Tagged with 'design'
New London Architecture
Sea Containers was shortlisted for New London Awards 2016 Read more
New London Architecture
New London Architecture shortlisted Sea Containers in the 'New London Awards 2016' in the Office Interiors category.
This new workplace, designed for Ogilvy Group UK and MEC, provides space for 2,300 workers with a diverse range of office spaces arranged over 11 floors, and gives each company its own ‘front door’ to their personalised space.
Project team included BDG architecture + design, Matheson Whiteley, Bollingbrook and Arup.
Photography copyright Gareth Gardner and BDG architecture + design.
IO Oil & Gas Consulting's new office at The Shard completes Read more
Our design for IO Oil & Gas Consulting's new office in The Shard has been delivered by Overbury. We're looking forward to sharing final pictures with you soon.
IO Oil & Gas has been established as an independent joint venture with GE Oil & Gas and McDermott, to provide a new model of offshore consultancy.
Mix Interiors Feature
Magazine specialising in the architectural, design and facilities market features BDG Read more
Mix Interiors Feature
Magazine specialising in the architectural, design and facilities market features BDG's design for the relocation of sister company to the heart of Clerkenwell at 6 Brewhouse Yard.
This complex 30,000 sq ft development has been transformed into a vibrant media-hub that is home to an array of some leading creative agencies including Brand Union. Our initial design investigations identified a number of significant building interventions that were required in order to fully exploit the potential of the building, and this gave the new tenants the opportunity to architecturally influence the space so that it could better support their workstyles.
This has resulted in a number of key changes; introducing three new staircases, which connect the new ‘shopfront’ on the ground level, whilst also providing a staircase that doubled as presentation and breakout space. By making these changes to the lower ground floor, the overall foot plate was increased significantly New rooflight openings were introduced on the L1 terrace and the opening on the ground floor brought a much needed ray of light into the middle of the plan, with the sky now visible from these areas.
For the feature in the magazine, click here.
BDG make the top 10 in the annual Central London Fit Out Market report Read more
BDG make the top 10 in the annual Central London Fit Out Market report.
The five year analysis period for this report covers 2009-2013 - a time that includes a turning point for the property cycle. The respected publication by Metropolis Property Research analyses all take up of office space in Central London over 25,000 sq ft, which during the 5 year period amounted to 353 deals.
The various rankings of firms are for Interior Architect, Contractor, Interior Project Managers and Tenant's Agents. BDG has entered the Interior Architect top 10 list, for a practice operating throughout the UK and Europe, we are proud to be considered on this list for one of our 'home towns'.
OnOffice Magazine Feature
OnOffice Magazine features BDG's design of creative agency Brand Union's office in Clerkenwell Read more
OnOffice Magazine Feature
OnOffice Magazine features BDG's design for creative agency Brand Union, see more at http://bit.ly/1HXhnpK
The article specifically references the use of meeting cubes throughout the workspace. These meeting cubes appear like a cityscape in varying tones and textures, each with its own personality.
Design for Wellbeing
The Times featured "The Future Office" with an article by Clare Dowdy on taking comfort in functional design Read more
Design for Wellbeing
"The Future Office", published in The Times, featured an article by Clare Dowdy on ergonomics 'Taking Comfort in Functional Design'.
Wellbeing in the workplace is moving up the agenda for occupiers, supported by academic research, office design has been found to improve productivity and health and wellbeing in the workplace. Well designed workplaces help staff to take real pride in their environment but can also encourage movement and collaboration between team members.
Colin Macgadie, Creative Director at BDG, discussed how designing an environment with choice and diversity also has to facilitate ease of movement within a workplace. Having installed 12 new sets of stairs between floors at Sea Containers, this gives greater interconnectivity between floors, encourages staff to be active without having to use 'back of house' stairs and swipe a security card at every floor. But, it also goes further than that, the steps are wider and shallower than normal - shallower to encourage people to move slowly, and wider so that they can stop to chat.
Macgadie predicts that alternative settings in the future will borrow increasingly from the hospitality and leisure sectors, with alternative work settings being less about work and more about wellbeing.
Image used is courtesy of Shutterstock.
A visit to our studio by blueflame digital left us with lots to think about for its use in workplace design Read more
BDG welcomed Rich Lloyd of blueflame digital to the studio for a lively conversation on Virtual Reality and its potential uses in architecture, design and the workplace.
Sharing technology from simple experiences using mobile phones with cardboard goggles, through to fully-immersive and interactive environments, we played with ideas on how virtual reality will develop in the coming years and how it might integrate into the way we all work.
Office of 2030
A discussion with a group of millennials in the workplace design community discuss the office of 2030 Read more
Office of 2030
A lunchtime round table, hosted by BW Interiors, brought together a group of millennials within the workplace design community (including BDG’s Margarita Ianev) to discuss the office of 2030.
The discussion started with “is agile work working?” – the group agreed that agile doesn’t mean total open plan with bean bags and slides between floors, it means a workplace that suits the activities of your team and what their task are at different times. If a business has a traditional office based environment, such as a law firm, becoming agile could mean having unassigned offices to be booked at times when their staff need them, alongside a variety of work settings for other times. An increase in more shared areas in offices to facilitate interaction; sharing ideas and the opportunity to choose the work setting that suits them, is more relative to how millennials work.
Technology in the workplace, for many millennials, who are already so used to having linked devices; music streaming and apps for everything was a hotly debated topic. There was agreement that email was not always the most productive tool, it feels outdated and doesn’t foster communication – we need to calculate how effective emails are and not the number sent and received (or even unread). Alongside this, for electronic filing, saving files by tagging rather than a traditional system of saving work into folders is a more intuitive way of saving and indeed searching for files.
So, will the office of 2030 bring all these initiatives together? Each asked for one thing that the 2030 office will have, the millennials present said “more communication”; “a culture of trust”; “wellbeing”; “technology” and “inspiring spaces” were the most important aspects for them.
Conversations At Clerkenwell
Colin Macgadie took part in "Conversations at Clerkenwell" as part of Clerkenwell Design Week Read more
Conversations At Clerkenwell
As part of Clerkenwell Design Week "Conversations at Clerkenwell" featured a host of high-calibre speakers exploring current industry topics.
Location vs Architecture: a look at London’s shifting clusters
You used to be able to distinguish an office by its location. The ‘hacks’ were in Fleet Street, the bankers were in the City and the Ad men and women resided in edgy Soho. As major companies break free of their traditional clusters, what is more important now? Cutting-edge office or cutting-edge location?
Colin Macgadie from BDG, designers of Ogilvy Group UK and MEC's new Southbank headquarters
Primo Orpilla of US workplace designers O + A
Ben Raywood from Savills
Lev Kerimol, Principal Regeneration officer at Greater London Authority
Chaired by Mark Eltringham, editor of Workplace Insight.
Wednesday, 25 May 2016 from 12:30 to 13:30 (BST)
The Goldsmiths' Centre - 42 Britton Street, London, EC1M 5AD
Creation of a pop up Press Office for Clerkenwell Design Week 2015 Read more
Housed in the The Crypt on the Green, St James Church, the temporary pop up provides a home for Journalists and PR consultants during the busy festival.
The installation was made possible with the support from Structure Tone.
Photography: Gareth Gardner
Writer Grant Gibson discusses how the relationship between design, manufacturing and craft has evolved Read more
One of my favourite installations at the London Design Festival was the Simplified Beauty show at SCP. It was seeing the display of traditional ceramics from Mashiko that made me realise how much British design has changed and matured since I started writing about it twenty years ago. Back then Sheridan Coakley’s store was the bastion of cutting-edge British design. It was Coakley who promoted the likes of Jasper Morrison, Terence Woodgate, Matthew Hilton, (the sadly late) James Irvine and Michael Marriott to an often ambivalent British public. In the mid-nineties design was tribal; you were either part of the nascent Shoreditch scene or a cushion scatterer from Chelsea Harbour; companies were either modern and innovative and exhibited at 100% Design or traditional and conservative in which case their natural environment was at Decorex, held in the leafy, suburban environs of Syon Park. Some of us on the side of progress genuinely believed we were contributing to a profound change in British culture, that with the likes of Blur and Blair we could somehow re-invent the nation in our own image.
However, nearly 20 years on it seems we’ve all learned to relax, the tribes are (slowly) converging. Pluralism reigns. Over the past few years SCP has exhibited at Decorex, for instance, alongside contemporary companies such as Pinch, Aram and Eley Kishimoto which would have been nigh on inconceivable even a decade ago. And there’s been no more obvious signifier of this change than the re-emergence of craft and the fetishisation of the handmade. Not so long ago craft came with largely negative connotations of a by-gone England. How things have changed. From being a dirty word, it has almost become a badge of honour. I edited the designjunction catalogue this year and it was fascinating to see how many exhibitors were desperate to emphasise their craft credentials. In an interview I did with Alberto Alessi, for example, he described his vision of the company as ‘a combination of fine craftsmanship and advanced design research, following the model of Wiener Werkstaette at the beginning of the twentieth century but rooted in contemporaneity.’ Suddenly craft, craftsmanship, handmade are seen as having cultural and (probably more importantly) commercial cachet.
So why has this happened? Well the fact of the matter is that the ‘make-do-and-mend’ end of the craft spectrum traditionally tends to thrive in times of economic strife, when people need to find ways of making their stuff go further. This has been compounded by the burgeoning inequalities of British society, in which the super-rich have got richer, meaning the luxury end of the market, which has always traded on hand making, has continued to prosper. Nearly fifteen years after Naomi Klein published No Logo it also seems that a strata of consumers (middle class, wealthy) are paying more attention to how and where their goods are made, aping a recent trend in the food market. In the same way that some shoppers like to know that their chicken breasts are organic, or corn-fed, or farm-assured, so products that haven’t been made under exploitative conditions have found a receptive audience.
I think it’s fair to say that the ambitions of many of the best, young designers have changed too. Whereas the ultimate aim was once to get spotted by a major (often Italian) manufacturer and create industrially-made products for the mass market, now many of the most interesting graduates are more intent on doing projects that critique consumerism and shy away from globalisation. Allied to this is the fact that many of those same (often Italian) manufacturers have become increasingly risk averse during the recession, relying on a small pool of globally renowned designers. Meanwhile technology has allowed micro-manufacturing to flourish and social media means that makers can now find a potentially huge market.
Arguably all of this means that the relationship between design, manufacturing and craft is more tightly knit than at any time since the industrial revolution. The perceived boundaries between craft and design are being broken.
BDG host the Generation Design show, curated by Journalist, Helen Parton as part of the London Design Festival Read more
BDG host the Generation Design show, curated by Journalist, Helen Parton in conjunction with Kingston University, as part of the London Design Festival from 15-19 September.
This show, open daily from 10am to 6pm, celebrates and analyses the work and careers of a number of designers on the cusp of becoming household names, in disciplines from furniture, lighting to jewellery. These include Anthony Dickens, Ed Carpenter and Andre Klauser, Gitta Geschwendtner, Hannah Martin, William Warren and BDG's own creative director Colin Macgadie.
It will feature a roomset with past 'greatest hits' products from each of the designers plus more recently designed projects. Art directed by Cai and Kyn, the show will also include a large scale infographic detailing the career paths of the featured designers. It will serve as a fascinating and educational tool of how they got where they are today. It's not always a linear path, rather each designer is armed with a set of transferable skills that enables them to consult, teach, run their own business or collaborate with others: something which will interest those in the industry and the public.
For more information see here.