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      Isern Serra creates pared-back office “with seemingly surreal details” for Andrés Reisinger

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      Spanish architecture and interior design studio Isern Serra kept to a material palette of concrete, quartz and stainless steel to create this pared-back office for Reisinger Studio

      Located in the Poblenou neighbourhood in Barcelona, digital artist Andrés Reisinger’s studio is surrounded by several other creative’s offices and is designed to reflect the artist’s minimalist, dreamlike style.
      The Studio Reisinger office is designed to reflect the artist’s minimalist aesthetic”The concept behind the interiors of my studio was to create a space that complements and doesn’t compete with the uplifting spirit of my work,” Reisinger told Dezeen.
      “I wanted the studio to be like a canvas, with a kind of identity that I could play with,” he added. “The space is inspired by my work’s aesthetic, with seemingly surreal details amidst the light and bright studio.”
      Isern Serra left its raw concrete pillars intactPurchased as an empty shell, the Barcelona-based team decided to leave parts of the original space intact such as the concrete pillars while the ceiling was left exposed.

      Natural tones and textures were introduced through paint and flooring to create an airy and monochromatic yet soothing feel.
      A stainless steel kitchen is on the ground floor”First the colour and texture of the walls were chosen,” Isern Serra told Dezeen. “They are finished with a quartz-based paint in the form of a paste,” he added.
      “A natural finishing of micro-cement for the flooring was chosen to have the same tone and textured effect,” Serra said.
      A concrete table can be used for dining and workingThe team then went about filling the space with office equipment and furnishings, paying close attention to sourcing locally made items that reflect the sculptural work of Reisinger Studio.
      A large concrete table, which functions as a workspace and dining table was made on-site and stands in the middle of the studio.
      It was produced in a hue that sits between millennial pink and beige – a colour that has become synonymous with Reisinger’s work. A similar shade can be seen throughtout Reisinger and architect Alba de la Fuente’s virtual residence Winter House.

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      Around the table is a set of chrome metal stools custom-made by designer Julia Esque that complement the stainless steel staircase which curls up the floor above.
      Also in the area below the mezzanine, is a kitchen made entirely of stainless steel that features an integrated hydraulic push-to-open storage system.
      A millennial pink colour palette was used throughoutOn the upper floor, which is fronted by glass, Andrés Reisinger has a private office with a wooden desk for meetings. Plush pink seating here adds a touch of warmth. A separate shower and toilet are also situated on this floor.
      “The goal was to create a space that would inspire, rather than distract, from the work being produced,” explained Reisinger.
      “I imagined the studio as a blank canvas, a place where my team and I could come to experiment, evolve and grow our ideas and projects.”
      The office has a separate meeting roomArgentinian designer Andrés Reisinger founded Reisinger Studio in 2018. The artist is best known for the Hortensia chair, a bulbous pink armchair made with CGI that went viral on Instagram.
      He also made headlines for his collection of “impossible” virtual furniture, which sold for $450,000 at auction.
      The photos are courtesy of Reisinger Studio.

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      Luca Nichetto transforms Swedish villa into his own studio and showroom

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      Luca Nichetto has converted a 1940s villa in Stockholm into a studio to display his designs in a domestic setting and provide a comfortable working environment for his team.

      The Italian designer’s studio was previously based out of an apartment in the city’s Midsommarkransen neighbourhood. But when the landlord wanted to raise the rent, Nichetto decided to relocate to a larger property in a nearby suburb.
      Luca Nichetto has turned a 1940s villa into his own studio”I didn’t really need to look for another space in the city centre because it’s not that important for us as we work globally,” Nichetto explained.
      “A week after beginning to search, I saw on the real estate market what is now the Pink Villa. It was simply perfect and I made the offer.”
      A blush-pink staircase leads up to the first floorThe Pink Villa is a typical 1940s wooden house with a gabled roof and a large garden. Nichetto bought the property in 2021 and began adapting the interior to make it suitable for use as a studio.

      “I didn’t want a conventional studio space but rather a space that could be a studio, a showroom and a domestic property to be used on the weekends by my family and during the week by my team,” the designer told Dezeen.
      Nichetto’s Banah sofa for Arflex sits in the living areaThe villa takes its name from its distinctive pink exterior, which was given a fresh coat of bubblegum-pink paint to maintain its characterful presence on the street.
      The property’s existing three bedrooms were transformed into a private office for Nichetto on the first floor and a meeting room and tailor’s workshop on the ground floor, which his wife uses on the weekends.
      La Manufacture’s Soufflé mirror helps to bring character to the spaceA corridor leads from the entrance to a bright living room that looks onto the garden. An opening beyond the stairs up to the first floor connects with the simple custom-built kitchen.
      Along with Nichetto’s office, the upper floor contains a second bathroom and a large open workspace that facilitates flexible use rather than incorporating dedicated workstations.
      Bright and bold colours were used throughout the interiorThe interior features a pared-back palette of materials and colours that provide a neutral backdrop for a selection of products and furniture designed by Nichetto for brands including Offecct, Cassina, Arflex and Bernhardt Design.
      “I wanted to give a touch of warmth and I did that using colour and volumes,” the designer said. “I particularly chose materials culturally connected with the south of Europe and very deliberately mixed them with Scandinavian features.”

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      In the living area, pale-pink walls and white-painted floors contribute to the light and airy feel. Nichetto’s Banah sofa for Arflex and Soufflé mirror for La Manufacture are among the playful designs that bring character to this space.
      Upstairs, the main office spaces feature furniture such as Nichetto’s Torei low table for Cassina and Nico armchair for Bernhardt Design. His office contains the Railway table for De Padova and Robo chairs by Offecct.
      Walls in the living area were painted a light pinkOne of the key qualities that attracted Nichetto to the property is the spacious garden, which includes a terrace furnished with his Esedra table and Pluvia chairs for Ethimo.
      The basement garage was converted into a self-contained guest suite called the Chalet, which includes a living room, bedroom and bathroom with a Swedish sauna.
      The house also has a self-contained guest suiteSince the renovation was completed in April 2022, the Chalet has hosted international visitors including art directors, photographers and designers.
      The property’s location close to a park and to the water was another reason it appealed to Nichetto, who said he enjoys the proximity to nature and the good relationship he has established with his neighbours.
      Ceramic tiles provide a pop of colourA housekeeper was hired to look after the studio and to prepare meals for the team, adding to the sense of it hybrid space that is both domestic and designed for work.
      “It’s like being in a family: we all have lunch together and there are no fixed workstations to work,” he explained. “Moreover, whoever comes to visit us, if he wants, can stay and sleep. The idea is to create a sense of community.”
      Ethimo’s Esedra table and Pluvia chairs decorate the terraceLuca Nichetto established his multidisciplinary practice in Venice, Italy, in 2006 and continues to run a studio there alongside his main office in Stockholm. Nichetto Studio specialises in industrial and product design as well as art direction for design brands.
      Nichetto’s recent work includes a series of home fragrances for Ginori 1735 and his first foray into fashion accessories in the form of the apple-leather Malala handbag.
      The photography is by Max Rommel.

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      Space10 invites public into its Copenhagen HQ with kiosk-like design library

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      IKEA’s innovation lab Space10 has worked with interior designers Spacon & X to transform the ground floor of its headquarters into a library and community space, with a look that is meant to recall a simple kiosk.

      Located in a former fish factory in the city’s Meatpacking District, Space10’s offices now include a library of 100 future-focused books, a snack bar and a design shop, alongside an existing gallery and event space.
      While the ground floor was already used for community-facing events, Space10 set out to expand the offering beyond “temporary” interactions and create a space that people could access at their leisure all day.
      A library, snack bar and design shop have been added to the ground floor of Space10’s Copenhagen headquarters”We wanted the ground floor to play a much stronger role in our mission to involve the many and diversify our perspectives,” Space10 designer Kevin Curran told Dezeen.
      “By opening a new library for the public, we suddenly have a space that feels alive, warm and welcoming, and it lets visitors spend as much time here as they like and explore Space10 on a daily basis.”

      The studio worked with its long-time collaborators Spacon & X on the interior design, which references kiosks and particularly the newsstands of New York to create an accessible setting.
      The design of the space was informed by newsstands with their racks of magazinesAccording to Spacon & X co-founder Svend Jacob Pedersen, the aim was to create a welcoming space where “nothing should be too curated or feel precious”.
      “It was important for us to work with understated but recognisable cultural symbols through materials and form so that the project itself encourages interaction and is perceived as public,” Pedersen said.
      The space is intended to be open to the public all day”From the beginning, the classic New York newsstand was a big inspiration as its layered setup with only the magazine’s headline and title visible piques curiosity and almost demands visitors to pick them up and browse,” Pedersen continued.
      “Furthermore, you can pick up a soft drink from the fridge, a souvenir cup from the shelves or some gum at the counter – an informal invitation to stay and browse.”
      This approach extended to the furniture choices, which blend custom pieces with more everyday designs, along with playful accessories such as metal pencil trays that recall hot dog holders.
      Accessories shaped like hot dog holders help to recall the kiosk environment”We shopped generic, almost iconic, cafe aluminum chairs and tables that many will recognise from their preferred kebab joint or touristy cafe, almost as an universal welcome sign,” said Pedersen.
      Among the custom pieces are shelves and seating with wooden cylindrical frames held together by looped steel joinery. The joinery is typically used to partition cattle farms and was partly chosen to reference the building’s location in the Meatpacking District, where meat businesses were formerly based.
      The steel joinery was fabricated for the cattle industry, where it is used for partitioningThe modular shelving for the library is finished with bright fabric pockets made of Hallingdal 65, a blend from Danish company Kvadrat with wool for durability and viscose for brilliance.
      At the centre of the kiosk space is Spacon & X’s industrial-looking Super Super table, made of sheets of bolted aluminium, and suspended above it is a custom lighting design made of upcycled office ceiling lights set in a wooden frame.

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      The studios chose materials and furnishings with the aim of reducing the carbon footprint of transportation and supporting the local economy, selecting metal for its durability and aluminium in particular for its recyclability.
      They also sought to cultivate an aesthetic that could be replicated at Space10 projects around the world with local and preferably upcycled materials.
      Upcycled materials have been used to make elements such as a wooden suspended lighting featureThe library at the space features 100 books curated by Space10 on the subject of how to build a better future for people and the planet. These will be supplemented with titles put forward by guest curators and the community.
      The building also includes two private floors for the Space10 team — an upper office area and a basement fabrication laboratory and tech studio.
      Space10 will open the doors of the ground floor to the public on January 26. It plans to host two exhibitions each year and keep all its events free to attend.
      The library features 100 titles chosen by Space10 for their ideas about designing for the futureSpace10 and Spacon & X have worked together since 2015, when Spacon & X designed the first version of Space10’s office. They later updated those offices together in 2019 to move away from an open-plan design.
      Space10 works “with and for IKEA”, functioning as an independent innovation lab whose research feeds into the brand’s future planning.
      Its recent projects have included the Carbon Banks NFT concept designed to inspire better care for furniture and the Updatables concept for upcycling furniture using artificial intelligence.
      Photography is by Seth Nicholas.

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      Ivy Studio populates MAD Creative Hub with pink and purple elements

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      Montreal-based Ivy Studio has turned a former print shop into offices and creative spaces, with a “work in progress” aesthetic punctuated by colourful moments.

      MAD Collectif organises global fashion, art and design events, and after rebranding from Groupe Sensation Mode in 2022, the company decided to look for a new base location for its team.
      The all-white interior of MAD Creative Hub is contrasted by a marble bar counter and lilac stoolsEventually, it found a 3,600-square-foot (334-square-metre) space on the ground floor of a two-storey building in The Village area of Montreal, which became the MAD Creative Hub.
      “The objective for the new location was to focus on creativity and collaboration and for it to be used not only by their team internally but also by their multiple partners and collaborators – a flexible space made for sharing ideas and working together,” said Ivy Studio.
      The space is designed to look unfinished, through the use of exposed wall studsBuilt in 1939 as a print shop, the long space only has windows on its street-facing facade.

      This dictated a layout where public areas are located in the front, while private rooms are situated towards the back.
      The front area is intended to host events, exhibitions, pop-up shops and moreA two-foot difference in the floor level helps to define these two zones.
      In both areas, colourful accents including vintage sofas and chairs stand out from the existing walls, plumbing and ventilation equipment which were all painted white.
      White ceramic tiles cover the floor and low partition walls that define the public areaSpaces are intentionally meant to look unfinished, with exposed metal studs, track lighting and unpainted metal door frames all adding to this appearance.
      “The ‘work in progress’ aesthetic makes it feel as if the place is undergoing a constant evolution and mirrors the brand’s new forward-thinking approach,” said architect Philip Staszewski, one of the four Ivy Studio co-founders.
      Purple sofas pop against the white tilesVisitors enter a cafe featuring a richly coloured marble bar counter, which starkly contrasts the white ceramic tiles that cover the surrounding four-foot-high (1.2-metre) partitions and the entire floor.
      A banquette follows the wall and runs underneath the window, its cushions covered in textured purple velvet.
      A ramp below a path of lights leads to the raised workspace at the backPink and orange poufs accompany galvanised steel tables, and lilac bar stools serve the counter, together providing a flexible and informal space for employees and events.
      On the other side of an enclosed stairwell that divides the plan is another naturally lit area used for photoshoots, exhibits or pop-up shops. Comfy purple chairs offer additional seating here.

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      A 16-foot (4.9-metre) ramp leads up to the raised level, where rows of open desks are positioned next to the periphery walls.
      “The ramp leading towards the back is meant to be an experience of its own,” said Ivy Studio. “The narrow ceramic-clad passage is placed beneath a series of linear lights, giving the impression of walking down some version of a runway.”
      Clear polycarbonate panels expose the pink fibreglass insulation around meeting roomsPrivate offices and meeting rooms are formed by partition walls that present pink fibreglass insulation behind clear polycarbonate panels.
      The insulation helps to soundproof the small rooms for employees taking calls, particularly during events or parties taking place in the front.
      Open desks for employees are laid out along periphery wallsIvy Studio has completed several projects in its home city, each playing with colour in a different way.
      They include a restaurant with a green marble pizza oven, a co-working office featuring mint green and burgundy hues, and a spinning studio dominated by black.
      The photography is by Alex Lesage.
      Project credits:
      Design and architecture: Ivy StudioTeam: Gabrielle Rousseau, David Kirouac, Guillaume B Riel, Philip StaszewskiConstruction: Gestion Gauthier Construction

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      Christ & Gantenbein adds “techno-futuristic” lobby to Oxford Street office

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      Swiss studio Christ & Gantenbein has completed its upgrade of UK House on Oxford Street, adding a baroque-influenced lobby informed by the building’s history.

      The renovation of the Grade II-listed building aims to respond to the need for communicative corporate architecture. Designed to be a welcoming “place of arrival”, the new lobby combines the baroque themes from the existing building with modern elements.
      Christ & Gantenbein has upgraded UK House on Oxford Street”We conceived this lobby as a location full of hospitality, with a unique mix of baroque and techno-futuristic elements,” said Christ & Gantenbein’s founding partner Emanuel Christ.
      “The result is a creative spatial identity and generous sequence of rooms that offer high-quality experiences for the tenants and visitors alike.”
      The studio has added a baroque-influenced lobbyChrist & Gantenbein’s renovation expands upon the building’s conversion into an office block during the 1970s.  The structure still features two of its original baroque facades, which partially inspired the design of the new lobby.

      “We worked with this history to generate our vision of corporate architecture in the 21st century: bold, futuristic, open, communicative, yet steeped with history,” said the studio.
      Its design references the building’s historyLarge windows framed by bronzed metal at the front of the building draw upon the surrounding retail facades of Oxford Street. The lobby is accessed through a pair of revolving glass doors with frames of chromed stainless steel, which offer views of the mirrored columns inside.
      Inside the lobby Christ & Gantenbein placed a front desk and a coffee point, along with an ancillary space that can be used for meetings. A work by artist Wolfgang Tilmans features on the right wall of the space.

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      A marbled floor made from black and white stone spans the space, forming a checkered pattern which references the history of the building.
      A metal grill ceiling divided into a more subtle grid mirrors the checkered pattern of the floor, spanned by linear lighting elements that illuminate the lobby.
      There is a metal grill ceilingWith “apse-like” endings that project slightly into the lobby, the walls mimic the original baroque forms of the building. The walls are covered in neutral ceramic tiles which act as a subtle backdrop to the space.
      Mirrored columns reflect the patterns from the floor through the lobby, while polished chrome elements, including the elevator doors, feature throughout the space.
      A marbled floor forms a checkered patternBeyond the lobby, the addition of new staircases and elevators has connected the entry hall to a basement space featuring a separate lobby for cyclists and a multi-level bike storage space. Black and white patterns on the epoxy floor mark the route to the bike store, transitioning into a circular pattern to mark the entry to the changing space.
      Other facilities on the level include showers and lockers, along with hyper-modern elements designed by the studio which have been arranged throughout the functional space.
      Other facilities include showers and lockersFounded by Emanuel Christ and Christoph Gantenbein in 1998, architecture studio Christ & Gantenbein was named Architect of the Year in Dezeen Awards 2018.
      Other projects recently completed by the studio include a multifunctional workspace in Germany and a museum for chocolate brand Lindt.
      The photography is by Thomas Adank.

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      Gema Arquitetura brings colour to Sallve offices in São Paulo

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      Shades of pink, purple and yellow run through the workspaces that Brazilian studio Gema Arquitetura has designed for skincare brand Sallve in São Paulo.

      Sallve’s offices, studios and labs sit above the company’s inaugural retail space in an existing five-storey building in the city’s Pinheiros neighbourhood.
      Sallve’s offices and studio spaces occupy a five-storey building in PinheirosThe studio transformed 1,500 square metres of space, spread across an elongated floor plan that allowed for a flow to be created between the different levels.
      “Focal points organise and direct the user’s trajectory, in a path that welcomes from the street and leads along the floors,” said Gema Arquitectura, which has offices in São Paulo and Belo Horizonte.
      Bright colours used in meeting rooms echo the skincare brand’s packagingThese focal points include splashes of bright colour on walls, floors and furniture, immediately visible when entering the building.

      The chosen hues echo those used across Sallve’s product packaging and visual identity to align the space closely with the brand.
      Flexible workspaces are incorporated throughout the building”We immersed ourselves in the brand, its positioning, vibration and sought a language that represented the company in a true, uncomplicated and unique way,” Gema Arquitectura said.
      From the front door, a corridor is lined in glossy bold purple film on one side, and bands of yellow and pink paint on the other.
      Pastel-toned furniture and glass partitions define areas across the different levelsThe ground floor includes areas for greeting guests, flexible meetings, making coffee and product testing.
      Pastel-toned tables and chairs are available for casual working, while further desk space is accessed through a row of bespoke pivoting screens framed in pale yellow.
      On the ground floor, bespoke glass doors pivot to open up the spaceOne level up are Sallve’s laboratories for developing skincare formulas, where the interiors continue the same colour scheme used in a more clinical environment.
      Meeting rooms and creative studios on the upper storeys are demarcated by glass partitions and feature pink and purple carpets.
      The ground floor is used for greeting guests, flexible meetings and making coffeeElsewhere in the building, the carpet was removed to reveal terrazzo floors that were restored. Ductwork and services were left exposed across the concrete ceilings throughout.
      Bathrooms were expanded to be more comfortable, and now include enclosed stalls, benches and large mirrors.

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      On the exterior, the building’s front facade was covered in a wavy metallic veil, while walls that define the property boundaries were painted white.
      Separate entrances to the store and the workspace were clearly defined, and are set back from the street to create a welcoming forecourt.
      Bright purple and yellow line the corridor from the entrance”Intuitively, the building expands into the surroundings, seeking an affective connection with the city and the people,” said Gema Arquitetura.
      “Fluidity and dynamism define the space, in a tailoring of design, building this identity through simple and real connections.”
      The existing building facade was re-clad in a wavy metallic veilOther skincare and wellness brands have similarly used their office interiors to reflect the visual identity of their products, from Goop’s soothing HQ in Santa Monica to Aesop’s “simple and elegant” workspaces in London.
      The photography is by Felco.
      Project credits:
      Architecture: Gema ArquiteturaConstructor: Its InformovResponsible architects: Nara Grossi, Priscila Almeida, Joseana CostaTeam: Giuliana Mora, Renan Merlin, Luiza Langeani

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      Alexander & Co maintains residential feel inside self-designed Sydney office

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      Australian architecture practice Alexander & Co has created its own office inside a Victorian-era property in Sydney.

      Situated a stone’s throw from Bondi Beach, Alexander House acts as a “design laboratory” where Alexander & Co’s team can meet, collaborate and find space to work independently.
      Alexander & Co’s self-designed office has a double-height kitchenThe homely office occupies a semi-detached property that dates back to the Victorian period. Though the practice decided to preserve the building’s original facade, its interior was completely remodelled to function as a modern workspace.
      Staff enter the office via a ground-level vestibule with rammed-earth walls before climbing a flight of stairs to reach the open-plan living and dining area on the first floor.
      A “cafe-style” area provides seating for staffOne half of the space is dressed with an angular olive-green sofa, a glossy coffee table and a puffy grape-coloured armchair.

      The other half of the room is occupied by a double-height kitchen. At its centre is a chunky breakfast island crafted from pink-hued concrete, around which the team can congregate for meals, client catch-ups or company events.
      Construction waste was used to make furnishings in the courtyardAdditional seating is provided in a “cafe-style” area at the edge of the room, which features a custom leather seating banquette, cane chairs and a couple of tables.
      Concertina glass doors at the rear of the kitchen open up onto a courtyard. This houses a pool and an ice bath alongside a collection of mottled stools and side tables that were custom-made out of waste generated from the building’s renovation.
      A cosy library can be found on the building’s mezzanine level”Beauty can be found in the irregularities and developing patinas that have resulted from incorporating handmade and natural materials throughout our new space,” explained the practice.
      “Blemishes, cracks and connections – they are all magic and inform our storytelling through scale and detail.”

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      Directly above the ground floor is a generous mezzanine level that accommodates a cosy library space where Alexander & Co can host more intimate meetings.
      The room’s bookshelves and kidney-shaped table are crafted from walnut wood, while chocolatey leather curtains are suspended in front of the doorway.
      Visiting team members from other offices can stay over in the bedroom suiteThe narrower end of the mezzanine was turned into a quiet work area for up to five people, finished with a thickset concrete ledge for laptops.
      The upper floor of the building was made into a bright loft-esque space. Here there’s an events room and a bedroom suite, where visiting team members from other offices can stay.
      Down in the basement is the practice’s materials libraryTraditional workstations can be found down in the basement along with Alexander & Co’s materials library.
      From this level of the building, you can also access the landscaped back garden, which will be used during the summer for alfresco gatherings.
      A concrete staircase runs through all four levels of the buildingAll four levels of the building are connected by a concrete staircase with brass balustrading and a dramatic seven-metre-long pendant light dangling through its central void.
      Alexander House is one of six projects shortlisted in the small workspace interior category of this year’s Dezeen Awards.
      Others in the running include F.Forest Office by Atelier Boter, which sits within a glass-fronted building in a Tawainese fishing village, and Samsen Atelier by Note Design Studio, which also serves as a wine bar.
      The photography is by Anson Smart.

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      Victorian warehouse in London transformed into Greencoat Place office

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      British architecture practice Squire and Partners and office design firm Modus Workspace have retained the ornate cast-iron columns and glazed tiles of a 19th-century warehouse in London while turning it into a contemporary workspace.

      Located in London’s Victoria, the Greencoat Place building was originally used as a warehouse, storeroom and food hall for the Army & Navy Stores – a military cooperative turned department store that was acquired by House of Fraser in 1973.
      Greencoat Place is a warehouse-turned-office in LondonNow, the building belongs to serviced office provider Fora and houses a mix of workspaces and amenities including a fitness studio, a colourful terrazzo bar and a vertical farm on the lower-ground level, where fresh produce is grown for workers to take home or eat for lunch.
      Two historic halls sit at the heart of the building – one serving as a flexible communal space for events or casual meetings, while the other is a workspace flooded with natural light from a skylight above.
      The building’s original brickwork was exposed in several placesReferences to the building’s past can be found throughout its interiors. This includes carefully preserved mouldings and glazed tiles, some featuring marine details in a nod to Army & Navy Stores’ history as a military cooperative, which supplied officers and their families with price-controlled goods.

      The building’s cast-iron columns and original steel doors were restored along with the vaulted ceilings on the lower ground level. In places where the original brickwork was exposed, the design team deliberately left layers of paint behind to visualise the renovation process.
      Its decorative glazed tiles were also retainedModus Workspace chose a soft, calm interior palette to contrast with the building’s industrial shell. Lime-washed oak was paired with richly textured fabrics and arch-shaped details, which echo the arches in the original halls.
      Colourful mosaic tiling unearthed in neighbouring residential buildings was reinterpreted in the flooring of the office’s communal spaces, introducing colour and pattern.

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      Open lounge spaces provide a calm environment to relax and collaborate while a series of video call booths are equipped with integrated lighting designed to show people in their best light.
      Video call facilities are also available in every meeting room to cater to hybrid working patterns, while secure cycle storage, changing facilities and showers promote an active commute or lunch break.
      Well-lit booths provide private spaces for video callsIn line with biophilic design principles, the interior combines plenty of planting, daylight and natural materials in a bid to enhance occupants’ wellbeing.
      To make the Victorian building more energy efficient and minimise its operational emissions, the architecture firm installed new glazing, sensor-controlled lighting and a variable refrigerant flow (VRF) system, which only circulates the minimum amount of refrigerants needed during a single heating or cooling period.
      The building’s concrete shell is softened with biophilic design elementsGreencoat Place has been shortlisted in the large workspace interior category of Dezeen Awards 2022.
      Two former industrial buildings are also in the running for the title – Dyson’s global HQ housed in a Singapore power station and a shared workspace, which is set in the generator building that once supplied Bristol’s tram system.
      The photography is by Jack Hobhouse.

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