7/22/2019 FX M 2013 09 Downmagaz.com http://slidepdf.com/reader/full/fx-m-2013-09-downmagazcom 1/180 9 7 70 96 6 03 80 72 > 0 9 September 2013 £6.99 www.widn.com The Business of Design We reveal the results o our frst drawing competition and publish some o the best entries drawing on talent LIGHTING FOCUS PROFILED: LDF’S BEN EVANS INNOVATION STATIONS
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Upcoming Austrian and European designers collaborate
with Viennese manufacturers and present the results at
traditional shops and ateliers around the city. Now in its
sixth year, the festival includes product, furniture and
industrial design.
viennadesignweek.at
London DesignFestival
14-22 September Across London
The biggest event
in London’s design
calendar again features
a broad schedule of
events, from one-
off exhibitions and
installations at the V&A
to open studio and
popular design shows,
including 100%
Design, Tent London
and Design Junction.
londondesignfestival.
com
Beijing DesignWeek
26 Sept-3 October Beijing
Presentations and
installations in Beijing’s
hutongs, industrial
warehouses and
artists’ communities
at China’s most
prominent design
event, now in its third
year. This year it takes
as its theme ‘Design
City, Smart City’, and
an exhibition on the
theme is being
organised. bjdw.org
Design Quarter 26 September
Jewellery quarter,Birmingham
A chance for architects
and interior designers
to see the latest
innovations and
designs in the industry.
Design Quarter will
include interactive
workshops and
seminars from some
of the most respected
product designers
in the industry.
designquarter2013.
com
Welcome
As you all settle back down atyour desks/drawingboards/laptops/iPads after what turned
out after all to be a largely glorioussummer, we at FX are proud to serve
up a bumper edition of the magazine,packed with some of the best featuresby some of the best writers around.
Recut your teeth on some seriouslygood design insight with VeronicaSimpson’s look at temporary spaces,taking in from The Shed at theNational Theatre, via Mexicanrestaurant in shipping containersWahaka on the South Bank, to theso-hip-it-hurts Frank’s Bar in amultistorey car park in Peckham.
Then we take a look at what it’slike to work for the Super Clients,
such as Google and Virgin, withpractices that have had the honourgiving their take on the experience.That’s followed by our feature onmodern work environments which,with more employers coming toappreciate that staff don’t need to besitting as desks to be productive, aregetting downright funky (and one of our guest writers, Paul Finch, calls onpersonal experience of the changingworkplace in his Speak Easy piece).
Entries into our hand-drawingcompetition earlier this year were too
good not to share, so exhibited themat The Building Centre this summerfor all to see, and if you weren’t ableto make it along we’ve published ourpick from the exhibition in this issue.And that’s just the features!
We of course have our regularserving of news, projects, expertopinion and analysis, and wewelcome Veronica Simpson asa regular columnist from this month,in this issue discussing the wide-ranging importance of art schoolsin in the new Brief Encounters.
Single issue: UK £6.99; EU €10.99; US $13.99; ROW $13.991 year: UK £65.99; EU €114.99; US $146.99; ROW $152.99
2 years: UK £104.99; EU €183.99; US $234.99; ROW $244.99
Digital edition: (subscribe at www.buythatmag.com)
1 year: UK £57.99; EU €86.99; US $115.99; ROW $115.99
2 years: UK £92.99; EU €139.99; US $185.99; ROW $185.99
FX is published 12 times a year by Progressive MediaInternational, John Carpenter House, John CarpenterStreet, London EC4Y 0AN. All calls may be monitoredfor training purposes. The paper used in this magazineis obtained from manufacturers who operate within
prize o a trip to Amsterdam, hotel andentry to Materia next June, Forbo Flooring
hopes that the British version o the
competition will continue to attract the
same high level o entries as seen last year,
when the winner was the William Morris
Gallery (shown above) by Karsten Weiss,
o Pringle Richards Sharratt Architects.
Highly commended was the Croxteth
Community Primary School by Martin
Shutt, o Architects 2020 Liverpool.
The competition has been established
to recognise outstanding use o the Forbo
portolio in projects that create better
environments. Winning entries in the latest
competition will eature in FX next spring.To enter see Win a Trip to Chicago at
orbo-fooring.co.uk
entries invited as
forbo fly competition
follows aussie success
Architecture practice Gerhards &
Gluecker take inspiration rom Handel’s
music to reconstruct his museum at the
baroque Handel House, a museum in
the town o Halle an der Saale, Saxony
where Handel was born.
The choice to use the solid surace material
HI-MACS to bring the baroque into the 21st
century was made to bring gravitas and
panache to the project. One standout eature
is a delicate curved pergola (shown above) in
the themed room Under the Arcadian Sun,
which ocuses on chamber music Handel wrote
during a our-year sojourn in Italy. A foral
design was milled into the arch, which stands
detached rom the walls so that it casts
patterned shadows. The arch was manuactured
by Möbel Damm, ater training by Klöper
Suraces, the distribution partner o HI-MACS.
Elsewhere all ttings and presentational
elements, such as rames, pedestals, tables,
show-cases and display cabinets, are all created
in HI-MACS, and all in the same Arctic White
HI-MACS colour. himacs.eu
hi-macs helpsTo Transformhandel’s music
To archiTecTure
JOI design has
collaborated withexperts in colour psychology and trendresearching to createits third book, Coloursfor Hotels. It offersadvise on achievingmood-setting colour schemes under headlines that include‘discreet’, ‘luxurious’and ‘international’.
Joi-design.com
Ten products
awarded the 2013Design Guild Mark will be exhibited at100% Design thisyear, being held atEarl’s Court 18-21September. Entriesfor the 2014 DesignGuild Mark will alsobe launched at theexhibition.100percentdesign.co.uk
– your opportunity to decide who bestdeserves the award in the following four
categories: breakthrough talent of the year;
interior design practice of the year; product
designer of the year and the outstanding
lifetime contribution to design award.
The FX international Interior Design
Awards are now in its 15th year of
celebrating the industry’s top designers.
This year’s event will be held in London’s
prestigious Grosvenor House in Mayfair
for a night of black-tie networking, but
mainly partying.
Last year’s breakthrough talent of the
year winner, Christopher Jenner, says that
design ‘is all about hard work. What we areproducing can never just be OK, it must
be as special as we can make it’. Just like
the coveted FX Awards!
Other premier awards winners last year
were: Girogio Borruso Design (interior
design practice of the year) ; Ross
Lovegrove (product designer of the year)
and Niels Diffrient (outstanding lifetime
contribution to design award).
Celebrating the hard work and
undoubted talent of designers from the UK
and abroad, this year’s awards take place
November 27, hosted by a celebrity guest.
Get voting! fxdesignawards.co.uk
Your chance to votefor the fX premierawards has arrived
FXmagazine.co.uk September 2013 2
Tate Britain has been stripped back to its
roots in a major renovation project.
This autumn sees the work of practice
Caruso St John on the London museum of
British art on show when it reopens, mixing
the elegance of the original building with new
features. Among these are nine new galleries;
the reopening of the main entrance to Tate
Britain on Millbank; a new spiral staircase that
allows access to new public spaces on the
lower oor, and new oor designs to enhance
visitors’ movement around the gallery.
The Rex Whistler restaurant, with its
Whistler mural The Expedition in Pursuit of
The British Council
has announced thewinning proposal for the British Pavilion atthe 2014 Venicearchitecture Biennale.Selected is A Clockwork Jerusalem,with a design by FAT
Architecture, Crimson ArchitecturalHistorians and OwenHatherley. TheBiennale will takeplace June-November.venicebiennale.
britishcouncil.org
mrfdesign has
launched adevice-responsivewebsite that includs2D and 3D CADdownload sections. A contemporary furnituremanufacturer workingwith interior designersand architects tocreate project-basedand bespoke furniture,mrfdesign’s newcollections Julio andWingback can be seenon the website.
mrfdesign.co.uk
NEW TaTEBriTaiN MiXESorigiNalSplENdourWiTh NEWFEaTurES
attractions specialist Mather & Co islocated in the bowels of York Minster.
Revealing York Minster, part of a larger
£20m project at the Minster supported by
the Heritage Lottery Fund, focuses on the
contemporary chambers of the cathedral’s
undercroft and tells the story of the past
2,000 years of the historic site, rst
occupied by a Roman fort and garrison.
The permanent exhibition is
multisensory, interactive, pictorial and
participatory, with a ‘ribbon’ used as
the primary interpretative tool linking
the modern and medieval chambers
under the cathedral. The device helps
reduce the number of permanentstructures required for graphics, and
maximises athe sense of space and
open vistas despite being underground.
This latest undercroft phase of York
Minster Revealed follows on from Mather
& Co’s installation of The Orb (pictured),
a huge metallic dome as the centrepiece
of the practice’s interpretation of the
Minster’s East End. matherandco.com
Mather & Co exhibition
reveals York Minster’s
hidden seCrets
Architect and interiors company Jestico + Whiles’ take on
Southwark’s gin-distilling and tea-importing history is revealed with its
design of the aqua shard restaurant.
On the 31st level of The Shard is the Aqua Restaurant Group’s new220-cover eatery. Working together with the restaurant’s founder and
creative director David Yeo, the architects designed the interior inspired by
the themes of tea and gin.
Split into two main spaces linked by a large atrium, aqua shard’s larger
wing takes on the tea theme. Evoking references to the tea trade of the
East India Company, dark green and brown leather is featured along a a
dark oak oor with black marble insets. Fully glazed private dining rooms
offer views over London from every seating position.
The gin wing offers a more relaxed setting, which sees the continuation
of the black marble and dark oak ooring. Opaque folding screens and a
metal framework, underlit bar recalls the smoky atmosphere of the gin
distillery, further enhanced by a colour palette that changes from a delicate
green tint to a saturated purple. Peacock motifs decorate the windows
while semi-circular banquettes evoke the best of British art-nouveau textile
design. jesticowhiles.com
JesTico + Whiles TakesTea and gin To neWheighTs for aqua shard
Interior design graduate Aaron
Vure, rom theUniversity oHuddersfeld, haswon a six-month paidinternship with RPWDesign, thanks tothe New DesignersIDA Panaz Award.
According to hisnew mentor JanWilson, his designpiece ‘Signature’showed commercialawareness andpresentation skills.
Rpwdesign.co.uk
Sanitary product
maker GROHE hasopened a centre inBarcelona to celebrateits 40-year relationshipwith the city. TheGROHE Live! Centreoers the opportunityto view and test itsproducts in modelbathrooms as well asoering conerencespace or thedevelopment andexchange oproessionalknowledge.
Grohe-group.co.uk
Workplace design
consultancy SpaceSolutions haspromoted Phil Muir to studio director in the Glasgowofce. With 17years experienceto date, Muir joinedthe company in2012 and has sinceworked on major projects or clientsthat have includedNHS and theFood Standards
Every body o water on the planet has its own unique symphony o blue. Whilemost o the sun’s UV rays are absorbed into the depths, the short wavelengths o blue light are reected of algae, phytoplankton and marine lie—leading to swirling sapphires, aqueous aquamarines and turbulent teals. All o which inspired the
colourways in Net Efect.
To learn more call +44 (0)1274 698503, email [email protected] or join in at: www.interace.com, #IFnetefect
London Design Festival, an event he and JohnSorrell ounded 10 years ago this month, and
which has grown rom an inormal collection
o some 35 design events into a citywide
extravaganza o more than 300.
In the decade since it began, LDF has taken
on a lie o its own, and Evans says he and his
small team, which includes deputy director
Max Fraser and the now knighted John Sorrell,
who is the chairman o the estival, will be
responsible or only about ve to 10 per cent
o the events taking place in London between
14 and 22 September this year.
Evans describes the event as having built up
momentum o its own, ‘like a supertanker that
keeps on going’, but he and his team are stillvery much the driving orce behind estival.
While many countries now have their own
design estivals, Evans says LDF is unique
because o how it engages with the public as
well as those in the design industry and because
it ocuses on all kinds o design rather than, say,
urniture or interiors: ‘We wanted to have an
event that would celebrate all types o design.
Milan’s annual urniture air, the Salone
Internazionale del Mobile, is what it is and it’s a
very important event or the urniture industry,
but the London design scene is much broader
than that o most other cities and we need to try
to refect that.’
Alongside some o the year’s most infuentialtrade airs – including 100% Design and Tent
London – LDF is known or its ‘landmark
projects’, installations commissioned rom some
o the world’s best architects and designers and
placed in some o London’s best-loved public
spaces. Past events have seen a human-sized
chess set in Traalgar Square. This year dRMM
architecture practice has been commissioned to
build a MC Escher-esque staircase, whose stairs
lead to nowhere, outside Tate Modern.
Evans says this very public ace o the estival
is vital to his mission o bringing design to
a wider audience. ‘Lots o people will go to
see these things, but the biggest audience will
be the passers-by who won’t be particularly
A decade on rom organisingthe frst London DesignFestival with John Sorrell,Ben Evans is still instrumentalin pulling o one o theworld’s great design estivals.He talks to Jamie Mitchell
BENEVANS
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governments have followed suit.
‘The idea of the creative economy (which
we’re now all very familiar with) really emerged
around 1997 when Tony Blair’s government
was elected, but until then it had been very
difcult to persuade politicians that the creative
economy was important. Blair and his
colleagues in 1997 were the rst to realise that.
However, that has been accepted by all political
parties now and the current Government is
doing a lot to promote things both at home and
abroad. There was a report by charity Nesta
that came out recently saying that nine per cent
of the county’s output is from the creative
economy – so it’s a big success story.’As a governor of the University of the Arts
London Evans is also deeply concerned about
the Government’s attitude to design education,
something he sees as integral to maintaining a
world-class creative industry: ‘I benetted from
that system myself and I think that being part o
a world where ideas are important is the future.
More and more business-based activity depend
on people who can think laterally and be more
focused on ideas.’
He says that if the Government is successful
in its plans to remove creative subjects from the
curriculum it would be ‘disastrous’. ‘If we’re no
identifying people who have an aptitude for tha
kind of education at a young age then we’recutting off a supply of talent. The sector
depends on a continuous ow of talent and also
reputation. Part of my role in the design festiva
is sustaining that reputation.’
As LDF passes its 10th birthday, what are
Evan’s hopes for the future of the event he
helped found? ‘I’d like LDF to be, if not the
most important design venue in the world, then
certainly one of them. I think we are up there
and what’s important is sustaining and
maintaining that position. We also want to
engage with the widest possible audience.
‘We’ve done a lot of that but we’ve still only
scratched the surface – we want design to be
available to everyone.’
Main image, Ben Evans,
one of the two founders of
the London Design Festival.
Right, one of the highlights
of this year’s event will
be the fanciful stairway
by dRMM, installed on
the lawn outside Tate
Modern on Bankside
knowledgeable or aware of design,’ he says.
Though he has never been a designer, Evans
has always immersed himself in design. While
he was studying architecture he realised that he
was more interested in the issues that affect
design and the design industry than in actually
practicing it. He studied history of design at the
RCA where, he says, the other students thought
he and his classmates were ‘weird because we
wrote about design rather than made it’.
His career then took an unexpected turn:
after graduating he was approached by Liz
Lydiate, then of design consultancy Michael
Peters, who asked him to write the key note
address for a conference for ICOGRADA, theworld body for professional communication
design. ‘I’d never written a speech before, but
I said yes and that sent me off in a direction
I wasn’t expecting.’
For the next eight years he worked as a
political speech writer and, along with John
Sorrell, helped write the UK’s rst design
policy. He worked for the Labour Party on
policy development and campaigns including
for the successful 1997 general election, and
was appointed content editor of the exhibition
spaces in the Millennium Dome after its
erstwhile director, design guru Stephen Bayley,
quit amid disagreements with the Government.
How does Evans view that project inhindsight? ‘The problem with the Dome was
that it was a real conict of different agendas,
and it meant that so many things were
compromised because we were trying to satisfy
all these different groups that had an interest in
Mary Rose Museum // A collaborationbetween two leading architecture practices hasresulted in a new museum to house the Tudorwarship and provide an intriguingly magicalsetting for its hull and artefactsClient: Mary Rose Trust // Design: (architect and design team leader) Wilkinson Eyre
Architects, (architect for the interior) Pringle Brandon Perkins+Will // Size: 4,500 sq m
// Cost: £27m // Completion time: Eight years
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Orchard Spa, Coln Lakes,Gloucestershire // A new spa designed byDe Matos Ryan for use by residents of a luxuryholiday cottage resort is like the neighbouringorchard and lake... not all it seemsClient: Coln Park LLP // Architecture and design: De Matos Ryan // 792 sq m //
Completion time: 10 months
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The 2020 chair is yet another example of Ahrend’s enviable heritage of furniture design.For over 100 years, our passion has been creating beautiful products, rich in ergonomics,functionality and sustainability. From ofce chairs to desks, soft seating to tables, our designis not a trend but a tradition.
In fact, the only old fashioned thing you’ll nd at Ahrend, is our unrivalled customer service. For more information call 020 7566 7466 or visit www.ahrend.com
I BELIEVE: “Good design is a combination of invisible technology andcomplete functionality. That’s what makes the Ahrend 2020the ofce chair of the future. Clear lines, astonishing comfortand effortlessly adjustable. Oh, and100% recyclable.”Paul Brooks, Designer, Ahrend 2020 chair
Ahrend. Humanising_Spac
BELIEVE IN AHREND’STIMELESS DUTCH DESIGN.
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Much like its pleasant lakeside setting, the
design of the Orchard Spa by architecture
practice De Matos Ryan is not quite what
it seems. The Gloucestershire land on which
the spa sits, including the eponymous orchard
and nearby lake, are not natural features ofthe landscape but a man-made topography
that covers the scars and craters left by
gravel extraction.
The activity is still taking place in the area, but
the newly landscaped area is now home to a
resort of exclusive holiday cottages called The
Lakes by yoo. The Orchard Spa, which is for
use by the residents of the cottages, sits at the
western edge of the resort and looks like it has
been converted from one of the industrial sheds
left behind when activity moved to new land.
In fact the original design by De Matos Ryan
did involve the conversion of the industrial portal-
framed shed that stood on the site, but structural
issues meant the practice ended up designing
a new building based on the original shed.De Matos Ryan director Angus Morrogh-Ryan
says: ‘We found ourselves between the
regenerated landscape and the industrial one,
so the task was how to create a spa set against
this really quite binary landscape – one side
(the side on which extraction is still taking
place) is quite noisy and dusty and the other
is tranquil and ecological. We had to create
something within all of that that would feel
calm and restorative.’
He continues: ‘The project does have quite a
hard edge to it, where we’re saying as architects
we recognise that there is this industrial
landscape behind us.’
The spa facilities are a 20m-long pool,
children’s play pool, gym and sauna, as well
as steam, treatment and
clubrooms, and key to
the design was the idea of
making the swimming
pool feel open to the
landscape. On the sidefacing away from the
extraction pit, the
architects placed
4m-wide glazed panels
between the frame of the shed’s structure so that
swimmers would have an almost uninterrupted
view of the orchard and lake.
Inside, all visible signs of the workings of the
building have been concealed to create a feeling
of seamless material and spatial clarity.
Above, the clubroomhas broad oorboardsin Douglas r and
Howell furniture.Below, the stretchedfabric ceiling over the
pool has multiplebenets
PROJECT
A L L I M A G E S H u f T O n + C R O W
Externally, all service penetrations on the
standing seam roof facing the orchard are
restricted. Internally, a stretched-fabric ceiling
for the pool hall has the practical benets of
being a vapour barrier and acoustic dampener,
as well as hiding air-handling ducts. Appropriate to the lakeside setting and
simple, functionality of the building, the architects
have given it a Scandinavian feel both inside and
out. While much of one side of the building is
glazed, the other exterior walls are panelled with
Siberian larch, which Morrogh-Ryan says will
weather over time to a silvery-grey nish similar
to that of the steel frame. ‘We wanted to tap into
that feel of much more northern Europe, that kind
of functional aesthetic,’ says Morrogh-Ryan.
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PROJECT 2
Inside, the building is divided into two sections –
wet and dry – with the pool and a clubroom
separated by a glass partition so that parents
can easily keep an eye on their children without
having sit by the pool.
The clubroom has wide oorboards of
Douglas r and furniture was chosen to create
a relaxed, homely feel without diluting the strong,
almost minimalist look of the rest of the building.
A bespoke shelving unit and side tables were
designed by De Matos Ryan.
With its industrial look and wide expanses
of glazing, the building certainly makes a
strong impression on this newly landscaped
environment; but the
building had other pluses
too. ‘I think the advantage
of the portal-framed shed
was that it offered a very
simple structure that was
very cost-effective,’ says
Morrogh-Ryan. ‘It works
incredibly well in terms of being open plan and
functional. And the way it’s lined and clad are
very straightforward.’
Even so, with a design this simple and
pared-down, detail is everything. ‘We had to
insist that the structural glazing was worth it,’
says Morrogh-Ryan. ‘We were open to making
compromises but to us that was one of the most
important elements of the project. The structural
glazing having no framing creates a completely
different relationship with the landscape than
if we’d used patent glazing with aluminium –
that might have looked like a car showroom.’
Words by Jamie Mitchell
Main suppliers Furniture: Zeitrum zeitraum-
moebel.de // Montis montis.nl // E15 e15.com
Alessi alessi.com // St Paul Home home-st-paul.
com // Joinery: Batty Joinery battyjoinery.co.uk
Above, Siberian larchpanelling taps intoa more northernEuropean aesthetic
Royal College of General Practitioners,London // One o London’s frst custom-built ofce buildings, dating rom Edwardiandays, has retained the best o the past in amajor reworking or this prestigious collegeClient: Royal College o General Practitioners // Design: Harmsen Tilney Shane //
Saint Laurent store concept // Luxuryfashion brand Saint Laurent makes a bold,minimalist statement in metal, marble andconcrete in the hands of fashion designerand its creative director Hedi SlimaneClient: Saint Laurent // Design: Hedi Slimane // Size: 900 sq m //
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The red colour of The Shed is astriking contrast tothe grey concrete
of the NationalTheatre next to it
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t’s September 2013, and London’
lovers of arts and bars will be
wishing a fond farewell to some
of the most dynamic and well-used
spaces of the summer. From Sou
Fujimoto’s sublime Serpentine
Gallery Pavilion in Hyde Park – once
a seasonal exercise in contemporary
architecture PR and now a well-loved
annual institution – to the possibly
ridiculous but nevertheless wonderful
Frank’s Bar and sculpture park sited
on top of a neglected Seventies’ car
park in Peckham, which has beengathering ever greater numbers of
local, national and international visitor
since it rst opened in 2009.
Pairing an annual sculpture
exhibition, Bold Tendencies
– a commissioning vehicle for
contemporary sculpture conceived by
young gallerist Hannah Barry – with a
striking and makeshift bar venue was a
clever move that helped shoot Barry int
the rmament of young art-world stars.
But the grotty grandeur of the
car park itself is what gives it a whiff
of genius. I’m proud to say I was
an early adopter and, as a long-timePeckham resident, there was and is
still something glorious about seeing
the art world’s glitterati picking their
way through the debris of Peckham
High Street – past the discarded
McDonald’s wrappers and the open-
fronted butcher’s shops selling bags of
unrecognisable ‘chicken pieces’ for 50p
– to check the venue out; venturing
nervously into the urine and bleach-
soaked staircase to be mugged only by
the panoramic views over Southwark
and the Thames riverfront, lit up
at dusk like a string of architectural
fairylights. Open July to September.
Designed and built over a year in
conjunction with theatre and design
specialist Charcoalblue, The Shed is
a temporary 250-seat venue for the
National Theatre, while its smaller
Cottesloe Theatre is refurbished.
Sustainability and quality were the
driving factors from the start, says
Haworth Tompkins associate director
Paddy Dillon: ‘It would have seemedintensely wrong to put in an expensive
and high-energy building here.’
The design started with
Charcoalblue’s simple solution of a
three-sided performance area with a
small xed balcony, internal performer/
audience circulation and the possibility
of in-the-round and at-oor formats,
thanks to exible seating blocks. The
four towers emerged from the need to
make it naturally ventilated – the four
corner chimneys draw air through and
around the space via grilles underneath
the seating rig.
The Shed is clad in rough pallettimber, echoing the patterning on the
board-marked concrete of the main
building and keeping costs down and
portability up – the structure can be
easily dismounted and reassembled
elsewhere. The pallet wood also ‘give
it that non-architectural feel, more like
an object than a building,’ says Dillon.
The red colour was initially inspired
by Scandinavian agricultural barns.
‘We also thought that, against the grey
bulk of the NT a single red object
would be very interesting, and slightly
surreal,’ says Dillon.
The building’s unnished steel
frame can be reused. All of the seats
came out of the Cottesloe, as did most
of the lighting rig. The interior is not
a ‘black box’: it is lined with stained
dark brown plywood panels, whosetexture ‘grins through the stain’, says
Dillon, creating a warm and crafted
atmosphere.–
Client: National Theatre /
Architecture and interiors: Haworth
Tomkins / Cost: £1.2m / Completed:
March 2013 / Theatre consultant:
Charcoalblue / Main contractor: Rise
Contracts / Acoustics: Arup Acoustics
THE SHED AT THE NATIONAL THEATRE-
TEMPORARY SPACE
Pop-ups were the fadof the past decade,but now temporarystructures are addingreal design ingenuityto the mix, bringingnew life to unusual,difcult or previouslyuncelebrated spaces. Veronica Simpson investigates
dull and we always manage to have alaugh. And so, of course sometimes we
do have features such as slides, table
tennis, a double-decker bus with meeting
room and Union Jacks painted in glitter!’
Another ‘cool’ brand, Virgin Atlantic
has its own in-house design
department but also works with outside
practices. Its senior design manager for
customer experience Jeremy Brown
explains how they work: ‘Key and core
to how we design everything onboard
aircraft and in our ofces is the idea of
top service. It’s important that we live
and work with that ethos internally.The glue to everything we do is
the service element. When working
throughout the world, it’s hugely
important to recognise the location we
are in. And we collaborate very closely
with local design agencies.’
For example, when it redesigned its
Clubhouse at JFK, Virgin appointed
Manhattan-based Slade Architecture.
‘Emotional and physical consistency
with the Virgin brand design values’ was
the core requirement for creating the
930 sq m of Upper Class lounge space.
It also had to reect the Big Apple’s
Uptown aesthetics. Apart from certainrequirements such as a specic seat
count and the inclusion of facilities such
as a spa, hair salon and dining, the brief
simply asked for a memorable space and
one that would reect the evening nature
of the ights.
Hayes Slade of Slade Architecture
says of the project: ‘Virgin was a
highly supportive client with a design
perspective aligned with our own. We
had a lot of free rein on design issues but
within tight operational and functional
parameters. This is very sophisticated
client both in brand design aspirations
and in the team they have in place.’
FXmagazine.co.uk September 201
Simon Pengelly, founder of PengellyDesign that had the job of reconguring
the airline’s upper class suite, recalls:
‘Our brief was to improve on what
was arguably the best business-class
seat in the industry. Virgin also wanted
to t in more seats while increasing
personal space and making the beds
longer. It was a seriously tall order.’
Yet the mammoth ve-year project
became a labour of love as he found the
experience of working with Virgin to be
satisfying and fascinating: ‘The Virgin
brand is associated with innovation
and understanding the psyche of their
customer. There are real benets in
being associated with this approach.
They are highly collaborative and with
all the technical and engineering details
involved, they needed to be.
‘Each decision might involve up
to 20 variants so there was a lot of
cross-checking. We also had to ensure
that their brand DNA was included
but in an understated way. We were
creating a sort of canvas for the servicethat they then apply. But they certainly
knew what they wanted and we went
through hundreds of variations on the
theme, yet they allowed us freedom in
the creative process.
‘It’s counter productive if a company
uses you just as a drawing ofce. My
advice to other designers is to try to
work with those you feel an afnity
with and the process will be far more
rewarding and fruitful.’
Joe Keating, senior designer with
Leicestershire-based Checkland
Kindleysides, has fond memories
of working with Virgin on the reception
SUPER CLIEN
‘Virgin was ahighly supportiveclient with a designperspective alignedwith our own’Hayes Slade, SLADE ARCHITECTURE
Manhattan-basedSlade Architectureworked on the JFK
Clubhouse for Virgin Atlantic. Top is thereception, here theClubhouse floor
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areas at its global HQ near Gatwick.
He says: ‘At the initial meeting,
Virgin beautifully articulated their brand
personality with warmth and humour.
Their creative brief for the receptionrefresh was clear and concise, yet open
enough to allow for free thinking. I think
as they have an in-house design team
they seem to know how to get the best
from these collaborative design projects.
‘Virgin has this sense of optimism
and condence which allows for bold
expressions of their brand. We felt
hugely energised to start work. The
in-house design team was extremely
enjoyable to work with. We spoke a
common language and they completely
shared our design vision; there was
trust enough to allow us to work
towards a shared goal. Yet they werea very ambitious team so they pushed
us on many things too. I think the
collaboration felt really healthy. Needless
to say, we’d very much like
to work with Virgin again.’
Farringdon-based FDArchitecture
has worked with Virgin on several
projects in the past few years, including
its clubhouse lounge at Gatwick. The
practice’s Hans van Riemsdijk says:
‘We had a free rein to a degree but it
was very much a collaborative project
with VA’s own design team. Virgin
knows exactly how to orchestrate the
customer experience successfully and
it looks to its design agencies to realise
this in what they produce.
‘You can always see the Virgin
Atlantic DNA and its focus on the
customer experience running throughthe design of everything. Brand and
brand identity are critical to Virgin but
there is a lot of exibility within this for
the agency and they encourage you to
rewrite or reinterpret this identity. You
can see this in the clubhouses. You can
identify them all as Virgin but without
any bland, corporate, repetitiveness.
This is where the strength of the
collaborative approach with different
agencies is best illustrated. There are
the usual space planning, budgetary and
time constraints but that’s normal for
any project.
‘The greatest difference in workingwith Virgin is that its approach to design
is refreshingly different. It measures
progress only in how its customer reacts
to any given part of the business. Its
brand tone of voice permeates through
dealings with both internal and external
“customers”.’
There isn’t yet a business equivalent
of speed dating, and some relationships
with clients will turn stale or sour. But
it seems that the best way to ensure a
happy ‘relationship’ is to be true to your
own creative and design principles and
the chances are, you’ll be spotted by the
right kind of client.
In contrast to Virgin, British Airways
is a different animal. As the UK’s
agship carrier, its ancestry goes back to the Thirties and it evolved through
the merger of several airlines over the
decades and eventual privatisation in
1987. To Fly to Serve is its motto, but
what of its approach to design? Peter
Cooke, BA’s design lead told FX: ‘We
have a design blueprint, a set of design
principles which run through everything
we do. This helps us when designing
new products to dene the British
Airways experience. These have been
gathered, researched and developed
from almost 100 years of BA archives.
‘Our workspaces around the world
are unique to their locations buteach does reect the BA brand. We
expect the designers we work with to
understand our business, customers
and brand. And we expect them to be
as passionate about the quality of work
they do for us as we are. Design is not
a science but we expect those we work
with to deliver the highest-quality work
that ts with our premium airline brand.
‘Anyone who works with us is given
an in-depth brieng on our brand,
design principles and heritage. This is
so they are absolutely clear about what
it means to design anything for BA and,
ultimately, our customers.’
HIGH FLYING WITH BA
Above, ChecklandKindleysides workedon Virgin Atlantic’sown reception atits HQ at Gatwick.Left, Simon PengellyDesign created VA’s
new Upper Classsuite
SUPER CLIENTS
Above top,the First Classchampagne bar at T5. Above,the ConcordeRoom, also in T5.Doing the loungedesign wasDavies and Baron,while Amarylliscoordinatedttings andfurniture and wasdesign consultant
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Art for
Art’s sAkeIs time running out for free-thinking art schools and artstudents? The warnings havebeen given, and while somecommercial sponsorship andbursaries are in place, they canhave serious strings attached,says Veronica Simpson
What’s the point o art school?
Many art and design colleges
will undoubtedly be asking
themselves this as the new student intake
fles in this month, signing up to besaddled with debts higher than most arts
graduates could reasonably hope to pay
back within the frst decade o their
proessional lives, i indeed ever.
It was also the theme o a day-long
east o perspectives served up at Central
Saint Martins earlier this year, as part o
the college’s aim to engage arts students
and supporters in the implications o the
UK Government’s education strategies –
in particular its vicious pincer movement
to choke o arts education in secondary
schools (by deprioritising arts subjects in
its quest to drive up grades or ‘classic’
subjects) while pricing it beyond the
means o most ordinary people at higher
education level.
At the event, we were given two
glorious examples o where an art schoo
education can take you (or could havetaken you, i you’d been lucky enough to
The power to attractDemand for interior designersand architects to create the
perfect environment in theluxury interiors arena hasnever been greater and Allurehas been produced with anuncompromising commitmentto quality and beauty that iscertain to leave a lastingimpression.
Exclusive to James Latham in the UK,Allure is an exciting range of innovativesurface solutions, which includes sevendifferent types of real stone laminate, apalette of high-gloss bold and vibrantacrylic colours and a choice of rough-cutand brushed Oak, smoked and stainedveneers. There's also a range ofeco-friendly, reconstituted veneersincluding some of the most World'smost exotic and distinctive species inpatterns such as Rosewood and Ebony.
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Moving to new
ofces in the
PaddingtonCentral
development oered
the opportunity
o a new workplace
set-up. Design team
or the interior ft-out
was Create
Ater 20 years with the same company, PaulFinch has witnessed numerous confgurationso the workspace, with the latest one – the mostefcient to date, he says – dovetailing with a
move to PaddingtonCentral
d A v e P A r k e r
P h o t o g r A P h y
H
aving worked or 20 years in
the same media organisation,it is no surprise to me that the
nature o our workspace has changed
requently. This is partly the result o
changes in activity, partly the way the
company is structured, partly about
the autonomy or otherwise o divisions
and how they are themselves organised
and partly due to signifcant changes
in ofce technology.
In 1995 I was heavily involved
in a big ofce relocation, combining
one company with two others we
had purchased. Briefng our architects
about the ft-out o the new building
required a key decision rom the outset
SPA AS
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would we be entirely open-plan, partly
open-plan, or essentially cellular? This
is not a question that would require
much discussion these days, given
the huge economies achievable through
open- plan space with bench-style
desk layouts.
The other big question, to which
there was and is no correct answer, is
whether the arrangement of different
groups should be based on activity or
product. This is about whether different
platforms related to the same subject
are located together (for example,
construction magazine/conference/
events) or whether sales and marketing
sit next to relevant editorial/event teams.
All this depends on how the company
(or more precisely MDs, sales directors
and marketing directors) think about
business efciency and effectiveness.
Having seen many approaches I am
agnostic.
Back in the mid-Nineties, hot-
desking was a gleam in the eye of the more advanced space-planning
The new ofces in
PaddingtonCentral
are light years rom
the author’s frst
workspace with his
company, with a
realistic approachto providing a variety
o meeting spaces
There are desks foreveryone, thougha clear-desk policymeans that anyone can
sit anywhere. Supertidy, personality free
SPEAK EASY
theorists, in the same way that the
paperless ofce proposition was only
beginning to take on momentum. Both
are now far more in evidence, though
genuine hot-desking, where you have
signicantly fewer work stations than
you have staff, doesn’t seem to be
dominating the market as some
predicted it would. Perhaps that is
because companies such as Yahoo have
rediscovered the benets of managing
staff required in the ofce every day.
Our own company, i2i Events,
moved into Development Securities’
and Aviva Investors’ PaddingtonCentral
as a result of a fundamental corporate
restructure. This involved a name
change for our umbrella company,
from Emap to Top Right Group
(the Emap name has been retained
for the magazine division). Far more
signicantly, it marked a radically
different approach to organisation
and location.
For many years in a previous
incarnation (Emap Business
Communications, the b-to-b division of
Emap plc), we occupied a multiplicity
of buildings, mainly in the EC1 area
of London, though with signicant
outposts in Croydon and Bournemouth.
Broadly speaking, different subsidiaries
occupied each of the buildings, related
to a small group of subject areas, for
example architecture, engineering and
construction. That approach was turned
on its head when most of the company
was put under one roof in 2007, in the
famed ‘Black Cat’ building – Greater
London House, in Camden. Now we
have split again, with four divisionslocated in Old Street, Holborn,
Piccadilly Circus, and Paddington.
Operating as a standalone global
company i2i Events Group occupies
two oors in Two Kingdom Street,
originally planned as studios, in a KPF-
designed block on Kingdom Street,
which runs off Sheldon Square, the
heart of the PaddingtonCentral
development. Change-of-use
permission had to be sought since our
activities were not strictly conforming
to the original permission. However, the
studio spirit is very much in evidence
in the t-out, with an emphasis ona variety of informal meeting spaces,
series and overall design concepts,look no further get in touch
with us immediate ly .
M e d C o a s t C u s t o m s® L t d . · 8 S w a l l o w C l o s e · B i c e s t e r O X 2 6 6 Y L · O x f o r d s h i r e · U n i t e d K i n g d o me - m a i l : i n f o @ c r u i s i n de s i g n . c o m · p h o n e : + 4 4 - 1 8 6 5 - 6 0 0 8 7 3 · w w w. c r u i s i n d e s i g n . c o m
100%design® 18-21 September 2013Earls Court London· Stand L 331
Francis Pearce looks ata new guide to lightingplaces of worship
projects: We examine the lightingdesigns in two verydifferent churches
The dome of StStephan’s inKarlsruhe, Germanycontains a 6m-wideoculus surroundedby a hidden light ringof 1,920 warm whiteLEDS. See Projects
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FX FOCU
Some of the most important caves
adorned by Bronze Age petroglyphs at
Lascaux in France are naturally
illuminated at the solstices which, added to
the long-held theory that the images havesome spiritual signicance, suggests that
light, ritual and belief have a very deep-
rooted association. In the Judaeo-Christian
tradition, God not only called natural light
into being in the Book of Genesis (‘And God
said, let there be light, and there was light’)
but, in Exodus, revealed the design of the
seven-lamped menorah to Moses.
And yet, after all this time, places of
worship still present lighting designers with
problems, some of them architectural in
origin, others to do with how the buildings
are used, and yet more centring on
conservation, technology and cost. High
ceilings, obstructions such as pillars andbanners, and even reected glare from
silverware all present the lighting designer
with challenges that are examined in
guidelines being readied for publication by
the Society of Light and Lighting. Lighting
Guide 13 (LG13), Places of Worship is
thought to be the rst guidance of its kind
and covers buildings ranging in scale from
cathedrals and temples to multifaith
chapels at airports.
In the UK, the stock of churches and
congregations is rising even though the
actual number of churchgoers has been
falling for a century. Manchester
University’s Mark Littler reckons there arenow 50,700 churches or congregations
in the UK; Jewish, Muslim and Sikh places
of worship number in the hundreds but
are increasing in number.
LG13’s author, Hilclare lighting
applications manager David Holmes, says
the interior lighting’s main purpose in
places of worship is to enable participants
to see what they are doing and what is
happening around them. Visual comfort
and safety are also important. To that
extent, churches are similar to the
workplace and much of the advice in the
guide is based on new thinking on issues
such as lighting the horizontal plane and
regulations covering emergency lighting.
On a functional level, they share
characteristics with auditoria: churches
are usually oriented west to east, creating
a visual hierarchy and directing thecongregation’s view towards the sanctuary,
altar and East window, much like a
conventional theatre’s audience is directed
to the proscenium. ‘You light towards the
east to minimise direct glare and use roof
members to conceal the lighting behind
corbels and arches as you look in that
direction,’ says lighting designer James
Morse, responsible for the award-winning
scheme for Salisbury Cathedral. ‘Clergymen
often complain about glare when they face
the congregation but it’s more important for
parishioners to see them.’
Church lighting is ‘staged’ at different
levels: low in the nave and rising at the altarto ensure that attention is drawn there
during services. Historically, this has been
achieved with natural light and candles.
The guide points out that ‘often the more
successful daylighting designs are those
that offer a combination of daylighting
strategies. Low-rise buildings offer the
greatest opportunity to realise a controlled
daylit environment because the designs
can, in principle, accommodate various
daylighting features and devices. In
addition, low-rise building designs can also
feature skylights, clerestory windows, light
wells, over-hangs, deep self-shading reveals
and so on.’Lighting designer Michael Grubb says
that in the UK and overseas church
architects and lighting designers ‘celebrate
daylight much more these days. It always
used to be about articial light and the
building itself, but now it’s back to where
it began’. Nowhere more so than at the
Cathedral of the Northern Lights by
Schmidt Hammer Lassen architects and
Link Arkitektur in Arctic Norway.
It has a spiral belfry clad in reective
titanium to catch the Northern Lights, but
inside, during the white nights and days
of summer, light enters through tall, slim,
irregularly placed windows and a skylight
The world’s rst lighting guide for places of worship is soon to be
published by the Society for Light and Lighting. Francis Pearce
looks at what the SLL and lighting designers have to say about
illuminating churches
Far left, above,Cundall Light 4 relitthe Mossley Hillchapel for a varietyof uses. Left, above,
inside the Cathedralof Northern Lightsin Arctic Norway,with lighting designby Michael Grubb.Far left, below,award-winningall-LED schemeby Lunalicht at theSt Stephan Church,Karlsruhe. Left,below, St VitusCathedral, Praguewas relamped inLEDs by Panasonic
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FX FOCU
let there
be light...
We look at the lighting of two places of worship indetail, and both in stark contrast to each other – one
ancient, the other very new; one white and minimalist,the other in touch with its outside setting
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FX FOCU
Founded in 1019, the Church of St
Moritz is the oldest in Augsburg. The
latest in a number of transformations
over the centuries is a vast refurbishment
begun in 2009 by John Pawson. The aimwas to bring clarity and light to the
building, while respecting the work and
intent of previous architects.
Respecting Pawson’s minimalist
treatment demanded that the luminaires
were as invisible as possible, an aim
that was variously straightforward or
problematic according to which part of
the building was concerned. This was a
scheme where even the exit signs and
emergency lights had to be non-visible.
‘We were allowed to add and thicken
walls in some cases, but it was difcult
where we weren’t allowed to do anything
to them,’ says Mindseye associate Admir
Jukanovic, who led the lighting team.
‘The main nave was rebuilt after the
Second World War so there we could get
wiring up to where we needed it. There
were also some ingeniously placed areaswhere we could use ledges, for instance,
to conceal luminaires.’
One chapel, for example, originally
had two windows on the side but these
were designed out to allow the space
to be modelled specially to work with
controlled articial light. However, Pawson
wanted to leave another chapel more or
less in its original state.
‘The oor was the only new parameter,
so we could only use that and the
furniture to locate the light ttings,’ says
Jukanovic. ‘But what made it generally
easier was that we all shared the same
ambition in this respect, we were all
pulling in the same direction. It meant
we were able to work with the architect on
integrating ttings at a very early stage.’
The three domes above the main nave
have LEDs around the perimeter and a250W Meyer Nightspot narrow beam
ceramic metal halide tting – deeply
recessed and two with ribbed glass
spreaders for glare control – at the centre.
These provide reading light for the
congregation and basic lighting to the
altar. This exploits an existing ventilation
hole that had to remain.
It was essential to the overall effect,
as elsewhere, that there was no sightline
to the LED ttings illuminating the
domes. ‘We checked the various viewing
angles and our calculation showed that
at certain points you were able to see
the luminaire,’ says Jukanovic. ‘So we
The ancient churcho St Moritz, oundedin the 11th century,has a ultra minimalislook now rom atreatment by JohnPawson, in which thlight fttings areinvisible as possible
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FX FOCU
The award-winning new Chapel of St
Albert the Great is sited in a garden in
George Square, Edinburgh. It was built forthe University Chaplaincy and friary for
the Order of Preachers (Dominicans) and
replaces the old chapel on the upper oor
of the adjoining townhouses.
Both the choice of materials – wood,
sandstone-clad masonry wall, sedum roof
– and the form of the building are
designed to connect the building to its
natural setting, especially bringing the
outside in with the use of daylight.
A combination of clerestory glazing,
ventilator windows and a light well with
opening rooights provides both natural
light and ventilation. Daylight is
introduced by mirrors and ltered
through continuous oak slats along the
length of the chapel. The west wall behind
the sanctuary is also glazed. A projectingroof is designed to shade the interior from
too much daylight ingress.
‘It is a building that will be reliant on
articial light just from the point of view
of the times of the masses, but equally
important, on two sides you have natural
light casting shadows internally,’ says
lead architect Stuart Allan. ‘The projecting
roof means you don’t get uncomfortable
glare but you allow some natural light to
creep in.’
What was crucial where Allan was
concerned was to integrate the articial
lighting as far as possible. Unusually,
though ideally from a lighting point of
view, it is the illumination that has partly
driven the structure rather than the other
way round.‘From day one we looked at the
possibility of integrating the lighting
into the wall nish, and that set out
everything to do with the internal
nishes, including size and depth of
timbers,’ says Allan. ‘There was a lot
of forethought with the lighting.’
Working in tandem with custom
specialist Mike Stoane Lighting, a series
of slimline proles with T5 lamps were
developed to slot in between the slatted
wooden ceiling and walls. The 28 ttings
have a 32mm square prole with frosted
diffusers and a rear-mounted ballast.
They were designed in three lengths
A garden setting or the new chapel ledto natural materials
such as wood,sandstone claddingand sedum roofngbeing selected tolink it to the outside.Slimlne proflelighting is slottedin between theslatted woodenceiling and walls
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– 60cm, 90cm, 150cm – according to
their position. The walls allowed longerfttings while the vaulted, oak-lined
ceiling needed shorter lengths.
‘We didn’t use curved fttings,’ says
Allan. ‘We looked at how long a ftting
had to be beore you started perceiving
the dierence between the curve on the
ceiling and the ftting. We wanted to trick
the eye so that it wouldn’t look awkward
against that curve. We did ull-size
mock-ups o the interior and tested
that out.’
In terms o the spacing and
positioning o the fttings, ‘it wasn’t done
too scientifcally, more instinctively’, says
Allan. ‘It was about what looked good
along the wall, in terms o the spread o
light, getting a rhythm along the interior.The mock-up models gave us reassurance
on how much light was coming out o
these fttings. We were able to make an
educated guess without getting too
involved in calculating light levels. As
long as people could read their hymn
books that was enough light.’
The our tree-like Corten steel
structures that support the roo over the
altar and sanctuary spaces are gently lit
with MSL’s Mole recessed uplights, which
are also used in a perimeter trench at the
base o the walls.
MSL Tadpole IP66-rated mini LED
spotlights (1 Cree XPE 3000K) provide
accent lighting to the choir, cross,
tabernacle, celebrant and conessional.Surace-mounted and track-mounted
Xicato spotlights (Sur Type X and
Track Type X) provide additional accent
lighting elsewhere.
In the corridor leading rom the
oyer, recessed uorescent profles
at the top and sides o a series o
white arches pick out their orm as
visitors walk though. Here cool white
light is used, whereas the fttings
in the body o the chapel have
a warm white temperature. ‘It was
about contrast,’ says Allan, ‘knowing
you were going rom one space to
a more important space.’
Above, the wallsallow longer light
ttings, while thevaulted ceiling takeshorter lengths ofthe 32mm-squareluminaires withfrosted defusers
The Penthouse range offersa sleek flat plate designwith hidden clip-on fixings.As the name suggests,Penthouse is the mostluxurious range of electricalaccessories available fromthe Wandsworth Group andwill bring the highest level
of style and design toevery room.
sheerluxury
Combining the craftsmanship with wood veneer thatthe company has become well known for, LZF mergesthis year’s wood veneer lighting collection with music,motion graphics and art to create High Fidelity, a retromulti-sensorial reection of another epoc. Don’t’ missthe sound, the sight and above all the LIGHT.2013 winner of two Red Dot communication awardsfor branding and sound.
This month we have the experts’ inputon lighting matters and materials, plus19 pages of the best products around
THE EXPERTS
Jill EntwistleEditor & writerJill is an editor and writer who specialises inarchitectural lighting, following 12 years as editor ofLight magazine. She has authored two Designing withLighting books: Hotels, and Bars and Restaurants,and is an afliate member of the International
Association of Lighting Designers.
128 Light & Tech
Lighting is going up in the world... Thanksto lighting design, roofs can be a thing of
Annabelle has a passion for materials and is thecreative director for SCIN, the materials sourcingand research company. SCIN has just opened a newshowroom/gallery in Clerkenwell with a materials libraryand galleries dedicated to companies specialising inmaterials or architectural components.
134 Materials
This month Annabelle Filer takes a look atan exclusive selection of surfaces that take
things arelooking up A roof isn’t just for keepingthe rain out any more, so look
up and see what’s going on.Jill Entwistle investigatestwo projects in which theroofs, through lighting, havebecome integral to the overallsuccess of the schemes
FANTASTICIn this month’s selection ofmaterials, Annabelle Filer looksat new surfaces that can helpenhance the illumination of thespace in which they are featured
134 September 2013 FXmagazine.co.uk
Ilumination needs the support of a good material, as its properties can bias the way light is delivered to a space or
enclosure. Clearly this is important in terms of the quality of light we experience but also in how we actually see the
space. The material becomes an arbiter for illumination: it can create reection, diffusion, shade and dexterity in the
way light is physically delivered. The materials we encounter this month can all be viewed as having a say in how we bring
light into a space: some work in isolation while others engage in a little electric foreplay as an aid in invoking change in
light conditions. All of the materials though, without exception, need light to give them life.
accuracy and precision was critical to thebuild, Amwell Systems ensured due care
and attention was paid when installing all
products but particularly when dealing with
this delicate and intricate design element.
Glass was also used in the shower and
changing area. Amwell’s Minima cubicles in
Alpine glass were specied or the 12
shower cubicles and look stunning against
Minima’s sleek stainless steel aluminium
rame. These modern, angular cubicles
coupled with the welcoming warmth o the
real wood veneer lockers certainly ensured
that Role Judd were able to meet their
design brie set by the client to go “above
and beyond”
For further information on any of
Amwell’s products visit their website
www.amwell-systems.com or call their
helpful team on 01763 276200
Sylan cubicles in real wood veneer and limestone vanity units
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Apeer
One of the most exciting developments
to happen to composite doors in a
decade has been launched by Apeer
with 12 cutting edge new designs. The
Modern Door (MODO) collection
from Apeer is a design-led portfolio of contemporary new doors, developed
and fully manufactured at Apeer’s
state-of-the-art production facility at
Ballymena in Northern Ireland. The
new MODO collection features all
the security, durability and energy
efciency associated with Apeer Doors.
apeer.co.uk
DAre STUDIO
Designed by Sean Dare The Bronte was designed to
compliment our Hardy Wingback collection as a low back
option. With a sumptuous xed seat and an invitingly soft
aesthetic, the Bronte features a rounded back and beautifully
tapered solid timber legs. Offered in a variety of Leather
and Fabrics with a choice of American Black Walnut or Oak
Legs. Visit us at Design junction Stand S7.
darestudio.co.uk
HADDOnSTOne
Haddonstone is the UK’s leading manufacturer of
ornamental and architectural stonework for interiors and
exteriors. Standard designs range from planters, fountains,
sundials and statues to balustrades, columns, follies and
even replaces. Custom designs are a specialty. Pictured are
three new designs: Aristotle, Diana Chasseresse and Apollo
Belvedere. Inspirational 204-page catalogue available on
request. Acclaimed Northamptonshire showgardens and
interior showrooms.
haddonstone.com
rAK CerAmICS
Inspired by the varying tones and textures of the Arabian Desert, RAK’s Sandust
Collection includes two new porcelain tile formats in a striking Anthracite and
White colour tone. Suitable for wall and oor application, RAK’s Sandust tile is
offered in 60 x 60cm and 60 x 30cm formats. The landscape-inspired design is
achieved using the latest ink jet technology, which provides great depth and an
authentic colour pallet. All tiles have a matt nish and a R10 slip resistance rating,
achieved by intermittently striking the surface during the pressing process. They
can be installed both internally and externally, providing a stylish, contemporary
surface that’s both exceptionally durable and easy to maintain.
rakceramics.co.uk
Editors Choice
jAmeS LATHAm
The natural choice in timber and
panel products, James Latham, is now
offering Natural Touch, Kronospan’s
newest innovation in wood panel
manufacturing. Natural Touch is therst embossed-in-register melamine
board where the grain texture
precisely matches the surface nish.
Now, the authentic look and feel of
real timber - the graining, the subtle
variations of shade and tone - is
accessible on almost any project.
lathamtimber.co.uk
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Eco DEcking SyStEmS Eco Decking Roofng Systems have introduced a new
100% recycled roofng slate to the UK market which is setto revolutionise the entire roofng industry. We oer a state
o the art ormulation which provides a strong, pliable and
attractive roofng option or your building application. The
state o the art ormulation is sel-bonding and Flexible
enough to be used or all valleys and ridges. The New Ultra
Shield Decking is being highlighted at the 100% design Show.
ecodeckingsystems.com
100% Design - Stand E30
jiS EuropE JIS Europe will be displaying their extensive range o stainless steel heated towel
rails at 100% Design. Their Sussex Range is available in polished or brushed satin
fnishes. All towel rails are manuactured to exacting standards and JIS Europe
oers an extended range o sizes with new models to choose rom. All the models
are guaranteed or 25 years.
sussexrange.co.uk
100% Design - Stand K20
granortE
Granorte will use Design Junction
exhibition in London as a platorm to
showcase cork not only as one o the
most sustainable materials available, but
one which also oers almost limitless
design possibilities. From a brand
new concept product Corkcube to
3-Dimentional walls, Granorte will also
reveal urther industry frst prototypes,
including cork ofce accessories, cork
tableware and even a cork kitchen sink!!
granorte.co.uk
Design Junction - Stand 27C
gLaSSoLutionS
Providing superb potential to create original interiors TEX
GLASS is a laminated glass product with a choice o
beautiul abrics encapsulated inside. The wide range o
abrics has been careully chosen rom the award winningNya Nordiska collection. Dramatic eatures can be created
or partition walls, screens, doors and urniture and
other interior applications. When combined with either a
backpainted glass or mirrored glass or cladding applications,
the eect can be stunning.
glassolutions.co.uk
Nya Nordiska Showroom - World End Studios
hamiLton LitEStat Visitors to the Hamilton stand will be
able to view the British company’s
comprehensive range o switch plates
and sockets as well as bespoke artisan
door urniture rom Italian brand
Giara, or which Hamilton can produce
unique matching plate designs as
part o its Savile Row bespoke design
service. Hamilton’s new bronze eect
plates have been proving very popular
since launching this year.
hamilton-litestat.com
Decorex - Stand B47
London Design Festival
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HI-MACS
LG Hausys, manufacturer of the
super versatile HI-MACS solid surface
material, will exhibit at 100% Design
exhibition. HI-MACS natural acrylic
stone, will be shown in some futuristic
furniture applications in the form of a
stunning desk and fun furniture. The
Agata desk, designed by Studio FRA
srl. from Italy demonstrates the ultimate
ability to form HI-MACS into any
three dimensional shape. Meanwhile,
the quirky but original furniture range
aptly demonstrates how designers are
in no way inhibited when working with
HI-MACS which machines with ease,can be thermoformed to any shape and
is joined in a visually seamless way.
Also being showcased is the suitability
for HI-MACS to be used for both
dramatic internal wall cladding and
exterior façade applications, as well as
some exciting new colours. himacs.eu
100% Design - Stand E211
dupont
DuPont Building Innovations has joined the Power Matters
Alliance (PMA) and is working with other PMA members
on wireless charging solutions for smartphones and tablets
that can be effectively integrated into worktops made with
DuPont Corian solid surface. ‘The next phase in wireless
power is seeing it embedded into surfaces used for furnishing
solutions,’ said Ron Resnick, President of PMA. ‘DuPont has
been driving innovation for decades in the area of advanced
materials. DuPont Corian solid surface is a globally renowned
premium solution in the markets of furnishing and interior
design, both commercial and residential. The collaboration
between PMA and DuPont Building Innovations marks
another step forward in the PMA’s vision to make smart
wireless power a ubiquitous part of our lives.’ corian.com
100% Design - Stand K300
ArMAC MArtIn
Armac Martin the Birmingham based long established
Manufacturer of Furniture handles and components are
delighted to be a rst time exhibitor at 100% Design. Such
are the amount of new products and nishes produced no
amount of internal marketing can showcase them like an
exhibition. Contemporary and Traditional styles are all part
of current standard range and bespoke production.
armacmartin.co.uk
100% Design - Stand K24
kerAMAg deSIgn Keramag Design is a name synonymous with innovation, quality and desirability.
The company offers a design-led portfolio of sanitaryware and furniture for the top
end of the market. Using only top-class materials and state-of-the-art technology,
Keramag Design strives to deliver not only cutting-edge bathroom solutions but
also premium quality and timeless design. At 100% Design, Keramag Design will
present three of its latest designer collections, Citterio, myDay and Preciosa II,
comprising a stylish range of basins, toilets, furniture units and mirrors. Citterio,
designed by world-famous Italian architect Antonio Citterio, combines puristic
materials and organic shapes, effortlessly encapsulating a modern elegance with
an enduring appeal. While with Preciosa II, the creation of Keramag Design’s
Bernd Brohammer, clear structures and sleek form come together culminating in a
consistently minimal artistic style. Conversely, the myDay collection by industrial
designer Cornelia Thies takes a pared-down, carefree approach resulting in a soft,
natural and feel-good aesthetic. keramagdesign.com
100% Design - Stand K146
London Design Festival
HAnex SolId SurfACIng
The Hanex brand of solid surfacing
is showing off its design and quality
credentials with a palette of 80 nishes
that will tick every designer’s wish list
for stones, pearlescents, translucents
and plain colours. The brand marries
creativity and condence offering theindustry’s highest FR rating of EN
13501-1B and the NSF51 food hygiene
certication. Beautifully aesthetic,
exible and functional, Hanex can be
called upon to bring a signature look to
domestic, commercial, leisure, transport
and public sector projects. hanex.co.uk
100% Design - Stand E111
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KAAITA Ding Dong swing - a friendly indoor swing is a divine giftfor any terribly busy person. It’s a softly curved tool to
relax body and mind, encourage creative laziness and active
rocking in closed spaces. We prescribe this cure for anyone
that hasn’t indulged in at least an hour of carefree playtime
since childhood. The swing is made from beech tree plywood
that has been pampered with a mix of natural oils.
kaaita.com
100% Design - Stand E30
ShowerwAll
Showerstyling by Showerwall is the brand new product launch offering designersand speciers the unique option of bespoke – digital printed wall panelling to
give a bathroom a signature design, while also guaranteeing easy installation and
maintenance. Showerstyling is aimed primarily at the commercial sector including
hotels, spas and leisure clubs and offers the design freedom for corporate or
themed designs to be incorporated into the shower areas. Any design can be
digitally printed and encapsulated sub-surface in the high performance, high
pressure laminate. showerwall.co.uk
100% Design - Stand K1400
KI KI will be launching Cornerstone, a
new acoustic stacking screen system
designed by Craig Jones. This enables
a complete system including the
breakout areas to be within the same
footprint. It is designed to provide a
natural extension and integrate with the
UniteSE workplace collection and other
manufacturers furniture systems. Alsofeatured will be the Red Dot Winning
Faveo 24/7 task chair and Opt4 Seating
range. The design brief for Cornerstone
was to create a physical link between
workstation, storage, and screening,
providing a natural progression into
the Third space. The design concept
is to offer integration and continuation
of working areas rather than creating
separate product groups. Providing
exibility for expansion and contraction
in existing and new areas of workow
are fundamental to the screens design.
kieurope.com
100% Design - 0320
JAy wATSon
Designer-maker Jay Watson will be unveiling a table lamp
version of his highly acclaimed Just Desserts pendant lights,
among other clever upcycled designs. Just Desserts is a series
of handmade low-energy luminaires created from a uniqueselection of traditional pressed glass dessert bowls, sourced
from ea markets and second-hand shops. Each lamp
features a single high brightness LED, hot white (2700K,
90CRI) rated to 75,000 hours, which has been incorporated
into a turned wooden and aluminum xture. Available as
single or cluster pendants, table lamps, as well as bespoke
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hacel
Hacel continues to develop their class-leading range o
LED luminaires with the new iMod LED grid light module.
Reduced energy consumption alongside efcacies in excess
o 79lm/W, the distinctively styled iMod LED with a
ribbed polycarbonate reractor and micro usion flm is ullycompliant with the SLL Code or Lighting 2012 - oering
luminance limits below 3000cd/m2 at the 65° cut o and
is a direct replacement or LG7. Boasting outstanding
perormance with an LOR o 0.89, the iMod LED by Hacel
oers a choice o colour temperatures - 3000K, 4000K and
5000K with selectable wattages o 24W and 36W. Designed
and manuactured by Hacel - the iMod has a three year
warranty against total ailure. hacel.net
Gradus The Christie School o Oncology is very proud o its newly reurbished educationacilities. The auditorium is the centrepiece o the development and plays host
to a large number o courses, conerences and guest lectures on a wide variety o
medical and cancer related topics, delivered by some o the world’s leading experts
on these subjects. Gradus’ RNT718L clear PVC-u stair edgings with Glacier (light
grey) slip-resistant inserts and Interlok Advance step lighting in Blue were installed
in order to create a contemporary pinpoint lighting eect between each stair, as
well as on the perimeter surrounding the central ooring area o the hospital’s
impressive auditorium. gradusworld.com
astro liGhtinG Astro, British lighting designer and
winner o the Queen’s Award or
Enterprise and International Trade,
has produced a resh contemporary
reincarnation o one o its original
designs. The new Joel range o table
lamps, wall lights, oor lamps and
pendants oers a choice o three
on-trend fnishes or the steel shade,
matt black, polished chrome or matt
cream, but the goblet shape is evocative
o the classic designs o the mid-20th
century. The range can take a low
energy E27 LED and will be available
rom Autumn 2013. astrolighting.co.uk
iGuzzini This innovative, pole top, LED urban lighting system by
iGuzzini stands tall at fve meters. The product was born
rom the concept o modularity where each branch can be
customised to simultaneously house anything rom securitysystems to solar panels. Besides changing its appearance, this
exibility allows various elements to coexist. Albero is a direct
LED lighting system, available in warm and neutral white
LED. iguzzini.co.uk
deltaliGht
The Supernova oor lamp is a dazzlingnewcomer or 2013: a white upright
on a white, circular base goes o at an
angle o 90º at the top and is connected
by a quick-release attachment to a
white, semi-transparent disc that has
become the trademark o the Supernova
range. An outstanding eature is the
black quick-release attachment, which
looks a bit like the wheels on a racing
bike and enables the disc to be titled to
an angle o 180°. Point it downwards
and you have a reading lamp; point
it upwards and you create a lovely
indirect light on the ceiling.
deltalight.co.uk
Lighting
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3M ArchitecturAl
MArkets 3M Architectural Markets brings
the company’s strong tradition o
innovation into the design world.
Surace fnishes showcased will be; 3M
DI-NOC Architectural Finishes range,
including the E-Series which oers an
environmentally sustainable solution
along with a natural look; 3M Fasara
Glass Finishes that create suraces withan authentic look o etched, treated or
texturised glass; and colour-shiting
3M Dichroic Glass Finishes. Preview
ultra-sophisticated lighting products in
addition, co-created with New-York
based designer Todd Bracher and
recently launched in the US.
3M.co.uk/innovativenishes
OkhOlM liGhtiNG The ARMILLA chandelier was custom made or the new
Tiany & Co. jewellery store in Canary Whar, London.
In the shape o a globe, the ARMILLA chandelier is lit by
60 Pcs. 5W bulbs and made in mirror polished chrome to
match the light and exclusive interior o the store. With its
stylish design and elegance, the ARMILLA compliments and
emphasizes the aesthetics o the room. We develop our lamps
and lighting solutions in close cooperation with architects and
designers, and the result are lamps that are in a class o their
own, both aesthetically and in terms o design.
okholm-lighting.dk
cOMPAct liGhtiNG Compact would like to introduce the MiNA Gimbal Elect,
our recently developed and aesthetically pleasing solution
creating excellent spot-lighting with a modern twist. The
LED version - as with other members o the MiNA amily
is capable o handling a range o Zhaga compliant LED
modules rom a number o dierent manuactures, oering
design exibility to suit a variety o interior application
requirements. The Elect is a premium solution or retail,
hospitality and display applications.
compact-lighting.co.uk
felix liGhtiNG sPeciAlists An original piece o New York. The iconic WALK DONT WALK sign is
synonymous with everything ‘New York’. These signs are original pieces o New
York street signage. Cast rom aluminium and painted Classic NYC Yellow. The
sign is ftted with new circuitry which enables the WALK DONT WALK to ash
at timed intervals. felixlightingspecialists.co.uk
Lighting
vistA liGht
Simple clean design with easy
installation and seamless integration
o services like speakers and air-
conditioning are some o the advantages
o our linear profle lighting systems,we oer energy efcient lighting
sources that include seamless T5 &
high power output LED’s which also
gives uninterrupted continuous light.
With trimless, trimed, suspended, wall
and surace mounted options, widths
o 30mm, 70mm, 80mm, 100mm &
160mm. vistalight.net
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IO KIds desIgn
London based IO Kids Design creates contemporary,innovative and above all, fun furniture that grows with a
child. The collection is made of Scandinavian birch plywood
and is characterised by uncluttered and clean lines. Its gentle
curves and the exposed plywood edges give it a warm and
friendly appeal whilst the idea of multi-functionality behind
each piece ensures that the products can be enjoyed for many
years to come.
iokidsdesign.co.uk
jennIfer newman
Clerkenwell-based Jennifer Newman designs furniture that combines simplicitywith durability, enabling products to be using in a wide range of environments,
inside and outside. In projects that have both inside and outside dining spaces,
such a cafeterias with terraces, matching Newman tables and benches can be used
throughout. The palette of components used by Newman include powder-coated
aluminium structures and surfaces of solid bamboo, and lacquered or laminated
birch ply, with a wide range of colours available. Products have strong sustainability
credentials including long-life, recyclability, FSC sourcing and rapid-growth
(bamboo). jennifernewman.com
OKamUra
Okamura is exhibiting at 100% Design
London - Stand O220. ‘SOUND
ERGONOMICS,’ has been an essential
philosophy of Okamura since the dawn
of its corporate history, and will be on
full show at this years stand. At the
show, for the rst UK public viewing,
will be the Sabrina series, showcasing
a beautiful marriage of design and
comfortability, along with other
constant picks for industry connoisseurs
- CP, Zephyr Light, and Zart.
okamura.jp
cUbIIx
CUBIIX is both an innovative and versatile modular system,
which allows you to create and build various types of
furniture in many diverse shapes and sizes. Structured on
the characteristics of a cube, this lets you create a variation of imaginative furniture designs using a range of interchangeable
panels and joints. No tools are required when assembling a
unit, as all components are secured together using simple but
effective locking pins - making the process quick and easy.
We specialise in highquality interior graphicsfor the workplace
i l
i l
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Mapei
Mapei are encouraging designers to use their creativelicence and gain inspiration from their exhibition stand at
100% Design. Mapei will be exhibiting a selection of their
environmentally friendly products including Silexcolor
protective and decorative wall coatings system, Mapeoor
resin ooring system and Ultratop Industrial cementitious
ooring. For more information, please visit Mapei at 100%
Design on Stand E1, where Mapei’s Technicians will make
your imagination a reality. mapei.co.uk
Faber blinds
Faber Blinds worked closely with the architect and contractors at the Pace Galleryin the refurbished west wing of the Royal Academy of Arts to provide a bespoke
blackout and screen solution for its exhibition spaces. Two motorised roller
blinds were tted in each window space, blackout to the rear with screen to the
front, both drawn vertically upwards by tension cables with the fabrics running in
recessed side channels. The EOS 500 tensioned bottom up, motorised roller blinds
are controlled by a central Hunter Douglas EOS Touch system linked to a GPS
weather station to provide the appropriate shading for the exhibitions.
faberblinds.co.uk
salice UK
Salice UK, pioneers in the development
and production of market leading
furniture ttings, have recently
launched their impressive new website
at www.saliceuk.co.uk. The new site
has been specically designed to enablearchitects, speciers and distributors
easy and rapid navigation to a library
of comprehensive information on the
entire Salice product range. Logical
categories highlighting product features
and benets, alongside a detailed
product reference selector ensuring that
the wealth of technical knowledge and
expertise developed by Salice is shared
to benet all browsers of the new web
site. Additional features of the web
site are a comprehensive distributor
locator which provides full contact
details, a wide range of downloadable
information.saliceuk.co.uk
hUnter doUglas
The new Hunter Douglas EOS500 roller blind collection
includes GreenScreen Eco, which consists of 100 per cent
recyclable polyester bres, and the GreenScreen Revive
material produced from recycled plastic bottles. HunterDouglas is the only manufacturer using these sustainable
materials for project-based light and energy control. All
of the GreenScreen product lines are compliant with the
E: [email protected] W: www.davidclouting.co.uk • David Clouting Ltd. Unit 650, The Hub, Skyline 120, Avenue West, Braintree, Essex CM77 7AACall +44 (0)1376 518037 today for information on our product range
Fascinating, fun and fabulous.Our prints, blinds and muralsbreak the mould. Exploreour exclusive images andinnovative print products atsurfaceview.co.uk