FX M 2013 09 Downmagaz.com

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9 770966 038072

>0 9

September 2013 £6.99

www.widn.com

The Business of Design

We reveal the results o our frst drawing

competition and publish some o the best entries

drawingon talent

LIGHTINGFOCUS

PROFILED:LDF’S BEN EVANS

INNOVATIONSTATIONS



www.kieurope.com

[email protected]

020 7404 7441

UniteSE is evolving...



Made in UK



London’s calling,Have you heard the news?



we’re moving in

www.gof.co.uk

65 Clerkenwell Rd. EC117th October 2013



Techo

Royal Ahrend Group



Our laser edging processensures a fawless working relationship

between the desktop and the sides.

Accidents happen. In the ofce, as anywhere else and, even

i they’re not serious, they can have a lasting eect on the

appearance and perormance o your ofce urniture.

At Techo, we’re constantly striving to improve our products and

oer even better value or money. That’s why we’re keen to adopt

new technology that promises to keep our urniture looking good

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Our new laser edging process melts and blends suraces

together, achieving a seamless fnished desktop that looks like

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This new technique makes our desktops impervious to the

eects o moisture, which can cause the visible edge o

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It enables us to ensure a permanent and solid working

relationship between the top and the sides o our suraces.

Techo tops will look brand new long ater more conventional mc

tops have begun to appear shabby and show their age.

Better still, with new Monotop rom Techo, desktops can look a

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manuacturing process uses less energy and produces ar ewer

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We may not be able to stop accidents happening but, when it

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We understand it’s your reputation.

New laser-edge

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To fnd out more, please contact us on 020 7430 2882 or email [email protected] www.techo.co.uk



Gilbert

London Showroom:

The Gallery

21-22 Great Sutton Street

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Manufacture/Showroom:

Heaton Court

Birchwood, Warrington

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Come and see us:

Tel: 01925 850500 Email: [email protected] www.sixteen3.co.uk



Designed by

Made with pride in the U.K.To find out more give us a ring,

drop us an email or scan the QR code!



AwAds h 27 November 2013at Grosvenor House,A JW Marriott Hotel,

Park Lane, London W1K 7TN

www.fxdesignawards.co.uk

F qus

Email Maarja Pehk [email protected]

dAdl F s

19 July 2013 sv yu sAs

www.fxdesignawards.co.uk oremail [email protected] contact Tony Thompson

on +44 (0)7803 148 194

Pduc cAs

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2013 Product of the YearWorkplace SeatingLighting ProductSurfaces/

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Workspace EnvironmentPublic Space SchemesBar or RestaurantLighting DesignPublic Sector

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Interior Design Practice of the YearBreakthrough Talent of the YearLifetime Contribution to DesignProduct Designer of the Year

startpreparingto in!



27/11/13



BEAUTY I S ONLY HALF THE STORY.

It’s said people buy with their eyes.

But we know you also buy with your

head and heart. Our floorcoverings

all come with a story. And provide the

perfect stage on which to write yours.

Floorcovering shown: Biscayne Lime, one of many beautiful, tactile designs within our extensive Wool range. crucial-trading.com



ContentsSeptember 2013

Regulars

15 Diary Events on now and coming up

16 ForuM Your letters

19 heaDliner New event The Fix aimsto faciliate business for all attendees

21 the Business Four pages of news from

the design industry, including HI-MACS go

baroque for Handel Museum; new-look Tate

Britain is unveiled; Shard bar hits the heights

29 top 5 Pick of the best new products

30 proFile Ben Evans, cofounder of the

London Design Festival, has plenty of ideas

to keep the event vibrant

33 one to watch Winner of last year’s New

Designers John Lewis Award, Oliver Hrubiak

102 eye witness Gareth Gardner goes shing

in new ofces by EDGE for the MAKO group

178 iF only… easily assembled Japanese onsen

could be around the world, says Tim Gledstone

34 Mary rose MuseuM, portsMouth

Two leading architecture practices collaborated

to design the museum for the Tudor warship

40 orcharD spa, cotswolDs First

impressions can be deceptive at this luxury spa

complex by de Matos Ryan, built on a former

gravel extraction site

47 royal colleGe oF Gp, lonDon One

of the rst ofce buildings gets the best of thepast and present from Harmsen Tilney Shane

53 saint laurent store concept

The fashion brand makes a bold, minimalist

statement for its new store look

Features

58 teMporary spaces A building or space

needn’t be permanent to be powerful, and

to prove the point Veronica Simpson looks

at some of the latest pop-ups around

68 super clients David Tarpey talks to

design practices about how they got on workingwith giant clients Google and Virgin Atlantic

76 innovation stations As more

employers realise that their staff don’t need

to be at a desk to be productive, designers are

delivering up stimulating work environments

85 BrieF encounters In the rst of her

new column, Veronica Simpson looks at the

uncertain future of art schools

90 DrawinG exhiBition We were blown

away by the entries to our drawing competition

earlier this year, so much so that we organised

an exhibition of them at The Building Centre

99 speak easy Paul Finch, with the same

company for 20 years, looks at the radicalchanges in the work environment

105 liGhtinG Focus The challenges of

lighting places of worship could be helped by

a new guide. We take a look at it, and at two

very different church lighting schemes

Tech Spec

128 liGht + tech Look up or you will miss

some lighting treats, says Jill Entwistle, who

gives to examples of overhead sensations

134 Materials Annabelle Filer has the light

in her eyes – and how some materials can takeon a whole new aspect in the right light

The cover showsa drawing by PaulMcGill, one of theentries into the FX& Blueprint drawingcompetition and onshow at The BuildingCentre, London

FXmagazine.co.uk September 2013 1

Ship shape: Insidethe new museum for

the lost Tudor war ship Mary Rose.See page 34



Woven Wire Fabric

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Cascade Coil Drapery's flexible round weave woven wire fabrics are catching the eyes of today's designers. With its versatility,unique texture, variety of colors, flexibility and durability, Cascade Coil Drapery is a long term solution for today's modern style.Designers and architects around the world are creatively using this material for a wide range of applications including lighting,partitions, window treatments, and other ornamental applications. Woven wire mesh offers many advantages over conventionaldrapery. Besides being durable, fireproof, and virtually maintenance-free, the material diffuses and enhances lighting withoutblocking views or ventilation. Save energy by reducing heat loss and gain using Cascade Coil's woven wire fabric for interiorand exterior window applications. For over 25 years, Cascade Coil has offered round weave woven wire fabrics that have fueledthe imagination of architects, designers and other creative people in the design community. Cascade Coil proudlymanufactures their products in the USA and distributes them globally.



Vienna Design Week 27 September-6 October

At locations throughout the city

Upcoming Austrian and European designers collaborate

with Viennese manufacturers and present the results at

traditional shops and ateliers around the city. Now in its

sixth year, the festival includes product, furniture and

industrial design.

viennadesignweek.at

London DesignFestival

14-22 September Across London

The biggest event

in London’s design

calendar again features

a broad schedule of

events, from one-

off exhibitions and

installations at the V&A

to open studio and

popular design shows,

including 100%

Design, Tent London

and Design Junction.

londondesignfestival.

com

Beijing DesignWeek

26 Sept-3 October Beijing

Presentations and

installations in Beijing’s

hutongs, industrial

warehouses and

artists’ communities

at China’s most

prominent design

event, now in its third

year. This year it takes

as its theme ‘Design

City, Smart City’, and

an exhibition on the

theme is being

organised. bjdw.org

Design Quarter 26 September

Jewellery quarter,Birmingham

A chance for architects

and interior designers

to see the latest

innovations and

designs in the industry.

Design Quarter will

include interactive

workshops and

seminars from some

of the most respected

product designers

in the industry.

designquarter2013.

com

Welcome

As you all settle back down atyour desks/drawingboards/laptops/iPads after what turned

out after all to be a largely glorioussummer, we at FX are proud to serve

up a bumper edition of the magazine,packed with some of the best featuresby some of the best writers around.

Recut your teeth on some seriouslygood design insight with VeronicaSimpson’s look at temporary spaces,taking in from The Shed at theNational Theatre, via Mexicanrestaurant in shipping containersWahaka on the South Bank, to theso-hip-it-hurts Frank’s Bar in amultistorey car park in Peckham.

Then we take a look at what it’slike to work for the Super Clients,

such as Google and Virgin, withpractices that have had the honourgiving their take on the experience.That’s followed by our feature onmodern work environments which,with more employers coming toappreciate that staff don’t need to besitting as desks to be productive, aregetting downright funky (and one of our guest writers, Paul Finch, calls onpersonal experience of the changingworkplace in his Speak Easy piece).

Entries into our hand-drawingcompetition earlier this year were too

good not to share, so exhibited themat The Building Centre this summerfor all to see, and if you weren’t ableto make it along we’ve published ourpick from the exhibition in this issue.And that’s just the features!

We of course have our regularserving of news, projects, expertopinion and analysis, and wewelcome Veronica Simpson asa regular columnist from this month,in this issue discussing the wide-ranging importance of art schoolsin in the new Brief Encounters.

So settle back, and welcome back!

TheresaDowling

Ed

whErE togo thismonth


WORKTECH 133 Oct (Buenos Aires)

8 Oct (Santiago)

The globe-trotting

conference series

reaches Southern

America to introduce

more than 150 senior

FM professionals to

architecture. Chairs

for Beunos Aires and

Santiago events are,

respectively, real estate

and FM expert Horacio

Sackmann, and

design professional

Charles McDonald.

unwired.eu.com

Diary



Forum

Editorial:

Editor Theresa [email protected]

Group deputy editor Pamela [email protected]

Assistant editor Jamie Mitchell / 020 3220 5854

[email protected]

Contributors Veronica Simpson, David Tarpey, Paul Finch, GarethGardner, Helen Parton, Jill Entwistle, Annabelle Filer,Tim Gledstone, Emily Black

dEsign & Production:

Design Wes Mitchell, David CooperProduction manager Clare Ovenell / 020 8269 [email protected] production coordinator

Adam [email protected]

advErtising:

Sales director Joe Maughan / 020 7936 6644

[email protected]

Sales managers Alistair Fitzpatrick / 020 7936 [email protected] Sloan / 020 7936 [email protected] development manager

Dean Cassar / 020 7936 [email protected] executives

Joe Woolerton / 020 7936 6400 [email protected] Sahin / 020 7936 [email protected]

gEnEral:

020 7936 6400Editorial director Theresa Dowling

Commercial director Mike Callison

subscriPtions:

FX customer services: [email protected]

Subscriptions hotline: +44 (0)845 073 9607; fax +44 (0)20 7458 4032 Email: [email protected](include postal address)

Online subscriptions: www.buythatmag.com

Single issue: UK £6.99; EU €10.99; US $13.99; ROW $13.991 year: UK £65.99; EU €114.99; US $146.99; ROW $152.99

2 years: UK £104.99; EU €183.99; US $234.99; ROW $244.99

Digital edition: (subscribe at www.buythatmag.com)

1 year: UK £57.99; EU €86.99; US $115.99; ROW $115.99

2 years: UK £92.99; EU €139.99; US $185.99; ROW $185.99

FX is published 12 times a year by Progressive MediaInternational, John Carpenter House, John CarpenterStreet, London EC4Y 0AN. All calls may be monitoredfor training purposes. The paper used in this magazineis obtained from manufacturers who operate within

internationally recognised standards. The paper is madefrom Elementary Chlorine Free (ECF) pulp, which issourced from sustainable, properly managed forestation.Printed in England. All rights reserved: No part of FXmay be reproduced or stored in a retrieval system ortransmitted in any form, electronic, mechanical, orphotocopying, without prior written permissionof the editor. ©2013. ISSN 0966-0380

FX supports the aimsand objectives of ACID

(Anti Copying In Design)

FX is a part o the World Interior Design Network

The Colonnades, 34 Porchester Road,London W2 6ES. www.fxmagazine.co.uk

16 September 2013 FXmagazine.co.uk

Write in

If you have something to get off your chest, email [email protected] or write to:

The Editor, FX, The Colonnades, 34 Porchester Road, London W2 6ES

Chicago’s NeoCon contract furniture fair

until recently was regarded as less relevant

for us folk in the European markets, largely

because ways of working were so different

in the USA compared to the UK. This year

to me marked a step change, however, and

clearly demonstrated just how much markets

have converged during recent years – with

the UK and Europe winning out and many

European designers drafted in to create

products for American companies.

Held at the Merchandise Mart – home to

130 contract furniture showrooms – NeoCon

attracted 45,000 visitors from around the

world to explore new products from more

than 700 manufacturers. ‘It was more

international than I can ever remember,’ notes

Tim Hutchings, president of Humanscale

International. ‘We had a wonderful attendance

from visitors from Asia, the Middle East,Africa and Australia.’

The workplace market is changing rapidly,

and major manufacturers are putting resources

into staying ahead. Yet while the results might

be lofty in concept, they are grounded in

reality. The trend is more ‘funky corporate’

rather than attempting to be ‘wacky’ and

‘faddy’. While exible and collaborative work

spaces have been commonplace in the UK

for years – partly driven by high commercial

rents forcing more efcient use of space – the

USA is nally catching up. Change has

accelerated there – three years ago it was

a decade behind Europe.

When it came to workplace design, therewere exciting new developments on display.

‘It was a hugely optimistic show,’ says visitor

Chris Fowler, director of design at steel-

storage manufacturer Bisley. ‘Great

importance is being given to products again.

‘The American employer has shifted in

recent years from battery farming its people

in mid-height cubicles to having them in open-

plan environments. Workstations are lower

rise, the cubicles long gone. There were many

open-ended or elliptical workstations that blur

work territories on show.’

Yet as we know in the UK, open-plan

collaboration comes at a cost to privacy. So

while manufacturers are keen to push open-

plan, they are also developing products that

offer privacy within this environment.

Knoll brought along its Tools for Life

range of products, designed by Dutch

architecture practice OMA and launched

earlier this year at the Milan Furniture Fair.

They have the ability to transform at the touch

of a button. For example, the 04 Counter

begins as a wall-like unit but metamorphoses

into a series of shelves and cantileveringbenches, transforming partition to meeting

area. Haworth, Herman Miller and Belgian

manufacturer Buzzispace all stood out with

new products to address this issue.

Despite all the optimism this year’s show,

NeoCon was overshadowed by the sad news

of the death of designer Niels Diffrient. His

long-standing collaboration with Humanscale

delivered some truly groundbreaking products,

including the acclaimed Freedom task chair.

‘The news about Niels made for a very

reective and thought-provoking NeoCon,’

says Humanscale’s Hutchings. ‘We were so

fortunate to be in the position of launching

two Niels Diffrient chairs – Diffrient World,and Diffrient Smart – a tting tribute to Niels

as Humanscale celebrates its 30th anniversary.’

Steve Fitch, director

Dovetail Contract Furniture

neocon has flexible futures for offices

Flexible furniturewas on show atNeoCon – this isfrom Knoll’s Toolsfor Life range



Good news for bottomsNot only is the stylish Zephyr Light chair by Okamura

a very comortable place to sit,

it’s price will suit your bottom line too.

To fnd out more please call 020 3077 5930 or email [email protected]

Come and see us at 100% Design, 18-21 September, Earls Court London – Stand 0220

Okamura CorporationLondon showroom: 54 Hatton Garden, London EC1N 8HN

www.okamura.co.uk

by



[email protected]

bisley.com

bebybisley.com

Meet anywhere

you wantWhether you need a place or brainstorming, presenting or simply

getting together, you can create it with Be by Bisley™ - the adaptable,inspirational new urniture collection.

Reinventing. Reinvesting. Redefning.



The Fix, spearheaded by FX, Gensler,

Livewire and Cole Consulting will host an

event in October for more than 100 VIPs in the

design, retail, hospitality and property industry.

Similar to MIPIM in format, but on a more

modest scale, The Fix aims is to facilitate

business for all of us. Its goal is to enliven

the industry and bring a contract within

everyone’s reach – putting clients in touch

with developers, and developers in touch with

architects and designers.

The driving forces behind The Fix are Jon

Tollit (Gensler), Theresa Dowling (FX and

Blueprint), Audra Lamoon (Livewire), and

Terry Cole (Cole Consulting). Each hold

personal contacts with the world’s best and

most powerful in design, property, business,

and will be using them to guarantee an

attendance list of high-calibre guests on the

night. Audra Lamoon from Livewire, says:

‘We foster like-minded people, and work with

those who we trust.’

Access to the industry matchmaking event

is invitation-only, but also invited to the event

will be the shortlisted nominees of selected

categories from this year’s FX International

Interior Design Awards, being held in

November. Theresa Dowling says: ‘If there

is a way I can make a million pounds for our

FX readers through facilitating face-to-face

introductions, I’d be very happy to do so –

and I bet they would be too!’

We are looking for sponsors, so please

contact Theresa at [email protected]

if you would like to be involved.

Words by Emily Black

ReporterBusiness 21

Top 5 29

Profile 30

One to watch 33

GET YOUR DESIGN CONTACTS FIX

FXmagazine.co.uk Septemberr 2013 1



www.e.uk.

designed by Roger Webb Associates

Ergonomic

comfort

for

EvEry

body.



T Bu

Japanese architecture practice Moriyuki

Ochiai has designed the interior of a store forthe Dream Dairy Farm, a working farm that

produce made from the farm’s own milk.

For the 86 sq m store, set in Chiba, Japan

Moriyuki Ochiai used milk as its inspiration to

create the store’s unique interior, with layered

resin boards (the same material used on

cowshed roofs) to lter the light in order to

create what it describes as a ‘milky luminosity’

The glass display below has a milky-white

base with a rippled material, evoking images of

a milk puddle. The walls have been painted

green to reect the meadows and forests that

surround the dairy farm, and an aluminum

light xture moulded using organic curves

hangs from the ceiling. moriyukiochiai.com

Japanese architectcreates retail spacewith milk inspiration


Zaha hadid workcomes To sTaywiTh serpenTinesackler Gallery

The Serpentine’s new Serpentine

Sackler Gallery, designed by Pritzker Prize-

winner Zaha Hadid, is set to open at the end

of this month in Kensington Gardens.

It is Zaha Hadid Architects rst

permanent building in central London, andfollows on from Hadid’s temporary summer

Serpentine Pavilion in 2000.

The new space is set across 900 sq m in

the parkland, only a ve-minute walk from

the Serpentine Gallery, itself created 43 years

ago. To create the new gallery, aimed at being

a new cultural destination on the north side

of the Serpentine Bridge, Hadid renovated

a former gunpowder store, built in 1805,

and has added a light and transparentextension to complement the neo-classical

architecture of the original building.

To the side of the building sits an Hadid

signature structure with an organically

shaped, undulating canopy, sitting over a

gallery, restaurant and social area.

Kensington Garden’s trees and wildlife

surround the building.

The gallery has been named after Dr

Mortimer and Dame Theresa Sackler, whosefoundation donated a signicant amount

towards the development. Bloomberg also

made a major contribution towards its

funding. Zaha-hadid.com

former

georgian

gunpowder store

is transformed into

new gallery , hadid’s

first permanent

london

building



T B


Forbo Flooring’s Fly Forbo design

competition has launched or its second

outing in the UK ater 12 successul years

running in Australia.

With the top prize o two return fights

Chicago, accommodation and entry into

NeoCon 2014, and highly commended

prize o a trip to Amsterdam, hotel andentry to Materia next June, Forbo Flooring

hopes that the British version o the

competition will continue to attract the

same high level o entries as seen last year,

when the winner was the William Morris

Gallery (shown above) by Karsten Weiss,

o Pringle Richards Sharratt Architects.

Highly commended was the Croxteth

Community Primary School by Martin

Shutt, o Architects 2020 Liverpool.

The competition has been established

to recognise outstanding use o the Forbo

portolio in projects that create better

environments. Winning entries in the latest

competition will eature in FX next spring.To enter see Win a Trip to Chicago at

orbo-fooring.co.uk

entries invited as

forbo fly competition

follows aussie success

Architecture practice Gerhards &

Gluecker take inspiration rom Handel’s

music to reconstruct his museum at the

baroque Handel House, a museum in

the town o Halle an der Saale, Saxony

where Handel was born.

The choice to use the solid surace material

HI-MACS to bring the baroque into the 21st

century was made to bring gravitas and

panache to the project. One standout eature

is a delicate curved pergola (shown above) in

the themed room Under the Arcadian Sun,

which ocuses on chamber music Handel wrote

during a our-year sojourn in Italy. A foral

design was milled into the arch, which stands

detached rom the walls so that it casts

patterned shadows. The arch was manuactured

by Möbel Damm, ater training by Klöper

Suraces, the distribution partner o HI-MACS.

Elsewhere all ttings and presentational

elements, such as rames, pedestals, tables,

show-cases and display cabinets, are all created

in HI-MACS, and all in the same Arctic White

HI-MACS colour. himacs.eu

hi-macs helpsTo Transformhandel’s music

To archiTecTure

JOI design has

collaborated withexperts in colour psychology and trendresearching to createits third book, Coloursfor Hotels. It offersadvise on achievingmood-setting colour schemes under headlines that include‘discreet’, ‘luxurious’and ‘international’.

Joi-design.com

Ten products

awarded the 2013Design Guild Mark will be exhibited at100% Design thisyear, being held atEarl’s Court 18-21September. Entriesfor the 2014 DesignGuild Mark will alsobe launched at theexhibition.100percentdesign.co.uk

furnituremkrs.co.uk

hi-macs

is used in

handel museum

to bring the

baroque building

into the 21st

century



An elegant concept that

offers endless possibilitiesfor both commercial and

larger public spaces.

Curves with a radius as

tight as 0.6 m can be used

and a range of high power

LED modules give H-Profil

the design flexibility to flatterboth contemporary and

traditional interiors.

Our bespoke service means

you can form it and shape it

to your project.

Bend the rules.

Spectral Lighting

8/9 The Marshgate Centre, Parkway, Harlow Business Park,

Harlow, Essex CM19 5QP United Kingdom

Tel. +44 (0)1279 450882

Email. [email protected]

Visit. www.spectral-lighting.co.uk

Light source – High power 15w LEDs with controlvia acrylicblock prisms.Ceilinglit by linear 3wLEDsin the upper compartment,along with the drivers.

native use of H-Profil at theud-Luckner- Gewerbeschule Freiburgs what’s possible with flair.

Light source – A combination of LED and Halogenprojecting direct and indirect light. All control gearis located in the upper compartment.

simple yet elegant design usesofil to stunning effect at theill Synagogue in North London.

H-Profil

Chandeliers thatothers look up to.



Representing the Mosa culture of material

and aesthetic quality in tile technology,

this showroom is a sophisticated

contemporary environment fully

equipped to introduce the architecture

and design community and their clients

to the countless possibilities Mosa’s

innovative ceramic products can offer.

The showroom is a vital one-stop-shop-

for information, inspiration, advice,

samples and support.

Grand opening during LDF

from 18-22 September 2013

Mosa Architectural Ceramics Center

Grant House, Ground oor

56-60 St John Street,

Islington, London, EC1M 4HG

www.mosa.nl/macc-london

Grand opening:Flagship showroom LondonMosa.



Te Bsness

Online voting for the FX premier

awards is open until the end of the month

– your opportunity to decide who bestdeserves the award in the following four

categories: breakthrough talent of the year;

interior design practice of the year; product

designer of the year and the outstanding

lifetime contribution to design award.

The FX international Interior Design

Awards are now in its 15th year of

celebrating the industry’s top designers.

This year’s event will be held in London’s

prestigious Grosvenor House in Mayfair

for a night of black-tie networking, but

mainly partying.

Last year’s breakthrough talent of the

year winner, Christopher Jenner, says that

design ‘is all about hard work. What we areproducing can never just be OK, it must

be as special as we can make it’. Just like

the coveted FX Awards!

Other premier awards winners last year

were: Girogio Borruso Design (interior

design practice of the year) ; Ross

Lovegrove (product designer of the year)

and Niels Diffrient (outstanding lifetime

contribution to design award).

Celebrating the hard work and

undoubted talent of designers from the UK

and abroad, this year’s awards take place

November 27, hosted by a celebrity guest.

Get voting! fxdesignawards.co.uk

Your chance to votefor the fX premierawards has arrived


Tate Britain has been stripped back to its

roots in a major renovation project.

This autumn sees the work of practice

Caruso St John on the London museum of

British art on show when it reopens, mixing

the elegance of the original building with new

features. Among these are nine new galleries;

the reopening of the main entrance to Tate

Britain on Millbank; a new spiral staircase that

allows access to new public spaces on the

lower oor, and new oor designs to enhance

visitors’ movement around the gallery.

The Rex Whistler restaurant, with its

Whistler mural The Expedition in Pursuit of

The British Council

has announced thewinning proposal for the British Pavilion atthe 2014 Venicearchitecture Biennale.Selected is A Clockwork Jerusalem,with a design by FAT

Architecture, Crimson ArchitecturalHistorians and OwenHatherley. TheBiennale will takeplace June-November.venicebiennale.

britishcouncil.org

mrfdesign has

launched adevice-responsivewebsite that includs2D and 3D CADdownload sections. A contemporary furnituremanufacturer workingwith interior designersand architects tocreate project-basedand bespoke furniture,mrfdesign’s newcollections Julio andWingback can be seenon the website.

mrfdesign.co.uk

NEW TaTEBriTaiN MiXESorigiNalSplENdourWiTh NEWFEaTurES

Rare Meats (1926-27), is to reopen with a

new interior, along with a new cafe that open

on to a terrace. The circular balcony of the

Rotunda’s domed atrium, closed since the

Twenties, reopens as a members-only cafe

and bar. New additions also include a semina

and event space overlooking the Thames.

Contemporary interpretations of tables an

seating by leading British Arts & Crafts

designers, including Charles Rennie

Mackintosh and Sir Edwin Lutyens, will

furnish the spaces and reference the Tate’s

rst opening in 1897.

carusostjohn.com

tate

britain’s

circular balconY

of the rotunda,

closed since the

twenties, is to reopen

as part of a major

renovations



T B


A new exhibition designed by visitor

attractions specialist Mather & Co islocated in the bowels of York Minster.

Revealing York Minster, part of a larger

£20m project at the Minster supported by

the Heritage Lottery Fund, focuses on the

contemporary chambers of the cathedral’s

undercroft and tells the story of the past

2,000 years of the historic site, rst

occupied by a Roman fort and garrison.

The permanent exhibition is

multisensory, interactive, pictorial and

participatory, with a ‘ribbon’ used as

the primary interpretative tool linking

the modern and medieval chambers

under the cathedral. The device helps

reduce the number of permanentstructures required for graphics, and

maximises athe sense of space and

open vistas despite being underground.

This latest undercroft phase of York

Minster Revealed follows on from Mather

& Co’s installation of The Orb (pictured),

a huge metallic dome as the centrepiece

of the practice’s interpretation of the

Minster’s East End. matherandco.com

Mather & Co exhibition

reveals York Minster’s

hidden seCrets

Architect and interiors company Jestico + Whiles’ take on

Southwark’s gin-distilling and tea-importing history is revealed with its

design of the aqua shard restaurant.

On the 31st level of The Shard is the Aqua Restaurant Group’s new220-cover eatery. Working together with the restaurant’s founder and

creative director David Yeo, the architects designed the interior inspired by

the themes of tea and gin.

Split into two main spaces linked by a large atrium, aqua shard’s larger

wing takes on the tea theme. Evoking references to the tea trade of the

East India Company, dark green and brown leather is featured along a a

dark oak oor with black marble insets. Fully glazed private dining rooms

offer views over London from every seating position.

The gin wing offers a more relaxed setting, which sees the continuation

of the black marble and dark oak ooring. Opaque folding screens and a

metal framework, underlit bar recalls the smoky atmosphere of the gin

distillery, further enhanced by a colour palette that changes from a delicate

green tint to a saturated purple. Peacock motifs decorate the windows

while semi-circular banquettes evoke the best of British art-nouveau textile

design. jesticowhiles.com

JesTico + Whiles TakesTea and gin To neWheighTs for aqua shard

Interior design graduate Aaron

Vure, rom theUniversity oHuddersfeld, haswon a six-month paidinternship with RPWDesign, thanks tothe New DesignersIDA Panaz Award.

According to hisnew mentor JanWilson, his designpiece ‘Signature’showed commercialawareness andpresentation skills.

Rpwdesign.co.uk

Sanitary product

maker GROHE hasopened a centre inBarcelona to celebrateits 40-year relationshipwith the city. TheGROHE Live! Centreoers the opportunityto view and test itsproducts in modelbathrooms as well asoering conerencespace or thedevelopment andexchange oproessionalknowledge.

Grohe-group.co.uk

Workplace design

consultancy SpaceSolutions haspromoted Phil Muir to studio director in the Glasgowofce. With 17years experienceto date, Muir joinedthe company in2012 and has sinceworked on major projects or clientsthat have includedNHS and theFood Standards

Agency.

Spacesolutions.info

southwark’s

history of gin

distilleries and tea

importation informs

jestico & whiles’

design for 31st

floor aqua

shard



Net Efect is availab50 x 50 cm Squares

100 x 25 cm Plankterior: Milwaukee Art Museum

Every body o water on the planet has its own unique symphony o blue. Whilemost o the sun’s UV rays are absorbed into the depths, the short wavelengths o blue light are reected of algae, phytoplankton and marine lie—leading to swirling sapphires, aqueous aquamarines and turbulent teals. All o which inspired the

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ARIA

ARIABY ZAHA HADIDFOR SLAMPLaunched at Euroluce

in Milan this year Aria

is one of two pendant

lamps designed by

Hadid for the Italian

lighting company.

ARIA is made of 50

layers of translucent

black Crystalex, while

its sister, Avia, has

opaque plastic and

comes in grey or white.

slamp.it

Top 5


32 541

EYES

BY ERIKJØRGENSENFURNITUREEyes is a range of

light upholstered chair

designed by architects

Johannes Foersom and

Peter Hiort-Lorenzen.

The chairs are the

latest result of their

partnership with Erik

Jørgensen, which started

some 25 years ago and

includes more than 20

pieces of furniture.

erik-joergensen.com

OPTOS LOW

PROFILEARCHITECTURALWALLBY TEKNION

Designed for creating

ofces, boardrooms

and casual lounge areas

with acoustic privacy,

the Opus Low Prole

wall won two Green

Good Design awards,

as well as 2013 Best

of NeoCon Silver at

the NeoCon show in

Chicago this year.

teknion.com

WINDOWSEAT

BY MIKE & MAAIKEFOR HAWORTHCOLLECTIONContinuing the trend

for furniture designed

to create semi-private

spaces in open-plan

ofces, Windowseat is

fully upholstered over

a foam-padded steel

frame. By American

studio Mike & Maaike,

it is in the Haworth

Collection of home and

ofce interior products.

haworthcollection.com

ANNIVERSARY

COLLECTIONBY PENTAGRAM FORFORMICA GROUPFormica Group, the

originator of laminate,

celebrates its centenary

with a new range

designed by Pentagram

partner Abbott Miller.

Unveiled around the

world throughout

2013, the Anniversary

Collection features 12

new patterns that reect

the Formica brand and

its history. formica.eu

1

3

2

4

5



Profile


One o the most infuential people on the

London design scene, Ben Evans is the

man behind the phenomenally successul

London Design Festival, an event he and JohnSorrell ounded 10 years ago this month, and

which has grown rom an inormal collection

o some 35 design events into a citywide

extravaganza o more than 300.

In the decade since it began, LDF has taken

on a lie o its own, and Evans says he and his

small team, which includes deputy director

Max Fraser and the now knighted John Sorrell,

who is the chairman o the estival, will be

responsible or only about ve to 10 per cent

o the events taking place in London between

14 and 22 September this year.

Evans describes the event as having built up

momentum o its own, ‘like a supertanker that

keeps on going’, but he and his team are stillvery much the driving orce behind estival.

While many countries now have their own

design estivals, Evans says LDF is unique

because o how it engages with the public as

well as those in the design industry and because

it ocuses on all kinds o design rather than, say,

urniture or interiors: ‘We wanted to have an

event that would celebrate all types o design.

Milan’s annual urniture air, the Salone

Internazionale del Mobile, is what it is and it’s a

very important event or the urniture industry,

but the London design scene is much broader

than that o most other cities and we need to try

to refect that.’

Alongside some o the year’s most infuentialtrade airs – including 100% Design and Tent

London – LDF is known or its ‘landmark

projects’, installations commissioned rom some

o the world’s best architects and designers and

placed in some o London’s best-loved public

spaces. Past events have seen a human-sized

chess set in Traalgar Square. This year dRMM

architecture practice has been commissioned to

build a MC Escher-esque staircase, whose stairs

lead to nowhere, outside Tate Modern.

Evans says this very public ace o the estival

is vital to his mission o bringing design to

a wider audience. ‘Lots o people will go to

see these things, but the biggest audience will

be the passers-by who won’t be particularly

A decade on rom organisingthe frst London DesignFestival with John Sorrell,Ben Evans is still instrumentalin pulling o one o theworld’s great design estivals.He talks to Jamie Mitchell

BENEVANS


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governments have followed suit.

‘The idea of the creative economy (which

we’re now all very familiar with) really emerged

around 1997 when Tony Blair’s government

was elected, but until then it had been very

difcult to persuade politicians that the creative

economy was important. Blair and his

colleagues in 1997 were the rst to realise that.

However, that has been accepted by all political

parties now and the current Government is

doing a lot to promote things both at home and

abroad. There was a report by charity Nesta

that came out recently saying that nine per cent

of the county’s output is from the creative

economy – so it’s a big success story.’As a governor of the University of the Arts

London Evans is also deeply concerned about

the Government’s attitude to design education,

something he sees as integral to maintaining a

world-class creative industry: ‘I benetted from

that system myself and I think that being part o

a world where ideas are important is the future.

More and more business-based activity depend

on people who can think laterally and be more

focused on ideas.’

He says that if the Government is successful

in its plans to remove creative subjects from the

curriculum it would be ‘disastrous’. ‘If we’re no

identifying people who have an aptitude for tha

kind of education at a young age then we’recutting off a supply of talent. The sector

depends on a continuous ow of talent and also

reputation. Part of my role in the design festiva

is sustaining that reputation.’

As LDF passes its 10th birthday, what are

Evan’s hopes for the future of the event he

helped found? ‘I’d like LDF to be, if not the

most important design venue in the world, then

certainly one of them. I think we are up there

and what’s important is sustaining and

maintaining that position. We also want to

engage with the widest possible audience.

‘We’ve done a lot of that but we’ve still only

scratched the surface – we want design to be

available to everyone.’

Main image, Ben Evans,

one of the two founders of

the London Design Festival.

Right, one of the highlights

of this year’s event will

be the fanciful stairway

by dRMM, installed on

the lawn outside Tate

Modern on Bankside

knowledgeable or aware of design,’ he says.

Though he has never been a designer, Evans

has always immersed himself in design. While

he was studying architecture he realised that he

was more interested in the issues that affect

design and the design industry than in actually

practicing it. He studied history of design at the

RCA where, he says, the other students thought

he and his classmates were ‘weird because we

wrote about design rather than made it’.

His career then took an unexpected turn:

after graduating he was approached by Liz

Lydiate, then of design consultancy Michael

Peters, who asked him to write the key note

address for a conference for ICOGRADA, theworld body for professional communication

design. ‘I’d never written a speech before, but

I said yes and that sent me off in a direction

I wasn’t expecting.’

For the next eight years he worked as a

political speech writer and, along with John

Sorrell, helped write the UK’s rst design

policy. He worked for the Labour Party on

policy development and campaigns including

for the successful 1997 general election, and

was appointed content editor of the exhibition

spaces in the Millennium Dome after its

erstwhile director, design guru Stephen Bayley,

quit amid disagreements with the Government.

How does Evans view that project inhindsight? ‘The problem with the Dome was

that it was a real conict of different agendas,

and it meant that so many things were

compromised because we were trying to satisfy

all these different groups that had an interest in

what was going on. We ended up trapped in the

middle a lot of the time.’ There were, though,

some successes and things he’s proud of. ‘For

example, we gave Zaha Hadid her rst major

commission, the Mind Zone,’ he says.

Evans isn’t as critical of the present

Government’s attitude to the design industry

as many of his peers are. He believes that since

the Blair government embraced design as part

of its Cool Britannia campaign successive



1 8 – 2 2

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London’s leadingdesign destination

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Association’s Student

Lighting Designer of

the Year 2012 and

House Beautiful’s

Designer of the

Future Award. He

has designed a

number of products

for And Then

Design and has

also become part

of the John Lewis

Design Collective,

One to watch

OLIVER HRUBIAKWHO:

Graduating in 2012

with a degree in

furniture and product

design, and now

working freelance,

Oliver Hrubiak has

already won several

design awards for his

products, including

the 2012 New

Designers John Lewis

Award, The Lighting

an exclusive

collaboration

between John Lewis

and a select number

of top designers.

WHY:

Inuenced by mid-

century Scandinavian

design values,

Hrubiak aims

to design high-

quality, long-lasting,

1. Awarded the John

Lewis Design Award,

the lounge chair

Finn was inspiredby Scandinavian

functionalism that is

designed to be

both functionally

and aesthetically

long lasting.


3

1

responsible products

that enrich people’s

lives. Hrubiak

hopes his designs

will be ‘tools for

living’, products

that efciently

assist and aid people

to go about their

daily lives.

WHERE:

oliverhrubiak.co.uk

2. Combining the

utilitarian feel of

metal with the

natural warmth of wood, Frank

is a table lamp

that uses an LED

bulb that is both

energy efcient and

easy to replace.

3. Designed for

And Then Design,

Charlie is a sofa

inuenced bythe styles of the

Fifties. It has

pill cushions,

an upholstered

frame and turned

legs in oak.

2


http://slidepdf.com/reader/full/fx-m-2013-09-downmagazcom 34/180September 2013 FXmagazine.co.uk

Mary Rose Museum // A collaborationbetween two leading architecture practices hasresulted in a new museum to house the Tudorwarship and provide an intriguingly magicalsetting for its hull and artefactsClient: Mary Rose Trust // Design: (architect and design team leader) Wilkinson Eyre

Architects, (architect for the interior) Pringle Brandon Perkins+Will // Size: 4,500 sq m

// Cost: £27m // Completion time: Eight years


http://slidepdf.com/reader/full/fx-m-2013-09-downmagazcom 35/180FXmagazine.co.uk September 201

PROJECT



IGHT TRAILS

utting through the darkness o a night sky, punctuated rows

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We may no longer think of Britain as a

seafaring nation exactly, but our glorious

maritime history is still close to our hearts. Our

surviving historic ships, such as the Cutty Sark

and Nelson’s HMS Victory, represent an era

when Britannia really did rule the waves, andas such are popular attractions. The task for

architects is often to nd the best way of

showing off these national treasures to the

public while also protecting their now fragile

construction for posterity.

Grimshaw Architects’ recent redesign of the

visitor centre for the Cutty Sark at Greenwich,

which was devasted by re, involved suspending

the ship above its berth (so that it wouldn’t sag)

and encasing the lower portion of the hull in

glass, a move not popular with everyone, and

which saw the project awarded (rather unfairly,

if you ask me) the Carbuncle Cup, a prize for

the year’s ugliest building.

The latest of our historic ships to reopen to

the public is the Mary Rose, Henry VIII’s warshipwhich was raised from the Solent in 1982 along

with thousands of artefacts from Tudor times

(and even some of the skeletal remains of the

crew of some 500 who drowned) and now

resides at Portsmouth Historic Dockyard.

For project leader Wilkinson Eyre Architects

and interior architect Pringle Brandon

Perkins+Will this sensitive project required a

blend of delicate conservation, contemporary

architecture and specialist technical expertise.

It all began when Chris Brandon, of Pringle

Brandon Perkins+Will, who as well as being an

architect has an ancillary career as marine

biologist, heard that there was going to be an

competition to design a new visitor centre for the

Mary Rose. Brandon paired up with Wilkinson

Eyre Architects and the

two practices came up

with the winning

proposal.

The museum itself,

with its elliptical exteriorpanelled in planks of

Western red cedar, is

bound to catch people’s

attention – but Brandon

says the project was

actually designed from the inside out.

‘The initial proposal we and Wilkinson Eyre

Architects submitted back in 2005 was actual ly

based on the interior – there was very little

information at that stage about what the building

would look like. We were pushed very hard to

say what it was going to look like, but we said

that the important thing was the ship.’

Brandon says the look of the building is

largely down to practicality, and that the space

was dictated not by a desire to create somethingnautical-looking (as it may seem), but by the

contents of the museum and, most importantly,

by the shape of the Mary Rose itself.

‘Once we knew what the shape of the interior

was, it was then a question of making the

exterior t as tightly as possible around the

interior. It was the shape of the ship and the

shape of the missing half of the ship that has

given it this sort of elliptical form. That really

generated the exterior shape.’

The Mary Rose itself – or the half that is left

of it – is protected inside the main building. For

now, it is also inside a special ‘hot box’, which is

gradually drying out the ship’s timbers over a

period of up to ve years, and can only be seen

through a screen, though this will be removed

Above, the designersof the extraordinary-looking new building

for the Mary Rose say its shape was dictatedby the shape of the

ship. Right and rightbelow, the interiorsare largely black or

very dark grey, withonly the artefactsilluminated

PROJECT


http://slidepdf.com/reader/full/fx-m-2013-09-downmagazcom 38/1808 September 2013 FXmagazine.co.uk

PROJECT 1

when the drying process is complete. Brandon

says the project was as much about displaying

the arteacts that were recovered with the ship

as it was about showing o the ship itsel. His

practice designed a display or the arteacts,including three-tonne bronze guns, that is

shaped like the missing hal o the ship and

sits adjacent to the actual ship. A corridor allows

visitors to walk between the two.

Though the recreated port side o the ship is

an exact replica o the starboard side, Brandon

says he didn’t want this it to eel like ‘a sort o

Disney experience. So there was no wood. We

used epoxy resin foors and GFRG (Glass Fibre

Reinorced Gypsum). So even though it’s an

exact replica o the shape o the ship, it’s

obvious that we haven’t tried to make a copy

o the real thing. It’s very dierent to the Cutty

Sark or the Victory or the SS Great Britain

because all those projects are whole ships.

‘Another thing we were keen to do was to

Images this pageshow the exhibitionspaces, which werecreated using a simplepalette of concrete,GFFG and dark paint

make sure that we showed that everything

is real and there’s been no reconstruction. The

only additions that have been made to the ship

are in clear Perspex or acrylic, so that it is

obvious they are not the real thing.’The exhibition spaces were created using

a simple palette o unobtrusive materials,

including a concrete slab foor covered with

epoxy resin and walls made o painted GFRG.

Everything is painted either very dark grey

or black.

The arteacts have been careully lit so that

it’s almost impossible to see the glass they

are sitting behind. ‘It was very important to us

to make sure that the light wasn’t shining on

the glass as that would really spoil the magic,’

says Brandon. For this reason also, the

architects working with exhibition designer

Land Design Studio decided to keep explanatory

texts to a minimum.

‘We wanted, in a way, to hide the interior and

hide the objects, so it became this kind o black

space were all you see it the ship itsel, the

display and the objects themselves. Light is

only ocused on the objects,’ says Brandon.

Words by Jamie Mitchell

Main suppliers Exterior materials: Cladding:

Palmer Timber palmertimber.com //

Aluminium standing seam roof: Kalzip kalzip.

co.uk // Single-ply roof: Sika Trocol gbr.sika-

trocal.sika.com // Aluminium curtain walling:

Schüco schueco.com // Aluminium-framed

Windows: Schüco schueco.com // Paving slabs:

Marshalls marshalls.co.uk // Expanded metal

panels: James and Taylor jamesandtaylor.co.uk

// Louvres: PAR caice.co.uk/par // Furniture

dealer: Tsunami Axis tsunami-axis.co.uk //

Internal folding partition: London Wall Design

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G A R E T H G A R D n E R

H u F T O n + C R O W

H u F T O n + C R O W

The artefacts havebeen carefully litso that it’s almostimpossible to seethe glass they aresitting behind.‘That would spoilthe magic’



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Orchard Spa, Coln Lakes,Gloucestershire // A new spa designed byDe Matos Ryan for use by residents of a luxuryholiday cottage resort is like the neighbouringorchard and lake... not all it seemsClient: Coln Park LLP // Architecture and design: De Matos Ryan // 792 sq m //

Completion time: 10 months



PROJECT



The 2020 chair is yet another example of Ahrend’s enviable heritage of furniture design.For over 100 years, our passion has been creating beautiful products, rich in ergonomics,functionality and sustainability. From ofce chairs to desks, soft seating to tables, our designis not a trend but a tradition.

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Much like its pleasant lakeside setting, the

design of the Orchard Spa by architecture

practice De Matos Ryan is not quite what

it seems. The Gloucestershire land on which

the spa sits, including the eponymous orchard

and nearby lake, are not natural features ofthe landscape but a man-made topography

that covers the scars and craters left by

gravel extraction.

The activity is still taking place in the area, but

the newly landscaped area is now home to a

resort of exclusive holiday cottages called The

Lakes by yoo. The Orchard Spa, which is for

use by the residents of the cottages, sits at the

western edge of the resort and looks like it has

been converted from one of the industrial sheds

left behind when activity moved to new land.

In fact the original design by De Matos Ryan

did involve the conversion of the industrial portal-

framed shed that stood on the site, but structural

issues meant the practice ended up designing

a new building based on the original shed.De Matos Ryan director Angus Morrogh-Ryan

says: ‘We found ourselves between the

regenerated landscape and the industrial one,

so the task was how to create a spa set against

this really quite binary landscape – one side

(the side on which extraction is still taking

place) is quite noisy and dusty and the other

is tranquil and ecological. We had to create

something within all of that that would feel

calm and restorative.’

He continues: ‘The project does have quite a

hard edge to it, where we’re saying as architects

we recognise that there is this industrial

landscape behind us.’

The spa facilities are a 20m-long pool,

children’s play pool, gym and sauna, as well

as steam, treatment and

clubrooms, and key to

the design was the idea of

making the swimming

pool feel open to the

landscape. On the sidefacing away from the

extraction pit, the

architects placed

4m-wide glazed panels

between the frame of the shed’s structure so that

swimmers would have an almost uninterrupted

view of the orchard and lake.

Inside, all visible signs of the workings of the

building have been concealed to create a feeling

of seamless material and spatial clarity.

Above, the clubroomhas broad oorboardsin Douglas r and

Howell furniture.Below, the stretchedfabric ceiling over the

pool has multiplebenets

PROJECT

A L L I M A G E S H u f T O n + C R O W

Externally, all service penetrations on the

standing seam roof facing the orchard are

restricted. Internally, a stretched-fabric ceiling

for the pool hall has the practical benets of

being a vapour barrier and acoustic dampener,

as well as hiding air-handling ducts. Appropriate to the lakeside setting and

simple, functionality of the building, the architects

have given it a Scandinavian feel both inside and

out. While much of one side of the building is

glazed, the other exterior walls are panelled with

Siberian larch, which Morrogh-Ryan says will

weather over time to a silvery-grey nish similar

to that of the steel frame. ‘We wanted to tap into

that feel of much more northern Europe, that kind

of functional aesthetic,’ says Morrogh-Ryan.



PROJECT 2

Inside, the building is divided into two sections –

wet and dry – with the pool and a clubroom

separated by a glass partition so that parents

can easily keep an eye on their children without

having sit by the pool.

The clubroom has wide oorboards of

Douglas r and furniture was chosen to create

a relaxed, homely feel without diluting the strong,

almost minimalist look of the rest of the building.

A bespoke shelving unit and side tables were

designed by De Matos Ryan.

With its industrial look and wide expanses

of glazing, the building certainly makes a

strong impression on this newly landscaped

environment; but the

building had other pluses

too. ‘I think the advantage

of the portal-framed shed

was that it offered a very

simple structure that was

very cost-effective,’ says

Morrogh-Ryan. ‘It works

incredibly well in terms of being open plan and

functional. And the way it’s lined and clad are

very straightforward.’

Even so, with a design this simple and

pared-down, detail is everything. ‘We had to

insist that the structural glazing was worth it,’

says Morrogh-Ryan. ‘We were open to making

compromises but to us that was one of the most

important elements of the project. The structural

glazing having no framing creates a completely

different relationship with the landscape than

if we’d used patent glazing with aluminium –

that might have looked like a car showroom.’

Words by Jamie Mitchell

Main suppliers Furniture: Zeitrum zeitraum-

moebel.de // Montis montis.nl // E15 e15.com

Alessi alessi.com // St Paul Home home-st-paul.

com // Joinery: Batty Joinery battyjoinery.co.uk

Above, Siberian larchpanelling taps intoa more northernEuropean aesthetic

h u F T O n + C R O W



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PROJECT

Royal College of General Practitioners,London // One o London’s frst custom-built ofce buildings, dating rom Edwardiandays, has retained the best o the past in amajor reworking or this prestigious collegeClient: Royal College o General Practitioners // Design: Harmsen Tilney Shane //

Size: 11,300 sq m // Completion time: 36 months

FXmagazine.co.uk September 201



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If the walls of 30 Euston Square could talk, they

would no doubt tell some interesting stories. The

building – one o the frst purpose-built ofce

buildings in the Euston area – was designed by

renowned architect Arthur Beresord Pite, the frst

proessor o architecture at the RCA. The frstphase o the building was completed between

1906 and 1908, but the second phase was not

built until 1932, by which time building techniques

and regulations – and architectural ashions – had

changed considerably.

While the frst phase o the building is o

masonry construction, the second phase is one o

the frst examples o a steel-ramed ofce building

– and a departure rom Beresord Pite’s design.

The result is that dierent parts o the building had

been listed in dierent categories: some sections

o the building were unlisted, while other sections

were Grade II and others Grade II*. This naturally

made things a bit tricky or Harmsen Tilney

Shane (previously known as Tilney Shane), the

architecture practice responsible or makingthe building into a new home or the Royal College

o General Practitioners.

‘Listing made the process o getting approval

complicated,’ says Andrew Bartlett o Harmsen

Tilney Shane. ‘Previous tenants [which had

included several insurance companies] had

got around this by using dierent entrances

or dierent activities, so the building itsel

had dierent numbers. The listings were also

illogical so we liaised with Camden Council’s

conservation ofcer and English Heritage and

got the listings reworked.’

Ater the departure o its last tenant the building

stood empty or almost a decade, so the project

or the Royal College o General Practitioners

began with what Bartlett calls ‘remedial restoration

work’, which involved

restoring many

o the older building’s

original eatures, including

a mosaic oor at the main

entrance, umber, yellowand brown aience tiles.

‘What was interesting was

that the original building

was in ar better condition

than the newer steel-ramed one,’ says Bartlett.

‘So the old ways really are the best.’

The RCGP had been in a small and unsuitably

laid-out townhouse, and the organisation wanted

a new home that would provide or all its needs.

That included ofce space and large lecture

theatre/auditorium, but it also meant creating a

complex o mock examination rooms to simulate

those in GPs’ surgeries, and 30 guest rooms

(reerred to as study rooms ) or use by students

and examiners.

Bartlett says that creating the auditorium, whichrequired the removal o a section o the ground

oor, was one o the biggest challenges o the

project. ‘It’s 30 sq m and raised or acoustics, with

all the accompanying acilities,’ he says. ‘That was

obviously difcult to work into an existing ofce

building.’ Other architectural interventions included

roofng over a pair o light wells to create two atria.

In terms o the interior design, Bartlett says the

challenge was to strike a balance between making

the most o the building’s original eatures and

creating a modern home or the RCGP. ‘It’s not a

museum,’ he says. ‘It’s a unctional building. So it

was all about getting that blend right and getting

a sense o unity around all the dierent elements:

unity without sameness. When we frst went in the

building was so disjointed we were really looking

Previous page, skylights were roofedover to allow one oftwo atria. Above, alecture theatre hasbeen added. Right,

original features inthe older part of thebuilding have beenpreserved, and are

juxtaposed withmodern furniture

PROJECT

to pull it all together to create a whole.’

Harmsen Tilney Shane brought in urniture

dealer Dovetail to provide a ‘one-stop shop’ or

urniture, fttings and equipment, including curtains,

bed linen, workstations and clocks as well as

specialist display cabinets or medical equipment.

Dovetail also procured and supplied all

conerence and dining room urniture, including

bespoke solutions so that the dining area could

be easily converted into a council chamber.



PROJECT 3

Outside furniture, cafeteria,

drying rooms, lockers,

workstations (about 100)

including storage and task

chairs, breakout furniture

including rugs, and the

furniture for the mock-up

GP exam rooms – all of

this was provided by

Dovetail as a package.

Lighting design was by FUTURE Designs,

which provided its Vane and Vane Up & Down

lights for use on all of the building’s seven oors.

For Bartlett, the real success of this project is in

the way it has brought this building back to life, but

it was also about nding the right building and

bringing it up to date for a client that required

an unusual variety of interior spaces.

‘What the Royal College of General

Practitioners has now is a building it can use

in ways it never could before, and it’s also a

landmark building because of where it is and what

it is,’ says Bartlett. Words by Jamie Mitchell

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Harmsen Tilney Shaneprovided the GPcollege with a modernfunctioning buildingthat retained featuresfrom the building’spast (top, above andright)



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Saint Laurent store concept // Luxuryfashion brand Saint Laurent makes a bold,minimalist statement in metal, marble andconcrete in the hands of fashion designerand its creative director Hedi SlimaneClient: Saint Laurent // Design: Hedi Slimane // Size: 900 sq m //

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With the rise of online shopping, luxury clothes brands such as Saint Laurent (previously

known as Yves Saint Laurent) are fnding that

the design o their shops – indeed the entire

retail experience they oer – is more important

than ever to get right.

With this in mind French ashion designer and

creative director o Saint Laurent Hedi Slimane

decided that the design o the brand’s stores

was too important a job to trust to anyone else,

and took on the role himsel – well, with a little

help rom the company’s in-house design team.

An emphasis on rich, sumptuous materials

evokes the quality and understated style that is

synonymous with Saint Laurent, as does

Slimane’s preerence or simplicity over

elaborate decoration.For the store concept, which has been trialled

in Paris and New York beore being rolled out to

other stores, including the London agship (due

next year), Slimane was inspired by the works

and philosophies o the Union des Artistes

Modernes (UAM), a leading French modernist

movement that reacted

against the decorative,

traditional objet o the

past – anything, as they

saw it, ‘inherited rom

grandmother’.

There’s certainly

nothing chintzy or

granny-like here: the

predominantly

PROJECT

Previous page, vertical

and horizontal linesadd a dramatic visualrhythm to the space.

Above, in themonochrome space,the only pattern is in

the marble. Right,vertical and horizontallines abound in the

space



PROJECT 4

fnest noir soie and blanc

statuaire marble. There

is silver and gold, too,

in Thirties’ mirrored

vitrines with nickel-plated

and mirror-polished

brass. These gleaming

suraces contrast with

walls and oors o

minimalist concrete.

Contrasts in mood and atmosphere are

created through the use o dark, quilted-leatherupholstery paired with sparkling glass and

mirrors, while suspended bars in nickel-plated

brass and minimalist marble display podiums

orm elegant counterpoints to the at suraces.

Decoration is kept to a minimum, with the only

pattern coming rom the veining o the marble.

The precise mathematical repetition o the

clean vertical and horizontal lines o display

cases, shelves and strip lighting adds a

dramatic visual rhythm to the space, while fne

cratsmanship is clearly evident throughout.

The bold, architectural approach is

superbly detailed in its execution, yet subtle in

its expression. Articulated in the language o

what may be seen as a modern, 21st-century

art deco. Words by Jamie Mitchell

Above, strong verticalsform a feature against

a mirror wall. Right,more mirrors – thistime in the shape ofThirties’ vitrines



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The red colour of The Shed is astriking contrast tothe grey concrete

of the NationalTheatre next to it



t’s September 2013, and London’

lovers of arts and bars will be

wishing a fond farewell to some

of the most dynamic and well-used

spaces of the summer. From Sou

Fujimoto’s sublime Serpentine

Gallery Pavilion in Hyde Park – once

a seasonal exercise in contemporary

architecture PR and now a well-loved

annual institution – to the possibly

ridiculous but nevertheless wonderful

Frank’s Bar and sculpture park sited

on top of a neglected Seventies’ car

park in Peckham, which has beengathering ever greater numbers of

local, national and international visitor

since it rst opened in 2009.

Pairing an annual sculpture

exhibition, Bold Tendencies

– a commissioning vehicle for

contemporary sculpture conceived by

young gallerist Hannah Barry – with a

striking and makeshift bar venue was a

clever move that helped shoot Barry int

the rmament of young art-world stars.

But the grotty grandeur of the

car park itself is what gives it a whiff

of genius. I’m proud to say I was

an early adopter and, as a long-timePeckham resident, there was and is

still something glorious about seeing

the art world’s glitterati picking their

way through the debris of Peckham

High Street – past the discarded

McDonald’s wrappers and the open-

fronted butcher’s shops selling bags of

unrecognisable ‘chicken pieces’ for 50p

– to check the venue out; venturing

nervously into the urine and bleach-

soaked staircase to be mugged only by

the panoramic views over Southwark

and the Thames riverfront, lit up

at dusk like a string of architectural

fairylights. Open July to September.

Designed and built over a year in

conjunction with theatre and design

specialist Charcoalblue, The Shed is

a temporary 250-seat venue for the

National Theatre, while its smaller

Cottesloe Theatre is refurbished.

Sustainability and quality were the

driving factors from the start, says

Haworth Tompkins associate director

Paddy Dillon: ‘It would have seemedintensely wrong to put in an expensive

and high-energy building here.’

The design started with

Charcoalblue’s simple solution of a

three-sided performance area with a

small xed balcony, internal performer/

audience circulation and the possibility

of in-the-round and at-oor formats,

thanks to exible seating blocks. The

four towers emerged from the need to

make it naturally ventilated – the four

corner chimneys draw air through and

around the space via grilles underneath

the seating rig.

The Shed is clad in rough pallettimber, echoing the patterning on the

board-marked concrete of the main

building and keeping costs down and

portability up – the structure can be

easily dismounted and reassembled

elsewhere. The pallet wood also ‘give

it that non-architectural feel, more like

an object than a building,’ says Dillon.

The red colour was initially inspired

by Scandinavian agricultural barns.

‘We also thought that, against the grey

bulk of the NT a single red object

would be very interesting, and slightly

surreal,’ says Dillon.

The building’s unnished steel

frame can be reused. All of the seats

came out of the Cottesloe, as did most

of the lighting rig. The interior is not

a ‘black box’: it is lined with stained

dark brown plywood panels, whosetexture ‘grins through the stain’, says

Dillon, creating a warm and crafted

atmosphere.–

Client: National Theatre /

Architecture and interiors: Haworth

Tomkins / Cost: £1.2m / Completed:

March 2013 / Theatre consultant:

Charcoalblue / Main contractor: Rise

Contracts / Acoustics: Arup Acoustics

THE SHED AT THE NATIONAL THEATRE-

TEMPORARY SPACE

Pop-ups were the fadof the past decade,but now temporarystructures are addingreal design ingenuityto the mix, bringingnew life to unusual,difcult or previouslyuncelebrated spaces. Veronica Simpson investigates



THE OLD VINYL FACTORY CANTEEN-Designer Morag Myerscough was

recruited to transform a blandcorporate space in the former

EMI factory into an appealing

and contemporary reception, cafe

and community hub for developer

Cathedral Group soon after it had

acquired the site in Hayes, Middlesex,

in 2011. The target customer base is

drawn from two distinct audiences:

the 500 people still working on the

site as well as potential occupants

and the architects and construction

workers involved in creating what

will be a dynamic £250m mixed-use

development featuring residential,

leisure and commercial premises.

In deploying her modest budget

Myerscough has worked according to‘levels of temporariness’. For example,

in the existing reception area, which

will be ripped out and redone at some

point, she has simply stripped the

space back to the essentials, stuck

the new name for the building (The

Shipping Building) on the wall in

giant letterpress word blocks, lowered

the previous reception desk, clad it in

Corian, and installed a new sofa.

The canteen uses a winning formula

of white walls, black chalkboards and

black-and-white chequered linoleum,

with a big serving counter enhanced

by colourful tiling. Added atmosphere

comes from a billowing yellow canopy

to soften the lofty ceiling height, plusan entire wall decorated with 1,000

7in record sleeves.

‘But the furniture is permanent’,

says Myerscough. Designed and made

by her Supergroup colleague Luke

Morgan, the wooden tops for tables

and benches are supplied by the Wood

Recycling Project in Brighton (another

Cathedral tenant) from reclaimed

beams, with additional furniture

sourced from eBay.

–

Client: Cathedral Group /

Designers: Morag Myerscough and

Luke Morgan / Completed: 2012



each year, its arrival has become an

eagerly anticipated part o an ever-

more interesting local oodie and

arts-rich scene.

Frank’s Bar and Bold Tendencies

are just part o a fowering o

temporary place-making that has

undoubtedly been given extra

momentum by the era o austerity –

who cares i a bar has been thrown

together with scaolding planks or a

theatre constructed rom cheap woode

pallets, as long as the oer is good.

When nobody can aord to party in

Park Lane, a car park or a shipping

container strikes just the right tone or

spontaneous un or the cash-strapped

To paraphrase Homer Simpson:

‘When shit hits the an, make ertiliser

O course architects are well versed

in throwing up beautiully executed

temporary pavilions or collegeprojects and – i they’re lucky – paid

commissions – but this is something

more. These are structures that

somehow bring ocus to an event or

a community; i they’re done right,

they nurture an ongoing dialogue with

the site, galvanising and gathering

new communities o interest. And the

grittier the venue, the more visitors

appear to delight in nding a gem

at its heart.

Morag Myerscough is something o

a veteran at low-budget place-making

in both permanent and temporary

locations. She rst experimented withtemporary structures back in 1993,

when AHMM asked her to liven up

some hoardings around a British Land

construction site. She says: ‘Then

the councils wanted to pull it down

because it was too colourul. In those

days there weren’t the opportunities

there are now – people who had to

give permission wouldn’t let you.

Now they have seen the benets

o livening up dead space to engage

the community.’

Myerscough has since deployed

her skills in many a blighted spot: or

example, bringing colour and streetlie to the pavement in ront o the

London College o Communication’s

grimy tower block, as well as

creating dynamic community caes

and consultation vehicles on empty

building sites, rst in Deptord (2008)

then Greenwich (2012), and now

Hayes or developer Cathedral Group

(see case study).

We’ll venture into all manner o

orbidding-looking places or a decent

cup o coee, it seems. But you have

to get the design language right: it is

all about simplicity, with bold sweeps

o colour, playul and unexpected

In deploying hermodest budget,designer MoragMeyerscough hasworked according to‘levels o temporariness’

TEMPORARY SPACE



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geometries and furnishings, and rough

honest textures. Says Myerscough:

‘I always start from a position of

working out…how can a small amoun

of money completely change people’s

ways of thinking about a place and

encourage them to come and see it.’

Hannah Barry admits the original

inspiration for Frank’s Bar came from

the question ‘How do we make people

feel they might stay longer in a place

they nd quite hostile? Give them a

cup of tea and a piece of cake.’

Well, chefs and bar owners Frank

and Mike Boxer gave them more than

that, but nobody would have come to

check out their offer if it hadn’t been

for the inspired piece of low-tech

architecture cooked up by architects

Paloma Gormley and Lettice Drake:

Frank’s Bar comprises little more than

a collection of scaffolding boards,ratchet straps and a giant piece of

red pvc. It suits the rough-and-ready

nature of the surrounding concrete.

Taking people out of their comfort

zones is part of Barry’s mission, she

says: ‘Works of art are supposed to

make you think differently about

yourself and make you think in a new

way.’ For her, the car-park setting was

also a way of declaring ‘This project

is for everyone. It’s not just for the

cognoscenti of the art world.’

It also minimised the risk for the

Boxer brothers, who have gone on to

become stars in their own right openin

a highly successful new restaurant

last year, The Brunswick Café, within

salvage supremo Lassco’s listed

Mansion by Vauxhall Bridge. Here rarlamb, cannelloni beans and chianti are

served up alongside Lassco’s reclaimed

chandeliers, church pews and armoires

all with price tags dangling.

There is something about a low-

risk, low-budget, temporary venture

that seems to boost creativity –

necessity, after all, being the mother

of invention. Softroom director

Christopher Bagot says: ‘In the world

of food, one of the reasons why this

is so successful is that operators who

can’t get a long lease or big investmen

do something small and experimental.

Some pop-ups just allow foodie

There is somethingabout a low-risk,low-budget,temporary venturethat seems toboost creativity


TEMPORARY SPACE

Softroom’s Wahaca Southbank Experiment ‘washed up’ on the

outdoor terrace of the Queen

Elizabeth Hall on 4 July last year: an

exuberant installation of eight shipping

containers. Painted in Mexican-

inspired hues, from deep turquoise

to straw yellow, they complement

Wahaca’s Mexican street-food fare

as strikingly as they contrast with the

concrete brutalism of their immediate

neighbours. The containers’ 8ft x 8ft

x 40ft dimensions have been cleverly

deployed to create a two-storey venue

that offers equally dramatic vistas

inside and out.The top-oor containers are

cantilevered out over the lower oor’s

ramped entrance to form a canopy.

High-performance insulation ensures

warmth in winter, while huge, well-

sealed double-glazed sliding doors

along the lower and upper fascias

maximise views of the Thames. The

front and back units are connected

via a glazed link, housing a stairway

up to the rst oor and throwing light

on the surrounding dining spaces. A

roof terrace and raised timber decking

around the building provide additional

fair-weather seating space, bringing

the total covers up to 280 (indoor seatsaccommodate up to 130).

The design is both transportable

and highly sustainable. There is no air-

conditioning: north facing, and shaded

by the QEH, the lack of direct sunlight

along with ventilation through the roof

light and terraces keeps it cool even in

the heat of summer. Inside it’s ‘almost

like a stage set’, says Softroom director

Christopher Bagot, with each container

bringing its own distinctive atmosphere

courtesy of varied furniture and paint

colours, lighting and materials. ‘I’ve

been amazed at how spacious, light and

generous the whole thing feels,’ saysBagot. ‘You never feel constrained by

it because you’ve got this double-height

atrium in the middle.’

Bagot stresses that the project ‘uses

architecture to create a restaurant

rather than just using interior design

to create an atmosphere.’ It looks set

fair for another year to 18 months on

the present site.

–

Client: Wahaca Group /

Architecture and design: Softroom /

Structural Engineer: Price & Myers

/ Lighting Design: Kate Wilkins

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Not so much a temporary space as

a burgeoning village, Caravanserai is

the brainchild of practice Ash Sakula,

Architects, which won the Mayor

of London’s Meanwhile London

Competition in 2011 to develop an

interim use for a browneld site in

Canning Town, in the run up to the

2012 Olympics.

Given a ve-year lease to play with,Ash Sakula programmed a variety of

structures and activities to maximise

local engagement: several retail/

workshop kiosks to be leased out cheaply

to local enterprises, a cafe, a community

garden, a ‘ying carpet theatre’ and a

playground have emerged so far. Says

Cany Ash: ‘It was about making a softer

place in that part of the city. Canning

Town really needs that kind of space.’

Through industry networking,

determined fundraising and the willing

labour of many interns, the structures

have developed in stages. A series

of almost Wendy house-style shops/workshops were constructed

initially, with

windows

on to the road to maximise passing

custom. The Oasis Cafe hosts visiting

chefs, while a 17m-long table at the

village’s core has hosted feasts, catwalk

shows and ‘rucksack sales’ – the portable

version of a car boot sale. ‘All the wood

has been harvested locally through our

scavenging networks,’ says Ash, ‘though

we have bought nails’. Giant contractors

Sisk, ISG, Morgan Sindall and BalfourBeatty have all contributed with training

and waste-recycling contacts.

The nearby exhibition centre ExCeL

at the Royal Docks has turned up some

unusual materials and the opportunity to

invent new ones. Hambleside Danelaw

has jumped at the opportunity to

experiment with embedding 6m-long

traditional saris into the core of its

glass-reinforced plastic sheeting, which

became the colourful semi-industrial

roof of the ‘ying carpet theatre’. Apollo-

Energy donated its aluminium mirror

foil and tape for complex roof junctions

and the Oasis pool itself.The name Caravanserai

comes from the ancient

Silk Route traders who

would set up stalls on their

journey to barter, trade and

exchange information. With

a growing programme of arts,

training, trading and entertainment

activities, the remaining three and

a half years of this project are likely to

intensify and consolidate the benets

to the surrounding community.

CARAVANSERAI–

TEMPORARY SPACE

restaurateurs to nd an outlet that

might lead to them getting

a permanent venue.’

Bagot’s rst temporary site was

a little different: it was a means of

grabbing a short-term, high-prole

location for established Mexican

street food chain Wahaca, with which

Softroom has developed a close

relationship since it put the brand on

the map in 2006, transforming a dingy,

airless basement in Covent Garden

into a destination eaterie. Wahaca’s

rst temporary venue came about in

2012 when a site on the South Bank,

next to the Queen Elizabeth Hall, came

up. Tucked between the QEH and

Waterloo Bridge, it had been occupied

by a demountable hut, used rst as an

overspill ofce and then as Asian street

food venue, Dishoom Chowpatty Bar.

Bagot says: ’It’s an amazing sitenow. But for the past 20 years it was

seen as one of the worst, before the

South Bank became so fully inhabited.’

As Bagot and Wahaca director Mike

Selby scoped out the QEH terrace,

the idea emerged of using shipping

containers – Bagot could see that in the

current single-storey site you could t

two containers, and with a cluster of

them arranged in the right way, create

a memorable and distinctive but highly

cost-effective venue.

There were constraints, he says:

‘The container dimensions are 8ft

x 8ft x 40ft. That’s not ideal. And

also, structurally, you have work to

do because they’re covered in metal

cladding, and we wanted to have

windows. They are not the mostobvious choice. Because it’s not

a pop-up, it means it had to be built

to last several winters. So, effectively,

that does mean you are creating a

building (summer pop-ups don’t need

heating or ventilation). And with the

terrace added, you are serving up to

280 people at a time, so you need big

kitchens and storage. What’s more, it

was a temporary life span but it still

cost a fair amount of money. One of

the ways you justify it is to give the

building a life beyond this site – even

if we are only on the South Bank for two

years or so, we can pick it up, put it on

‘Wahaca cost a fair bitof money. One of theways you justify it isto give the building alife beyond this site.We can move it’



the back of a lorry and take

it somewhere else.’

The South Bank Wahaca, now

completing its second summer, has

been a great success. But what Bagot

has been most delighted by is how ithas helped animate the outdoor space

around it which, in the past year, has

hosted multiple markets, beaches

with multicoloured sand, fountains,

cloth baobab trees and giant

Lego installations.

He says: ‘That outdoor space has got

better and better over the years…This

is a very special couple of years, when

the Southbank Centre has got as good

as it has in programming all its wild and

random spaces.’ He hopes – as we all do

– that this vibrant street life isn’t killed

off when the master plan for the South

Bank’s whole area kicks in.But the creativity shows no signs of

abating just yet: earlier this year, a few

metres on from Wahaca, a big, red,

wooden building landed outside the

National Theatre. It turned out to be a

new temporary theatre space: The Shed

is a 250-seater venue designed with great

ingenuity by Haworth Tompkins to offer

a home for small-scale, experimental and

unusual theatre projects usually ruled

out by the sheer scale and audience size

demanded by the NT’s normal venues.

Its purpose was both practical and

symbolic. It was initially a stop-gap small

theatre for audiences while the Cottesloe

(the smallest of the NT’s three theatres)

underwent a year’s refurbishment.

Symbolically, it has proved

something of a rebirth for this iconic

theatre company, allowing it to

address a growing audience demand

for more experimental, visceral and

intimate theatre experiences. Creating

and programming The Shed has

been something of an ‘out of bodyexperience’ for the company, says

Haworth Tompkins associate director

Paddy Dillon, in that it has led to

a whole series of new and exciting

questions about who The Shed is

appealing to, and what risks it

can take with style and content that

would be unthinkable in the NT’s

bigger auditoria.

Ben Power, NT associate director

afrms this: ‘It’s hugely exciting for the

artists coming here. We can give them

a space where risk is encouraged. The

performer-audience relationship is very

different. The very temporary nature

of it feels like it releases something. For

new artists and others who have worked

in the Olivier and Cottesloe, they can

come in here and try out something

they haven’t done before. It’s about a

diversity of work – a whole range of different things The Shed feels like it

allows us to do. There’s an energy to

the building.’

Haworth Tompkins has a strong

track record not just with theatrical

and performance spaces (it has

extended, refurbished or restored most

of the UK’s leading theatres) but also

temporary venues, having created two

highly acclaimed interim spaces for the

Almeida. So what does the temporary

building offer both client and designer

that anything more permanent doesn’t?

Dillon says: ‘It’s more like an event than

a building – it can be strange, enigmaticand playful.’

It also prods designers into being

more resourceful, creative and

experimental. For Haworth Tompkins,

The Shed has become an exciting

prototype for sustainable temporary

structures. Myerscough thinks creating

temporary spaces on tight budgets

actually helps designers to focus on

the essentials: ‘It all goes back to place-

making’, she says. ‘Everybody’s mindset

goes a bit weird when it’s permanent.

But if it’s temporary and becomes

permanent, it starts with a much

better attitude.’

Above, Frank’s Bar is in a neglectedSeventies car park in Peckham

Creating andprogramming TheShed has been an ‘out

of body experience’says designerHaworth Tompkins

TEMPORARY SPACES

P H O T O G R A P H Y

B Y i n T H E R i G H T l i G H T



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Scott Brownriggdid the receptionor Google at itsofces at 123BuckinghamPalace Road



L

ove is all around us. It’s

everywhere you go and adviceon nding it is as widespread as

winter drizzle. Yet when it comes to

nding the perfect client, there is no

road map, oracle or magic answer.

So why then do some design agencie

bag a contract that is the envy of the

pack, a client with such kudos, fame and

cool that having it as a customer allows

you to bathe in some of its magic dust?

Which is considered to be a so-called

‘super client’ is subjective, but you

recognise them when you see them;

strong brands, international, top-league

sort of companies that at least sound like

they might be fun to work for.

SUPER CLIEN

Rather than sufferfrom client envy, isn’tit time to nd out howyou too could work foran exciting company?David Tarpey reports



In this age of thought leadership,

creative originality is top dog and that’s

good news for the right type of design

agency. If you stand out from the pack,

chances are you’ll be spotted by the kind

of client that values the unusual and will

be more likely to let you have free rein

to create something exciting.

Wooing that dream client can be

the start of your creative pitch. Perhaps

you might like to try something akin

to Barclays’ Little Book of Wonders?

Launched in March last year, the

company’s wealth and investment

management division now has an online

portal through which it states: ‘High

net worth clients can browse ideas for

exceptional events and experiences…we

wanted to develop a concept that would

surprise and delight clients.’ Perhaps

it’s time to think of how you could do

similar if you too are interested in those

with big budgets and a desire to be

surprised and delighted.

Of course, even talking design seems

to bring out shyness in many companies.

Microsoft thanked me for ‘reaching

out’ but declined any comment, whilenone of City-based PR rm Brunswick

Group’s many clients wanted to speak

either. Perhaps there isn’t much to say

on design for many. If space planning

without frills is all that really matters,

then creative brainstorming is not much

needed. But then there are the clients

that want to do something different,

make a splash and have fun. So which

designers are getting in on that action?

Waterloo-based PENSON has

worked on several projects with Google

in the past two years and has found

the experience inspiring. These have

included the IT giant’s ofce near

Victoria and its headquarters at Central

St Giles near Covent Garden.PENSON’s founder and CEO Lee

Penson says: ‘With Belgrave House,

we went down a non-branded route

and had to come up with a clever twist.

It was more about the people and the

human aspect rather than the colour of

the door handles. Google told us that

when they saw our proposal, they fell off

their chairs, and said we had cured their

problems in ve days!’ (The challenges

included poor acoustics and creating

privacy so that staff could nd space

to be quiet or private but also how

groups of 10-20 could hold meetings.)

Google needed clever thinking around

a functional, spatial level while it

wanted to avoid themes and be seen

as a mature company.

Penson studied the Google ethos,

brainstormed the practical issues but,

most of all, focused on the people

aspect. He says: ‘Then the visuals came.

We started thinking about a space

theme and this led to the idea of space

pods and freestanding meeting rooms.

At the start, Google was checking back

a lot but after several meetings, trust

quickly developed.

‘Then they asked us to work on

Central St Giles [CSG]. There was no

specic brief for this and I can’t put

a tag on a theme for this except that

it’s like a Scooby Doo sandwich with

many layers! We sort of made it up as

we went along, but with the help of

our knowledge and experience. Google

is a very shrewd and commercial

organisation and I think they employed

us for our ability in space planning. I’vebeen a promoter of un-ofce for several

years; the right type of space design can

break down politics and loosen up the

whole working environment.’

CSG is certainly un-ofce. And

feedback from Google staff is that this

is a winner. One of its most popular

features is a roof terrace with allotments

for growing vegetables while there is also

a gym, dance studio, ‘secret gardens’

where Googlers can sit behind discrete

‘We went down anon-branded routeand had to come

up with a clevertwist for Google’sBelgrave House.It was more aboutthe people and thehuman aspect thanthe colour of thedoor handles’Lee Penson, PENSON

Work by Pensonfor Google at CentralSt Giles, Londonincluded pods, left,and an informalmeeting area, below



box hedges, and amazing food.

Penson says: ‘I think the role of

the workplace is changing, and clever,

shrewd employers like Google recognise

this. The age of the tablet is coming

very soon and every one will be working

differently, yet one sees the same old

designs being churned out. But clever

design is about people, and this is also

commercially wise as a cool style and

brand aids a company’s reputation.

Google for instance asks its staff about

what it wants and it also spends about

15 per cent more than other rms per

square foot on each employee.‘It has been great fun working

with them and has felt like a family

business with lots of mutual support.

They listened to advice and sometimes

there was push back of course, but we

adapted. It was generally laid back with

no egos. But at the time pressure was

massive. At one point, I had to design

an entire oor for 420 people in a day!’

At Scott Brownrigg, interior design

director Ken Giannini recalls a ‘very

fast moving timescale’ when his practice

helped design Google’s ofces at 123

Buckingham Palace Road in 2011. He

recalls: ‘We were designing just two days

after being appointed, and as Google

was recruiting staff so quickly there was

a fast-forward agenda.’

He says of the Google approach: ‘It

does have a guideline document, which

is a mix of the philosophical and the

practical. There are lots of facts and

gures and a big emphasis on space

planning while making the outcome

inspirational for the workers. They map

out in a very analytical way how the mix

of functionality and inspirational should

work. But they do not get involved with

the actual design.”

He found that the mix of space isreally important for Google and marks

it out from others. He says: ‘What

makes them different is how they ask for

the space to be allocated. As an ideas

organisation, it encourages collaborative

areas to nurture ideas sharing. I call thes

“in-between” spaces and, for Google,

these are extremely important. For me,

that was fascinating and interesting.

‘So although they have a space-

planning document, they are always

ready to be exible if there is a good

business case to change something.’

So how does Google see itself when

it comes to the non-IT world of design?

Above, ScottBrownrigg createdbeach hut-stylemeeting rooms for Google’s BuckinghamPalace Road office

SUPER CLIEN

‘For Google’s123 BuckinghamPalace Road we

were designingjust two days afterbeing appointed’Ken Giannini

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Its real estate project executive Christian

Hurzeler told FX: ‘Google is a company

with a very large number of users and

a laser-like focus on nding the right

solution for each one. When it comes

to the design and t-out of our ofce

spaces, we apply that same focus we

use for any of our products. It’s about

putting the user rst.

‘We want to create the healthiest

work environments possible where

Googlers can thrive and innovate.

Within the real estate team, we

continually benchmark our success off

of fellow Googlers’ experiences within

the spaces we design and build. By

keeping Googlers central to our design

programme and budget decisions,

each space takes on a distinctly local

aesthetic and function. Our budgets

are not excessive (a green carpet tile

usually costs the same as a grey one) but

we use local suppliers, consultants and

manufacturers whenever possible.

‘Our projects are fast-paced, testing

and always ambitious. Some might even

say they are frenetic, but they are never

dull and we always manage to have alaugh. And so, of course sometimes we

do have features such as slides, table

tennis, a double-decker bus with meeting

room and Union Jacks painted in glitter!’

Another ‘cool’ brand, Virgin Atlantic

has its own in-house design

department but also works with outside

practices. Its senior design manager for

customer experience Jeremy Brown

explains how they work: ‘Key and core

to how we design everything onboard

aircraft and in our ofces is the idea of

top service. It’s important that we live

and work with that ethos internally.The glue to everything we do is

the service element. When working

throughout the world, it’s hugely

important to recognise the location we

are in. And we collaborate very closely

with local design agencies.’

For example, when it redesigned its

Clubhouse at JFK, Virgin appointed

Manhattan-based Slade Architecture.

‘Emotional and physical consistency

with the Virgin brand design values’ was

the core requirement for creating the

930 sq m of Upper Class lounge space.

It also had to reect the Big Apple’s

Uptown aesthetics. Apart from certainrequirements such as a specic seat

count and the inclusion of facilities such

as a spa, hair salon and dining, the brief

simply asked for a memorable space and

one that would reect the evening nature

of the ights.

Hayes Slade of Slade Architecture

says of the project: ‘Virgin was a

highly supportive client with a design

perspective aligned with our own. We

had a lot of free rein on design issues but

within tight operational and functional

parameters. This is very sophisticated

client both in brand design aspirations

and in the team they have in place.’


Simon Pengelly, founder of PengellyDesign that had the job of reconguring

the airline’s upper class suite, recalls:

‘Our brief was to improve on what

was arguably the best business-class

seat in the industry. Virgin also wanted

to t in more seats while increasing

personal space and making the beds

longer. It was a seriously tall order.’

Yet the mammoth ve-year project

became a labour of love as he found the

experience of working with Virgin to be

satisfying and fascinating: ‘The Virgin

brand is associated with innovation

and understanding the psyche of their

customer. There are real benets in

being associated with this approach.

They are highly collaborative and with

all the technical and engineering details

involved, they needed to be.

‘Each decision might involve up

to 20 variants so there was a lot of

cross-checking. We also had to ensure

that their brand DNA was included

but in an understated way. We were

creating a sort of canvas for the servicethat they then apply. But they certainly

knew what they wanted and we went

through hundreds of variations on the

theme, yet they allowed us freedom in

the creative process.

‘It’s counter productive if a company

uses you just as a drawing ofce. My

advice to other designers is to try to

work with those you feel an afnity

with and the process will be far more

rewarding and fruitful.’

Joe Keating, senior designer with

Leicestershire-based Checkland

Kindleysides, has fond memories

of working with Virgin on the reception

SUPER CLIEN

‘Virgin was ahighly supportiveclient with a designperspective alignedwith our own’Hayes Slade, SLADE ARCHITECTURE

Manhattan-basedSlade Architectureworked on the JFK

Clubhouse for Virgin Atlantic. Top is thereception, here theClubhouse floor



areas at its global HQ near Gatwick.

He says: ‘At the initial meeting,

Virgin beautifully articulated their brand

personality with warmth and humour.

Their creative brief for the receptionrefresh was clear and concise, yet open

enough to allow for free thinking. I think

as they have an in-house design team

they seem to know how to get the best

from these collaborative design projects.

‘Virgin has this sense of optimism

and condence which allows for bold

expressions of their brand. We felt

hugely energised to start work. The

in-house design team was extremely

enjoyable to work with. We spoke a

common language and they completely

shared our design vision; there was

trust enough to allow us to work

towards a shared goal. Yet they werea very ambitious team so they pushed

us on many things too. I think the

collaboration felt really healthy. Needless

to say, we’d very much like

to work with Virgin again.’

Farringdon-based FDArchitecture

has worked with Virgin on several

projects in the past few years, including

its clubhouse lounge at Gatwick. The

practice’s Hans van Riemsdijk says:

‘We had a free rein to a degree but it

was very much a collaborative project

with VA’s own design team. Virgin

knows exactly how to orchestrate the

customer experience successfully and

it looks to its design agencies to realise

this in what they produce.

‘You can always see the Virgin

Atlantic DNA and its focus on the

customer experience running throughthe design of everything. Brand and

brand identity are critical to Virgin but

there is a lot of exibility within this for

the agency and they encourage you to

rewrite or reinterpret this identity. You

can see this in the clubhouses. You can

identify them all as Virgin but without

any bland, corporate, repetitiveness.

This is where the strength of the

collaborative approach with different

agencies is best illustrated. There are

the usual space planning, budgetary and

time constraints but that’s normal for

any project.

‘The greatest difference in workingwith Virgin is that its approach to design

is refreshingly different. It measures

progress only in how its customer reacts

to any given part of the business. Its

brand tone of voice permeates through

dealings with both internal and external

“customers”.’

There isn’t yet a business equivalent

of speed dating, and some relationships

with clients will turn stale or sour. But

it seems that the best way to ensure a

happy ‘relationship’ is to be true to your

own creative and design principles and

the chances are, you’ll be spotted by the

right kind of client.

In contrast to Virgin, British Airways

is a different animal. As the UK’s

agship carrier, its ancestry goes back to the Thirties and it evolved through

the merger of several airlines over the

decades and eventual privatisation in

1987. To Fly to Serve is its motto, but

what of its approach to design? Peter

Cooke, BA’s design lead told FX: ‘We

have a design blueprint, a set of design

principles which run through everything

we do. This helps us when designing

new products to dene the British

Airways experience. These have been

gathered, researched and developed

from almost 100 years of BA archives.

‘Our workspaces around the world

are unique to their locations buteach does reect the BA brand. We

expect the designers we work with to

understand our business, customers

and brand. And we expect them to be

as passionate about the quality of work

they do for us as we are. Design is not

a science but we expect those we work

with to deliver the highest-quality work

that ts with our premium airline brand.

‘Anyone who works with us is given

an in-depth brieng on our brand,

design principles and heritage. This is

so they are absolutely clear about what

it means to design anything for BA and,

ultimately, our customers.’

HIGH FLYING WITH BA

Above, ChecklandKindleysides workedon Virgin Atlantic’sown reception atits HQ at Gatwick.Left, Simon PengellyDesign created VA’s

new Upper Classsuite

SUPER CLIENTS

Above top,the First Classchampagne bar at T5. Above,the ConcordeRoom, also in T5.Doing the loungedesign wasDavies and Baron,while Amarylliscoordinatedttings andfurniture and wasdesign consultant





I

nspiration can strike at any

time they say, but it helps if

the environment you’re in isconducive to doing so. Take Turkish

bathroom manufacturer VitrA’s new

Innovation Centre, located a couple

of hours’ drive from Istanbul. This

space represents the company’s

strong investment in research and

development activities; it’s a chance

to demonstrate to visitors its prowess

in sustainability and technological

advances, as well as being home to

some simply beautiful roomsets.

The stark, white architecture of

the Innovation Centre, set among the

rugged Turkish scenery, gives the

outside of the building something of the Bond villain lair to its appearance,

while inside its attering lighting is

reminiscent of a high-end boutique.

The design consultant for the space,

Erdem Akan, explains the rationale:

‘When I designed the exhibition

area, training workshop and seminar

hall, I made sure the details did not

overpower the “big idea”. From

the entrance to the conference area,

the entire space was designed with

the minimalist and communication-

centred approach.’

The space has a denite Willy

Wonka-like quality to it in terms

INNOVATION

As more and more companiesare waking up to the realisation

that their staff don’t needto be sitting at a desk to be

productive, design practices aredelivering increasingly unique and

stimulating work environments,reports Helen Parton



INNOVATION STATIO

AOL DESIGNED BY STUDIO O



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INNOVATION STATIO

timber, eaturing heavily in the

interior. Locally made cotton and silk

and custom joinery were also used

throughout the ft-out, both to suit

the client’s aesthetic design direction

and their preerence to support Thai

products and designers. Despite the

opulent appearance, efciency in both

the timeline and the budget was also

a actor.

The principal aim o this new

workplace is to communicate both

to sta and visitors dtac’s philosophy

o ‘play and learn’. This runs

through every acet o dtac, rom the

atmosphere at its headquarters through

to its merchandising and advertising.

Central to this is, says Suvannapong,

is making traditionally conventional

spaces exible enough through design

to stimulate a creative response rom

the user and a memorable experience

or the visitor.

Hence the headquarters’ ront-o-

house environment becomes a lesson

in exibility. On one day there may

be a local street-market stall set upin the reception oor and on another

it can be transormed into a games

arcade or hosting a community event.

This is intended to both promote

physical and brand interaction. One

o the other key elements is the large,

three-level void linked by a wide

stairway, which operates as both

a connective element and as a

casual amphitheatre space, ideal

or large meetings or company-

wide presentations. The open spaces

surrounding the stairs contain a

minimum amount o fxed elements.

As a result, the unction o the

space is simply defned through

a series o platorms, again creating

exible environments.

There are some slightly unusualacilities to be ound here, such as

an indoor running track, band stage

and a karaoke machine. ‘This

signifcant investment in sta

recreational activities, intentionally

seen as an adjunct to the workspace,

lives up to the value placed on a holistic

approach to sta wellbeing and enjoys

the advantage o being perceived

as tangible value-add or working at

dtac,’ says Suvannapong

Given that sta can spend the

better part o their working day at the

ofce, or early starters or late leavers

looking to avoid the trafc jams o

the principal aim of

this new workplace

is to communicate

to staff and visitors

dtac’s philosophy

of ‘play and learn’

central Bangkok, the recreation can

be a real boon. The usion o modern

corporate workplace with more unusual

recreation activity was inspired by

similar projects in Norway and Japan.

Indeed at the dtac parent company

HQ such an inspirational approach

to workplace design saw a rise o

more than 20 per cent in all the sta’s

key perormance indicators. The

scheme in Thailand was also in part

a reerence to the liestyle choices

their sta, the majority being under

30, would make.

Sta are encouraged to be mobile

in where they choose to work, whether

that’s at their desk, in a meeting room,

lounge or even outside on a terrace

overlooking the city skyline. In essence,

sta are encouraged to physically

convey dtac’s marketing slogan o

‘Feel Goood’ (sic) and one assumes,

Be Inspiiiiired.

The reception is also a ocal point

or AOL’s Palo Alto HQ by San

Francisco-based design practice Studio

O+A. It had previously worked on

transorming the old-school corporate

aesthetic o dark fnishes and dropped

ceilings to an approach o honest

materiality where exposed ceilings,

concrete oors and stripped-back

white walls are the order o the day

in the rest o AOL’s workspace at

the same address.

Now in a ollow-up scheme to

the ground oor, a skateboard ramp

spans the entire lobby and integrates

a reception desk and lounge area.

This plywood entry portal is an iconic

symbol rom when AOL frst came

into existence. Says Denise Cherry,

principal design director with Studio

O+A: ‘The skate park and hal pipes

are a subtle reerence to that Dogtown

and Z Boys Eighties-era Caliornia.

Below, or Thai frmdtac, locally madematerials wereused to supportlocal products anddesigners, andrecreational activities(bottom) have beeninvested in

DTAC DESIGNED BY HASS



those chance encounters that just might

inspire the next million-dollar app or

social media miracle. It’s almost like

a miniature version of Silicon Valley

itself, that idea of a city within a city.

The gym, cafe, yoga studio, bicycle

docking station and helmet hire scheme

are other denite nods to the lifestyles

favoured by workers here.

Technology provider Citrix is

also embracing this ‘work anywhere’

philosophy at its 1,530 sq m base at

La Defense in Paris. Instead of an

academic campus though, design

practice Area Sq worked on creating a

village centre complete with town hall,

bus stops (represented by snug areas),

library, a playground represented by

break-out areas, even a village green,

to create a sense of community and

encourage interaction. This was playing

on the idea of a global village, as

individuals from the UK, France and

Germany all come to work here.

As less than 50 per cent of them

are based at this Paris ofce full-time,

Area Sq created zonal spaces thatencompassed a cafe, meeting rooms

and a general space, rather than having

too many workstations. James Geekie,

head of design at Area Sq Regions says:

‘Slowly companies are waking up to the

reality that staff don’t have to be sitting

at their desks to be earning revenue

for the business. With Citrix however,

its brand philosophy is just this, so it

meant we could design an environment

which entirely embraced this vision for

the future of the workplace.

‘This project maximises the use of

space while making it a fun, inspiring

and productive place to be. Now whena person arrives in the ofce, rather

than being greeted by rows of desks

they will see a range of zonal areas

in which they can meet, socialise,

brainstorm or relax in. They are then

able to choose to work in the space that

will most efciently meet their needs.’

NNOVATION STATIONS

It also added a distinct sense of youth,

vitality and new thinking.’

This is yet another example of

campus culture transported to the

workplace – even the outside with its

boules area is more Ivy League thanblue chip. The likes of Steve Jobs and

Mark Zuckerberg have spoken about

the importance of how tech workplaces

must be inspiring places to be and set

new standards with how people work.

We’ve seen that across the world

as Google reveals ofce after ofce

that visually stimulates, and Microsoft

sets new standards in activity-based

working: get your job done wherever

you want, as long as you are inspired

to get it done. Studio O+A’s interior

design encourages cross-pollination

not just across departments but across

the many start-ups on the ground

oor, including the Stanford Business

School’s incubator, management

consultancy Medallia and cloud-

computing company Cloud On.

‘We wanted to create a space that

encourages thinking and ideationthroughout, whether via problem

solving on whiteboard walls, discussions

over an espresso at the coffee bar

or through a large-scale event in the

auditorium. Inspiring people is about

providing that variety: by addressing

all the different ways people work: sat

on a sofa with a laptop, extreme quiet

versus the white noise of a coffee shop.’

The common areas and circulation

routes are intended to provide

communal energy, to provide cross

pollination: to make sure the like-

minded creative techs in the building

have the opportunity to experience

YANEX DESIGNED BY ZA BOR

CITRIX DESIGNED BY AREA SQ





Faux Leather: Snake | Crocodile | Lizard | Reptile



Art for

Art’s sAkeIs time running out for free-thinking art schools and artstudents? The warnings havebeen given, and while somecommercial sponsorship andbursaries are in place, they canhave serious strings attached,says Veronica Simpson

What’s the point o art school?

Many art and design colleges

will undoubtedly be asking

themselves this as the new student intake

fles in this month, signing up to besaddled with debts higher than most arts

graduates could reasonably hope to pay

back within the frst decade o their

proessional lives, i indeed ever.

It was also the theme o a day-long

east o perspectives served up at Central

Saint Martins earlier this year, as part o

the college’s aim to engage arts students

and supporters in the implications o the

UK Government’s education strategies –

in particular its vicious pincer movement

to choke o arts education in secondary

schools (by deprioritising arts subjects in

its quest to drive up grades or ‘classic’

subjects) while pricing it beyond the

means o most ordinary people at higher

education level.

At the event, we were given two

glorious examples o where an art schoo

education can take you (or could havetaken you, i you’d been lucky enough to

enroll between the 1962 Education Act

and 1999, when tuition ees kicked in),

in the orm o guest speakers Dr Kim

Howells and Johnny Vegas.

Howells was one o the leaders o the

legendary sit-in at Hornsey College o

Art in 1968 – a protest against the

narrow and elitist gallery system. Via

a later career fghting or the rights o

Welsh miners, he became a Labour

politician and minister under both Blair

and Brown, and was chair o the

government’s committee that oversaw

MI5 and MI6.

BRIEF ENCOUNTER



Johnny Vegas’s career trajectory

wasn’t quite so astonishing, though

surprising in its own way. There are

many art students turned rock stars. Not

so many comedians. He considers

himself a ‘failed’ art student (third-class

(hons), ceramics) but he knew the value

of the training he received: to strive for

originality in his work, honing ideas until

they become something genuinely new

and good. Most vitally for his comedy,

he says, ‘It taught me to question politics

– everything that I see goes through a

process because I was encouraged at art

school to question.’

Let’s face it, our arts schools are not

perfect. There’s much criticism (pre

and post the current crisis) of how little

regard is paid to the student experience;

I’ve heard many complaints of tutors

being inaccessible, rarely sighted, and

incapable of constructive criticism.

And there’s little training for the real

world beyond college either – many

design business managers moan of how slow graduates are to get up to

a viable commercial speed with their

professional work.

Challenge also creates opportunity –

as someone helpfully pointed out from

the oor at the CSM event: there’s no

point in shoring up our Victorian arts

institutes as they are. We need to

reinvent them to be relevant to the new,

digital age. But even with its aws, our

art college system is still the best place

to develop lateral and critical thinking,

problem solving, collaborative and

communication skills – the perfect

education, you would think, for creatingthe kind of socially and environmentally

aware individuals we’re going to need

to help steer us through a resource-poor,

economically challenging, multi-

disciplinary, technology-saturated future.

This makes the current government’s

efforts to kill off the very institutions that

can help nurture such highly useful

individuals all the more bafing.

Neville Brody, the graphics guru

and dean of the Royal College of Art’s

communication design department,

recently shared some new and worrying

developments in the education

department’s attack on arts education.Not only is the Government talking of

putting up the interest rate on student

loans – a move which Brody described

as ‘neanderthal’ – but they are also

beginning to refuse students visas to

come and study art in the UK.

Let’s face it, anyone who has been

to the recent graduate shows of any

of London’s leading arts colleges

knows that the intake – especially at

MA level – can be as high as 80 per

cent international. Quite apart from

what this means for our own home-

grown talent pool, if foreign students

can no longer come here to hone their

to the emerging cross-disciplinary

landscape – an art and science MA

(also CSM).

An interesting austerity-era

development is the degree to which

design-led manufacturers have been

stepping forward to boost art school

nances, with bursaries and

sponsorship. On the one hand, it’s

fantastic that mobile phone companies

(Orange, Nokia), car manufacturers,

and jewellery designers (Swarovski) are

happy to fund their future design

directors in this way. But the future

of art schools can’t just be about tying

students in to industry – or sponsor-

funded placements and projects. I talked

with one disgruntled MA student who

was utterly disenchanted with the

project she’d been handed as a rst-year

student, entirely dictated by sponsor

Nokia. That’s not what she went to this

course, and this college, for, she said.

At the aforementioned What’s the

Point of Art School event, RCA nearts professor Uta Meta Bauer

reminisced about her days at MIT,

when the science bofns in the adjacent

building waxed enviously lyrical to her

about what a fantastic remit the arts

department had, to be able to dream

and experiment and create without

being tied down to the brief (and

expected outcomes) that a commercial

sponsor has dictated.

Nigel Carrington, vice chancellor of

CSM, said: ‘A creative education must

be more important than the economic

outcome. The creativity of our art

schools is the single most importantfactor that allows us to discover,

imagine… and improve our world.

‘The overriding point of art schools

is inviting our students to discover and

celebrate their own creativity. Without

that creativity we are less – less inspired,

less resourceful, less fullled, less

socially aware and ultimately less of a

society. Without creativity...we are

ultimately less human. In that for me

lies the answer to the question what’s

the point of art schools.’

So come on all you furniture

manufacturers, textile designers,

materials innovators, it’s time to getyour wallets out: dig deep, tick that

corporate social responsibility box and

make sure that you keep our art schools

and art students aoat – and that

anyone who happens to get a bursary

from you doesn’t then spend three years

doing work that serves you well but

really doesn’t give them any room for

self-expression.

We’ve got ve years, says Brody.

That’s all. And if we can’t nd another

way of funding and inspiring creativity,

then there may not be any design

schools left to train your next generation

of creative thinkers.

BRIEF ENCOUNTERS

fashion/design skills, and ll the

university’s coffers with their triple-

loaded fees, then how many art colleges

will be left in ve years?

What’s more, foreign art students

already here are starting to be refused

permission to stay for longer than three

months after they graduate. This means

no more (lucrative) foreign MA

students. It also means that all the

international talent that gets siphoned

into our best art schools will be going

straight back to where they came from,

rather than enriching our own design

and architecture rms with their

linguistic and cultural skills. The long-

term implications for the UK creative

sector’s ability to compete with – and

in – the rest of the world hardly needs

spelling out.

But like a true designer, Brody has

already cooked up a potent antidote.

If we can’t ndanother way of

funding and inspiringcreativity, then there

may not be any designschools left to train the

next generationof creative thinkers

He is using his position as president of

D&AD to help consolidate the D&AD

Foundation as a funder of potentially

hundreds of future art students, through

bursaries. He’s taking the battle to the

bigwigs of advertising and lm-making

and hopefully getting them to fork out

a few million to ensure that talented

youngsters from all over the UK – especially those who aren’t nancially

advantaged – might also be able to

consider an education in lm, graphics,

photography, art or architecture.

There is now more emphasis within

his RCA department on critical thinking

and research-based subjects, with

courses tailored to the digital age,

including ‘information experience

design’. ‘My remit at the RCA is not

to create artefacts. It’s to create skilled,

dangerous minds,’ says Brody. Likewise,

at other leading art schools, we see the

emergence of new courses in ‘innovation

management’ (CSM) or – in response

Veronica Simpson’s

full interview with

Neville Brody

was published

in the September

issue of Blueprint



AI M

B Y R. & E. B O URO ULLEC

2013

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D i s t r i b u t o r : A t r i u m L

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A U N I Q U E H A R D W O O D F L O O R

For more information about create and its unique features call Vanessa on 01925 284 363 or email:[email protected]



On a sultry July evening

architects, designers, design

manufacturers and suppliers

gathered at The Building Centre to

celebrate the culmination of FX’s and

Blueprint’s drawing competition – our

rst, but denitely not the last!

The project came about courtesy

of a meeting of like minds – between

drawing evangelist Trevor Flynn

and FX editor Theresa Dowling,

herself a ne arts graduate. Trevor

Flynn’s company Drawing at Work aims to inspire interior designers,

architects and engineers in the art

of communicating through pencil

and paper, while Theresa is a keen

supporter. So while one is practical

in drawing and the other isn’t, the

communication skills combined with

aesthetic and emotional skills provided

the perfect synergy to work together.

The initial meeting took place in

March 2012 and the competition was

then announced via both Blueprint

and FX magazines later that year.

The response was phenomenal: 150

submissions from all across the world,and a fantastic variety of scales, styles

and subjects, from tiny product design

drawings to detailed master plans.

They were judged earlier this year

and it was decided they were too

good to let it end there. So with The

Building Centre supplying the venue,

and sponsors Aluk, Forbo, Bisley

and Ege Carpets helping to make it

happen, the exhibition was staged.

FX’s enthusiasm for drawing is

such that a new category has been

added, along with model making,

to the FX Awards for this year. See

fxdesignawards.co.uk for full details.

BACKTO THE

DRAWINGBOARD

Veronica Simpson reports romThe Building Centre in Londonwhere entries to the frst FX andBlueprint drawing competitionwere put on show

The winner for the judges is Stefan

Davidovici, an Italian architect, teacher

and drawing enthusiast, who ew in

specially to be commended for his skills

and his commitment to the craft. He

said: ‘I have been lucky enough to win

prizes in other competitions during

my career but this is a particularly nice

one. It means a lot to me.’ The UK’s

architecture and design professionals are

still very much in touch with their craft

skills, says Davidovici: ‘You can see

it in terms of the nished work, whichis amazing.’

Trevor Flynn, understandably, has

plenty to say on the subject of why

drawing is still so important in the

digital age. Recently, his educational

consultancy, Drawing at Work, has

received a huge upsurge of interest in

its courses. He says: ‘There is generally

an acceptance that now we’re familiar

with what CAD drawing looks like we’re

bored with it as it very quickly turns into

a cliché: a lot of people’s presentations

are skewed in favour of a particular form

of computer-generated image. Freehand

drawing is still what people gravitatetowards...because it demands to be

looked at.

‘Drawing has never been equalled

as a tool for generating ideas and the

beauty of drawing is that you move

away from precision. Precision is great,

but imprecision, or the selective use of

imprecision, is important to loosen your

mind up to lots of different possibilities

simultaneously. It’s not that you have an

end in mind when you make a drawing;

it’s to open up the thought process so

that you can work on many different

abstract levels simultaneously. That’s

what drawing can do.’

Narinder Sagoo feels that drawing

is still at the heart of Foster + Partners’

practice. He says: ‘We still have a great

tradition with every project starting with

hand drawing. Norman Foster is an

incredible ambassador for hand drawing;

he draws all the time and for me he’s

been a great inspiration.

‘I’ve been looking at his drawings

coming through by email – he draws

in his sketchbook, photographs his

sketches, emails them through to me

whether he’s in a taxi in New York orin his studio in Switzerland, and then

I’ll be drawing from there onwards,

incorporating design, communicating

ideas within the design and storytelling

essentially. That process leads on to the

digital; everything starts with a drawing.’

The qualities that hand drawing

brings to the nal design are essential,

says Sagoo: ‘Drawing is the skeleton

behind the communication process.

Many architects are very good with

words, and therefore you can move from

A to B to C in conversation with clients

and design teams very easily without

really meaning what you’re saying.But in drawings there’s a huge level of

honesty that’s celebrated by everyone.

You can’t lie. Everything from there

on, in terms of CAD and computer-

aided manufacture, has that skeleton of

honesty – that skeleton of storytelling

that should remain true to the project,

from inception to nal building.’

For the winner Stefan Davidovici

hand drawing is vital to his practice

– and he teachers hand drawing at

the Italian Order of Architects (Italy’s

equivalent of the RIBA).

He says: ‘I call drawing slow food

for the architect’s mind. It’s a very clear

Theresa

Dowling

editorial

director,

FX &

Blueprint

TrevorFlynn

director,

Drawing

at Work

Narinder

Sagoo

partner at

Foster +

Partners

Suzi

Winstanley

associate at

Penoyre +Prasad

The

judges:



DRAWING EXHIBITIO

The

WINNeR!

Stefan

Davidovici



parallel for me. Just like slow food is

about eating with meaning – eating

seasonal, locally grown food cooked

with love – it’s exactly the same with

drawing. It’s not a dead skill; it’s very

contemporary. Drawing is still an

essential skill because it’s the most direct

connection between brain and hand.’

As for the judges’ thoughts on his

entries, Suzi Winstanley says: ‘Stefan’s

drawings make me jump with joy. Theyare voracious and unstoppable, a meld

of landscapes real and imaginary. The

drawings are relaxed and unarduous,

uent and condent. Talent and hunger

starts them but through practise Stefan

has mastered this pen-to-paper journey.’

Trevor Flynn comments: ‘It’s

fantastic architecture projected on to

the streets of Milan; Stefan speculates

from his mind’s eye the way one did as

a child, where the place we inhabited

could be extended, using an imaginary

kit we owned. And to bring you back

to the here and now the drawings have

sharp reminders of scale and setting toroot fantasy in. Drawn austerely in pen

with few ourishes, they are reminiscent

of Piranesi’s spatial improvisations, done

with a surplus of visual energy that can’t

quite be contained within the everyday.’

FX and Blueprint’s group editorial

director Theresa Dowling adds:

‘Stefan’s composition and scale excites

me in the same way that an abstract

painting does – it is unconventional,

which makes for compelling viewing,

and his uent and easy lines, together

with the layers of additional tone,

adds further description and depth

to his drawing.’

Suzi

Winstanley,

Penoyre and Prasad on

Lawrence Martin: ‘Sometimes

simple drawings are the best,

the ones that all o the hand,

rich with intuition, to reveal a

concept that is laced with stories.

In Laurence Martin’s drawing

there is a building that fips, the

point o the fip is strategicallyplaced at the horizon line. Our

eyes are drawn in and we get the

idea without thought. The jagged

mountain and rustling treescape-

smudge place us in a amiliar/

unamilar space. The people

outside the building hesitate

beore making their choice o

building orm while the ones

inside are content. Small lines

tell us this. A little bit o drawing

goes a long way.’

Commendations

by the judges

Theresa

Dowling. FX

and Blueprint

editorial director ‘Paul McGill’sdrawings immediately draw me

right into the space, and they

have a rare beauty o being both

reehand mark-making and starkly

accurate. Paul can describe space

in the most detailed and exacting

way or complex projects, but

with a visual intensity which is

rewarding on an aesthetic level. I

think his drawings would talk

to all o our proessions: architect,

civil engineer, contractor,

designer, and artist.

I loved them!’

Commendations

by the judges

...while Gill Parker rom BDG

architecture and design selected

Paul McGill and was amazed at

the activity and detail looking

across London rom Battersea

power station. ‘The enormous

scale is impressive while the

detail is suggestive while also

being descriptive. It speaks

volumes about how skilled

Paul McGill is at drawing to

communicate ideas rom his

head to his hand.’

We asked some VIP designers

in attendance to pick their

avourite image rom the

show. Jane Lawrence, design

consultant and director o

Johnson Naylor, selected

Oscar Plastow or his dramatic

chiaroscuro o an internal

warehouse with shards o light

emerging rom the blackness...





black




DRAWING EXHIBITIO

OUR SpOnSORS SAID...

The Building Centre Andrew

Scoones, chief executive, says:

‘The Building Centre has been

looking at drawing for several years

now, inspired by a group of engineers

who came along and said, “We want

to show how we’re not just a group

of people working with computers

but we can use drawing as a means of

setting down ideas. We can actually

solve problems.” They felt that as partof their education they hadn’t actually

had the experience of taking a pencil,

putting it to paper and expressing

themselves as well as they could do.

So as well as a desire to show their

ideas in the rawest and most exciting

form they wanted to improve the

skills that allowed them to do that.’

The Building Centre brought them

together with Drawing at Work,

launched an annual competition, ‘and

then we met FX magazine, which

said “Actually this is a culture that

stretches right across the construction

arena – it’s a shared culture”; andnow engineers are sitting down with

architects, interior designers, people

from stage set design and they’re

having a fantastic time learning that

drawing is a perfect way of expressing

themselves.’

About the sponsor: The Building

Centre was established in 1931

as a resource for information on

contemporary construction materials

and engineering technology; it has

subsequently become an independent

forum, dedicated to providing

information and inspiration to all

sectors of the built environmentthrough a programme of exhibitions,

seminars and networking.

AluK Dan Pitkin, specications

manager, says: ‘We wanted to

sponsor this event because the design

and drawing of buildings is a really

important part of architecture. and

although we make up a small part

of it in terms of the facade, drawing

makes a massive contribution.

‘Drawing is incredibly important

even with the likes of 3D modelling,

autocad, Bim and all of the

developments going on at the

moment. How else do you get the

ideas and the artistic side to express

themselves? The artistic and design

stage is crucial.

‘For Aluk, skilled draughtsmanship

is critical in terms of technical,

2D and 3D design elements. We

appreciate the level of detail that

goes into that skill.

‘Out of all the drawings in the

competition, my personal favourite

was one of Paul McGill’s. It’s a big

cityscape. You look at it at rst

and it’s a big city scheme but thelevel of attention to detail really

caught my eye.’

About the sponsor: The AluK

Group is a leader in the design and

manufacture of a range of aluminium

building systems, combining years

of experience in the development

of innovative solutions that can

be applied to living and working

environments.

Aluminium is at the core of its

product range, offering a high-quality,

sustainable foundation for curtain

walling, window and

door systems.

Bisley UK Richard Blackwell,

sales and group marketing

director feels that sponsoring this

competition was an important way

of supporting an activity that has

slipped from the mainstream. He

says: ‘I think drawing is a skill worth

preserving; clearly many people are

able to be creative with the use

of new technology, so when one has

the ability to use an innate talent

to produce something visually

attractive and expressive in support

of something more technical, thatis a skill that should be nurtured

and encouraged.

‘As a manufacturer, our skills are

primarily engaged with the technical

side of the creation of products and

to that extent they have to be accurat

and precise. So looking at something

like this, where we see freehand skills,

that is an attraction for us and it’s

completely different to what we’re

normally associated with.’

Before he’d been notied of the

judges’ favourite, Blackwell was

asked to pick his own. ‘My favourite

drawing is by John Whiting,’ he said.

Top, drawing by PaulMcGill; above, byJohn Whiting



DRAWING EXHIBITION

For the video of the event, and the

architects and designers talking to camera

on what their opinion is of drawing,

please see our podcast of the event at

FXmagazine.co.uk

With thanks to our sponsors:

‘And I chose that one because I felt…I

could look at this in two ways: one

is as a drawing that supported some

architectural or design message and

the other is as something I would

like to hang in my living room. I’d be

happy with the latter!’

About the sponsor: Bisley Ofce

Furniture is a UK manufacturer of

steel storage for the ofce, working

with designers and architects on a

huge range of projects from the most

prestigious corporate HQs to small,

crafted design ofces. It operates from

Bisley, Surrey and Newport, South

Wales and employs some 700 people.

Forbo Paul Sceats, business area

manager, says: ‘We work with the

interior design and the architecture

community on specication work and

from that point of view we’re here to

help them and their clients with any

aspect of ooring.‘As ooring manufacturers I like

looking at drawings where I can see

that there are white spaces on the

oor waiting to be lled with colour

and texture. For that reason, my

favourites are the drawings by Kevin

Bankhead – white spaces waiting to

be lled out with colour and texture.’

Forbo has recently launched

the Fly Forbo competition to

encourage architects and designers

to test the limits of experimental and

adventurous use of Forbo’s product

range. The winner will be announced

next February, with the prize beinga trip for two to Chicago and free

entry to Neocon.

About the sponsor: Forbo Flooring

Systems is a major player in the global

market for vinyl and linoleum oor

coverings. As part of the Swiss Forbo

Group it boasts 12 manufacturing

plants and sales outlets in 32 countries

worldwide.

ege Carpets Ngahuia Damarell,

London design consultant, says:

‘Drawing for designers and architects

is about celebrating individual

interpretation and observation. Forus, in terms of designing products

at ege Carpets, we very much strive

to be design leaders. We see our

ooring solutions as an important partof a designers’ toolkit, helping them

to bring their own personal touch

to a scheme.

‘The drawing that stood out for me

was by Igor Falkovsky, predominantly

for the use of colour to divide and

dene space.’

About the sponsor: Founded

in Denmark in 1938, today ege

is one of Europe’s largest

manufacturers of textile ooring.

With manufacturing at its two Danish

bases, ege delivers sustainable carpet

production to achieve an impressive

breadth and diversity of range, forboth its contract and domestic

customer bases.

Above, drawing byKevin Bankhead;below, by Igor Falkovsky



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Moving to new

ofces in the

PaddingtonCentral

development oered

the opportunity

o a new workplace

set-up. Design team

or the interior ft-out

was Create

Ater 20 years with the same company, PaulFinch has witnessed numerous confgurationso the workspace, with the latest one – the mostefcient to date, he says – dovetailing with a

move to PaddingtonCentral

d A v e P A r k e r

P h o t o g r A P h y

H

aving worked or 20 years in

the same media organisation,it is no surprise to me that the

nature o our workspace has changed

requently. This is partly the result o

changes in activity, partly the way the

company is structured, partly about

the autonomy or otherwise o divisions

and how they are themselves organised

and partly due to signifcant changes

in ofce technology.

In 1995 I was heavily involved

in a big ofce relocation, combining

one company with two others we

had purchased. Briefng our architects

about the ft-out o the new building

required a key decision rom the outset

SPA AS



would we be entirely open-plan, partly

open-plan, or essentially cellular? This

is not a question that would require

much discussion these days, given

the huge economies achievable through

open- plan space with bench-style

desk layouts.

The other big question, to which

there was and is no correct answer, is

whether the arrangement of different

groups should be based on activity or

product. This is about whether different

platforms related to the same subject

are located together (for example,

construction magazine/conference/

events) or whether sales and marketing

sit next to relevant editorial/event teams.

All this depends on how the company

(or more precisely MDs, sales directors

and marketing directors) think about

business efciency and effectiveness.

Having seen many approaches I am

agnostic.

Back in the mid-Nineties, hot-

desking was a gleam in the eye of the more advanced space-planning

The new ofces in

PaddingtonCentral

are light years rom

the author’s frst

workspace with his

company, with a

realistic approachto providing a variety

o meeting spaces

There are desks foreveryone, thougha clear-desk policymeans that anyone can

sit anywhere. Supertidy, personality free

SPEAK EASY

theorists, in the same way that the

paperless ofce proposition was only

beginning to take on momentum. Both

are now far more in evidence, though

genuine hot-desking, where you have

signicantly fewer work stations than

you have staff, doesn’t seem to be

dominating the market as some

predicted it would. Perhaps that is

because companies such as Yahoo have

rediscovered the benets of managing

staff required in the ofce every day.

Our own company, i2i Events,

moved into Development Securities’

and Aviva Investors’ PaddingtonCentral

as a result of a fundamental corporate

restructure. This involved a name

change for our umbrella company,

from Emap to Top Right Group

(the Emap name has been retained

for the magazine division). Far more

signicantly, it marked a radically

different approach to organisation

and location.

For many years in a previous

incarnation (Emap Business

Communications, the b-to-b division of

Emap plc), we occupied a multiplicity

of buildings, mainly in the EC1 area

of London, though with signicant

outposts in Croydon and Bournemouth.

Broadly speaking, different subsidiaries

occupied each of the buildings, related

to a small group of subject areas, for

example architecture, engineering and

construction. That approach was turned

on its head when most of the company

was put under one roof in 2007, in the

famed ‘Black Cat’ building – Greater

London House, in Camden. Now we

have split again, with four divisionslocated in Old Street, Holborn,

Piccadilly Circus, and Paddington.

Operating as a standalone global

company i2i Events Group occupies

two oors in Two Kingdom Street,

originally planned as studios, in a KPF-

designed block on Kingdom Street,

which runs off Sheldon Square, the

heart of the PaddingtonCentral

development. Change-of-use

permission had to be sought since our

activities were not strictly conforming

to the original permission. However, the

studio spirit is very much in evidence

in the t-out, with an emphasis ona variety of informal meeting spaces,

teched-up presentation rooms and zero

cellular ofces.

The decision not to install a

suspended ceiling has worked

successfully, giving a ‘white-collar

factory’ feel to the space. There are

more than enough desks for all staff,

though a clear-desk policy, strictly

enforced, means that anyone can sit

anywhere having collected laptop and

connectors from lockers. Super tidy

but personality free. Most people tend

to sit in the same area each day, if not

at the same desk.It is all a far cry from my rst

workspace in the company: a small

glazed ofce (I invariably kept the door

open). This is my fourth location in

20 years, and in terms of the way we

now do business denitely the most

effective, the result of being realistic

about the need for meeting spaces

of every variety. I wonder what things

will be like in 2033.

Paul Finch is programme director of

World Architecture Festival/INSIDE,

and editorial director of The Architectural

Review/Architects’ Journal



Diagon

www.girsberger.com/diagon

Girsberger London, Tel. +44 (0)20 7490 3223, [email protected]



IN THE SWIM EDGE project leader Douglas Saunders surveys

the colourul fsh in one o the huge aquariums installed within the newly

completed London ofces o fnancial services company MAKO Group. The

tank, one o three in its new workplace, was conceived by EDGE to orm the

vibrant walls o meeting rooms and breakout spaces.

By Gareth Gardner / Photography + Journalism / garethgardner.com

September 2013



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Contents This 20-page FX lighting special

focus looks at the challenges of

illuminating places of worship,

and how skillful lighting design

is meeting those challenges

LIGHTING

FOCUS


106

113

Contents

overview:

Francis Pearce looks ata new guide to lightingplaces of worship

projects: We examine the lightingdesigns in two verydifferent churches

The dome of StStephan’s inKarlsruhe, Germanycontains a 6m-wideoculus surroundedby a hidden light ringof 1,920 warm whiteLEDS. See Projects





FX FOCU

Some of the most important caves

adorned by Bronze Age petroglyphs at

Lascaux in France are naturally

illuminated at the solstices which, added to

the long-held theory that the images havesome spiritual signicance, suggests that

light, ritual and belief have a very deep-

rooted association. In the Judaeo-Christian

tradition, God not only called natural light

into being in the Book of Genesis (‘And God

said, let there be light, and there was light’)

but, in Exodus, revealed the design of the

seven-lamped menorah to Moses.

And yet, after all this time, places of

worship still present lighting designers with

problems, some of them architectural in

origin, others to do with how the buildings

are used, and yet more centring on

conservation, technology and cost. High

ceilings, obstructions such as pillars andbanners, and even reected glare from

silverware all present the lighting designer

with challenges that are examined in

guidelines being readied for publication by

the Society of Light and Lighting. Lighting

Guide 13 (LG13), Places of Worship is

thought to be the rst guidance of its kind

and covers buildings ranging in scale from

cathedrals and temples to multifaith

chapels at airports.

In the UK, the stock of churches and

congregations is rising even though the

actual number of churchgoers has been

falling for a century. Manchester

University’s Mark Littler reckons there arenow 50,700 churches or congregations

in the UK; Jewish, Muslim and Sikh places

of worship number in the hundreds but

are increasing in number.

LG13’s author, Hilclare lighting

applications manager David Holmes, says

the interior lighting’s main purpose in

places of worship is to enable participants

to see what they are doing and what is

happening around them. Visual comfort

and safety are also important. To that

extent, churches are similar to the

workplace and much of the advice in the

guide is based on new thinking on issues

such as lighting the horizontal plane and

regulations covering emergency lighting.

On a functional level, they share

characteristics with auditoria: churches

are usually oriented west to east, creating

a visual hierarchy and directing thecongregation’s view towards the sanctuary,

altar and East window, much like a

conventional theatre’s audience is directed

to the proscenium. ‘You light towards the

east to minimise direct glare and use roof

members to conceal the lighting behind

corbels and arches as you look in that

direction,’ says lighting designer James

Morse, responsible for the award-winning

scheme for Salisbury Cathedral. ‘Clergymen

often complain about glare when they face

the congregation but it’s more important for

parishioners to see them.’

Church lighting is ‘staged’ at different

levels: low in the nave and rising at the altarto ensure that attention is drawn there

during services. Historically, this has been

achieved with natural light and candles.

The guide points out that ‘often the more

successful daylighting designs are those

that offer a combination of daylighting

strategies. Low-rise buildings offer the

greatest opportunity to realise a controlled

daylit environment because the designs

can, in principle, accommodate various

daylighting features and devices. In

addition, low-rise building designs can also

feature skylights, clerestory windows, light

wells, over-hangs, deep self-shading reveals

and so on.’Lighting designer Michael Grubb says

that in the UK and overseas church

architects and lighting designers ‘celebrate

daylight much more these days. It always

used to be about articial light and the

building itself, but now it’s back to where

it began’. Nowhere more so than at the

Cathedral of the Northern Lights by

Schmidt Hammer Lassen architects and

Link Arkitektur in Arctic Norway.

It has a spiral belfry clad in reective

titanium to catch the Northern Lights, but

inside, during the white nights and days

of summer, light enters through tall, slim,

irregularly placed windows and a skylight

The world’s rst lighting guide for places of worship is soon to be

published by the Society for Light and Lighting. Francis Pearce

looks at what the SLL and lighting designers have to say about

illuminating churches

Far left, above,Cundall Light 4 relitthe Mossley Hillchapel for a varietyof uses. Left, above,

inside the Cathedralof Northern Lightsin Arctic Norway,with lighting designby Michael Grubb.Far left, below,award-winningall-LED schemeby Lunalicht at theSt Stephan Church,Karlsruhe. Left,below, St VitusCathedral, Praguewas relamped inLEDs by Panasonic

overview

religion in

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FX FOCU

illuminates the whole wall behind the altar.

In new buildings it is sometimes

possible to control daylight using blinds

and other devices, but lighting designers

increasingly turn to lighting controls to

moderate lighting levels, manipulate

space and accommodate activities

beyond the traditional service such

as concerts, and visitors.

‘You have different services at differenttimes of the year, from funerals to midnight

mass, that need different lighting,’ remarks

Grubb. ‘And the problem with very grand

buildings such as cathedrals is that they

are so spectacular inside that you can lose

the sense of intimacy that worship calls for.

So you have to have a series of settings that

include low-lighting levels and create

tranquil spaces’.

Morse advises that controls can be used

to ‘make a room within a room. You can

have a setting where it is very intimate,

where the rest of the lighting is off or low

and just have some accent lighting on the

altar, the reredos and the East window togive a very atmospheric effect, especially

for a small service or choral evensong’.

Light for reading music or text by is a

vital ingredient in most places of worship.

‘You have to light the choir area from both

sides to reduce shadowing, or it may be

necessary to give the whole area a medium

level of light from on high and have

individual luminaires on the choir stall,’

says Holmes.

Churches often want lighting that is

directed down on to the page, says Morse,

‘but this is tricky so they will use task

lighting to prevent the problem. For

example, at Salisbury Cathedral there areLED strips on the choir stalls’. Reducing

contrast between the task area and

surrounding areas is necessary for any form

of task lighting. However, a common

technical problem is that traditional church

furniture is dark and absorbs light while

‘choristers using sheet music are looking

at music on a white background. You can’t

over-egg it or the sheet luminance will be

too great’ he adds.

As LG13 points out, ‘Most churches,

and many synagogues and mosques,

are large areas which are difcult to heat...

and benet greatly by being illuminated

with a “warm” light source having a colourtemperature of 2700K or 3000K. In

addition, when the designer wants to

highlight a particular area or action,

the use of light sources with different

colour temperatures for the task area and

surrounding areas can be very benecial

and economical.’

Panasonic recently relamped almost the

whole of Prague Castle, including St Vitus

Cathedral, using LED lamps as a direct

replacement for the existing incandescent

lighting. Some 19,000 lamps were replaced

in all, using four types that included

Panasonic’s retro-looking Nostalgia Clear

range, which directly mimics an

old-fashioned and inefcient but warm light

lament bulb. While it may not improve the

original lighting concept, this type of retrot

upgrade has the advantage of preserving

the atmosphere of a heritage site without

the need for new wiring or ttings, and thus

saves energy. ‘For the rst time ever we

have light sources that are very efcient

and are also dimmable and have great

longevity,’ says Morse. ‘This has onlyhappened in the past three years.’

Admir Jukanovic of lighting consultant

Mindseye also believes LEDs offer a big

advantage. ‘With new technology we’ll

probably see more integration and the

possibility to be more true to the space

by not placing disproportionately big

luminaires in places they shouldn’t be.

With LEDs you don’t have to think of the

size of the tting, or how to get mains

voltage electricity up there. They give more

freedom to bring light where you want it

– where

you need it to be rather than simply where

it can be.’German lighting designer Lunalicht’s

all-LED scheme for St Stephan Church in

Karlsruhe won the Lamp Lighting Solutions

Awards 2013. The church’s dome contains

a 6m-diameter oculus, which is surrounded

by a hidden light ring containing 1,920

warm white (2700K) LED modules that light

the church from a height of 26m. More

hidden lighting illuminates the dome, the

vaulted ceiling and walls.

Four types of optic and careful angling

of the luminaires ensure that lighting is

even on all these surfaces. There is

independent lighting of the central areas,

aisles, walls and altar island, with generallighting at 80 lux and the altar lit at 300

lux, all under DALI lighting control.

Facing a challenge that is far from

atypical, Cundall Light4 relit the chapel

at Mossley Hill Church in Liverpool with a

brief to deliver a variety of lighting scenes

for prayer meetings, readings, group

discussions, sewing and stitching banners.

The Church had lit the space using cheap

outdoor ood and spotlights and the altar

had been illuminated by 100W

incandescent lamps. Light4 used LEDs

throughout to reduce the energy load,

from 690W to 310W with all the lights on

and to just 220W using typical scenes.Adjustable LED spotlighting, positioned

at high level, provides the functional

lighting. Narrow beams direct the light at

the altar, with additional ttings directing

light into the centre of the space. LED

pendants provide additional light in the

prayer room, providing an extra layer of

light for reading. Meanwhile, the central

altar mural is illuminated with integrated

linear LEDs, improving the colour contrast

of the mural artwork and creating a warm

glow from within the altar.

‘The most important aspect of the

design was to create a synergy between

the lighting and architecture. We wanted

to create a succession of layered light

that started at the entrance threshold

and moved through into the chapel. The

concept design for the glass spherependants was to emphasise the symmetry

of the architecture, while adding a delicate

modern twist to the Grade II* building,’

says Light4 director Andrew Bissell.

For some people, places of worship are

also places of work, but unlike the ofce

or factory it is hard to judge how lighting

design affects productivity – except,

perhaps, in the case of the chaplain at

Harrow School who remarked that having

lighting controls in the pulpit – part of

a scheme by DPA Lighting Consultants –

was a splendid opportunity to engage

the congregation’s attention by icking

a switch and declaring ‘let there be light’.

Above, three imagesof St Stephan’s,Karlsruhe, showingdirect lighting (top),

indirect lighting(middle), and insidethe dome (above)



T w ‘T Liti Bibl® 10’

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FX FOCU

let there

be light...

We look at the lighting of two places of worship indetail, and both in stark contrast to each other – one

ancient, the other very new; one white and minimalist,the other in touch with its outside setting

PROJECTS

Pojct 1:

Church of St Moritz,Augburg, Germay

LiGhtinG dsiGn: Mindseye

Achitct: John Pawson Architects

M a r C U S

S C h r ö t h e r



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FX FOCU

Founded in 1019, the Church of St

Moritz is the oldest in Augsburg. The

latest in a number of transformations

over the centuries is a vast refurbishment

begun in 2009 by John Pawson. The aimwas to bring clarity and light to the

building, while respecting the work and

intent of previous architects.

Respecting Pawson’s minimalist

treatment demanded that the luminaires

were as invisible as possible, an aim

that was variously straightforward or

problematic according to which part of

the building was concerned. This was a

scheme where even the exit signs and

emergency lights had to be non-visible.

‘We were allowed to add and thicken

walls in some cases, but it was difcult

where we weren’t allowed to do anything

to them,’ says Mindseye associate Admir

Jukanovic, who led the lighting team.

‘The main nave was rebuilt after the

Second World War so there we could get

wiring up to where we needed it. There

were also some ingeniously placed areaswhere we could use ledges, for instance,

to conceal luminaires.’

One chapel, for example, originally

had two windows on the side but these

were designed out to allow the space

to be modelled specially to work with

controlled articial light. However, Pawson

wanted to leave another chapel more or

less in its original state.

‘The oor was the only new parameter,

so we could only use that and the

furniture to locate the light ttings,’ says

Jukanovic. ‘But what made it generally

easier was that we all shared the same

ambition in this respect, we were all

pulling in the same direction. It meant

we were able to work with the architect on

integrating ttings at a very early stage.’

The three domes above the main nave

have LEDs around the perimeter and a250W Meyer Nightspot narrow beam

ceramic metal halide tting – deeply

recessed and two with ribbed glass

spreaders for glare control – at the centre.

These provide reading light for the

congregation and basic lighting to the

altar. This exploits an existing ventilation

hole that had to remain.

It was essential to the overall effect,

as elsewhere, that there was no sightline

to the LED ttings illuminating the

domes. ‘We checked the various viewing

angles and our calculation showed that

at certain points you were able to see

the luminaire,’ says Jukanovic. ‘So we

The ancient churcho St Moritz, oundedin the 11th century,has a ultra minimalislook now rom atreatment by JohnPawson, in which thlight fttings areinvisible as possible







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FX FOCU

Poject 2:

Chapel of St Albertthe Great, ebur

Lighting design: Mike Stoane Lighting

Achitect: Simpson and Brown Architects





FX FOCU

The award-winning new Chapel of St

Albert the Great is sited in a garden in

George Square, Edinburgh. It was built forthe University Chaplaincy and friary for

the Order of Preachers (Dominicans) and

replaces the old chapel on the upper oor

of the adjoining townhouses.

Both the choice of materials – wood,

sandstone-clad masonry wall, sedum roof

– and the form of the building are

designed to connect the building to its

natural setting, especially bringing the

outside in with the use of daylight.

A combination of clerestory glazing,

ventilator windows and a light well with

opening rooights provides both natural

light and ventilation. Daylight is

introduced by mirrors and ltered

through continuous oak slats along the

length of the chapel. The west wall behind

the sanctuary is also glazed. A projectingroof is designed to shade the interior from

too much daylight ingress.

‘It is a building that will be reliant on

articial light just from the point of view

of the times of the masses, but equally

important, on two sides you have natural

light casting shadows internally,’ says

lead architect Stuart Allan. ‘The projecting

roof means you don’t get uncomfortable

glare but you allow some natural light to

creep in.’

What was crucial where Allan was

concerned was to integrate the articial

lighting as far as possible. Unusually,

though ideally from a lighting point of

view, it is the illumination that has partly

driven the structure rather than the other

way round.‘From day one we looked at the

possibility of integrating the lighting

into the wall nish, and that set out

everything to do with the internal

nishes, including size and depth of

timbers,’ says Allan. ‘There was a lot

of forethought with the lighting.’

Working in tandem with custom

specialist Mike Stoane Lighting, a series

of slimline proles with T5 lamps were

developed to slot in between the slatted

wooden ceiling and walls. The 28 ttings

have a 32mm square prole with frosted

diffusers and a rear-mounted ballast.

They were designed in three lengths

A garden setting or the new chapel ledto natural materials

such as wood,sandstone claddingand sedum roofngbeing selected tolink it to the outside.Slimlne proflelighting is slottedin between theslatted woodenceiling and walls



– 60cm, 90cm, 150cm – according to

their position. The walls allowed longerfttings while the vaulted, oak-lined

ceiling needed shorter lengths.

‘We didn’t use curved fttings,’ says

Allan. ‘We looked at how long a ftting

had to be beore you started perceiving

the dierence between the curve on the

ceiling and the ftting. We wanted to trick

the eye so that it wouldn’t look awkward

against that curve. We did ull-size

mock-ups o the interior and tested

that out.’

In terms o the spacing and

positioning o the fttings, ‘it wasn’t done

too scientifcally, more instinctively’, says

Allan. ‘It was about what looked good

along the wall, in terms o the spread o

light, getting a rhythm along the interior.The mock-up models gave us reassurance

on how much light was coming out o

these fttings. We were able to make an

educated guess without getting too

involved in calculating light levels. As

long as people could read their hymn

books that was enough light.’

The our tree-like Corten steel

structures that support the roo over the

altar and sanctuary spaces are gently lit

with MSL’s Mole recessed uplights, which

are also used in a perimeter trench at the

base o the walls.

MSL Tadpole IP66-rated mini LED

spotlights (1 Cree XPE 3000K) provide

accent lighting to the choir, cross,

tabernacle, celebrant and conessional.Surace-mounted and track-mounted

Xicato spotlights (Sur Type X and

Track Type X) provide additional accent

lighting elsewhere.

In the corridor leading rom the

oyer, recessed uorescent profles

at the top and sides o a series o

white arches pick out their orm as

visitors walk though. Here cool white

light is used, whereas the fttings

in the body o the chapel have

a warm white temperature. ‘It was

about contrast,’ says Allan, ‘knowing

you were going rom one space to

a more important space.’

Above, the wallsallow longer light

ttings, while thevaulted ceiling takeshorter lengths ofthe 32mm-squareluminaires withfrosted defusers

C h r i S h u m p h r e y S

FX FOCuS



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Tech Spec


This month we have the experts’ inputon lighting matters and materials, plus19 pages of the best products around

THE EXPERTS

Jill EntwistleEditor & writerJill is an editor and writer who specialises inarchitectural lighting, following 12 years as editor ofLight magazine. She has authored two Designing withLighting books: Hotels, and Bars and Restaurants,and is an afliate member of the International

Association of Lighting Designers.

128 Light & Tech

Lighting is going up in the world... Thanksto lighting design, roofs can be a thing of

beauty, reports Jill Entwistle

Editors choice 140

LDF 141, 142, 143

Surfaces 145, 146, 149

Flooring 151, 152, 155, 157

Bathrooms 158

Kitchens & Bathrooms 161

Lighting 163, 164

Ofce & Contract Furntiture 167, 16Doors & Partitions 170

News 173

PRODUCT CATEGORIES

Lookingup – the roofof the Trinity

Shopping Centre,Leeds is an

attraction in itselfSee p128

Annabelle FilerCreative director, SCIN

Annabelle has a passion for materials and is thecreative director for SCIN, the materials sourcingand research company. SCIN has just opened a newshowroom/gallery in Clerkenwell with a materials libraryand galleries dedicated to companies specialising inmaterials or architectural components.

134 Materials

This month Annabelle Filer takes a look atan exclusive selection of surfaces that take

on a whole new aspect in the right light



things arelooking up A roof isn’t just for keepingthe rain out any more, so look

up and see what’s going on.Jill Entwistle investigatestwo projects in which theroofs, through lighting, havebecome integral to the overallsuccess of the schemes




Light + Tech

People are not very good at looking

up. All manner o exquisite

architectural detailing is lost on

us because we stare fxedly in ront

o us or at the ground. We generally

need something spectacular to grab our

attention. Shopping malls, which need

to stamp their identity on the consumer

psyche, are oten rather good at that,

and generally lighting is the key. The

fbre-optic twinkly ceiling o the type

seen at the Traord Centre is distinctly

old hat now, with more recent schemes

such as Clayton Square in Liverpool

using the inevitable LEDs. The latest

cutting-edge scheme is the LED-

studded glass roo at Leeds’ new Trinity

shopping and leisure development.

The alternative approach tointegration is to suspend an eye-catching

conection rom the ceiling. The second

scheme here (see page132), reminiscent

o the sculptures installed at St Pancras

station earlier this year, also involved

the structural challenge o a glass roo,

in this case spanning a ormer internal

courtyard in a building in central

Geneva. The cloud fttings are not just

uy, however. In addition to providing

artifcial light, they act as acoustic

baes and glare reducers.


The lattice grid roof of

the Trinity Shopping

Centre in Leeds is lit

by nearly 1,000 LEDs

Trinity’s trademark glass roo undulates over the

entire mall to orm a spectacular eature. While

impressive, the lightweight grid shell roo was also

problematic to light, says Tom Niven o BDP

Lighting. A minimal roo structure and a vast

expanse o glass – 40m at its widest point – added

up to a signifcant challenge.

‘A lack o consistent mounting locations at parapet

level, coupled with the act that at night, glass

eectively becomes a black mirror, meant we shied

away rom trying to wash the roo structure,’ says

Niven. ‘We wanted to accentuate the undulations o the roo and use the reections to create a eature.’

The solution, involving nearly 1,000 LED nodes,

was to mount a custom-made RGB LED acrylic

stem that graduates in size according to their position.

The longest stems, protruding by 200mm, are

clustered in the centre o the main roo and then

reduce down to points as they disperse out down

the arcade roos. By adding the stem element, the

coloured light also spills on to the white painted

steelwork which surrounds them, resulting in

a glowing roo. ‘The concept was to create a ow

o points along the arcades that amassed in the centre

o the main space,’ says Niven.

Studio Tech, a specialist in LED projects such

as this, particularly in the shopping centre sector, did

extensive development on the housing o the node

fttings so that they blended into the structure as

much as possible. The wiring that daisy-chained

each luminaire was clipped to the structure and

capped so that it was concealed.

The company also programmed the system, with

each individual node addressed back to the our

DMX universes controlling them. Creating the roo content was done collaboratively by BDP,

StudioTech and Land Securities. This involves

a series o amorphous eects, which run on an

eight-day cycle. ‘The scheme is limited to eight base

scenes o various slow-moving, colour transitions,’

says Niven. ‘This is not a video screen – it is relatively

low resolution. We did a lot o testing on site

to explore how dierent types o content worked

and ound that slow colour changes worked most

eectively. It creates a subtle backdrop and seen

rom the long view, the colour really comes through.’

TriniTy shopping cenTre, Leeds





Lt + T


G GG

Over three levels,

the East Mall is a

new-build complex

inspired bytraditional

shopping arcades

and open to the

sky at the various

entrances. Three

separate arcades

fow in rom the

surrounding

streets to a huge central space, spanned

by the glass roo. The arcades recede as

shoppers progress up the levels, creating

a light, expansive space lit primarily by

natural light during the day.

The centre’s south side has a more

traditional colonnade circulation. The West

Mall has been reurbished, and the

architecture and lighting treatment carriedthrough so that the two malls now read as

a coherent whole. A new, two-level link

bridge over Albion Street joins the malls.

The high level o natural light in the

east mall allows the articial lighting

to be switched o during the day. However,

several sections o the arcades are covered

by the levels above, which meant that

a key part o the lighting scheme was

managing the brightness levels between

the varying architectural conditions.

‘We had to consider the adaption o the

eye or visitors transitioning rom a bright,

sunny street to a relatively low ceiling-

height condition and then back into

daylight under the dome,’ says Niven. ‘We

needed to design these spaces to ensurethere was an allowance or high levels o

tuneable light.’

This was partly achieved by using

clusters o light boxes that combine cool

white linear fuorescent lamps with RGB

linear LED runs. The fuorescent sources

are used during the day and tuned to

balance with the surrounding retail spill.

At dusk, a 30-minute transition period

dims down the fuorescents and brings up

the LEDs or a warmer, soter mood. This

concept is continued throughout the entire

centre, where most o the lighting is 3000K

and comes on only ater dark to give the

centre a warmer ambience.

The light box clusters have been

mounted with a consistent, precise shadow

gap throughout and also set up into the

sot slightly so that the light clips the

verticals, giving them a visual rame.

It is typical o the attention to detail

throughout the mall. Another example

is the recessed linear fuorescent

luminaires that light the south colonnades.

These have been set up an additional

50mm into the plasterboard sot so that

shoppers have no view o the tting even

rom a distance.

ProjecT: Located

in the heart of

Leeds City centre,

the £350m

Trinity

development

includes

restaurants, barsand a cinema,

as well as the

primary shopping

area. Flagship

brands include

Apple, Hollister

and Victoria’s

Secrets

LighTing design:

BDP Lighting

ArchiTecT:

Chapman Taylor

deveLoPer: Land

Securities

suPPLiers:

Studioech:

Custom-made

RGB LED nodes

for roof system.

ether ighting:

T5 and LED

light boxes.

Fagerhult: Notor

linear uorescent

recessed proles.

argetti: NanoPyros 35W and

70W metal halide

spotlights.

Concord: LED

100 compact

uorescent

downlights. Wila

ighting: LED

handrail pucks



Lt + T

ProjecT:

Mamaclouds,

Hôtel de Banque,

Geneva branch

of UBS

cLienT: UBS

LighTing concePT:

Omarini

Architecture

generaL

conTracTor:

Implenia

Entreprise

Générale

assembLy: Belux

GmbH and

Vertige Concept

Yverdon

When the former courtyard of a city building was

covered with a glass roof to form a customer

meeting area, it created an issue with glare, which

particularly affected workstations around the

periphery at midday.

The brief for architecture practice Omarini

Architecture was not only to reduce glare but also

the noise – the cavernous space caused an acoustic

problem – and to solve it using articial lighting.

The result was the three enormous Mamacloud

structures, from 3m to 12m long. They lter daylight

and provide multidirectional articial lighting when

required. The surfaces also help dampen the noise.

The fourth benet is that they act as a dramatic

artistic element, whether switched on or off.

Made by Belux, the shell is formed from polyester

eece made from 100 per cent PET recycling

material, with a surface roughened to give the

appearance of paper. Rened to make it almost

non-ammable, the material is also resistant to

UV light.

The largest cloud (12m x 3 m x 3m) houses 60

TC-TE 42W-827 uorescent lamps (at full load,

2.7kW with an output of 192,000lm) operating on

30 Dali control ballasts.

The second, vertical structure (9m x 3m x 1.5m)

features 36 TC-TE 42W-827 sources, giving a total

full load of 1.6kW and output of 115,000lm. They

have 18 Dali ballasts. The small, pear-shaped design

(3m x 3m x 3m) has 20 TC-TE 42W-827 light

sources on 10 Dali ballasts, with a maximum output

of 64,000lm (900W).

MaMaclouds, UBS Geneva




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Register FREE at www.100percentdesign.co.uk



TOUCH OFTHE LIGHT

FANTASTICIn this month’s selection ofmaterials, Annabelle Filer looksat new surfaces that can helpenhance the illumination of thespace in which they are featured


Ilumination needs the support of a good material, as its properties can bias the way light is delivered to a space or

enclosure. Clearly this is important in terms of the quality of light we experience but also in how we actually see the

space. The material becomes an arbiter for illumination: it can create reection, diffusion, shade and dexterity in the

way light is physically delivered. The materials we encounter this month can all be viewed as having a say in how we bring

light into a space: some work in isolation while others engage in a little electric foreplay as an aid in invoking change in

light conditions. All of the materials though, without exception, need light to give them life.



Materials

TransiTion Glass

This kiln-ormed glass has made a dash or the

border and converted itsel at some stage in the

panel, back into clear, smooth transparent glass.

It is quite exceptional, as this conversion to clear

has enabled a glass panel to maintain an elemento privacy through the more decorative aspect o

the kiln-ormed mould and yet transorm fuidly

into its clear nemesis. This is a radical departure

rom the convention o the deeply embossed glass

usually associated with kiln-ormed.

Joel Berman Glass Studios, the company

behind this state-o-art-glass it rightly calls

Transition Glass, has created a new dimension

in this material. This is a glass that has the

potential to resolve a problem that has caused

many architectural headaches: clarity o vision

versus privacy and translucency.

The panels themselves can be created in

a number o ways to place the clear area

according to the privacy requirements withinthe intended space.

Country of manufacture/distributor: Canada.

Colour & range: 24 designs, in all stock colours

(transparent, frosted, opaque, sfumato. Size:

Maximum width 68mm (11mm deep). Applications:

Partition walls, balustrades, windows, decorative

panels, ofce dividers, doors, signage. Other:

Available in clear, oat or low-ion glass and safety

treatments - tempered, laminated or both.

jbermanglass.com

liGhT Diffuse TexTile: Tenara

This is a technical textile, but with soul.

Aesthetically it is a pure, simple, white woven

textile, a material that can fow rom the internal

ceiling to an external tensile structure, useul or

architects and designers seeking a materiallanguage to unite the interior and exterior. Tenara

by Sear is one o many clever woven solutions it

developed in its architectural palette, is a strong

light diuser (38 per cent light penetration) with

the ability to drape easily, and as a retractable

canopy it holds no memory.

Tenara is a coated, woven fuoropolymer rom

ePTFE abric. The ‘e’ is or ‘expanded bres’ that

have a high strength-to-weight ratio and, unlike

a more standard PTFE textile, is both woven and

coated with PTFE. Its homogenous and woven

nature is what gives it a fuidity and UV resistance

as well as resistance to many environmental

pollutants. Not surprisingly Tenara has a

sustainable legacy, rom the potential longevity o the bre to the core material, which has no

plasticisers, catalysts, stabilizers or chlorine. Sear

has also developed a similar material that has

strong acoustic properties.

Country of manufacture/distributor: Switzerland.

Colour & range: White; custom colours available.

Size: Standard range width 1.57m wide, 0.55mm

thick. Applications: Tensioned, retractable shading,

temporary interior ceiling, cladding, marine,

sculpture, air-inated structure. tenarafabric.com




Materials

ElEctro-rEactivE

transparEncy Film

At the press o a button releasing alow-voltage charge this unassuming

flm will transorm rom opaque to

transparent, and can be simply

fxed to new or existing glass. It

is a true multi-tasker providing

privacy, solar shade or projection

even in bright sunlight.

According to manuacturer Unilux it has ‘no moving parts,

no maintenance, no time-consuming exterior ftting, no

shadows and no wear’ and can also be retroftted. It is simply a

flm on a roll and can even have a hole cut in it. There clearly is

considerable technical innovation in developing a flm like

Nanotech, however, and so here’s the clever stu: It is

comparable to an LCD screen, except the liquid crystals are

within a spongy type o core created by a polymer network thataligns when ow voltage is passed through, making it clear. The

two external sheets, made o PET, are coated with an electric

conductive substance on one side, ensuring rapid electrical

conduction. The level o transparency is down to a dimmer

switch that controls the infnite variations in the blink o an eye.

Country of manufacture/distributor: Netherlands. Colour &

range: Black, white. Size: Maximium roll size: 1m x 50m. 0.12mm

thick. Applications: From shop windows to shower screens.

Other: Cathodes are located at the bottom but they can also be

placed at the side. unilux.nl

nanotEch matt: FEnix ntm

Strictly speaking Fenix NTM is just a

laminate but, what a material! It is wol in

sheep’s clothing, but what a really

stunning-looking sheep! Fenix NTM is

a new and very clever development rom

Arpa Industriale. It is very sot to touch –

so a complete haptic antasy, but touch

away and fngerprints will not appear – it

is both hydrophobic and oleophobic. With

a matt fnish it has a low light reectivity.

In addition it can thermo-heal micro

scratches, is impact resistant, has

enhanced anti-bacterial properties, clean

enough to eat o and bold enough to put

the gas hob ring straight into.

Traditional in that it is a high-pressure

thermo-lamination with a krat paper core,

Arpa scientists have added a top surace

and their own next-generation resins.Fenix NTM has the potential to become

one a core material choice.

Country of manufacture/distributor: Italy.

Colour & range: 8 plains, plus wood,

concrete and metallics looks. Size: Standard

4.2m x1.6m x 0.9mm; others. Applications:

Horizontal and vertical surfaces, wet rooms,

furniture. fenixntm.com

conductivE panEls

This conductive material that

transorms an entire surace intoa secured power outlet isn’t new,

but it continues to innovate and it is

an extraordinarily liberating way to

light a space. Dipline has produced

a composite panel that is a highly

resilient, electrically conductive

elastomeric material with two

metallic sheets. The surace has a uniorm charge and the lights

have been developed with two pins, so they are literally pinned to

the board. The material has no memory and so the fttings can

be repeatedly changed or repositioned. The board itsel is

powered by 12V. There are currently three panel types: Classic,

made o high-density polyurethane geared or more permanent

architectural specifcation using spotlights; Eco, a low-density

polyurethane more suitable or LEDs; POS, high-densitypolystyrene plaques or temporary solutions. The potential or

this material is phenomenal: it is as useul as a suspended ceiling

panel providing ambient or task lighting as it is covered in

wallpaper or other material where light becomes part o the

decorative palette.

Country of manufacture/distributor: France. Colour & range:

Classic, Eco and POS. Size: Classic standard size 2.5m x 1,2m

(cuttable), approx 19mm thick. Applications: Large, high-powered

panels, internal signage, decorative panels, furniture, artwork, xed

or freestanding. dipline.com



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Howick Place

Within London’s sought-after area of

Victoria is situated the architecturally

cutting edge commercial and residential

development, Howick Place.

This 143,000sq ft of Grade A ofce space

and 23 luxury apartments is a agship

development by joint developers Doughty

Hanson & Co and Terrace Hill Group PLC.

The building is modern, stylish and full of

light due to its impressive oor to ceiling

windows delivering a perfect working space

for the luxury brands it has already attracted.

Responsible for the impressive design

were Rolfe Judd Architects. Not only did

they want to create an exterior that that

was visually stunning but also an interior

that show cased modern design at its best.

This inspirational working environment had

to make an immediate impact with

potential occupant’s right from the

moment they step in to the expansive

reception area to rinsing their hands in the

washrooms. To help achieve this Rolfe Judd

appointed Amwell Systems to supply and

install their modern and luxurious

washroom products so the building

represented the highest quality

craftsmanship no matter where you are in

the premises. When discussing the

importance of a quality washroom t out

project architect Andrew Wall said the

following:

“Our clients are becoming increasingly

concerned with the quality of their

washroom facilities. More and more people

are cycling to work in the city and so we

needed washroom and changing areas that

met our client’s high standards”

Amwell’s real wood veneer Sylan

cubicles were specied for the washroom

cubicles. With 44mm real wood veneer

doors and totally invisible xings Sylan was

Coolite cubicles in Alpine glass



ADVERTORIAL

the perect choice or this project given that

quality was such an important actor:

“We were very impressed with the Sylan

system. We needed a totally bespoke

system and Sylan gave us just that. We

needed fexibility rom our cubicle choice

so we could achieve the level o detail

required or this project”

Being oset against contemporary lime

stone vanity units, also supplied by Amwell

Systems, the cubicles gave the perect

contrast between the traditional and the

modern, a consideration that was key or

Role Judd throughout the project;

“With Amwell’s products we were able to

achieve a design that was crisp, clean and

understated whilst still maintaining a

eeling o warmth”

To urther enhance this cutting edge

design glass duct panels were also installed

in the washrooms. Being ully aware that

accuracy and precision was critical to thebuild, Amwell Systems ensured due care

and attention was paid when installing all

products but particularly when dealing with

this delicate and intricate design element.

Glass was also used in the shower and

changing area. Amwell’s Minima cubicles in

Alpine glass were specied or the 12

shower cubicles and look stunning against

Minima’s sleek stainless steel aluminium

rame. These modern, angular cubicles

coupled with the welcoming warmth o the

real wood veneer lockers certainly ensured

that Role Judd were able to meet their

design brie set by the client to go “above

and beyond”

For further information on any of

Amwell’s products visit their website

www.amwell-systems.com or call their

helpful team on 01763 276200

Sylan cubicles in real wood veneer and limestone vanity units



Apeer

One of the most exciting developments

to happen to composite doors in a

decade has been launched by Apeer

with 12 cutting edge new designs. The

Modern Door (MODO) collection

from Apeer is a design-led portfolio of contemporary new doors, developed

and fully manufactured at Apeer’s

state-of-the-art production facility at

Ballymena in Northern Ireland. The

new MODO collection features all

the security, durability and energy

efciency associated with Apeer Doors.

apeer.co.uk

DAre STUDIO

Designed by Sean Dare The Bronte was designed to

compliment our Hardy Wingback collection as a low back

option. With a sumptuous xed seat and an invitingly soft

aesthetic, the Bronte features a rounded back and beautifully

tapered solid timber legs. Offered in a variety of Leather

and Fabrics with a choice of American Black Walnut or Oak

Legs. Visit us at Design junction Stand S7.

darestudio.co.uk

HADDOnSTOne

Haddonstone is the UK’s leading manufacturer of

ornamental and architectural stonework for interiors and

exteriors. Standard designs range from planters, fountains,

sundials and statues to balustrades, columns, follies and

even replaces. Custom designs are a specialty. Pictured are

three new designs: Aristotle, Diana Chasseresse and Apollo

Belvedere. Inspirational 204-page catalogue available on

request. Acclaimed Northamptonshire showgardens and

interior showrooms.

haddonstone.com

rAK CerAmICS

Inspired by the varying tones and textures of the Arabian Desert, RAK’s Sandust

Collection includes two new porcelain tile formats in a striking Anthracite and

White colour tone. Suitable for wall and oor application, RAK’s Sandust tile is

offered in 60 x 60cm and 60 x 30cm formats. The landscape-inspired design is

achieved using the latest ink jet technology, which provides great depth and an

authentic colour pallet. All tiles have a matt nish and a R10 slip resistance rating,

achieved by intermittently striking the surface during the pressing process. They

can be installed both internally and externally, providing a stylish, contemporary

surface that’s both exceptionally durable and easy to maintain.

rakceramics.co.uk

Editors Choice

jAmeS LATHAm

The natural choice in timber and

panel products, James Latham, is now

offering Natural Touch, Kronospan’s

newest innovation in wood panel

manufacturing. Natural Touch is therst embossed-in-register melamine

board where the grain texture

precisely matches the surface nish.

Now, the authentic look and feel of

real timber - the graining, the subtle

variations of shade and tone - is

accessible on almost any project.

lathamtimber.co.uk



Eco DEcking SyStEmS Eco Decking Roofng Systems have introduced a new

100% recycled roofng slate to the UK market which is setto revolutionise the entire roofng industry. We oer a state

o the art ormulation which provides a strong, pliable and

attractive roofng option or your building application. The

state o the art ormulation is sel-bonding and Flexible

enough to be used or all valleys and ridges. The New Ultra

Shield Decking is being highlighted at the 100% design Show.

ecodeckingsystems.com

100% Design - Stand E30

jiS EuropE JIS Europe will be displaying their extensive range o stainless steel heated towel

rails at 100% Design. Their Sussex Range is available in polished or brushed satin

fnishes. All towel rails are manuactured to exacting standards and JIS Europe

oers an extended range o sizes with new models to choose rom. All the models

are guaranteed or 25 years.

sussexrange.co.uk

100% Design - Stand K20

granortE

Granorte will use Design Junction

exhibition in London as a platorm to

showcase cork not only as one o the

most sustainable materials available, but

one which also oers almost limitless

design possibilities. From a brand

new concept product Corkcube to

3-Dimentional walls, Granorte will also

reveal urther industry frst prototypes,

including cork ofce accessories, cork

tableware and even a cork kitchen sink!!

granorte.co.uk

Design Junction - Stand 27C

gLaSSoLutionS

Providing superb potential to create original interiors TEX

GLASS is a laminated glass product with a choice o

beautiul abrics encapsulated inside. The wide range o

abrics has been careully chosen rom the award winningNya Nordiska collection. Dramatic eatures can be created

or partition walls, screens, doors and urniture and

other interior applications. When combined with either a

backpainted glass or mirrored glass or cladding applications,

the eect can be stunning.

glassolutions.co.uk

Nya Nordiska Showroom - World End Studios

hamiLton LitEStat Visitors to the Hamilton stand will be

able to view the British company’s

comprehensive range o switch plates

and sockets as well as bespoke artisan

door urniture rom Italian brand

Giara, or which Hamilton can produce

unique matching plate designs as

part o its Savile Row bespoke design

service. Hamilton’s new bronze eect

plates have been proving very popular

since launching this year.

hamilton-litestat.com

Decorex - Stand B47

London Design Festival



HI-MACS

LG Hausys, manufacturer of the

super versatile HI-MACS solid surface

material, will exhibit at 100% Design

exhibition. HI-MACS natural acrylic

stone, will be shown in some futuristic

furniture applications in the form of a

stunning desk and fun furniture. The

Agata desk, designed by Studio FRA

srl. from Italy demonstrates the ultimate

ability to form HI-MACS into any

three dimensional shape. Meanwhile,

the quirky but original furniture range

aptly demonstrates how designers are

in no way inhibited when working with

HI-MACS which machines with ease,can be thermoformed to any shape and

is joined in a visually seamless way.

Also being showcased is the suitability

for HI-MACS to be used for both

dramatic internal wall cladding and

exterior façade applications, as well as

some exciting new colours. himacs.eu


dupont

DuPont Building Innovations has joined the Power Matters

Alliance (PMA) and is working with other PMA members

on wireless charging solutions for smartphones and tablets

that can be effectively integrated into worktops made with

DuPont Corian solid surface. ‘The next phase in wireless

power is seeing it embedded into surfaces used for furnishing

solutions,’ said Ron Resnick, President of PMA. ‘DuPont has

been driving innovation for decades in the area of advanced

materials. DuPont Corian solid surface is a globally renowned

premium solution in the markets of furnishing and interior

design, both commercial and residential. The collaboration

between PMA and DuPont Building Innovations marks

another step forward in the PMA’s vision to make smart

wireless power a ubiquitous part of our lives.’ corian.com


ArMAC MArtIn

Armac Martin the Birmingham based long established

Manufacturer of Furniture handles and components are

delighted to be a rst time exhibitor at 100% Design. Such

are the amount of new products and nishes produced no

amount of internal marketing can showcase them like an

exhibition. Contemporary and Traditional styles are all part

of current standard range and bespoke production.

armacmartin.co.uk


kerAMAg deSIgn Keramag Design is a name synonymous with innovation, quality and desirability.

The company offers a design-led portfolio of sanitaryware and furniture for the top

end of the market. Using only top-class materials and state-of-the-art technology,

Keramag Design strives to deliver not only cutting-edge bathroom solutions but

also premium quality and timeless design. At 100% Design, Keramag Design will

present three of its latest designer collections, Citterio, myDay and Preciosa II,

comprising a stylish range of basins, toilets, furniture units and mirrors. Citterio,

designed by world-famous Italian architect Antonio Citterio, combines puristic

materials and organic shapes, effortlessly encapsulating a modern elegance with

an enduring appeal. While with Preciosa II, the creation of Keramag Design’s

Bernd Brohammer, clear structures and sleek form come together culminating in a

consistently minimal artistic style. Conversely, the myDay collection by industrial

designer Cornelia Thies takes a pared-down, carefree approach resulting in a soft,

natural and feel-good aesthetic. keramagdesign.com



HAnex SolId SurfACIng

The Hanex brand of solid surfacing

is showing off its design and quality

credentials with a palette of 80 nishes

that will tick every designer’s wish list

for stones, pearlescents, translucents

and plain colours. The brand marries

creativity and condence offering theindustry’s highest FR rating of EN

13501-1B and the NSF51 food hygiene

certication. Beautifully aesthetic,

exible and functional, Hanex can be

called upon to bring a signature look to

domestic, commercial, leisure, transport

and public sector projects. hanex.co.uk




KAAITA Ding Dong swing - a friendly indoor swing is a divine giftfor any terribly busy person. It’s a softly curved tool to

relax body and mind, encourage creative laziness and active

rocking in closed spaces. We prescribe this cure for anyone

that hasn’t indulged in at least an hour of carefree playtime

since childhood. The swing is made from beech tree plywood

that has been pampered with a mix of natural oils.

kaaita.com


ShowerwAll

Showerstyling by Showerwall is the brand new product launch offering designersand speciers the unique option of bespoke – digital printed wall panelling to

give a bathroom a signature design, while also guaranteeing easy installation and

maintenance. Showerstyling is aimed primarily at the commercial sector including

hotels, spas and leisure clubs and offers the design freedom for corporate or

themed designs to be incorporated into the shower areas. Any design can be

digitally printed and encapsulated sub-surface in the high performance, high

pressure laminate. showerwall.co.uk


KI KI will be launching Cornerstone, a

new acoustic stacking screen system

designed by Craig Jones. This enables

a complete system including the

breakout areas to be within the same

footprint. It is designed to provide a

natural extension and integrate with the

UniteSE workplace collection and other

manufacturers furniture systems. Alsofeatured will be the Red Dot Winning

Faveo 24/7 task chair and Opt4 Seating

range. The design brief for Cornerstone

was to create a physical link between

workstation, storage, and screening,

providing a natural progression into

the Third space. The design concept

is to offer integration and continuation

of working areas rather than creating

separate product groups. Providing

exibility for expansion and contraction

in existing and new areas of workow

are fundamental to the screens design.

kieurope.com

100% Design - 0320

JAy wATSon

Designer-maker Jay Watson will be unveiling a table lamp

version of his highly acclaimed Just Desserts pendant lights,

among other clever upcycled designs. Just Desserts is a series

of handmade low-energy luminaires created from a uniqueselection of traditional pressed glass dessert bowls, sourced

from ea markets and second-hand shops. Each lamp

features a single high brightness LED, hot white (2700K,

90CRI) rated to 75,000 hours, which has been incorporated

into a turned wooden and aluminum xture. Available as

single or cluster pendants, table lamps, as well as bespoke

arrangements. jaywatsondesign.com

Designjunction - Apartment Therapy’s pecha kucha

AvonITe Avonite is showcasing its deluxe Studio

collection of polyester-based solid

surfacing. Inspired by precious metals

and glass, the 22 designs bring together

luminosity, depth and clarity in a stand-

out palette for luxurious high-end

looks. Also on show is the Foundations

range with 21 designs in acrylic solid

surfacing. Foundations offers a choice

of 3mm and 12mm veneer thicknesses

and different sheet sizes, offering the

benets of design exibility and cost

engineering for commercial projects.

avonitesolidsurface.co.uk







Designworks

Designworks oers an expert design service and can

transorm any high resolution image into a mosaic mural ora striking and glamorous look. The huge range o products

coupled with the skilled team at Designworks oers a solution

or all projects. Designworks has added several new mosaic

products to its collection which eatures dazzling mosaics

specifcally designed or use in commercial spaces. Textured

aluminium, leather-look, abric, metal and natural reshwater

shells are just a ew o the options within the vast range.

designworkstiles.com

skopos A collection o 30 elegant light reective weaves, the new Lucca collection by

Skopos consists o fve beautiully crated designs. Named ater the picturesque

Tuscan city, ull o history and with its name meaning ’bringer o light’, the

collection shows a marriage o classical and modern ideals, in a sophisticated palette

o colours. Within the Lucca collection Skopos oers a wide width (275cm) stripe

and small scale light dancing chevron, a large-scale textural chevron design and

then two damasks; one almost neo-classical in its orm and the other a

contemporary cousin. skopos.co.uk

armourcoat

Armourcoat have introduced ‘timber-

eect’ panels as part o its ArmourFX

decorative wall panel range. Emulating

natural wooden planks with an

exposed grain detail, ArmourFX

‘timber-eect’ panels are designed

or decorative wall cladding – ideal

or interior theming and branding.

Available in three lengths (1.6m, 1.8m

or 2m), our standard colours and

either textured or a smooth fnish,

‘timber-eect’ panels can also be

custom colour and fnish matched.

armourfx.com

siminetti

When Le Monde, the award winning Boutique Hotel in

Edinburgh were looking at ftting out their new bar area,

they chose Siminetti’s Mother-o-Pearl ‘Anthracite’ mosaic

to fnish o the curved bar ront. On arriving at the hotelrom Edinburgh’s amous George Street, guests enter the

welcoming lounge and bar area with its boutique style fnishes

and centrally located grand bar. The use o Siminetti mosaics

worked perectly on the curve created or the bar ensuring the

luxurious boutique theme was maintained.

siminetti.com

granorte The cutting-edge Cork Collection_03

range o three-dimensional cork

wall tiles and panels has taken the

specifcation market by storm with

its contemporary lines and natural

properties suitable or both design and

eco conscious projects. An exclusive

line, Collection_03 draws inspiration

rom and oers a completely modern

take on traditional Portuguese tiles

and wood panelling rom the 50s and

60s. Comprising tiles that combine

in various ways to create unique and

graphical wall coverings.

granorte.co.uk

Surfaces



Formica Group

Formica Group, the original inventor

of laminate, celebrates 100 years of

invention, innovation and design

leadership in 2013. Formica Group

partnered with world-renowned design

consultancy Pentagram to create an

engaging 2013 anniversary campaign

for its iconic Formica brand, including

the Anniversary Collection featuring12 new patterns that reect the

Formica brand and its history, as well

as Formica Forever, a commemorative

book that captures the company’s

100-year evolution through cultural

shifts, economic uncertainties, trend

exploration and global growth.

formica.eu

Forrest & jones

Seamless wallpaper from forrest & jones is now being

specied for prestigious installations within the hospitality

and healthcare sectors. An extremely tough, polyester woven

fabric based substrate, which is PVC free, can be printed with

bespoke designs which can go up to ve metres high by any

length. The quality of the print is pin sharp and as there are

no joins any possibility of pieces lifting and contamination

getting underneath is eliminated, leaving it looking great for

years. forrest & jones also have full artwork capabilities too

and coupled with their guaranteed installation service ensure

a fantastic nal result. forrestandjones.com

coral Fabric imaGinG

Coral’s low-energy edge-lit LED tensioned fabric lightboxes

are now available only 34mm deep with our newly developed

slim-line aluminium prole. A bespoke high-quality LED

light engine illuminates a patterned light guide plate,

providing exceptional brightness across the whole fabric

faced graphic. With exceptional brightness and even light

distribution you can create stunning graphic illumination

adding ambience to any environment or giving your visual

the impact it needs. The graphics are simple to t, swap out,

fold up, pack away and easy to transport. coralcolour.com

caesarstone

The new 5000 Series – the Supernatural range, has been inspired by nature after

Caesarstone recognised growing international trends for natural wood, earth and

stone colours. The nature-inspired designs give the surfaces the look of natural

stone in earthy tones, with its rich texture-like appearance similar to that of a classic

marble look. So not only is the 5000 Series aesthetically stunning, it also benets

from the durable qualities Caesarstone’s quartz surfaces possess.

caesarstone.co.uk

Surfaces

Grace & Webb

Cotswold based design studio, Grace

& Webb, utilise their area’s wealth of

specialist manufacturers, designers and

craftspeople - fabricators are all within

30 miles resulting in quality assurance

and tight production times. Grace &Webb offer tailor- made designs and

luxury surface nishes to the high-end

hospitality, interior and architectural

markets. Applications include

architectural cladding, balustrade,

bespoke panels and screens, lift shafts,

suspended ceilings, backlit light features

and wall art. graceandwebb.com



The Fix is a series of events to promote business betweenclients, architects, designers and developers in the retail,hotel and hospitality sectors.

Contact: [email protected]

FULLBODIEDCONVERSATIONS

THAT LEAVE YOU LIGHT

HEADED

L I V E L Y

T H O U G H

T S

F O R

B U S I N E

S S .

O C T O B E

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Patch TwoJacco Bregonje / 2013

The colourful cover of the Patch One & Two is

manufactured using a luxury fabric exclusively

designed for this model by Missoni and MissoniHome.

This special fabric has been designed so that no two

chairs are the same, although the use of colour means

that they all match each other perfectly.

www.artifort.com

Crest Contract Interiors

T 01322 314 864

[email protected]

www.crestcontracts.co.uk



IDS

IDS has added the Avonite Foundations range of acrylic

solid surface to its portfolio, offering a higher level of creative

and fabrication freedom for domestic, commercial, leisureand retail interiors being available now in choice of 3mm,

6mm, 9mm and a new 12mm thickness in sheet size 3660 x

760mm. The choice of veneer thicknesses across each of the

21 new designs increases its exibility for use on both

horizontal and vertical applications. The choice of veneer

thicknesses across each of the 21 new designs increases its

exibility for use on both horizontal and vertical applications.

avonitesolidsurace.co.uk

COMPAC

Absolute Blanc from COMPAC is probably the most vibrant, pure white

technological quartz worksurface on the market today. It offers superb consistency

of colour, is extremely hard wearing, highly resistant to heat, scratches, staining

and is very easy to clean and maintain. Absolute Blanc has a timeless elegance that

provides the opportunity to create a truly stunning environment for a wide range of

applications - from bars and restaurants to hotel receptions and domestic kitchens.

compac.es

CreStJMt LeAther

CrestJMT Leather and Interio Ltd

design consultancy have collectively

designed and upholstered the new

interiors at the ve star London hotel,

The Wellesley. Upholstering both the

bedrooms and dining rooms, CrestJMT

are the pinnacles of luxury leather. The

designers believed that only the nest

leather was to be used in its rooms and

dining space. Cream Vele, Cambridge

and Shelly were used throughout the

hotel including the bed headboards,

armchairs, dining chairs and booths.

crestjmtleather.co.uk

SOLuS CerAMICS

With the trend for utilitarian interior design taking hold, Solus

Ceramics introduces the stylish Replicate range, a concrete

inspired oor and wall tile that embodies a modern industrial

aesthetic. Replicate is inuenced by urban architectural trendsand industrial landscapes, and features nine contemporary

colours including raw greys and rustic browns. The range

reects the patterns, colours and irregularities that appear in

polished concrete and also display variations that look similar

to aking plaster. Some of the tiles have also been designed to

evoke oxidized metal, presenting a chic rusted nish.

solusceramics.com

ALtfIeLDInnovations have introduced a

sumptuous selection of wallcoverings

to their 2013 collection. From textured,

raised prints in damask patterns, worn

metallics evoking the romance of age

and antiquity, to the unexpected luxury

of sustainable materials; shown here is

Pietra, which showcases the beautiful

eye-catching quality of natural cork.

Pietra suggests the urban aesthetic

of weathered concrete, with a subtle

shimmer for a look that is bold,

modern, and truly one of a kind. It is

available in four colours.

altfeld.com

Surfaces





quartzforms QF Distribution Ltd exclusive distributors of

QUARTZFORMS in the UK have added two new nishes

to their popular Breeze collection, Pearl and Black Pearl.

The nely grained surface of Breeze is characterised by

a light vein, with shades of delicate and elegant hues and

QFD believe that these two new neutral colour tones lend

themselves ideally for today’s popular demand for open planliving areas, which see the kitchen blending into the living

spaces creating a harmonious interior. The two new Breeze

nishes will be available in the UK from stock in the standard

three thicknesses of 12mm-20mm-30mm and in the standard

polished surface as well as alternative options in SPACCO

which has a textured surface and the smooth matt

touch of the OPACO nish.

qdistribution.co.uk

polyflor Expona, Polyor’s world renowned Luxury Vinyl Tile brand synonymous with

high design and quality has been dramatically re-launched! With a 20 year history

and global sales of over 35 million square metres, Expona is widely regarded and

respected across the world. In the most exciting development in LVT for quite

some time, the new Expona offer is formed of two design focussed collections

across two specications. Expona Design PUR incorporates a 3.0mm gauge and

0.7mm wear layer, where as Expona Commercial PUR features a 2.5mm gauge

and a 0.55mm wear layer. polyfor.com

DaviD Clouting he LG brand is one of the most

powerful and fastest growing brands in

the world. In the UK, David Clouting

Ltd is LG Hausys largest distributor

of surface materials including an

innovative range of vinyl oor coverings

for the retail sector. Available in a wide

variety of colours and designs in sheet

or tile formats, the LG Hausys ooring

range, exclusively available from

David Clouting, will create a positive

impression for a cost effective price.

davidclouting.co.uk

forbo Offering a wide variety of designs, from earthy and realistic

wood effects to bright primary colours, Forbo Flooring’s

Eternal range of general purpose vinyl has helped to create

a fresh and natural looking interior design at a striking newhealthy-eating fast-food outlet in Liverpool City Centre.

Forbo’s Eternal Wood has been installed throughout

the majority of the store, including its seating and food

preparation areas, as well as the customer WCs.

orbo-fooring.co.uk/retail

polyrey Those planning to visit 100% Design

at Earls Court will not fail to notice

the striking array of laminate surfaces

on display at stand E120 in the Eco,

design & build section thanks to leading

manufacturer. Polyrey’s brand new

range of laminate decors, Collection

2017, will be readily available for

designers and speciers to glean

inspiration for their latest projects.

Comprising decors suitable for both

commercial and residential interiors,

Collection 2017 presents limitless

design possibilities. polyrey.com

Surface/Flooring



wilton carpets With over 20% o all visits to its website

coming rom mobile phones and

tablets, Wilton Carpets has developed

a new mobile-riendly Carpet Search

app that oers users rapid and efcient

access to its Ready to Go, FastTrack

and Bespoke design libraries when on

the move. Users can scroll through

swatches o the Ready to Go andFastTrack design carpet collections, or

pinpoint the right look with the Design

Search tool that fnds styles by name,

pattern or type. Once a design has been

selected, Room View oers an instant

3D preview mockup o the carpet in

dierent popular room types.

wiltoncarpets.com

lano Flooring solutions Some 2,500 sq m o stylish tuted carpet rom Lano Flooring

Solutions now covers the oors o The Nadler Soho, a 78

room luxury boutique hotel nestled in the heart o bustling

Soho, London. Chosen by interior designer Clarissa Nadler,

as part o the ft-out o the new Nadler Soho hotel, bespoke

Zen Design carpet graces the bedrooms and corridors o

this stylish urban retreat with its striking pin-dot pattern and

deep midnight colouring adding a plush, contemporary look.

Fitted by Abbots o Oldham, the stunning dot pattern o the

new Zen carpet was printed using state-o-the-art chromojet

machines at Lano’s Belgium manuacturing acility. lano.com

arturo unique Flooring Acid house yellow to battleship grey, owers at your eet and

pop art splashes to geometric slabs, you can have it all with

Arturo Unique Flooring. Thanks to the creative reedom o

innovative resin ooring rom Arturo Unique Flooring, oors

can now be awash with pattern or colour while still being

incredibly practical and exceptionally hardwearing. Designer

ooring made to last. Arturo meets new CE regulations

and highly skilled specialists apply product knowledge and

technique to deliver stunning results in a oor fnish that

is incredibly durable and that will retain looks and low

maintenance or its lietime. arturofooring.com

Villeroy & Boch Structured, matt and polished, large slim ormats, dierent colours – the modern

natural design o LANDSCAPE is notable or its versatility. The natural-looking

sandstone structures lend the porcelain stoneware an authentic quality. Combine

matt-gloss eects or restrained ormat and colour mixes. Tiles are available in grey,

beige or cream. villeroy-boch.com

Flooring

Moduleo Leading LVT ooring manuacturer

Moduleo has launched a brand-new

patented T-Bar system in association

with Xtraoor, oering the most

exible solution on the market. The

new state-o-the-art T-Bar can be

customised to match any kind o

ooring, guaranteeing a seamless

fnish to any room. Ideal to cover the

gap between two-level oor suraces,

the new T-bar rom Moduleo can

be customised to match any type o

luxury vinyl ooring. Designed or

doorways and thresholds, the external

translucent casing o the T-Bar ensures

a awless fnish is continued to the

edge o any room. Moduleo oers adiverse range o durable and stylish

luxury vinyl ooring with unparalleled

“green” credentials. Be it or home,

ofce, or commercial use, Moduleo

oers a luxury solution or the ultimate

in natural-looking and durable luxury

vinyl ooring.

moduleo.co.uk



We create for you.

18th-21st Sept., Stand E120, Earls Court

Polyrey’s brand new range of laminate decors, Collection 2017, will be readily available

for designers and speciers to glean inspiration for their latest projects at this year’s

100%design. Comprising decors suitable for both commercial and residential interiors,

Collection 2017 presents limitless design possibilities. From glossy brights and wood-

inspired grains to mesmerising digital patterns, this latest offering from Polyrey will not

disappoint.

Ticking all the style boxes, Collection 2017 decors are exceptionally durable with superior

impact and scratch resistance, with many specically engineered for moisture-prone areas

to ensure lasting performance and looks in even the most demanding of environments.

Polyrey UK

Victoria House, 49 Clarendon Road, Watford WD17 1HP

Tel: 01923 202700

Fax: 01923 202729

Email: [email protected]

www.polyrey.com





Itec contract Floors With a reputation or impeccable perormance and style,

the brand new collections o advanced saety fooring rom

Itec Contract Floors, isae One and isae Apex, are taking

the specication market by storm. Ideal or a whole varietyo environments, the saety fooring collections provide low

slip potential (36+ rated according to BS 797-2:2002) in

both wet and dry environments or complete peace o mind.

Proving that saety fooring can be as stylish as it is sae, isae

Apex places emphasis on natural-inspired decors, with a

variety o wood and stone styles, whereas isae One comprises

17 mineral and metal inspired designs that oer a bold and

modern look. itecoors.co.uk

Peronda The internationally renowned vintage urniture designer Francisco Segarra is now

collaborating with Peronda. Segarra’s striking FS collection or the Spanish tile

manuacturer presents inkjet interpretations o aged Victorian encaustic and hand-

painted patterns or foor and wall ceramics. Widely used in both commercial and

residential applications, FS by Peronda comprises ve design patterns in a 45 x

45cm ormat, and has recently been urther enhanced with three new collections in

33 x 33cm and 11 x 11cm.

peronda.com

junckers One o the rst Passivhaus certied

nondomestic projects to complete in the

UK eatures Junckers prestigious sports

fooring in the Bushbury Hill Primary

School’s main hall. The building

conorms to the rigorous Passivhaus

principles, achieving approximately

an 80% reduction in energy usage

as opposed to standard building

regulations. Junckers 22mm SylvaSport

Premium was specied, installed by

Capital Floors, providing a complete

solution to the multi-use acility and

conorming to all required standards.

junckers.co.uk

kahrs Kährs Oak Siena has been specied or installation

throughout all new Paperchase stores and shop

reurbishments. Chosen or its high perormance eatures,

eco-credentials and aesthetics, the FSC-certied three-stripwood foor will be laid throughout retail and behind counter

areas o all premises. Latest installations include Paperchase’s

third fagship store in Glasgow; its second biggest store to

date. Part o Kährs European Naturals Collection, Oak

Siena is an even grained wood foor, oered with a durable

satin lacquer, matt lacquer or brushed matt lacquer pre-

nish. kahrs.co.uk

Floors oF stone Floors o stone are suppliers o the

highest quality Travertine, Limestone,

Marble, Slate and Porcelain tiles at

extremely competitive prices. Their

extensive tile range holds a wide range

o subtle colours, textures and nishes

to suit interiors rom crisp ultra modern

to high quality restoration projects. Free

samples are available and they pride

themselves on ast reliable delivery

to suit you, Floors o Stone can oer

everything needed or a high quality

fooring project.

oorsofstone.com

Flooring



ercolENGLAND SINCE 1920

[email protected] +44(0)1844 271800 www.ercol.com/contract

ercol was established in 1920 by a young

Italian designer, Lucian Ercolani and has been

supplying the contract furniture market from

our factory in Buckinghamshire, England ever

since. ercol remains renowned for integrity in

design and inimitable British craftsmanship.

392 stacking chair designed by Lucian Ercolani.

Beech frame, elm seat and back.

i l

Build & manufacture

We believe in and embrace the skills of true

craftsmanship, employing a number of tradi-

tional craftspeople such as joiners, metalwork-

ers and carpenters.

We also benefit from having a state of the art

facility that includes 5 axis CNC machinery,

press brakecutting and moulding, powder

coating, spray painting, electrical, and me-

chanical engineering.

Aftercare

We have a dedicated maintenance team

who can handle day to day issues such as

electrical, plumbing, lighting, alarms and

decoration.

We believe in offering you the best possible

service, and will always ensure we have deliv-

ered against your expectations and that you

are happy with the end result.

Design

Our in-house designers are able to work

from concept sketch to full 3D rendered

visuals, and our experience within the retail

sector means we can use our knowledge and

expertise to ensure your concept looks great

and is tailored to your consumer.

Commercial interiors & shopfitting

Whether you require a total fit-out or a part refurbishment, we can be

your one point of contact for high quality bespoke intriors and excel-

lent service. Having all capabilities under one roof we can offer a full

360 degree service from concept design through to in-house manufac-

ture and aftercare.

Our clients include Burberry, GAP, Levi’s , Nike, Topshop,

Kipling, Lego, Lush, O’Neill, The Range, and Tie-Rack.

The CDS Group comprises of cdsgroup.uk.com luckyfox.uk.com hover.uk.com [email protected] +44 (0) 845 674 4420

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www.muraspec.com/digital

08705 117 118

[email protected]

Britain’s Top 50Furniture

Manufacturers?

The Manufacturing Guild Mark is the Mark of Excellence for British manufacturers.

Only the best should apply, to: The Clerk, The Furniture Makers,

Furniture Makers’ Hall, 12 Austin Friars, London EC2N 2HE

020 7256 5558 [email protected] www.furnituremakers.org.uk

Have you got what it takes to be one of

You’d be in good company:

n Artistic Upholstery

n Alstons Upholstery Ltd

n Boss Design

n Burgess Beds

n Chalon UK

n Ercol Furniture

n Hypnos Beds

n Michael Tyler Furniture

n Millbrook Beds

n Multiyork Furniture

n REH Kennedy

n Relyon Beds

n Roger Lewis Furniture

n Somnus Beds

n Stephen Hunter Furniture

n Stewart Linford

n The Quality Furniture

Company

n Treske

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Much more than a mouseRollerMouse Re:d. Designed for you to make the difference.

Visit us and try the new RollerMouse Re:d duringthe 100%design trade event, 18-21 september2013 - Earls Court London - Stand 0152

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0116 240 1088 [email protected] cobaeurope.com

High performanceentrance matting

100%recycled

PVCInterlocking tile system

Fire tested to EN13501Euro Classifcation B(F2)S2

Slip tested toBS 7976-2:2002

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NICHOLAS ANTHONY

Luxury kitchen, bathroom and interiors company, Nicholas

Anthony has a dynamic new look for its Wigmore Streetshowroom. With an established reputation for excellence and

award-winning design, this London showroom presents a

range of stunning kitchens that showcase a variety of different

materials, textures, colours and nishes. Neutral colours

remain extremely fashionable, while the introduction of at

lacquers, with a silk nish, is proving highly popular and

promises to be one of the big looks of 2013.

nicholas-anthony.co.uk

DEVOL KITCHENS

The Air Kitchen range by deVOL rst made waves at the 100% Design showin September of last year. With curvy retro lines and a contemporary nish, Air

features solid surface doors, curved aluminium and oak throughout. Inspiration

for Air came from iconic 20th century designs including the Airstream caravan

and Lockheed Lounge by Marc Newson. deVOL is a design-led manufacturer,

also making classic Georgian kitchens and a modular Shaker range of kitchens

and bathrooms. Catch Air at this years 100% Design show and discover deVOL’s

complete range at their new showrooms in a renovated water mill in Leicestershire.

devolkitchens.co.uk

rOCA Roca has extended its offering of

super heavy gauge steel baths with

Lun Plus, a double-ended option that

is ideal for both the commercial and

domestic markets as it is robust and

hard wearing at 3.5mm thick. Featuring

generous bathing proportions, Lun

Plus comes in two sizes, 1700x750mm

and 1800x800mm. Both models are

supplied without tapholes so that

contemporary, wall-mounted brassware

can be used. Anti-slip, headrests

and grips are optional for added

functionality and to suit a variety of

applications. roca.com

LAufEN

Combining well-thought-out design with value for money,

Laufen has extended its popular Pro series of sanitaryware

and furniture to include the Pro S. Designed by Peter Wirz,

a highlight of the range are the furniture base units, whichfeature classic, clear designs to provide essential storage

space below the washbasin. Robust and highly functional,

the furniture features stylish integrated handles and soft-close

drawers with no cumbersome trap cut-out to maximise on

storage. Optional interior drawers and adjustable aluminium

feet are also available. The furniture is available in a choice

of colours including white gloss or matt, Wenge or graphite

(pictured).

uk.laufen.com

ON THE LEVEL

On The Level, the UK’s leadingmanufacturer of concealed wet oor

shower trays, is the only manufacturer

who can produce bespoke solutions

in any size or shape. On The Level

underoor wetroom trays are precision

engineered in 24mm birch ply which

means the trays are extremely strong,

but light and easy to handle and can

be readily shaped on site and screwed

into position. They are an essential part

of the wetroom because they dictate

the gradient of the tiled oor in the

shower area and it is this gradient that

allows the water to drain away quickly.

onthelevel.co.uk

Kitchens/Bathrooms



mrf

mrfdesign.co.uk

new web site just launched

s250 modal

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hacel

Hacel continues to develop their class-leading range o

LED luminaires with the new iMod LED grid light module.

Reduced energy consumption alongside efcacies in excess

o 79lm/W, the distinctively styled iMod LED with a

ribbed polycarbonate reractor and micro usion flm is ullycompliant with the SLL Code or Lighting 2012 - oering

luminance limits below 3000cd/m2 at the 65° cut o and

is a direct replacement or LG7. Boasting outstanding

perormance with an LOR o 0.89, the iMod LED by Hacel

oers a choice o colour temperatures - 3000K, 4000K and

5000K with selectable wattages o 24W and 36W. Designed

and manuactured by Hacel - the iMod has a three year

warranty against total ailure. hacel.net

Gradus The Christie School o Oncology is very proud o its newly reurbished educationacilities. The auditorium is the centrepiece o the development and plays host

to a large number o courses, conerences and guest lectures on a wide variety o

medical and cancer related topics, delivered by some o the world’s leading experts

on these subjects. Gradus’ RNT718L clear PVC-u stair edgings with Glacier (light

grey) slip-resistant inserts and Interlok Advance step lighting in Blue were installed

in order to create a contemporary pinpoint lighting eect between each stair, as

well as on the perimeter surrounding the central ooring area o the hospital’s

impressive auditorium. gradusworld.com

astro liGhtinG Astro, British lighting designer and

winner o the Queen’s Award or

Enterprise and International Trade,

has produced a resh contemporary

reincarnation o one o its original

designs. The new Joel range o table

lamps, wall lights, oor lamps and

pendants oers a choice o three

on-trend fnishes or the steel shade,

matt black, polished chrome or matt

cream, but the goblet shape is evocative

o the classic designs o the mid-20th

century. The range can take a low

energy E27 LED and will be available

rom Autumn 2013. astrolighting.co.uk

iGuzzini This innovative, pole top, LED urban lighting system by

iGuzzini stands tall at fve meters. The product was born

rom the concept o modularity where each branch can be

customised to simultaneously house anything rom securitysystems to solar panels. Besides changing its appearance, this

exibility allows various elements to coexist. Albero is a direct

LED lighting system, available in warm and neutral white

LED. iguzzini.co.uk

deltaliGht

The Supernova oor lamp is a dazzlingnewcomer or 2013: a white upright

on a white, circular base goes o at an

angle o 90º at the top and is connected

by a quick-release attachment to a

white, semi-transparent disc that has

become the trademark o the Supernova

range. An outstanding eature is the

black quick-release attachment, which

looks a bit like the wheels on a racing

bike and enables the disc to be titled to

an angle o 180°. Point it downwards

and you have a reading lamp; point

it upwards and you create a lovely

indirect light on the ceiling.

deltalight.co.uk

Lighting



3M ArchitecturAl

MArkets 3M Architectural Markets brings

the company’s strong tradition o

innovation into the design world.

Surace fnishes showcased will be; 3M

DI-NOC Architectural Finishes range,

including the E-Series which oers an

environmentally sustainable solution

along with a natural look; 3M Fasara

Glass Finishes that create suraces withan authentic look o etched, treated or

texturised glass; and colour-shiting

3M Dichroic Glass Finishes. Preview

ultra-sophisticated lighting products in

addition, co-created with New-York

based designer Todd Bracher and

recently launched in the US.

3M.co.uk/innovativenishes

OkhOlM liGhtiNG The ARMILLA chandelier was custom made or the new

Tiany & Co. jewellery store in Canary Whar, London.

In the shape o a globe, the ARMILLA chandelier is lit by

60 Pcs. 5W bulbs and made in mirror polished chrome to

match the light and exclusive interior o the store. With its

stylish design and elegance, the ARMILLA compliments and

emphasizes the aesthetics o the room. We develop our lamps

and lighting solutions in close cooperation with architects and

designers, and the result are lamps that are in a class o their

own, both aesthetically and in terms o design.

okholm-lighting.dk

cOMPAct liGhtiNG Compact would like to introduce the MiNA Gimbal Elect,

our recently developed and aesthetically pleasing solution

creating excellent spot-lighting with a modern twist. The

LED version - as with other members o the MiNA amily

is capable o handling a range o Zhaga compliant LED

modules rom a number o dierent manuactures, oering

design exibility to suit a variety o interior application

requirements. The Elect is a premium solution or retail,

hospitality and display applications.

compact-lighting.co.uk

felix liGhtiNG sPeciAlists An original piece o New York. The iconic WALK DONT WALK sign is

synonymous with everything ‘New York’. These signs are original pieces o New

York street signage. Cast rom aluminium and painted Classic NYC Yellow. The

sign is ftted with new circuitry which enables the WALK DONT WALK to ash

at timed intervals. felixlightingspecialists.co.uk

Lighting

vistA liGht

Simple clean design with easy

installation and seamless integration

o services like speakers and air-

conditioning are some o the advantages

o our linear profle lighting systems,we oer energy efcient lighting

sources that include seamless T5 &

high power output LED’s which also

gives uninterrupted continuous light.

With trimless, trimed, suspended, wall

and surace mounted options, widths

o 30mm, 70mm, 80mm, 100mm &

160mm. vistalight.net


http://slidepdf.com/reader/full/fx-m-2013-09-downmagazcom 165/180i l

Decorative Wall Panel System

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Design at KnightsbriDge

The chic yet convivial atmosphere aboard three of the

world’s most prestigious cruising yachts has been enhanced

by upholstered furniture from Design at Knightsbridge.

Windstar Cruises’ Wind Spirit, Wind Star and Wind Surf

have set sail following a re-t which has embraced public

areas, restaurants and bars plus cabins and staterooms.Furniture by Design at Knightsbridge was specied by Alan

McVitty, Creative Director of Chelsea Harbour’s McVitty

Interior Consultants, working in partnership with marine

interior specialists Trimline Interiors. The order included

classic Monaco and Panama armchairs which mingle

perfectly with the contemporary proles of Millie and

Maddie easy club chairs and Mondrian armchairs.

design-at-knightsbridge.co.uk

teKnion

Teknion presents the Softspace collection; a dynamic and carefully designed

soft seating range for innovative interiors. With exciting and numerous design

collaborations - including Carlo Bartoli, Bartoli Design, David Fox and Archirivolto

Design – the Softspace collection offers refreshingly contemporary furniture design

for residential, academic and working spaces. Launching September 2013, the

future design classics are now available to view at Teknion’s London showroom.

teknion.com

office electrics

PLUTO is now available in CARBON

FIBRE polished gloss or matt withTWIN USB FAST charger. Ofce

Electrics’ TWIN USB FAST (TUF)

charger is available in most of our

units including PRISM, POD, POCO,

POLARICE and PIXEL and can

charge iPhone, Blackberry and most

android devices quickly. It is ideally

suited in situations where the user needs

it most, either at the desk or tted in

the side of soft seating. Combined with

PIXEL TUF charger it creates a perfect

discreet charging point able to charge

two devices simultaneously and three

times faster than a standard PC USB

port. office-electrics.com

casala

Ravelle is one of Casala’s new models and can be used in

many ways in a variety of locations: a barstool combination

which can be used in canteens, exible ofce spaces and

anywhere short meetings are held. This combination hadto be versatile to make this achievable. The steel wire frame

model allows you to stack up to four barstools. The seat

height for models with a base-plate, star base and leaning

support base can be adjusted using a gas spring. With seven

different bases and three seat variations in wood, PU foam

and upholstery, the Ravelle is extremely versatile. All frames

and seats are compatible. casala.com

laporta

Designed by Lorenzo Marcolin Friday

small ofce desks work efciently allday and everyday.Stylish and practical

these small workstations may be

compact but are self contained with

all you could possibly need. Cables

are hidden internally, vertically

and horizontally and the striking

cantilevered design is balanced by the

solid steel foot. A CPU compartment

and handy drawer complete this

perfect small ofce design. Friday

is a true designer solution available

in 15 lacquered colours and colour

combinations.

laporta.co.uk/products/small_desk_Friday.

html

Ofce & Contract Furniture



Y?

Why not?You decide

[email protected] +44 (0)20 7887 2622

www.orangeberrydesign.co.uk www.orangeberrydesign.com www.orangeberrydesign.net

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ARIAOutstanding value!

Telephone: 01254 673400 email: [email protected] www.psiseating.co.uk



IO KIds desIgn

London based IO Kids Design creates contemporary,innovative and above all, fun furniture that grows with a

child. The collection is made of Scandinavian birch plywood

and is characterised by uncluttered and clean lines. Its gentle

curves and the exposed plywood edges give it a warm and

friendly appeal whilst the idea of multi-functionality behind

each piece ensures that the products can be enjoyed for many

years to come.

iokidsdesign.co.uk

jennIfer newman

Clerkenwell-based Jennifer Newman designs furniture that combines simplicitywith durability, enabling products to be using in a wide range of environments,

inside and outside. In projects that have both inside and outside dining spaces,

such a cafeterias with terraces, matching Newman tables and benches can be used

throughout. The palette of components used by Newman include powder-coated

aluminium structures and surfaces of solid bamboo, and lacquered or laminated

birch ply, with a wide range of colours available. Products have strong sustainability

credentials including long-life, recyclability, FSC sourcing and rapid-growth

(bamboo). jennifernewman.com

OKamUra

Okamura is exhibiting at 100% Design

London - Stand O220. ‘SOUND

ERGONOMICS,’ has been an essential

philosophy of Okamura since the dawn

of its corporate history, and will be on

full show at this years stand. At the

show, for the rst UK public viewing,

will be the Sabrina series, showcasing

a beautiful marriage of design and

comfortability, along with other

constant picks for industry connoisseurs

- CP, Zephyr Light, and Zart.

okamura.jp

cUbIIx

CUBIIX is both an innovative and versatile modular system,

which allows you to create and build various types of

furniture in many diverse shapes and sizes. Structured on

the characteristics of a cube, this lets you create a variation of imaginative furniture designs using a range of interchangeable

panels and joints. No tools are required when assembling a

unit, as all components are secured together using simple but

effective locking pins - making the process quick and easy.

cubiix.co.uk

vIasIt

Re-pend designed by Martin Ballendat

was launched at Clerkenwell Design

Week, and is a shell chair for multiple

applications that adjusts to your mood

and movement with its unique tilting

action. Re-pend is available in three

scratch resistant, high gloss nishes,

white or polished aluminium frames,

four or ve star bases, glides or castors

and with optional upholstery.

viasit.co.uk

Ofce & Contract Furniture





design inspiration rom HAF

styled or contemporary living

Cubis

Modis Straight

Modis Colour Blend

H A F A selection o designer lever handles available in the newHAF catalogue.

Visit hafnternational.com to view and download a copy

• Savetimeandcostwithourspecicationandtenderevaluationservices

• Createfast,accuratetendersandspecications

• UnderstandcerticationschemessuchasFISPandFIRA’sGoldCertication

UsetheFurniture

IndustryResearch

Association’sextensive

knowledgeoffurniture

standards,testingandcerticationtohelp:

Tondoutmorevisitwww.speciferservices.co.ukEmail:[email protected]:01438777700

Selecting or specifying

furniture products?

Specify only the very best

See us at 100%design,

18-21 Sept,

Stand O33A

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www.robertpearson.co.uk | T: 01985-850954

Automatic WaterSaving Controls

www.deccacontract.com

New showroom opening in Clerkenwell soon: contact James Fiddy at our Boliershowroom in Chelsea Harbour, 0207 352 9578 [email protected]

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Quality bespoke solutions forthe most imaginative designs

tel: 0113 201 2240

web: www.stellarstainlesssteelworktops.co.uk

i

WhereFabricComesAlive

Work space brandingthat really works

Coral Fabric Imaging Thorpe House,

17 Dormer Place,

Leamington Spa,

Warwickshire, CV32 5AA

0845 521 2139

[email protected]

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Call 020 8361 5211 Visit www.praxislimited.co.ukEmail [email protected]

[workplace graphics]

Praxis

Transform the workplace

graphic screens | wall mounted supergraphics | glass manifestation

We specialise in highquality interior graphicsfor the workplace

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Mapei

Mapei are encouraging designers to use their creativelicence and gain inspiration from their exhibition stand at

100% Design. Mapei will be exhibiting a selection of their

environmentally friendly products including Silexcolor

protective and decorative wall coatings system, Mapeoor

resin ooring system and Ultratop Industrial cementitious

ooring. For more information, please visit Mapei at 100%

Design on Stand E1, where Mapei’s Technicians will make

your imagination a reality. mapei.co.uk

Faber blinds

Faber Blinds worked closely with the architect and contractors at the Pace Galleryin the refurbished west wing of the Royal Academy of Arts to provide a bespoke

blackout and screen solution for its exhibition spaces. Two motorised roller

blinds were tted in each window space, blackout to the rear with screen to the

front, both drawn vertically upwards by tension cables with the fabrics running in

recessed side channels. The EOS 500 tensioned bottom up, motorised roller blinds

are controlled by a central Hunter Douglas EOS Touch system linked to a GPS

weather station to provide the appropriate shading for the exhibitions.

faberblinds.co.uk

salice UK

Salice UK, pioneers in the development

and production of market leading

furniture ttings, have recently

launched their impressive new website

at www.saliceuk.co.uk. The new site

has been specically designed to enablearchitects, speciers and distributors

easy and rapid navigation to a library

of comprehensive information on the

entire Salice product range. Logical

categories highlighting product features

and benets, alongside a detailed

product reference selector ensuring that

the wealth of technical knowledge and

expertise developed by Salice is shared

to benet all browsers of the new web

site. Additional features of the web

site are a comprehensive distributor

locator which provides full contact

details, a wide range of downloadable

information.saliceuk.co.uk

hUnter doUglas

The new Hunter Douglas EOS500 roller blind collection

includes GreenScreen Eco, which consists of 100 per cent

recyclable polyester bres, and the GreenScreen Revive

material produced from recycled plastic bottles. HunterDouglas is the only manufacturer using these sustainable

materials for project-based light and energy control. All

of the GreenScreen product lines are compliant with the

internationally recognised Greencode classication scheme

for environment-friendly textiles. They also contribute to the

LEED certication of buildings. The GreenScreen collection

can be used in EOS500, the roller blind system that won

Hunter Douglas an iF design award in 2012.

hunterdouglas.com

the interiors groUpThe Interiors Group have recently

tted out and refurbished, vibrant new

ofces for LivingSocial at their new

West End London headquarters. The

rst oor houses the reception which

has a simple elegance that leads you to

the funky meeting rooms and breakout

space. Articial grass, stylised clouds,

fuzzy pink carpet and eye-catching

graphics add character to the client

meeting rooms. The boardroom houses

a recycled corian table and a bold

graphic of a world map, highlighting

the company’s global expansion.

interiorsgroup.co.uk

News



E: [email protected] W: www.davidclouting.co.uk • David Clouting Ltd. Unit 650, The Hub, Skyline 120, Avenue West, Braintree, Essex CM77 7AACall +44 (0)1376 518037 today for information on our product range

inspired living interiors

inside outside

upstairs

bedroom

playing

a range of

contemporary

decorative

materials forwall and floor

glasen

Interior Glass Film

decotile

Luxury Vinyl Flooring

interior film

For Commercial Use

deco foil

3D Forming Veneers

commercial

downstairscommunal

walking lounging

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Classifed

worktops

sating vision pans

print


Fascinating, fun and fabulous.Our prints, blinds and muralsbreak the mould. Exploreour exclusive images andinnovative print products atsurfaceview.co.uk

Quality bespoke solutions for

the most imaginative designs

tel: 0113 201 2240

web: www.stellarstainlesssteelworktops.co.uk



D4D Designers 4 DesignersLondon: 0203 174 0352 Twitter: @D4D_Recruitment

[email protected]

www.designers4designers.co.uk

D4D Designers 4 Designers is a specialist Interior Design recruitment

consultancy based in London. We pride ourselves on the personal and

strategic service we offer.

mustard0844 873 [email protected]

www.mustardjobs.co.uk We recruit within the thriving creative sector with a strong emphasis on

Interior Design, Architecture, Exhibition Design and Graphic Design. Wehave opportunities across the whole of the UK, Asia Pacic, Middle East

and we are proud sponsors of the 2013 FX Awards.

Pine Tree Recruitment Ltd0121 222 2411

[email protected] www.pine-tree.co.uk

Established since 2000, Pine Tree has successfully recruited exceptionalsales candidates for many leading companies within the Ofce Furniture &

Commercial Interiors Marketplace. Visit our website and read Testimonialsto see what our candidates and clients have said about our service.

Studio0203 174 0185

[email protected]

www.studio.eu.com

We recruit top talent for all your Studio vacancies. Studio specialises

in recruiting for Interior Design Consultancies, supplying contract and

permanent staff for your design teams and ofce support workforce.

Careers In Design01920 486 125

[email protected]

www.careersindesign.com

Design recruitment specialists for Interior Designers, Space Planners,

CAD Technicians, Speciers, Furniture, Product, Exhibition, Lighting and

3D Designers, Visualizers, Bathroom/Kitchen Sales Designers.

Morgan Glover 01892 520 191

[email protected]

www.morganglover.co.uk

Morgan Glover is a professional recruitment consultancy specialising

ONLY within the Interiors/ Systems Furniture market place. The core of

Morgan Glover is to provide a quality service by their consultancy methods.

Spencer Brooks Associates08445 448991

[email protected]

Established in 1987 with ofces in London and Midlands we offer arecruitment service unrivalled by our worthy competitors within the ofce

furniture and interiors marketplace, working alongside many top names,we have sales, design and project management openings at all levels.

Showcase Recruitment


Philip Watts DesignTel: 0115 9269756

www.philipwattsdesign.com

Lee FiltersTel: +44 (0)1264 366 245

www.leeflters.com

Custom size Glass Diffusion filters

DnD LED Lgh BxE20mm deep with 25mm snap rame ront,

in any size up to 2400 x 1500mm.

Cost savings and energy efciencies are paramount but so are

high brightness, quality and reliability. We use the best LED’s

available in our light boxes to provide a long term,

maintenance ree 50,000-100,000hr lietime.

LL LLnng Ln LD

E. [email protected] T. +44 (0) 1604 678410

www.artillus.com



Recruitment


// STUDIO

www.studio.eu.com | [email protected]

+44 (0) 20 3174 0185

Download the Studio App today from our

website to instantly view and apply to contract

and permanent jobs as they go live.

https://twitter.com/CareersInDesign

• Interior Designers

• Product Designers

• Furniture Designers

• Lighting Designers

• Exhibition Designers

• CAD Technicians

• Space Planners

• Project Managers

• Visualisers

https://twitter.com/CareersInDesign

• Interior Designers

• Product Designers

• Furniture Designers

• Lighting Designers

• Exhibition Designers

• CAD Technicians

• Space Planners

• Project Managers

• Visualisers

Ref: V02754, West Yorkshire £25,000 - £30,000

This international brand implementation practice seek a couple

of proactive individuals: 1. Project Manager with at least

4 years’ experience managing volume shop-tting projects;

2. Design Engineer with at least 3 years’ experience working

in retail projects to include furniture, joinery and signage,

technically competent and used to handling large commercial

brands.

Ref: V02753, Essex £30,000 - £35,000

This company can deliver a total solution for the retail sector

and work in partnership with many of the biggest retailers in

the UK and Ireland. They seek two technical design engineers

with 3+ years’ experience on retail POS and display projects

and strong technical problem solving ability.

Ref: V02752, West Sussex £21,000 - £28,000

This company specialises in turnkey, design and build

contracts and seek an Interior Designer to work from pitch

to completion. You will need 3+ years’ experience within the

commercial workplace sector, literate in AutoCAD, Adobe

Creative Suite and SketchUp and good hand drawing skills.

It will be an initial 3 month contract with strong potential to turn

into a permanent role.

Ref: V02748, Surrey £Neg

This company has a number of showrooms showcasingkitchens, bathrooms, interior spaces and gardens alongside

their Interior Design team. They seek an Interior Designer with

7+ years’ experience in the residential sector, client faced -

ideally in a high end/luxury showroom/retail environment.

+44 (0) 203 174 0352

Residential Designer £45k pa, LondonA senior residential interior designer with an entrepreneurial

outlook is sought by a development company to work on top end

in-house and private residential projects. D4D/Req/0306

Retail Designer £38k pa, LondonA permanent position is currently available for an innovative retail

interior designer with experience creating unique branded interiorenvironments. D4D/Req/0310

Hotel FF&E Designer £35-40k pa, LondonA specialist hotel design consultancy has a permanent position for

an FF&E Designer with experience sourcing, specifying & scheduling

furniture, ttings and materials of the highest quality. D4D/Req/0312

Freelance CAD Technician £20 p/hr, LondonA specialist residential design consultancy has a freelance position

for an experienced interior design CAD Technician to create detailed

drawing packages including joinery for luxury projects. D4D/Req/0313

Follow us on twitter @D4D_recruitment





Interstuhl Ltd, 17 Brewhouse Yard, EC1V 4LA, Phone 020 7250 1850, www.interstuhl.com

VINTAGEis5

a new versitaleand elegant

conference and

cantilever range

Now on display in

our London showroom.



MonolinkDesign: Martin Ballendat

Documents

FX M 2013 09 Downmagaz.com