have a sub-group that is building a questionnaire for suppliers, which we hope will become a standard for the industry. Then we have the courses – and these are things we are doing in the way we all want to do them, in a way that is really meaningful.

...we’d love to talk www.workplaceinsight.net [email protected] 00442032393418

The Sundowner

56 Works / Issue 5 / 2023

Want to partner with Europe’s most read workplace magazine?

organisations that are doing some really good work, so there’s all this research and information out there, but they always leave out fit-out! It’s always for new build or domestic. It’s all so different as well; the fire codes we have to meet in commercial fit-out are really stringent, for example. I come from a residential background, where you can pretty much do anything you want! I just feel as though there are bodies out there who are trying to tackle the problem but they are just not addressing fit-out. Maybe because it’s harder to figure out, maybe because there’s less benchmarking information – but that’s the whole point of it, to get that benchmarking and to understand it better. It does feel as though it’s the elephant in the room. A lot of companies sweep it all under the rug because they are not being held accountable for it. As far as they’re concerned, they can just keep going, doing an increasing amount of damage.

"We do have the power on each individual project and it's up to us to educate our clients, each other, our colleagues..." Lucy Bagshaw

Ana: This is a much bigger thing than people realise – and that’s why we want to create a buzz. Harsha: It’s not easy. I wonder, as individual designers, whether we hold any power to change anything. Lucy: We do have the power on each individual project and it’s up to us to educate our clients, each other, our colleagues… Harsha: The great thing is that the decisions we make, we make as a collective. The things we do, the actions we take, the seminars we organise…we’ve always done a very good job of collectively deciding that this is the next step. We now have a sub-group that is building a questionnaire for suppliers, which we hope will become a standard for the industry. Then we have the courses – and these are things we are doing in the way we all want to do them, in a way that is really meaningful.

...we’d love to talk www.workplaceinsight.net [email protected] 00442032393418

58 Works / Issue 5 / 2023

Out of office

Out of office ...

We have been full of praise for the recent Workspace Design Show – and we weren’t alone in thinking highly of the event, as visitors and exhibitors alike extolled its virtues to us. That takes some doing. It’s not easy to keep everyone happy.

Over the years we’ve been to a multitude of industry shows, exhibitions and events across London, from Excel in the east, to Olympia and Earl’s Court in the west. And that’s always been part of the problem when it comes to keeping everyone on side. London is big. Massive. Wherever you choose to hold your industry event, there will be some people whose noses are put out of joint as their journey is suddenly extended by having to circumnavigate one of the biggest cities on the planet. If you’re based out near Reading, for example, a switch of venue from Olympia to Excel will have serious consequences on your journey. Ideally, we’d like a mid-size (nothing too cavernous) venue in the very centre of town, with great connections and a multitude of amenities. The truth is that

venue in this sector. Actually, the venue was not the cause of people’s consternation – it was the events it hosted. People just didn’t want to visit another exhibition featuring rows of mid-price task chairs. They didn’t want to be pounced upon by furniture salespeople eagerly searching for the word ‘specifier’ on people's show badges. They didn’t want to attend something where the content was very much an afterthought. Or non-existent. These industry shows don’t come cheap for exhibitors. After all, we’re talking about a large percentage of emerging and smaller businesses, who have to throw, in real terms, an awful lot of money, time and resources to do them properly. And they want a return on their investment. Our advice: choose the show, not the venue.

these spaces are about as rare as hen’s teeth. Even in a city like London. But this search for the perfect venue is all just a camouflage anyway. We can recall talking to specifiers in Clerkenwell and asking them if they’re going to visit an upcoming show in Islington. “It’s a bit of a trek!” came the reply. When we pointed that said show was actually just a mile down the SAME street as they worked on, they didn’t even bat an eyelid. The fact was that they didn’t really want to go to the show anyway, couldn’t see the value and were looking for any reason/excuse not to attend. That venue was of course the Business Design Centre, over which people appear to have had a huge change of heart. At one time (not that long ago) the BDC was not a popular

Introducing LockerWall. Inspired by the traditional locker system, but re-imagined for the contemporary office space, LockerWall gives you the scope to create an efficient, stylish storage system for any kind of environment. A fully integrated, optimum storage system that delivers dependable security, without dominating your space or sacrificing your style. Developed to bring you peace of mind, so you can focus knowing that your belongings are safely stowed away, all our lockers include a choice of locking systems for safe storage throughout the day.

LockerWall: designed to fit around you.

www.bisley.com

Helping you work better anywhere.

58 Works / Issue 5 / 2023

Out of office

Out of office ...

We have been full of praise for the recent Workspace Design Show – and we weren’t alone in thinking highly of the event, as visitors and exhibitors alike extolled its virtues to us. That takes some doing. It’s not easy to keep everyone happy.

Over the years we’ve been to a multitude of industry shows, exhibitions and events across London, from Excel in the east, to Olympia and Earl’s Court in the west. And that’s always been part of the problem when it comes to keeping everyone on side. London is big. Massive. Wherever you choose to hold your industry event, there will be some people whose noses are put out of joint as their journey is suddenly extended by having to circumnavigate one of the biggest cities on the planet. If you’re based out near Reading, for example, a switch of venue from Olympia to Excel will have serious consequences on your journey. Ideally, we’d like a mid-size (nothing too cavernous) venue in the very centre of town, with great connections and a multitude of amenities. The truth is that

venue in this sector. Actually, the venue was not the cause of people’s consternation – it was the events it hosted. People just didn’t want to visit another exhibition featuring rows of mid-price task chairs. They didn’t want to be pounced upon by furniture salespeople eagerly searching for the word ‘specifier’ on people's show badges. They didn’t want to attend something where the content was very much an afterthought. Or non-existent. These industry shows don’t come cheap for exhibitors. After all, we’re talking about a large percentage of emerging and smaller businesses, who have to throw, in real terms, an awful lot of money, time and resources to do them properly. And they want a return on their investment. Our advice: choose the show, not the venue.

these spaces are about as rare as hen’s teeth. Even in a city like London. But this search for the perfect venue is all just a camouflage anyway. We can recall talking to specifiers in Clerkenwell and asking them if they’re going to visit an upcoming show in Islington. “It’s a bit of a trek!” came the reply. When we pointed that said show was actually just a mile down the SAME street as they worked on, they didn’t even bat an eyelid. The fact was that they didn’t really want to go to the show anyway, couldn’t see the value and were looking for any reason/excuse not to attend. That venue was of course the Business Design Centre, over which people appear to have had a huge change of heart. At one time (not that long ago) the BDC was not a popular

Introducing LockerWall. Inspired by the traditional locker system, but re-imagined for the contemporary office space, LockerWall gives you the scope to create an efficient, stylish storage system for any kind of environment. A fully integrated, optimum storage system that delivers dependable security, without dominating your space or sacrificing your style. Developed to bring you peace of mind, so you can focus knowing that your belongings are safely stowed away, all our lockers include a choice of locking systems for safe storage throughout the day.

LockerWall: designed to fit around you.

www.bisley.com

Helping you work better anywhere.

YOUR GENIUS AT WORK

Office Furniture Solutions

se:motion | sedus.com