April 18, 2016
Workplace Trends talk + Productivity + Flexible working in London 0
In this week’s Newsletter Mark Eltringham with the Hitchhikers guide to the workplace – his talk at the Workplace Trends Conference; Darren Bilsborough’s concerns around commuting and productivity; and Paul Goodchild suggests that as office continues to evolve so too do the materials used within it. Why work friendships can contribute to a lack of creative diversity in the office; women could be damaging their careers by taking competition too seriously; and stress and sitting are draining productivity in the UK. The development of the fourth industrial revolution; the CIPD on increasing the uptake of flexible working in the Capital and IFMA and RICS work together to help shape a single FM career path. Download our Insight Briefing, produced in partnership with Connection, on how the boundless office can be freed from the shackles of time and place and access the latest issue of Work&Place. Visit our new events page, follow us on Twitter and join our LinkedIn Group to discuss these and other stories.
April 11, 2016
What our enduring love of wooden office furniture tells us about how we work
by Paul Goodchild • Comment, Furniture, Workplace design
As the office continues to evolve so too do the materials used within it. While many corporate headquarters make liberal use of brushed steel, aluminium and glass, an ancient, well loved and sustainable material is becoming increasingly popular all over again. Wood never went away, of course, but the latest ideas about office design seem to have given it a new lease of life as a material. In part this is down to an inherent love for wood, but it is also acknowledges the aesthetic and functional crossover between the office and other places where we work such as cafes, hotels and homes. Nowhere is this more apparent than in the new generation of commercial office furniture designs. In many ways they hark back to the 1950s when the British were introduced to modernism in no uncertain terms. This design movement led the British to reject dark woods and embrace new forms and materials including lighter, arguably more natural woods.
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