Markus Andrews

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    Building meeting rooms costs 55 per cent more than buying office pods according to research

    Promotion: buying office pods instead of building meeting rooms could save companies in the US around $30 billion by 2030, according to research by soundproof booth manufacturer Framery and real-estate investor CBRE.

    Post-pandemic working habits are driving a transformation in office layout and design worldwide says Framery.
    More people working from home means employers are scrambling to use costly office space more effectively, while the increasing prevalence of video calls has resulted in growing demand for small, acoustically insulated meeting spaces.
    The coronavirus pandemic triggered a sea change in office layouts”Office occupiers are investing more and more into flexible spaces and different types of adjustable spaces to meet the demand of flexibility and to attract their workforce back to the office after the pandemic years’ remote working,” said CBRE’s Jussi Niemistö.
    A study by Framery and CBRE found that as well as offering options for changing office setups, pods are more cost-effective than constructing new meeting rooms.

    CBRE compared the costs associated with getting one-, four- and six-person Framery office pods with the cost of building meeting rooms of equal size in different cities around the world.
    The research indicates that many offices will need to be refurbished to accommodate new working demandsIt found that meeting pods tended to be significantly cheaper – with constructing equivalent meeting rooms costing 55 per cent more on average.
    Building a permanent phone room in a New York office is 155 per cent more expensive than getting a one-person Framery booth, according to the study.
    A separate study by real-estate firm Cushman & Wakefield found that more than 41 per cent of office space in the US is in need of refurbishment in order to support hybrid working by the end of the decade – around 241 million square metres.
    CBRE’s research indicates that meeting pods are a far cheaper option than constructing new meeting roomsFramery’s analysis based on CBRE’s research indicated that building new meeting rooms in that amount of space would cost more than $85 billion. By comparison, the same area of Framery pod space could be purchased for around $55.5 billion.
    Framery CEO Samu Hällfors also argues that meeting pods reduce office running costs.
    Framery claims to have manufactured the world’s first meeting pod”Pods are compact and make better use of existing space,” said Hällfors. “They allow for greater flexibility in rearranging and reconfiguring offices and they can be moved to a new location when needed.”
    “That all greatly reduces the lifetime costs associated with running an office, especially in larger cities with high-priced real estate,” Hällfors continued.
    Founded in 2010, Framery claims to have invented and sold the world’s first office pod, and its Framery O is the world’s best-seller.
    The study looked at costs of building meeting rooms in cities across North America, Europe and AsiaThere are now more than 200 pod manufacturers around the world, according to Hällfors.
    “The increasing demand for these office pods isn’t coming so much from management as it is from employees themselves,” he said. “Reimagining the workplace in these innovative, cost-effective ways is what is going to get employees excited to return to the office.”
    To view more about Framery and its products, visit its website.
    Partnership content
    This article was written by Dezeen for Framery as part of a partnership. Find out more about Dezeen partnership content here.

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    Video reveals Austin guesthouse perched above existing family bungalow

    This exclusive video produced by Dezeen features The Perch, architect Nicole Blair’s elevated house extension in Austin, which was designed to maximise living space.

    As its name suggests, the structure is perched just two feet above the roof of the existing home to minimise disturbance to the residence below.
    Blair clad the guesthouse in weathering-steel panels and added wood-framed windows provided by Windsor Windows & Doors. The Burnt Pumpkin colour of the windows was selected to complement the Corten-steel exterior.

    The structure spans 660 square feet and consists of an irregularly shaped steel volume supported by four columns.
    The assembly of the steel structure took place offsite, in order to minimise disruption to the mature vegetation on the premises and reduce on-site material storage.
    The wood-clad windows were provided by Windsor Windows & DoorsThe architect designed the interior of the guesthouse to have a bright, airy atmosphere and adorned it with colourful accents.
    It features wood flooring supplied and installed by local company Artisan Hardwood Floors, which was complemented with pink cabinetry and exposed plumbing fittings throughout the home.
    The materials used for the wood flooring were a mix of pre-finished plain and rift-sawn white oak, along with excess wood recycled from a larger project by the company.
    The wood flooring was supplied and installed by Artisan Hardwood FloorsThe first floor of the guesthouse encompasses an open-concept kitchen, living room and dining area with compact footprints and vaulted ceilings for an increased sense of space.
    The upper level includes a room facing the street and another overlooking the backyard, designated for use as a guest bedroom and a hair salon for one of the hairstylist owners.
    The photography is by Casey Dunn.
    Partnership content
    This video was produced by Dezeen for Windsor Windows & Doors and Artisan Hardwood Floors as part of a partnership. Find out more about Dezeen partnership content here.

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    Colour-drenched coffee shop by Uchronia references “sunsets in the Tunisian desert”

    Gradated lava stone flooring and suspended planet-like orbs feature at the Cafe Nuances coffee shop in Paris, which was created by Dezeen Awards-nominated studio Uchronia.

    Located on the city’s Rue de la Tremoille, the coffee shop is the third Uchronia-designed branch for Parisian coffee roaster Cafe Nuances.
    Cafe Nuances’ latest branch has a bright white facadeThe one-room shop is fronted by a bright white facade in stark contrast to its vivid-hued interior.
    Studio founder Julien Sebban was informed by the landscapes he experienced on a recent trip to Tunisia when creating the cafe’s walls and lava stone flooring, which are decorated in ombre swathes of red, orange and blue.
    The colorful interior was informed by sunsets in Tunisia”They reminded him of the sunsets in the Tunisian desert – a veritable ode to the gentleness of summer days,” said the studio, known for its playfully eclectic designs and shortlisted in the emerging interior designer category at this year’s upcoming Dezeen Awards.

    The coffee shop’s entrance is flanked by two bright red benches topped with metallic-effect fabric – one curved, and the other straight.
    Uchronia crafted the counter from stainless steelLow-slung interlocking tables, which can double as stools, can be reconfigured to suit customers’ needs.
    Uchronia placed a chunky stainless steel counter at the back of the intimate cafe, which is overlooked by deep orange lacquered shelving – a design element found in the other two Cafe Nuances outlets.

    Beata Heuman designs colour-drenched Hôtel de la Boétie in Paris

    “This new address picks up on the codes present in the second shop, accentuating the [coffee] brand’s colourful, futuristic retro universe,” explained the studio.
    A cluster of striking, spherical objects were finished in the same colours as the rest of the space and suspended from the reflective ceiling.
    Planet-like orbs add decoration to the space”Unlike [this branch’s] two big sisters, whose interiors feature striated shapes, here, the poly mirror tiles are complemented by half-spheres in saturated colours, accentuating the dreamlike feel of the coffee shop,” continued Uchronia.
    “They create the illusion of floating balls, which could be mistaken for Saturn.”
    Bespoke interlocking tables also function as stoolsThe studio previously livened up a Haussman-era Paris apartment for a pair of jewellery designers with furniture crafted to nod to the appearance of precious stones.
    Elsewhere, Canadian design duo Julia Jamrozik and Coryn Kempster created a sky-blue coffee shop in a century-old house in Buffalo, New York, with an optical illusion staircase.
    The photography is by Félix Dol Maillot.

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    Studio XAG creates fixtures for Coach pop-up using discarded leather scraps

    A colourful, reconstituted leather made from cutting room scraps was among the recycled materials used to create the fixtures and fittings for Coachtopia, a London pop-up store for American label Coach.

    Located in the Wonder Room at Selfridges in London, the temporary store was created to launch a new collection of Coach products crafted from reused leather bags and recycled materials.
    Called Coachtopia, the collection seeks to challenge fashion’s linear system where most products end up in landfill.
    Coachtopia was located in department store Selfridges’ Wonder RoomEach of the products in the Coachtopia collection has a clear pathway for reuse and recycling, according to the brand, and comes with an embedded NFC chip that tracks its lifecycle.
    Chosen by Coach for its sustainable approach and B Corp-certified status, retail experience agency Studio XAG was commissioned to create a temporary store space to launch the product line.

    The resulting space, which features a modular display system made of recyclable parts that slot together, has been shortlisted in the retail interior (small) category of Dezeen Awards 2023.
    It features display counters made from reconstituted leather”The Coachtopia product line is designed to be ‘circular from the start’ – considering the future life of a product proactively, rather than reactively,” Studio XAG said.
    “We mirrored Coach’s circular ethos for the collection through three approaches to the physical space.”
    The first approach was to keep the use of virgin materials to a minimum by using repurposed neon flex, recycled leather scraps and Ecoboard – a material made from agricultural waste.
    The modular fixtures were “made to be remade”Secondly, Studio XAG ensured that the modular fixtures, like the products on sale, were ‘made to be remade’ and could be disassembled and repurposed at the end of their current use.
    Finally, the studio selected materials that offer meaningful recycling opportunities at their eventual end of life and said it considered the embodied carbon, toxicity and afterlife opportunities in every component.

    Akin Atelier houses Gallery Shop at Sydney Modern in “translucent bubble”

    “The challenge was to create a pop-up that would have visual impact, but could be dismantled and rebuilt in new locations, again and again,” explained Studio XAG.
    “Any items which couldn’t be used in a future pop-up, such as the hoarding and some of the wall panels, were donated to Selfridges to use in their future launches.”
    Studio XAG used Ecoboard to create displaysThe collection’s slogan Have Taste Love Waste, which serves as a statement of intent and action, was boldly written in neon signage crafted from offcuts of neon flex that would otherwise be discarded.
    The lighting will be reused for other key stores, including Coach’s flagship on Regent Street.
    The store’s slogan was made from reused neon flex”To create a sustainable lighting solution was a challenge, as most neon alternatives are manufactured from virgin materials,” explained Studio XAG.
    “To resolve this, we contacted a lighting manufacturer and requested that they collect all their offcuts from previous projects over the months leading up to the installation of Coachtopia,” it added.
    “All of these offcuts were then meticulously threaded together to make a unique set of signs, made up of hundreds of individual scraps which would have otherwise been thrown in the bin.”
    Studio XAG chose materials that “offer meaningful recycling opportunities”The Coachtopia tables and display units are covered in reconstituted leather made using scraps from the cutting-room floor that might have otherwise gone to landfill.
    These modular pieces can easily be taken apart using a system of slotting together rather than permanent glueing or fixing.
    Colourful leather scraps were used to create displaysEcoboard – a carbon-negative material manufactured in the Netherlands from seasonal agricultural waste like straw, seeds, rice and corn – was used in place of MDF. Unlike MDF, Ecoboard does not emit any damaging organic acids.
    “In the Wonder Room, visitors are given insight into what circularity means for the future of fashion,” commented the studio. “The space feels exploratory and educational, using sustainable materiality and clear signage as a guide.”
    Other projects shortlisted in the retail interiors (small) category include a gallery shop in Australia housed in a “translucent bubble” and a steel-clad boutique in Bratislava.

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    WOA designs own studio space using materials that had been “relegated to landfill”

    Indian architecture studio Workers of Art has converted a former storage space into its own plant-filled office, using recycled and repurposed waste materials in almost every aspect of its design.

    Called WOA Second Home, the office is located in Kochi, Kerala, and occupies a 1,450-square-foot (135-square-metre) concrete structure that was previously used for storing tiles.
    Aiming to “underscore the necessity of the curtailment of waste output in architecture,” Workers of Art (WOA) made use of materials that had been “relegated to landfill” including concrete board, PVC pipes and acrylic sheets, to create a workspace that would reflect the studio’s ethos.
    WOA has converted a former storage space into an office in Kerala”The design celebrates the value of materials that might have otherwise been discarded, creatively forming patterns and combining different elements to breathe new life into the space,” said the studio.
    “For instance, odd-shaped waste tiles are harmoniously mixed and matched, finding their new home in the powder room. A strikingly repurposed tile piece also elevates the entry steps, underscoring the studio’s attention to detail and innovative flair,” it added.

    Organised across one floor, the entrance to the office leads into a large space lined with a zig-zag of ferrocement desks along the eastern wall, next to a meeting table and sample board at the centre of the room and a more private workspace to the west.
    The design uses recycled and repurposed waste materialsA new partition with a large arched opening and blackout curtain leads through to a breakout area and facilities space containing a locker area, kitchen and bathroom.
    “The design of the workstations, which meander through the shared workspace, was strategically planned to encourage teamwork while also allowing for individual space,” WOA co-founder Priya Rose told Dezeen.
    “The philosophy was to create a workspace that feels like a ‘second home’ – evident in the thoughtful design elements that prioritise comfort, aesthetic pleasure, and a sense of belonging,” she added.

    Terroir revamps 1960s Tasmanian office “using no new resources at all”

    Custom black light fittings on the ceiling were created by repurposing lengths of PVC pipe, while bespoke planters were made using ferrocement lined with blue plastic barrels.
    The existing tile floor in the building was retained, with areas that had become cracked removed and infilled with microcement to create contrasting dark grey geometric areas.
    Throughout the studio, discarded antiques and over 100 species of local plants were introduced to bring a “homely” quality to the space.
    A large arched opening forms a new partition within the officeWOA Second Home has been shortlisted in the workplace interior (small) category of Dezeen Awards 2023.
    In Madrid, designer Lucas Muñoz used upcycled junk and construction waste to create nearly every interior element of the Mo de Movimiento restaurant.
    The photography is by Ishita Sitwala. 

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    Olson Kundig and Erica Colpitts renovate mid-century house in North Vancouver

    US architecture firm Olson Kundig and Canadian designer Erica Colpitts have renovated a mid-century house near Vancouver, warming the modernist structure with natural materials and neutral colours.

    The residence is surrounded by tall cedar trees on a quiet plot in Edgemont, a village-like neighbourhood of North Vancouver, across the water from the Canadian metropolis.
    Wood lines the ceiling and floors of the renovated home, contrasting the blackened steel structural elementsIts new owners are a family of four who relocated to the West Coast from New York City, looking for a community to put down roots.
    Olson Kundig, which has an office in nearby Seattle, was asked to update and slightly expand the building to meet the owners’ needs while respecting the original design.
    The living spaces are all connected along the back of the house, in its single-storey portionLocally based Erica Colpitts was brought on to complete the interiors with a softer, warmer feeling than typical mid-century designs.

    “The pure challenge of this home completely appealed to me,” said Colpitts. “My task was to meld Olson Kundig’s overall design for the home with an ever so slightly soft and romantic interior.”
    Dark tones in the kitchen, including the steel hood and shelving, match the building’s beams and columnsLike many homes from the period, the building has a low-slung form, a shallow roof pitch and large expanses of glass across its facades.
    Blackened steel structural elements were highlighted throughout the interior, and their dark colour is repeated across several other elements.
    The kitchen connects to the patio via a bar counter and sliding windowThese range from the guardrails and supports for the staircase unit, which connects the home’s multiple split levels, to a custom hood and shelving in the kitchen.
    The staircase is separated from the lounge by a huge bookcase that is original to the house, along with a red-brick fireplace on the other side.
    An original bookcase separates the lounge from the entry hallway and staircaseAll of the primary living spaces run along the back of the home, in the single-storey portion, facing the landscaped garden and a plunge pool through huge windows.
    Wide-plank flooring and a wood-covered ceiling connect the open-plan areas, which culminate at the dark-stained kitchen.
    Bedrooms in the two-storey side of the house follow the same design aestheticThe hues and materials chosen for the these spaces are warm and inviting, such as cream surfaces and heathered oatmeal textiles paired with cognac-coloured leather, dark flax, and deep grey.
    “This home has a decidedly neutral colour palette to go with the natural materials selected; however, it is warmly neutral and texturally layered,” said Colpitts.

    Eight renovated mid-century homes that marry period and contemporary details

    “Where colour was used, we wanted those colours and their textures to be reminiscent of a gentleman’s library,” she added.
    The bedrooms, bathrooms, and additional living areas are organised within the two-storey side of the house, where the same design aesthetic continues.
    The home’s large expanses of glass connect it to the surrounding landscape, designed by Amelia SullivanOn the exterior, weathered ebony siding and a Corten steel front door were added in keeping with the building’s modern-industrial appearance.
    “This home is a juxtaposition of all good things,” Colpitts said. “Dramatic and serene. Rustic and refined. Industrial and romantic. Exquisite and comfortable.”
    Olson Kundig aimed to respected the building’s original design while slightly expanding its footprintThe mid-century architecture style remains incredibly popular with homebuyers across the US and Canada, which has led to many renovations that align these residences with contemporary living.
    Recent examples include a Hamptons home that owner Timothy Godbold transformed to resemble a lair from a James Bond movie, and the former seaside home of modernist architect Henry Hill respectfully overhauled by Studio Schicketanz.
    The photography is by Ema Peter.
    Project credits:
    Architect: Olson KundigInterior design: Erica Colpitts Interior DesignContractor: Brent Braybrook / Braybrook ProjectsMillwork: Robin Woronko / Intempo InteriorsLandscape architect: Amelia SullivanMetalwork: Drabek Technologies

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    Eight imaginative home interiors created on a budget

    In this lookbook, we collect eight residential interiors that were put together with limited funds but still have a certain richness.

    Featuring exposed structures, simple materials and sparing use of finishes, these budget interiors prove that adventurous design doesn’t have to be reserved for the very wealthy.
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring interiors made with reclaimed materials, inviting entrance halls and industrial-but-cosy living rooms.
    Photo by José Hevia10K House, Spain, by Takk
    Renovated on a material budget of only 10,000 euros, this Barcelona apartment takes raw, pared-back aesthetics to extremes.

    Leaving traces of dismantled fixtures visible, Spanish studio Takk chose not to apply coatings to the floors and walls, while utilitarian medium-density fibreboard features throughout.
    Find out more about 10K House ›
    Photo by Trieu ChienBinh Thuan House, Vietnam, by MIA Design Studio
    Simple white curtains divide spaces inside the Binh Thuan House, designed by MIA Design Studio for a family of four using limited resources.
    An exposed steel frame lends a distinctly industrial feel and is also an easily adaptable means of fitting windows, curtains, furniture and pictures.
    Find out more about Binh Thuan House ›
    Photo by Taran WilkhuSegal House, UK, by Fraher & Findlay
    UK architecture studio Fraher & Findlay avoided using specialist trades and bespoke products to keep costs down in the renovation of this house in south London that was originally designed according to Walter Segal’s self-build methods.
    Extensive use of plywood meant there was no need to hire a plasterer, for example, while other materials and products were chosen for being widely available off the shelf.
    Find out more about Segal House ›
    Photo by Ariadna Polo/Sandra Perez NietoCasa Nakasone, Mexico, by Escobedo Soliz
    This small, simple house on the outskirts of Mexico City was designed by Escobedo Soliz for a retired teacher.
    Cheap structural materials were left exposed in the interiors, such as brickwork walls, tiled floors and pale wooden beams on the ceilings.
    Find out more about Casa Nakasone ›
    Photo by Jumpei SuzukiMinimum House, Tokyo, by Nori Architects
    Minimum House, in Tokyo, was designed by Nori Architects as a prototype for a low-cost, low-waste, adaptable model of urban housing.
    Ductwork and wiring was left exposed with only simple light fittings, while the timber structure is left uncovered on the walls and used for kitchen and storage units.
    Find out more about Minimum House ›
    Photo by José Hevia105JON, Spain, by Vallribera Arquitectes
    Simple materials feature throughout this house in Vallès, Spain, modernised by Barcelona studio Vallribera Arquitectes.
    Chunky chipboard is a recurring motif, contrasting with blue linoleum flooring in the bathroom and with exposed brick party walls in the living spaces.
    Find out more about 105JON ›
    Photo by Richard ChiversMaison Pour Dodo, UK, by Studio Merlin
    Studio Merlin incorporated an abundance of storage in its revamp of this Stoke Newington flat to ensure that the available space could be kept luxuriously serene and clutter-free.
    Touches include a large floor-to-ceiling shelving unit in the living and dining area, and a wall of deep-set IKEA cabinets with smokey blue door fronts from Danish brand Reform in the kitchen.
    Find out more about Maison Pour Dodo ›
    Photo by Javier de Paz GarcíaUpHouse, Madrid, by CumuloLimbo Studio
    Completed on a shoestring budget of $39,000, this extensive renovation of an apartment in Madrid by CumuloLimbo Studio prioritised using inexpensive materials such as salvaged plywood.
    The kitchen area features a simple open shelving system with a black-tile backsplash, while the counter forms part of an unusual staircase leading up into a newly inserted mezzanine.
    Find out more about UpHouse ›
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring interiors made with reclaimed materials, inviting entrance halls and industrial-but-cosy living rooms.

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    Traditional design techniques are “alive and well” in Le Salon de Septembre exhibition

    Old and new blurred together in this exhibition at Paris’ GSL Gallery, which celebrated contemporary creatives who observe design traditions of the past.

    Le Salon de Septembre was the inaugural exhibition to be held at GSL Gallery, a factory-turned-arts space in Paris’ Patin neighbourhood run by creative collective The Guild of Saint Luke.
    Guided by the motto “Remastering The Past”, the collective thought it fitting for the show to highlight the fact that traditional design techniques are “very much alive and well”.
    The exhibition showcases contemporary designers who observe design traditions of the past”These techniques are being adopted by young avant-garde artists and designers around the world to create new forms that can also be read in the context of decorative art history,” the collective’s founder, John Whelan, told Dezeen.
    “This is a subjective opinion but I think that artworks and design pieces that reference the past are drawing upon our roots, the very foundation and life force of our culture – works that attempt to break free from the past can often look ‘deracinated’ and meaningless despite their valiant effort to create a new language.”

    Pieces include this stainless steel daybed by Olivia BossyA mix of established and emerging creatives contributed pieces to the exhibition, which was curated by Whelan and interior architect Edgar Jayet.
    On the gallery’s ground floor, an ebonised blackwood and stainless steel daybed by Australian designer Olivia Bossy sat beside a lustrous aluminium lamp from designer Max Copolov.
    This drew on the work style of Weiner Werkstätte – a modernist Austrian design studio established in 1903 by painter Koloman Moser, the architect Josef Hoffmann and patron Fritz Waerndorfer.
    A glass vitrine contains a curule-style stool by Edgar Jayet and a 19th-century bento boxA glass vitrine in the same room contained an ornate bento box from 19th-century Japan and a raw aluminium stool by co-curator Jayet.
    This offered a reinterpretation of the curule seat, used in Ancient Rome by powerful magistrates.

    GSL Gallery takes over disused Parisian factory with “punk” interiors

    Upstairs on the gallery’s mezzanine, a chair by Seoul-based designer Kim Byungsub was on display.
    While its seat was made from hairline-finish steel, its backrest featured najeonchilgi: a historic Korean handicraft technique in which mother-of-pearl motifs are inlaid into lacquered surfaces.
    The gallery’s mezzanine featured this najeonchilgi chair by Kim ByungsubOther items on this level included a walnut-veneer lounger by London-based artist EJR Barnes, designed to emulate “turn-of-the-century European grandeur”.
    There was also a blackened ash, steel, and felt-laminate suspension light by London-based designer Joe Armitage, which took its cues from a floor lamp created in 1952 by his grandfather, architect Edward Armitage.
    Nearby is a walnut-veneer lounger by EJR BarnesAn array of paintings, prints and reliefs served as a backdrop to the pieces in the gallery. These nodded to the exhibition design of the 1903 edition of Salon d’Automne, an art show that takes place in Paris every year.
    “My co-curator Edgar Jayet and I were particularly interested by the avant-garde spirit of the original Salon d’Automne, which was controversial in its day, showing the Fauvists, Cubists and Futurists, as well as Charlotte Perriand and Le Corbusier in design,” explained Whelan.
    “Archival images of the original exhibition in 1903 heavily influenced our scenography, with an ebonised oak vitrine and shelf above which artworks are hung in a ramshackle, fin-de-siecle style.”
    This suspension light by Joe Armitage also comes as part of the exhibitionLike Salon d’Automne, Le Salon de Septembre will now become an annual event at GSL Gallery.
    “We hope to provide an annual snapshot of the zeitgeist in art and design, showing artists and designers that explore heritage as a means of contemporary inspiration,” concluded Whelan.
    Prior to opening GSL Gallery at the beginning of 2023, The Guild of Saint Luke specialised in reviving historic interiors and designing new ones.
    Previous projects include Nolinski, an art deco-style eatery in the French capital, and Maison Francois, a chic brasserie in London that riffs on Ricardo Bofill’s architecture.
    The photography is by Celia Spenard-Ko. 
    Le Salon de Septembre took place at 27 Rue Jacques Cottin, Pantin, Paris, from 15 September to 6 October. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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