FOCUS 083 FOCUS 091
What has been the most significant improvement in office design over the past 30 years.
One of the most significant improvements in office design over the past 30 years has been the fundamental shift in mindset regarding office spaces. Instead of viewing offices purely as places of business, there is now a strong emphasis on making them feel more hospitable, creating an environment akin to a hotel guest experience or making the place of work more similar to the workforce’s home environment. Designers are increasingly focused on identifying and incorporating unique selling points for each space that align with the business’s brand or identity while making it unique to how their employees work. Tis approach involves a deeper analysis of the expectations of the business brand and the needs of both the end users and visitors, leading to more personalised and user- friendly environments.
What are the main aesthetic characteristics of a successful office project (or what elements can ruin an otherwise great scheme)?
A successful office project starts with exploring the unique journey, identifying its unique appeal and experiences for guests and employees. For example, in our current project, the Park Academy in Baku, we are transforming a new building that had been put on hold and converting it from a proposed shopping centre into a vibrant business hub. Our design aims to make the space a melting pot for businesses of all types and sizes, fostering growth through collaborative interiors where different businesses can support one another. We are focused on designing interiors that provide a nurturing environment conducive to well-being, productivity and collaboration. Tis involves a multi-level approach to accommodate diverse activities and needs, ensuring the areas are flexible, versatile, and functional. Aesthetically, incorporating biophilic elements that enhance the connection with the outdoors is essential, bringing natural light and greenery into the office to create a healthier and more inspiring workspace. With the Park Academy project, outdoor space can be tricky due to extremes of cold, heat and wind. Therefore, transforming the rear of the building into a four-storey winter garden space will give employees an all-year outdoor biophilic experience.
Effective lighting is also crucial, as it sets the right mood across different areas of the space. Poorly lit work areas and collaborative eating or coworking zones need different types and levels of light to create the right work or collaborative environment. Lighting integrated poorly can undermine an office project, creating a lack of cohesive design and disjointed, uninviting spaces.
What is it that clients mostly require/request in their projects?
Clients are looking for value for their money not just in terms of the design but also in the design process. Design thinking and experience that research a project’s needs and anticipate design solutions from the outset gain confidence, assuring the client that they are in safe hands. Good value engineering and thoughtful design from the beginning will positively impact a project’s budget and process.
Has wellness in the office gone too far – do you design for relaxation at work?
Wellness has to be considered as part of each business’s brand aims and its employees’ needs. In some office spaces, wellness has become a fad or a distraction from working. However, true wellness is not a distraction; it
Left Tony Duesbury
Below The Park Academy in Baku, Azerbaijan
aims to bolster employees’ well-being while they work. Having unique selling points (USPs) in a company’s office is integral to enticing employees to a firm, but how often are these USPs fully utilised? Fad wellness has gone too far, while true office wellness has not gone far enough to encompass everyone’s needs.
Gaining insight into the business or office culture
starts with understanding the business model so that the business offering itself is at the heart of the wellness effort. For example, if you are in food production, the kitchen is the perfect hub for collaboration and socialising. A business that has family at the heart of its ambitions may provide family care, food halls, marketplaces, or event spaces to socialise, educate and connect. Research and understanding are key.
What current or historical trend since post-war office design has inspired you personally on office design? Te open-plan office trend has been the most influential post-war era trend, breaking down barriers between managers and the workforce to foster more collaboration. Tis trend has been further enhanced by biophilic design, which reconnects us to nature.
Tese trends have transformed how we perceive and utilise office environments by fostering cross-pollination between home, office and hospitality, moving away from bland and uninspiring spaces. Today, offices can feel more homely and hospitable, designed to support a variety of activities, making them more dynamic and engaging places to work.
Which exhibitions do you visit for inspiration/research? Tere is a plethora of museums in London to find inspiration, whether it’s the fashion exhibitions at the V&A or the galleries and exhibitions at the Tate Modern. Milan Design Week is always a good place to watch for trends and event spaces, whether you’re keeping an eye on the many inspirational media online or walking the aisles of the Salone or the streets of Milan.
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 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140 |
Page 141 |
Page 142 |
Page 143 |
Page 144 |
Page 145 |
Page 146 |
Page 147 |
Page 148 |
Page 149
