To commemorate 100 years of Bentley motor cars, SBID Accredited Industry Partner, Alexander Joseph in collaboration with DMark Concepts produced a one of a kind cordless lamp, named Mulliner. The design of this exclusive premium lamp not only pays homage to the luxurious specification of Bentley’s prestigious interiors and their brand-new convertible model, but does so sustainably.
Made completely by hand in their UK workshops, the Nickel lamp body has been cushioned, replicating the decadent seating synonymous with the Mulliner specification. In collaboration with Bentley, the lampshade has been crafted in Vegan leather, then hand stitched in the iconic quilted diamond shape. The piece took 5 months to complete and represents approximately 600 hours of meticulous labour! The lamp also benefits from cutting edge, patent-pending battery technology and software, which delivers 3-4 weeks of use on a single charge. After the briefest of visits to the Geneva Motor Show, Mulliner will be offered for sale privately via a small number of Interior Designers with an appropriate client profile.
Sharing his insight to the key factors driving industry change and how makers should respond, we interviewed Mark Robinson, Managing Director of Alexander Joseph to find out more about what went in to produce this Bentley-inspired, vegan lamp!
What social trends are driving change and how do your designs respond to them?
Consumer desire for ethically made and sustainable products forces makers to think hard about their products, often this means using new techniques or materials where traditional methods are now considered morally redundant. This in turn can affect the way a designer must think about a piece to ensure whatever the item happens to be can be made cost effectively.
Manufacturers ignore customer demands for ethical and sustainable products at their peril. It’s no longer good enough to “carry on as normal”, customers have started to vote with their feet, or wallets! Brands should see this as an opportunity to inspire new design and perhaps techniques, rather than a begrudging obligation.
A great example of a brand adapting to what the market wants is one of our most iconic British brands, Bentley. The company recently introduced a range of vegan leathers for their vehicles.
Can you talk us through the manufacturing process. How did you take the initial design concept to achieve the final end product?
Alexander Joseph partnered with DMark Concepts to make this piece. The two businesses have worked together on other projects and discussed how to produce something unique. DMark who are also based in Dorset are best known for handmaking body parts for vintage cars you simply can’t buy.
The concept for the Mulliner lamp came following a meeting between the two companies for an unrelated piece destined for a luxury yacht. During a conversation about Bentley, Mark Robinson mentioned their drive to become more environmentally aware, this in turn led to a conversation about new Bentley models including the upcoming Mulliner. Within 10 minutes the group at the meeting had sketched out the initial concept.
In rudimentary terms, the piece can be broken down into three parts. The body, the shade and the technology. We decided to make the body from copper, primarily because it is an easier material to roll than most. It also lends itself to being highly polished as well as being the perfect plating surface.
A single sheet of copper was hand rolled, then using a laser light, the sheet was painstakingly worked over a wheel to create the pillowing synonymous with Bentley Mulliner models. This section of the lamp took almost 300 hours to create.
The technology for this piece also had to be reworked onto a new platform as the internal space wouldn’t allow for our existing electronics layout. This in turn meant we had to redesign the charging system for the lamp!
How was the choice of materials important? Why did you choose to use Vegan leather?
Our initial idea was to make our first carbon neutral product, just to see if it could be done. Using Vegan leather for the lampshade was an obvious and easy choice. We approached Bentley about the project, and they were able to give us all the information we needed to see the piece to conclusion.
The black vegan leather we eventually selected was then sent to a car upholstery specialist who formerly worked for another car brand, Aston Martin. He was able to hand stitch the material, replicating the Mulliner specification in Bentley cars.
Your products are manufactured by hand in the UK. How do you see ‘Made in Britain’ trend evolving after Brexit?
We don’t fear what Brexit means to ‘Made in Britain’. In fact, we see it as another opportunity. As a country we may struggle to compete with other regions for lower priced high-volume products, but nobody does quality engineered and hand-made products better than Britain. We see no reason why this wouldn’t continue. If anything, it could be argued that an overt independence only enhances the cache of Made in Britain.
How do you go about sourcing your materials locally? Why do you do this?
We ensure every component used in our lamps come from UK suppliers. When we launched our business one of our proud claims was that our lamps were 100% British – and this is still the case today. We audit all our suppliers to ensure everything they supply to us has been sourced and made in the UK. Wherever possible we buy from local suppliers with around 80% of our raw material coming from firms within a 20-mile radius of our workshops.
Sourcing specialist components and materials from UK suppliers is challenging, the research is time consuming, as is the administration of controlling the supply chain, but we think it is worth it.
All our pieces have a serial number. We record every component that goes into a customer lamp, so in the future if the piece is damaged, we can replace a part without the cost of replacing the whole lamp. As a result, we also know what date we received every component and which batch it came from. We even record ancillary information such as the depth of plating, or the colour density of glass.
Questions answered by Mark Robinson, Managing Director of Alexander Joseph
If you’d like to become SBID Accredited, click here to find out more.
ceo and founder, Katharine Pooley Ltd.
Katharine Pooley, ceo and founder of Katharine Pooley Ltd., is the recipient of numerous high-profile British and international awards. Established more than 15 years ago, her Knightsbridge studio comprising 47 interior designers and architects creates landmark luxury commercial and residential projects in London and around the world for the most discerning clients. Katharine’s highly personal approach of immersing herself in every detail in her clients’ complex projects has resulted in a loyal international fan base. Her aesthetic is very much client-driven, and she prides herself on being a complete design chameleon.
Katharine also has a standalone retail boutique in South Kensington that, as well as her website katharinepooley.com, showcases a range of curated accessories sourced from around the globe.
How are lifestyle changes influencing the way products are designed?
Nowadays it’s all about timing, materials and costs. We really want to design our own bespoke products for clients rather than just buying things off the shelf. We want to create something that’s very special. Many of our clients are high-net-worth individuals who are looking for unique items – although we’re also still buying a lot of antiques. It’s lovely to mix a bit of new with a bit of old.
The new generation wants cleaner living spaces. They’re not that into clutter or, ironically, antiques. It depends on the generation and the age of the client. In the Middle East, for example, they’re looking for items that are dust-free, so they don’t want pieces designed with shadow gaps that cause them to have to clean all the time. Some people have been quite fussy about glass and frames, some are saying they don’t want polished chrome and others want bronze because it requires less cleaning. It’s all because we have less time nowadays and more stress than ever before. People are looking for an easier, more balanced life.
How is the luxury market changing?
Luxury is very different for many different people. For me, time is a luxury because I never seem to have it. For those who have so much wealth and so many assets, luxury is all about layers: wanting something bespoke that no one else has got and that is so unique, it can’t be bought for anyone else. To be honest, I don’t know if that’s a good or bad thing. I think it’s far better to take the approach that less is more, but that’s just my opinion.
We’re talking more than ever about the economy and the climate. I do an awful lot of international work. For example, in Hong Kong, there were the riots, and now the coronavirus, and then in Australia, the flooding, it’s one drama after another. What I would love to look at this year is trying to encourage our clients to be happy with what we’ve got. But also, to think about the environment and maybe not using shagreen, not using rosewood, and trying to protect the Earth as we can. I was recently asked at a conference how we ship products for our overseas projects. Well, it’s absolutely right everything can go by boat, which helps the environment. But at the same time, maybe there are things we can choose locally. I really do believe in quality, and in Britain we’re very blessed to have the best, so it’s important to get it right the first time. I’m very into the ethos of the environment and preserving the world.
Is more always more? How do you balance patterns and materials to avoid visual overload?
For my clients, there’s no such thing as overload. They want more and more and more, whether it’s a trim on a lampshade or whether it’s a different material within the pleats, or whether it’s three trims on curtains. It’s amazing, they just want that attention to detail. One of my favourite designers is Kit Kemp, who has the most amazing ability to add huge amounts of different fabrics and materials. Look at Martin Brudnizki’s design of Annabel’s private members club – you can’t get more fabrics in one room, can you? There is a way to make it work. But is it sustainable and is it liveable? That’s only a matter of personal choice.
More and more, my clients say they’d rather trust my opinion. If I think something is too much, I have no qualms about being honest with them. We’ve had times when clients say, “No, I’m going to have it,”, but then really hate it. So, we have to be careful. But look, interior design is about fun, isn’t it? It’s always enjoyable to be able to have some play areas and some that are calmer. It’s also about trying to find the calmness for one’s life.
Where do you find your treasures? Do you have a network of scouts who keep an eye out for quirky pieces?
I’m always travelling, always on the go and on the lookout for different things. I feel very blessed. I do go back to the same people, but I also try new things. Nowadays, it’s so hard to find unique things because clients have access to all the shows like Maison et Objet. So, it’s quite important to try and find unique things. For two really big projects we’re doing now, I’ll give my sources carte blanche to find something and then if I don’t like it, they’ll go off and find other things. They’re always sending me fabrics and I’ll say what I like or don’t like, and then that’s how we reach agreement with a client. Some clients don’t care about, and some really do. It depends on the clients themselves.
We end up designing a lot of our own stuff, which gives us an advantage and also helps us deal with the issue of copying that is quite a big concern now.
What inspires you both professionally and personally?
Travel, without a doubt, inspires me professionally. I’m very blessed to get to travel and have always been inspired by different cultures. I grew up in the Middle East when my mother and stepfather were posted to Bahrain. I feel very comfortable living and working in the Middle East and have an office there. I also lived in Hong Kong for 16 years and am very into the Asian life and ethos. I feel very blessed to have a multi-cultured background that enables me to understand different cultures.
Personally, because I’m so in love with so many different designs and styles, I’m always wanting something like that in my house and end up with a complete museum of my projects. For example, I loved a panel by Palestrina, a division of Turnont & Gifnon, it’s amazing. My husband keeps saying to me. “Oh my god, what now?” All I’ve learned inspires me personally.
Katharine is one of the prestigious experts invited to join the extraordinary jury for the SBID Product Design Awards, alongside other renowned professionals across industrial and interior design, brand development, architecture, educational research and forward-thinking enterprise.
Click here to view the full judging panel.
The SBID Product Design Awards 2020 entry deadline has been extended!
To find out more about entering, visit www.sbidproductdesignawards.com
partner, Dexter Moren Associates
Herbert Lui, partner, Dexter Moren Associates, has extensive experience working on complex mixed-use developments on challenging sites. Along with a strong awareness of stakeholder aspirations, he has a proven ability to convert constraints into opportunities. A graduate of Westminster University and the Architectural Association in London, as well as the National University of Singapore, Herbert joined DMA in 1999 as a project architect and was appointed a partner in 2008.
In 2018 he secured planning consent for the 252-room Bicester Heritage hotel. Located on a former Royal Air Force base in the heart of “motorsport valley”, the property is close to a number of Formula One teams and the Silverstone Circuit. In November 2019, he achieved consent for the third and final major phase in the refurbishment and expansion of the Mandeville Hotel in Marylebone, London.
Herbert has also brought his hospitality experience into the multifamily residential/private rental sector in London’s Canary Wharf and has been the design leader for several hospitality schemes in North Africa and Nairobi.
What changes do you forecast we will see in the design industry in the years to come?
Environmental concerns and sustainability will be a driving factor. Dexter Moren Associates belongs to Architects Declare, an initiative committed to creating architecture and urbanism that has a more positive impact on the world around us. Careful selection of certified and sustainably sourced materials will be an even greater priority moving forward. This will affect how we build, and indeed, what we build.
Does incorporating public realm into private rental sector and hospitality sites encourage acceptance by a community that may be reluctant to change, and why?
Enhancing the public realm is integral to the design of all our hospitality projects. Creating places where people want to stay or live is one of Dexter Moren Associates’ core values, and the creation of high-quality outdoor spaces improves the setting of our buildings while also helping regenerate streets. Improving the public realm is a key aspect in planning negotiations as it is a means of giving back to the community. I’m working on a project in the Tooting area of South London where the delivery of a high-quality communal public space has been a key influence on the project. Allowing public access for non-hotel guests is important for encouraging social inclusivity.
You’re a specialist in working on complex mixed-use developments on tricky sites. What’s one of the toughest challenges you’ve had to resolve in your career?
Unlocking value through good design and efficient space planning is the key to whether or not a project progresses beyond the first sketch. I’ve been involved in several projects where clients explored multi-basement hotel developments. Ensuring that the design quality of subterranean hotel rooms is not compromised is a challenge. With our London Road project in the South London area of Croydon, achieving planning consent for circa-600 guest rooms across four underground levels required us to challenge existing perceptions of the locale and win over the authorities through contextually relevant designs that would enhance the neighbourhood.
Is there a product that makes your life as an Architect easier?
A Leica Laser Measure, which takes accurate site measurements and is a lot quicker than a traditional tape measure!
Herbert is one of the prestigious experts invited to join the extraordinary jury for the SBID Product Design Awards, alongside other renowned professionals across industrial and interior design, brand development, architecture, educational research and forward-thinking enterprise.
interior designer, City of Edinburgh Council
Lesley McMillan, interior designer, City of Edinburgh Council, is an award-winning interior and architectural designer with a 20-year career spanning residential and commercial design. Wellbeing is paramount to Lesley’s designs, with her passion for holistic, sustainable, inclusive and therapeutic concepts particularly applicable to the diverse range of public building interiors she has created for the City of Edinburgh Council. She is passionate about community participation in co-designing spaces with end-users, and her recent projects shortlisted in the SBID International Design Awards included a library; a home for children and young people in care; a crematorium; and nursery schools.
As the SBID Education Council chair and SBID’s Scotland regional director, Lesley is keen to promote best practices and expert knowledge within these sectors of interior architecture.
How can the design of learning environments help students prepare for the future?
My current role with Architecture and Design Scotland really has two elements: co-designing with pupil, teacher and community involvement, which in turn helps schools transition to agile learning environments. Digital transformation has recently gone from analogue to digital, and now, to virtual with the introduction of augmented reality. For the schools we’re building now, we need to consider that teaching methods and learning spaces are changing rapidly. We’re creating learning environments that encourage children to develop the skills they need for the jobs of the future, work that will require creative and collaborative critical thinkers.
So, much like the introduction of smart technology into offices, the design and furniture for schools must reflect these new capabilities. We will be taking inspiration from spatial learning typologies such as “campfires in cyberspace”, with adaptable configurations that let students gather in different group sizes for shared and collaborative learning. The furniture doesn’t necessarily have to be tables and chairs, it could be a comfortable sofa or a beanbag.
Can your designs help students grow into better adults?
I’m currently creating a process and guide to encourage the co-design process of inspiring and agile learning environments that looks not only at environmental sustainability in furniture and material specifications, but also social sustainability. Something I’ve done for my own projects, and which I encourage local authorities and pupils from other schools to do, is work with Scottish supported businesses, which are companies with at least fifty percent of staff who are disadvantaged or disabled. We’re exploring how the teaching environment can help people to be kind by reflecting on factors such as the ways environmental conditions can affect moods. It might just be that in a more pleasant atmosphere with natural air and comfortable surroundings, people are more likely to be happy and kind. Or perhaps spaces that have more organic and natural patterns, shapes and colours, which fits with biophilia; the idea of bringing nature into the interiors. We’ve really just started looking at it, but we are considering how we can make learning spaces socially sustainable with procurement and the creation of inclusive environments. We’ve done a lot of work with the Education Council to create spaces that feel comfortable for pupils and adults who require additional support for learning needs, addressing issues such as acoustics and how high stimulus colours contribute to sensory overload.
How do your designs encourage students’ capacity to learn?
Deep learning occurs when pupils are happy and relaxed, so my designs for learning environments consider their wellbeing with spaces that feel nurturing and comfortable. Biophilia has a big influence on my concepts. It’s proven that bodies release serotonin in the outdoors, which means people are happier and more comfortable when they’re outside. Lots of studies show that bringing natural materials, colours and patterns into interiors promotes that same sense of wellbeing, so I really try to apply this to the schools I design. I no longer like to call them “classrooms.” I prefer “learning spaces” because with so many different breakout and outdoor spaces that can be used, learning can happen anywhere.
What’s the best way to get people to participate in the creative process and accept new designs?
When co-designing a space, particularly a learning environment, it’s good to look at the school’s local community and the context of the local site. I often ask pupils to look at local nature, landscapes and history for inspiration, and then we pull from that, whether specific or in broad terms, to create a design narrative.
For example, involving the pupils and the parents in the design of St Margaret’s Primary School gave them a sense of ownership. We looked at Queen Margaret’s journey when she came to Scotland. She was responsible for the creation of the Queensferry crossing that resulted in the construction of three bridges over the Firth of Forth. Since she travelled by sea, we took shapes and colours from the coast to create a “learning ship,” and also incorporated graphics of the bridges and lyrics from the school’s song about Queen Margaret to give the space an identity.
What needs to change in the design industry?
SBID is already doing a great job but, we can do more to strengthen interior designers’ reputation in the design industry and as a profession. Appointing an interior designer on a job isn’t a luxury. We bring benefits to public projects by creating environments that consider wellbeing, pedagogy, sustainability, and inclusivity. We can consider the design of nurturing and comfortable places such as children’s homes where my aim has been to create more therapeutic environments. An interior designer is an integral part of a design team and should be appointed from the outset. There’s the unfortunate misconception that interior designers just come along at the end and pick some colours and put in some cushions. But if we are actually appointed at the beginning of the project, we help form the interior architecture to ensure it works. In addition to providing decorative aesthetics, the job of an interior designer is complex. It is the only discipline within design that interacts with almost all other areas of the design industry such as architects, furniture designers/makers, surface pattern and textile designers, product designers, and graphic designers. We are aligned with all other building professions, from mechanical and engineering to architecture, etc and are highly experienced in refurbishing or re-purposing spaces. Qualified interior designers – with an accredited degree from a university – spend a lot of time on Continuing Professional Development and have a wealth of professional experience – something demonstrated by SBID Accreditation.
Lesley is one of the prestigious experts invited to join the extraordinary jury for the SBID Product Design Awards, alongside other renowned professionals across industrial and interior design, brand development, architecture, educational research and forward-thinking enterprise.
Our smart home assistants must do more than play our favourite playlists and tell us the weather. In many ways they are becoming our life assistants; planning our days, telling us the news and controlling our home appliances. For years, homeowners have been able to customise the temperatures of their home using their smart devices. So what’s next?
As homes become smarter, bringing greater benefits, so too will heating systems. By adopting smarter features, heat will be generated only when and where its required to the exact temperature that is optimal for every square foot. Simple upgrades to homes across the country will have a huge impact on comfort, convenience and energy bills. Homes will provide more control and improved thermal comfort of occupants by enabling the personalisation of each room.
Smarter choices
Smart heating systems are designed so users can easily control their thermostat directly from an app on their phone – whether you’re out, on the sofa or having a lie-in. This is an altogether better and smarter choice for people to keep out the cold this winter.
With homes and heating systems becoming increasingly connected, the benefits are continuing to grow. With the Internet of Things (IoT) powering technology, users can control their heating wherever and whenever they want to. They can easily regulate temperatures when they need to, allowing you to schedule the house to warm up as you wake up and for your arrival. Not only this, but it allows you to save on heating when you’re away. These benefits demonstrate why smart heating devices have become so crucial to homes in 2019.
For those who would like to do more to reduce their energy consumption and their heating bill, they must take into account reliability and overall performance when choosing the right heating solutions for their home. The good news is that heating products currently on the market are more efficient than ever thanks to innovations resulting from research and development. The right heating system will be one that adapts to your everyday home routine and begins saving you money. By setting your home to certain temperatures as quickly as possible, the app will help you to do just that.
Take control of your energy consumption
With the explosion of apps, it’s now possible to take control of at home appliances including heating, lighting and entertainment systems. Not only does this make it easier for individuals to control their appliances for heating in particular, it allows individuals to take control of their energy on the go to reduce their long-term energy consumption. With smart home assistants such as Google Assistant and Alexa joining the band wagon, it makes it easier than ever to control your heating. You can ask them to set your heating at a certain temperature, increase/decrease the heating and check what temperature your home is at.
Smart heating systems will enable users to personalise their home environment according to their needs by allowing them to control the temperature and schedule in their home completely independently. By starting with a smart room thermostat and building a full multi-room system over time, this simple upgrade to heating appliances will have a huge impact on overall comfort, convenience and energy bills.
Wiser Heat, a smart heating system by Schneider Electric, is one such solution. Wiser links radiator thermostats through the Internet of Things (IoT), while a phone app provides users convenient and complete control over home heating. This kind of IoT solution allows users to monitor the temperatures of individual rooms and change them remotely via their smartphone, wherever they are.
Home improvers may now be striving for smarter, more connected homes, but they want something that’s plug and play. Smart heating systems fit the bill as they have no wires, no installation and no mess and of course, are better for the environment. Adopting technology like this is necessary if people want to reduce their energy consumption in the future. The most modern heating solutions will be key in facilitating smarter, more energy efficient homes for the benefit of our wallets and our planet.
About the Author
SBID Accredited Industry Partner, Schneider Electric is a global specialist in energy management and automation providing energy technologies, software and digital automation solutions for efficiency and sustainability in the home, buildings, data centres and more.
This article was written by Nico van der Merwe, Vice President of Home & Distribution at Schneider Electric.
This week’s instalment of the #SBIDinspire interior design series features an exceptional new build residence with 5 ensuite bedrooms, off street parking and leisure suite in the heart of Notting Hill. Fenton Whelan redeveloped and designed the property to create a boutique mansion townhouse, complete with a wellness centre comprising of a gym, sauna, steam room and Notting Hill’s longest swimming pool at 15 metres! The 6,225 sq.ft house is designed with a fresh colour palette and eclectic, contemporary interior pieces, to reflect the properties geography and the vernacular architecture of the surrounding area, whilst still retaining bespoke, luxury detailing throughout.
SBID Awards: Residential Design Over £1M finalist sponsored by THG Paris
Practice: Fenton Whelan
Project: Lonsdale Road, Notting Hill
Location: London, United Kingdom
What was the client’s brief?
The brief was to redevelop and redesign the traditional Victorian property and create a 6,225 sq ft boutique family town-house whist retaining the original facade. The interior design juxtaposes the traditional and heritage elements of the property by introducing clean lines, large volume spaces and modern pieces to create a luxury family home.
What inspired the interior design of the project?
Inspiration was drawn from the buildings historical proportions and the vernacular architecture of the surrounding area, which has been emphasised in the design and married with meticulously designed and crafted pieces for an elegant and contemporary interior style. By combining these two inspirations the design has created a fresh and light home whilst still retaining the bespoke, luxury feel throughout.
Capitalising on ceiling heights and adding large bi-folding doors to the rear of the property on both the ground and first floors, we maximised the amount of light that flows through the property. The design and layout of the property, notably the creation of a dual aspect reception room, further emphasised the architectural volumes, making spaces feel open and bright.
What was the toughest hurdle your team overcame during the project?
The property was originally a Victorian era pub for which the façade was listed and therefore had to be retained. The process of transforming this into a modern luxury five bedroom home with leisure suite and home cinema came with a number of planning and spatial hurdles that our design team had to overcome By adding additional floors, both above and below ground, the volumes of key rooms could be maintained, and allowed spaces to remain open, maximising the flow of light throughout. Light was on the lower floors was managed through the addition of beautifully designed light wells creating private outside areas below ground. The introduction of a 4 floor sweeping staircase gives a sense of space and volume, from the first moment on entering the property.
What was your team’s highlight of the project?
Our team’s highlight of the project was our success in creating a unique design that harmonises a contemporary and luxurious feel whilst enhancing the buildings attributes. One example of this is the entrance hall and its sweeping four-storey staircase, fitted with made-to-measure balustrades and housing a full height drop chandelier, with custom-made lights inspired by the leaves from the tree-lined road outside.
Why did you enter the SBID Awards?
The SBID International Design Awards are a recognition of talent and achievement, which is very important to use being placed amongst world recognised design companies who are all leaders in their respective fields.
Questions answered by Desariot Ademaj, Creative Director of Fenton Whelan
We hope you feel inspired by this week’s Residential design! Let us know what inspired you #SBIDinspire
If you missed last week’s Project of the Week featuring a design which emulates the eclectic scene of downtown Frankfurt with an urban aesthetic and cool, artistic flare, click here to see more.
SBID Awards 2019 | Residential Design Over £1M finalist sponsored by THG Paris
This March is all about employee appreciation! As work environments are one of the biggest factors companies are addressing to make sure their workplaces are designed with wellbeing in mind to help keep staff happy and healthy at work, we’re sharing a selection of our favourite projects from the SBID Awards 2019 with inspirational office designs!
The design concept for the project focuses on combining industrial-chic style elements with a cosy ‘Soho House’ residential vibe and contemporary workspace, with an added tech-y feel. 5mm Design introduced the concept of zoning to the space, and each zone was named after a continent and assigned a colour. The design theme is translated into the space through furniture upholstery fabric, pop culture and illustration wall art that reflect the continent; the use of different plant species in each zone; and the naming of meeting rooms after artists from that particular continent. The zoning concept, combined with the introduction of breakout areas, and the collaborative shared work island act as the firm’s engine room. This is a fresh workspace that improves productivity through design and encourages different teams to interact and socialise together.
An art déco decorative style combines with the cultural customs of old Shanghai and contemporary features to create a modern and stylish urban space. With blue and orange colours merging into the geometry of the flooring tiles, the space is charged with a stately, luxurious feel. The organic, fan-shaped and radiating elements of art déco are combined with walnut, black and gold marble, monochrome wood and other materials in the furniture to compliment the aesthetic. This creates a look that perfectly suits the preferences and taste of the urban elite.
Rockwell Group’s design concept for Warner Music Group’s new headquarters celebrates the record company’s history, its vast catalogue of work, music making, and performance. Bright, contemporary, and concise workspaces span across the five-storey main building and an adjoining two-storey annexe. The contrast of old and new, hard and soft, and warm and cool materials creates a dynamic, future-forward home base for WMG’s 800 employees.
Squire & Partners designed this first social workspace and private members’ club by Ministry of Sound as the antithesis to a nightclub environment. Housed in a former Victorian printworks in London, light-filled flexible workspaces for 850 people are as suited to morning coffee and lunch meetings as evening networking and social events. A concept of ‘premium raw’ was established, with stripped-back raw elements of the existing building contrasted with a layer of premium finish including refined furniture, artwork and lighting. The bold aesthetic delivers a distinctive and desirable offer for different sized organisations and pushes the boundaries of current workplace culture. Combining the creative and social aspects of a members’ club with dynamic workspace for those in music, film, arts, fashion and technology sectors, the aim was not just to offer a place to do business, but to provide an environment for a convivial and creative way of life.
Uncommon is a flexible workspace provider, whose spaces are carefully designed to make its members work smarter, not harder. Using innovative design inspired by activity-based working (ABW), carefully curated ergonomic furniture, biophilia and sensory elements, Uncommon aims to deliver a holistic and mindful experience. With four unique spaces across London, Uncommon draws inspiration from Italian and Scandinavian design, with rich textures and tonal colours handpicked to help stimulate productivity, promote wellness and evoke creativity in its members. Located within an exclusive gated development, Uncommon Fulham offers 26,000 square foot of flexible workspace arranged over four floors; perfect for entrepreneurs and freelancers, start-ups and long-established businesses. Uncommon Fulham is adorned with a warm and muted colour palette, enhanced with hand-selected ergonomic furniture from Italy and over 500 living plants including a striking 3.3-metre Ficus nitida tree.
This week’s instalment of the #SBIDinspire interior design series features a striking yet stylish boutique hotel design in Germany’s fifth largest city; Moxy Frankfurt City Center emulates the exciting nightlife and eclectic scene of downtown Frankfurt with neon play area, modern guest lounge, urban aesthetic, vibrant wall murals and cool, artistic flair.
JOI-Design created Moxy’s new European guestroom brand standards and implemented them into this new-build project. This rethink led JOI-Design to also develop Moxy’s next generation of public areas featuring clean-lined, industrial architecture with a more “grown-up” vibe than previous locales. Multi-functional public areas fuse the urban with the urbane, picking up on the street culture and warehouse aesthetic prevalent downtown. Visible ceiling pipes and exposed concrete walls create “industrial chic” with a coordinated mix of stylish furniture, loud beats, humorous touches and textured details discovered upon second glance. Typeset artwork along with bear and bull references allude to the nearby stock exchange and the site’s former life as newspaper Frankfurter Rundschau‘s headquarters.
SBID Awards: Hotel Public Space Design finalist sponsored by Viva Lagoon
Practice: JOI-Design
Project: Moxy Frankfurt City Centre
Location: Hessen, Germany
Moxy Frankfurt City Centre, Germany. Image credits: SV Hotel
Our brief was to fully understand the Moxy spirit and create a world that would allow it to flourish. We were initially commissioned to develop new guestroom brand standards for Moxy hotels in Europe, and then also to bring these to life through the Frankfurt property. It was important that our design would let guests soak up local culture.
Image credits: Courtesy of Christian Kretschmar for JOI-Design
Many things! Moxy’s target market is moving towards a digital nomadic lifestyle. The flexibility of mobile working has led to a greater mix between work with play, with short stays lasting one or two nights. These are travellers who fit everything into carry-on luggage and make the most of travel adventures with party nights out. At the same time, they also remain conscious of their health and wellbeing. As a result, the guestrooms are a relaxing retreat for sociable guests, places where they can rebalance with calm and organized interiors designed for maximum efficiency and minimal wastage. Closets aren’t needed, since travelling light means minimal storage is required, so we designed the latticed “functionality wall”.
In the public areas, influences from the site’s former life as newspaper Frankfurter Rundschaut’s headquarters appear through allusions to typography and journals. The nearby stock exchange also comes into play with bull and bear motifs referencing the rise and fall of market shares. A geometric bull sculpture hangs on a bare concrete wall, while a gigantic teddy bear welcomes guests with a wink. Located at the hotel entrance to attract the attention of passersby is a graffiti mural by Herakut, an internationally acclaimed artist duo with roots in Frankfurt.
Marriott initially asked us to design guestrooms in line with the existing brand standards. As the project progressed, they asked us to develop the new Moxy identity, which of course we were very happy to do. The challenge came when they asked us to apply it to the new-build Frankfurt hotel at a very late stage in the project. The building was already under construction with the layout, power points, etc… for our first design, so we needed to work around these restrictions and make the guestrooms function as best possible with the new guidelines.
Also, the public areas floor area is not actually very large, but we needed to accommodate four zones as specified in Moxy’s standards: the library/work space; the welcome section; the F&B facilities; and the lounge. We created a layout with a natural, open feel that flows well from one space to the next.
Creating a new destination in a style that is different for Frankfurt hotels, and within the exciting building designed by the respected Hamburg-based architect Hadi Teherani, was inspiring.
Herakut’s graffiti mural is one of our team’ favourite parts of the interiors. We specified the art should relate to the bull and bear theme and the stock exchange, while also instilling an impression of the locale. The result is a street art-styled mural that shows two children playing in bear and bull costumes – a young-spirited approach that hints at German fairytales and helps establish the lively, light-hearted atmosphere that attracts not only guests, but also locals wishing to work, relax or meet others.
The SBID International Design Awards celebrate imagination, talent and commitment to interior design excellence across many types of projects around the world. It’s an honour to have our creativity and passion recognised by a highly respected professional organisation, the impressive award judges and our colleagues in the global design community.
Questions answered by Corinna Kretschmar-Joehnk and Peter Joehnk, Co-managing Directors of JOI-Design
We hope you feel inspired by this week’s Hotel design! Let us know what inspired you #SBIDinspire
If you missed last week’s Project of the Week featuring fluid architectural curves with the V Line Cosmetic Center in Hong Kong, click here to see more.
SBID Awards 2019 | Hotel Public Space Design finalist sponsored by Viva Lagoon
Surprisingly, there is no current UK legislation to control the composition of quartz work surfaces, nor set a minimum material performance standard for the quartz materials marketed and sold in the UK. SBID Accredited Industry Partner, Italian Luxury Surfaces expresses concerns over consumer safety and the importance of proper material certification as the Sales & Marketing Director, Phil Winter tells us more.
The quartz manufacturers who currently hold independent verification of their material quality, do so voluntarily or because consumer protection legislation in other markets demands it. There are three recognised dangers posed by untested & uncertified quartz materials. These are the potentially harmful levels of VOC emissions (Volatile Organic Compounds), the micro porosity that can make the surface difficult to clean or sanitise and most importantly, the surface finish leaching of toxic chemicals that can contaminate food.
The Risk of VOC
The VOC risk within quartz comes from the ‘resin’ element, the composition of which is often unknown, and it can vary hugely from manufacturer to manufacturer. Typically, the resin content when measured by weight, represents between 7% – 15% of the material. By volume, the resin proportion is much higher. Because VOC’s are volatile, these compounds vaporize and emit gasses, even long after the quartz has been formed and fabricated. Paint, for example, emits only half of its VOCs in the first year after application.
Marc Lallanilla, a sustainable living and green design expert, and Member of the Society of Environmental Journalists, summarized the issue in stark language in his recent article, ‘VOCs are linked to a range of health problems, including some very serious diseases. Benzene, for example, is one of several VOCs that’s known to cause cancer. It’s not suspected, it’s known, beyond any doubt. Other health effects besides cancer include kidney damage, liver damage, damage to the central nervous system (including the brain), as well as minor complaints like headaches and eye, throat, and nose irritation’.
Consumer Misconception
An understandable misconception made by consumers, designers and interior architects alike is to assume that ‘country of origin’ or familiarity of a brand name provides a guarantee on a specific quartz material’s test and certification status. It does not. Fully certified quartz surfaces originate from all parts of the globe and worryingly, so do many currently uncertified and therefore potentially harmful quartz materials.
Thankfully, responsible counterparts within the kitchen industry are now starting to act, insisting that their sales and design teams are communicating the importance of only specifying independently tested and certified worktops to their customers. But many continue to place their customers at potential risk.
The only way to be 100% sure that your own quartz work surface is not placing the users at risk is to check if your quartz brand is certified for low VOC emissions by visiting www.greenguard.org. For material composition and food contact suitability, you can also check www.nsf.org.
Sadly, there are those within the kitchen industry who choose to hide behind the consumers’ ignorance of the very real health risks posed by poor quality quartz materials, with excuses such as, ‘no one has ever asked me for it’ when referring to material certifications or worse still ‘they won’t pay for it’, inferring that somehow a low price absolves the specifier from a professional duty of care towards their clients.
How are quartz surfaces certified?
When a surface is tested and certified by NSF International for food contact, they verify the composition of the material and they certify that the finish will not leach toxic chemicals that could contaminate food. Since quite literally anyone could mix their own blend of random materials, ‘bake it’ and sell it as ‘quartz’ in the UK.
Materials certified for specification in a ‘Food Zone’ are also evaluated for the temperature they can withstand before degradation occurs. High temperature resistance being an indicator of resin stability and therefore material quality and safety.
NSF’s testing is less stringent for materials designed to be specified and used in ‘Splash Zones’, where the focus is on durability, construction and clean-ability. Here micro porosity of quartz has practical issues as well as health risks. Materials with porosity are more susceptible to staining as the (relatively) open structure creates pockets that fluids can fill, discolouring the surface.
It would be incorrect to say that all untested and uncertified quartz materials are definitely dangerous. Until they are tested that is of course unknown. Equally, unless regulators insist that the quartz brand owners, importers and manufacturers submit their products to suitably qualified and independent agencies for testing, it is not possible to say with any certainty that they are 100% safe.
Verifying Certification Claims
Worryingly, the growing trend of unscrupulous manufacturers claiming certification they do not have has forced NSF to issue a warning on their website as they are “concerned about fraudulent downloading and manipulation of website text.” Encouraging consumers to always confirm this information by obtaining accurate information, here.
No doubt there will be manufacturers and agents of other consumer product groups reading this article with a degree of disbelief. Most likely, reflecting on the rigorous R&D work and testing that they will have done. Quite rightly, they will be wondering how this vital element of a 21st century kitchen has escaped regulation!
Do the right thing, protect your family and clients by only using NSF 51 and GREENGUARD certified quartz.
Phil Winter is the Sales & Marketing Director at Italian Luxury Surfaces, the sole UK Distributor of Stone Italiana. Previously, Phil has had the privilege of working with some of the most respected brands in the Kitchen & Interiors industry, such as Poggenpohl, bulthaup, Gaggenau and Bosch.
This article was written by Phil Winter, Sales & Marketing Director at Italian Luxury Surfaces.
senior partner, Conran and Partners
Architect and designer Tim Bowder-Ridger, senior partner, Conran and Partners, is passionate about creating authentic experiences centred around cultural spirit and personality. Drawing on his hospitality and residential experience, Tim leads the design direction of the practice as a whole, as well as being responsible for its operations. Recent projects include the conversion of the Brutalist-style Centre Point in London from an unused office tower into residences, and Kita Aoyama, a high-end residential development in Japan.
As senior partner of Conran in Hong Kong, Tim is also responsible for the overall leadership and coordination between the UK and HK subsidiary and has been building the company’s reputation with new work in Japan.
How do your projects embrace the Japanese concept of wabi sabi, the celebration of imperfect, impermanent and incomplete beauty?
Our approach in Japan has been to use authentic materials in their natural forms, for example timber that patinas with age to add further life and spirit. We call that the “honesty” of the material, with every piece being unique compared with artificial printed timber that always looks lifeless compared to the true thing. The Japanese and the British cultures have a similar connection to the landscape and nature, a romantic view about enjoying them. We tend to use a lot of natural materials, but Japan has particularly good techniques for concrete, which is used a lot due to earthquakes. Being a poured material, there are always imperfections, but even these are embraced as beauty.
How is COVID-19, the coronavirus, affecting your work?
We are reducing our long-haul travel a bit, which is probably not a bad thing, and our Hong Kong studio are all working remotely from home at the moment. We have a very good technical team here who’ve set up the computers to work, so there’s not been a hit on our productivity nor our new business development. But I think it’s a bit too soon to know where it’s going to end up, really, and the commercial knock-on effect of China being shut down. Statistically you’re far more likely to die of flu than coronavirus but the difficulty is whether people have confidence in their various government actions. We just review it on a case-by-case basis – but give it another four weeks and we might have a clearer idea of which way we’re heading. The fear is that so much is made in China that it will have an impact on construction stages. Luckily, at the moment we have a lot of pre-construction work.
How do the lifestyle preferences of Tokyo urbanites compare to those in London, and how did your design approaches for Kito Aoyama and Centre Point vary to accommodate these differences?
Both are world cities but different in the sense that London is more international, more akin to New York than Tokyo. Tokyo feels distinctly Japanese, which is why we all like going these because it’s such a unique place. However they are both prime residential markets where people are well-to-do and well-travelled, so those individuals probably have more in common than they would otherwise. It’s less nationalistic as people are from the same global tribe. There was a lot of commonality in our approaches, but with Centre Point the apartments react to the existing structure of the 20th century heritage building, whereas Kito Aoyama is a new build. For all our projects around the world we’re determined to have a sense of place, we try and engage in the context, local culture, all those things. One specific Japanese requirement is the way you pass into an apartment. There’s one entrance, but then doughnut-shaped circulation paths with private family areas in one direction and public reception spaces the other way. In traditional Japanese houses, people step over a threshold – although today they are level. And then there’s a small space to pause and greet one another and, then a separate, and sometimes quite large, room to take off and store your shoes.
There’s a layer of privacy that creates a physical manifestation in the apartment while still trying to enjoy all those different moments and thresholds. It’s like landscape design, a layered approach of being led from a sculpture to a temple to a lake. The difference is that with Japanese apartments, we do it twice, one way for the family and the other for guests. The kitchen and dining spaces are where it all comes together. Even in Tokyo where space is a premium, they make it work. We’re also working in Hong Kong, and the reason why people eat out so much for entertainment is because their apartments are so small. Even there we try to create a layering of experiences.
What qualities make a product’s design exceptional?
It’s very simple: combining functionality with emotion. You can see that with Apple products or the ultimate cliché, BMW cars. They function very well and are desirable, so therefore sellable. It’s about effectiveness, intelligence in functionality and cost. With architecture and interior design, it’s very complex because it’s just about the world’s most collaborative profession to be in with so many different people involved. The job of the architect is really to distil that into a single point-of-view that balances all these different requirements. If you apply that to running a business, like I do, it’s no different. There are so many different things I need to bear in mind that I am forever designing the business. There’s a lot of crossover between running a business and designing a building, given the complexity and judgement – that’s where the creativity comes in.
How does good design equate to good business?
That depends – is business just about selling things or is it our business, a big part of which is trying to leave the world a bit of a better place than we found it. Terence Conran, our founder, always used to say that good design improves lives and it is absolutely the partner of commerce. When he founded his businesses, what he was doing and what we still try to do is provide ideas people want but might not even know they want until their exposed to it. That’s where we’re adding value. The future of the British economy has to be entirely about providing ideas. The creative industry is the UK’s largest after finance. Our great design schools and artistic heritage have a real worth that feeds creative ventures for their continued growth. Whilst this adds value to the world, it can also benefit business and the economy, which is key in the current post-Brexit climate.
Tim is one of the prestigious experts invited to join the extraordinary jury for the SBID Product Design Awards, alongside other renowned professionals across industrial and interior design, brand development, architecture, educational research and forward-thinking enterprise.
The SBID Product Design Awards 2020 will close for entries on 13 March!
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