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      SODA designs workspaces with “high-end retail aesthetic” for Liberty House

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      London studio SODA based the bold interiors of The Office Group’s Liberty House offices on Regent Street on the colourful prints of the adjacent Liberty London department store.The studio created the interiors for two separate, flexible workspaces in the same building, called Liberty House and Liberty Rooms.
      While the designs vary in the two areas, both were informed by the classic fabric Liberty prints produced by the department store next door.

      Above: warm terracotta hues were used for the interiors. Top image: arched doorways decorate the rooms

      The larger workspaces of Liberty House features a calmer, more neutral palette of colours and materials than the bold event spaces and meeting rooms in Liberty Rooms.
      The department store originally traded out of Liberty House, before moving one door down.
      “The relationship with the Liberty’s department store was the starting point for the graphic identity and the interior concept,” SODA architect Parvathy Vipulendran told Dezeen.
      “The iconic Liberty prints inspired the colour palette of the design, while the mock-Tudor building inspired the high-end retail aesthetic and crafted objects positioned throughout the scheme.”

      The building hosts two contemporary workspaces, Liberty House and Liberty Rooms
      The studio wanted to ensure that the interior had a coherent design language, something it thought especially important for “a building of this grandeur.” Liberty House is a Grade II-listed building.
      In order to keep the interior design coherent, the studio chose to remove a number of non-load bearing walls to open the space up and create an “appropriate” sense of scale for the rooms, which include meeting rooms, focus booths, breakout spaces, lounges, private offices and a kitchen and dining area.

      Cold and warm colours are mixed in the kitchen and dining area
      SODA used a colour palette of neutral warm beiges for the office spaces and bolder colours, such as dark petrol blue hues, bright yellow and warm terracotta, for the more public spaces, the meeting rooms and the bathrooms.
      The material use and form language inside the building was also informed by its well-known neighbour as well as by the Liberty House building itself.

      The colour palette was inspired by the building and by Liberty London fabrics
      “We built a core material palette that was inspired by Liberty House and the Liberty fabrics, which comprised of scalloped panelling, tiling, oak joinery and floors, reeded glass, and more functional materials such as vinyl,” Vipulendran said.
      “The scalloped surfaces can be seen in the facade of Liberty House, so it was a really nice way to bring the language of the exterior internally and apply it on key joinery elements.”

      Terrazzo adds pattern interest to a kitchen in warm neutral colours
      The scalloped design of the house’s facade was also referenced on some of the doors inside Liberty House.
      “The routing on the upper floor tea points and doors has the same rhythm as the scallop and elevate these doors above a standard office door,” Vipulendran said.
      “The rhythm of these vertical lines are beautifully complemented by the lines of the curtains through the scheme.”

      SODA creates contemporary MYO offices inside 1970s London building

      In some of the spaces, including tea points and bathrooms, SODA chose to use Altrock and Durat terrazzo material to create more striking patterned interiors. The studio collaborated with Altrock to create bespoke coloured surfaces that would match the design.

      Handcrafted objects decorate the space
      As well as informing the colours and shapes of the office space, the Liberty department store also lent some of its in-store aesthetic to the interior, which features a number of hand-crafted objects throughout as well as pieces that nod to display cases.
      “This is expressed most clearly in the main lounge and reception, where we used light, bright tiled surfaces to highlight key joinery objects,” Vipulendran said.
      “These were inspired by the craftsmanship and the display of high-end items in Liberty. These jewel-box cabinetry pieces are arranged through the reception and lounge to create islands of social activity along the length of this open space.”

      Large period windows allow light to fall into the lounge
      SODA’s branding for the project also plays off Liberty London’s typeface, with an abstract pattern derived from the letters “Liberty” used to create prints on both textiles and surfaces inside Liberty House.
      While the final design encompasses many different types of rooms, one stands out to Vipulendran.
      “The lounge is particularly spectacular as from this space you can really appreciate the richness of Liberty House and its prominent location along Regent Street,” the architect said.
      “The room comes to life in the afternoon when the sunlight falls through the big period windows and illuminates the variety of surfaces.”
      SODA recently designed the interiors for a flexible workspace in a gridded 1970s building, while The Office Group’s latest London workspace prior to this one was designed by Note Design Studio.
      Photography is by Ed Reeve.

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      Note Design Studio creates colourful interiors to “break the grid” of 1930s office building

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      Stockholm-based Note Design Studio used neutral colours and contrasting bright hues to reinvigorate the interiors of the Douglas House office building in London.Note Design Studio designed the Douglas House office space, which has 700 desks spread over six floors, for office developer The Office Group (TOG). It had previously designed the Summit House property for the company.

      Note Design Studio used natural materials and bright colours for the interiors of Douglas House
      The Swedish studio aimed to “break the grid” of the 14,235-square-metre 1930s office building, which has a vertical layout and red brick-facade.
      “As a building, Douglas House is very ‘rational’ in its architecture,” designer Johannes Carlström told Dezeen. “Even though it stretches quite far horizontally, it was vertical in its structure and spatial program.”

      Pieces by contemporary design brands are used throughout the space

      “We realised early that we wanted to ‘break the grid’ of the building and deliver an interior less predictable than what is expected from the industrial appearance of the facade,” he added.
      “That also related to a more abstract idea about breaking the conformity of our everyday lives, to design a place that actually shakes you up a bit when entering for your workday.”

      The studio focused on how the space would make users feel
      While many office spaces are designed to enhance productivity, Note Design Studio said its focus for Douglas House was more on creating the right feeling and mood.
      To create a space that would, in the words of the studio, bring a “gentle punch” to office design, it used contrasting colours and materials throughout the space.
      “The palette ranges from deep ochres to brisk light blues, calm chalk tones, popping reds and vivid blues,” Carlström said.

      Meeting rooms are painted in calm blue nuances
      The studio aimed to keep as much of the original details as possible but had to replace a lot of materials that were in poor condition. The original wooden floors, however, were lifted, renovated and put back into place.
      “We have worked with giving the building a more defined character by using materials that will live long together with the building itself,” Carlström said.

      A curvilinear glass wall connects the main spaces and adds privacy to meeting rooms
      A curvilinear wall made from glass blocks has been added to the ground floor to connects its three main public spaces.

      Note Design Studio includes recharge room in central London co-working space for TOG

      “It stretches through the whole building giving spatial richness to the promenade between different functions of the ground floor as well as a vivid backdrop enhanced by the activity of the meeting rooms that are blurred through the glass blocks,” Carlström explained.
      “The curve also creates unique footprints for the meeting rooms and the three communal spaces, which with a straight wall would have been more or less identical to one another in terms of space.”

      Materials such as ceramic tiles were chosen for their durability
      Other materials used for the project were chosen for their durability, as office buildings experience extensive wear and tear, and their reusability. They include steel, glass and ceramic tiles, as well as 100 per cent recyclable Tarkett IQ plastic wall and floor coverings.
      Douglas House was also given solar panels and a green biodiverse roof to further enhance its sustainability credentials.

      The Douglas House reception features a desk clad in Ettore Sottsass’ veneer
      Note Design Studio also added a number of design touches to the interior, including a reception desk in Ettore Sottsass veneer for Alpi in a striking blue-grey colour, and pieces from brands including Artrex and Muller van Severen in bright hues.
      Newly commissioned pieces from artists and designers including Jenny Nordberg, Jochen Holz, Wang & Söderström, Philipp Schenk-Mischke, James Shaw, Mijo Studio and Studio Furthermore also fill the building.

      Pale blue chairs contrast beige tiles and dark wood
      Douglas House also includes an “oxygen room” – a plant-filled space where the idea is that workers can relax and connect with nature, the “recharge room”, gym, cafe and a mothers’ room which is dedicated to nursing mothers.
      “We have worked with the whole building and designed small or big things on every square metre basically,” Carlström said. “A lot of the office spaces are done in the same manner, but the public and communal spaces all have their unique design attributes.”

      Earthy, warm hues create a welcoming feel
      Douglas House has 700 desks for over 1,000 employees and opened in November 2020. Note Design Studio thinks the final design has succeeded in creating a different kind of office space.
      “From our point of view it differs on many levels – it has a lot more expression than you normally see in an office space, a diversity of tempos and functions allowing people to choose what suits them best that specific day,” Carlström said.
      Among the studio’s other recent projects are the pastel-coloured Mantelpiece Loft interiors in Stockholm and a reusable trade fair stand for Vestre.
      Photography is courtesy of The Office Group.

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      Noiascape brings variety and maturity to co-living with High Street House

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      Architects and developers Tom and James Teatum have launched a co-living building in west London where no two homes are the same, and residents can access spaces for working, learning and socialising.The brothers, who run both property company Noiascape and architecture studio Teatum+Teatum, designed High Street House in Shepherd’s Bush to offer flexible and sociable living to residents of all ages, not just young people.

      Every home in High Street House is different
      In line with the co-living model, the homes are small in size, but residents also have access to additional, shared facilities.
      These shared spaces include a co-working lounge that doubles as an events space, a spacious kitchen and dining room, a laundry, and a staircase that functions as a communal library.

      Skylights help to maximise natural light

      Meanwhile the homes – a mix of studios and micro-apartments – are designed to offer both quality and variety. They come in both single- and double-storey arrangements, and several have private outdoor terraces.
      Each one is also fitted out with custom-designed furniture elements, including a bed platform and a mobile storage closet, to ensure they are both space-efficient and high quality.

      Some units are arranged over two levels
      James Teatum told Dezeen that their residents include a mix of singles and couples, both pre- and post-family. What they usually have in common is that that are looking for an attractive place to live, but not a forever home.
      “Our members are typically coming to London for a specific period of three to twelve months, to work or learn,” he said.
      “They are able to work remotely and are very engaged in the cultural and social opportunities that cities provide. They want to live in modern spaces that are highly serviced, furnished and allow them to focus on living.”

      Each home features a Douglas fir kitchen and a mobile storage closet made from perforated metal
      The design for High Street House developed in response to learnings from previous rental homes that Noiascape has built and letted, including the smaller-scale Garden House and Hidden House.
      The founders observed that residents were increasingly looking to work from home – a trend that has only amplified following the Covid-19 pandemic – meaning that dedicated workspaces were becoming essential to residents.
      This led them to create the co-working lounge at ground level. It gives residents a regular workspace, but also a space that can host workshops, exhibitions, talks and other pop-up events that engage the local community.

      Beds are designed as multi-use platforms with surfaces and storage
      Another learning was that that the bed is no longer merely a place for sleeping, and is now used for relaxing and working too. Hence the bed in each High Street House home is a multi-use platform, integrating surfaces and storage.
      Likewise, the architects have created other multi-purpose furniture, including integrated benches and window seats.

      Spacious bathrooms are lined with geometric tiles
      “Flexible work patterns have changed the way members use spaces and what they need from the spaces where they live,” said James.
      “Lots of uses happen in parallel – working, cooking, reading, chatting, exercising – it all can happen in the same space. This was happening pre-Covid, but lockdown has amplified this transition. Therefore, we have simply expanded on the idea of home as a place not only to live, but to work, learn and socialise, all from one location.”

      A co-working lounge doubles as an events space
      The design aesthetic throughout is for bold colours, quality materials and simple, modern detailing.
      Floors are pigmented concrete in bright green and red shades, concrete and brick walls are left exposed, the bespoke kitchens and beds are built from Douglas fir, and the spacious bathrooms are lined in geometric tiles.
      There are also a number of furniture pieces created in collaboration with British designers.

      The main staircase also functions as a communal library
      “Modern urban renters want to turn up and start living straight away,” said James. “If we can provide fully integrated interiors with furniture it removes the need to buy flat pack furniture which is often then thrown out after a year.”
      “We will continue to invest in designing and making furniture with young British makers, it gives a clear identity to the interiors and allows us to work with emerging talent.”

      A large kitchen and dining room can be used by everyone
      The first High Street House residents moved in late 2020, and they include an 18-year-old music student and a couple in their 70s.
      As a result of Covid-19 restrictions, the building’s shared spaces haven’t yet been able to function as intended. But Noiascape plans to curate a diverse programme of events for them as soon as possible.

      Noiascape’s west London co-living space targets home-avoiding millennials

      One they do, Tom and James believes the building could become a model for how co-living developments can engage and contribute to their local communities, in a concept they call “hyper-local”.

      The aim is for High Street House to engage with the local community
      “Where higher local daily densities have been created during lockdown, we have seen some positive impact on local areas,” added James.
      “Co-living as a typology could be the catalyst to create this new density while providing the shared spaces to host a new type of public engagement.”
      Photography is by Nicholas Worley.

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      Threefold Architects unveils a model for post-Covid co-working

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      Threefold Architects has completed Paddington Works, a co-working and events space in London that was designed around wellness principles.Paddington Works combines a mix of spaces that include private studios, shared co-working spaces, meeting rooms and a multi-purpose auditorium, all arranged over two storeys.

      Paddington Works includes a mix of private studios and shared workspaces
      Workspaces are designed to be agile, providing different spaces to suit various activities. There are also a range of health-conscious building services, such as fresh air filtration and adaptive lighting systems.
      At a time when many co-working offices are trying to adjust to the changes in work habits prompted by the Covid-19 pandemic, this project offers a model for the future of shared workspaces.

      Wellness principles influenced the layout, material choices and building systems

      “I think co-working spaces could thrive if they adapt following the pandemic,” said Matt Driscoll, one of the three co-founders of Threefold Architects.
      “So much time spent working at home has brought into sharp focus the simple things we take for granted that are vital to our wellbeing,” he told Dezeen.
      “A moment to gaze out the window, an escape from Zoom for a walk in the park, impromptu chats with our neighbours; we will attribute far greater importance to these small things.”

      Spaces incorporate fresh air filtration and adaptive lighting systems
      Paddington Works builds on Threefold’s research into how incorporating wellness principles into architecture can create healthier and happier environments, which has previously fed into workspace designs for Airbnb and Pocket Living.
      These principles were central to the design brief, even though Paddington Works was designed long before the pandemic.

      Threefold Architects completes Airbnb’s latest London office

      The air circulation system, which includes anti-viral filtration, is designed to bring 25 per cent more fresh air into the building than is typical.
      Meanwhile the lighting system uses intelligent LEDs to adjust the colour temperature of the light throughout the day, to suit circadian rhythms.

      The workspaces are divided into clusters
      The layout of the interior, organised over two storeys, was also designed with occupants in mind. Spaces are divided up into clusters to allow small communities to form within the building.
      Each cluster has its meeting rooms and breakout spaces, organised around a kitchen and social space.
      “I think many of the principles of wellness are intuitive to architects – providing good natural light, visual amenity, excellent acoustics, and air quality,” said Drisscoll.

      Each cluster has its own meeting rooms and breakout spaces
      “Beyond how the spaces feel, we are also interested in how they will be used and how people move around them and interact with each other,” he continued.
      “There should be quiet places to be alone, vibrant places to collaborate, and everything in between. We’ve always put generous social spaces at the heart of our schemes, for people to come together in their downtime, spaces to support, create and promote a culture within a business.”

      A flexible auditorium can be used for both events and casual working
      At the heart of the scheme is a flexible auditorium, designed as a huge set of wooden steps. The space can be used to host lectures, screenings and presentations, but it can also be a day-to-day informal work or meeting space.
      Each step incorporates a series of pull-out “drawer desks”, which can be used for laptops or notebooks. There are also power points for charging devices.
      “It doubles as a staircase between the levels and becomes a type of forum, a public space within the building,” explained Drisscoll.

      The materials palette includes rough-sawn oak and terrazzo
      The materials palette responds to the industrial heritage of the Paddington Basin area, with steel fabrications that recall the structure of the Brunel-designed train station. These are paired with textural materials like rough-sawn oak and terrazzo.
      Many of the industrial elements of the design are concealed, for instance, perforated metal screens cover the air filtration units.

      Steel fabrications reference the area’s industrial heritage
      Paddington Works is a joint venture between co-working operator Space Paddington and Westminster Council, aimed at startups in the creative and technology industries.
      As a result of its wellness-focused design, the building was able to adopt social distancing and hygiene measures brought in by the pandemic. Contactless hand sanitisers and anti-microbial fittings were among features already included in the design.
      Drisscoll believes co-working spaces like this one will continue to become more common in the future, as companies look to adopt more flexible working models for their staff.

      Paddington Works is aimed at startups in the creative and technology industries
      “I think flexible working is here to stay,” he said. “Previously reticent organisations have seen it can work and work well; people enjoy more control of what they do.”
      “We may see a trend towards decentralisation – large organisations with acres of office and fields of desks could shift towards smaller workplaces,” he added.
      “This could see an increase in local work hubs, with co-working spaces in residential areas providing excellent places for work closer to home, and spaces close to major transport hubs allowing people to easily travel to from distance to get together.”
      Photography is by Charles Hosea.

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      Office S&M injects bold colours into renovated Mo-tel House in London

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      An abundance of bright hues and recycled materials were used by London studio Office S&M to renovate a Georgian townhouse in Islington.

      Mo-tel House now has a kitchen at the front
      The Mo-tel House project involved remodelling the lower ground floor of a home owned by the founder of online fashion rental service On Loan and her family.
      The company promotes reusing garments rather than buying new, so the architects took a similar approach when selecting materials for the renovation.

      Rearranging the layout created a space for dining to the rear

      These include melted, discarded milk bottles and chopping boards for bathroom counters; leftover marble chips for kitchen worktops; and crushed bricks for ceramic pendant lamps.
      “Mo-tel challenged us to see reuse as a design tool for bold new ideas, and we found value and opportunities in materials that would otherwise have been overlooked,” said Office S&M founding partner Catrina Stewart.

      Custom furniture pieces include a seating nook for the dining area, which also incorporates storage
      Overhauling the terraced north London home began with opening up the dark and cramped space at the home’s entrance level.
      Removing the internal dividing wall allowed light to enter the living area from both front and back elevations, and also afforded a change of layout. The kitchen was moved to the front of the building, and a dining and seating area inserted towards the rear.

      A wide variety of colours are applied across the open-plan space
      Larger design elements were treated like scaled-down architectural features. For example, a pale pink structure with a double-pitched “roof” was added to provide a dining bench, seating nook and storage unit.
      In the kitchen, a light blue volume with a rounded top forms a pantry and acts as a visual anchor for green terrazzo countertops made from the recycled marble.

      Pink and green house designed by Office S&M to offer antidote to London’s “dire rental market”

      An apple-green shade was applied to the ceiling, window recesses and a band around the upper walls, complementing the surface of a pill-shaped dining table.
      Office S&M, founded by Stewart and partner Hugh McEwen, is no stranger to colour. Its previous projects in London include a house extension with bright yellow accents and a property painted Millennial pink.

      A ground floor bathroom pairs pale pink and dark tiles
      At Mo-tel House, the studio also chose teal cupboards, a pink tile kitchen backsplash, and tinted mirrors throughout the home.
      Pale timber floorboards are laid diagonally and contrast with the brightly coloured surfaces, which extend to hardware like radiators, light switches, electrical outlets and door handles.

      A colourful staircase leads up to another bathroom
      The renovation, totalling 55 square metres, also encompassed bathrooms on two levels that are stacked at the back of the building.
      On the lower ground floor, the first is reached through a pink utility room and is lined with dark tiles.

      The ground-floor bathroom features yellow accents and recycled plastic counters
      The second bathroom is reached by climbing a staircase decorated in pink and yellow. This washroom was reconfigured to fit a shower as well as a bathtub, and now features the recycled plastic surfaces made from recycled plastic.
      Yellow tile grout was chosen to match the bathroom’s window frame and shower curtain, while the rest of the space is white.
      Photography is by French + Tye.
      Project credits:
      Architect: Office S&MEngineer: Foster StructuresContractor: McEllingott BuildingFurniture build: McEllingott BuildingKitchen surfaces: In OperaRecycled plastic surfaces: Smile Plastics

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      Buckley Gray Yeoman gives Panagram office in London a “retro-pop aesthetic”

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      UK architecture studio Buckley Gray Yeoman has revived a 1980s office building in Central London, creating colourful spaces using painted ductwork, translucent curtains and speckled terrazzo.The newly opened Panagram encompasses 4,830 square metres in the city’s Clerkenwell neighbourhood and offers rentable office spaces across multiple levels.

      Buckley Gray Yeoman’s renovation of the 1980s building included creating an open and informal reception area
      Using the original building’s pink granite cladding as a design cue, the team at Buckley Gray Yeoman devised a colourful scheme for the interior renovation to create a relaxed setting.
      “A retro-pop aesthetic has replaced the corporate look and feel of the building as physical and metaphorical barriers are broken down to bring about a more convivial and lively set of workspaces,” said the architecture studio.

      The foyer features subway-tiled seating but no reception desk

      To modernise the existing architecture, glazing was added along the ground floor facing Goswell Road – a thoroughfare that is home to store locations of several prominent design brands.
      Visitors enter from the street into a large open-plan foyer, furnished with custom seating elements but no traditional reception desk – hosts emerge from a behind a translucent curtain instead.

      A koi carp pond sits in the centre of the tiled bench
      The sculptural seats include a plinth clad in white New York City subway tiles, with a koi carp pond and a bright yellow steel column at its centre. Another is wrapped in leather and surrounds a ficus tree.

      Fashion Street by Buckley Gray Yeoman

      “We have tried to create an almost gallery-type space upon entry; with a series of beautiful objects set amongst planting and trees,” said Oliver Bayliss, director at Buckley Gray Yeoman.
      “These accents continue throughout the building and provide moments of joy that will hopefully lift the spirits of the people who pass through.”

      A wooden staircase with bleacher-style seating creates a multi-purpose space
      A wooden staircase that incorporates bleacher-style seating and another ficus curves down to the garden-level, combining circulation space with an informal work, meeting or auditorium area.
      Lifts illuminated with coloured lighting connect the expansive rentable office spaces on the levels above, and ductwork is painted pink and blue on alternating levels.

      Lifts to the upper office levels are illuminated with coloured lighting
      On the second floor, Buckley Gray Yeoman has designed a workspace to demonstrate the potential of Panagram’s spatial offering.
      This model office combines pale timber, soft colours and translucent materials to continue the playful aesthetic seen downstairs.

      Buckley Gray Yeoman’s showcase office for Panagram features a pale palette with pastel colours
      A casual meeting area is enclosed by a sheer yellow curtain and furnished with comfy chairs, while private booths are lined in grey felt.
      Drapes are also used to partition the wood-lined reception area and the green-themed kitchen if needed. In the bathrooms, white subway tiles are paired with tinted speckled terrazzo.

      Colour continues in the green kitchen, which can be partitioned off with a translucent grey curtain
      The open-plan office layout benefits from plenty of natural light, and is peppered with potted plants. More greenery can be found on terraces that offer City of London views.
      “It’s easy to look at a building like this and assume you have to start again,” said Bayliss.
      “We saw an opportunity to create something really different and highly sustainable. Panagram has great volume and therefore great natural light, which in turn allows the building to be extremely desirable and flexible.”

      Panagram is located in London’s Clerkenwell neighbourhood, facing onto Goswell Road
      Buckley Gray Yeoman, which has offices in London and Bristol, is known for its imaginative conversion and restoration projects. The employee-owned firm has also turned a fire-damaged former market hall in Shoreditch into Corten-clad university offices, and was profiled as part of Dezeen’s Virtual Design Festival last year.
      Photography is by Jack Hobhouse.
      Project credits:Client: DorringtonArchitect: Buckley Gray YeomanContractor: Open ContractsProject manager: Blackburn & CoStructural engineers: Heyne Tillett SteelPlanning consultant: JLLLandscape architect: SpacehubBranding and design agency: Everything In BetweenM&E consultant: Peter Deer and AssociatesQuantity surveyor: ExigereLighting Designer: Pritchard ThemisFire engineer: MLMRights of Light/Party Wall surveyor: Point2SurveyorsBuilding control: MLMBuilding app: Smart SpacesIT consultants: DP SystemsAgents: Colliers, Allsop, Richard Susskind & CompanyBuilding managers: Workman

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      Bureau de Change makes creative use of terrazzo in Frame House renovation

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      London studio Bureau de Change has used different varieties of terrazzo to create a richly textured interior for a remodelled family home.Frame House is a Victorian terraced home in south London, renovated and extended by Bureau de Change for a property developer and her family.

      The ground floor of Frame House is split over three levels
      The project involved adding a rear extension, converting the loft and completing revamping the interior. But most importantly, the client wanted to give the home a distinct character and coherency throughout.
      The architecture studio achieved this with a carefully planned colour and material strategy, and through playful use of geometry.

      The lounge occupies the extended rear of the house

      “The brief was to create a coherent journey through all spaces and floors,” explained architect Billy Mavropoulos, who co-founded Bureau de Change with partner Katerina Dionysopoulou.
      “We needed a holistic design, looking at everything from the architecture of the extension, to the layouts and the way the spaces are used, down to the joinery handles and details,” he told Dezeen.
      “The client was after a rich palette of finishes and colours, but one that would feel consistently part of the same narrative.”

      Different varieties of terrazzo were chosen for different areas
      As is common with Victorian terraces, Frame House has a split-level layout that helps to make the floor plan more efficient.
      In the new layout, the ground floor is divided over three levels, comprising the kitchen, dining space and lounge. The two split-level upper storeys contain three en-suite bedrooms, a separate bathroom and a study room.
      Terrazzo was the material that Mavropoulos and Dionysopoulou chose to unite the various spaces. It is a material the pair are familiar with, having previously used it in another residential project, Folds House.

      Different shades of taupe feature on each of the ground floor levels
      Here, they decided to work with different varieties of terrazzo to give each space its own character, while subtly tying them all together.
      On the ground floor the flooring is a taupe terrazzo in three slightly different shades – one for each level. This creates a gentle transition from light to dark, starting with the kitchen at the front of the house and ending with the lounge at the rear.

      A green marble terrazzo was chosen for the staircase handrail
      “We chose them very carefully so that they are all of the same family but vary in darkness/density,” said Mavropoulos.
      “The colour difference is very subtle as we did not want the floor to take over. But when you look closely you notice the difference.”
      Other details have been picked out contrasting terrazzo varieties: a kitchen island features shades of red and black, the staircase handrails are a green marble terrazzo, and each bathroom has its own different shade.

      The master bedroom on the first floor features an en-suite with grey terrazzo
      The geometries of the design are based around the rear extension, which gives the occupants a large living space.
      Keen to avoid the 45-degree angled roof and frameless glass typical of infill extensions, the architects opted for a more cuboidal approach. Steel frames create staggered glass boxes, which Mavropoulos and Dionysopoulou liken to museum display cases.

      The new loft bedroom features an en-suite with pale terrazzo and pink walls
      “When we looked at the cascading volumes in plan and section, we felt there was an element of fragility to them, almost like a jewel stone, so we decided to make them out of glass to enhance that feel,” said Mavropoulos.
      “These distinctly cubist glass volumes are articulated through their bold steel-frame construction, expressing each edge in a manner that creates shifting patterns of light and space, and a paradoxical sense of both levity and solidity,” added Dionysopoulou.

      The terrazzo also extends into the garden, forming cascading planters
      These cascading box forms are referenced in other places, such as the proportions of the split floor levels, or the planting boxes in the garden. There’s also a glass display case in the dining area.
      Other details contribute to the personality of these spaces. The lounge room brings together a floral-patterned rug and a large cactus plant, while the dining space features a wall of shelving filled with various objects and books.
      The architects hope the result is one of “theatre and tactility”.
      Photography is by Gilbert McCarragher.
      Project credits
      Architect: Bureau de ChangeInteriors: Bureau de ChangeEngineer: SymmetrysM&E: MWLContractor: Argyll LondonLandscape: Tulip Landscapes

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      Five standout pieces at the Ron Arad 69 exhibition

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      A Brexit-themed chair and a crumpled bin are some of the pieces to feature in an exhibition at Newlands House gallery that showcases 40 years of work by Israeli designer Ron Arad.The exhibition is titled Ron Arad 69, in honour of the designer’s 69th birthday in 2020, and showcases 50 standout pieces from his extensive oeuvre.
      Some of the pieces date back to the 1980s, when Arad established his eponymous studio, while others are from the 90s and 2000s – as well as a select few works that were released as recently as last year.

      “For me, business is always a necessary evil” says Ron Arad

      They are all displayed amongst the grounds and historic rooms of Newlands House, a 700-square-metre gallery in West Sussex which occupies a heritage-listed Georgian townhouse and its adjoining coach house.
      It is headed up by creative director Simon De Pury, who says it was an obvious choice to create a show around Arad’s work.
      “Ron Arad is a giant in his field,” Pury told Dezeen.”He has developed his uniquely personal language; while he has been copied by many, his work remains strong and timeless.”
      The pieces in the exhibition have not been arranged in chronological order, but simply placed where Pury felt they looked best in the gallery.
      “It’s not a retrospective, it’s a sampling of works that I personally love from Ron’s career,” Pury explained.
      “I greatly look forward to seeing the contrast between the 19th-century architecture of the gallery and the resolutely 21st-century feel of Arad’s dazzling and bold works,” he continued.
      “I hope visitors will enjoy experiencing the beauty, elegance and also the sense of humour of his amazing work in the intimate setting of a house that helps the viewer imagine what it would be like to live with it.”
      Read on to get a glimpse of five works that feature in the exhibition:

      Now What, 2020
      More colloquially known as the Brexit Chair, Now What is haphazardly plastered with clippings of newspapers that were released on Friday 31 January 2020 – the day that Britain left the European Union.
      Now What’s rounded seat and Mickey Mouse-shaped backrest riffs off the curvaceous form of Arad’s Big Easy chair, which was designed back in 1988.

      Where Are My Glasses?, 2018
      These ombre-effect coloured vases were originally launched during the 2018 edition of Milan Design Week.
      To create them, Ron Arad asked experts working at Italian glassware brand Venini to blow glass through metal-frame spectacles – the spectacles act almost like a taut belt, which forces the vase to bulge outwards at the sides.

      Photo by Gary Morrisroe
      Blame The Tools, 2013
      Arad’s Blame The Tools sculpture is shaped to resemble a life-sized Fiat 500 car. Crafted from stainless-steel sheets and rods, the gridded sculpture is so heavy that it had to be hoisted by a crane into Newlands House’s front garden.
      “I like to imagine how this car would look if it stayed here and we let nature do its work, eventually you’d have vegetation growing through it,” said Pury.

      Crash Bin, 2006
      Danish retailer Vipp asked Ron Arad to customise one of its bins for a charity auction 15 years ago.
      Instead of making aesthetic changes, the designer crushed the product from the top down, making deep dents in its silver-metal exterior. Arad’s signature appears just above the bin’s foot pedal.

      The Rover Chair, 1981
      Found objects were used to form The Rover chair, which is the first piece of furniture to be designed by Arad.
      The chair’s worn leather seat was taken from a Rover P6 car, while its tubular steel frame is made from Kee Klamps that were once part of a milking stall for farm animals.
      Photography is courtesy of Elizabeth Zeschin unless stated otherwise.
      Ron Arad 69 is at Newlands House, UK, from 19 September 2020 until 7 March 2021, but the gallery is currently closed due to Covid-19. For more architecture and design events, visit Dezeen Events Guide.

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