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      Australia bans engineered stone due to silicosis risk

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      Australia has become the first country in the world to ban engineered stone, following rising cases of silicosis among workers who handle the material.

      The ban was agreed at a meeting of Australian federal and state workplace ministers on Wednesday, and will come into place across the country from 1 July 2024.
      The ban targets engineered stone, also known as agglomerated stone – a type of material made by mixing crushed stone with a resin binder.
      “This is a dangerous product”
      While it is valued as a durable and affordable alternative to natural stone for kitchen benchtops, the material can be dangerous while being cut because it releases a fine silica dust into the air.

      Australia has recorded rising cases of the lung disease silicosis in stonemasons who have handled the product, leading it to be dubbed “the asbestos of the 2020s” by union leader Zach Smith.
      “This is a dangerous product that’s known to cause the potentially fatal disease silicosis, and it has no place in our workplaces,” said Queensland industrial relations minister Grace Grace in a statement following the meeting.
      “The rate of silicosis illness in Australia for those working with engineered stone is unacceptable,” said her Western Australian counterpart Simone McGurk. “This prohibition will ensure future generations of workers are protected from silicosis associated with working with engineered stone.”
      Ban follows report finding no safe level of silica in engineered stone
      The move comes nine months after an investigation by three Australian news outlets accused supplier Caesarstone of not doing enough to warn people of the dangers of working with the material and the country’s construction union launched a campaign calling for the ban.
      A subsequent report by the national policy body Safe Work Australia found that engineered stone workers were significantly over-represented in silicosis cases and were being diagnosed with the disease at much younger ages than workers from other industries, with most being under the age of 35.

      Australia moves to ban engineered stone due to silicosis danger

      It also found that the risk from engineered stone was distinct from that of natural stone due to the material’s physical and chemical composition, and that this was likely contributing to more rapid and severe disease.
      The report concluded that no level of silica was safe in engineered stone and that the material should be prohibited in its entirety.
      Silicosis is caused by tiny particles of silica becoming embedded in the lining of the lungs and manifests in symptoms such as shortness of breath, cough, weakness and fatigue.
      The condition is life-altering and potentially fatal, with many formerly healthy young sufferers describing being unable to work or play with their kids.
      Caesarstone commits to supplying Australia with “alternative products”
      In response to news of the ban, Caesarstone commented that while it disagreed with the decision, it is taking the necessary steps to ensure supply of alternative materials to Australian consumers.
      “The Caesarstone brand is well known in Australia and its products have earned tremendous success over the years,” said Caesarstone CEO Yos Shiran. “We are already taking steps to supply our Australian market with alternative products while maintaining our strong market presence.”
      It has previously argued that its material is safe if handled correctly and that the silicosis danger was the fault of employers and work safety bodies.
      Other companies including Ikea and Bunnings had already committed to phasing out the material in the Australian market.
      The ban will apply to the manufacturing, supplying, processing and installing of engineered stone but not its removal, repair, disposal or minor modifications.
      Australia’s workplace ministers will meet again in March 2024 to finalise details of the ban, including the transition period for contracts that have already been implemented and the precise definition of engineered stone.
      The country’s Model Work Health and Safety Regulations currently exclude concrete and cement products, bricks and pavers, porcelain, ceramic tiles, roof tiles, grout, mortar and render, and plasterboard from the definition of engineered stone, but ministers have indicated that additional products would be added to the exemptions.
      This may allow future engineered stone products to be exempted from the ban if there is “compelling evidence” that they can be used safely.

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      JEB acoustic partitions and furniture create modern campus for UOW College Hong Kong

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      Promotion: acoustic partitions and furniture brand JEB have provided interior solutions for the University of Wollongong’s new Tai Wai campus in Hong Kong, which aims to create an adaptable learning environment.

      The University of Wollongong (UOW) College Hong Kong campus in Tai Wai covers 15,000 square metres and supports 3,300 students with modern facilities including an auditorium, library and maritime laboratory.
      Hong Kong-based brand JEB was engaged to provide acoustic partitions and furniture solutions that could be adapted to support different styles of learning and encourage student interaction.
      The UOW College Hong Kong campus in Tai Wai is designed to be flexible and adaptableAt the same time, the team had to meet a design brief that sought to bring a taste of Australia to Hong Kong, with each floor of the building bringing to life a different element of the Wollongong landscape: the Pacific Ocean on the first floor, the urban environment on the second, and the mountains on the third.
      JEB’s Integra Operable Wall system is critical to the functional aspect of the design says the company, as it empowers educators to swiftly alter room sizes and layouts by unlocking the wall panels and moving them.

      The system operates on a door track and roller that allow panels to be turned around corners and stored out of sight, keeping the environment clutter-free and maximising available space.
      The space supports different styles of teaching and learningThe product “is a testament to JEB’s commitment to revolutionising the educational landscape and providing cutting-edge solutions that meet the evolving needs of modern learning environments,” said the brand.
      JEB made ample use of glass in its choice of partitions, to avoid closing off areas when there is limited natural light and to create an open-feeling atmosphere.
      For furnishings, JEB mixed custom solutions with a range of office products from leading local and international brands such as Vitra, Humanscale and Andreu World.
      JEB provided acoustic and furniture solutions for the University of Wollongong’s new Tai Wai campus in Hong KongWorkstations, cabinets and lecture tables were custom-made for the UOW College Hong Kong campus in Tai Wai. Movable desks were placed in tutorial rooms so that they could be easily reconfigured for group or individual work.
      In lounge areas, JEB sourced chairs suited to relaxation, while areas of open staircase seating were created to encourage casual interaction between students.
      “The deliberate use of partitions and furniture in the UOW College campus project in Tai Wai not only addressed the practical aspects of spatial flexibility and lighting challenges but also contributed to the creation of a modern, adaptable and student-centred learning environment,” said JEB.
      “The thoughtful integration of these elements has positively impacted the educational experience and reflects the commitment to innovative pedagogical approaches in higher education.”
      Partitions and furniture are key to the interior designJEB aims to deliver one-stop solutions to interior design, offering acoustic partitions, office furniture, bespoke facades and circular hygiene products.
      It also endeavours to act sustainably, operating a takeback programme that finds new homes for unwanted furniture.
      To find out more about JEB, visit the company’s website.
      Photography courtesy of JEB Group.
      Partnership content
      This article was written by Dezeen for JEB as part of a partnership. Find out more about Dezeen partnership content here.

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      Video reveals Michael Hsu’s organic approach to interiors of Austin high-rise

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      Texas studio Michael Hsu Office of Architecture has designed the common areas for a 50-storey residential high-rise building in Austin, as shown in this exclusive video captured by Dezeen.

      Called 44 East, the building is located east of downtown Austin in the Rainey Street Historic district. The firm designed the interiors of the building’s common areas, which take cues from its natural surroundings, particularly the neighbouring Colorado River.

      Michael Hsu Office of Architecture has designed the interiors of 44 East
      The practice enhanced the space using colour and texture, layering vintage and custom furnishings to create a relaxed and inviting ambience.
      Curved surfaces and light colours are incorporated throughout the space, with poured concrete terrazzo floors incorporated to pay homage to the gravel of the nearby riverside trail.
      Curved surfaces and light colours are incorporated into the lobby area of 44 EastThe interior is characterised by the use of soft shapes and natural materials throughout the various spaces, including on the eleventh floor, where pastel hues complement subtle architectural details.
      The outdoor swimming pool features a series of pebble-shaped islands, with a partially-covered patio inviting guests to relax outside and enjoy the views of the river.
      The eleventh floor features a circular outdoor swimming poolOn the thirty-seventh floor, a large moon-like pendant light is suspended above a plush circular sofa.
      The higher vantage point offers scenic views of downtown Austin, and features jewel tones and darker materials intended to complement the Texas skyline at dusk.
      The thirty-seventh floor features darker tones to complement views of the Texas skyline44 East was developed by Intracorp, while the tower and unit interiors were designed by Page and landscapes designed by DWG.
      The interior design of the common spaces is one of the latest projects by Michael Hsu Office of Architecture, which is based in Austin and Houston.
      The company recently completed its self-designed Austin studio, which is adorned in wood-and-fabric lined walls and industrial details, to accommodate its growing team.
      The photography is by Chase Daniel.
      Partnership content
      This video was produced by Dezeen for Michael Hsu Office of Architecture as part of a partnership. Find out more about Dezeen partnership content here.

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      Dezeen Awards 2023 winners announced at ceremony in London

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      All 50 Dezeen Awards 2023 winners have been announced at this evening’s ceremony in central London.

      The winners were revealed at a party at Shoreditch Electric Light Station attended by shortlisted studios along with Dezeen Awards judges past and present including Nelly Ben Hayoun, Omar Gandhi, Patricia Urquiola, Sumayya Vally and LionHeart.
      All Dezeen Awards 2023 winners revealed
      The winning projects have been selected from more than 4,800 entries from 94 countries. The 39 project category winners were shortlisted for the architecture, interiors, design and sustainability project of the year awards. These projects went head to head to win the overall project of the year awards.
      The six Designers of the Year and the inaugural Bentley Lighthouse Award winner were also announced at the ceremony.

      View the winners on the Dezeen Awards website or read below:
      Simba Vision Montessori School in Tanzania was named architecture project of the year. Photo by Nadia ChristArchitecture
      Simba Vision Montessori School by Architectural Pioneering Consultants won the prestigious architecture project of the year award, sponsored by Material Bank. It was also named education project of the year.
      The judges said: “This exemplary building manages to do the most with the least. A truly sustainable project with a very limited budget, the building provides a much-needed educational space for the local community that is responsive to people, place and purpose.”
      The winning Montessori school with tactile qualities was up against projects that included a linear park with an elevated walkway in Mexico City, a copper-clad shelter constructed from bamboo in Bali and a timber-lined community centre made from salvaged local wood in east London.
      Read more about Simba Vision Montessori School and the architecture winners ›
      A restaurant in a former mechanic’s workshop in Guadalajara won interior project of the year. Photo by Gillian GarciaInteriors
      Restaurant Xokol in Guadalajara by studios Ruben Valdez Practice and ODAmx was named interior project of the year, sponsored by Moroso. It also won restaurant and bar interior of the year.
      “Xokol understands the place where it lives and the importance of designing in a specific way for a specific location,” commended the judges. “The result of this understanding is deep and poetic.”
      A palazzo with circular elements in Rome, a retail space defined by curved resin walls in the Art Gallery of New South Wales and an exhibition with shrink-wrapped blocks as scenography in Hanover were a few of the projects competing with the Mexican cross-cultural dining space.
      Read more about Xokol and the interiors winners ›
      Design project of the year was awarded to designer Yves Behar for his bionic leg wrapDesign
      The Cionic Neural Sleeve by Yves Behar’s Fuseproject and neuro tech startup Cionic was crowned design project of the year, sponsored by Solus Ceramics and Mirage Spa. It was also awarded product design (health and wellbeing) project of the year.
      “For the millions of people suffering from muscular degenerative diseases or injury, this product has the greatest potential to improve the user’s ability to walk and therefore their quality of life,” said the master jury.
      Projects vying with the winning bionic leg wrap included sunglasses that have adaptive focus lenses, a climate-change calculator that makes use of real-world data and a minimalist log-like perch designed for active waiting.
      Read more about Cionic Neural Sleeve and the design winners ›
      The latest phase of the redevelopment of Park Hill estate in Sheffield was crowned sustainable project of the yearSustainability
      London architecture studio Mikhail Riches won sustainable project of the year, sponsored by Brookfield Properties. Park Hill Phase 2 was also named sustainable renovation of the year.
      The judges said: “Mikhail Riches has taken the ruin of a concrete post-war mass housing project, which was an iconic building of its time, and shown how to care for its legacy while giving it dignity.”
      Other contenders for sustainability project of the year included an affordable housing block with pigmented precast concrete panels, a whiskey bar decked with oak from discarded distillery barrels and a chipless, paper-only version of a radio-frequency identification (RFID) tag.
      Read more about Park Hill Phase 2 and the sustainability winners ›
      Photo by Måns BergDesigners of the Year
      Scandinavian practice White Arkitekter took home the architect of the year award and Sumayya Vally of Counterspace Studio was named emerging architect of the year.
      Interior designer of the year was awarded to Spanish architect Patricia Urquiola and emerging interior designer of the year was awarded to Paris-based studio Uchronia.
      London design duo Luke Pearson and Tom Lloyd won designer of the year for their practice Pearson Lloyd and Parisian Audrey Large was named emerging designer of the year.
      These categories are sponsored by Bentley.
      Read more about the Designers of the Year winners ›

      Bentley Lighthouse Award
      Natural Material Studio founder Bonnie Hvillum has been named the first winner of the prestigious Bentley Lighthouse Award.
      The inaugural award recognises designers who are curious and courageous in their approach, and whose work has had a beneficial impact on social and environmental sustainability, inclusivity or community empowerment.
      “The whole oeuvre is impressive and beautiful and demonstrates the path that our industry needs to take towards bio-based research, creating greater material diversity whether by repurposing waste or growing new materials,” lauded the master jury.
      This category is sponsored by Bentley.
      Read more about the Bentley Lighthouse Award winner Bonnie Hvillum ›
      Dezeen Awards 2023
      Dezeen Awards celebrates the world’s best architecture, interiors and design. Now in its sixth year, it has become the ultimate accolade for architects and designers across the globe. The annual awards are in partnership with Bentley Motors, as part of a wider collaboration that will see the brand work with Dezeen to support and inspire the next generation of design talent. More

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      Es Devlin reveals “miniature parallel practice” for New York exhibition

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      Student drawings, scale models, and a life-size recreation of set designer Es Devlin’s London studio are on display at an exhibition exploring the designer’s 30-year archive at the Cooper Hewitt, Smithsonian Design Museum.

      Presented in conjunction with her debut monograph, An Atlas of Es Devlin, both exhibition and publication showcased sketches, paintings, small-scale work and more behind 120 projects spanning Devlin’s career in set design.
      An exhibit exploring Es Devlin’s career is on display at the Cooper Hewitt. Photo and top photo by Jason West”My craft is to imagine worlds that don’t yet exist, to invite audiences to practice ‘interbeing’ within psychological architectures they have not previously inhabited, to remind viewers that they are not separate but connected to one another and to the biosphere,” said Devlin.
      “For this exhibition, I have gathered the drawings, fragile paper sculptures and small-scale revolving cardboard models that I and my studio team have been making over the past three decades, a miniature parallel practice at the root of the large-scale public performance and installation works.”
      It coincides with the publishing of a monograph of the set designer’s workVisitors entered the exhibit via a recreation of Devlin’s London office, where they could sit at a central table scattered with paper and art tools representative of works in progress.

      Devlin’s voice narrated thoughts about early school days, belonging, and the intersection of creative disciplines as projections animate the space, with scribbles and writings appearing on the table’s pages and along the walls.
      The exhibit combines projections and audio recordings with scale models, sketches and notes from the designer’s life”The first thing I wanted to do was to invite visitors into my studio,” said Devlin. “Many of the people coming into this exhibition will not have a clue what it is I do or what are the processes that go into it at all.”
      “You come into the studio and already I hope you get the sense I had when I first walked into a room full of people making work like this.”
      Visitors enter through a replica of Es Devlin’s London studio before entering rooms displaying her creative process. Photo by Elliot Goldstein | Smithsonian InstitutionA projection of Devlin’s hands pulled an entryway open to the adjoining room, where Devlin’s Iris installation displayed the names of her many collaborators on a series of rings, a motif the designer often uses to “express the overlaid perspectives of creative partners and audiences”.
      The next installation displayed a wall covered in early sketches, paintings, collages, and diaries Devlin produced during her years at a music school and in her early career, which she noted were delivered to her later in life in “four big black beanbags” by an old boyfriend who had kept them.
      Both the exhibit and monograph showcase the creative process behind some 120 showsWhite, scale models of set and production designs made by Es Devlin Studio were displayed throughout succeeding rooms, accompanied by process sketches, documents and notes that include mark-ups on song lyrics by musicians Miley Cyrus, U2, The Weeknd, Beyoncé and more.
      Devlin noted that her work often begins with analyzing a “primary text” like pop-song lyrics or play before delving into further research.
      Scale models of set and production design are on display”I have spent 30 years translating words into images and spaces – transforming texts on a page into kinetic sculptures that encompass viewers with light and song and use magic to alter their perspective,” Devlin said.
      Another room contained a model theatre with a screen on its stage that displayed films of previous performances, while another displayed short films from Devlin’s various installations.

      Las Vegas Sphere represents the “iPhone-ification” of tour design says Es Devlin

      The last had a large table in which a number of Devlin’s monographs were displayed for visitors to thumb through, with pages of the recent book pinned along the walls.
      “The biggest challenge was to make the book,” Devlin told Dezeen “The book and the exhibit are kind of continuous of one another. Normally, my practice is a small group of people in my studio, resonating out to wider groups.”
      Unseen student work by Devlin also features”But this was the opposite centripetal force of drawing everything into a really small series of rooms, and a small object, the book. It’s the inverse of what I normally do.”
      According to the designer, the book-making process took nearly seven years and was edited by Cooper Hewitt associate curator of contemporary design Andrea Lipps, who also curated Devlin’s exhibit.
      Dezeen recently spoke with Es Devlin on her career, her work on the Sphere and more in an exclusive interview.
      The photography is courtesy Es Devlin Studio unless otherwise noted.
      An Atlas of Es Devlin will take place at the Cooper Hewitt, Smithsonian Design Museum in New York from 18 Nov to 11 August 2024. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
      Project credits:Exhibition design: Es Devlin StudioCurator: Andrea LippsCuratorial assistant: Julie PastoCuratorial interns and fellows: Madelyn Colonna, Bailey de Vries, Barbara Kasomenakis and Sophie ScottDesigners of record and fabrication: Pink SparrowGraphic design: Morcos KeyProjection and video design: Luke Halls StudioComposition and sound design: PolyphoniaLighting design: Bruno Poet and John ViestaAudiovisual production and integration: AV&C

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      Medprostor stacks firewood for Ljubljana design biennial exhibition

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      Firewood logs were used as modular stackable elements for the scenography of the BIO27 Super Vernaculars design biennial in Ljubljana, Slovenia, which has been shortlisted for a 2023 Dezeen Award.

      Curated by Jane Withers, the 27th edition of the city’s design biennial took place at the Museum of Architecture and Design (MAO) in the summer of 2022.
      Firewood was stacked in various ways to stage the BIO27 Super VernacularsThe four-month presentation explored how designers and architects are adapting vernacular traditions and value systems to respond to contemporary challenges like water scarcity, waste and declining biodiversity.
      Similarly, the brief for the exhibition design was to rethink classic parameters and consider sustainability in the context of a temporary show.
      The firewood bundles were used to display various design projects throughout MAOSlovenian architecture studio Medprostor chose to create the scenography from a readily available, locally sourced material that could be entirely reused at the end of the show.

      “Walls, planes, piles and lines of firewood are a part of the Slovenian visual landscape, as almost 59 per cent of the country is forested,” said Medprostor.
      “By only using the standard logs and non-invasive stacking and binding methods, all the material was returned to the supplier for further resale and use.”
      The logs were pre-cut to standard lengths so they could be reusedPre-cut to standard lengths, the logs were oriented vertically and bound together to create tables and platforms of varying heights and sizes throughout the exhibit areas.
      Some of the logs were notched in their tops to hold photographs and texts mounted on honeycomb cardboard sheets, which also formed flat horizontal surfaces for displaying items by participating designers.
      Photos mounted onto honeycomb cardboard were placed in notches on top of the logsBundles were also laid on their sides to act as low-lying display podiums for larger pieces.
      “The aim was to explore ways of stacking wood that are based in traditional techniques but can at the same time support new shapes and methods that evoke a sense of contemporaneity,” Medprostor said.
      Orange and grey straps recycled from the shipping industry were used to bind the logsThe grey and orange straps used to bind the wood and to hang cardboard panels from the ceiling were reused from the shipping industry.
      A few panels also incorporated video screens or served as a backdrop for projections, adding another medium through which the curated projects could be articulated.

      Daisuke Yamamoto presents recycled steel chairs under Milan railway arch

      Medprostor collaborated with graphic designers Studio Kruh and AA to continue the low-impact approach to the exhibition graphics and signage, which were primarily printed on-site at the museum.
      Additionally, the firewood was able to extend its drying process for the duration of the biennial, making it more energy-efficient when finally used as fuel, according to the studio.
      Hanging panels incorporated video screens and were used as projector backdrops”The drier the wood, the higher heating value and better environmental footprint it has,” Medprostor said. “While in the museum, logs can dry additionally and be returned to the supplier for further resale with a better ecological footprint.”
      “The museum becomes a part of the process of curing the wood.”
      All of the firewood was returned to the supplier when the exhibition endedThe BIO27 Super Vernaculars scenography has been shortlisted in the exhibition design category of the 2023 Dezeen Awards, along with a shrink-wrapped exhibition design by Didier Faustino and a showcase of recycled steel chairs by Daisuke Yamamoto.
      The awards will be presented during a ceremony and party in London on Tuesday 28 November 2023, with creative direction by The Unlimited Dream Company.
      The photography is by Ana Skobe and Klemen Ilovar.
      BIO27 Super Vernaculars took place at the Museum of Architecture and Design (MAO), Ljubljana, Slovenia from 26 May to 29 September 2022. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
      Project credits:
      Location: Museum of Architecture and Design (MAO), Ljubljana, SloveniaExhibition design: Medprostor: Rok Žnidaršič, Jerneja Fischer Knap, Katarina Čakš, Teja GorjupGraphic design: Studio Kruh + AACurator: Jane WithersAssistant curator: Ria HawthornBIO27 director: Anja Radović

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      Framery predicts focus spaces to be key office design trend in 2024

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      Promotion: the need for well-considered focus spaces will come to the fore in workplace design in 2024, driven by the uptake of artificial intelligence, according to office pod brand Framery.

      Framery says that the increase in AI in the workplace will result in it taking more responsibility for mundane, repetitive tasks, resulting in the need for additional focus spaces in open-plan offices to help support employees’ deep and focused tasks.
      “If it happens how it’s expected and AI takes more responsibility for repetitive tasks, the office design should reflect this development and support deep, focused work,” said Tomi Nokelainen, head of Framery Labs, the company’s research and innovation unit.
      Framery predicts focus areas will be the key office design trend of 2024According to Framery, while post-pandemic hybrid office design placed an emphasis on the creation of collaborative spaces and “flashy common areas embodying organisational culture”, the next phase of this evolution will centre on creating areas that minimise distraction and allow for focused work.
      “It’s noteworthy that employees value focused working spaces beyond collaborative spaces,” said Nokelainen. “With work complexity on the rise, there is a heightened demand for both acoustic and visual privacy.”

      The company points to the findings of research company Leesman, which has reported that workers are still choosing to stay at home for solitary work. Leeman’s research suggested that some working activities were “better supported at home” including individual-focused work and planned meetings.
      However, Framery says that when employees have the option to work from home, that may not be sufficient to fulfil their productivity needs.
      “It can’t be assumed that all employees have the luxury of a dedicated home office room, or are willing to invest in expensive desks or ergonomic chairs,” said Nokelainen.
      Office workers value focus areas more than collaborative spaces, Framery research findsFramery, a Finnish brand, was one of the first to enter the office pods space in 2010, creating soundproof booths that drown out external distractions so that employees can undertake focused work or conduct video conferencing calls.
      According to Framery Labs’ research, focus spaces are the number one desired perk for employees that would draw them into working in the office rather than at home and they address distractions to focused work, for example, noise.
      Only 33 per cent of employees report finding noise levels satisfactory in their workplace and dissatisfaction with noise has the strongest correlation to an employee saying that the design of their workplace does not support their personal productivity.
      The pods are soundproof so external noise is not a distractionThis can be especially consequential for neurodiverse people, who constitute around 15 to 20 per cent of the global population and who can have a greater sensitivity to sensory stimuli, according to the brand.
      With workplaces becoming more inclusive, the next step will be to design them to function as “a catalyst not a barrier to productivity”, said Nokelainen, with a recognition that different people have different needs.
      “There are no one-size-fits-all focus spaces – they can be everything from silent open areas, library-like spaces, private offices or pods,” said Nokelainen. “Each role and industry has their own special needs that must be taken into account.”
      The Framery One pod is Framery’s bestselling productThese considerations can be addressed with products like the Framery One, Framery’s bestselling office pod. A single-person workstation for focused work that is also optimised for virtual meetings, it includes soft lighting and adjustable ventilation to help create a personalised environment.
      In a closed pod like this, neurodiverse people can apply “sensory integration techniques”, said Nokelainen which means incorporating the sensory tools or approaches that promote calm and focus for them.
      There are also multi-person pods like the Framery Q Flow, one of the newest models. It is designed to help enable workers to achieve the “flow” state of mind, where work feels effortless and time switches off, and includes a height-adjustable electric table so that users can shift positions without interrupting their thought process.
      The office pods come with Framery Connect, an integrated workplace management tool that supplies detailed data and analysis around how often and when they’re being used.
      The pods include the Framery Connect workplace management systemFramery says it prides itself on the quality of its soundproof office pods, as well as having been among the first to bring the product category to the market. The company launched 13 years ago after its founder – Samu Hällfors – devised a solution to address the distraction caused by his boss’s loud phone calls.
      “Our founder and CEO Samu Hällfors invented the office pod category in 2010,” said Framery. “Now we have over 200 competitors globally. To ensure we stay the market leader we are relentlessly innovating to engineer the most advanced pod in the world.”
      Framery also has a sustainable and responsible ethos and has made a commitment to converting to a circular business model.
      To find out more about Framery and its products, visit the brand’s 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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      Building meeting rooms costs 55 per cent more than buying office pods according to research

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      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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