DESIGN SEMINAR 075
lot more fl oor-to-ceiling glazing in today’s modern workspaces.’ Traynor replied: ‘T ere’s a sustainability issue, though. In commercial projects, you’re looking for mitigation; ways of improvement, performance and space like passage design. ‘But it could be really boring if we said to you that we can reduce the energy load by two watts per sq m if you paint everything white. But if you decide to paint everything black and you have dark fi nishes around the windows, then the space doesn’t work from an energy point of view. T at’s becoming a real driver... some clients right now are striving for net zero, and part of that carbon equation is getting the building to work harder through colour.’
Drivers of infl uence
Rosie Richardson-Prescott, director of interiors at TTSP, asked: ‘Do we think that colour choices evolve primarily from fashion? Since the pandemic, there seems to be more focus on things like “colour of the year”, moving away from beiges to super-vibrant colours. Is fashion – and interior design too as a result – getting brighter?’ Gareth Gardner, FX’s trusted photographer and former editor, off ered a perspective on colour as a symbol, particularly given its close links with diversity. He said: ‘Very vibrant colours are often associated with queer- friendly and also multi-ethnic cultural references that make use of lots of bright colours. It’s been used widely present in artworks, architecture and product design, but now also in interior design as well. It has become an important way to create the sort of vibes that people want to project in a space.’ ‘I think it has always been infl uenced by fashion and I think fashion has always looked at cultural shifts,’ added Khurana. ‘T ere are changes in culture and music especially, and all of these factors feed into how society looks and feels. And that will inadvertently then aff ect interiors without doubt.’
Richardson-Prescott wondered if interiors are maybe fi ve years or so years behind fashion in some respects? Adrian Norman, head of design at Morgan Lovell said: ‘Fashion is so fast moving, for sure. You have seasonal fashion, whereas interiors have to last longer, so there is a much slower curve for change.’ Khurana added: ‘I think that is where our job becomes much more important because what we are doing is not necessarily about a knee-jerk reaction. It is more about identifying and assessing the trends, and working out which ones are actually relevant. Which ones are ones do we actively have to be conscious of to steer people away because they might be perfectly reasonable in terms of movements in society and cultural shifts, but actually, our job as interior designers of environments means that sometimes you need to counterbalance it. Otherwise, you could have chaos or anarchy in the workplace.’
Hop Interiors’ Connor said that sometimes part of the job is to really understand just what can be interpreted as ‘classic’: ‘I think that’s
‘We are
increasingly choosing materials to express colour rather than just taking a colour swatch and painting the wall. Using real materials – whether it be marble or wood – off ers a more real and long- lasting way of introducing colour to a scheme and I think provides something a little more timeless.’ Ewald Damen
LOCAL PALETTES FOR LOCAL DESIGNS
For this scheme for a media and entertainment company in Madrid, M Moser used local design influences to create a sense of community, referencing Spanish ‘plazas’. The design uses terracotta-coloured walls in the feature-lit space to pull guests towards the dramatic sliding-glass doors. The diversity of work settings aims to encourage innovation, balancing sunny, social spaces like the café with quiet, focus areas including a private all-green library, and muted phone rooms.
Deezer, the French online music streaming service chose a 7-storey Haussmann building for their new Paris HQ. A space to build a community and connect Deezer’s people, creators and brand whilst maintaining the existing workplace culture following its growth.
mmoser.com
ALEX KENDRICK
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125
