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      Thomas Heatherwick and Ab Rogers to speak at virtual Workplace Wellbeing by Design conference

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      Dezeen promotion: Workplace Wellbeing by Design is a week-long online event taking place during this year’s London Design Festival, which explores the complex relationship between design and wellbeing in the workplace.The event, which will take place from 14 to 18 September 2020, includes talks by leaders in the architecture and design industry, including Thomas Heatherwick, Ab Rogers and HOK senior director of WorkPlace, Kay Sargent.

      Thomas Heatherwick will be speaking at the Workplace Wellbeing by Design event
      These creatives will be joined by more corporate figures such as Bruce Daisley, who developed Twitter for Europe, Africa and the Middle East, Cees van der Spek – communications director for EDGE – and workplace theorist Jeremy Myerson.

      Other speakers include biometrician Nikita Mikhailov, who will discuss new data-driven biometric techniques for employers and employees, as well as Maaind founder Martin Dinov, who will outline how AI can be harnessed for workplace wellbeing.

      Ab Rogers will be speaking at the event about his Maggie’s Centre design
      Over the course of five days, five 75-minute sessions will explore the issues of workplace design from a range of viewpoints including technology and diversity, as well as the impact of the Covid-19 pandemic.
      Each session will be hosted by author and design commentator Aidan Walker and will be split into three sections: a keynote, a practical case study and a Q&A session.

      Maggie’s chief executive Laura Lee will explain the organisation’s architectural philosophy
      Day one – the Well Workplace – will begin with a talk between Rogers and Heatherwick about their work for Maggie’s Centres.
      While the two architects discuss how they have tried to use the built environment to influence the psychology of its inhabitants, Maggie’s chief executive Laura Lee will explain the organisation’s architectural philosophy.

      Bruce Daisley will also be speaking at the event
      Day two, led by Dinov, will focus on the smart workplace and the impact of technologies like AI on wellbeing. EDGE’s van der Spek will also uncover the ideas behind the brief for the firm’s existing project in Amsterdam and its new one at London Bridge.

      Heatherwick Studio designs plant-filled Maggie’s Centre in Leeds

      “People have been talking about – and designing for – psychological diversity, as well as the individual’s control over their physical environment for a generation now,” said Walker.
      “Sensor technology has given a whole new meaning to the smart building and the impact of artificial intelligence is just around the corner,” he continued. “It’s time to take stock and Covid-19 has added currency and urgency to the discussion.”

      Speakers will also discuss the impact of office design on mental and physical health
      Day three – the Human/Humane Workplace – will be led by Swann, whose book The Human Workplace explores interior and behavioural design.
      Swann will be joined by architect Giuseppe Boscherini, Mikhailov and director of Chapmanbdsp design consultancy Ian Duncombe to discuss “psychosocially supportive design”.
      Day four, led by HOK’s Sargent, will concentrate on creativity, productivity and diversity in discussions with Ricoh’s workplace services director Simone Fenton-Jarvis and MoreySmith principal Linda Morey Burrows.
      Real estate company CBRE’s Kate Davies and Art Acumen CEO Catherine Thomas will also join the talk.

      Workplace theorist Jeremy Myerson will be part of a discussion about the future of work
      Day five considers the future of work, led with a keynote by Myerson from the Helen Hamlyn Centre at the Royal College of Art and the Worktech Academy.
      This will be followed by a discussion with Mike O’Neill, former director of global research at Haworth, Guy Smith, founder of COSU and former design director of WeWork, and Frances Gain, associate of strategy at M. Moser Associates.
      The conference has been organised by the creators of the MAD World Summit with Dezeen as the media partner.
      Registration is £25 for all five sessions, with profits donated to cancer support charity Maggie’s.
      For the full agenda, visit the event’s website.

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      Dutch Invertuals designs Tiny Offices from corrugated aluminium plates

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      Design studio Dutch Invertuals has created a collection of compact offices made from corrugated aluminium and wood for Dutch holiday park operator Droomparken.Named Tiny Offices, the small workspaces were designed to be places where you could “freely dream, perform and create”. They have been installed in two of Droomparken’s holiday parks in the Netherlands.

      Dutch Invertuals has designed four Tiny Offices
      The compact offices measure just over six square metres and were built from raw corrugated aluminium plates, with wooden doors and a large window frame on the front facade.

      “The biggest inspiration came from projects which were completely embedded in natural surroundings,” said Dutch Invertuals architect Chris Collaris and design director Wendy Plomp.

      The Tiny Offices were built with corrugated aluminium walls
      “It’s almost an ‘end of the world-place’ with that big window overlooking it,” Collaris and Plomp told Dezeen.
      “The actual space itself didn’t need to be very big.”

      Each of the Tiny Office interiors was designed by a different designer
      The Tiny Offices have custom-designed interiors in different colours, clad in materials including felt and acrylic that were chosen for their functionality.

      Shuhei Goto Architects turns lecture hall into multi-level work space

      “The interiors are designed to create the most optimal work environment, where you can concentrate and work but also lay down on a beautifully designed daybed to think and look outside,” Collaris and Plomp explained.
      “Because it is a small and intimate space, all materials should make sense. Therefore we used an acrylic wall that makes the space look more spacious, but you can also write on it.”

      Tijmen Smeulders designed a paired-back colour scheme for one Tiny Office
      The interiors were designed by three designers Raw Color, Thomas Ballouhey and Tijmen Smeulders.
      Each designer created their own colour scheme, with some choosing a colourful identity and some going for darker, more sophisticated hues.

      Designer Raw Colour added colour wall art to its Tiny Office
      Droomparken, which runs holiday parks across the Netherlands, commissioned the project for Dutch Design Week in 2018 with the aim of creating a space that would be better to work in than a traditional office.
      Today there are four Tiny Offices, with more to potentially be installed in the future.

      Raw Colour also upholstered the chair in pink material
      Their project became more timely as the coronavirus pandemic struck.
      “In these last years offices have become more green and healthy, but criticism of the modern contemporary office has come to the surface, and today the office seems to be under pressure because of the COVID-19 virus,” Collaris and Plomp explained.
      “The units got more attention because going to the normal office was not an option any more. Tiny Offices were and are a much safer place than the traditional office.”

      Thomas Ballouhey designed the interiors of the final office
      Tiny Offices has been longlisted for the Dezeen Awards 2020 in the small workspace interior category.
      Dutch Invertuals previously designed an exhibition celebrating at the circle and experimented with creating products from unwanted household junk to produce less.

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      Seven dental clinics designed to take the pain out of check ups

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      Architects and designers have created these seven dental offices with bright and colourful interiors to offer patients a more enjoyable and worry free experience.

      Dent Protetyka, Poland, Adam Wiercinski

      The pick-up window inside this Polish denture clinic designed by Adam Wiercinski is outlined with green lines that form the shape of medical services cross.
      Located inside an old tenement building in Poznan, the 10-square-metre space is modelled after the city’s small kiosk shops. Steel mesh separates the waiting room and shopfront from the tiny consultation room situated in the rear of the space.
      Find out more about Dent Protetyka ›

      The Urban Dentist, Germany, Studio Karhard
      Studio Karhard designed The Urban Dentist in Berlin to mimic the flashy interiors of Berghain, the electronica nightclub in the German city also completed by the firm.
      LED lights border the edges of the fluted glass walls, while in the treatment rooms the sink and supplies are stored inside a pink cabinet that is topped with a colourful speckled counter.
      Find out more about The Urban Dentist ›

      Sou Smile, Brazil, SuperLimão
      Brazilian studio SuperLimão inserted a pink polycarbonate volume inside Sou Smile, a dental health treatment centre in São Paulo that manufactures dental appliances.
      The rounded structure houses a consultation room, while the rest of the converted warehouse building is outfitted with open-plan workstations and a laboratory for manufacturing dental appliances.
      Find out more about Sou Smile ›

      Waiting room, China, RIGI Design
      A rectangular “dining” table and play area for children feature in this colourful clinic in Tianjin, China designed by RIGI Design.
      The play space is framed in the shape of a house and decorated with animal-shaped furnishings. Treatment rooms are located along a corridor fronted with glass walls. Large black digits painted on the hardwood floor designate the room number.
      Find out more about the waiting room ›

      Ortho Wijchen, Netherlands, Studio Prototype
      For this office in Wichen, Netherlands has inserted the treatment areas between translucent glass partitions. To ease patient’s comfort each the of chairs faces a wall of windows that provide a view of a grassy pastoral landscape.
      “The open setup of the plan and the large panoramic view towards the garden create a light and spacious place in which the patient feels comfortable,” the studio said.
      Find out more about the Ortho Wijchen ›

      Go Orthodontistes, Canada, Natasha Thorpe Design
      Slatted timber panels clad the walls and reception desk in this orthodontist practice in Quebec, Canada designed by Natasha Thorpe Design.
      The boards of Douglas fir wood cover storage cabinets and form shelves in the office. In the consultation room there are several dental chairs and a row of black cabinets. Translucent glass spans across the laboratory and instrument sterilisation room concealing its interiors from the outside.
      Find out more about the Go Orthodontistes ›

      Impress, Spain, Raúl Sanchez Architects
      The curve of a smile informed the design for Impress, a dental clinic in Barcelona designed by Raúl Sanchez Architects.
      Large rounded boards crafted using pine wood form partitions in the office. The studio chose the material to add warmth to the typically white and sterile environment. Red, blue and grey accents add a playful element to the design and tie in with the company’s branding.
      Find out more about the Impress ›

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      Iram Sultan designs pill-informed interiors for Indian pharmaceutical company offices

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      Iram Sultan studio took visual cues from common medicinal products when designing the office interiors for Indian pharmaceutical company Zydus Cadila, which feature curved archways and vaulted ceilings.Iram Sultan was tasked with designing the 20,000-square-foot office floor belonging to the chairman, managing director and director of leading pharmaceutical company Zydus Cadila, which is located in Gujarat on the western coast of India.
      The studio wanted the interior spaces to reflect the work that the firm does. Each room’s structure has therefore been based on the shape of tablets and pills, symbolising pharmaceuticals.

      All corners of the interior structure have been rounded, accompanied by receding arches and curved, vaulted ceilings. This is particularly apparent in the main corridor that leads to both wings of the office floor.

      The image of pills has also been extended to details like the wall panels and door mouldings, which feature the shape of two halves of a broken-apart pill.
      On either side of each door at skirting level are small inlaid pieces of bronze carved in the shape of a circle and a cylinder, to represent a tablet and a pill.

      The chairman, managing director and director all have their own office on the floor, each with its own washroom and dresser as well as adjoining meeting rooms.
      A pill-shaped, lacquered table inlaid with dried flowers acts as the centrepiece in one of the meeting rooms, while another meeting room is punctuated with a large, dark table whose base mimics the shape of a rock.
      In this same space, the curved corners of the walls are dotted with small, handmade porcelain art pieces that are designed to be an abstract representation of the plant-based ingredients that go into Zydus Cadila’s products.

      Other elements of the interior spaces were informed by the company’s logo, which comprises its name, Zydus, in blue with the letter d in red, and the shape of a cross replacing its centre.
      This includes the marble flooring along the corridors, which features strips of white framed with black outlines with an inlay pattern of black crosses.

      Iram Sultan extended this medical cross symbol across the whole office floor, incorporating it into various tables, which feature a black cross at their centre or sculpted, three-dimensional forms of the shape across their surface.
      The logo’s colours also informed the custom carpet in the board room, which is covered in algebraic markings in black, red and blue.
      This was one of the most fun elements to create, according to the studio, who chose the scientific equations as “a gentle nod to the bedrock of research that the company is built on.”

      To warm up the interiors, the studio chose to clad the walls in dyed oak veneer. Thin sheets of bronze wrap around each archway lining the corridors, which also work to accentuate the spaces as they reflect the light.
      Wooden floors of a slightly darker tone feature in individual offices in contrast to the surrounding hallways.
      Each individual office was tailored according to the user’s personality and their working requirements. One office features soft grey lower-wall panels made from stone, while another has walls completely clad in light veneer and a large, oblong desk.

      “The project is beautiful for us because it reflects the client brief perfectly,” said the studio. “While fulfilling all the requirements of an office space, the space is not a typical cookie-cutter design, but a bespoke creation made specifically for the people who use it.”
      “The design is also beautiful because of the balance we managed to achieve in both the material palette and the space volumes,” it continued. “It is a serene space with quiet drama that we created using bespoke elements, clever details and unexpected materials.”

      The Zydus Cadila chairman’s office floor was Iram Sultan’s second project for the client, having previously designed the interiors for their home.
      “A project very close to our heart,” said the studio. “When we started work on this space, we had established a relationship of trust and understood the client well.”
      “The project has been designed in the spirit of collaboration, beginning with the clients and adding other collaborators like product designers, manufacturers, contractors and consultants,” it added.

      Dezeen Awards 2020 interiors longlist announced

      Iram Sultan’s Zydus Cadila office has been longlisted in the large workspace interior category of Dezeen Awards 2020.
      Other longlisted interiors projects include an office in Japan by Shuhei Goto Architects, in the small workspace interior category, which features large, stepped boxes that introduce different levels to the space.

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      Shuhei Goto Architects turns lecture hall into multi-level work space

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      Shuhei Goto Architects added large, stepped boxes to a former lecture hall to transform it into a playful multi-level office in Shizuoka, Japan.The Shizuoka-based studio worked with creative agency Loftwork on the project, called CODO, which was designed for logistics company Suzuyo’s head office in the city.

      An auditorium, which had previously been used for in-house events, was turned into a multi-use room where employees can work or take their breaks and the company can hold events and lectures.

      Shuhei Goto Architects’ design was informed by the 913-square-metres room’s high ceiling height. It added box-like steps to its periphery to fully utilise the existing space and allow people to circulate freely.

      “By fully utilizing the space in all directions, a new sense of distance among those present is generated, which is totally different the sense of distance in conventional office spaces,” the studio said.
      “Those working side by side don’t feel disturbed by each other’s presence because their eye levels do not coincide, or conversely, those sitting apart from each other feel interconnected because their eyes meet.”

      The stacked steps, which the studio describes as “too large for furniture and too small for architecture”, can be used as benches or tables, or simply as raised platforms to add seating on different levels of the room.
      A walkway between the stacked boxes connects two sides of the room, and details like soundproof built-in phone booths and a cantilevered viewing platform give it a playful feel not usually associated with office spaces.

      When the company hosts events, one of the boxes serves as the stage and others as seating areas.
      As the building is used as an emergency evacuation shelter for the area, the hollow steps of the boxes can also be used as storage for emergency supplies.

      Shuhei Goto Architects used wood to create the multi-level boxes and added pale-coloured, sheer curtains to the windows.
      “It’s a multi-use material: for sitting, walking, or writing,” said Shuhei Goto Architects  founder Shuhei Goto.
      “The double curtain-lace and shade is printed in gradation colour,” he told Dezeen. “The double gradation makes it look like natural light is leaking out.”

      Shuhei Goto’s Floating House in Ogasa features two-tone cladding and a 360-degree window

      Different materials were used for the floors on the different levels, with the floor of the space itself made from concrete and the lowest-level platform made from hardwood flooring.
      Some of the upper levels were carpeted to denote a difference in the areas.

      “This office was designed as a prototype for offices in a new era of innovation, based on the idea that today’s office space needs some room for flexible renewal and updates initiated by employees themselves,” the studio said.
      The CODO project has been longlisted for a Dezeen Award in the small workspace interior category this year.

      Shuhei Goto Architects was founded by Shuhei Goto in 2012. The studio has previously created the Floating House in Ogasa and designed a residence formed of four connected, house-shaped volumes.
      Photography is by Kenta Hasegawa.
      Project credits:
      Project management and creative direction: Loftwork Layout UnitArchitectural design and furniture design: Shuhei Goto ArchitectsStructural design: Tetsuro Adachi/OAK plusWood coordination, furniture production and furniture production direction: Hidakuma Inc.Curtain design: Studio Akane MoriyamaSign design: Hokkyok

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      Worrell Yeung designs industrial artist studios in historic Brooklyn factory buildings

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      New York architecture studio Worrell Yeung has transformed historic factory buildings in Brooklyn Navy Yard into multi-use workspaces and artist studios featuring time-worn brick walls and weathered beams and columns.The adaptive reuse project involved remodelling 77 Washington, a six-storey former masonry factory built in the 1920s, and four other buildings situated around on the property.

      It is located at the corner of Washington Avenue and Park Avenue in Brooklyn Navy Yard, a former shipbuilding complex between the Dumbo and Williamsburg neighbourhoods undergoing regeneration.

      Worrell Yeung drew from the area’s historic architecture and the design of early 20th-century New York warehouses to update the 38,000-square-foot (3530.3-square-metre) multi-use art and office space.

      “The existing buildings were so rich with history and layered with texture that we wanted our design to highlight these found conditions while also updating to accommodate new uses and new programs,” said co-principal Max Worrell.

      A six-storey brick structure occupies the centre of the property, with a cluster of three one-storey buildings situated on its south end and a single garage unit located on the opposite side.
      On the main building the brick facade was left untouched, while the sides of the building are painted white.

      Storefronts situated along the street level were restored to house artist and photography studios. Each of the exteriors is painted dark blue and is fronted with large windows that flood natural light into the interiors.
      The low-lying structures are connected by a central courtyard filled with gravel and plants laid out by landscape firm Michael van Valkenburgh Associates. To form the outdoor patio and bike storage area the studio removed a roof that previously covered the space.

      In the garden three solid oak logs form a series of benches. Over the past decade a local shipbuilder gathered the reclaimed wood used for the seating following a number of storms in the region.
      Inside the materials and patterns are evocative of old Brooklyn factories and warehouses. The floors are covered with concrete and metal diamond plates.

      Macro Sea turns abandoned Brooklyn warehouse into New Lab co-working space

      Exposed brick walls coated with layers of old paint pair with structural wood columns and beams in the open-plan spaces, which include meeting rooms, a small kitchenette and a large lobby area.
      Brooklyn Navy Yard woodworker Bien Hecho repurposed timber floor joists from the building into a custom-built conference table and a bench.

      Steel grids installed across the elevator shaft windows are visible from the building’s exterior and match the pattern on the translucent glass and plywood walls located in the lobby.
      “These interventions are a nod to the aesthetics of storied factory buildings and Navy Yard warehouses, which historically featured grids in their sash windows, fencing, and ship docks,” added co-principal Jejon Yeung.

      Worrell Yeung was founded in 2014 by Max Worrell and Jejon Yeung. The studio has completed a number of renovation projects in New York City, including a loft in Chelsea and an apartment inside Dumbo’s Clocktower building.

      Other office projects in Brooklyn Navy Yard are a space for tech entrepreneurs located in a former warehouse renovated by New York developer Macro Sea and Marvel Architects and a new 16-storey co-working building by S9 Architecture.
      Photography is by Naho Kubota.

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      SuperLimão converts warehouse into colourful SouSmile dental office

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      A rounded polycarbonate-clad pink volume forms a consultation room in a dental office and laboratory in São Paulo designed by local firm SuperLimão.SouSmile is a dental health treatment centre in Pinheiros, a district on the west side of São Paulo, that manufactures dental appliances, such as clear aligners and teeth whitening technologies.

      It is located in a warehouse building with tall ceilings that SuperLimão has converted into office space, a clinical room and a manufacturing lab.

      For the design the local firm focused on SouSmile’s key messages of “efficiency, transparency, joy, self-esteem and care” and used hues of bright pink and light blue to match its colourful branding.

      “Brand attributes were integrated to the architecture to convey SouSmile key messages, such as efficiency, transparency, joy, self-esteem and care,” the studio said. “The brand’s colour palette was also considered to be used in the project.”

      On the exterior of the office the brick facade has been painted white with several bricks painted pink and blue to tie in with the brand’s marketing. A large awning with a foldable garage door is located at the front of the building along with a small patio area for employees and patrons.

      The main intervention to the 500-square-metre building is a rounded volume that creates the consultation room and laboratories on the ground floor, and lounges and meeting rooms on the upper level that overlook the floor below.

      Pink-painted metal framing is covered with translucent polycarbonate panelling to form the structure, which is furnished with a dental chair, equipment and a sink counter for clinical use.
      The bright colour is also used on the staircase that leads to the upper level and to frame the windows on the manufacturing lab and meeting rooms.

      The fabrication lab situated alongside the stairs is filled with machinery and shelves for testing and engineering the dental appliances. It is outfitted with mechanics and ventilation duct work to ensure proper air exhaustion during the manufacturing process.
      At the front of the office a break area offers staff a comfortable space to relax with a kitchen area furnished with two stone counters for enjoying and preparing meals.

      Pink pendant light fixtures and a set of shelves for storing glassware and decorative plants hang from the ceiling in the space.
      Large wood tables form shared workspaces on both levels of the office. Meeting and conference rooms on the upper floor also feature brightly coloured walls painted yellow, blue and green.

      A sculptural blue bleacher seating covered with cushions and a phone booth station outfitted with acoustic paneling are among the other architectural details in the office.
      SuperLimão is an architecture studio with offices in São Paulo. It has completed a number of projects in Brazil, including an apartment with a pink ceiling and a beer hall with gabion walls.

      Other thoughtfully-designed dental facilities include an office in Berlin that takes cues from the nightclub Berghain, an orthodontist practice in Quebec outfitted with slatted wood panels and a clinic in Taiwan with a dining table in its waiting room.
      Photography is by Maíra Acayaba.
      Project credits:
      Architecture: SuperLimãoProject team: Thiago Rodrigues, Antonio Figueira de Mello, Lula Gouveia, Larissa Burke, Pamela PaffrathLighting design: LDArtiConstructor: EdifisaWorkstations, meeting tables and bleachers: Zero MáquinaWoodwork: KW MóveisPhone booth: HUB

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      ARC Club is a London co-working space for people wanting to escape working from home

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      Architect Caro Lundin took a less-is-more approach for the creation of ARC Club, a fuss-free co-working space in east London for those struggling to work from home during the coronavirus pandemic.It took just six weeks for Lundin and her self-titled studio to complete ARC Club, which takes over a formerly characterless retail unit in the neighbourhood of Homerton.
      The co-working space is meant to cater to the growing number of individuals who, according to surveys observed by Lundin, are finding it tricky to efficiently do their job from home during the pandemic due to lack of proper workspaces.

      Its “starkly beautiful” interiors have been decked out with a selection of low-cost and durable materials that Lundin felt reflected a climate where co-working is “a necessity and not a nice-to-have”.

      Designing a more modest space also meant that membership would be cheaper for those interested in working at ARC Club according to the architect.
      “Intricate details and indoor gardens are fun, but they come with a big price tag – and they’re a lot harder to keep clean,” said Lundin, who founded ARC Club alongside Hannah Philp.

      “When designing ARC Club, I asked myself ‘what do people need to work?’ A comfortable seat, natural light, thoughtful acoustics; the physical and emotional space in which to think,” she told Dezeen.
      “Functional doesn’t have to be boring, it’s a neutral space that enables the people who visit it to be their best professional selves.”

      At the centre of ARC Club, which measures just over 232 square metres, are a pair of boxy, sound-proofed pods crafted from birch plywood.
      Inside, they accommodate a handful of private meeting rooms, storage cupboards, printers and a kitchenette complete with silver-metal cabinetry.
      Lundin chose to house these services inside a pod-style system so that it can be scaled up or down to suit different-sized branches of ARC Club that open in the future.

      The pods are surrounded by various work areas. A few of the furnishings, like the birch-ply tables with the arched legs, were made by Lundin’s studio while some of the chairs were sourced second hand.

      “Offices are going to get much smaller” after pandemic says Sevil Peach

      Pops of colour have been introduced to brighten up the space. Heavy orange curtains are used as room dividers, blue cone-shaped pendant lights have been suspended from the ceiling and bands of yellow paint have been made on the concrete structural columns.
      Yellow tiles also clad surfaces in the bathrooms.

      Further branches of ARC Club co-working spaces are planned to open in 2021.
      Like the Homerton location, they will occupy vacant high-street commercial units in popular residential areas so that members can do what Lundin has monikered “WNH” – work near home.

      “A neighbourhood workplace like ARC Club allows people to retain the best of what the office has to offer – full functionality, work-life separation and human interaction – without having to get on a bus or a train,” Lundin explained.
      “In essence, it’s an accessible flexible option for a new breed of remote worker who has grown used to scheduling their work around their day, instead of the other way.”

      The global coronavirus crisis has forced many to re-think offices and the way in which we work.
      Interior designer Sevil Peach predicts that, post-pandemic, companies will scrap working in corporate towers and instead opt to have central “hubs” where just a small per cent of staff will gather.
      Architecture practice Weston Williamson + Partners also released a series of graphics that illustrated how businesses could create socially-distanced offices. Tips included wrapping screens around desks, having touch-free doors and employing a cook so that employees don’t have to use a shared kitchen.
      Photography is by Andrew Meredith.

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