Subterms
Tigg + Coll Architects has revamped the common spaces of a student housing block in east London, to create areas where students can feel comfortable being around others. More
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.
Read more: More
Alexander Owen Architecture has added a marble-clad extension and garden room to this Victorian mid-terrace in East Dulwich, London, to accommodate a home office and a well-stocked bar.The owners, a couple with three young sons, wanted a place to entertain and ample space to spend time together as a family.
Top image: the garden room houses a bar and home office. Above: the kitchen extension looks out at the garden and annexe
In response to the brief, the architects created a single-storey rear extension that adds 13.3 square metres and accommodates an open-plan kitchen, utility room and toilet, plus a 16-square-metre annexe that serves as a work and social space.
Separated by a paved garden, the facade of the extension and garden room are clad in two types of precision-cut marble – a lighter version with hazier veining called Arabescato and a dark grey Bardiglio marble with a more structured finish.
Alexander Owen Architecture clad the kitchen extension in different kinds of marble
“We wanted to create a holistic flow to the house and garden and a certain mimicry between the extension and garden room as new interventions,” Richard Bridges and James Webster, founders of Alexander Owen Architecture, told Dezeen.
“The marble cladding on the extension and garden room has been designed to have similar cut lines and panel formations but the arrangement of the two marble types is reversed.”
The marble is cut so that it wraps seamlessly around the glazing frames
The marble has been mitred around the doors and windows and digitally cut to create precise, 90-degree junctions between the individual slabs. This allows the cladding and the cut lines to seamlessly wrap themselves around the glazing frames.
“The wider site context provides an abundance of trees and greenery, which as the day progresses cast an ever-changing array of light and shadow across the site,” said the architects, who both previously worked at Foster + Partners.
“The final selection of marble was informed by this layering of dappled light on top of the veining, colouration and movement inherent to each type.”
The kitchen is finished with stainless steel worktops
A set of sliding doors with Accoya wood frames opens the kitchen and dining space up to the outside, while the garden room is glazed with a set of bi-folding windows and a pivoting door.
Alexander Owen Architecture chose robust, low-maintenance surfaces for the kitchen extension, including a poured concrete floor, stainless steel island unit, shot-blasted pewter brick walls and a timber ceiling.
Pewter brick walls are contrasted with timber ceilings
“Each material was selected based on how it would sit against the other materials and its ability to sit in an almost ‘raw’ state – the very engineered precision and sheen of the stainless steel and geometric texture of the pewter blocks versus the natural, organic strength of the marble and warmth of the timber,” Bridges and Webster explained.
“The palette tries to create a very calming balance between the organic and the engineered.”
Dallas Pierce Quintero arranges small London home around four courtyards
The steel island unit also incorporates a bench seat for the dining area while a linear skylight lets in sunshine from above.
The same black, wire-cut bricks that pave the garden are used on the floor of the annexe to create a seamless connection between indoors and outdoors. In the garden room, walls are clad in yellow Valchromat MDF and birch ply, as are the built-in desk, bar and storage cupboards.
The garden room offers a “grown-up” space for entertaining
According to the architects, who established their studio in 2013, the home’s layout is carefully divided into various zones tailored to the family’s daily routine.
The utility room and toilet are located in the mid-section of the property so that the kitchen and garden room at the back can function as a peaceful, “grown-up” area that can be kept tidy for dinners with friends.
It also houses a home office
“The rest of the house can effectively be shut off, with the utility space playing a key role in storage,” said Bridges and Webster. “The family snug in the front part of the house means the owners can read books and listen to music on their record player while their children can watch TV or play in the other end of the space.”
The garden room serves as a home office during the week and helps the couple maintain a boundary between work and family life. It also has an expansive bar that can be used for small gatherings.
Bar seating runs along the bi-folding windows
According to Alexander Owen Architecture, there has been a marked increase in clients wanting to create an office space in their home.
“We have had a lot of interest in garden rooms since the start of the pandemic, with some new clients even prioritising this ahead of developing the main house due to the need for home working, schooling and simply more space,” explained the architects.
“It’s undeniable the impact that the last 12 months have had, not only on how much time we spend in our homes but on how we use them as live-work accommodation.”
Covid-19 has forced companies around the world to embrace remote working, with many predicting that working from home will be here to stay long after the virus has been brought under control. Last month Dezeen rounded up 10 products to improve your home-office setup.
Contractors for this project were Create Bespoke and photography is by French+Tye.
Read more: More
Dutch architect Anne Holtrop has remodelled Maison Margiela’s concept store in London adding walls cast in textile moulds to reflect the brand’s garment construction techniques.Located at 22 Bruton Street, the boutique is laid out across 190-square-metres and displays Maison Margiela’s Co-Ed collections, with men’s and women’s ready-to-wear alongside accessories such as shoes, jewellery and eyewear.
Gypsum partition walls separate the retail space
The store features a pale, tonal colour palette in keeping with the Parisian label’s all-white studio, with the plaster walls and ceilings retained in their natural finish and floors and fixtures made from travertine.
A number of the store’s walls and columns were individually hand-cast in textile moulds, leaving behind folds and dents to create the illusion of fabric billowing in the wind.
Floors tables and shelving are made from carved travertine
This unconventional casting method is intended to reflect a garment construction technique used by the fashion house that is designed to disrupt the “anonymity of the lining” and reveal the inner workings of a garment.
Wooden curtain drapes around a lift inside Maison Margiela’s Milan store
“The gypsum casts in textile formwork translate the ‘anonymity of the lining’ concept into an architectural element,” explained Maison Margiela.
“After removing the textile formwork, the imprint of the textile remains visible on the surface of the walls and columns, together with the pleats of the textile and volume of the gypsum that pushed the formwork out. The walls and columns are turned inside out – we look at the lining, the interior of the wall.”
The Bruton Street store houses clothing as well as accessories
Holtrop, who founded Amsterdam-based Studio Anne Holtrop in 2009, installed items of “misfit” furniture throughout the space. Featuring familiar forms that have been warped and skewed, these were designed to lean and fold around the interior.
To lighten the store’s travertine floor and carved fixtures – including shelves, display tables and seats – Anne Holstrop Studio developed a technique that involves filling the stone’s natural indentations with colour-contrasting epoxy resin in optical white.
The gypsum walls are cast in fabric moulds
“Normally the porosity of travertine is carefully filled with an epoxy in exactly the same colour as the stone,” explained the studio. “With an infill of white epoxy, the porosity of the stone adds an accurate drawing, a staining of the material itself.”
The finish was inspired by another of Maison Margiela’s characteristic techniques called décortiqué, where haute couture technicians cut through the layers of a garment in order to reveal its construction.
“All that remains is the skeleton, the core components, which enable you to recognise what the item once was,” explained Maison Margiela. “It entails cutting around the seams to emphasise the structure and detailing.”
Indentations in the travertine were filled with white resin
In contrast to the rest of the store, the walls and ceilings of the fitting rooms are coated in layers of hand-brushed, high gloss paint reminiscent of Japanese lacquer cabinets.
According to Maison Margiela, the store reflects its “evolved visual language” which was developed by John Galliano after taking the helm as creative director in 2014.
Changing room doors are finished with a high-gloss lacquer
Holstrop’s gypsum-cast design was first introduced during the label’s Artisanal AW 2018 show, in which Galliano revealed the structures, interlinings and inner padding of clothes that would normally be concealed.
Photography is by Henry Bourne.
Read more: More
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.
Read more: More
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.
Read more: More
Structural ash and pine joinery – including a staircase, mezzanine and double-height storage wall – delineate the space within this refurbished, open-plan apartment in London by EBBA Architects.Located in an old matchstick factory in the city’s East End, the one-bedroom, 80-square-metre apartment belongs to a young professional couple, who asked the emerging local firm to “completely reimagine” its layout.
The apartment features a bespoke wooden staircase, top image, and a double-height shelving unit, above
The former plan featured subdividing walls, which created a small kitchen and lounge area, and a dark bedroom upstairs. An enclosed staircase took up almost a quarter of the floor space.
EBBA Architects began by removing most of the walls and the large, existing staircase to provide a more functional and flexible living space.
A dining area is tucked under the mezzanine
The remodelled apartment is split across a ground floor and mezzanine level, both finished in a palette of subdued neutrals. A double-height living area is located downstairs alongside a dining room and kitchen, which are tucked under the mezzanine.
Upstairs, a bedroom and en-suite bathroom sit next to a desk area, dressing room and a snug that doubles as a guest bedroom and can be sectioned off with a curving curtain.
The staircase is made from white-stained ash
“Key to the brief was extending the mezzanine to add space upstairs and rearrange the bedroom from the dark corner of the flat,” EBBA Architects founding director Benni Allan told Dezeen.
“The need to extend the floor upstairs prompted us to imagine the new stair and mezzanine as a large, functional piece of furniture.”
New Affiliates renovates Bed-Stuy Loft with plywood mezzanine and rough materials
Made from a slender framework of white-stained ash, the staircase helps to prop up the new joists to the mezzanine, which the architects left exposed.
The apartment’s bespoke joinery also includes a double-height shelving unit made from white-stained pine that helps to emphasise the height of the main living space.
The shelving system stands next to the open kitchen
“We looked at the brief as a way of questioning how to provide a mix of spaces in the compact plan, including places to rest and work,” added Allan.
“Budget was tight, so we maximised the potential to express features in the project through the joinery and exposing all the timber.”
White-stained pinewood was used to create the storage unit
According to the architects, the white-stained ash serves as a “soft background to the apartment”, which is in harmony with the interior’s other neutral-toned materials.
This spans everything from the cement floor to the kitchen counter – a terrazzo-like slab made of translucent aggregate and fine black basalt – and is complemented by simple, unobtrusive lighting fixtures.
Other interiors where furniture merges with structure include the Spinmolenplein penthouse in Ghent by Jürgen Vandewalle, where a “bed-cabinet”, kitchen island and boxed-in bathroom help organise the floor plan.
Photography is by Benni Allan.
Read more: More
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.
Read more: More
