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Material Source Studio Glasgow now open: A dedicated destination for the entirety of Scotland's built environment community
Offering Scotland’s built environment professionals an inspirational experience unlike any other, Material Source Studio Glasgow has opened its doors at 180 West George Street.
This follows the success of the Manchester Studio, which opened in 2021, and has since welcomed thousands of visitors through its doors. Bringing together product and material insight and inspiration, plus much more, under one roof, and offered all year round, co-founders Darren Clanford and Michael Rogan chose Glasgow, Scotland, for their second site.
Transferring the essence of the North West Studio, a dedicated space in the heart of the Scottish city has been created specifically for the region’s architecture, design, and property communities. And while Material Source Studio Scotland offers all the benefits of the Manchester Studio, it very much has its own identity. As Darren Clanford, co-founder, and creative director of Material Source, puts it: “Though it’s got Material Source DNA running through it, it has a unique personality.”
What to expect
A wholly flexible space, architects, designers, and property professionals are invited to make Material Source Studio Scotland their own.
Whether exploring the latest products and materials from 25+ leading commercial interiors brands – many of which were also founding partners in Manchester; grabbing samples for mood boards; working in the space; checking out an exhibition, or the current Maker In Residence; or attending a CPD, seminar or social in the Theatre...
Material Source Studio can be whatever you want it to be - Darren Clanford, co-founder, and creative director says “And, importantly, you can use it in the knowledge that we have listened to your needs.” As such, Material Source Studio Scotland is built on solid, sustainable foundations.
A hame from home
Just as with the location for the Manchester Studio, the building played an integral role in shaping the direction of the Glasgow project.
“When we set out to find the perfect home for Material Source Studio in Glasgow, we sought a building that was central, spacious, and allowed us to re-use as much of the existing fitout as possible”, explains Darren.
“Since we opened our first Studio, the architecture and design community has, quite rightly, time-and-time again, pressed home the importance of designing around what we are given, while re-using wherever possible.”
“In Glasgow”, adds Michael Rogan, co-founder, and operations director of Material Source, “we set out to do just that. Having found the perfect space at 180 West George Street, we carefully planned how we could keep as much of the M&E, ceiling systems, and existing walls and features as possible, challenging our design concepts and re-setting them many, many times in the process. We had set a target of keeping at least 50% of what we inherited – and we managed to hit around 60%.”
Building on the existing features, the Studio’s interior concept, crafted by creative director, Darren, sports a bold, rich palette with visual nods to Dutch artist Mondrian and the cinematography of Wes Anderson.
Community at its core
This process of listening and responding to the community’s needs has been central to the success of Material Source - even before the first bricks and mortar Studio launched. Beginning life as an online magazine 5 years ago, the Material Source concept was born out of a desire to share the stories of those making a positive impact on the future of the built environment.
Providing a platform for the global architecture, design, and property communities to discuss the topics that are important to them through interviews, projects, and a podcast – 42 Roles In The Built Environment, presented by Material Source director and host of the Studio’s seminar series, David Smalley - Material Source Studio mirrors this combination of insight and inspiration in its physical spaces. Through its Gallery, which champions innovation in material development; Maker In Residence platform – supporting local creatives; and a world-class events programme – including both the Material Source Presents seminars, and partner-led workshops, CPDs, talks, and socials.
Functional flexibility
The components that make up Material Source Studio Scotland lend themselves to facilitating many different activities in tandem – from a Theatre seating 80-guests with an in-built kitchen and state-of-the-art screen and sound system, to a Workshop with horseshoe table and stools making for a relaxed presentation or demonstration experience. Plus, multiple meeting rooms, and the Hub – a contemporary workspace set-up for collaboration and creative collision.
Darren comments, “Material Source Studio Scotland does exactly as it says – it’s an inspirational space that truly celebrates the entire architecture and design community of the country. It was created for you, to be used by you. In whatever way that suits you best. A heartfelt thank you to all those who have embraced the Studio already. And for those that have not yet visited, we can’t wait to welcome you.”
The Desk that Changed the Office: LINAK's Story of Sit-Stand Desk Technology
So where did the technology inside these desks start? In the early 1990s, LINAK® was a growing electric linear actuator company and while expanding globally, we were also growing business areas outside of medical applications. Entrepreneurs at the time came to us looking for better ways to improve ergonomics and working comfort in niche areas such as workstations for architects, engineers, photographers, and special needs applications for kitchens and bathrooms.
“The development of a complete height-adjustable desk system didn’t come from this vision of a big opportunity for LINAK, it came from us wanting to have a solution that made it easier for our customers to build workstations,” says John Frost, Division President & Executive Vice President at LINAK. “There were two needs we wanted to address: Make it easier and make it more affordable.”
To do this, we would need to develop a new product specifically for desks, and utilise our experience, technology, and capabilities from existing product lines. With actuators running in parallel for hospital beds, numerous types of glide pads for medical applications, and a history of innovating first, LINAK was up for the challenge.
“We gave the task to six engineers, three mechanical and three electrical, and before you knew it, we were presented with a promising concept of a two-leg electrically height-adjustable system,” says Frost. “The real innovation in this new product would be in the relationship between the motor, spindle, and guidance systems to control the near perfect frictional tolerances throughout the leg movement. While the design aesthetic was very important, the technology inside the leg was what truly mattered.”
Catching the industry by surprise
In late 1998, LINAK caught the industry by surprise and launched our first ever complete electrically height-adjustable system for desks. The system included a desk panel switch to easily adjust height, an advanced control box for smooth desk movement, and a revolutionary “electric leg” for desks called DESKLIFT™ 1 (DL1).
Everything we take for granted today in a height-adjustable desk was totally ground-breaking in 1998: Building lifting systems with motors and spindles into desk columns; achieving smooth, quiet vertical lifting - and then putting all this into a simple streamlined package were genuinely innovative breakthroughs.
After the launch, the focus was to help customers make the transition to the new solution.
LINAK did not anticipate how successfully this technology would be adopted, especially in Northern Europe. The demand grew rapidly as electrically height-adjustable desk systems spread outside of industrial workstations to office desks.
Inadvertently kicking off a global trend!
By the early 2000s, sit-stand desks had become the norm in Scandinavia and were rapidly gaining ground throughout the rest of Northern Europe. The trend for electrically height-adjustable desks did not really gain traction in North America until the late 2000s, when the media coined the phrase “sitting is the new smoking”. After that, uptake dramatically increased.
Many furniture manufacturers joined LINAK in communicating the benefits of height-adjustable technology to improve ergonomics in the workplace. By working to find a solution for our customers, we had unknowingly helped ignite a global trend - improving the lives of office workers through ergonomic solutions.
The DL1 was state-of-the-art 25 years ago and an updated version is still part of our product range. In today’s market, innovative new LINAK products, like the Desk Panels DPI and DPG1C, continue to win awards for product design, while other products are awarded for customer design - including Best in Innovation at NeoCon and Best of NeoCon Gold Award for Desk2Device USB charger.
As working styles change, so will furniture design and functionality. Being deeply rooted in “the will to change“ provides LINAK with a unique drive to adapt and address known and unknown challenges. But the experience of innovating so many firsts is what motivates us to continue to take adjustable furniture design to the next level.
With more than 10 million electric adjustable desk systems sold since 1998, it is true to say that LINAK has succeeded in changing the office landscape for the better - by improving the lives of office workers around the world.
Eco-Architecture: The Cutting-Edge Design of London's New £5.3 Billion Data Center
In a groundbreaking development in the world of digital infrastructure, the London Borough of Havering is set to become the site of what is being touted as Europe's largest data center. The ambitious project, named the 'London Data Freeport', is a massive undertaking by the private sector developer, Digital Reef. Situated about 15 miles from the bustling Docklands data center area in east London, this project is poised to reshape the landscape of data storage and processing in the UK.
Spanning a vast area of 175 hectares, the London Data Freeport is envisioned to be a hub of technological advancement and eco-conscious design. With an impressive investment of £5.3 billion (approximately $5.97 billion), the project is not just significant in its scale but also in its commitment to sustainability. The proposed site at the junction of Fen Lane and Dunnings Lane, straddling North Ockendon and Upminster, is currently designated as green belt land. This location choice underscores the project’s dual focus on technological innovation and environmental sensitivity.
The project’s blueprint reveals an extensive campus comprising ten 50MW and five 20MW units, collectively capable of supporting a staggering 600MW of capacity. The development will add around 330,000 sqm (3.55 million sq ft) of new data center floorspace to the area. The construction phase, expected to span five years from 2023 to 2027, is a testament to the scale and complexity of this ambitious endeavor.
A notable feature of the London Data Freeport is its planned Zero Carbon facility. The developers have emphasized their commitment to on-site renewable power generation and battery grid balancing. This eco-friendly approach is further exemplified by plans for heat recovery systems to facilitate low-carbon agritech farming, blending technological advancement with agricultural innovation.
In a unique collaboration, the project involves a partnership with Space Park Leicester, the University of Leicester, and the Earth and Space Sustainability Initiative. This collaboration aims to foster innovation in zero-carbon energy, digital infrastructure, and the monitoring of agricultural and other land uses. Such partnerships are crucial in driving forward the agendas of sustainability and technological advancement in harmony.
The proposed site's strategic location within the Thames Freeport boundary, just a mile from the M25 and two miles from Upminster Underground and mainline rail stations, enhances its accessibility and potential as a major digital hub. Additionally, the project promises to transform up to 120 hectares/300 acres into a public ecology park, further contributing to the area's environmental and recreational offerings.
While Reef Group, known for developing retail, leisure, hotel, workplace, and residential projects, is spearheading this project, the move into the data center domain marks a significant diversification for the company. Their involvement in other projects, including a technology and data center park in Didcot, Oxfordshire, and ventures in manufacturing and healthcare/life sciences, underscores their expansive vision.
Councillor Ray Morgon, Leader of Havering Council, has expressed immense pride and optimism regarding this project, noting its potential to invigorate the local economy and make a substantial contribution to UK inward investment. The project is not only a major economic driver but also a significant step towards embracing cutting-edge, sustainable technology solutions.
As the project awaits further review and endorsement, it stands as a beacon of innovation and environmental stewardship. The London Data Freeport is not just a data center; it is a symbol of the future – a future where technology and sustainability coexist to create a smarter, greener world.
Revamping the Heart of Democracy: A Deep Dive into UK Parliament's Restoration and Renewal Programme
The Palace of Westminster, a beacon of democracy and history, is at a pivotal point where it requires urgent restoration and renewal to continue serving as the home of the UK Parliament. The Restoration and Renewal (R&R) programme, a critical initiative for the preservation of this historic structure, has seen significant developments recently. This blog post explores the programme's evolution, including its annual report published in July 2023, and the anticipated future paths.
The need for extensive repairs and modernization of the Palace of Westminster has been a long-standing acknowledgement. As a building steeped in history, it demands a transformation to meet current and future needs. Initially managed by a sponsor body, the governance of the R&R programme underwent a strategic shift in 2022. This restructuring was aimed at better integrating the programme with Parliament's existing structures, thus enhancing efficiency and accountability.
In July 2023, the first annual progress report marked a significant milestone, outlining the developments since the governance overhaul and setting the stage for the future. The report, led by Dr Patsy Richards, the interim managing director of the client team, underscores the urgency and complexity of the project. It focuses on developing a range of restoration options, assessing their feasibility, and preparing for a critical phase of decision-making.
Scheduled to commence in Q3 2023, the R&R programme is an ambitious project with an estimated value of £3.5 billion. This investment reflects the monumental task of preserving and renewing one of the UK's most iconic buildings. Before the end of 2023, a crucial moment will occur as the Houses of Parliament debate and shortlist delivery options for the programme. These discussions are pivotal in determining the project's direction and scope. The selected options will then form the basis for detailed cost proposals, expected to be decided upon by late 2024 or early 2025. These decisions will significantly influence the future of the Palace of Westminster and the UK Parliament.
The programme faces considerable challenges, notably the extensive costs and the extended timeline required for a full decant of the palace. These factors have raised significant concerns among members of both the House of Commons and the House of Lords. Additionally, the programme must navigate complex health and safety issues, such as fire safety and asbestos management, to ensure the building meets modern standards.
More than a renovation project, the R&R programme is about preserving a living piece of history. The work involves protecting the architectural and historical integrity of the palace, symbolizing the UK's commitment to its democratic values and heritage. As the programme progresses, it promises to revitalize the heart of UK democracy, ensuring that the Palace of Westminster remains a robust symbol of governance and history for future generations.
Lighting the Future: ERCO and Zaha Hadid Architects Redefine Office Design for Enhanced Wellbeing
Known for radical designs like the MAXXI art museum in Rome and the London Aquatics Centre, Zaha Hadid Architects (ZHA) faced a different type of challenge in overhauling its London headquarters. Instead of a new building, the world-leading architecture practice has renovated 101 Goswell Road, a former garment factory. A custom-designed lighting system from ERCO played a crucial role in this transformation, allowing the historic building to become a flexible environment for multi-faceted and collaborative forms of work.
New ways of working
ZHA has occupied the seven-storey former factory since 2012, but the team was previously divided between this property and a converted schoolhouse on nearby Bowling Green Lane. A shift in thinking came as a result of the Covid-19 pandemic, when employees were primarily working from home. The ZHA directors saw an opportunity to consolidate to a single location and rethink how the office should function. Rather than trying to pack in as many desks as possible, the idea was to support different types of work style, offering staff greater choice and flexibility in how they work, and increasing possibilities for meaningful interaction. ‘We needed to give them a reason to make the journey into the office,’ explains director Chris Lepine. ‘We came to the conclusion that space for meetings and collaboration was key.’
Improving visual comfort
With larger floorplates and a more visible street presence than the old schoolhouse, the Goswell Road building was considered the most future-proof option, but it also presented challenges. The building had very low ceilings and a stair and lift core located close to the end wall, so natural light was unable to reach much of the interior. ‘We had one very long wall with no daylight coming through,’ recalls Lepine. ‘We realised that, if we were going to do this refurbishment right, we would have to create lighting that did the space justice.’
Enhancing the feeling of spaciousness was the starting point for the human-centric lighting system developed with ERCO. Opton wall-washers improve the overall perception of brightness, while Jilly downlights for track create the impression that ceilings are higher than they actually are. Illumination is delivered discreetly to where it is needed, rather than across the entire space, with light fittings that are largely hidden from view. This improves visual comfort without creating obvious patches of light and shadow. ‘Sometimes I don't realise the lights are on until I’m right under them and look up,’ says Lepine.
No more one-size-fits-all
With spotlights that can be easily repositioned in the track without tools, a key advantage of the Jilly system is its flexibility. This was a key goal in the reconfiguration of 101 Goswell Road, which was developed with ZHA’s Analytics + Insights unit (ZHAI), a research group that uses digital data and artificial intelligence to intelligently predict the future of workspace design. ‘In the past, there was a one-size-fits-all approach in office design, but that has completely gone out of the window,’ says Ulrich Blum, co-lead of ZHAI. ‘Workspaces need to be adaptable to, even on short notice, cater for differences in how teams work together.’ This led to a design that provides fewer desks but offers a wider variety of spaces where people can come together. One example of this is the fourth floor, which has been converted into a social space that can facilitate casual meetings and chance encounters.
Circulation spaces are located towards the centre of the floor plan, anchored by a multi-faceted cork wall that extends through the full height of the building. Track mounted Opton and recessed Starpoint luminaires in 3000k give a warmer colour temperature here, emphasising this as the building’s ‘heart’, in contrast with the cooler tones of lighting within the workspaces. Opton spotlights meanwhile offer dramatic, directional illumination to architectural models and drawings that are dotted throughout the building, as a testament to the impressive scope of architectural projects that ZHA produces.
Casambi Bluetooth wireless control allows lights to be easily switched or dimmed, either individually or in groups, which comes in useful when ZHA wants to change up its displays. But it also makes it easy to create spatial variety, so staff can find a place to work that suits them best. ‘When people work from home, they are able to personalise everything,’ says Blum. ‘This autonomy is something they really cherish, so we needed to give them the ability to influence their environment.’ The system is also responsive to fluctuations in occupancy, turning off lights automatically in spaces that are not in use, which improves energy efficiency.
Space for display
The ground and basement floors combine exhibition galleries with facilities for design research and digital fabrication, allowing ZHA to create varied showcases of architecture innovation. These floors also facilitate other public-facing activities, from intimate dinners and drinks events, to workshops and panel talks. ERCO’s Parscan 48V spotlights allow ZHA to highlight different zones, depending on the use. ‘We can orient the room in different ways,’ says Melodie Leung, associate director at ZHA. ‘Sometimes we want it to be very broad and unified as a space, other times we want it to be more dramatic.’
Leung believes these shopfront-style spaces play a crucial role in helping people understand the process behind ZHA’s architecture. One recent exhibition incorporated dynamic lighting effects that gave a sense of animation to the objects and materials on display. ‘It’s really important for us to create an environment,’ adds Leung, ‘so when people enter, they're entering the world of Zaha Hadid Architects.’
Since moving back into 101 Goswell Road in late 2021, ZHA has been trialling different ways of combining remote working with in-office collaboration. The response so far has been positive, with staff noticeably mingling and interacting even more, despite being in the office less. The result is a dynamic environment that feels befitting of an architectural practice with its focus firmly on the future.
Project data
Project: Zaha Hadid Architects, London / Great Britain
Architecture: Zaha Hadid Architects, London / Great Britain
Photography: Gavriil Papadiotis, London / Great Britain
Products: illy, Opton, Skim, Starpoint, Parscan 48V, Lucy
Photo credits: © ERCO GmbH, www.erco.com,
Photography: Gavriil Papadiotis
About ERCO
ERCO is an international specialist for high-quality and digital architectural lighting. The family-owned company, founded in 1934, operates globally in 55 countries with independent sales organisations and partners.
ERCO understands light as the fourth dimension of architecture – and thus as an integral part of sustainable building. Light is the contribution to making society and architecture better and, at the same time, preserving our environment. ERCO Greenology® – the corporate strategy for sustainable lighting – combines ecological responsibility with technological expertise.
At the light factory in Lüdenscheid, Germany, ERCO develops, designs and manufactures luminaires with a focus on photometric optics, electronics and sustainable design. The lighting tools are developed in close collaboration with architects, lighting designers and electrical designers. They are used primarily in the following applications: Work and Culture, Community and Public/Outdoor, Contemplation, Living, Shop and Hospitality. ERCO lighting experts support designers worldwide in transforming their projects into reality with highly precise, efficient and sustainable lighting solutions.
Digital Phyllotaxy: Merging Art and Nature in Hankook Tire's Seoul Headquarters
Digital Phyllotaxy
Client: Hankook Tire
Location: Seoul, South Korea
Year: 2020
Deriving its name from the arrangement of leaves on a stem, Digital Phyllotaxy is a physical metaphor for a tree. Designed for Hankook Tire’s new headquarters in Pangyo, Seoul, the artwork is inspired by the vertical journey through the building and explores the idea of split-level experiences. As people ascend through the vast architectural ‘oculus’ they witness the interplay of dappled light below, within and above the canopy. Leaves digitally rustle and change colour with the seasons transforming the journey on the escalator into an encounter with nature.
16m in diameter, Digital Phyllotaxy uses a bespoke media assembly comprised of edge-lit LED units and liquid crystal shutters. The layering of each component is choreographed to create delicate volumes of illumination and obscuration. A palette of inputs including sun paths, wind speeds and the movement of people passing by, trigger a generative atmosphere with the everchanging, arboreal crown.
Film and photography by Giraffe Pictures
The Art of Thriving in the Office – the Scandinavian Way
You might not be able to change a company culture overnight. But you can start your makeover with some new furniture and clever office design – and improve employees' creativity, productivity, teamwork, and overall well-being.
The term "the Scandinavian Way" has been used to refer to a unique approach to human resource management that is common in the Scandinavian countries.
This is typically characterized by open communication with all employees and less hierarchical organizational structures. Teamwork in Scandinavian companies is built around the same principles, focusing on equal and respectful participation and free exchange of ideas across seniority. These practices contribute to higher levels of employee satisfaction, work-life balance, and company culture in Scandinavian businesses.
Hierarchy in the UK
A new survey conducted by YouGov in May 2023 on behalf of Fora Form illustrates that UK workers desire the Scandinavian approach.
British employees are highly aware of their workplace's inherent hierarchical structures compared to Norwegian employees' answers. When asked to describe the hierarchy in the workplace, 60% of the respondents in the UK acknowledge that there are “several levels and clear hierarchical structures.” In comparison, only 29% of Norwegians have the same opinion.
Level the field
Changing and adjusting a corporate culture takes time and effort. But think of this in terms of office architecture and design solutions, and an overnight shift is possible: The interiors and furniture in the office can make a big difference in how your employees interact and how much they enjoy the time they spend at the office: the Scandinavian Way.
A physical manifestation of this difference might be between a long table in a corporate meeting room and a round table. Compare the chilly atmosphere of a white-walled office with the cosy comfort of a colourful lounge sofa.
Furniture can level the playing field by creating an inviting and attractive environment for workers, their ideas, and abilities.
Post-pandemic office solutions
Creating an attractive workplace is even more critical post-COVID, where long periods of working from home have highlighted the pros and cons of the office workplace. Most employers are now grappling with the constant challenge of getting us into the office. We need more than simply fulfilling our daily duties and demands to entice us. Consequently, many businesses have been forced to rethink the purpose of the office in terms of productivity, creativity, and physical team interaction.
Our survey shows this explicitly: Access to a printer is the most crucial benefit for office working. And let’s be honest - If a printer is the main reason for going to the office, you, as an employer, have a big challenge. Luckily, the second most important reason is being with colleagues, and most companies need people to work together to succeed. An aesthetically pleasing and pleasant atmosphere at work is seen as very important, and suitable furniture makes work more enjoyable. Face-to-face communication and meeting colleagues to solve tasks together are essential reasons for coming in instead of working from home.
Despite this, only one out of ten respondents in our survey report that their employer has refurbished premises or bought new furniture. In other words, There is a considerable gap between employee expectations and employer initiatives. These expectations are consistent between our UK and Norwegian respondents despite the cultural differences.
Designing meeting places since 1929
At Fora Form, we live and breathe, creating good meeting places. We are not the ones you go to for a new office desk, but for all those other furniture that bring your office space to life and make it a home away from home for employees. We’ve been designing social furniture since 1929. Our ambition has always been to create great indoor experiences. Today, our design is already starting to shape people’s future working lives.
We don’t design furniture for offices – we design for open and valuable meetings between people. We don't make furniture to impress – we create furniture that motivates. We don’t design for directors or to uphold power structures. We design to break down differences.
Through solid craftsmanship and timeless design, we make furniture that lasts. By giving design classics new life using modern materials, we reduce waste at every stage. Fora Form wants to nurture a new kind of working life, where sustainability means caring for humans as much as about our environment.
Our goal is to create workplaces good enough to match our homes. Our vision is to create furniture and meeting places that enable good meetings between people. Because at Fora Form, we know that people shape culture and that culture shapes people.
After all, employees are considered the most important asset of a company.
Main findings:
Survey period: May 5th-14th, 2023.
Conducted by YouGov on behalf of Fora Form.
53% report that employer hasn’t changed the office environment or made it easier for people to return to work after the COVID pandemic.
48% find that being with colleagues is essential for their well-being at work.
44% find that UK workspaces are clearly hierarchically structured
39% consider having an aesthetically pleasing and pleasant workplace atmosphere important.
38% say good furniture, aesthetics, and a good atmosphere make coming to work more enjoyable.
35% work in the office 5 out of 5 days. 18% work in the office only one day or less a week.
27% report that their employer has furnished the office in a way that facilitates effective teamwork.
26% say good furniture, aesthetics, and a good atmosphere make it easier to work with others.
25% say good furniture, aesthetics, and a good atmosphere are inspiring and make them more productive.
Co-working and communication with colleagues are the most critical factors for choosing an office over a home office:
- Easier to communicate with colleagues (47%)
- Meeting colleagues to solve tasks together (45%)
- Meeting colleagues to enjoy social time together (41%)
- Easier to work with colleagues physically rather than online (38%)
Has your employer made any changes to the office environment or made any other changes to make it easier for people to return to the office after the COVID pandemic?
- No, my employer hasn’t done anything (53%)
- Yes, my employer has provided better solutions/rooms for teamworking (17%)
- Yes, my employer has refurbished the premises (13%)
- Yes, my employer has bought new furniture (10%)
Article written by Pål Eid-Hviding, Head of Marketing, Foraform