Office design goes to the movies. Part 7 – The Apartment

Office design goes to the movies. Part 7 – The Apartment

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In which Jack Lemmon exchanges the crushing uniformity of the open plan for a corner office as a reward for allowing senior managers to use his apartment as a venue for their infidelity. This is from 1960, the pre-cubicle, pre-VDU world of large ranks of serried workers in an open plan office with only the privileged few allowed any degree of privacy or the wherewithal to display status. many ways, the layout has much in common with the way many offices are designed now. Office design may have moved on in the past half century but some things are always with us.

Public sector property initiatives have proved successful but work still needed

Gorilla-in-a-hat1There was a time, not so long ago, when nobody worried too much about the shape of the rooms that led off the corridors of power. But the pressure on UK finances has politicised the design of the UK’s public buildings. The latest example of this was the recent  announcement  in Parliament of a report that, amongst other things, called for a new approach in the way facilities are designed to deliver better services in a more cost effective way. The report Restarting Britain 2: Design and Public Services was the result of an eight-month investigation led by the Design Commission along with politicians, designers and civil servants.

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What Tesco’s move into a Clerkenwell office tells us about how it sees itself

Tesco logoIf Tesco ever wants to update its three word strapline from Every Little Helps, it could plump for something more accurate such as We Own You. Unless Facebook or Google register it first, of course. The news this week that the extensively diversified retailer is to set up an office for its digital operations in the heart of one of the UK’s Technology Media and Telecoms (TMT) hothouse in Clerkenwell tells us a great deal about how it sees its operations in this area. The move will not only help Tesco to recruit staff in and around the Tech City area of East London, but sets a marker for how it views its place in the scheme of things.

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Office design goes to the movies. Part 6 – Playtime

Office design goes to the movies. Part 6 – Playtime

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One of the few films to address office design as something worth commenting on per se. A film in which M. Hulot stumbles around a modernist dream of Paris, all glass, steel and cold straight lines. People inhabit box like apartments and box like office cubicles which separate them from each other and, by implication, life. The film was produced in 1967, shortly before the cubicle was popularised in real offices. In the sequence in which M. Hulot visits an office building, he gets lost, gatecrashing meetings and ending up in a gadget trade show which is furnished in a virtually identical way to the office.

Five things the Wall Street Journal inadvertently told us yesterday about office design

Some inadvertent truths

Some inadvertent truths

If I were to show you a headline from the Wall Street Journal announcing ‘Say Goodbye to the Office Cubicle’, you might date it at any time between the mid 1980s and 1990s. Maybe earlier. But it was actually in yesterday’s issue, dated 2 April 2013. Now, we could be amused by this or act all aghast at the sight of those dinosaurs yet to adopt a norm of open, collaborative and shared spaces never mind the ‘digital workplace’; or we could conclude that this tells us several important things about how those people and organisations who don’t keep a daily eye on workplace trends view the buildings they inhabit.

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Office design goes to the movies. Part 5 – Minority Report

Minority ReportWe obviously like films like this. High concept noir sci-fi, based on a book by Philip K Dick of course; dystopian, chock full of ideas and technology that seemed cool and subversive in 2002 and is mundane in 2013. I mean, the screens are still cool but who wouldn’t rather have a file stored in the Cloud or on a USB stick than inside a perspex panel the size of a brick? Deskheads may recognise the furniture as the totally of-a-piece Resolve from Herman Miller designed by Ayse Birsel. They can use this fact to bore whoever they are watching with who would presumably rather be watching Tom Cruise doing his Blue Steel face in the foreground. Or is it Magnum?

Office furniture leases are actually readily available

leaseThe article from John Sacks from 25th March bemoaned the fact that leasing is essentially useless for furniture projects on the basis that no banks are interested in funding such assets. I am delighted to inform John, and more importantly, the broader readership of Office Insight that this assertion couldn’t be further from the truth. The reality is that finance for both pure furniture, and indeed broader fit out projects, is readily available. For some, the significant tax benefits (leasing is 100% tax deductible) are critical, whilst others recognise the importance of retaining capital and making sure cash is deployed effectively, not locked away in furniture, is key.

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Ergonomic update: Are you taking the tablets?

Tablet ergonomicsTwenty years ago the Health and Safety (Display Screen Equipment) Regulations 1992 came into force, introduced in response to a growing number of complaints of repetitive strain injury (RSI), or to use the broader term musculoskeletal disorders (MSD) amongst office workers. Although it took time for the disorder to be identified, the message gradually got through that sitting all day in the same position banging away at a keyboard was not conductive to sound ergonomics or good health. In the early 90s I was an early adopter of a laptop (or luggable PC) and had to take four months off work after developing pain and numbness in my arms and wrists.

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Office design goes to the movies. Part 4 – Ikiru

IkiruAkira Kurosawa’s film typifies the way that office life is usually portrayed in movies. The crushing bureaucracy that the protagonist Kanji Watanabe is part of – and ultimately rebels against – is symbolised by the towering piles of paper that surround him and his colleagues. Even when he’s walking around, he seems to be carrying them with him, stooped and distant. Many offices may have freed themselves of the sheer bulk of paper these days, but we can still find ourselves weighed down by hierarchy, rules, customs and information. Ultimately we also have freedom to decide for ourselves what is truly important.

We shape the world’s cities, then they shape us

UrbanisationThe story of the world’s cities is often told not in words but in numbers. This is especially the case with the megacities – those with a  population in excess of 10 million – which obtain enough critical mass not only to produce eye boggling statistics but also to distort the fabric of whole regions and change the way people live and behave. This is true for the established megacities of London, New York and Tokyo as well as the emerging global metropolises in Sao Paolo, Beijing, Mumbai, Shanghai, Cairo and Istanbul. It is also increasingly true for cities many people have never heard of.

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Our hardwired response to patterns can be a useful trait for designers

flying_fishOur ability to recognise patterns is hardwired. We instinctively and often unconsciously look for patterns everywhere. Where none exist we often impose them, grouping things  together according to their colour, shape, texture, number, taste, smell, touch or function. We do this to make sense of the world and to understand what goes on around us. And conversely, the patterns we perceive influence the way we think and how we feel. It was the psychologist Carl Jung who first explained how the innate human ability to recognise patterns is rooted in the need for primitive humans to perceive patterns in the world around them as a way of identifying threats.

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Office design goes to the movies. Part 3 – Being John Malkovich

 

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In which John Cusack plays an unemployed puppeteer who takes a mundane office clerk’s job in the low-ceilinged offices on Floor 7½ of the Mertin Flemmer Building in New York. When he asks his boss why the ceilings are so low, he is told ‘low overhead my boy’.  Bad pun, great commentary on how it’s always possible to fit a little bit more into the building, especially if you ignore the bothersome problem of the people who work inside and their physical constraints.