Inex october 2020

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R E D E F I N I N G C O N T R A C T I N T E R I O R S S T Y L E L I B R A R Y C O N T R A C T. C O M

N O T E

I N E X ISSUE

If there’s one area of a building that’s been getting more attention than usual of late, it’s undoubtedly the bathroom. With our heightened awareness of hygiene, bacteria and, ultimately, the spread of coronavirus, many building owners, interior designers and bathroom manufacturers are having to factor in new design ideas. We’re all feeling vulnerable to the potential effects of COVID-19; however, toilets inevitably still need to be used.

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Of course, home use and sanitation are easily controlled, but when you’re looking at public WCs that are used by hundreds of people day in, day out; it’s an entirely different ballpark.

This month, we have talked to leading bathroom manufacturer Geberit about what the future holds for the bathroom post-lockdown. Turn to page 22 where Geberit’s Channel Marketing Manager, Sophie Weston, discusses why a new era of bathroom design could be on the horizon – and how existing product design and innovation can help shape the future for interior designers and architects.

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Elsewhere, while many of us aren’t comfortable travelling and with more quarantine restrictions coming into play, we head to the skies and uncover a recent scheme by Interior Designer, Rodney Lawrence. At approximately 27m², a Gulfstream G550 jet aircraft has received a complete makeover thanks to Rodney and the team. Turn to page 14 to discover more.

I hope you enjoy this edition. Don’t forget, you can also access all of Inex’s features and product inspiration at your fingertips via the magazine’s state-of-the-art app. To download your version free of charge, simply search ‘Inex-online’ on the App Store or Google Play.

Rebecca Cover: Inex Editor, Rebecca Kemp, finds out more about Pamela Gruhn and the Frenchic brand.

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Editorial: Rebecca Kemp rebecca@crossplatformmedia.co.uk Hannah Woodger hannah@crossplatformmedia.co.uk Digital Advertising: Sam Ball sam@crossplatformmedia.co.uk Jim Moore jim@crossplatformmedia.co.uk Print Design Manager: Jack Witcomb jack@crossplatformmedia.co.uk

Rebecca Kemp rebecca@crossplatformmedia.co.uk Follow us on Twitter: @INEXonline Follow us on Facebook: @INEX Follow us on Instagram: @inexmagazine  Follow us on LinkedIn: @Inex Magazine

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CONTENTS OCTOBER 2020

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EXPOSE

IN FOCUS: PLANES & YACHTS

David Neale, Marketing Manager at Concord by Sylvania UK, looks at everything a designer needs to consider when planning and designing different lighting solutions for various spaces within a museum.

Designer Rodney Lawrence has recently been involved in the high-spec interior design of a Gulfstream G550 jet aircraft. Here, Inex takes you on a tour of the unique, luxurious space.

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LANDSCAPING

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22 BATHROOM

As homes and workplaces across the UK adjust to postlockdown life, Sophie Weston, Channel Marketing Manager at Geberit, discusses why a new era of bathroom design could be on the horizon.

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In this article, Charles Taylor, Sales Director at Composite Prime, discusses the benefits of composite products and how they can be used to maximise garden value.

Paul Clark, CEO of Spectrum PaintWorx, takes us beyond the flat greens of artificial lawns and explains how the many colours, textures and finishes of paint can be used in a myriad of ways.

Anthony Millington – Business Development Manager at Amron Architectural – explores the versatility of perforated sheet.

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INSIGHT

FLOORS, WALLS & CEILINGS

PRODUCT SPOTLIGHT

Pamela Gruhn, Founder of chalk paint brand Frenchic, has always had a passion for giving old furniture a new lease of life. Here, Inex Editor, Rebecca Kemp, finds out more about Pamela and the Frenchic brand.

In wake of COVID-19, Donna Dent, Concept Designer at Interface, shines a light on our heightened emphasis on mental and physical wellbeing in interior spaces.

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Inex rounds up the latest innovative products and solutions entering the interior marketplace.

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UNDERSTANDING HOW LIGHTING BRINGS EXHIBITS TO LIFE

In any museum, lighting plays an essential role in the visitor’s experience. From a functional perspective, lighting plays a vital role in guiding visitors through their museum or gallery experience. The lighting of museums and gallery spaces needs to highlight and accentuate the texture, colour and shape of exhibits, whether they are historical artefacts, modern art, 2D paintings or 3D sculptures. So achieving excellence in aesthetic quality for this space is paramount, writes David Neale, Marketing Manager at Concord by Sylvania UK.

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ight influences human behaviour, affects mood and changes perceptions. Through careful lighting choices, you can evoke all sorts of sensations and feelings in visitors. From creating anticipation on arrival to communicating drama or contemplation within the exhibition space, lighting has a key role to play in creating an emotional experience.

Lighting has a huge part to play in guiding visitors through your space, physically and emotionally. There are a number of key challenges that you will encounter when choosing the right lighting for your collections.

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So, how do you ensure the lighting choices you make are the right ones?

Firstly, lighting choices should be tailored to each and every space. Whether the space is large or small, all museums are unique, and the lighting should be treated on a case-by-case basis. It is often not the size of the space that is the main issue I N E X

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as a choice can be made of high or lower output fittings to meet the ceiling heights of the space – but more the atmosphere is being created with the lighting.

For example, in areas of high contrast between dark and light spaces, fewer light fittings are a requirement, but each must have tight beam angle control and the ability to adjust the 8

colour of the light and the light levels to the exact requirements of the space. Conversely, areas of low contrast need more light fittings but will require wider beam angle control to allow the light to fill the whole space as required.

When you are creating a lighting design for a museum, you need to carefully consider

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the displays and whether you are installing spotlights to highlight particular exhibits or artwork, washing a wall with light or illuminating a wide-open space such as an atrium. There are also a number of different areas within museums. There will be the galleries, corridors, restaurants, bookshops,

even meeting rooms and auditoriums. Each space will require different lighting solutions, offering different benefits to the occupant and building.

You want the lighting to be as unobtrusive to the design of the space as possible but also provide the right lit effect. That requires careful 9

thought and planning. In the renovation of new-build processes, museum curators may not know exactly what exhibits will be displayed and how they will look. The lighting should be able to adapt, whether that’s in terms of positioning or beam angle, according to the needs of the exhibition or events.

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As the exhibitions can change regularly, an important requirement unique to this sector is the flexibility to completely change the position and style of lighting from one collection to another, requiring an adjustable and flexible system to accommodate the changing moods within a museum.

A museum cannot have a space closed off to visitors for long periods because the lighting is not working effectively. As such, it is important that the museum has the ability to completely change the position and style of lighting from one collection to another. It needs to be easy and simple and work with any display that the museum is going to introduce.

New technology can help as we now have the ability to introduce smart, intelligent, sophisticated, but easyto-use and install control systems. By utilising controls, museums and galleries can ensure the lighting is turned off when spaces are unoccupied and even set unique scenes to create the right ambience. The latest controls can also be integrated into the luminaire, meaning no extra cabling or installation is required, thus saving time, money and, more importantly, energy throughout the lighting system’s lifespan. The control systems are very easy to use from a tablet-based app, wall switches for scene-setting or automatic sensor technology, providing light only where and when it is required.

For example, the Beacon Muse Tune’s combination of tuneable colour temperature and adjustable beam angle can create numerous effects. Colour tuning can be done in either one of two ways; manual operation or wirelessly via a smartphone when using the SylSmart smartphone application.

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It is an essential component for museums to represent exhibits in the right way; in a way that reflects their history and provides visitors with an accurate representation of the object which is being viewed.

A major task for any light source chosen for a museum or gallery is to represent colours accurately. This is essential if artefacts are to be displayed in as close to their original state as possible allowing texture, colour and shape – whether of historical artefacts, paintings, fabrics or sculptures – to be fully appreciated. For instance, with a CRI of 98, the Beacon Muse Xicato spotlight ensures that all 99 TM-30 colour samples can be showcased in their full vibrancy.

In some cases, light can cause negative effects on the very objects visitors come to see. Valuables such as paintings, textiles, leather, photographs, books and paper, or mounted specimens can actually be damaged by light itself, so museums must take special care to avoid unnecessary light damage by carefully managing the light levels within the exhibition space.

When it was introduced, LED technology revolutionised the lighting world and continues to do so. The initial benefits of LED compared to halogen; for example, were around energy efficiency, reducing power consumption from 50W to 13W for the same light output. However, previous traditional light sources required filters to help protect objects which are sensitive to light, whereas modern LED technology does not create the same levels of IR and UV light and is; therefore, better suited for sensitive light environments such as galleries and museums. www.sylvania-lighting.com

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ALL IMAGES: ©Marili Forastieri e Gulfstream

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At approximately 27 G550 jet aircraf American family w children, who divide Florida and New Yo

by Rodney Lawren was to create d ensure maxim

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7m², this Gulfstream ft belongs to an with three teenage e their time between ork City. Decorated nce, the main idea distinct areas to mum comfort.

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he first area has four executive chairs and two folding tables that can be used for meetings or work, in addition to intimate meals.

Whereas, the central area has a larger table and seats four people (two chairs facing each other), plus room for two more people on the side bench. In this space, there is also the entertainment area, with video games connected to the monitor and designed exclusively for the entertainment of the couple’s children.

To the rear of the aircraft, there is a sofa and two executive armchairs (also with a retractable table), which can be cordoned off by a door for further privacy.

In addition, all seats have individual access to light controls, blinds as well as audio and video streaming, high-speed Wi-Fi and a satellite phone.

CAPACITY: 16 PASSENGERS FIVE BEDS (THREE SINGLE AND ONE DOUBLE) FLIGHT ATTENDANT CABIN AND TWO PILOTS

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The project was a retrofit scheme; therefore, the Rodney Lawrence team started with the idea of ​​ modernising the design within the specifics of the model, such as; for example, the design of the seats, which were permanent fixtures and could not be changed.

The choice of materials took advantage of the harmonisation with existing finishes (such as wood flooring), in addition to easy maintenance and cleaning, since the aircraft is constantly used.

As a result, the leather seats were covered in three shades and are complemented by a dark blue carpet, creating a solid base for additional tiles, if needed. This reinforces the elongated perspective of the environment with longitudinal stripes A key element of the project was to take into account important safety aspects such as security, flammability, weight and avoiding sharp objects, for example. Rodney Lawrence had to adapt several finishing coatings and parts that were not approved. All materials that had not been approved had to pass a fire test whereby materials were burned to determine their durability in the event of a crash during the flight.

For this reason, several parts, such as taps, have been adapted for the Gulfstream. www.rodneylawrenceinc.com

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WHAT’S NEXT FOR UK BATHROOMS? As homes and workplaces across the UK adjust to post-lockdown life, what might the future look like for UK bathroom design? Here, Sophie Weston, Channel Marketing Manager at Geberit, discusses why a new era of bathroom design could be on the horizon – and how existing product design and innovation can help shape the future for interior designers and architects.

A new normal?

As the nation locked down in March, there started a very steady transformation of how we used the space inside our homes. From makeshift workplaces to pub gardens, our homes suddenly became multi-functional spaces. But perhaps the biggest role the home had to play during the months of lockdown – and I N E X

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indeed may continue to play as we learn to live alongside COVID – was a safe haven, with our private space becoming a protective bubble away from infection.

During this period, there was a very clear shift in consumer behaviour – at the start of the outbreak, for example, Amazon reported that searches for touchless products increased by up to 2000% with one study finding that some 80% of consumers expected to change the way they would engage with publicly available technology.

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But what legacy will this leave in our own homes as we adjust to post-lockdown life? And what will this mean for future bathroom design and innovation?

Importance of the washroom space

It’s worth touching briefly upon the history of the bathroom and its evolution alongside disease prevention to put the significance of the space in a little more context. Today’s bathrooms developed alongside the 1950s cholera epidemic, the 1918 Spanish flu pandemic and tuberculosis outbreaks. Back then, wallpaper, floorings and finishes were all designed to minimise the spread of bacteria and to promote health and hygiene; the need for bathrooms to be easily cleaned was a crucial consideration.

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In later years, when antibiotics and hygiene standards improved, the emphasis shifted from disease prevention in the bathroom. Bathrooms evolved into more sensory spaces, with trends like textured bathrooms in the ‘70s and into the ‘80s where carpets and toilet seat covers were ‘stylish’ additions in the space. More recent decades have seen the transformation of the bathroom into a sanctuary, with innovations such as Bluetooth and infrared technology developing alongside this.

So are we set to see a new postCOVID era of bathroom design?

Product innovations

Even before the advent of COVID-19, we were seeing the start of a new frontier in bathroom design. Changing households, such as the rise in multi-generational living, had helped fuel growth in demand for infrared products in the bathroom – and this should not be underestimated when considering how bathrooms may change. The Office for National Statistics suggests that households with three generations living together had risen from 325,000 in 2001 to 419,000 in 2013 and in 2019 it reported a 46% increase in the number

of young people aged 20 to 34 living with their parents. Integrating smart and touchless technology are effective ways to maximise hygiene in a busy household.

Manufacturers have, of course, been producing touchless products for many years and it’s likely that one of the biggest shifts we can expect will be even greater demand for this touchless technology – something we at Geberit are now seeing unprecedented demand for from our customers in light of the pandemic and our growing awareness of hygiene.

Infrared wall-mounted taps, for example, such as Geberit’s Brenta and Piave products, optimise hand hygiene in washrooms used by non-household members such as guest cloakrooms – a major area where bacteria can spread between households.

Likewise, touchless WC flush controls incorporate innovations such as a sensor that allows the unit to flush as soon as the toilet has been used. With guest washrooms a highfootfall area of the house, making this space touchless wherever possible will be a huge consideration for architects and designers when considering how to prepare for bathroom design of the future.

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But it’s not just this infrared technology that can help put hygiene front of mind. More simple product developments from manufacturers – for instance, Geberit’s KeraTect Glaze – make cleaning easier with a non-porous and smoother surface; such glazes can also help prevent staining of the ceramics and create a high-gloss effect.

Solutions like this not only help maintain high levels of hygiene but also, crucially, really help to enhance the look and feel of the bathroom as a ‘clean’ space.

Similarly, developments such as Rimfree toilets and innovations such as Geberit’s TurboFlush technology can eliminate tricky corners and hard-toreach areas around the pan, with removable toilet seats also helping eradicate any hidden areas where dust and bacteria may proliferate.

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Another area we’re predicting real growth in is wall-hung toilets and sanitaryware. Lifting the toilet from the floor naturally makes cleaning much easier; and once again, with no hardto-reach areas, dirt and dust accumulation is significantly reduced. Alongside this, we predict a strong future for the growth of the shower toilet, with products such as Geberit AquaClean providing guests with the ultimate washing with water, hygienic experience.

Spotlight on hygiene?

At a time when the pandemic has thrust hygiene into the spotlight, the onus is now on manufacturers, interior designers and architects to work together to find not only hygienically-optimised products but solutions and designs that also reinforce the perception of a clean space.

As one US architect observed, what is significant about these periods of disease is that “architects are often inspired to come up with fresh ideas during these moments”. And this will need to apply to us manufacturers too, as we continue to innovate and work in partnership with interior designers and architects to help them adapt to these new times. www.geberit.co.uk/hygiene 2 4

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HOW CAN COMPOSITE PRODUCTS MAXIMISE GARDEN VALUE?

Charles Taylor, Sales Director at Composite Prime, discusses the benefits of composite products and how they can be used to maximise garden value.

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omposite decking, sometimes referred to as plastic decking or WPC decking, has been growing in popularity over the past few years. While traditional timber decking has been sought after in the UK since the 1990s when gardens were first designed to be an extension of the home, more people are becoming aware of the drawbacks of laying a traditional timber deck.

Although decking continues to be a popular garden feature, consumers are becoming more aware of the alternatives out there and in particular,

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the benefits of composite products when choosing the right material to install in their garden. For anyone looking to make the most of outdoor space, composite decking is the perfect solution.

What is composite decking?

Composite decking is the fastest-growing timber decking alternative currently available on the market. The deck boards are manufactured from a combination of recycled plastics and wood fibre which is combined with colour pigments before

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being heated and extruded to create the deck boards.

Some composite products are then 3D embossed to generate a natural wood grain effect.

Composite deck boards are often capped which maximises resistance to staining, weathering and fading.

When considering investing in composite decking, it’s important to understand what to look out for as product specification can vary dramatically. Ultraviolet inhibitors, recycled graded HDPE and end-of-life FSC hardwood timber are all markers of high-quality products which have been designed to last.

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The environmental benefits

One million plastic bottles are bought every minute around the world, and that number will top half a trillion by 2021, however, less than half of those bottles end up getting recycled. As global challenges around plastic waste and the ability to plant forests to meet future timber demands increase, composites provide a sustainable and aesthetic alternative to timber.

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Making sustainable choices when it comes to developing and designing gardens is crucial to ensure we begin to combat the growing crisis around waste.

Composite products are usually more sustainable and ecofriendly than timber, however, it’s important to note that not all composites are manufactured the same, and environmental credentials can vary.

Anyone looking to purchase composite decking should consider buying from an environmentally-conscious brand.

Recycled plastic and end-oflife, FSC-certified wood are both key ingredients of brands which are investing in sustainability to support the planet.

Why choose composites?

Composite products are manufactured using the latest technology to provide the look and feel of traditional timber decking without the hassle of high maintenance, or health and safety concerns.

The components are blended together, and the finished product is extruded and engineered to perform to ensure that it meets the requirements of landscapers and garden designers across the board.

While timber is high maintenance, requiring painting and staining annually, the unique formula of composite products has a range of benefits. The plastic content gives the boards a long lifespan without the need for life-extending treatments such as sanding or oil, while the wood content enables the product to retain its natural look and feel.

Composite decking is suitable for all residential gardens and other projects as it doesn’t warp, crack or splinter, therefore, making it bare-foot safe.

Composite products can also be fire resistant up to a B rating.

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from the sunlight will be minimal.

Some capped decking products are also able to replicate the natural look of traditional timber decking, making it the perfect choice for all residential projects, including gardens for large families or consumers with pets.

Composite decking often also comes as a full system, complete with clips for easy installation, end caps and fascias so every deck can be installed to a high standard which will last for years.

Maximising garden value

Gardens have always been a desirable asset, but since lockdown began in March, outdoor space has never been so important with gardens now the most popular feature people are looking for in their next home1.

However, in order to maximise garden value, it’s important that outside space is easy to maintain while also being liveable. Many consumers are most interested in creating a garden which is practical and features a number of different solutions to make outdoor living a reality.

Composite products are the perfect material to create a garden which looks great but is easy to maintain. Laying a deck will give homeowners more space to enjoy, while installing composites will limit the maintenance required.

Furthermore, composite decking can be levelled to match the inside of the house to create greater accessibility and easier transition between different spaces, while numerous safety aspects such as fire ratings, slip resistance and no splintering will also be attractive to people looking for a product which can meet any requirement. www.composite-prime.com http://www.diyweek.net/revealed-britslooking-to-spend-324701-on-a-postlockdown-home-in-the-next-year 1

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OUTDOOR COL

Private gardens have benefited in 2020. Social media timelines amazing lockdown transformat and structural displays wo

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d from an explosion in creativity have been filled with photos of tions, from outside bars to floral orthy of a stand at Chelsea.

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OVID-19 restrictions have forced us to stay home, and many of those homes have benefitted from a makeover inside and out, but with a blast of lovely weather coinciding nicely, the outside for many, was the focus.

Many are looking for new ways to enjoy the space available to them and are seeing their garden afresh, as an extra room in their home, one worthy of as much attention, detail and personalisation as the indoors.

Landscapers and designers are increasingly being tasked with finding new and creative ways to inject personality and make a statement in gardens both private and commercial.

Paul Clark, CEO of Spectrum PaintWorx, takes us beyond the flat greens of artificial lawns lined up against stark whitewashed concrete borders and explains how the many colours, textures and finishes of paint can be used in a myriad of ways to create a stunning and bespoke garden.

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Beyond the garden fence

When looking at the structural elements of a garden, fences, summer houses and sheds are the obvious choices for injecting colour. But practically any surface can be coloured – when the correct coating is applied.

You could even have a beautiful bath if you’ve not got nosy neighbours – and relax under the stars in a little summer housecum-bathroom!

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can be dismantled and taken to the spray booth, it can have the Spectrum treatment – because some of the sprays and finishes can’t be released into the air when sprayed on-site, plus a sterile room is needed to ensure the paint remains pure, and nothing from the environment gets in that can cause it to perform any other way than intended – it’s more like a science sometimes.

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create spectacular focal points. Spectrum Paintworx specialises in not only mixing bespoke colours but in creating bespoke textures by adding flakes, dyes and tints, creating metallic, iridescent or pearlescent finishes – each perfectly suited to the surface.

Accessories are an excellent way to not only introduce bold colours and finishes and allow clients to let their imaginations run wild but also upcycle old or

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uninspiring garden items. Garden furniture, statues, planters and pots can all be customised and turned into statement pieces.

Dividing these items into sets to be coloured in a range of shades can provide a choice of matching accessories to complement the changing seasons – irridescents, brights and gloss for summer; for example, or sparkling greens and reds in the winter. Clients have the ability to create their own shades and finishes that simply won’t be seen anywhere else.

A kaleidoscope of colour

Whites, olive greens and soft navies remain popular in gardens, blending in with the natural landscape and creating a calming atmosphere. Adding texture to these shades introduces a modern twist on a classic and adds a tactile element to a surface.

Increasingly, homeowners are becoming bolder in their choice of shades. The days of neutrals are over, and bold is beautiful.

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finishes, such as limes and fiery reds or metallics and pearlescents, are being used to striking effect in gardens.

Many clients are keen to create a truly personal outside space by commissioning unique formulations. The beauty of bespoke coatings is that they can be matched to a favourite flower, object, or the interior design of the house to carry the theme right through to the outdoors, creating a unified and totally unique look.

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Light the way

The variety of natural and artificial light and shade in a garden means that colours and finishes need to be carefully selected. It’s important to view an outside space at different times of the day to understand how the light can be utilised to maximum effect. A mostly shady garden will benefit from bright, metallic finishes that reflect and maximise the minimal light available. Pearlescent or sparkling pigments will create a spectacular effect when hit by the late, low afternoon sun.

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the extensive sunshine with an outrageously bright palette.

Similarly, artificial light focused on key finishes can dramatically transform a garden from day to night – think of spotlights on a disco ball-style reflective plant pot!

Beautifully branded

Whether you’re designing for a hotel, restaurant, shopping complex or office building; replicating the tones and textures of a commercial premises in its outdoor space helps to create a strong brand identity. By creating coatings that exactly 3 6

match the interior design and branding guidelines or formulating new and unique instantly-recognisable shades and finishes, the possibilities outside are endless.

What’s more, the widelyrecognised mental health benefits of the natural world mean many businesses are keen to offer staff and guests beautiful, inviting spaces.

Colours and textures can play an important part in creating a stimulating sensory environment – perfect for relaxation and enjoyment.

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Finish first

Professionally applied coatings can achieve stunning results compared to, and at a fraction of the cost of high-end materials such as metal, marble or stone. But durability is essential, particularly on outdoor surfaces. Consideration must be given to the porosity of materials – for example, MDF and other woods absorb primers and paints and, over a short time, the surface will fade.

Metal sprays are increasingly popular but must be skillfully applied in a layered coating to achieve the optimum result.

This type of procedure needs heat and time and must be carried out in a studio, not cold conditions or on site.

Tarnishing is an obvious issue in gardens. Conventional clear coats can tackle the problem but do not adhere effectively to exciting new liquid metal surfaces, meaning the finish will delaminate.

Spectrum’s team constantly tests and innovates, creating its own solutions to many of these issues.

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more from garden design and looking for transformational solutions without the heavy environmental and monetary costs. Being creative with colour and coatings not only provides spectacular results, avoids unnecessary wastage and replacement of materials saving on costs, but also allows clients to put their own creative stamp or brand palette on their outside space. www.spectrumpaintworx.co.uk I N E X

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PICTURE PERFORATED

Perforated metals have been in existence almost since metals were first discovered when humans punctured the metal for decoration and even coinage. However, it was when the need for metal armour became prevalent so too did the need to make it lighter – so by applying tight perforations, the metal was made lighter, more breathable, but still durable. These perforations could be applied in uniform patterns or with distinctive designs as they were hand-punched, says Anthony Millington, Business Development Manager at Amron Architectural.

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ump forward a few hundred years to the industrial revolution and metals were being produced uniformly and flat, leading to the possibility of creating mechanised punching tools, and thus the emergence of the perforated patterns, commonly used in floorings and radiator grilles. In the early 2000s, these patterns gave way to the introduction of the perforated pixels.

In early 2000, pixelated perforated sheet was championed by such architects as Herzog & de Meuron specifically on the de Young Museum I N E X

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in San Francisco where they used a relatively rudimentary pixelated pattern to create an arboreal texture when the light shone through.

Since then, the technology has improved to the point where we can now create high-resolution images, patterns and text.

To create a perforated image, we take a highresolution JPEG and greyscale it; this allows the ‘image perforating’ programme to allocate a hole diameter to a shade of grey. We normally work with between four- and eight-hole diameters

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depending on the image and resolution. As a rule, the greater range of hole patterns used means we get improved resolution on the image; however, there is an impact in cost due to extended running times. However, when we are perforating large areas such as internal or external facades, very high resolution may not be necessarily due to the distance it is being viewed at.

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be programmed in the positive – this is especially good if the panels are mainly being seen in the daytime – the immediate image will be clear. If, however, the image is being backlit and perhaps viewed at night, then we must put the image into the negative for programming. This means that when viewed from the front with the lights off, the image may look slightly abstract; however, when the lights are put on, the image comes immediately into focus.

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With the lighting comes the finish of the panel.

If the image is positive, then it is generally a good idea to keep the finish light or bright so that the dark holes can contrast and pop. Similarly, for panels that are being lit, then you can get away with using dark or textured finishes as we used on the ‘Banksy’ panel where we used an Evolution powder coat to look and feel like rust.

The applications for these perforated image panels are varied, from pieces of art, to garden tabletops, or internal walls showing corporate imagery to large-scale external facades, and signage being an obvious one. The rise in popularity of the large-scale facades has been exponential over the last few years as the product lends itself so well to the application, by being both durable with excellent aesthetics, but I N E X

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also allowing light and airflow – this is especially true in the case of car parks. In recent months, with the spotlight on the office environment, these perforated panels are now being used as screens and dividers to designate areas and improve the working environment, again using the imagery to carry either a corporate image or ethos.

Where next for such a versatile product? I think people will become more adventurous with the images used with increased resolution, but also in areas where it hasn’t yet been used – such as ceilings where we are seeing more expanded meshes, it has great scope. After all, it is the fifth wall! www.amronarchitectural.co.uk

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Meet the owner:

PAMELA GRUHN OF FRENCHIC Pamela Gruhn, Founder of chalk paint brand Frenchic, has always had a passion for giving old furniture a new lease of life rather than seeing it relegated to landfill. In 2014, there was an upcycling revolution happening in the UK. A DIY trend was soaring, and there was a lot of consumer interest and moral obligation to live more sustainably. Pamela recognised a gap in the market and wanted to create a paint that was not only eco-friendly but easy to use for beginners, as well as being the choice of professionals. A successful product has to have authenticity and be born of a personal passion, and that is how Frenchic was born.

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sing £15,000 from a pension nest-egg, Pamela decided to wager it all on the business. She found a factory that could accommodate what was needed to get started, and working from her dining table, she launched a few colours with Frenchic’s first Original range – the brand was then built organically from there. She created a Facebook community early on, which encouraged more stockists and allowed Frenchic to broaden its ranges, accessories and reach.

Its online community now boasts over one million followers and is a global haven for people to share their creativity and take inspiration from others.

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Here, Inex Editor, Rebecca Kemp, finds out more about Pamela and the brand.

Please provide us with a description of your professional career.

Before I started Frenchic, I was a marketeer and had my own recruitment agency off Fenchurch Street. Before that, I actually worked in the motorracing industry! Later in life, I discovered the joy of upcycling furniture, saw a gap in the market for a paint company that could tick all the boxes, and the rest is history.

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What inspired you to start your own company?

I’ve always had a passion for bringing old furniture back to life, and at the time there was somewhat of an upcycling revolution happening in the UK. A DIY trend was booming, and there was a surge of consumer interest and moral obligation to use more sustainable products. I wanted to create a paint that was not only eco-friendly but also one that was easy for beginners and

the choice of professionals. In my opinion, a successful product has to have authenticity and be born of a personal passion - Frenchic has both.

What was the vision behind the Frenchic brand?

The vision was to create a brand that was so much more than just paint. With Frenchic, it’s the 4 9

paint, the passion and most importantly, the people. We are now a global community for upcycling creativity and inspiration – particularly on social media through our fan forums. We also champion the independent retailer with over 600 stockists across four continents – something which has always been so important to me personally.

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Who has been your greatest source of inspiration throughout your career?

Definitely our amazing community of customers and followers.

Frenchic really is one big family, connected through a mutual love of upcycling and creativity. Our social media following is over one million now, and the Facebook forum is like a global haven for people to share their work and take inspiration from others. I’ll never get bored of seeing the incredible things people can do with our paint; it inspires me each and every day.

What has been your biggest accomplishment to date?

Earlier this year, we received a Queen’s Award for Enterprise in the innovation category for our Lazy Range which is a huge achievement and a true honour for us. Everything we produce has the customer and environment in mind, combining exceptional quality with ease of use and eco-friendly ingredients. The journey to get to this point has been a true labour of love. A start-up with humble beginnings, no exterior funding, but simply a pure passion for paint – so to have the royal seal of approval is a dream come true for the whole team.

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What has been your most notable project?

I would say developing the Lazy Range has been par ticularly notable, and not just because of the Queen’s Award win! For the Lazy Range, we created a unique chalk and mineral paint with a wax infusion. The innovative addition of wax means that the paint is selfpriming, self-levelling and selfsealing. It’s unlike any other chalk paint out there and was the first of its kind in the decorative market.

Achieving this unique formula was no easy feat, and required extensive research and testing to ensure a quality product was brought to market, but we worked tirelessly to make it happen – and it paid off!

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How important is sustainability and upcycling to you?

The need for a truly eco-friendly paint brand is one of the main reasons I started Frenchic, so it’s absolutely paramount to me. Of course my love for upcycling has to do with a passion for crafts, but a huge driving factor behind the brand was to see fewer household items being relegated to landfill. I learned that millions of tonnes of furniture are thrown away in the UK every year, and I couldn’t believe it – there’s just no need when you can completely transform an entire room with paint alone. There’s basically nothing you can’t paint, from plant pots to front doors, garden fences to children’s toys.

What can we expect to see from you over the next year?

My main focus has and will continue to be, to help our network of over 500 UK retailers survive this year. We will always support independent retailers who are at constant threat, so I am still going out and handdelivering supplies so that they can still operate. We’re always ready to take on more stockists, it’s the heart of this country, and I’ll always support them. Looking to the future, we have more ranges, more colours, more limited editions – so watch this space! www.frenchicpaint.co.uk

Do you feel there’s more that the interior design industry could do to be more sustainable?

I think there is always more that can be done. A hugely important factor for our products is that they have no added VOCs (volatile organic compounds) and zero toxins. VOCs and toxins are regularly used in traditional paints and solvents, and they play a significant role in the formation of the ozone layer. Frenchic has proved that you can have the highest quality product without including these harmful substances, so I would hope that many more companies are able to do the same.

How has the pandemic made an impact on your business?

We are extremely lucky to be part of an industry that has thrived during this time. We saw a 500% increase in sales during lockdown, but more importantly, I was determined to help our network of independent UK retailers survive, some of whom didn’t qualify for Government grants and were struggling. I don’t mind saying that this was a lot of work! We were shipping tonnes of paint each day and working around the clock, seven days a week, as a lot my stockists offered a contactless delivery service or collection. Their shops are now open again and in great shape, as this has grown a whole new customer base for them. At the start of lockdown, I made a promise to my stockists that I would get them through by continuing to supply, and this is undoubtedly one of my proudest moments in business to date.

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The global impact of COVID-19 an a fresh spotlight on consideration wellbeing. There is a growing bod design of our environments can imp we spend nearly 90% of our lives explore the emotional benefits we everyday spaces, writes Donna De

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nd resulting lockdowns have shone ns around our physical and mental dy of research that shows how the pact our overall quality of life. Given inside buildings, it’s important to e can foster with the design of our ent, Concept Designer at Interface.

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ne of those spaces where we spend the vast amount of our time is work, so it’s important to consider how the design of our workplaces impact the way we feel. Creating spaces which support personal needs at all levels of the business and facilitate a supportive and flexible environment is crucial.

In order to do this, we need a greater understanding of the relationship between our physical environments and emotions, particularly as it relates to design.

Designing for emotional wellbeing

Having a healthy state of emotional wellbeing has been linked to an overall increased quality of life, improved happiness and even improved learning performance.

When designing a workspace, there are many factors to consider – such as personal, organisational and cultural preferences. Reducing

the impact on climate is an increasing concern for many people, so creating sustainable workplaces is more important than ever before.

Building frameworks, such as BREEAM and LEED, enable us to consider sustainability and wellbeing together, rather than in isolation. These initiatives help to create spaces which are not only beautifully designed and functional but also put user experience and the environment central to the design and specification process.

For example, a workplace’s sustainability credentials can be simply elevated by incorporating sustainable materials which contain high amounts of recycled content which have less of an impact on the environment; this could apply to furnishings, flooring or accessories. User wellbeing is elevated by 5 7

assessing elements such as high-quality air ventilation and daylight exposure.

Another way to elevate wellbeing is through biophilic design, through which we can take a holistic approach and connect building occupants more closely to nature.

Implementing biophilic design principles has been shown to support emotional wellbeing through engaging our senses, reducing cortisol levels – a marker of our body’s stress response, improving learning engagement and increasing social connectivity.

As well as supporting the emotional wellbeing of individuals, biophilic design has also been shown to positively impact a company’s business goals through increasing the focus and productivity of employees.

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We all work differently

It’s a simple truth that we all work in different ways, with each individual requiring varying levels of focus, collaboration, learning and socialisation.

Incorporating an ecosystem of settings throughout a space provides people choice and control, supporting increased happiness. For example, some members of the team may find open-plan spaces overwhelming, stressful and noisy. Creating dedicated quiet spaces means these employees have areas to concentrate or make calls.

As more people are starting to go back into the office, it is important they are integrated back safely and feel reassured about re-entering the workplace.

Integrating diverse space types, to provide choice and control of the space while promoting visual captivation is one of the key principles of biophilic design and is important in elevating wellbeing.

With the implementation of social distancing measures, establishing a range of open and closed areas that allow for clear sightlines throughout the space, which provide this sense of safety, is more important than ever. Using modular flooring is a great way of creating subtle pathways within a space to safely direct users to where they need to go. Creating smaller enclosed spaces, such as booth seating and independent quiet rooms with semi-transparent doors, can also help create areas of refuge that provide security and comfort.

Fostering an engaging experience

Introducing natural and tactile materials, such as wood and natural fibres, into the design of a space also supports workplace mental wellbeing.

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areas of brickwork exposed.

The use of these materials subtly encourages employees to engage with their surroundings, albeit in a safe way, which brings focus and contributes to a practice of mindfulness.

It’s also important to incorporate strategies that provide people with access to natural light throughout the day, especially as the days get shorter. Daylight supports emotional wellbeing by aligning our circadian rhythms – our body’s internal clock. Maximising daylight in a space can be as simple as arranging desks closer to existing windows or removing unnecessary blinds.

Incorporating non-rhythmic moving elements, such as water features, mobiles and sculptural focal points that receive direct daylight, can prompt an awareness of the passage of time as the shadows move throughout the day, supporting a sense of place.

Undoubtedly, the spaces we spend most of our time in have a significant impact on us.

The availability of researchdriven insights helps us design spaces which positively impact occupants and make them thrive. With many of us now taking a flexible approach to work, mixing days in the office with working from home, the role of the office is starting to shift, and it’s now more important than ever that the workplace promotes a sense of community and acts as a collaborative hub for employees. In a world which has placed a renewed importance on wellbeing and bringing people together safely at a time when they feel isolated, it’s vital that we strike the right balance with future designs. www.interface.com

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DESIGNING UTILITY ROOMS WITH STYLE AND FUNCTIONALITY IN MIND A well-planned utility room can be as much of a pleasure to be in as it is functional to use, and considering how your client uses the space during the early planning stages will ensure it works around them.

Shown here is the new Oxford Pebble kitchen, from Benchmarx Kitchens, that has been used to create a bright utility that gives a nod to traditional styling whilst keeping an air of contemporary modern flair.

The result is a room with plenty of storage, individuality and practical space. Benchmarx Kitchens offers a free online design service to allow you to create kitchens from the comfort of your own home.

OSMO DOOR-OIL Especially suitable for selected veneered interior doors!

• Extremely water and dirt resistant • No sanding necessary for future applications • 3060 Enhances the wood’s natural character • 3033 Preserves the wood’s light colour

3060 Clear, Satin

3033 Raw, Matt

www.osmouk.com

www.benchmarxkitchens.co.uk

GROHE SYSTEM NOMINATED FOR GERMAN SUSTAINABILITY AWARD DESIGN 2021 Having already been nominated for the 13th German Sustainability Award for companies in July, the global brand for complete bathroom solutions and kitchen fittings is now delighted to be nominated for the first German Sustainability Award Design 2021 for its GROHE Blue water system. A top-class jury of experts will decide on the finalists at the end of September. The winner will be announced at the German Sustainability Award ceremony on 4th December 2020 in Düsseldorf. “I am proud that not only our commitment to sustainability but also our resource-saving product portfolio is receiving so much recognition,” says Thomas Fuhr, COO Fittings LIXIL International and Co-CEO Grohe AG. www.grohe.com I N E X

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BLANCO’S ENVOY TAP GAINS WRAS APPROVAL

The ENVOY tap portfolio from BLANCO UK is designed with the environment in mind. The WRAS-approved tap features a six-litre minimum regulated flow which saves water. The stunning tap is perfectly suited to contemporary kitchen schemes and can offer a modern touch to something more traditional. With a sweeping swan neck and high spout, the tap offers plenty of room underneath for easy filling of pots and pans while maintaining an aesthetically-pleasing finish. The single lever produces a high-pressure water supply. Housebuilders and contractors can recommend chrome, classic stainless-steel finish, matt black, brushed gold, pewter, brushed brass and trendy rose gold. www.blanco.co.uk info@blanco.co.uk

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Willow Bough wallpaper featured in the Queen Square Collec tion

STYLE LIBRARY CONTRACT REVEALS NEWEST COLLECTIONS FROM ZOFFANY AND MORRIS & CO Style Library Contract unveils two striking collections for AW20, celebrating colour and pattern. Morris & Co has collaborated with renowned architectural interior designer, Ben Pentreath to create The Queen Square Collection, while Zoffany showcases the best of British talent with Palladio Volume I.

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en Pentreath’s Queen Square Collection for Morris & Co – lovers of interior design around the globe will rejoice at this combination of words. A seamless meeting of minds between an iconic brand

and one of the country’s most sought-after interior designers, the Queen Square Collection is named after the road that housed the first Morris & Co factory and showroom.

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This AW, Morris & Co is thrilled to launch its latest collection, produced in collaboration with Ben Pentreath.

Featuring original designs across 18 fabrics and 18 wallpapers, Queen Square fills us with a nostalgic familiarity. Now, more than ever, the world is in a reflective mood, finding pleasure in the simple things; an ethos shared by William Morris, who designed from a place of appreciation and understanding. With a love of the English countryside and the beauty that surrounds us, this collection showcases the longevity of expertly crafted design, filling our hopes and hearts with positivity.

Ben says: “I’ve always loved the designs of William Morris, and we’ve used his superb, timeless papers and fabrics in many of our decoration projects over the years. So it was a wonderful experience to be let loose in the Morris & Co archive: we’ve taken many original patterns, and recoloured them in a palette of my favourite colours, to cast his designs in a completely new light.”

The launch comprises two books: Ben Pentreath The Queen Square Collection Fabrics and Ben Pentreath The Queen Square Collection Wallpapers.

Zoffany Palladio Volume I

The world that narrated the curation of Palladio Volume I for Zoffany has changed beyond recognition. Its existence is now almost incomparable to our new and strangely altered lives, but unexpectedly a parallel has emerged between today and Palladio’s inaugural 1955 launch.

Witnessing an iconic moment in time, this story is a celebration of new and original design, colourful and exemplary, underpinned by optimism and anticipation.

A launch that pairs six favourite Palladio designs from the Zoffany archive with the introduction of an exceptional British talent.

Palladio Volume I for Zoffany is a stunningly insightful compendium of wallcoverings, featuring designs handpicked by Robert and Roger Nicholson, the creative duo behind Palladio’s initial launch 65 years ago.

The collection includes Medallion, Royal Exchange, Impact, Columns, Precarious Pangolins, Sicilian Lion, and Montacute.

To see both collections in their entirety, please visit the Style Library Contract website. www.stylelibrarycontract.com 01895 221050 I N E X

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Maysa Lyndon 342 Swindon Rd Cheltenham GL51 9JZ

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